{"ts": "2026-07-04 17:15:15", "kind": "stage", "stage": "s0_recon", "group": "bg_rooftop_unit", "subset": {"indoor": ["S5_Shot3", "S5_Shot10"], "outdoor": ["S4_Shot1", "S10_Shot5"]}}
{"ts": "2026-07-04 17:15:44", "kind": "stage", "stage": "s0_recon", "group": "bg_rooftop_unit", "subset": {"indoor": ["S5_Shot3", "S5_Shot10", "S5_Shot12"], "outdoor": ["S4_Shot1", "S10_Shot5", "S10_Shot6"]}}
{"ts": "2026-07-04 17:16:20", "kind": "stage", "stage": "s0_recon", "group": "bg_rooftop_unit", "subset": {"indoor": ["S14_Shot4", "S18_Shot6", "S25_Shot8"], "outdoor": ["S4_Shot1", "S10_Shot5", "S10_Shot6"]}}
{"ts": "2026-07-04 17:17:03", "kind": "stage", "stage": "s0_recon", "group": "bg_rooftop_unit", "subset": {"indoor": ["S14_Shot4", "S5_Shot3", "S5_Shot10"], "outdoor": ["S4_Shot1", "S11_Shot3", "S10_Shot6"]}}
{"ts": "2026-07-04 17:18:12", "kind": "llm", "step": "forest_root_plan", "model": "gpt", "dur_s": 47.3}
{"ts": "2026-07-04 17:19:25", "kind": "llm", "step": "forest_indoor_plan", "model": "gpt", "dur_s": 18.1}
{"ts": "2026-07-04 17:19:25", "kind": "stage", "stage": "s2_indoor", "done": "plan", "subset": ["S14_Shot4", "S5_Shot3", "S5_Shot10"]}
{"ts": "2026-07-04 17:20:00", "kind": "img", "engine": "gpt-image-2", "mode": "generate", "tag": "root_A_t2i", "refs": [], "size": "1536x864", "attempt": 1, "dur_s": 108.0, "bytes": 2581073, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/root/root_A.png", "prompt": "ONE hand-drawn TOP-DOWN aerial SITE SKETCH of a single real-world place,\nin clean technical sketch style: dark ink outlines, light flat colour\nwashes, straight-down view. NOT a photograph, NOT a 3D render, no\nperspective, no photo textures.\n\nThe place consists of these connected parts — draw them TOGETHER as one\ncoherent site (one main structure plus its immediate surroundings):\n- (outdoor, L03) 인천 변두리 낡은 빌라 옥탑방 옥상·현관 앞 외부: 낡은 다세대 빌라 꼭대기에 위치한 야외 공간. 물탱크, 흔들리는 빨랫줄, 평상 위 약초 건조 흔적, 낡은 철문 현관이 있다. (특징: 낡은 시멘트 바닥; 물탱크; 바람에 날리는 빨랫줄; 평상과 널려 있는 말린 약초(석창포); 전단지가 끼워진 철문 현관)\n- (indoor, L04) 옥탑방 내부: 작은 창문으로 빛이 들어오는 낡은 주거 공간. 싱크대, 식탁, TV가 있는 거실과 침대, 커튼, 거울 등이 있는 방/욕실로 구성된다. 약초 끓이는 냄비 등 생활 소품이 있으며, 간헐적으로 벽면에 붉은 원 형태의 환영과 핏자국이 생겨난다. (특징: 작은 창문의 햇살; 싱크대와 약초(석창포); 가스레인지 위 끓는 냄비와 수증기; 거실 TV와 스탠드; 침대, 커튼, 거울; 벽과 거울 표면에 나타나는 붉은 원 환영; 바닥과 벽의 핏자국 (특정 시점); 어지럽혀진 가재도구 (특정 시점))\n- (outdoor, L10) 옥탑방 외곽 골목·시멘트 계단: 다세대 빌라 마당의 후미진 구석과 옥탑방으로 올라가는 가파르고 낡은 시멘트 계단. (특징: 다세대 빌라 입구 마당; 후미진 구석 공간; 낡고 가파른 시멘트 계단)\n\nOverall massing/orientation guidance:\nUse a direct overhead plan. Keep the rooftop room as the central roof mass, with the iron-door side facing the terrace landing, exterior stair, and alley approach. Show only the roof outline and openings for the interior: no interior floor plan, furniture, blood, wall marks, bed, table, TV, sink, mirror, or bathroom layout. Interior shots are anchored only by the front door, exterior windows, and the abstract inner doorway markers.\n\nDraw ONLY what is visible from above and from outside: the structure's\nroof outline and what stands on top of it, open ground areas, approach\npaths and stairs, and each opening (door, gate, window, level access) as\npart of the boundary it belongs to. Do NOT draw any interior room layout\nor interior furniture — buildings show their roof plane only.\n\nMark each of the following elements at its position with a small circle\ncontaining its single capital letter:\n(A) Rooftop room — Center the small roof outline on the rooftop terrace, with its entrance edge facing the terrace landing and exterior stair approach.\n(B) Iron door — Place on the entrance edge of the rooftop-room outline, opening directly onto the rooftop terrace landing; mark the flyer at the door seam.\n(C) Exterior windows — Draw window slots on the outer walls of the rooftop-room outline: one small/living window on a side wall visible from the terrace, and one curtained bedroom window on another outer wall.\n(D) Inner doorways — Inside the rooftop-room roof outline, mark only abstract doorway openings for the bedroom and bathroom access; do not draw interior walls, rooms, or furniture.\n(E) Rooftop terrace — Surround the rooftop-room outline with worn cement rooftop surface, widest in front of the iron door where the stair arrives.\n(F) Low wall — Run along the exposed perimeter of the rooftop terrace, outside the room and beside the cat/window line of sight.\n(G) Roof fixtures — Cluster the water tank, clothesline, and herb-drying platform on open terrace space away from the iron-door landing so the entrance remains clear.\n(H) Exterior stair — Attach the steep concrete stair to the rooftop terrace landing below the iron-door side, rising up from the villa yard/alley approach.\n(I) Alley approach — Draw the narrow wet alley and small villa-yard/back-corner approach at the foot of the exterior stair, leaving space for a parked vehicle beside the alley.\n(J) Neighbor roofs — Frame the rooftop terrace with adjacent flat villa roof planes and tight surrounding blocks, outside the main rooftop site.\n\nOn the RIGHT side of the image, add a clean legend panel listing each\ncircled letter with its English name in small neat capital letters:\nA: ROOFTOP ROOM, B: IRON DOOR, C: EXTERIOR WINDOWS, D: INNER DOORWAYS, E: ROOFTOP TERRACE, F: LOW WALL, G: ROOF FIXTURES, H: EXTERIOR STAIR, I: ALLEY APPROACH, J: NEIGHBOR ROOFS\n\nThe circled letters and the legend panel are the ONLY text and the ONLY\ncircular marks allowed. No other labels, numbers, logos or watermarks.\nInclude a modest margin of the immediate surroundings so the place reads\nin context; keep geometry simple, unambiguous and physically plausible."}
{"ts": "2026-07-04 17:22:44", "kind": "img", "engine": "gpt-image-2", "mode": "edit", "tag": "root_B_from_plan", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/projects/b0ad5c18-5140-4022-a2b0-805de0e5a385/episodes/0d30302a-51c8-4ac9-98e2-6cd9180512bf/images/background_chain/aerial_bg_rooftop_unit.png"], "size": "1536x864", "attempt": 1, "dur_s": 163.9, "bytes": 2686360, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/root/root_B.png", "prompt": "ONE hand-drawn TOP-DOWN aerial SITE SKETCH of a single real-world place,\nin clean technical sketch style: dark ink outlines, light flat colour\nwashes, straight-down view. NOT a photograph, NOT a 3D render, no\nperspective, no photo textures.\n\nThe place consists of these connected parts — draw them TOGETHER as one\ncoherent site (one main structure plus its immediate surroundings):\n- (outdoor, L03) 인천 변두리 낡은 빌라 옥탑방 옥상·현관 앞 외부: 낡은 다세대 빌라 꼭대기에 위치한 야외 공간. 물탱크, 흔들리는 빨랫줄, 평상 위 약초 건조 흔적, 낡은 철문 현관이 있다. (특징: 낡은 시멘트 바닥; 물탱크; 바람에 날리는 빨랫줄; 평상과 널려 있는 말린 약초(석창포); 전단지가 끼워진 철문 현관)\n- (indoor, L04) 옥탑방 내부: 작은 창문으로 빛이 들어오는 낡은 주거 공간. 싱크대, 식탁, TV가 있는 거실과 침대, 커튼, 거울 등이 있는 방/욕실로 구성된다. 약초 끓이는 냄비 등 생활 소품이 있으며, 간헐적으로 벽면에 붉은 원 형태의 환영과 핏자국이 생겨난다. (특징: 작은 창문의 햇살; 싱크대와 약초(석창포); 가스레인지 위 끓는 냄비와 수증기; 거실 TV와 스탠드; 침대, 커튼, 거울; 벽과 거울 표면에 나타나는 붉은 원 환영; 바닥과 벽의 핏자국 (특정 시점); 어지럽혀진 가재도구 (특정 시점))\n- (outdoor, L10) 옥탑방 외곽 골목·시멘트 계단: 다세대 빌라 마당의 후미진 구석과 옥탑방으로 올라가는 가파르고 낡은 시멘트 계단. (특징: 다세대 빌라 입구 마당; 후미진 구석 공간; 낡고 가파른 시멘트 계단)\n\nOverall massing/orientation guidance:\nUse a direct overhead plan. Keep the rooftop room as the central roof mass, with the iron-door side facing the terrace landing, exterior stair, and alley approach. Show only the roof outline and openings for the interior: no interior floor plan, furniture, blood, wall marks, bed, table, TV, sink, mirror, or bathroom layout. Interior shots are anchored only by the front door, exterior windows, and the abstract inner doorway markers.\n\nDraw ONLY what is visible from above and from outside: the structure's\nroof outline and what stands on top of it, open ground areas, approach\npaths and stairs, and each opening (door, gate, window, level access) as\npart of the boundary it belongs to. Do NOT draw any interior room layout\nor interior furniture — buildings show their roof plane only.\n\nMark each of the following elements at its position with a small circle\ncontaining its single capital letter:\n(A) Rooftop room — Center the small roof outline on the rooftop terrace, with its entrance edge facing the terrace landing and exterior stair approach.\n(B) Iron door — Place on the entrance edge of the rooftop-room outline, opening directly onto the rooftop terrace landing; mark the flyer at the door seam.\n(C) Exterior windows — Draw window slots on the outer walls of the rooftop-room outline: one small/living window on a side wall visible from the terrace, and one curtained bedroom window on another outer wall.\n(D) Inner doorways — Inside the rooftop-room roof outline, mark only abstract doorway openings for the bedroom and bathroom access; do not draw interior walls, rooms, or furniture.\n(E) Rooftop terrace — Surround the rooftop-room outline with worn cement rooftop surface, widest in front of the iron door where the stair arrives.\n(F) Low wall — Run along the exposed perimeter of the rooftop terrace, outside the room and beside the cat/window line of sight.\n(G) Roof fixtures — Cluster the water tank, clothesline, and herb-drying platform on open terrace space away from the iron-door landing so the entrance remains clear.\n(H) Exterior stair — Attach the steep concrete stair to the rooftop terrace landing below the iron-door side, rising up from the villa yard/alley approach.\n(I) Alley approach — Draw the narrow wet alley and small villa-yard/back-corner approach at the foot of the exterior stair, leaving space for a parked vehicle beside the alley.\n(J) Neighbor roofs — Frame the rooftop terrace with adjacent flat villa roof planes and tight surrounding blocks, outside the main rooftop site.\n\nOn the RIGHT side of the image, add a clean legend panel listing each\ncircled letter with its English name in small neat capital letters:\nA: ROOFTOP ROOM, B: IRON DOOR, C: EXTERIOR WINDOWS, D: INNER DOORWAYS, E: ROOFTOP TERRACE, F: LOW WALL, G: ROOF FIXTURES, H: EXTERIOR STAIR, I: ALLEY APPROACH, J: NEIGHBOR ROOFS\n\nThe circled letters and the legend panel are the ONLY text and the ONLY\ncircular marks allowed. No other labels, numbers, logos or watermarks.\nInclude a modest margin of the immediate surroundings so the place reads\nin context; keep geometry simple, unambiguous and physically plausible.\n\nThe attached image is the existing clean top-down site plan of this place. KEEP its geometry, proportions and layout EXACTLY — same structures, same openings, same surroundings. Restyle it into the hand-drawn sketch style described above and ADD the circled capital letters and the right-side legend panel. Change nothing else."}
{"ts": "2026-07-04 17:22:48", "kind": "llm", "step": "forest_root_readback", "model": "gpt", "dur_s": 4.2}
{"ts": "2026-07-04 17:22:52", "kind": "llm", "step": "forest_root_readback", "model": "gpt", "dur_s": 4.0}
{"ts": "2026-07-04 17:22:52", "kind": "stage", "stage": "s1_root", "done": "all"}
{"ts": "2026-07-04 17:24:40", "kind": "img", "engine": "gpt-image-2", "mode": "edit", "tag": "top_TL1_bedroom_bathroom", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/projects/b0ad5c18-5140-4022-a2b0-805de0e5a385/episodes/0d30302a-51c8-4ac9-98e2-6cd9180512bf/images/floor_plan/fp_l04_rooftop_room_main.png"], "size": "1536x1024", "attempt": 1, "dur_s": 139.3, "bytes": 2367254, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/indoor/top_layers/TL1_bedroom_bathroom.png", "prompt": "Create ONE photorealistic EMPTY interior master background plate of a\nreal dwelling interior — a wide, clean view with NO people, no text, no\nmarkers. Real-world human scale (doorways adult height).\n\nTHE PLACE (from production data): 옥탑방 내부: 작은 창문으로 빛이 들어오는 낡은 주거 공간. 싱크대, 식탁, TV가 있는 거실과 침대, 커튼, 거울 등이 있는 방/욕실로 구성된다. 약초 끓이는 냄비 등 생활 소품이 있으며, 간헐적으로 벽면에 붉은 원 형태의 환영과 핏자국이 생겨난다. (특징: 작은 창문의 햇살; 싱크대와 약초(석창포); 가스레인지 위 끓는 냄비와 수증기; 거실 TV와 스탠드; 침대, 커튼, 거울; 벽과 거울 표면에 나타나는 붉은 원 환영; 바닥과 벽의 핏자국 (특정 시점); 어지럽혀진 가재도구 (특정 시점))\nTHIS PLATE'S PURPOSE: Cover all bedroom and bathroom-access shots: clean bedroom evidence views, doorway/gap views, bed-wall occult-surface views, curtain/bed close backgrounds, and the bathroom mirror reflection setup.\nTHE VIEW: A wide, clean, empty-room master from the inner doorway side of the bedroom/bathroom zone, eye level, showing the opened bedroom doorway alignment, the made bed position, the bare dark wall above the bed, the clean floor, the curtained bedroom window, and a bathroom/mirror access area with damp tile/mirror geometry readable at the edge or as a connected secondary sightline. No blood, red circles, pinned photographs, hallucination marks, bodies, or scattered debris.\n\nSite orientation notes from the aerial root contract:\nUse a direct overhead plan. Keep the rooftop room as the central roof mass, with the iron-door side facing the terrace landing, exterior stair, and alley approach. Show only the roof outline and openings for the interior: no interior floor plan, furniture, blood, wall marks, bed, table, TV, sink, mirror, or bathroom layout. Interior shots are anchored only by the front door, exterior windows, and the abstract inner doorway markers.\n\nThe FIRST attached image is the TOP-DOWN floor plan of this dwelling — use it ONLY to get the room geometry, openings and furniture positions right. NEVER copy its drawing style, numbered circles or any marks into the photorealistic output."}
{"ts": "2026-07-04 17:26:16", "kind": "img", "engine": "gpt-image-2", "mode": "edit", "tag": "S4_Shot1_rootmark", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/root/root_B.png"], "size": "1536x864", "attempt": 1, "dur_s": 141.0, "bytes": 2618391, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/outdoor/S4_Shot1/root_marked.png", "prompt": "The attached image is a TOP-DOWN aerial site sketch with circled capital letters marking site elements (and possibly a legend panel on the right). Keep the sketch EXACTLY as it is — same geometry, same circled letters, same legend, do not redraw or restyle anything.\nADD exactly these annotations for ONE camera setup:\n- ONE green camera icon with a green triangular view-CONE showing where the camera stands and what it looks at, following this staging description:\nAn omniscient overhead camera holds from about forty-five meters above the old villa, centered on the rooftop room while still keeping the surrounding neighborhood readable. The rooftop structure sits in the middle of the frame like a small exposed shrine, boxed in by worn roofs, narrow alleys, and faded concrete blocks.\n- This shot has NO people — add no lettered person circles.\nAdd NOTHING else — no new structures, no new text other than the new capital letters in their small circles."}
{"ts": "2026-07-04 17:26:25", "kind": "img", "engine": "gpt-image-2", "mode": "generate", "tag": "top_TL1_bedroom_bathroom_fpOFF", "refs": [], "size": "1536x1024", "attempt": 1, "dur_s": 104.9, "bytes": 2128967, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/indoor/top_layers/TL1_bedroom_bathroom_fpOFF.png", "prompt": "Create ONE photorealistic EMPTY interior master background plate of a\nreal dwelling interior — a wide, clean view with NO people, no text, no\nmarkers. Real-world human scale (doorways adult height).\n\nTHE PLACE (from production data): 옥탑방 내부: 작은 창문으로 빛이 들어오는 낡은 주거 공간. 싱크대, 식탁, TV가 있는 거실과 침대, 커튼, 거울 등이 있는 방/욕실로 구성된다. 약초 끓이는 냄비 등 생활 소품이 있으며, 간헐적으로 벽면에 붉은 원 형태의 환영과 핏자국이 생겨난다. (특징: 작은 창문의 햇살; 싱크대와 약초(석창포); 가스레인지 위 끓는 냄비와 수증기; 거실 TV와 스탠드; 침대, 커튼, 거울; 벽과 거울 표면에 나타나는 붉은 원 환영; 바닥과 벽의 핏자국 (특정 시점); 어지럽혀진 가재도구 (특정 시점))\nTHIS PLATE'S PURPOSE: Cover all bedroom and bathroom-access shots: clean bedroom evidence views, doorway/gap views, bed-wall occult-surface views, curtain/bed close backgrounds, and the bathroom mirror reflection setup.\nTHE VIEW: A wide, clean, empty-room master from the inner doorway side of the bedroom/bathroom zone, eye level, showing the opened bedroom doorway alignment, the made bed position, the bare dark wall above the bed, the clean floor, the curtained bedroom window, and a bathroom/mirror access area with damp tile/mirror geometry readable at the edge or as a connected secondary sightline. No blood, red circles, pinned photographs, hallucination marks, bodies, or scattered debris.\n\nSite orientation notes from the aerial root contract:\nUse a direct overhead plan. Keep the rooftop room as the central roof mass, with the iron-door side facing the terrace landing, exterior stair, and alley approach. Show only the roof outline and openings for the interior: no interior floor plan, furniture, blood, wall marks, bed, table, TV, sink, mirror, or bathroom layout. Interior shots are anchored only by the front door, exterior windows, and the abstract inner doorway markers."}
{"ts": "2026-07-04 17:28:47", "kind": "img", "engine": "gpt-image-2", "mode": "edit", "tag": "S11_Shot3_rootmark", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/root/root_B.png"], "size": "1536x864", "attempt": 1, "dur_s": 151.1, "bytes": 2675993, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/outdoor/S11_Shot3/root_marked.png", "prompt": "The attached image is a TOP-DOWN aerial site sketch with circled capital letters marking site elements (and possibly a legend panel on the right). Keep the sketch EXACTLY as it is — same geometry, same circled letters, same legend, do not redraw or restyle anything.\nADD exactly these annotations for ONE camera setup:\n- ONE green camera icon with a green triangular view-CONE showing where the camera stands and what it looks at, following this staging description:\nMidway up the narrow concrete staircase, the camera holds static very close to 수리영 from the front-left at face height, tightening into an intense close-up that leaves only a sliver of stair texture behind her. Her nose wrinkles hard at the sudden smell, eyes lifting toward the unseen rooftop landing while her halted climb compresses her shoulders into the frame.\n- 1 red circle(s) with capital letters (P) inside the view-cone where the staging places the people:\n  * {\"angle\": \"three_quarter_left\", \"body_pose\": \"halted mid-stair climb\", \"character\": \"수리영\", \"gaze_direction_kind\": \"up\", \"gaze_target_id\": null, \"subject_state\": \"alive\"}\nAdd NOTHING else — no new structures, no new text other than the new capital letters in their small circles."}
{"ts": "2026-07-04 17:28:51", "kind": "img", "engine": "gpt-image-2", "mode": "edit", "tag": "top_TL2_living_kitchen_entry", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/projects/b0ad5c18-5140-4022-a2b0-805de0e5a385/episodes/0d30302a-51c8-4ac9-98e2-6cd9180512bf/images/floor_plan/fp_l04_rooftop_room_main.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/indoor/top_layers/TL1_bedroom_bathroom.png"], "size": "1536x1024", "attempt": 1, "dur_s": 145.9, "bytes": 2362704, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/indoor/top_layers/TL2_living_kitchen_entry.png", "prompt": "Create ONE photorealistic EMPTY interior master background plate of a\nreal dwelling interior — a wide, clean view with NO people, no text, no\nmarkers. Real-world human scale (doorways adult height).\n\nTHE PLACE (from production data): 옥탑방 내부: 작은 창문으로 빛이 들어오는 낡은 주거 공간. 싱크대, 식탁, TV가 있는 거실과 침대, 커튼, 거울 등이 있는 방/욕실로 구성된다. 약초 끓이는 냄비 등 생활 소품이 있으며, 간헐적으로 벽면에 붉은 원 형태의 환영과 핏자국이 생겨난다. (특징: 작은 창문의 햇살; 싱크대와 약초(석창포); 가스레인지 위 끓는 냄비와 수증기; 거실 TV와 스탠드; 침대, 커튼, 거울; 벽과 거울 표면에 나타나는 붉은 원 환영; 바닥과 벽의 핏자국 (특정 시점); 어지럽혀진 가재도구 (특정 시점))\nTHIS PLATE'S PURPOSE: Cover the living, dining, kitchen, and entrance shots: side dining-table pointing view, tabletop photo inserts, exit through the front door, ransacked living-room phone view, entryway embrace/wrist insert, and kitchen-to-TV domestic view.\nTHE VIEW: A wide, clean, empty-room master of the compact rooftop-room living/kitchen/entry zone, chained to the same dwelling and materials as the bedroom master: from an interior corner at chest height looking diagonally across the sink and small living-room window toward the dining table, living-room TV direction, stand lamp, narrow entry wall, shoe area, front door seam, and threshold. Keep the space worn and dim with small-window light, but do not include blood, red circles, hallucinated photo distortion, overturned chairs, or ransacked debris in the clean top layer.\n\nSite orientation notes from the aerial root contract:\nUse a direct overhead plan. Keep the rooftop room as the central roof mass, with the iron-door side facing the terrace landing, exterior stair, and alley approach. Show only the roof outline and openings for the interior: no interior floor plan, furniture, blood, wall marks, bed, table, TV, sink, mirror, or bathroom layout. Interior shots are anchored only by the front door, exterior windows, and the abstract inner doorway markers.\n\nThe LAST attached image shows ANOTHER part of THE SAME dwelling —\nmatch its wall colours, floor material, trim, door style, lighting\nmood and renovation age EXACTLY so both read as the same home. Do\nNOT copy its camera angle or composition.\n\nThe FIRST attached image is the TOP-DOWN floor plan of this dwelling — use it ONLY to get the room geometry, openings and furniture positions right. NEVER copy its drawing style, numbered circles or any marks into the photorealistic output."}
{"ts": "2026-07-04 17:28:51", "kind": "stage", "stage": "s2_indoor", "done": "toplayer", "subset": ["S14_Shot4", "S5_Shot3", "S5_Shot10"]}
{"ts": "2026-07-04 17:30:39", "kind": "img", "engine": "gpt-image-2", "mode": "edit", "tag": "S10_Shot6_rootmark", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/root/root_B.png"], "size": "1536x864", "attempt": 1, "dur_s": 112.4, "bytes": 2669135, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/outdoor/S10_Shot6/root_marked.png", "prompt": "The attached image is a TOP-DOWN aerial site sketch with circled capital letters marking site elements (and possibly a legend panel on the right). Keep the sketch EXACTLY as it is — same geometry, same circled letters, same legend, do not redraw or restyle anything.\nADD exactly these annotations for ONE camera setup:\n- ONE green camera icon with a green triangular view-CONE showing where the camera stands and what it looks at, following this staging description:\nInside the room, the camera holds static near the side wall at shoulder height, angled so only the window glass carries the action as a reflection and the direct attack is never seen. The reflected silhouettes sit within the window frame: a bent 인영 in the upper-middle area lowers its head toward the shoulder of 사람, whose body buckles beneath it in a distorted, wavering mid-action shape.\n- 2 red circle(s) with capital letters (P) (Q) inside the view-cone where the staging places the people:\n  * {\"angle\": \"three_quarter_left\", \"body_pose\": \"hunched over shoulder\", \"character\": \"인영\", \"gaze_direction_kind\": \"looks_at_character\", \"gaze_target_id\": \"C20\", \"subject_state\": \"alive\"}\n  * {\"angle\": \"profile_left\", \"body_pose\": \"buckling under lunge\", \"character\": \"사람\", \"gaze_direction_kind\": \"off_screen\", \"gaze_target_id\": null, \"subject_state\": \"severely_injured\"}\nAdd NOTHING else — no new structures, no new text other than the new capital letters in their small circles."}
{"ts": "2026-07-04 17:30:39", "kind": "stage", "stage": "s3_outdoor", "done": "mark", "root": "B", "subset": ["S4_Shot1", "S11_Shot3", "S10_Shot6"]}
{"ts": "2026-07-04 17:31:20", "kind": "img", "engine": "gpt-image-2", "mode": "edit", "tag": "S14_Shot4_fpvar", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/projects/b0ad5c18-5140-4022-a2b0-805de0e5a385/episodes/0d30302a-51c8-4ac9-98e2-6cd9180512bf/images/floor_plan/fp_l04_rooftop_room_main.png"], "size": "1024x1024", "attempt": 1, "dur_s": 146.8, "bytes": 1087730, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/indoor/S14_Shot4/fpvar.png", "prompt": "The attached image is a TOP-DOWN floor plan of one dwelling: numbered circles mark fixed rooms and furniture. Keep the plan EXACTLY as it is — same walls, rooms, furniture and numbered circles, do not redraw or restyle anything.\nADD exactly these annotations for ONE camera setup:\n- ONE green camera icon with a green triangular view-CONE showing where the camera stands and what it looks at, following this staging description:\nJust inside 수리영’s bedroom doorway at eye level, the camera holds a wide, unmoving view inward toward the bed, bare wall, curtain, and spotless floor. The room is framed as evidence: the clean floor stretches across the lower half, the curtain line sits to one side where the body should have been, and the wall above the bed remains blank; this is a direct neutral observation of absence.\n- This shot has NO people — add no lettered circles.\nAdd NOTHING else — no new rooms, no new furniture, no text other than the existing numbers and the new capital letters."}
{"ts": "2026-07-04 17:32:41", "kind": "img", "engine": "gpt-image-2", "mode": "edit", "tag": "S4_Shot1_plate", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/outdoor/S4_Shot1/root_marked.png"], "size": "1536x864", "attempt": 1, "dur_s": 119.3, "bytes": 2637421, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/outdoor/S4_Shot1/plate.png", "prompt": "The attached image is a TOP-DOWN aerial site sketch of one real place,\nwith a green camera icon and view-cone marking ONE camera position and\nits viewing direction. Circled letters mark site elements; red lettered\ncircles (if any) mark where people stand — but render NO people.\n\nDraw the PHOTOREALISTIC outdoor view that THAT camera sees from its\nmarked position at eye level, looking along the view-cone: the\nstructures, ground surfaces, openings and approaches the sketch places\nin front of that camera, at real-world human scale. This is an EMPTY\nbackground plate: absolutely no people, no text, no letters, no\ncircles, no arrows, no sketch lines — pure photographic realism.\n\nWHAT THIS PLACE LOOKS LIKE (production data):\n- 인천 변두리 낡은 빌라 옥탑방 옥상·현관 앞 외부: 낡은 다세대 빌라 꼭대기에 위치한 야외 공간. 물탱크, 흔들리는 빨랫줄, 평상 위 약초 건조 흔적, 낡은 철문 현관이 있다. (특징: 낡은 시멘트 바닥; 물탱크; 바람에 날리는 빨랫줄; 평상과 널려 있는 말린 약초(석창포); 전단지가 끼워진 철문 현관)\n\nSite orientation notes:\nUse a direct overhead plan. Keep the rooftop room as the central roof mass, with the iron-door side facing the terrace landing, exterior stair, and alley approach. Show only the roof outline and openings for the interior: no interior floor plan, furniture, blood, wall marks, bed, table, TV, sink, mirror, or bathroom layout. Interior shots are anchored only by the front door, exterior windows, and the abstract inner doorway markers.\n\nCAMERA: An omniscient overhead camera holds from about forty-five meters above the old villa, centered on the rooftop room while still keeping the surrounding neighborhood readable. The rooftop structure sits in the middle of the frame like a small exposed shrine, boxed in by worn roofs, narrow alleys, and faded concrete blocks.\nFRAMING: wide\nLIGHTING: Daylight is overcast and desaturated, with blue-gray concrete shadows and faint sickly amber window stains breaking the neighborhood’s cold isolation.\nSPATIAL CONSTRAINTS: [{\"depth_plane\": \"midground\", \"gesture_action\": \"none\", \"gesture_target_label\": \"\", \"label\": \"old rooftop room\", \"screen_zone\": \"middle_center\", \"target_id\": \"\", \"target_kind\": \"background\"}]"}
{"ts": "2026-07-04 17:34:10", "kind": "img", "engine": "gpt-image-2", "mode": "edit", "tag": "S5_Shot3_fpvar", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/projects/b0ad5c18-5140-4022-a2b0-805de0e5a385/episodes/0d30302a-51c8-4ac9-98e2-6cd9180512bf/images/floor_plan/fp_l04_rooftop_room_main.png"], "size": "1024x1024", "attempt": 1, "dur_s": 170.8, "bytes": 1092459, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/indoor/S5_Shot3/fpvar.png", "prompt": "The attached image is a TOP-DOWN floor plan of one dwelling: numbered circles mark fixed rooms and furniture. Keep the plan EXACTLY as it is — same walls, rooms, furniture and numbered circles, do not redraw or restyle anything.\nADD exactly these annotations for ONE camera setup:\n- ONE green camera icon with a green triangular view-CONE showing where the camera stands and what it looks at, following this staging description:\nThe observer camera settles at the end of its lateral track from near the sink and small window, chest height and about two and a half meters from Minsuk, looking across the counter line toward the living room TV. Minsuk is held in an upper-body frame at the right-middle of the image, shoulders locked in her apron as the kitchen foreground remains softly present and the TV glow pulls her stare off-frame.\n- 1 red circle(s) with capital letters (A) inside the view-cone where the staging places the people:\n  * {\"angle\": \"three_quarter_left\", \"body_pose\": \"frozen by TV\", \"character\": \"민숙\", \"gaze_direction_kind\": \"off_screen\", \"gaze_target_id\": null, \"subject_state\": \"alive\"}\nAdd NOTHING else — no new rooms, no new furniture, no text other than the existing numbers and the new capital letters."}
{"ts": "2026-07-04 17:34:39", "kind": "img", "engine": "gpt-image-2", "mode": "edit", "tag": "S11_Shot3_plate", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/outdoor/S11_Shot3/root_marked.png"], "size": "1536x864", "attempt": 1, "dur_s": 117.9, "bytes": 1713432, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/outdoor/S11_Shot3/plate.png", "prompt": "The attached image is a TOP-DOWN aerial site sketch of one real place,\nwith a green camera icon and view-cone marking ONE camera position and\nits viewing direction. Circled letters mark site elements; red lettered\ncircles (if any) mark where people stand — but render NO people.\n\nDraw the PHOTOREALISTIC outdoor view that THAT camera sees from its\nmarked position at eye level, looking along the view-cone: the\nstructures, ground surfaces, openings and approaches the sketch places\nin front of that camera, at real-world human scale. This is an EMPTY\nbackground plate: absolutely no people, no text, no letters, no\ncircles, no arrows, no sketch lines — pure photographic realism.\n\nWHAT THIS PLACE LOOKS LIKE (production data):\n- 옥탑방 외곽 골목·시멘트 계단: 다세대 빌라 마당의 후미진 구석과 옥탑방으로 올라가는 가파르고 낡은 시멘트 계단. (특징: 다세대 빌라 입구 마당; 후미진 구석 공간; 낡고 가파른 시멘트 계단)\n\nSite orientation notes:\nUse a direct overhead plan. Keep the rooftop room as the central roof mass, with the iron-door side facing the terrace landing, exterior stair, and alley approach. Show only the roof outline and openings for the interior: no interior floor plan, furniture, blood, wall marks, bed, table, TV, sink, mirror, or bathroom layout. Interior shots are anchored only by the front door, exterior windows, and the abstract inner doorway markers.\n\nCAMERA: Midway up the narrow concrete staircase, the camera holds static very close to 수리영 from the front-left at face height, tightening into an intense close-up that leaves only a sliver of stair texture behind her. Her nose wrinkles hard at the sudden smell, eyes lifting toward the unseen rooftop landing while her halted climb compresses her shoulders into the frame.\nFRAMING: close\nLIGHTING: A cold blue-gray stairwell wash sculpts her face while a faint amber rooftop spill catches the bridge of her nose, making the smell reaction feel physical and ominous.\nPERSON: {\"angle\": \"three_quarter_left\", \"body_pose\": \"halted mid-stair climb\", \"character\": \"수리영\", \"gaze_direction_kind\": \"up\", \"gaze_target_id\": null, \"subject_state\": \"alive\"}"}
{"ts": "2026-07-04 17:36:50", "kind": "img", "engine": "gpt-image-2", "mode": "edit", "tag": "S5_Shot10_fpvar", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/projects/b0ad5c18-5140-4022-a2b0-805de0e5a385/episodes/0d30302a-51c8-4ac9-98e2-6cd9180512bf/images/floor_plan/fp_l04_rooftop_room_main.png"], "size": "1024x1024", "attempt": 1, "dur_s": 160.0, "bytes": 1102794, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/indoor/S5_Shot10/fpvar.png", "prompt": "The attached image is a TOP-DOWN floor plan of one dwelling: numbered circles mark fixed rooms and furniture. Keep the plan EXACTLY as it is — same walls, rooms, furniture and numbered circles, do not redraw or restyle anything.\nADD exactly these annotations for ONE camera setup:\n- ONE green camera icon with a green triangular view-CONE showing where the camera stands and what it looks at, following this staging description:\nThe camera follows the flow into the narrow entrance area and holds side-on at shoulder height, about one meter away, lens parallel to the wall to compress mother and daughter together. The tighter profile frame favors the contact point: Suriyeong’s face and nose press into Minsuk’s shoulder at center-left, while Minsuk’s softened profile and apron edge sit center-right.\n- 2 red circle(s) with capital letters (A) (B) inside the view-cone where the staging places the people:\n  * {\"angle\": \"profile_right\", \"body_pose\": \"nose buried in shoulder\", \"character\": \"수리영\", \"gaze_direction_kind\": \"closed_eyes\", \"gaze_target_id\": null, \"subject_state\": \"alive\"}\n  * {\"angle\": \"profile_left\", \"body_pose\": \"shoulder softened, smiling\", \"character\": \"민숙\", \"gaze_direction_kind\": \"looks_at_character\", \"gaze_target_id\": \"C01\", \"subject_state\": \"alive\"}\nAdd NOTHING else — no new rooms, no new furniture, no text other than the existing numbers and the new capital letters."}
{"ts": "2026-07-04 17:36:50", "kind": "stage", "stage": "s2_indoor", "done": "fpvar", "subset": ["S14_Shot4", "S5_Shot3", "S5_Shot10"]}
{"ts": "2026-07-04 17:37:19", "kind": "img", "engine": "gpt-image-2", "mode": "edit", "tag": "S10_Shot6_plate", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/outdoor/S10_Shot6/root_marked.png"], "size": "1536x864", "attempt": 1, "dur_s": 160.5, "bytes": 1975604, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/outdoor/S10_Shot6/plate.png", "prompt": "The attached image is a TOP-DOWN aerial site sketch of one real place,\nwith a green camera icon and view-cone marking ONE camera position and\nits viewing direction. Circled letters mark site elements; red lettered\ncircles (if any) mark where people stand — but render NO people.\n\nDraw the PHOTOREALISTIC outdoor view that THAT camera sees from its\nmarked position at eye level, looking along the view-cone: the\nstructures, ground surfaces, openings and approaches the sketch places\nin front of that camera, at real-world human scale. This is an EMPTY\nbackground plate: absolutely no people, no text, no letters, no\ncircles, no arrows, no sketch lines — pure photographic realism.\n\nWHAT THIS PLACE LOOKS LIKE (production data):\n- 인천 변두리 낡은 빌라 옥탑방 옥상·현관 앞 외부: 낡은 다세대 빌라 꼭대기에 위치한 야외 공간. 물탱크, 흔들리는 빨랫줄, 평상 위 약초 건조 흔적, 낡은 철문 현관이 있다. (특징: 낡은 시멘트 바닥; 물탱크; 바람에 날리는 빨랫줄; 평상과 널려 있는 말린 약초(석창포); 전단지가 끼워진 철문 현관)\n\nSite orientation notes:\nUse a direct overhead plan. Keep the rooftop room as the central roof mass, with the iron-door side facing the terrace landing, exterior stair, and alley approach. Show only the roof outline and openings for the interior: no interior floor plan, furniture, blood, wall marks, bed, table, TV, sink, mirror, or bathroom layout. Interior shots are anchored only by the front door, exterior windows, and the abstract inner doorway markers.\n\nCAMERA: Inside the room, the camera holds static near the side wall at shoulder height, angled so only the window glass carries the action as a reflection and the direct attack is never seen. The reflected silhouettes sit within the window frame: a bent 인영 in the upper-middle area lowers its head toward the shoulder of 사람, whose body buckles beneath it in a distorted, wavering mid-action shape.\nFRAMING: medium\nLIGHTING: The reflected action is almost monochrome blue-black, broken by a weak amber practical smear and restrained crimson-brown shadow at the shoulder line.\nPERSON: {\"angle\": \"three_quarter_left\", \"body_pose\": \"hunched over shoulder\", \"character\": \"인영\", \"gaze_direction_kind\": \"looks_at_character\", \"gaze_target_id\": \"C20\", \"subject_state\": \"alive\"}\nPERSON: {\"angle\": \"profile_left\", \"body_pose\": \"buckling under lunge\", \"character\": \"사람\", \"gaze_direction_kind\": \"off_screen\", \"gaze_target_id\": null, \"subject_state\": \"severely_injured\"}\nSPATIAL CONSTRAINTS: [{\"depth_plane\": \"midground\", \"gesture_action\": \"none\", \"gesture_target_label\": \"\", \"label\": \"window reflection containing silhouettes\", \"screen_zone\": \"middle_center\", \"target_id\": \"\", \"target_kind\": \"background\"}]"}
{"ts": "2026-07-04 17:37:19", "kind": "stage", "stage": "s3_outdoor", "done": "plate", "root": "B", "subset": ["S4_Shot1", "S11_Shot3", "S10_Shot6"]}
{"ts": "2026-07-04 17:38:59", "kind": "img", "tag": "S14_Shot4_fpvar", "skip": "exists", "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/indoor/S14_Shot4/fpvar.png"}
{"ts": "2026-07-04 17:39:17", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "S4_Shot1_temp", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/outdoor/S4_Shot1/plate.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/outdoor/S4_Shot1/root_marked.png"], "ref_labels": ["ENVIRONMENT BACKGROUND reference — the empty environment: its space, architecture, materials and lighting are the ground truth. It contains NO people.", "CAMERA AND PLACEMENT DIAGRAM (top-down control image) — use it ONLY to understand where the camera stands, what it looks at, and where each person is. NEVER copy its drawing style, lines, circles, letters or any marks into the output."], "attempt": 1, "dur_s": 17.0, "bytes": 3255850, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/outdoor/S4_Shot1/temp.png", "prompt": "Create a photorealistic cinematic still that stages this shot inside the\ngiven environment. This is a COMPOSITION DRAFT: the people are ordinary\nreal humans whose identity does not matter — focus on a strong, natural\ncomposition that matches the camera and placement exactly.\n\nSHOT CONTENT: 인천 변두리의 낡고 오래된 빌라 옥탑방 외부 전경이 한눈에 내려다보이는 부감 구도.\nCAMERA: An omniscient overhead camera holds from about forty-five meters above the old villa, centered on the rooftop room while still keeping the surrounding neighborhood readable. The rooftop structure sits in the middle of the frame like a small exposed shrine, boxed in by worn roofs, narrow alleys, and faded concrete blocks.\nFRAMING: wide\nLIGHTING: Daylight is overcast and desaturated, with blue-gray concrete shadows and faint sickly amber window stains breaking the neighborhood’s cold isolation.\nSPATIAL CONSTRAINTS: [{\"depth_plane\": \"midground\", \"gesture_action\": \"none\", \"gesture_target_label\": \"\", \"label\": \"old rooftop room\", \"screen_zone\": \"middle_center\", \"target_id\": \"\", \"target_kind\": \"background\"}]\n\nKeep the environment's architecture, materials and lighting from the\nenvironment reference. Place the camera and every person exactly as the\ncontrol diagram indicates. Absolutely no text, letters, circles, arrows\nor diagram marks in the output."}
{"ts": "2026-07-04 17:39:17", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "S14_Shot4_temp", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/indoor/top_layers/TL1_bedroom_bathroom.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/indoor/S14_Shot4/fpvar.png"], "ref_labels": ["ENVIRONMENT BACKGROUND reference — the empty environment: its space, architecture, materials and lighting are the ground truth. It contains NO people.", "CAMERA AND PLACEMENT DIAGRAM (top-down control image) — use it ONLY to understand where the camera stands, what it looks at, and where each person is. NEVER copy its drawing style, lines, circles, letters or any marks into the output."], "attempt": 1, "dur_s": 17.6, "bytes": 2393743, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/indoor/S14_Shot4/temp.png", "prompt": "Create a photorealistic cinematic still that stages this shot inside the\ngiven environment. This is a COMPOSITION DRAFT: the people are ordinary\nreal humans whose identity does not matter — focus on a strong, natural\ncomposition that matches the camera and placement exactly.\n\nSHOT CONTENT: 핏자국 하나 없이 깨끗하게 정돈된 수리영의 방 내부 정지 구도.\nCAMERA: Just inside 수리영’s bedroom doorway at eye level, the camera holds a wide, unmoving view inward toward the bed, bare wall, curtain, and spotless floor. The room is framed as evidence: the clean floor stretches across the lower half, the curtain line sits to one side where the body should have been, and the wall above the bed remains blank; this is a direct neutral observation of absence.\nFRAMING: wide\nLIGHTING: The room is washed in unnaturally clean blue-gray shadow with thin sick amber spill, making the absence feel colder than darkness.\n\nKeep the environment's architecture, materials and lighting from the\nenvironment reference. Place the camera and every person exactly as the\ncontrol diagram indicates. Absolutely no text, letters, circles, arrows\nor diagram marks in the output."}
{"ts": "2026-07-04 17:39:35", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "S4_Shot1_final_A", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/outdoor/S4_Shot1/plate.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/outdoor/S4_Shot1/root_marked.png"], "ref_labels": ["ENVIRONMENT BACKGROUND reference — the empty environment: its space, architecture, materials and lighting are the ground truth. It contains NO people. Use it as the shot's background, matching its space and lighting exactly.", "CAMERA AND PLACEMENT DIAGRAM (top-down control image) — use it ONLY to understand where the camera stands, what it looks at, and where each person is. NEVER copy its drawing style, lines, circles, letters or any marks into the output."], "attempt": 1, "dur_s": 18.4, "bytes": 3266914, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/outdoor/S4_Shot1/final_A.png", "prompt": "Create the FINAL photorealistic cinematic film still of this shot.\n\nSHOT CONTENT: 인천 변두리의 낡고 오래된 빌라 옥탑방 외부 전경이 한눈에 내려다보이는 부감 구도.\nCAMERA: An omniscient overhead camera holds from about forty-five meters above the old villa, centered on the rooftop room while still keeping the surrounding neighborhood readable. The rooftop structure sits in the middle of the frame like a small exposed shrine, boxed in by worn roofs, narrow alleys, and faded concrete blocks.\nFRAMING: wide\nLIGHTING: Daylight is overcast and desaturated, with blue-gray concrete shadows and faint sickly amber window stains breaking the neighborhood’s cold isolation.\nSPATIAL CONSTRAINTS: [{\"depth_plane\": \"midground\", \"gesture_action\": \"none\", \"gesture_target_label\": \"\", \"label\": \"old rooftop room\", \"screen_zone\": \"middle_center\", \"target_id\": \"\", \"target_kind\": \"background\"}]\n\nStage the shot inside the attached environment background — keep its\narchitecture, materials and lighting exactly. Every person is a REAL\nhuman being, photorealistic, matching their identity reference photo\n(face, hair, build). Natural film lighting and grain consistent with\nthe environment.\nAbsolutely no text, letters, circles, arrows, diagram marks, and no\nmannequin-like or statue-like appearance on any person."}
{"ts": "2026-07-04 17:40:17", "kind": "llm", "step": "forest_vlm_comp", "model": "gpt", "dur_s": 42.0}
{"ts": "2026-07-04 17:41:42", "kind": "img", "engine": "gpt-image-2", "mode": "edit", "tag": "S14_Shot4_tempbg", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/indoor/S14_Shot4/fpvar.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/indoor/top_layers/TL1_bedroom_bathroom.png"], "size": "1536x864", "attempt": 1, "dur_s": 144.6, "bytes": 1671988, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/indoor/S14_Shot4/temp_bg.png", "prompt": "Create the photorealistic EMPTY interior background seen by the\ncamera marked on the attached top-down diagram (green icon+cone),\nat eye level, real-world scale. Use the other attached image as the\nmaterial/lighting ground truth of the same dwelling. NO people, no\ntext, no markers.\n\nSHOT CONTENT: 핏자국 하나 없이 깨끗하게 정돈된 수리영의 방 내부 정지 구도.\nCAMERA: Just inside 수리영’s bedroom doorway at eye level, the camera holds a wide, unmoving view inward toward the bed, bare wall, curtain, and spotless floor. The room is framed as evidence: the clean floor stretches across the lower half, the curtain line sits to one side where the body should have been, and the wall above the bed remains blank; this is a direct neutral observation of absence.\nFRAMING: wide\nLIGHTING: The room is washed in unnaturally clean blue-gray shadow with thin sick amber spill, making the absence feel colder than darkness."}
{"ts": "2026-07-04 17:41:58", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "S14_Shot4_temp_alpha", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/indoor/S14_Shot4/temp_bg.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/indoor/S14_Shot4/fpvar.png"], "ref_labels": ["ENVIRONMENT BACKGROUND reference — the empty environment: its space, architecture, materials and lighting are the ground truth. It contains NO people.", "CAMERA AND PLACEMENT DIAGRAM (top-down control image) — use it ONLY to understand where the camera stands, what it looks at, and where each person is. NEVER copy its drawing style, lines, circles, letters or any marks into the output."], "attempt": 1, "dur_s": 16.1, "bytes": 2236980, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/indoor/S14_Shot4/temp_alpha.png", "prompt": "Create a photorealistic cinematic still that stages this shot inside the\ngiven environment. This is a COMPOSITION DRAFT: the people are ordinary\nreal humans whose identity does not matter — focus on a strong, natural\ncomposition that matches the camera and placement exactly.\n\nSHOT CONTENT: 핏자국 하나 없이 깨끗하게 정돈된 수리영의 방 내부 정지 구도.\nCAMERA: Just inside 수리영’s bedroom doorway at eye level, the camera holds a wide, unmoving view inward toward the bed, bare wall, curtain, and spotless floor. The room is framed as evidence: the clean floor stretches across the lower half, the curtain line sits to one side where the body should have been, and the wall above the bed remains blank; this is a direct neutral observation of absence.\nFRAMING: wide\nLIGHTING: The room is washed in unnaturally clean blue-gray shadow with thin sick amber spill, making the absence feel colder than darkness.\n\nKeep the environment's architecture, materials and lighting from the\nenvironment reference. Place the camera and every person exactly as the\ncontrol diagram indicates. Absolutely no text, letters, circles, arrows\nor diagram marks in the output."}
{"ts": "2026-07-04 17:42:14", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "S14_Shot4_final_A", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/indoor/top_layers/TL1_bedroom_bathroom.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/indoor/S14_Shot4/fpvar.png"], "ref_labels": ["ENVIRONMENT BACKGROUND reference — the empty environment: its space, architecture, materials and lighting are the ground truth. It contains NO people. Use it as the shot's background, matching its space and lighting exactly.", "CAMERA AND PLACEMENT DIAGRAM (top-down control image) — use it ONLY to understand where the camera stands, what it looks at, and where each person is. NEVER copy its drawing style, lines, circles, letters or any marks into the output."], "attempt": 1, "dur_s": 15.9, "bytes": 2854714, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/indoor/S14_Shot4/final_A.png", "prompt": "Create the FINAL photorealistic cinematic film still of this shot.\n\nSHOT CONTENT: 핏자국 하나 없이 깨끗하게 정돈된 수리영의 방 내부 정지 구도.\nCAMERA: Just inside 수리영’s bedroom doorway at eye level, the camera holds a wide, unmoving view inward toward the bed, bare wall, curtain, and spotless floor. The room is framed as evidence: the clean floor stretches across the lower half, the curtain line sits to one side where the body should have been, and the wall above the bed remains blank; this is a direct neutral observation of absence.\nFRAMING: wide\nLIGHTING: The room is washed in unnaturally clean blue-gray shadow with thin sick amber spill, making the absence feel colder than darkness.\n\nStage the shot inside the attached environment background — keep its\narchitecture, materials and lighting exactly. Every person is a REAL\nhuman being, photorealistic, matching their identity reference photo\n(face, hair, build). Natural film lighting and grain consistent with\nthe environment.\nAbsolutely no text, letters, circles, arrows, diagram marks, and no\nmannequin-like or statue-like appearance on any person."}
{"ts": "2026-07-04 17:42:31", "kind": "llm", "step": "forest_vlm_comp", "model": "gpt", "dur_s": 17.5}
{"ts": "2026-07-04 17:42:33", "kind": "img", "engine": "gpt-image-2", "mode": "edit", "tag": "S4_Shot1_bgB", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/outdoor/S4_Shot1/plate.png"], "size": "1536x864", "attempt": 1, "dur_s": 136.4, "bytes": 2513632, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/outdoor/S4_Shot1/bg_B.png", "prompt": "Create the photorealistic EMPTY background plate for one film shot:\nthe environment exactly as the environment reference shows it (same\narchitecture, materials, lighting), seen from the shot's camera.\n\nSHOT CONTENT: 인천 변두리의 낡고 오래된 빌라 옥탑방 외부 전경이 한눈에 내려다보이는 부감 구도.\nCAMERA: An omniscient overhead camera holds from about forty-five meters above the old villa, centered on the rooftop room while still keeping the surrounding neighborhood readable. The rooftop structure sits in the middle of the frame like a small exposed shrine, boxed in by worn roofs, narrow alleys, and faded concrete blocks.\nFRAMING: wide\nLIGHTING: Daylight is overcast and desaturated, with blue-gray concrete shadows and faint sickly amber window stains breaking the neighborhood’s cold isolation.\nSPATIAL CONSTRAINTS: [{\"depth_plane\": \"midground\", \"gesture_action\": \"none\", \"gesture_target_label\": \"\", \"label\": \"old rooftop room\", \"screen_zone\": \"middle_center\", \"target_id\": \"\", \"target_kind\": \"background\"}]\n\nThe required composition, extracted from a draft of this shot:\n{\"camera\": {\"angle\": \"Very high oblique aerial/rooftop view looking steeply downward, not perfectly vertical; the camera is above and slightly in front of the main roof court, producing strong plan-view geometry with visible wall faces.\", \"height\": \"Several stories above the subjects, approximately 2–4 building levels above the main rooftop; subjects appear small and compressed into an architectural grid.\", \"lens_feel\": \"Wide panoramic/stitched feel with mild perspective convergence and large horizontal field of view; moderate-wide lens impression, deep focus across foreground roof, central courtyard, and distant neighboring rooftops.\"}, \"empty_background_requirements\": \"An empty plate must preserve the entire rooftop complex and surrounding city fabric with no people: the central sunken/boxed concrete rooftop court with stained walls, two open metal doors on the upper wall, the warm-lit left-side window/door opening, the front parapet with horizontal window, the open gate/door near the lower-left corner of the main court, staircases and railings at lower left, the left upper rooftop platform, the right rooftop annex with clotheslines, hanging laundry, blue cylindrical water tank, stacked wooden debris/cart, parapet walls, cracked concrete, leaf piles, drainage grates, neighboring flat roofs, red-tile roof, green roofs, utility cables, windows, alley/drive surfaces, parked vehicles at far left, tree foliage at lower right, and the blue corrugated roof in the lower foreground. The plate must include all contact surfaces where people stand: central court floor, door thresholds, parapet-edge walkway, stair treads/landings, right annex roof, far-right rooftop ledge, and bottom exterior walkway. Door positions, laundry, water tank, debris piles, stains, cracks, leaf scatter, and warm interior glows should remain unchanged so subjects can be composited back into the same occlusion layers.\", \"horizon_and_depth\": \"No visible sky or true horizon; the frame is dominated by receding horizontal roof planes. Depth is established by stacked parapet walls and rooftops: foreground lower roofs and exterior walkway at bottom, main rooftop court in the center, side annexes left and right, then background apartment roofs and facades at the top. The high angle flattens vertical depth but wall faces, stair runs, open doors, and roof edges create clear stepped depth planes. The central court is the primary mid-depth plane, enclosed by higher parapets and adjacent roof decks.\", \"major_surfaces\": [\"Large central concrete rooftop court/floor, cracked and stained, occupying the middle of frame.\", \"Tall rectangular concrete rooftop room/parapet structure around the central court, with stained vertical walls and two open metal doors on the upper wall.\", \"Front/lower parapet wall of the central court with a narrow horizontal warm-lit window.\", \"Left upper rooftop terrace/platform separated by low concrete walls, with leaf debris and weathered concrete.\", \"Lower-left staircase system with concrete steps, landings, rust-colored metal railings, and surrounding parapet walls.\", \"Right-side rooftop annex/deck with cracked dark concrete, clothesline poles, hanging laundry, blue cylindrical water tank, and pile/cart of wood debris.\", \"Far-right higher/outer rooftop walkway and parapet edge where a lone figure stands.\", \"Surrounding neighboring buildings: flat gray roofs, green roof panels, red tiled roof, brick and concrete facades, windows, balconies, overhead utility wires.\", \"Bottom foreground exterior walkway/roof lane and blue corrugated roof, plus tree foliage at lower right.\", \"Left edge alley/drive area with parked vehicles and building walls.\"], \"occlusion_order\": \"Nearest/lowest foreground elements are the bottom exterior roof lane, blue corrugated roof, lower parapets, tree branches, and stair railings, which would occlude lower bodies if overlapping. The main central court subjects sit behind the front parapet lip but in front of the rear wall and open doors. Doorway subjects are partially framed/occluded by door jambs and metal door panels. The man at the left window is adjacent to/partly occluded by the central building side wall and window frame. The right-annex subjects are behind the central court’s right parapet wall but in front of the laundry, tank, and debris unless overlapping. The upper-left pair are behind the nearer left parapet edge and in front of background apartment roofs. The far-right rooftop figure is on a background/right roof plane, visually behind the right annex parapets and utility cables. Background buildings, roofs, cables, and distant facades are the rearmost layers.\", \"subjects\": [{\"depth_plane\": \"Upper-left adjacent rooftop terrace, behind the central court and above/left of it.\", \"label\": \"Upper-left pair, man A\", \"pose\": \"Standing upright in dark jacket and jeans, body angled slightly toward the other man as if conversing; arms close to body.\", \"screen_zone\": \"Upper left-of-center, on narrow roof strip just above the left side of the central structure.\", \"support_contact\": \"Both feet planted on the weathered concrete roof surface near the parapet edge.\"}, {\"depth_plane\": \"Upper-left adjacent rooftop terrace, same plane as man A.\", \"label\": \"Upper-left pair, man B\", \"pose\": \"Standing upright in dark jacket, turned toward man A, slight contrapposto/conversation stance.\", \"screen_zone\": \"Upper left-of-center, just to the right of man A near the same parapet line.\", \"support_contact\": \"Feet on the concrete rooftop strip, close to the central roof wall edge.\"}, {\"depth_plane\": \"Central rooftop room threshold, rear/upper wall of central court.\", \"label\": \"Left rear doorway figure\", \"pose\": \"Standing partly inside/open doorway, body facing outward into the courtyard, dark clothing with light shirt visible; relaxed vertical posture.\", \"screen_zone\": \"Upper middle-left of the central court, framed by the left open metal door.\", \"support_contact\": \"Feet at the doorway threshold/interior floor level, contacting the sill/door landing.\"}, {\"depth_plane\": \"Central rooftop room threshold, rear/upper wall of central court.\", \"label\": \"Right rear doorway figure\", \"pose\": \"Standing in the right doorway, facing outward; dark coat and trousers, arms low, framed by the open door panel.\", \"screen_zone\": \"Upper middle-right of central court, inside the right open doorway.\", \"support_contact\": \"Feet planted on the doorway threshold/interior floor, just behind the court floor plane.\"}, {\"depth_plane\": \"Central court left side, beside the building wall/window; mid-ground.\", \"label\": \"Left wall/window man\", \"pose\": \"Standing side-on to the courtyard, facing the warm-lit window/opening, hands raised near chest as if holding phone or manipulating the frame.\", \"screen_zone\": \"Left-middle edge of the central court, adjacent to the vertical wall.\", \"support_contact\": \"Feet on central concrete court floor immediately beside the wall/window base.\"}, {\"depth_plane\": \"Central court floor, primary mid-ground group.\", \"label\": \"Central group man 1, left of cluster\", \"pose\": \"Standing facing inward toward the group, dark puffer jacket, head slightly down toward the others/phone.\", \"screen_zone\": \"Lower middle-right of the central court cluster.\", \"support_contact\": \"Both feet on central cracked concrete floor.\"}, {\"depth_plane\": \"Central court floor, primary mid-ground group.\", \"label\": \"Central group man 2, phone-holder/inner left\", \"pose\": \"Standing close to the group, looking down with hands together as if holding or showing an object/phone.\", \"screen_zone\": \"Center-right of the central court, slightly above the left member of the group.\", \"support_contact\": \"Feet planted on central court concrete.\"}, {\"depth_plane\": \"Central court floor, primary mid-ground group.\", \"label\": \"Central group man 3, tall upper-right of cluster\", \"pose\": \"Standing upright in dark jacket, facing inward/down toward group; slightly separated behind the others.\", \"screen_zone\": \"Right-center of the central court cluster.\", \"support_contact\": \"Feet on central concrete floor.\"}, {\"depth_plane\": \"Central court floor, primary mid-ground group.\", \"label\": \"Central group man 4, back-to-camera foreground of cluster\", \"pose\": \"Standing with back to camera in dark padded jacket, facing the rest of the group; legs apart slightly.\", \"screen_zone\": \"Lower center-right of central court cluster.\", \"support_contact\": \"Feet on central concrete floor, closest member of the central group to the lower edge.\"}, {\"depth_plane\": \"Central court floor, primary mid-ground group.\", \"label\": \"Central group man 5, patterned-coat/right member\", \"pose\": \"Standing facing the back-to-camera man and the group, slightly turned left; patterned/dark coat visible.\", \"screen_zone\": \"Lower right side of the central group.\", \"support_contact\": \"Feet on central concrete floor.\"}, {\"depth_plane\": \"Right side of central court near parapet/wall, slightly separated from main group.\", \"label\": \"Right wall phone man\", \"pose\": \"Standing alone, side-on, head down toward hands as if using a phone; light gray/brown coat.\", \"screen_zone\": \"Right-middle of central court, near the right parapet and warm wall light.\", \"support_contact\": \"Feet on central court floor close to the right wall/parapet edge.\"}, {\"depth_plane\": \"Right rooftop annex/deck beyond the central court wall.\", \"label\": \"Right annex lower figure\", \"pose\": \"Standing near laundry/debris area, dark jacket and jeans, head down; body angled diagonally toward lower right.\", \"screen_zone\": \"Right side of frame, lower half of the right annex, next to hanging laundry and debris pile.\", \"support_contact\": \"Feet on cracked dark concrete roof surface of the right annex.\"}, {\"depth_plane\": \"Far-right outer rooftop/walkway, background-right plane.\", \"label\": \"Far-right rooftop figure\", \"pose\": \"Standing/walking slowly along roof edge in dark coat, body facing left/downward, one leg advanced.\", \"screen_zone\": \"Extreme upper-right quadrant near the right border.\", \"support_contact\": \"Feet on the far-right flat roof/walkway surface near a parapet edge.\"}, {\"depth_plane\": \"Lower-left staircase, foreground-midground transition.\", \"label\": \"Staircase descending man\", \"pose\": \"Standing or descending on the stair run, dark coat, body facing down the steps toward camera/lower frame.\", \"screen_zone\": \"Lower left-of-center on the stairwell between railings.\", \"support_contact\": \"Feet on separate stair treads, partially enclosed by metal railings.\"}, {\"depth_plane\": \"Bottom exterior walkway/roof lane, foreground.\", \"label\": \"Bottom-left standing man\", \"pose\": \"Standing still in long coat, mostly back/side to camera, looking upward/right toward the rooftop complex.\", \"screen_zone\": \"Lower left quadrant, just below the staircase base and inside the foreground roof lane.\", \"support_contact\": \"Feet planted on the lower concrete walkway/roof surface.\"}]}\n\nThe plate must contain NO people, no figures, and no silhouettes —\njust the environment, composed so the described people could be\ninserted later.\nAbsolutely no text, letters, circles, arrows or diagram marks."}
{"ts": "2026-07-04 17:42:51", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "S4_Shot1_final_B", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/outdoor/S4_Shot1/bg_B.png"], "ref_labels": ["ENVIRONMENT BACKGROUND reference — the empty environment: its space, architecture, materials and lighting are the ground truth. It contains NO people. Use it as the shot's background, matching its space and lighting exactly."], "attempt": 1, "dur_s": 17.2, "bytes": 3184833, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/outdoor/S4_Shot1/final_B.png", "prompt": "Create the FINAL photorealistic cinematic film still of this shot.\n\nSHOT CONTENT: 인천 변두리의 낡고 오래된 빌라 옥탑방 외부 전경이 한눈에 내려다보이는 부감 구도.\nCAMERA: An omniscient overhead camera holds from about forty-five meters above the old villa, centered on the rooftop room while still keeping the surrounding neighborhood readable. The rooftop structure sits in the middle of the frame like a small exposed shrine, boxed in by worn roofs, narrow alleys, and faded concrete blocks.\nFRAMING: wide\nLIGHTING: Daylight is overcast and desaturated, with blue-gray concrete shadows and faint sickly amber window stains breaking the neighborhood’s cold isolation.\nSPATIAL CONSTRAINTS: [{\"depth_plane\": \"midground\", \"gesture_action\": \"none\", \"gesture_target_label\": \"\", \"label\": \"old rooftop room\", \"screen_zone\": \"middle_center\", \"target_id\": \"\", \"target_kind\": \"background\"}]\n\nStage the shot inside the attached environment background — keep its\narchitecture, materials and lighting exactly. Every person is a REAL\nhuman being, photorealistic, matching their identity reference photo\n(face, hair, build). Natural film lighting and grain consistent with\nthe environment.\nAbsolutely no text, letters, circles, arrows, diagram marks, and no\nmannequin-like or statue-like appearance on any person."}
{"ts": "2026-07-04 17:44:35", "kind": "img", "engine": "gpt-image-2", "mode": "edit", "tag": "S14_Shot4_bgB", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/indoor/top_layers/TL1_bedroom_bathroom.png"], "size": "1536x864", "attempt": 1, "dur_s": 123.4, "bytes": 1613668, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/indoor/S14_Shot4/bg_B.png", "prompt": "Create the photorealistic EMPTY background plate for one film shot:\nthe environment exactly as the environment reference shows it (same\narchitecture, materials, lighting), seen from the shot's camera.\n\nSHOT CONTENT: 핏자국 하나 없이 깨끗하게 정돈된 수리영의 방 내부 정지 구도.\nCAMERA: Just inside 수리영’s bedroom doorway at eye level, the camera holds a wide, unmoving view inward toward the bed, bare wall, curtain, and spotless floor. The room is framed as evidence: the clean floor stretches across the lower half, the curtain line sits to one side where the body should have been, and the wall above the bed remains blank; this is a direct neutral observation of absence.\nFRAMING: wide\nLIGHTING: The room is washed in unnaturally clean blue-gray shadow with thin sick amber spill, making the absence feel colder than darkness.\n\nThe required composition, extracted from a draft of this shot:\n{\"camera\": {\"angle\": \"Straight-on view into a bedroom from an adjacent darker doorway/corridor; optical axis aimed almost perpendicular to the back wall/curtain wall, with slight rightward reveal of the room’s right wall and bed.\", \"height\": \"Approximately standing eye/chest height, around 1.4–1.6 m; high enough to see the bed top and floor expanse, but below the ceiling line. Camera is level, not noticeably tilted.\", \"lens_feel\": \"Wide, panoramic/anamorphic-feeling frame with rectilinear perspective; moderate-wide lens, deep focus, symmetrical architectural composition with strong vertical doorway borders.\"}, \"empty_background_requirements\": \"The empty plate must be the same locked-off doorway view with no people: dark foreground door jambs/walls framing both far left and far right edges; the open warm-lit wooden door and door frame on the left; the blue-gray bedroom walls, ceiling, crown molding, baseboards, wood floorboards, central full-height curtains and black curtain rod with finials; the single bed on the right with wooden headboard, blue-gray blanket, pillow, visible bed legs/shadow; identical cool ambient light in the bedroom and warm spill from the left doorway. Since there are no people in the provided still, the plate is effectively the complete visible room as shown, preserving all furniture, curtains, shadows, reflections, and floor contact areas for any later insertion.\", \"horizon_and_depth\": \"Horizon/eye line is roughly mid-to-upper frame, around the curtain rod/upper wall zone implied by level verticals; the room is organized in layered depth: very near dark doorway frame in foreground, left open door slightly deeper, broad empty floor plane leading to the back curtain wall, and bed occupying the right mid/back plane. Strong depth is created by converging floorboard seams and side-wall/baseboard lines toward the back wall, while the back curtain plane remains mostly flat and frontal.\", \"major_surfaces\": [\"Foreground dark doorway/wall surfaces forming vertical black-blue borders at left and right edges.\", \"Left-side open wooden door and door frame with warm interior light visible beyond it.\", \"Cool blue-gray left wall, back wall, and right wall with subtle plaster texture.\", \"White/gray ceiling plane with crown molding around perimeter.\", \"Large central window/curtain surface: beige-gray pleated curtains hanging from a black rod with rings/finials.\", \"Wood laminate floor spanning foreground to back wall, with long plank seams running into depth.\", \"Gray/brown baseboards along back and side walls.\", \"Right-side single bed: dark wooden frame/headboard, checkered pillow, pale blue-gray blanket/comforter, visible underside shadow and legs.\"], \"occlusion_order\": \"Closest layer: dark foreground doorway jambs/walls partially crop the scene on both edges. Behind that on the left, the open wooden door/frame overlaps the left wall and floor. The central curtains sit against the back wall and occlude the window behind them. On the right, the bed is in front of the right/back wall and partly overlaps the lower right curtain/wall area in depth. No human subjects are present; therefore there is no person-to-person occlusion.\", \"subjects\": []}\n\nThe plate must contain NO people, no figures, and no silhouettes —\njust the environment, composed so the described people could be\ninserted later.\nAbsolutely no text, letters, circles, arrows or diagram marks."}
{"ts": "2026-07-04 17:44:52", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "S14_Shot4_final_B", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/indoor/S14_Shot4/bg_B.png"], "ref_labels": ["ENVIRONMENT BACKGROUND reference — the empty environment: its space, architecture, materials and lighting are the ground truth. It contains NO people. Use it as the shot's background, matching its space and lighting exactly."], "attempt": 1, "dur_s": 17.3, "bytes": 2072321, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/indoor/S14_Shot4/final_B.png", "prompt": "Create the FINAL photorealistic cinematic film still of this shot.\n\nSHOT CONTENT: 핏자국 하나 없이 깨끗하게 정돈된 수리영의 방 내부 정지 구도.\nCAMERA: Just inside 수리영’s bedroom doorway at eye level, the camera holds a wide, unmoving view inward toward the bed, bare wall, curtain, and spotless floor. The room is framed as evidence: the clean floor stretches across the lower half, the curtain line sits to one side where the body should have been, and the wall above the bed remains blank; this is a direct neutral observation of absence.\nFRAMING: wide\nLIGHTING: The room is washed in unnaturally clean blue-gray shadow with thin sick amber spill, making the absence feel colder than darkness.\n\nStage the shot inside the attached environment background — keep its\narchitecture, materials and lighting exactly. Every person is a REAL\nhuman being, photorealistic, matching their identity reference photo\n(face, hair, build). Natural film lighting and grain consistent with\nthe environment.\nAbsolutely no text, letters, circles, arrows, diagram marks, and no\nmannequin-like or statue-like appearance on any person."}
{"ts": "2026-07-04 17:45:21", "kind": "img", "engine": "gpt-image-2", "mode": "edit", "tag": "S4_Shot1_contour", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/outdoor/S4_Shot1/temp.png"], "size": "1536x864", "attempt": 1, "dur_s": 150.4, "bytes": 1942278, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/outdoor/S4_Shot1/contour.png", "prompt": "Convert the attached photograph into a clean LINE-ART CONTOUR drawing: thin dark ink lines on a plain white background. Preserve the EXACT composition, framing, perspective and proportions — trace the outline of every structure, surface edge and human figure as it appears. No shading, no colour fills, no photo texture, no text, no added or removed objects."}
{"ts": "2026-07-04 17:46:54", "kind": "img", "engine": "gpt-image-2", "mode": "edit", "tag": "S14_Shot4_contour", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/indoor/S14_Shot4/temp.png"], "size": "1536x864", "attempt": 1, "dur_s": 122.4, "bytes": 991196, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/indoor/S14_Shot4/contour.png", "prompt": "Convert the attached photograph into a clean LINE-ART CONTOUR drawing: thin dark ink lines on a plain white background. Preserve the EXACT composition, framing, perspective and proportions — trace the outline of every structure, surface edge and human figure as it appears. No shading, no colour fills, no photo texture, no text, no added or removed objects."}
{"ts": "2026-07-04 17:47:40", "kind": "img", "engine": "gpt-image-2", "mode": "edit", "tag": "S4_Shot1_bgC", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/outdoor/S4_Shot1/contour.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/outdoor/S4_Shot1/plate.png"], "size": "1536x864", "attempt": 1, "dur_s": 139.2, "bytes": 2561703, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/outdoor/S4_Shot1/bg_C.png", "prompt": "Create the photorealistic EMPTY background plate for one film shot:\nthe environment exactly as the environment reference shows it (same\narchitecture, materials, lighting), seen from the shot's camera.\n\nSHOT CONTENT: 인천 변두리의 낡고 오래된 빌라 옥탑방 외부 전경이 한눈에 내려다보이는 부감 구도.\nCAMERA: An omniscient overhead camera holds from about forty-five meters above the old villa, centered on the rooftop room while still keeping the surrounding neighborhood readable. The rooftop structure sits in the middle of the frame like a small exposed shrine, boxed in by worn roofs, narrow alleys, and faded concrete blocks.\nFRAMING: wide\nLIGHTING: Daylight is overcast and desaturated, with blue-gray concrete shadows and faint sickly amber window stains breaking the neighborhood’s cold isolation.\nSPATIAL CONSTRAINTS: [{\"depth_plane\": \"midground\", \"gesture_action\": \"none\", \"gesture_target_label\": \"\", \"label\": \"old rooftop room\", \"screen_zone\": \"middle_center\", \"target_id\": \"\", \"target_kind\": \"background\"}]\n\nFollow the attached line contour's composition EXACTLY —\nsame framing, perspective and structure placement.\n\nThe plate must contain NO people, no figures, and no silhouettes —\njust the environment, composed so the described people could be\ninserted later.\nAbsolutely no text, letters, circles, arrows or diagram marks."}
{"ts": "2026-07-04 17:48:00", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "S4_Shot1_final_C", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/outdoor/S4_Shot1/bg_C.png"], "ref_labels": ["ENVIRONMENT BACKGROUND reference — the empty environment: its space, architecture, materials and lighting are the ground truth. It contains NO people. Use it as the shot's background, matching its space and lighting exactly."], "attempt": 1, "dur_s": 20.1, "bytes": 3351349, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/outdoor/S4_Shot1/final_C.png", "prompt": "Create the FINAL photorealistic cinematic film still of this shot.\n\nSHOT CONTENT: 인천 변두리의 낡고 오래된 빌라 옥탑방 외부 전경이 한눈에 내려다보이는 부감 구도.\nCAMERA: An omniscient overhead camera holds from about forty-five meters above the old villa, centered on the rooftop room while still keeping the surrounding neighborhood readable. The rooftop structure sits in the middle of the frame like a small exposed shrine, boxed in by worn roofs, narrow alleys, and faded concrete blocks.\nFRAMING: wide\nLIGHTING: Daylight is overcast and desaturated, with blue-gray concrete shadows and faint sickly amber window stains breaking the neighborhood’s cold isolation.\nSPATIAL CONSTRAINTS: [{\"depth_plane\": \"midground\", \"gesture_action\": \"none\", \"gesture_target_label\": \"\", \"label\": \"old rooftop room\", \"screen_zone\": \"middle_center\", \"target_id\": \"\", \"target_kind\": \"background\"}]\n\nStage the shot inside the attached environment background — keep its\narchitecture, materials and lighting exactly. Every person is a REAL\nhuman being, photorealistic, matching their identity reference photo\n(face, hair, build). Natural film lighting and grain consistent with\nthe environment.\nAbsolutely no text, letters, circles, arrows, diagram marks, and no\nmannequin-like or statue-like appearance on any person."}
{"ts": "2026-07-04 17:49:04", "kind": "img", "engine": "gpt-image-2", "mode": "edit", "tag": "S14_Shot4_bgC", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/indoor/S14_Shot4/contour.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/indoor/top_layers/TL1_bedroom_bathroom.png"], "size": "1536x864", "attempt": 1, "dur_s": 129.5, "bytes": 1834728, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/indoor/S14_Shot4/bg_C.png", "prompt": "Create the photorealistic EMPTY background plate for one film shot:\nthe environment exactly as the environment reference shows it (same\narchitecture, materials, lighting), seen from the shot's camera.\n\nSHOT CONTENT: 핏자국 하나 없이 깨끗하게 정돈된 수리영의 방 내부 정지 구도.\nCAMERA: Just inside 수리영’s bedroom doorway at eye level, the camera holds a wide, unmoving view inward toward the bed, bare wall, curtain, and spotless floor. The room is framed as evidence: the clean floor stretches across the lower half, the curtain line sits to one side where the body should have been, and the wall above the bed remains blank; this is a direct neutral observation of absence.\nFRAMING: wide\nLIGHTING: The room is washed in unnaturally clean blue-gray shadow with thin sick amber spill, making the absence feel colder than darkness.\n\nFollow the attached line contour's composition EXACTLY —\nsame framing, perspective and structure placement.\n\nThe plate must contain NO people, no figures, and no silhouettes —\njust the environment, composed so the described people could be\ninserted later.\nAbsolutely no text, letters, circles, arrows or diagram marks."}
{"ts": "2026-07-04 17:49:19", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "S14_Shot4_final_C", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/indoor/S14_Shot4/bg_C.png"], "ref_labels": ["ENVIRONMENT BACKGROUND reference — the empty environment: its space, architecture, materials and lighting are the ground truth. It contains NO people. Use it as the shot's background, matching its space and lighting exactly."], "attempt": 1, "dur_s": 15.5, "bytes": 2405137, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/indoor/S14_Shot4/final_C.png", "prompt": "Create the FINAL photorealistic cinematic film still of this shot.\n\nSHOT CONTENT: 핏자국 하나 없이 깨끗하게 정돈된 수리영의 방 내부 정지 구도.\nCAMERA: Just inside 수리영’s bedroom doorway at eye level, the camera holds a wide, unmoving view inward toward the bed, bare wall, curtain, and spotless floor. The room is framed as evidence: the clean floor stretches across the lower half, the curtain line sits to one side where the body should have been, and the wall above the bed remains blank; this is a direct neutral observation of absence.\nFRAMING: wide\nLIGHTING: The room is washed in unnaturally clean blue-gray shadow with thin sick amber spill, making the absence feel colder than darkness.\n\nStage the shot inside the attached environment background — keep its\narchitecture, materials and lighting exactly. Every person is a REAL\nhuman being, photorealistic, matching their identity reference photo\n(face, hair, build). Natural film lighting and grain consistent with\nthe environment.\nAbsolutely no text, letters, circles, arrows, diagram marks, and no\nmannequin-like or statue-like appearance on any person."}
{"ts": "2026-07-04 17:49:58", "kind": "img", "engine": "gpt-image-2", "mode": "edit", "tag": "S4_Shot1_bgC_m", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/outdoor/S4_Shot1/contour.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/outdoor/S4_Shot1/plate.png"], "size": "1536x864", "attempt": 1, "dur_s": 117.3, "bytes": 2539154, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/outdoor/S4_Shot1/bg_C_m.png", "prompt": "Create the photorealistic EMPTY background plate for one film shot:\nthe environment exactly as the environment reference shows it (same\narchitecture, materials, lighting), seen from the shot's camera.\n\nSHOT CONTENT: 인천 변두리의 낡고 오래된 빌라 옥탑방 외부 전경이 한눈에 내려다보이는 부감 구도.\nCAMERA: An omniscient overhead camera holds from about forty-five meters above the old villa, centered on the rooftop room while still keeping the surrounding neighborhood readable. The rooftop structure sits in the middle of the frame like a small exposed shrine, boxed in by worn roofs, narrow alleys, and faded concrete blocks.\nFRAMING: wide\nLIGHTING: Daylight is overcast and desaturated, with blue-gray concrete shadows and faint sickly amber window stains breaking the neighborhood’s cold isolation.\nSPATIAL CONSTRAINTS: [{\"depth_plane\": \"midground\", \"gesture_action\": \"none\", \"gesture_target_label\": \"\", \"label\": \"old rooftop room\", \"screen_zone\": \"middle_center\", \"target_id\": \"\", \"target_kind\": \"background\"}]\n\nFollow the attached line contour's composition EXACTLY —\nsame framing, perspective and structure placement.\n\nWhere each person would stand or sit, place a featureless matte-grey\nartist mannequin in that exact pose and scale (no face, no clothing\ndetail) — everything else stays an empty environment.\nAbsolutely no text, letters, circles, arrows or diagram marks."}
{"ts": "2026-07-04 17:50:15", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "S4_Shot1_final_C_m", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/outdoor/S4_Shot1/bg_C_m.png"], "ref_labels": ["ENVIRONMENT BACKGROUND reference — the empty environment: its space, architecture, materials and lighting are the ground truth. It contains NO people. Use it as the shot's background, matching its space and lighting exactly."], "attempt": 1, "dur_s": 17.1, "bytes": 3134700, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/outdoor/S4_Shot1/final_C_m.png", "prompt": "Create the FINAL photorealistic cinematic film still of this shot.\n\nSHOT CONTENT: 인천 변두리의 낡고 오래된 빌라 옥탑방 외부 전경이 한눈에 내려다보이는 부감 구도.\nCAMERA: An omniscient overhead camera holds from about forty-five meters above the old villa, centered on the rooftop room while still keeping the surrounding neighborhood readable. The rooftop structure sits in the middle of the frame like a small exposed shrine, boxed in by worn roofs, narrow alleys, and faded concrete blocks.\nFRAMING: wide\nLIGHTING: Daylight is overcast and desaturated, with blue-gray concrete shadows and faint sickly amber window stains breaking the neighborhood’s cold isolation.\nSPATIAL CONSTRAINTS: [{\"depth_plane\": \"midground\", \"gesture_action\": \"none\", \"gesture_target_label\": \"\", \"label\": \"old rooftop room\", \"screen_zone\": \"middle_center\", \"target_id\": \"\", \"target_kind\": \"background\"}]\n\nStage the shot inside the attached environment background — keep its\narchitecture, materials and lighting exactly. Every person is a REAL\nhuman being, photorealistic, matching their identity reference photo\n(face, hair, build). Natural film lighting and grain consistent with\nthe environment.\nAbsolutely no text, letters, circles, arrows, diagram marks, and no\nmannequin-like or statue-like appearance on any person."}
{"ts": "2026-07-04 17:50:32", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "S11_Shot3_temp", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/outdoor/S11_Shot3/plate.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/outdoor/S11_Shot3/root_marked.png"], "ref_labels": ["ENVIRONMENT BACKGROUND reference — the empty environment: its space, architecture, materials and lighting are the ground truth. It contains NO people.", "CAMERA AND PLACEMENT DIAGRAM (top-down control image) — use it ONLY to understand where the camera stands, what it looks at, and where each person is. NEVER copy its drawing style, lines, circles, letters or any marks into the output."], "attempt": 1, "dur_s": 17.4, "bytes": 2252703, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/outdoor/S11_Shot3/temp.png", "prompt": "Create a photorealistic cinematic still that stages this shot inside the\ngiven environment. This is a COMPOSITION DRAFT: the people are ordinary\nreal humans whose identity does not matter — focus on a strong, natural\ncomposition that matches the camera and placement exactly.\n\nSHOT CONTENT: 계단 중간에 서서 심하게 코를 찡그린 수리영의 얼굴 클로즈업.\nPEOPLE IN SHOT: 수리영\nCAMERA: Midway up the narrow concrete staircase, the camera holds static very close to 수리영 from the front-left at face height, tightening into an intense close-up that leaves only a sliver of stair texture behind her. Her nose wrinkles hard at the sudden smell, eyes lifting toward the unseen rooftop landing while her halted climb compresses her shoulders into the frame.\nFRAMING: close\nLIGHTING: A cold blue-gray stairwell wash sculpts her face while a faint amber rooftop spill catches the bridge of her nose, making the smell reaction feel physical and ominous.\nPERSON: {\"angle\": \"three_quarter_left\", \"body_pose\": \"halted mid-stair climb\", \"character\": \"수리영\", \"gaze_direction_kind\": \"up\", \"gaze_target_id\": null, \"subject_state\": \"alive\"}\n\nKeep the environment's architecture, materials and lighting from the\nenvironment reference. Place the camera and every person exactly as the\ncontrol diagram indicates. Absolutely no text, letters, circles, arrows\nor diagram marks in the output."}
{"ts": "2026-07-04 17:51:04", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "S11_Shot3_final_A", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/outdoor/S11_Shot3/plate.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/outdoor/S11_Shot3/root_marked.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/b0ad5c18-5140-4022-a2b0-805de0e5a385/images/0d30302a-51c8-4ac9-98e2-6cd9180512bf/reference/0b01920a-4b59-4e19-ba35-e6e033cbd6b4.png"], "ref_labels": ["ENVIRONMENT BACKGROUND reference — the empty environment: its space, architecture, materials and lighting are the ground truth. It contains NO people. Use it as the shot's background, matching its space and lighting exactly.", "CAMERA AND PLACEMENT DIAGRAM (top-down control image) — use it ONLY to understand where the camera stands, what it looks at, and where each person is. NEVER copy its drawing style, lines, circles, letters or any marks into the output.", "IDENTITY REFERENCE photo of the person referred to as: 수리영"], "attempt": 1, "dur_s": 31.5, "bytes": 2236357, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/outdoor/S11_Shot3/final_A.png", "prompt": "Create the FINAL photorealistic cinematic film still of this shot.\n\nSHOT CONTENT: 계단 중간에 서서 심하게 코를 찡그린 수리영의 얼굴 클로즈업.\nPEOPLE IN SHOT: 수리영\nCAMERA: Midway up the narrow concrete staircase, the camera holds static very close to 수리영 from the front-left at face height, tightening into an intense close-up that leaves only a sliver of stair texture behind her. Her nose wrinkles hard at the sudden smell, eyes lifting toward the unseen rooftop landing while her halted climb compresses her shoulders into the frame.\nFRAMING: close\nLIGHTING: A cold blue-gray stairwell wash sculpts her face while a faint amber rooftop spill catches the bridge of her nose, making the smell reaction feel physical and ominous.\nPERSON: {\"angle\": \"three_quarter_left\", \"body_pose\": \"halted mid-stair climb\", \"character\": \"수리영\", \"gaze_direction_kind\": \"up\", \"gaze_target_id\": null, \"subject_state\": \"alive\"}\n\nStage the shot inside the attached environment background — keep its\narchitecture, materials and lighting exactly. Every person is a REAL\nhuman being, photorealistic, matching their identity reference photo\n(face, hair, build). Natural film lighting and grain consistent with\nthe environment.\nAbsolutely no text, letters, circles, arrows, diagram marks, and no\nmannequin-like or statue-like appearance on any person."}
{"ts": "2026-07-04 17:51:34", "kind": "llm", "step": "forest_vlm_comp", "model": "gpt", "dur_s": 29.7}
{"ts": "2026-07-04 17:51:34", "kind": "img", "engine": "gpt-image-2", "mode": "edit", "tag": "S14_Shot4_bgC_m", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/indoor/S14_Shot4/contour.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/indoor/top_layers/TL1_bedroom_bathroom.png"], "size": "1536x864", "attempt": 1, "dur_s": 134.8, "bytes": 1843083, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/indoor/S14_Shot4/bg_C_m.png", "prompt": "Create the photorealistic EMPTY background plate for one film shot:\nthe environment exactly as the environment reference shows it (same\narchitecture, materials, lighting), seen from the shot's camera.\n\nSHOT CONTENT: 핏자국 하나 없이 깨끗하게 정돈된 수리영의 방 내부 정지 구도.\nCAMERA: Just inside 수리영’s bedroom doorway at eye level, the camera holds a wide, unmoving view inward toward the bed, bare wall, curtain, and spotless floor. The room is framed as evidence: the clean floor stretches across the lower half, the curtain line sits to one side where the body should have been, and the wall above the bed remains blank; this is a direct neutral observation of absence.\nFRAMING: wide\nLIGHTING: The room is washed in unnaturally clean blue-gray shadow with thin sick amber spill, making the absence feel colder than darkness.\n\nFollow the attached line contour's composition EXACTLY —\nsame framing, perspective and structure placement.\n\nWhere each person would stand or sit, place a featureless matte-grey\nartist mannequin in that exact pose and scale (no face, no clothing\ndetail) — everything else stays an empty environment.\nAbsolutely no text, letters, circles, arrows or diagram marks."}
{"ts": "2026-07-04 17:51:53", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "S14_Shot4_final_C_m", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/indoor/S14_Shot4/bg_C_m.png"], "ref_labels": ["ENVIRONMENT BACKGROUND reference — the empty environment: its space, architecture, materials and lighting are the ground truth. It contains NO people. Use it as the shot's background, matching its space and lighting exactly."], "attempt": 1, "dur_s": 18.7, "bytes": 2517936, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/indoor/S14_Shot4/final_C_m.png", "prompt": "Create the FINAL photorealistic cinematic film still of this shot.\n\nSHOT CONTENT: 핏자국 하나 없이 깨끗하게 정돈된 수리영의 방 내부 정지 구도.\nCAMERA: Just inside 수리영’s bedroom doorway at eye level, the camera holds a wide, unmoving view inward toward the bed, bare wall, curtain, and spotless floor. The room is framed as evidence: the clean floor stretches across the lower half, the curtain line sits to one side where the body should have been, and the wall above the bed remains blank; this is a direct neutral observation of absence.\nFRAMING: wide\nLIGHTING: The room is washed in unnaturally clean blue-gray shadow with thin sick amber spill, making the absence feel colder than darkness.\n\nStage the shot inside the attached environment background — keep its\narchitecture, materials and lighting exactly. Every person is a REAL\nhuman being, photorealistic, matching their identity reference photo\n(face, hair, build). Natural film lighting and grain consistent with\nthe environment.\nAbsolutely no text, letters, circles, arrows, diagram marks, and no\nmannequin-like or statue-like appearance on any person."}
{"ts": "2026-07-04 17:51:53", "kind": "img", "tag": "S5_Shot3_fpvar", "skip": "exists", "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/indoor/S5_Shot3/fpvar.png"}
{"ts": "2026-07-04 17:52:12", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "S5_Shot3_temp", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/indoor/top_layers/TL2_living_kitchen_entry.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/indoor/S5_Shot3/fpvar.png"], "ref_labels": ["ENVIRONMENT BACKGROUND reference — the empty environment: its space, architecture, materials and lighting are the ground truth. It contains NO people.", "CAMERA AND PLACEMENT DIAGRAM (top-down control image) — use it ONLY to understand where the camera stands, what it looks at, and where each person is. NEVER copy its drawing style, lines, circles, letters or any marks into the output."], "attempt": 1, "dur_s": 19.2, "bytes": 2696688, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/indoor/S5_Shot3/temp.png", "prompt": "Create a photorealistic cinematic still that stages this shot inside the\ngiven environment. This is a COMPOSITION DRAFT: the people are ordinary\nreal humans whose identity does not matter — focus on a strong, natural\ncomposition that matches the camera and placement exactly.\n\nSHOT CONTENT: 앞치마를 두른 민숙이 어두운 표정으로 거실 TV 화면을 응시하며 굳어 있는 상체.\nPEOPLE IN SHOT: 민숙\nCAMERA: The observer camera settles at the end of its lateral track from near the sink and small window, chest height and about two and a half meters from Minsuk, looking across the counter line toward the living room TV. Minsuk is held in an upper-body frame at the right-middle of the image, shoulders locked in her apron as the kitchen foreground remains softly present and the TV glow pulls her stare off-frame.\nFRAMING: medium\nLIGHTING: Cold TV blue fights a weak amber kitchen practical and pale window light, turning the cramped home into a damp, anxious interior.\nPERSON: {\"angle\": \"three_quarter_left\", \"body_pose\": \"frozen by TV\", \"character\": \"민숙\", \"gaze_direction_kind\": \"off_screen\", \"gaze_target_id\": null, \"subject_state\": \"alive\"}\n\nKeep the environment's architecture, materials and lighting from the\nenvironment reference. Place the camera and every person exactly as the\ncontrol diagram indicates. Absolutely no text, letters, circles, arrows\nor diagram marks in the output."}
{"ts": "2026-07-04 17:52:29", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "S5_Shot3_final_A", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/indoor/top_layers/TL2_living_kitchen_entry.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/indoor/S5_Shot3/fpvar.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/b0ad5c18-5140-4022-a2b0-805de0e5a385/images/0d30302a-51c8-4ac9-98e2-6cd9180512bf/reference/d6b8ea09-1c0a-453c-93fa-be38348df5a6.png"], "ref_labels": ["ENVIRONMENT BACKGROUND reference — the empty environment: its space, architecture, materials and lighting are the ground truth. It contains NO people. Use it as the shot's background, matching its space and lighting exactly.", "CAMERA AND PLACEMENT DIAGRAM (top-down control image) — use it ONLY to understand where the camera stands, what it looks at, and where each person is. NEVER copy its drawing style, lines, circles, letters or any marks into the output.", "IDENTITY REFERENCE photo of the person referred to as: 민숙"], "attempt": 1, "dur_s": 17.3, "bytes": 2523630, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/indoor/S5_Shot3/final_A.png", "prompt": "Create the FINAL photorealistic cinematic film still of this shot.\n\nSHOT CONTENT: 앞치마를 두른 민숙이 어두운 표정으로 거실 TV 화면을 응시하며 굳어 있는 상체.\nPEOPLE IN SHOT: 민숙\nCAMERA: The observer camera settles at the end of its lateral track from near the sink and small window, chest height and about two and a half meters from Minsuk, looking across the counter line toward the living room TV. Minsuk is held in an upper-body frame at the right-middle of the image, shoulders locked in her apron as the kitchen foreground remains softly present and the TV glow pulls her stare off-frame.\nFRAMING: medium\nLIGHTING: Cold TV blue fights a weak amber kitchen practical and pale window light, turning the cramped home into a damp, anxious interior.\nPERSON: {\"angle\": \"three_quarter_left\", \"body_pose\": \"frozen by TV\", \"character\": \"민숙\", \"gaze_direction_kind\": \"off_screen\", \"gaze_target_id\": null, \"subject_state\": \"alive\"}\n\nStage the shot inside the attached environment background — keep its\narchitecture, materials and lighting exactly. Every person is a REAL\nhuman being, photorealistic, matching their identity reference photo\n(face, hair, build). Natural film lighting and grain consistent with\nthe environment.\nAbsolutely no text, letters, circles, arrows, diagram marks, and no\nmannequin-like or statue-like appearance on any person."}
{"ts": "2026-07-04 17:52:51", "kind": "llm", "step": "forest_vlm_comp", "model": "gpt", "dur_s": 22.2}
{"ts": "2026-07-04 17:53:33", "kind": "img", "engine": "gpt-image-2", "mode": "edit", "tag": "S11_Shot3_bgB", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/outdoor/S11_Shot3/plate.png"], "size": "1536x864", "attempt": 1, "dur_s": 119.8, "bytes": 1606066, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/outdoor/S11_Shot3/bg_B.png", "prompt": "Create the photorealistic EMPTY background plate for one film shot:\nthe environment exactly as the environment reference shows it (same\narchitecture, materials, lighting), seen from the shot's camera.\n\nSHOT CONTENT: 계단 중간에 서서 심하게 코를 찡그린 수리영의 얼굴 클로즈업.\nPEOPLE IN SHOT: 수리영\nCAMERA: Midway up the narrow concrete staircase, the camera holds static very close to 수리영 from the front-left at face height, tightening into an intense close-up that leaves only a sliver of stair texture behind her. Her nose wrinkles hard at the sudden smell, eyes lifting toward the unseen rooftop landing while her halted climb compresses her shoulders into the frame.\nFRAMING: close\nLIGHTING: A cold blue-gray stairwell wash sculpts her face while a faint amber rooftop spill catches the bridge of her nose, making the smell reaction feel physical and ominous.\nPERSON: {\"angle\": \"three_quarter_left\", \"body_pose\": \"halted mid-stair climb\", \"character\": \"수리영\", \"gaze_direction_kind\": \"up\", \"gaze_target_id\": null, \"subject_state\": \"alive\"}\n\nThe required composition, extracted from a draft of this shot:\n{\"camera\": {\"angle\": \"Tight close-up from a slight low angle, looking marginally upward at the subject’s face. The frame is mostly level, not strongly canted; vertical wall lines remain near-vertical and stair edges remain mostly horizontal.\", \"height\": \"Camera is around the subject’s seated/crouched head height but a little below her eyeline, close enough to crop the top of hair and lower torso.\", \"lens_feel\": \"Moderate wide-to-normal close lens feel with very close subject distance; face is large and intimate with mild perspective expansion, while the background stairs and wall fall softly out of focus.\"}, \"empty_background_requirements\": \"An empty plate must preserve the same cool-lit concrete stairwell/corner: the right two-thirds should contain the vertical grey concrete wall with stains, speckling, vertical seams and mottled texture; the left third should contain the dim stair flight with horizontal step edges/risers receding upward/backward. Areas currently hidden by the woman must be filled with continuous wall and stair detail: concrete wall behind her face, hair, shoulder and coat on the right/center; the blurred steps and dark stairwell behind the hair mass on the left; and the lower foreground/background where her black clothing occupies the frame. Lighting must match the blue-grey ambient shade with a faint warm rim/highlight from upper left, and the background depth of field should remain soft so the person can be reinserted sharply in the foreground.\", \"horizon_and_depth\": \"No natural horizon is visible. Depth is defined by the shallow foreground portrait plane against a close concrete wall and a stairwell receding diagonally backward on the left. The right wall reads as a near vertical plane just behind the subject, while the left stairs create the main depth cue through repeated horizontal tread lines fading into blur. Background focus is soft, emphasizing the subject as the nearest object.\", \"major_surfaces\": [\"Near vertical concrete wall on the right and behind the subject, blue-grey, stained and speckled, with subtle seams and weathering.\", \"Concrete staircase on the left background, visible as stacked horizontal treads/risers receding away and upward, darker and blurrier than the wall.\", \"Dark lower foreground occupied by the subject’s black clothing; no clear floor plane is visible.\", \"Shadowed stairwell/corner space between the wall and stairs, providing a cool, dim architectural backdrop.\"], \"occlusion_order\": \"Closest to camera: loose strands of the subject’s black hair, then her face, hair mass, neck and black coat. These occlude the concrete wall across the center/right and the stairwell across the left/center. Behind her is the near concrete wall on the right/center. Farther back, the blurred stair flight occupies the left background. No other people or foreground objects intervene.\", \"subjects\": [{\"depth_plane\": \"Extreme foreground / primary portrait plane, very close to camera and only a short distance in front of the concrete wall.\", \"label\": \"young woman\", \"pose\": \"Crouched or seated low, leaning slightly back/sideways near the wall. Head tilted and turned toward screen right while eyes look upward off-screen right. Brow is tightly furrowed, eyes squinting, mouth slightly open, conveying strain or alarm. Long dark hair falls around both sides of the face, with many loose strands.\", \"screen_zone\": \"Dominates the center and right half of the frame. Forehead and hair reach the top edge; face spans center-right; nose and mouth sit in the right-center/lower-right; hair mass fills much of the center-left and lower center. Black shoulder/coat fills the bottom-right corner.\", \"support_contact\": \"Hands and feet are not visible. Lower body is cropped out. Support is implied below the frame, likely seated/crouched on a step or floor, with the back/shoulder close to or lightly against the concrete wall.\"}]}\n\nThe plate must contain NO people, no figures, and no silhouettes —\njust the environment, composed so the described people could be\ninserted later.\nAbsolutely no text, letters, circles, arrows or diagram marks."}
{"ts": "2026-07-04 17:53:50", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "S11_Shot3_final_B", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/outdoor/S11_Shot3/bg_B.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/b0ad5c18-5140-4022-a2b0-805de0e5a385/images/0d30302a-51c8-4ac9-98e2-6cd9180512bf/reference/0b01920a-4b59-4e19-ba35-e6e033cbd6b4.png"], "ref_labels": ["ENVIRONMENT BACKGROUND reference — the empty environment: its space, architecture, materials and lighting are the ground truth. It contains NO people. Use it as the shot's background, matching its space and lighting exactly.", "IDENTITY REFERENCE photo of the person referred to as: 수리영"], "attempt": 1, "dur_s": 17.0, "bytes": 1971198, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/outdoor/S11_Shot3/final_B.png", "prompt": "Create the FINAL photorealistic cinematic film still of this shot.\n\nSHOT CONTENT: 계단 중간에 서서 심하게 코를 찡그린 수리영의 얼굴 클로즈업.\nPEOPLE IN SHOT: 수리영\nCAMERA: Midway up the narrow concrete staircase, the camera holds static very close to 수리영 from the front-left at face height, tightening into an intense close-up that leaves only a sliver of stair texture behind her. Her nose wrinkles hard at the sudden smell, eyes lifting toward the unseen rooftop landing while her halted climb compresses her shoulders into the frame.\nFRAMING: close\nLIGHTING: A cold blue-gray stairwell wash sculpts her face while a faint amber rooftop spill catches the bridge of her nose, making the smell reaction feel physical and ominous.\nPERSON: {\"angle\": \"three_quarter_left\", \"body_pose\": \"halted mid-stair climb\", \"character\": \"수리영\", \"gaze_direction_kind\": \"up\", \"gaze_target_id\": null, \"subject_state\": \"alive\"}\n\nStage the shot inside the attached environment background — keep its\narchitecture, materials and lighting exactly. Every person is a REAL\nhuman being, photorealistic, matching their identity reference photo\n(face, hair, build). Natural film lighting and grain consistent with\nthe environment.\nAbsolutely no text, letters, circles, arrows, diagram marks, and no\nmannequin-like or statue-like appearance on any person."}
{"ts": "2026-07-04 17:54:31", "kind": "img", "engine": "gpt-image-2", "mode": "edit", "tag": "S5_Shot3_bgB", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/indoor/top_layers/TL2_living_kitchen_entry.png"], "size": "1536x864", "attempt": 1, "dur_s": 99.3, "bytes": 1800307, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/indoor/S5_Shot3/bg_B.png", "prompt": "Create the photorealistic EMPTY background plate for one film shot:\nthe environment exactly as the environment reference shows it (same\narchitecture, materials, lighting), seen from the shot's camera.\n\nSHOT CONTENT: 앞치마를 두른 민숙이 어두운 표정으로 거실 TV 화면을 응시하며 굳어 있는 상체.\nPEOPLE IN SHOT: 민숙\nCAMERA: The observer camera settles at the end of its lateral track from near the sink and small window, chest height and about two and a half meters from Minsuk, looking across the counter line toward the living room TV. Minsuk is held in an upper-body frame at the right-middle of the image, shoulders locked in her apron as the kitchen foreground remains softly present and the TV glow pulls her stare off-frame.\nFRAMING: medium\nLIGHTING: Cold TV blue fights a weak amber kitchen practical and pale window light, turning the cramped home into a damp, anxious interior.\nPERSON: {\"angle\": \"three_quarter_left\", \"body_pose\": \"frozen by TV\", \"character\": \"민숙\", \"gaze_direction_kind\": \"off_screen\", \"gaze_target_id\": null, \"subject_state\": \"alive\"}\n\nThe required composition, extracted from a draft of this shot:\n{\"camera\": {\"angle\": \"Straight-on to slightly oblique interior view down a narrow kitchen/dining corridor; camera axis runs lengthwise toward the back room, with the kitchen counter receding on the left and the woman held on the far right edge in profile/three-quarter profile.\", \"height\": \"Approximately chest to eye height, around 1.45–1.60 m; verticals are mostly upright, suggesting a level camera with little tilt.\", \"lens_feel\": \"Wide cinematic anamorphic/very wide horizontal framing, roughly 24–28 mm equivalent feel: strong lateral coverage of kitchen, doorway, dining area and subject, with moderate depth exaggeration but controlled distortion.\"}, \"empty_background_requirements\": \"The empty plate must be the same locked-off wide interior composition with no people, preserving all practical objects and lighting: left kitchen run with frosted window, wooden frame, sink, faucet, dish rack, counter, gas hob, pot, tiled backsplash, extractor hood, upper/lower cabinets, and foreground refrigerator edge; central structural column/wall, ceiling light, doorway into the back room with visible wooden floor, curtains and bright rear window; right living/dining wall with crown molding, door frames, TV cabinet and TV showing the blue-toned image, floor lamp casting warm light on the wall, dining table and chairs. It must also include the unobstructed area behind the woman: right wall, doorway trim, light switch, table edge, chair backs/seats, floor and baseboard where her body currently covers them, so she can be composited back in at the same right-edge position with correct contact shadows and occlusions.\", \"horizon_and_depth\": \"Horizon/eye line sits around the upper third of the frame, near the height of the door lintels and upper wall trim. Depth is organized in strong layers: foreground kitchen fixtures at left and dining furniture at right; midground woman and TV/lamp area; central doorway opening to a deeper back room; far window and curtains at the deepest plane. Parallel floorboards, counter edges, cabinet lines, ceiling trim and doorway frames converge gently toward the central rear room, giving a corridor-like perspective. The composition balances a dense, cool kitchen foreground on the left against the human figure and warm lamp on the right, with negative wall space in the middle-right.\", \"major_surfaces\": [\"Left foreground refrigerator side plane, cropped at the extreme left edge.\", \"Left kitchen countertop: reflective metal sink surface, drainboard, gas hob and counter edge receding into depth.\", \"Vertical tiled backsplash wall behind hob and sink, cream square tiles with grout grid.\", \"Upper kitchen cabinets and extractor hood forming a heavy overhead plane in the upper-left quadrant.\", \"Wood-framed frosted kitchen window on the left wall, bright cool exterior light source.\", \"Central vertical partition/column and door jamb separating kitchen from living/dining area.\", \"Wood plank floor running from foreground into the central back room, with visible reflections and perspective lines.\", \"Rear doorway opening into a darker back room with curtains and a bright rectangular window.\", \"Right living/dining wall with pale wallpaper/paint, crown molding, baseboard, switch plate and door trim.\", \"TV console surface and cabinet below the lit television.\", \"Warm floor-lamp shade and its cast light patch on the right wall.\", \"Dining table top and chair backs/seats in the right foreground/midground.\", \"Ceiling plane with fluorescent fixture near the center-left/top.\"], \"occlusion_order\": \"From nearest to farthest: extreme-left refrigerator edge and kitchen counter/sink foreground occlude the lower-left space; faucet, dish rack and hob sit in front of the tiled wall; upper cabinets and hood overlap the ceiling and window area. On the right, the woman is the foremost subject, occluding the right wall, doorway trim, dining table edge and part of the nearest chair/table area. Dining chairs and table occupy foreground/midground in front of the wall and floor. TV and console sit behind the woman’s plane but in front of the right wall. Floor lamp stands behind/near the TV console and casts onto the wall. Central doorway trim occludes the back room, which contains the far curtains/window and floor at the deepest plane.\", \"subjects\": [{\"depth_plane\": \"Right foreground to midground, closer than the TV/lamp and central doorway; approximately beside the dining table near the right wall.\", \"label\": \"woman in apron\", \"pose\": \"Standing upright, still and tense, body angled slightly toward camera-left; head turned left in profile/three-quarter profile, eyes looking off-frame or toward the kitchen/left side. Arms hang down by her sides, shoulders slightly lowered; expression serious or concerned.\", \"screen_zone\": \"Far right third, cropped close to the right edge; head in upper-right quadrant, torso running from mid-right to lower-right, with lower body partially visible near bottom-right.\", \"support_contact\": \"Standing on the wooden floor; feet are out of frame or near the bottom crop, so contact is implied by vertical posture. Her right side overlaps the dining table/chair area but she is not visibly leaning on furniture.\"}]}\n\nThe plate must contain NO people, no figures, and no silhouettes —\njust the environment, composed so the described people could be\ninserted later.\nAbsolutely no text, letters, circles, arrows or diagram marks."}
{"ts": "2026-07-04 17:54:56", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "S5_Shot3_final_B", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/indoor/S5_Shot3/bg_B.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/b0ad5c18-5140-4022-a2b0-805de0e5a385/images/0d30302a-51c8-4ac9-98e2-6cd9180512bf/reference/d6b8ea09-1c0a-453c-93fa-be38348df5a6.png"], "ref_labels": ["ENVIRONMENT BACKGROUND reference — the empty environment: its space, architecture, materials and lighting are the ground truth. It contains NO people. Use it as the shot's background, matching its space and lighting exactly.", "IDENTITY REFERENCE photo of the person referred to as: 민숙"], "attempt": 1, "dur_s": 25.3, "bytes": 2351282, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/indoor/S5_Shot3/final_B.png", "prompt": "Create the FINAL photorealistic cinematic film still of this shot.\n\nSHOT CONTENT: 앞치마를 두른 민숙이 어두운 표정으로 거실 TV 화면을 응시하며 굳어 있는 상체.\nPEOPLE IN SHOT: 민숙\nCAMERA: The observer camera settles at the end of its lateral track from near the sink and small window, chest height and about two and a half meters from Minsuk, looking across the counter line toward the living room TV. Minsuk is held in an upper-body frame at the right-middle of the image, shoulders locked in her apron as the kitchen foreground remains softly present and the TV glow pulls her stare off-frame.\nFRAMING: medium\nLIGHTING: Cold TV blue fights a weak amber kitchen practical and pale window light, turning the cramped home into a damp, anxious interior.\nPERSON: {\"angle\": \"three_quarter_left\", \"body_pose\": \"frozen by TV\", \"character\": \"민숙\", \"gaze_direction_kind\": \"off_screen\", \"gaze_target_id\": null, \"subject_state\": \"alive\"}\n\nStage the shot inside the attached environment background — keep its\narchitecture, materials and lighting exactly. Every person is a REAL\nhuman being, photorealistic, matching their identity reference photo\n(face, hair, build). Natural film lighting and grain consistent with\nthe environment.\nAbsolutely no text, letters, circles, arrows, diagram marks, and no\nmannequin-like or statue-like appearance on any person."}
{"ts": "2026-07-04 17:55:37", "kind": "img", "engine": "gpt-image-2", "mode": "edit", "tag": "S11_Shot3_contour", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/outdoor/S11_Shot3/temp.png"], "size": "1536x864", "attempt": 1, "dur_s": 106.3, "bytes": 1600767, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/outdoor/S11_Shot3/contour.png", "prompt": "Convert the attached photograph into a clean LINE-ART CONTOUR drawing: thin dark ink lines on a plain white background. Preserve the EXACT composition, framing, perspective and proportions — trace the outline of every structure, surface edge and human figure as it appears. No shading, no colour fills, no photo texture, no text, no added or removed objects."}
{"ts": "2026-07-04 17:56:56", "kind": "img", "engine": "gpt-image-2", "mode": "edit", "tag": "S5_Shot3_contour", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/indoor/S5_Shot3/temp.png"], "size": "1536x864", "attempt": 1, "dur_s": 120.4, "bytes": 1453982, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/indoor/S5_Shot3/contour.png", "prompt": "Convert the attached photograph into a clean LINE-ART CONTOUR drawing: thin dark ink lines on a plain white background. Preserve the EXACT composition, framing, perspective and proportions — trace the outline of every structure, surface edge and human figure as it appears. No shading, no colour fills, no photo texture, no text, no added or removed objects."}
{"ts": "2026-07-04 17:57:23", "kind": "img", "engine": "gpt-image-2", "mode": "edit", "tag": "S11_Shot3_bgC", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/outdoor/S11_Shot3/contour.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/outdoor/S11_Shot3/plate.png"], "size": "1536x864", "attempt": 1, "dur_s": 106.5, "bytes": 1915521, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/outdoor/S11_Shot3/bg_C.png", "prompt": "Create the photorealistic EMPTY background plate for one film shot:\nthe environment exactly as the environment reference shows it (same\narchitecture, materials, lighting), seen from the shot's camera.\n\nSHOT CONTENT: 계단 중간에 서서 심하게 코를 찡그린 수리영의 얼굴 클로즈업.\nPEOPLE IN SHOT: 수리영\nCAMERA: Midway up the narrow concrete staircase, the camera holds static very close to 수리영 from the front-left at face height, tightening into an intense close-up that leaves only a sliver of stair texture behind her. Her nose wrinkles hard at the sudden smell, eyes lifting toward the unseen rooftop landing while her halted climb compresses her shoulders into the frame.\nFRAMING: close\nLIGHTING: A cold blue-gray stairwell wash sculpts her face while a faint amber rooftop spill catches the bridge of her nose, making the smell reaction feel physical and ominous.\nPERSON: {\"angle\": \"three_quarter_left\", \"body_pose\": \"halted mid-stair climb\", \"character\": \"수리영\", \"gaze_direction_kind\": \"up\", \"gaze_target_id\": null, \"subject_state\": \"alive\"}\n\nFollow the attached line contour's composition EXACTLY —\nsame framing, perspective and structure placement.\n\nThe plate must contain NO people, no figures, and no silhouettes —\njust the environment, composed so the described people could be\ninserted later.\nAbsolutely no text, letters, circles, arrows or diagram marks."}
{"ts": "2026-07-04 17:57:38", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "S11_Shot3_final_C", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/outdoor/S11_Shot3/bg_C.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/b0ad5c18-5140-4022-a2b0-805de0e5a385/images/0d30302a-51c8-4ac9-98e2-6cd9180512bf/reference/0b01920a-4b59-4e19-ba35-e6e033cbd6b4.png"], "ref_labels": ["ENVIRONMENT BACKGROUND reference — the empty environment: its space, architecture, materials and lighting are the ground truth. It contains NO people. Use it as the shot's background, matching its space and lighting exactly.", "IDENTITY REFERENCE photo of the person referred to as: 수리영"], "attempt": 1, "dur_s": 15.2, "bytes": 2608038, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/outdoor/S11_Shot3/final_C.png", "prompt": "Create the FINAL photorealistic cinematic film still of this shot.\n\nSHOT CONTENT: 계단 중간에 서서 심하게 코를 찡그린 수리영의 얼굴 클로즈업.\nPEOPLE IN SHOT: 수리영\nCAMERA: Midway up the narrow concrete staircase, the camera holds static very close to 수리영 from the front-left at face height, tightening into an intense close-up that leaves only a sliver of stair texture behind her. Her nose wrinkles hard at the sudden smell, eyes lifting toward the unseen rooftop landing while her halted climb compresses her shoulders into the frame.\nFRAMING: close\nLIGHTING: A cold blue-gray stairwell wash sculpts her face while a faint amber rooftop spill catches the bridge of her nose, making the smell reaction feel physical and ominous.\nPERSON: {\"angle\": \"three_quarter_left\", \"body_pose\": \"halted mid-stair climb\", \"character\": \"수리영\", \"gaze_direction_kind\": \"up\", \"gaze_target_id\": null, \"subject_state\": \"alive\"}\n\nStage the shot inside the attached environment background — keep its\narchitecture, materials and lighting exactly. Every person is a REAL\nhuman being, photorealistic, matching their identity reference photo\n(face, hair, build). Natural film lighting and grain consistent with\nthe environment.\nAbsolutely no text, letters, circles, arrows, diagram marks, and no\nmannequin-like or statue-like appearance on any person."}
{"ts": "2026-07-04 17:57:58", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "S10_Shot6_temp", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/outdoor/S10_Shot6/plate.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/outdoor/S10_Shot6/root_marked.png"], "ref_labels": ["ENVIRONMENT BACKGROUND reference — the empty environment: its space, architecture, materials and lighting are the ground truth. It contains NO people.", "CAMERA AND PLACEMENT DIAGRAM (top-down control image) — use it ONLY to understand where the camera stands, what it looks at, and where each person is. NEVER copy its drawing style, lines, circles, letters or any marks into the output."], "attempt": 1, "dur_s": 20.0, "bytes": 2322632, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/outdoor/S10_Shot6/temp.png", "prompt": "Create a photorealistic cinematic still that stages this shot inside the\ngiven environment. This is a COMPOSITION DRAFT: the people are ordinary\nreal humans whose identity does not matter — focus on a strong, natural\ncomposition that matches the camera and placement exactly.\n\nSHOT CONTENT: 방 안 창문에 비친 그림자, 굽은 형태의 인영이 다른 사람 형상 위에 포개져 멈춘 찰나의 실루엣.\nCAMERA: Inside the room, the camera holds static near the side wall at shoulder height, angled so only the window glass carries the action as a reflection and the direct attack is never seen. The reflected silhouettes sit within the window frame: a bent 인영 in the upper-middle area lowers its head toward the shoulder of 사람, whose body buckles beneath it in a distorted, wavering mid-action shape.\nFRAMING: medium\nLIGHTING: The reflected action is almost monochrome blue-black, broken by a weak amber practical smear and restrained crimson-brown shadow at the shoulder line.\nPERSON: {\"angle\": \"three_quarter_left\", \"body_pose\": \"hunched over shoulder\", \"character\": \"인영\", \"gaze_direction_kind\": \"looks_at_character\", \"gaze_target_id\": \"C20\", \"subject_state\": \"alive\"}\nPERSON: {\"angle\": \"profile_left\", \"body_pose\": \"buckling under lunge\", \"character\": \"사람\", \"gaze_direction_kind\": \"off_screen\", \"gaze_target_id\": null, \"subject_state\": \"severely_injured\"}\nSPATIAL CONSTRAINTS: [{\"depth_plane\": \"midground\", \"gesture_action\": \"none\", \"gesture_target_label\": \"\", \"label\": \"window reflection containing silhouettes\", \"screen_zone\": \"middle_center\", \"target_id\": \"\", \"target_kind\": \"background\"}]\n\nKeep the environment's architecture, materials and lighting from the\nenvironment reference. Place the camera and every person exactly as the\ncontrol diagram indicates. Absolutely no text, letters, circles, arrows\nor diagram marks in the output."}
{"ts": "2026-07-04 17:58:18", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "S10_Shot6_final_A", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/outdoor/S10_Shot6/plate.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/outdoor/S10_Shot6/root_marked.png"], "ref_labels": ["ENVIRONMENT BACKGROUND reference — the empty environment: its space, architecture, materials and lighting are the ground truth. It contains NO people. Use it as the shot's background, matching its space and lighting exactly.", "CAMERA AND PLACEMENT DIAGRAM (top-down control image) — use it ONLY to understand where the camera stands, what it looks at, and where each person is. NEVER copy its drawing style, lines, circles, letters or any marks into the output."], "attempt": 1, "dur_s": 19.3, "bytes": 2623177, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/outdoor/S10_Shot6/final_A.png", "prompt": "Create the FINAL photorealistic cinematic film still of this shot.\n\nSHOT CONTENT: 방 안 창문에 비친 그림자, 굽은 형태의 인영이 다른 사람 형상 위에 포개져 멈춘 찰나의 실루엣.\nCAMERA: Inside the room, the camera holds static near the side wall at shoulder height, angled so only the window glass carries the action as a reflection and the direct attack is never seen. The reflected silhouettes sit within the window frame: a bent 인영 in the upper-middle area lowers its head toward the shoulder of 사람, whose body buckles beneath it in a distorted, wavering mid-action shape.\nFRAMING: medium\nLIGHTING: The reflected action is almost monochrome blue-black, broken by a weak amber practical smear and restrained crimson-brown shadow at the shoulder line.\nPERSON: {\"angle\": \"three_quarter_left\", \"body_pose\": \"hunched over shoulder\", \"character\": \"인영\", \"gaze_direction_kind\": \"looks_at_character\", \"gaze_target_id\": \"C20\", \"subject_state\": \"alive\"}\nPERSON: {\"angle\": \"profile_left\", \"body_pose\": \"buckling under lunge\", \"character\": \"사람\", \"gaze_direction_kind\": \"off_screen\", \"gaze_target_id\": null, \"subject_state\": \"severely_injured\"}\nSPATIAL CONSTRAINTS: [{\"depth_plane\": \"midground\", \"gesture_action\": \"none\", \"gesture_target_label\": \"\", \"label\": \"window reflection containing silhouettes\", \"screen_zone\": \"middle_center\", \"target_id\": \"\", \"target_kind\": \"background\"}]\n\nStage the shot inside the attached environment background — keep its\narchitecture, materials and lighting exactly. Every person is a REAL\nhuman being, photorealistic, matching their identity reference photo\n(face, hair, build). Natural film lighting and grain consistent with\nthe environment.\nAbsolutely no text, letters, circles, arrows, diagram marks, and no\nmannequin-like or statue-like appearance on any person."}
{"ts": "2026-07-04 17:58:39", "kind": "img", "engine": "gpt-image-2", "mode": "edit", "tag": "S5_Shot3_bgC", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/indoor/S5_Shot3/contour.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/indoor/top_layers/TL2_living_kitchen_entry.png"], "size": "1536x864", "attempt": 1, "dur_s": 102.5, "bytes": 1676664, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/indoor/S5_Shot3/bg_C.png", "prompt": "Create the photorealistic EMPTY background plate for one film shot:\nthe environment exactly as the environment reference shows it (same\narchitecture, materials, lighting), seen from the shot's camera.\n\nSHOT CONTENT: 앞치마를 두른 민숙이 어두운 표정으로 거실 TV 화면을 응시하며 굳어 있는 상체.\nPEOPLE IN SHOT: 민숙\nCAMERA: The observer camera settles at the end of its lateral track from near the sink and small window, chest height and about two and a half meters from Minsuk, looking across the counter line toward the living room TV. Minsuk is held in an upper-body frame at the right-middle of the image, shoulders locked in her apron as the kitchen foreground remains softly present and the TV glow pulls her stare off-frame.\nFRAMING: medium\nLIGHTING: Cold TV blue fights a weak amber kitchen practical and pale window light, turning the cramped home into a damp, anxious interior.\nPERSON: {\"angle\": \"three_quarter_left\", \"body_pose\": \"frozen by TV\", \"character\": \"민숙\", \"gaze_direction_kind\": \"off_screen\", \"gaze_target_id\": null, \"subject_state\": \"alive\"}\n\nFollow the attached line contour's composition EXACTLY —\nsame framing, perspective and structure placement.\n\nThe plate must contain NO people, no figures, and no silhouettes —\njust the environment, composed so the described people could be\ninserted later.\nAbsolutely no text, letters, circles, arrows or diagram marks."}
{"ts": "2026-07-04 17:58:45", "kind": "llm", "step": "forest_vlm_comp", "model": "gpt", "dur_s": 27.1}
{"ts": "2026-07-04 17:58:56", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "S5_Shot3_final_C", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/indoor/S5_Shot3/bg_C.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/b0ad5c18-5140-4022-a2b0-805de0e5a385/images/0d30302a-51c8-4ac9-98e2-6cd9180512bf/reference/d6b8ea09-1c0a-453c-93fa-be38348df5a6.png"], "ref_labels": ["ENVIRONMENT BACKGROUND reference — the empty environment: its space, architecture, materials and lighting are the ground truth. It contains NO people. Use it as the shot's background, matching its space and lighting exactly.", "IDENTITY REFERENCE photo of the person referred to as: 민숙"], "attempt": 1, "dur_s": 16.8, "bytes": 2567623, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/indoor/S5_Shot3/final_C.png", "prompt": "Create the FINAL photorealistic cinematic film still of this shot.\n\nSHOT CONTENT: 앞치마를 두른 민숙이 어두운 표정으로 거실 TV 화면을 응시하며 굳어 있는 상체.\nPEOPLE IN SHOT: 민숙\nCAMERA: The observer camera settles at the end of its lateral track from near the sink and small window, chest height and about two and a half meters from Minsuk, looking across the counter line toward the living room TV. Minsuk is held in an upper-body frame at the right-middle of the image, shoulders locked in her apron as the kitchen foreground remains softly present and the TV glow pulls her stare off-frame.\nFRAMING: medium\nLIGHTING: Cold TV blue fights a weak amber kitchen practical and pale window light, turning the cramped home into a damp, anxious interior.\nPERSON: {\"angle\": \"three_quarter_left\", \"body_pose\": \"frozen by TV\", \"character\": \"민숙\", \"gaze_direction_kind\": \"off_screen\", \"gaze_target_id\": null, \"subject_state\": \"alive\"}\n\nStage the shot inside the attached environment background — keep its\narchitecture, materials and lighting exactly. Every person is a REAL\nhuman being, photorealistic, matching their identity reference photo\n(face, hair, build). Natural film lighting and grain consistent with\nthe environment.\nAbsolutely no text, letters, circles, arrows, diagram marks, and no\nmannequin-like or statue-like appearance on any person."}
{"ts": "2026-07-04 17:58:56", "kind": "img", "tag": "S5_Shot10_fpvar", "skip": "exists", "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/indoor/S5_Shot10/fpvar.png"}
{"ts": "2026-07-04 17:59:12", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "S5_Shot10_temp", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/indoor/top_layers/TL2_living_kitchen_entry.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/indoor/S5_Shot10/fpvar.png"], "ref_labels": ["ENVIRONMENT BACKGROUND reference — the empty environment: its space, architecture, materials and lighting are the ground truth. It contains NO people.", "CAMERA AND PLACEMENT DIAGRAM (top-down control image) — use it ONLY to understand where the camera stands, what it looks at, and where each person is. NEVER copy its drawing style, lines, circles, letters or any marks into the output."], "attempt": 1, "dur_s": 15.8, "bytes": 2383988, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/indoor/S5_Shot10/temp.png", "prompt": "Create a photorealistic cinematic still that stages this shot inside the\ngiven environment. This is a COMPOSITION DRAFT: the people are ordinary\nreal humans whose identity does not matter — focus on a strong, natural\ncomposition that matches the camera and placement exactly.\n\nSHOT CONTENT: 수리영이 민숙의 어깨에 코를 묻고 멈춘 찰나의 측면.\nPEOPLE IN SHOT: 수리영, 민숙\nCAMERA: The camera follows the flow into the narrow entrance area and holds side-on at shoulder height, about one meter away, lens parallel to the wall to compress mother and daughter together. The tighter profile frame favors the contact point: Suriyeong’s face and nose press into Minsuk’s shoulder at center-left, while Minsuk’s softened profile and apron edge sit center-right.\nFRAMING: close\nLIGHTING: Soft domestic amber from the room mixes with cool daylight spill near the entrance, giving the affectionate pause a muted warmth under thriller-gray shadows.\nPERSON: {\"angle\": \"profile_right\", \"body_pose\": \"nose buried in shoulder\", \"character\": \"수리영\", \"gaze_direction_kind\": \"closed_eyes\", \"gaze_target_id\": null, \"subject_state\": \"alive\"}\nPERSON: {\"angle\": \"profile_left\", \"body_pose\": \"shoulder softened, smiling\", \"character\": \"민숙\", \"gaze_direction_kind\": \"looks_at_character\", \"gaze_target_id\": \"C01\", \"subject_state\": \"alive\"}\n\nKeep the environment's architecture, materials and lighting from the\nenvironment reference. Place the camera and every person exactly as the\ncontrol diagram indicates. Absolutely no text, letters, circles, arrows\nor diagram marks in the output."}
{"ts": "2026-07-04 17:59:34", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "S5_Shot10_final_A", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/indoor/top_layers/TL2_living_kitchen_entry.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/indoor/S5_Shot10/fpvar.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/b0ad5c18-5140-4022-a2b0-805de0e5a385/images/0d30302a-51c8-4ac9-98e2-6cd9180512bf/reference/0b01920a-4b59-4e19-ba35-e6e033cbd6b4.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/b0ad5c18-5140-4022-a2b0-805de0e5a385/images/0d30302a-51c8-4ac9-98e2-6cd9180512bf/reference/d6b8ea09-1c0a-453c-93fa-be38348df5a6.png"], "ref_labels": ["ENVIRONMENT BACKGROUND reference — the empty environment: its space, architecture, materials and lighting are the ground truth. It contains NO people. Use it as the shot's background, matching its space and lighting exactly.", "CAMERA AND PLACEMENT DIAGRAM (top-down control image) — use it ONLY to understand where the camera stands, what it looks at, and where each person is. NEVER copy its drawing style, lines, circles, letters or any marks into the output.", "IDENTITY REFERENCE photo of the person referred to as: 수리영", "IDENTITY REFERENCE photo of the person referred to as: 민숙"], "attempt": 1, "dur_s": 22.1, "bytes": 2613497, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/indoor/S5_Shot10/final_A.png", "prompt": "Create the FINAL photorealistic cinematic film still of this shot.\n\nSHOT CONTENT: 수리영이 민숙의 어깨에 코를 묻고 멈춘 찰나의 측면.\nPEOPLE IN SHOT: 수리영, 민숙\nCAMERA: The camera follows the flow into the narrow entrance area and holds side-on at shoulder height, about one meter away, lens parallel to the wall to compress mother and daughter together. The tighter profile frame favors the contact point: Suriyeong’s face and nose press into Minsuk’s shoulder at center-left, while Minsuk’s softened profile and apron edge sit center-right.\nFRAMING: close\nLIGHTING: Soft domestic amber from the room mixes with cool daylight spill near the entrance, giving the affectionate pause a muted warmth under thriller-gray shadows.\nPERSON: {\"angle\": \"profile_right\", \"body_pose\": \"nose buried in shoulder\", \"character\": \"수리영\", \"gaze_direction_kind\": \"closed_eyes\", \"gaze_target_id\": null, \"subject_state\": \"alive\"}\nPERSON: {\"angle\": \"profile_left\", \"body_pose\": \"shoulder softened, smiling\", \"character\": \"민숙\", \"gaze_direction_kind\": \"looks_at_character\", \"gaze_target_id\": \"C01\", \"subject_state\": \"alive\"}\n\nStage the shot inside the attached environment background — keep its\narchitecture, materials and lighting exactly. Every person is a REAL\nhuman being, photorealistic, matching their identity reference photo\n(face, hair, build). Natural film lighting and grain consistent with\nthe environment.\nAbsolutely no text, letters, circles, arrows, diagram marks, and no\nmannequin-like or statue-like appearance on any person."}
{"ts": "2026-07-04 17:59:58", "kind": "llm", "step": "forest_vlm_comp", "model": "gpt", "dur_s": 24.0}
{"ts": "2026-07-04 18:00:18", "kind": "img", "engine": "gpt-image-2", "mode": "edit", "tag": "S10_Shot6_bgB", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/outdoor/S10_Shot6/plate.png"], "size": "1536x864", "attempt": 1, "dur_s": 93.7, "bytes": 1919504, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/outdoor/S10_Shot6/bg_B.png", "prompt": "Create the photorealistic EMPTY background plate for one film shot:\nthe environment exactly as the environment reference shows it (same\narchitecture, materials, lighting), seen from the shot's camera.\n\nSHOT CONTENT: 방 안 창문에 비친 그림자, 굽은 형태의 인영이 다른 사람 형상 위에 포개져 멈춘 찰나의 실루엣.\nCAMERA: Inside the room, the camera holds static near the side wall at shoulder height, angled so only the window glass carries the action as a reflection and the direct attack is never seen. The reflected silhouettes sit within the window frame: a bent 인영 in the upper-middle area lowers its head toward the shoulder of 사람, whose body buckles beneath it in a distorted, wavering mid-action shape.\nFRAMING: medium\nLIGHTING: The reflected action is almost monochrome blue-black, broken by a weak amber practical smear and restrained crimson-brown shadow at the shoulder line.\nPERSON: {\"angle\": \"three_quarter_left\", \"body_pose\": \"hunched over shoulder\", \"character\": \"인영\", \"gaze_direction_kind\": \"looks_at_character\", \"gaze_target_id\": \"C20\", \"subject_state\": \"alive\"}\nPERSON: {\"angle\": \"profile_left\", \"body_pose\": \"buckling under lunge\", \"character\": \"사람\", \"gaze_direction_kind\": \"off_screen\", \"gaze_target_id\": null, \"subject_state\": \"severely_injured\"}\nSPATIAL CONSTRAINTS: [{\"depth_plane\": \"midground\", \"gesture_action\": \"none\", \"gesture_target_label\": \"\", \"label\": \"window reflection containing silhouettes\", \"screen_zone\": \"middle_center\", \"target_id\": \"\", \"target_kind\": \"background\"}]\n\nThe required composition, extracted from a draft of this shot:\n{\"camera\": {\"angle\": \"Exterior view looking almost square-on into a rooftop-room window wall; very slight left-to-right obliqueness, with verticals kept nearly parallel and no dramatic tilt.\", \"height\": \"Camera is roughly at window mid-height / adult chest-to-shoulder height, slightly above the low sill but below the standing subject’s head level.\", \"lens_feel\": \"Moderate-to-long normal lens feel with compressed, flattened planes through glass; shallow atmospheric separation comes from dirty/reflective glass rather than strong optical blur.\"}, \"empty_background_requirements\": \"The empty plate must be the same locked-off exterior view of the rooftop-room facade with no people behind the glass. It must preserve the full window assembly: open iron door on the left, dark interior doorway beyond it, concrete facade and side jambs, sliding window frames and central mullion, dirty blue-gray reflective glass panels, bottom sill/low parapet, faint warm interior/reflection glow on the left pane, cooler blue reflection across the right pane, interior back wall texture visible through the glass, and the dark vertical frame at far right. Reflections, grime, smudges, and the glass opacity must remain, because the people would need to be reinserted as dark silhouettes behind/through this glass layer, partially veiled by reflections and window dirt.\", \"horizon_and_depth\": \"No exterior horizon is visible. Depth is organized as flat architectural layers: foreground terrace/low sill at the bottom, the exterior door and window frame plane, reflective dirty glass as the dominant occluding plane, then the dim rooftop room interior with a back wall. The figures sit behind the glass and read mostly as silhouettes, so the composition is deliberately compressed and voyeuristic.\", \"major_surfaces\": [\"Weathered concrete facade surrounding the window opening.\", \"Open iron door at far left, angled outward toward camera, with dark interior doorway behind it.\", \"Large exterior window/glass wall occupying most of the frame, divided by metal mullions and sliding-window frames.\", \"Dirty reflective glass surface with blue-gray cast, grime, streaks, and layered reflections.\", \"Interior back wall seen through the glass, mottled and cool-toned.\", \"Bottom exterior sill / low wall running horizontally across the lower frame.\", \"Dark vertical frame/jamb at far right.\", \"Partial foreground rooftop railing/fixture at lower left edge.\"], \"occlusion_order\": \"Closest to camera are the left foreground railing/fixture and the open iron door edge, then the exterior window frames/mullions and low sill. The dirty reflective glass plane lies in front of both people and partially masks them with grime/reflections. Behind the glass, P overlaps and visually dominates Q: P’s bent torso and head hover over Q’s head/upper body. Q is lower and slightly farther/right, with lower body partly hidden by the bottom frame/sill. The interior wall is the deepest visible plane.\", \"subjects\": [{\"depth_plane\": \"Behind the exterior glass inside the rooftop room, close to the window but visually flattened by the reflective pane; slightly left/behind Q in the action grouping.\", \"label\": \"P - standing/bending figure\", \"pose\": \"Tall dark silhouette bent sharply forward at the waist, head and shoulders leaning down toward the second figure; one arm appears lowered near Q, posture suggesting looming, assisting, or grappling.\", \"screen_zone\": \"Center-right, spanning from lower middle to upper middle of the window; head near the upper-right quadrant of the main glass panel, torso crossing the central vertical area.\", \"support_contact\": \"Feet/legs are on the interior floor but mostly obscured by the bottom window frame and dark glass; body weight appears carried through both legs while leaning forward.\"}, {\"depth_plane\": \"Behind the same exterior glass plane, lower and slightly to the right of P, inside the room near the window/interior floor line.\", \"label\": \"Q - crouched/kneeling figure\", \"pose\": \"Compact figure bent over or crouched/kneeling, head lowered forward; torso angles down toward the lower right, with one arm/hand possibly braced downward.\", \"screen_zone\": \"Lower right-center of the main window, below P’s head and torso; head and shoulders sit just right of center, body descends toward the lower-right edge.\", \"support_contact\": \"Likely kneeling or crouching on the interior floor; knees/feet and possible hand contact are mostly hidden by the sill, bottom frame, darkness, and glass reflections.\"}]}\n\nThe plate must contain NO people, no figures, and no silhouettes —\njust the environment, composed so the described people could be\ninserted later.\nAbsolutely no text, letters, circles, arrows or diagram marks."}
{"ts": "2026-07-04 18:00:35", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "S10_Shot6_final_B", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/outdoor/S10_Shot6/bg_B.png"], "ref_labels": ["ENVIRONMENT BACKGROUND reference — the empty environment: its space, architecture, materials and lighting are the ground truth. It contains NO people. Use it as the shot's background, matching its space and lighting exactly."], "attempt": 1, "dur_s": 17.0, "bytes": 2272392, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/outdoor/S10_Shot6/final_B.png", "prompt": "Create the FINAL photorealistic cinematic film still of this shot.\n\nSHOT CONTENT: 방 안 창문에 비친 그림자, 굽은 형태의 인영이 다른 사람 형상 위에 포개져 멈춘 찰나의 실루엣.\nCAMERA: Inside the room, the camera holds static near the side wall at shoulder height, angled so only the window glass carries the action as a reflection and the direct attack is never seen. The reflected silhouettes sit within the window frame: a bent 인영 in the upper-middle area lowers its head toward the shoulder of 사람, whose body buckles beneath it in a distorted, wavering mid-action shape.\nFRAMING: medium\nLIGHTING: The reflected action is almost monochrome blue-black, broken by a weak amber practical smear and restrained crimson-brown shadow at the shoulder line.\nPERSON: {\"angle\": \"three_quarter_left\", \"body_pose\": \"hunched over shoulder\", \"character\": \"인영\", \"gaze_direction_kind\": \"looks_at_character\", \"gaze_target_id\": \"C20\", \"subject_state\": \"alive\"}\nPERSON: {\"angle\": \"profile_left\", \"body_pose\": \"buckling under lunge\", \"character\": \"사람\", \"gaze_direction_kind\": \"off_screen\", \"gaze_target_id\": null, \"subject_state\": \"severely_injured\"}\nSPATIAL CONSTRAINTS: [{\"depth_plane\": \"midground\", \"gesture_action\": \"none\", \"gesture_target_label\": \"\", \"label\": \"window reflection containing silhouettes\", \"screen_zone\": \"middle_center\", \"target_id\": \"\", \"target_kind\": \"background\"}]\n\nStage the shot inside the attached environment background — keep its\narchitecture, materials and lighting exactly. Every person is a REAL\nhuman being, photorealistic, matching their identity reference photo\n(face, hair, build). Natural film lighting and grain consistent with\nthe environment.\nAbsolutely no text, letters, circles, arrows, diagram marks, and no\nmannequin-like or statue-like appearance on any person."}
{"ts": "2026-07-04 18:01:39", "kind": "img", "engine": "gpt-image-2", "mode": "edit", "tag": "S5_Shot10_bgB", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/indoor/top_layers/TL2_living_kitchen_entry.png"], "size": "1536x864", "attempt": 1, "dur_s": 101.1, "bytes": 1542944, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/indoor/S5_Shot10/bg_B.png", "prompt": "Create the photorealistic EMPTY background plate for one film shot:\nthe environment exactly as the environment reference shows it (same\narchitecture, materials, lighting), seen from the shot's camera.\n\nSHOT CONTENT: 수리영이 민숙의 어깨에 코를 묻고 멈춘 찰나의 측면.\nPEOPLE IN SHOT: 수리영, 민숙\nCAMERA: The camera follows the flow into the narrow entrance area and holds side-on at shoulder height, about one meter away, lens parallel to the wall to compress mother and daughter together. The tighter profile frame favors the contact point: Suriyeong’s face and nose press into Minsuk’s shoulder at center-left, while Minsuk’s softened profile and apron edge sit center-right.\nFRAMING: close\nLIGHTING: Soft domestic amber from the room mixes with cool daylight spill near the entrance, giving the affectionate pause a muted warmth under thriller-gray shadows.\nPERSON: {\"angle\": \"profile_right\", \"body_pose\": \"nose buried in shoulder\", \"character\": \"수리영\", \"gaze_direction_kind\": \"closed_eyes\", \"gaze_target_id\": null, \"subject_state\": \"alive\"}\nPERSON: {\"angle\": \"profile_left\", \"body_pose\": \"shoulder softened, smiling\", \"character\": \"민숙\", \"gaze_direction_kind\": \"looks_at_character\", \"gaze_target_id\": \"C01\", \"subject_state\": \"alive\"}\n\nThe required composition, extracted from a draft of this shot:\n{\"camera\": {\"angle\": \"Side-on hallway view, looking slightly down the corridor axis but with subjects in right profile/three-quarter back profile. Camera is positioned just outside or inside a narrow doorway/hall, parallel to the left window wall and right wall, creating strong vertical framing lines.\", \"height\": \"Approximately adult chest-to-shoulder height, around the woman’s head/upper torso level and slightly below the man’s eye line. The camera is not low; verticals remain mostly upright.\", \"lens_feel\": \"Moderately wide/anamorphic-feeling frame with a broad horizontal field of view. Mild perspective depth down the corridor; background is somewhat soft but readable. Naturalistic shallow-to-medium depth of field, with subjects sharper than the far room.\"}, \"empty_background_requirements\": \"The empty plate must preserve the same narrow corridor/doorway composition with no people: left beige wall with light switch near lower left, tall frosted/bright window or glass door with blue-gray metal frame, central beige wall strip, dark brown wooden door jambs and open door panels with visible brass hinges, the receding corridor/room beyond, the gray back wall, warm curtains and bright window glow in the far background, right beige wall and right dark wooden door frame where the man currently stands. It must include the portions hidden behind the subjects: the right doorway recess, wall/floor continuation behind their bodies, lower corridor floor, the back-room curtain/window area, and the right wall/jamb surfaces so the two figures can be composited back with correct edge contact and shadows. Lighting should match: cool daylight from the left window, warmer background glow, and soft shadows cast toward the right/interior surfaces.\", \"horizon_and_depth\": \"Horizon/eye level sits around the man’s lower face/neck to the woman’s forehead region, roughly upper-middle of frame. Depth is organized by vertical architectural planes: near left wall/window plane in foreground, central doorway/jamb plane, subjects in the near-right doorway plane, and a receding corridor/room behind them. The far background has a gray wall and warm curtained window, softened by distance. Strong verticals dominate; corridor lines and door edges create a tunnel-like depth toward the center background.\", \"major_surfaces\": [\"Left foreground beige plaster wall with a light switch low near bottom-left.\", \"Tall bright frosted glass/window or balcony door along the left third, framed by blue-gray metal mullions.\", \"Narrow central beige wall strip between window and inner doorway.\", \"Dark brown wooden door frames/jambs forming vertical borders around the corridor opening; visible brass hinges on both sides.\", \"Interior corridor/room beyond, with beige ceiling, dark gray rear wall, and warm curtains around a bright window.\", \"Right foreground beige wall, very close to camera/subjects, forming a tight passage.\", \"Right dark wooden door frame/recess directly behind and beside the man.\", \"Partly visible floor in the distant corridor, mostly occluded by the subjects.\"], \"occlusion_order\": \"From front to back: left/right foreground walls and door jamb edges frame the scene; the two subjects occupy the dominant near-right foreground/midground. The woman is slightly in front of and overlapping the man, her face and upper body occluding his chest/shoulder area where she leans in. The man’s torso and head occlude the right doorway frame and right wall. Both subjects occlude the corridor floor and portions of the distant curtains/window. Behind them are the open door frames, then the receding hallway/room with gray back wall and curtains. The left window/wall plane remains unobstructed by people.\", \"subjects\": [{\"depth_plane\": \"Near-right foreground/midground, just inside the doorway plane; slightly closer to camera than the man at their point of overlap.\", \"label\": \"woman\", \"pose\": \"Standing in left-facing profile, leaning forward and upward into the man’s right shoulder/upper arm area. Eyes closed, head tilted toward him, mouth/face pressed near his sleeve/shoulder as if kissing or resting against him. Hair tied back in a low ponytail; shoulders sloped forward.\", \"screen_zone\": \"Lower center-right, occupying roughly x 38–62% and y 31–96%; her head is just left of the man’s chest/face, body descends toward the bottom edge.\", \"support_contact\": \"Standing on the unseen floor; feet are out of frame. Upper face/mouth makes contact with the man’s right shoulder/upper arm. No visible hand support; posture supported by her legs and lean into him.\"}, {\"depth_plane\": \"Near-right foreground/midground, pressed close to the right doorway/wall plane; slightly behind the woman where she overlaps his torso.\", \"label\": \"man\", \"pose\": \"Standing upright in right half of frame, body turned mostly away from camera with back/shoulder visible, head in left-facing profile looking down toward the woman with a faint smile. Arms appear held behind his back or close to his sides; floral apron visible around waist/lower back.\", \"screen_zone\": \"Right third to right-center, occupying roughly x 58–86% and y 10–100%; head near upper-right, torso fills the right side.\", \"support_contact\": \"Standing on the unseen floor; back/right side close to or lightly against the right door frame/wall recess. Shoulder/upper arm is contacted by the woman’s face. Feet out of frame.\"}]}\n\nThe plate must contain NO people, no figures, and no silhouettes —\njust the environment, composed so the described people could be\ninserted later.\nAbsolutely no text, letters, circles, arrows or diagram marks."}
{"ts": "2026-07-04 18:02:00", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "S5_Shot10_final_B", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/indoor/S5_Shot10/bg_B.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/b0ad5c18-5140-4022-a2b0-805de0e5a385/images/0d30302a-51c8-4ac9-98e2-6cd9180512bf/reference/0b01920a-4b59-4e19-ba35-e6e033cbd6b4.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/b0ad5c18-5140-4022-a2b0-805de0e5a385/images/0d30302a-51c8-4ac9-98e2-6cd9180512bf/reference/d6b8ea09-1c0a-453c-93fa-be38348df5a6.png"], "ref_labels": ["ENVIRONMENT BACKGROUND reference — the empty environment: its space, architecture, materials and lighting are the ground truth. It contains NO people. Use it as the shot's background, matching its space and lighting exactly.", "IDENTITY REFERENCE photo of the person referred to as: 수리영", "IDENTITY REFERENCE photo of the person referred to as: 민숙"], "attempt": 1, "dur_s": 21.2, "bytes": 2648677, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/indoor/S5_Shot10/final_B.png", "prompt": "Create the FINAL photorealistic cinematic film still of this shot.\n\nSHOT CONTENT: 수리영이 민숙의 어깨에 코를 묻고 멈춘 찰나의 측면.\nPEOPLE IN SHOT: 수리영, 민숙\nCAMERA: The camera follows the flow into the narrow entrance area and holds side-on at shoulder height, about one meter away, lens parallel to the wall to compress mother and daughter together. The tighter profile frame favors the contact point: Suriyeong’s face and nose press into Minsuk’s shoulder at center-left, while Minsuk’s softened profile and apron edge sit center-right.\nFRAMING: close\nLIGHTING: Soft domestic amber from the room mixes with cool daylight spill near the entrance, giving the affectionate pause a muted warmth under thriller-gray shadows.\nPERSON: {\"angle\": \"profile_right\", \"body_pose\": \"nose buried in shoulder\", \"character\": \"수리영\", \"gaze_direction_kind\": \"closed_eyes\", \"gaze_target_id\": null, \"subject_state\": \"alive\"}\nPERSON: {\"angle\": \"profile_left\", \"body_pose\": \"shoulder softened, smiling\", \"character\": \"민숙\", \"gaze_direction_kind\": \"looks_at_character\", \"gaze_target_id\": \"C01\", \"subject_state\": \"alive\"}\n\nStage the shot inside the attached environment background — keep its\narchitecture, materials and lighting exactly. Every person is a REAL\nhuman being, photorealistic, matching their identity reference photo\n(face, hair, build). Natural film lighting and grain consistent with\nthe environment.\nAbsolutely no text, letters, circles, arrows, diagram marks, and no\nmannequin-like or statue-like appearance on any person."}
{"ts": "2026-07-04 18:03:01", "kind": "img", "engine": "gpt-image-2", "mode": "edit", "tag": "S10_Shot6_contour", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/outdoor/S10_Shot6/temp.png"], "size": "1536x864", "attempt": 1, "dur_s": 145.2, "bytes": 1082400, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/outdoor/S10_Shot6/contour.png", "prompt": "Convert the attached photograph into a clean LINE-ART CONTOUR drawing: thin dark ink lines on a plain white background. Preserve the EXACT composition, framing, perspective and proportions — trace the outline of every structure, surface edge and human figure as it appears. No shading, no colour fills, no photo texture, no text, no added or removed objects."}
{"ts": "2026-07-04 18:04:16", "kind": "img", "engine": "gpt-image-2", "mode": "edit", "tag": "S5_Shot10_contour", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/indoor/S5_Shot10/temp.png"], "size": "1536x864", "attempt": 1, "dur_s": 136.2, "bytes": 1174080, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/indoor/S5_Shot10/contour.png", "prompt": "Convert the attached photograph into a clean LINE-ART CONTOUR drawing: thin dark ink lines on a plain white background. Preserve the EXACT composition, framing, perspective and proportions — trace the outline of every structure, surface edge and human figure as it appears. No shading, no colour fills, no photo texture, no text, no added or removed objects."}
{"ts": "2026-07-04 18:05:52", "kind": "img", "engine": "gpt-image-2", "mode": "edit", "tag": "S10_Shot6_bgC", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/outdoor/S10_Shot6/contour.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/outdoor/S10_Shot6/plate.png"], "size": "1536x864", "attempt": 1, "dur_s": 170.9, "bytes": 1880469, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/outdoor/S10_Shot6/bg_C.png", "prompt": "Create the photorealistic EMPTY background plate for one film shot:\nthe environment exactly as the environment reference shows it (same\narchitecture, materials, lighting), seen from the shot's camera.\n\nSHOT CONTENT: 방 안 창문에 비친 그림자, 굽은 형태의 인영이 다른 사람 형상 위에 포개져 멈춘 찰나의 실루엣.\nCAMERA: Inside the room, the camera holds static near the side wall at shoulder height, angled so only the window glass carries the action as a reflection and the direct attack is never seen. The reflected silhouettes sit within the window frame: a bent 인영 in the upper-middle area lowers its head toward the shoulder of 사람, whose body buckles beneath it in a distorted, wavering mid-action shape.\nFRAMING: medium\nLIGHTING: The reflected action is almost monochrome blue-black, broken by a weak amber practical smear and restrained crimson-brown shadow at the shoulder line.\nPERSON: {\"angle\": \"three_quarter_left\", \"body_pose\": \"hunched over shoulder\", \"character\": \"인영\", \"gaze_direction_kind\": \"looks_at_character\", \"gaze_target_id\": \"C20\", \"subject_state\": \"alive\"}\nPERSON: {\"angle\": \"profile_left\", \"body_pose\": \"buckling under lunge\", \"character\": \"사람\", \"gaze_direction_kind\": \"off_screen\", \"gaze_target_id\": null, \"subject_state\": \"severely_injured\"}\nSPATIAL CONSTRAINTS: [{\"depth_plane\": \"midground\", \"gesture_action\": \"none\", \"gesture_target_label\": \"\", \"label\": \"window reflection containing silhouettes\", \"screen_zone\": \"middle_center\", \"target_id\": \"\", \"target_kind\": \"background\"}]\n\nFollow the attached line contour's composition EXACTLY —\nsame framing, perspective and structure placement.\n\nThe plate must contain NO people, no figures, and no silhouettes —\njust the environment, composed so the described people could be\ninserted later.\nAbsolutely no text, letters, circles, arrows or diagram marks."}
{"ts": "2026-07-04 18:06:09", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "S10_Shot6_final_C", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/outdoor/S10_Shot6/bg_C.png"], "ref_labels": ["ENVIRONMENT BACKGROUND reference — the empty environment: its space, architecture, materials and lighting are the ground truth. It contains NO people. Use it as the shot's background, matching its space and lighting exactly."], "attempt": 1, "dur_s": 17.3, "bytes": 2404092, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/outdoor/S10_Shot6/final_C.png", "prompt": "Create the FINAL photorealistic cinematic film still of this shot.\n\nSHOT CONTENT: 방 안 창문에 비친 그림자, 굽은 형태의 인영이 다른 사람 형상 위에 포개져 멈춘 찰나의 실루엣.\nCAMERA: Inside the room, the camera holds static near the side wall at shoulder height, angled so only the window glass carries the action as a reflection and the direct attack is never seen. The reflected silhouettes sit within the window frame: a bent 인영 in the upper-middle area lowers its head toward the shoulder of 사람, whose body buckles beneath it in a distorted, wavering mid-action shape.\nFRAMING: medium\nLIGHTING: The reflected action is almost monochrome blue-black, broken by a weak amber practical smear and restrained crimson-brown shadow at the shoulder line.\nPERSON: {\"angle\": \"three_quarter_left\", \"body_pose\": \"hunched over shoulder\", \"character\": \"인영\", \"gaze_direction_kind\": \"looks_at_character\", \"gaze_target_id\": \"C20\", \"subject_state\": \"alive\"}\nPERSON: {\"angle\": \"profile_left\", \"body_pose\": \"buckling under lunge\", \"character\": \"사람\", \"gaze_direction_kind\": \"off_screen\", \"gaze_target_id\": null, \"subject_state\": \"severely_injured\"}\nSPATIAL CONSTRAINTS: [{\"depth_plane\": \"midground\", \"gesture_action\": \"none\", \"gesture_target_label\": \"\", \"label\": \"window reflection containing silhouettes\", \"screen_zone\": \"middle_center\", \"target_id\": \"\", \"target_kind\": \"background\"}]\n\nStage the shot inside the attached environment background — keep its\narchitecture, materials and lighting exactly. Every person is a REAL\nhuman being, photorealistic, matching their identity reference photo\n(face, hair, build). Natural film lighting and grain consistent with\nthe environment.\nAbsolutely no text, letters, circles, arrows, diagram marks, and no\nmannequin-like or statue-like appearance on any person."}
{"ts": "2026-07-04 18:06:09", "kind": "stage", "stage": "s3_outdoor", "done": "paths", "root": "B", "subset": ["S4_Shot1", "S11_Shot3", "S10_Shot6"]}
{"ts": "2026-07-04 18:06:24", "kind": "img", "engine": "gpt-image-2", "mode": "edit", "tag": "S5_Shot10_bgC", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/indoor/S5_Shot10/contour.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/indoor/top_layers/TL2_living_kitchen_entry.png"], "size": "1536x864", "attempt": 1, "dur_s": 128.1, "bytes": 1662764, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/indoor/S5_Shot10/bg_C.png", "prompt": "Create the photorealistic EMPTY background plate for one film shot:\nthe environment exactly as the environment reference shows it (same\narchitecture, materials, lighting), seen from the shot's camera.\n\nSHOT CONTENT: 수리영이 민숙의 어깨에 코를 묻고 멈춘 찰나의 측면.\nPEOPLE IN SHOT: 수리영, 민숙\nCAMERA: The camera follows the flow into the narrow entrance area and holds side-on at shoulder height, about one meter away, lens parallel to the wall to compress mother and daughter together. The tighter profile frame favors the contact point: Suriyeong’s face and nose press into Minsuk’s shoulder at center-left, while Minsuk’s softened profile and apron edge sit center-right.\nFRAMING: close\nLIGHTING: Soft domestic amber from the room mixes with cool daylight spill near the entrance, giving the affectionate pause a muted warmth under thriller-gray shadows.\nPERSON: {\"angle\": \"profile_right\", \"body_pose\": \"nose buried in shoulder\", \"character\": \"수리영\", \"gaze_direction_kind\": \"closed_eyes\", \"gaze_target_id\": null, \"subject_state\": \"alive\"}\nPERSON: {\"angle\": \"profile_left\", \"body_pose\": \"shoulder softened, smiling\", \"character\": \"민숙\", \"gaze_direction_kind\": \"looks_at_character\", \"gaze_target_id\": \"C01\", \"subject_state\": \"alive\"}\n\nFollow the attached line contour's composition EXACTLY —\nsame framing, perspective and structure placement.\n\nThe plate must contain NO people, no figures, and no silhouettes —\njust the environment, composed so the described people could be\ninserted later.\nAbsolutely no text, letters, circles, arrows or diagram marks."}
{"ts": "2026-07-04 18:06:47", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "S5_Shot10_final_C", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/indoor/S5_Shot10/bg_C.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/b0ad5c18-5140-4022-a2b0-805de0e5a385/images/0d30302a-51c8-4ac9-98e2-6cd9180512bf/reference/0b01920a-4b59-4e19-ba35-e6e033cbd6b4.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/b0ad5c18-5140-4022-a2b0-805de0e5a385/images/0d30302a-51c8-4ac9-98e2-6cd9180512bf/reference/d6b8ea09-1c0a-453c-93fa-be38348df5a6.png"], "ref_labels": ["ENVIRONMENT BACKGROUND reference — the empty environment: its space, architecture, materials and lighting are the ground truth. It contains NO people. Use it as the shot's background, matching its space and lighting exactly.", "IDENTITY REFERENCE photo of the person referred to as: 수리영", "IDENTITY REFERENCE photo of the person referred to as: 민숙"], "attempt": 1, "dur_s": 23.0, "bytes": 2276760, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/indoor/S5_Shot10/final_C.png", "prompt": "Create the FINAL photorealistic cinematic film still of this shot.\n\nSHOT CONTENT: 수리영이 민숙의 어깨에 코를 묻고 멈춘 찰나의 측면.\nPEOPLE IN SHOT: 수리영, 민숙\nCAMERA: The camera follows the flow into the narrow entrance area and holds side-on at shoulder height, about one meter away, lens parallel to the wall to compress mother and daughter together. The tighter profile frame favors the contact point: Suriyeong’s face and nose press into Minsuk’s shoulder at center-left, while Minsuk’s softened profile and apron edge sit center-right.\nFRAMING: close\nLIGHTING: Soft domestic amber from the room mixes with cool daylight spill near the entrance, giving the affectionate pause a muted warmth under thriller-gray shadows.\nPERSON: {\"angle\": \"profile_right\", \"body_pose\": \"nose buried in shoulder\", \"character\": \"수리영\", \"gaze_direction_kind\": \"closed_eyes\", \"gaze_target_id\": null, \"subject_state\": \"alive\"}\nPERSON: {\"angle\": \"profile_left\", \"body_pose\": \"shoulder softened, smiling\", \"character\": \"민숙\", \"gaze_direction_kind\": \"looks_at_character\", \"gaze_target_id\": \"C01\", \"subject_state\": \"alive\"}\n\nStage the shot inside the attached environment background — keep its\narchitecture, materials and lighting exactly. Every person is a REAL\nhuman being, photorealistic, matching their identity reference photo\n(face, hair, build). Natural film lighting and grain consistent with\nthe environment.\nAbsolutely no text, letters, circles, arrows, diagram marks, and no\nmannequin-like or statue-like appearance on any person."}
{"ts": "2026-07-04 18:06:47", "kind": "stage", "stage": "s2_indoor", "done": "paths", "subset": ["S14_Shot4", "S5_Shot3", "S5_Shot10"]}
{"ts": "2026-07-04 18:08:50", "kind": "img", "engine": "gpt-image-2", "mode": "edit", "tag": "S4_Shot1_plate_v2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/outdoor_v2/S4_Shot1/root_marked.png"], "size": "1536x864", "attempt": 1, "dur_s": 126.9, "bytes": 2396423, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/outdoor_v2/S4_Shot1/plate.png", "prompt": "The attached image is a TOP-DOWN aerial site sketch of one real place,\nwith a green camera icon and view-cone marking ONE camera position and\nits viewing direction. Circled letters mark site elements; red lettered\ncircles (if any) mark where people stand — but render NO people.\n\nDraw the PHOTOREALISTIC outdoor view that THAT camera sees from its\nmarked position at eye level, looking along the view-cone: the\nstructures, ground surfaces, openings and approaches the sketch places\nin front of that camera, at real-world human scale. This is an EMPTY\nbackground plate: absolutely no people, no text, no letters, no\ncircles, no arrows, no sketch lines — pure photographic realism.\n\nWHAT THIS PLACE LOOKS LIKE (production data):\n- 인천 변두리 낡은 빌라 옥탑방 옥상·현관 앞 외부: 낡은 다세대 빌라 꼭대기에 위치한 야외 공간. 물탱크, 흔들리는 빨랫줄, 평상 위 약초 건조 흔적, 낡은 철문 현관이 있다. (특징: 낡은 시멘트 바닥; 물탱크; 바람에 날리는 빨랫줄; 평상과 널려 있는 말린 약초(석창포); 전단지가 끼워진 철문 현관)\n\nSite orientation notes:\nUse a direct overhead plan. Keep the rooftop room as the central roof mass, with the iron-door side facing the terrace landing, exterior stair, and alley approach. Show only the roof outline and openings for the interior: no interior floor plan, furniture, blood, wall marks, bed, table, TV, sink, mirror, or bathroom layout. Interior shots are anchored only by the front door, exterior windows, and the abstract inner doorway markers.\n\nCAMERA: An omniscient overhead camera holds from about forty-five meters above the old villa, centered on the rooftop room while still keeping the surrounding neighborhood readable. The rooftop structure sits in the middle of the frame like a small exposed shrine, boxed in by worn roofs, narrow alleys, and faded concrete blocks.\nFRAMING: wide\nLIGHTING: Daylight is overcast and desaturated, with blue-gray concrete shadows and faint sickly amber window stains breaking the neighborhood’s cold isolation.\nSPATIAL CONSTRAINTS: [{\"depth_plane\": \"midground\", \"gesture_action\": \"none\", \"gesture_target_label\": \"\", \"label\": \"old rooftop room\", \"screen_zone\": \"middle_center\", \"target_id\": \"\", \"target_kind\": \"background\"}]\nCAMERA HEIGHT CONTRACT: the camera stands ON the ground INSIDE the scene at human eye height (about 1.6 m). Sky or horizon must be visible where the view allows it. Do NOT render an overhead, elevated, aerial or drone view — this is a ground-level cinematic shot."}
{"ts": "2026-07-04 18:11:20", "kind": "img", "engine": "gpt-image-2", "mode": "edit", "tag": "S11_Shot3_plate_v2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/outdoor_v2/S11_Shot3/root_marked.png"], "size": "1536x864", "attempt": 1, "dur_s": 149.7, "bytes": 1805561, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/outdoor_v2/S11_Shot3/plate.png", "prompt": "The attached image is a TOP-DOWN aerial site sketch of one real place,\nwith a green camera icon and view-cone marking ONE camera position and\nits viewing direction. Circled letters mark site elements; red lettered\ncircles (if any) mark where people stand — but render NO people.\n\nDraw the PHOTOREALISTIC outdoor view that THAT camera sees from its\nmarked position at eye level, looking along the view-cone: the\nstructures, ground surfaces, openings and approaches the sketch places\nin front of that camera, at real-world human scale. This is an EMPTY\nbackground plate: absolutely no people, no text, no letters, no\ncircles, no arrows, no sketch lines — pure photographic realism.\n\nWHAT THIS PLACE LOOKS LIKE (production data):\n- 옥탑방 외곽 골목·시멘트 계단: 다세대 빌라 마당의 후미진 구석과 옥탑방으로 올라가는 가파르고 낡은 시멘트 계단. (특징: 다세대 빌라 입구 마당; 후미진 구석 공간; 낡고 가파른 시멘트 계단)\n\nSite orientation notes:\nUse a direct overhead plan. Keep the rooftop room as the central roof mass, with the iron-door side facing the terrace landing, exterior stair, and alley approach. Show only the roof outline and openings for the interior: no interior floor plan, furniture, blood, wall marks, bed, table, TV, sink, mirror, or bathroom layout. Interior shots are anchored only by the front door, exterior windows, and the abstract inner doorway markers.\n\nCAMERA: Midway up the narrow concrete staircase, the camera holds static very close to 수리영 from the front-left at face height, tightening into an intense close-up that leaves only a sliver of stair texture behind her. Her nose wrinkles hard at the sudden smell, eyes lifting toward the unseen rooftop landing while her halted climb compresses her shoulders into the frame.\nFRAMING: close\nLIGHTING: A cold blue-gray stairwell wash sculpts her face while a faint amber rooftop spill catches the bridge of her nose, making the smell reaction feel physical and ominous.\nPERSON: {\"angle\": \"three_quarter_left\", \"body_pose\": \"halted mid-stair climb\", \"character\": \"수리영\", \"gaze_direction_kind\": \"up\", \"gaze_target_id\": null, \"subject_state\": \"alive\"}\nCAMERA HEIGHT CONTRACT: the camera stands ON the ground INSIDE the scene at human eye height (about 1.6 m). Sky or horizon must be visible where the view allows it. Do NOT render an overhead, elevated, aerial or drone view — this is a ground-level cinematic shot."}
{"ts": "2026-07-04 18:13:38", "kind": "img", "engine": "gpt-image-2", "mode": "edit", "tag": "S10_Shot6_plate_v2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/outdoor_v2/S10_Shot6/root_marked.png"], "size": "1536x864", "attempt": 1, "dur_s": 138.0, "bytes": 1998100, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/outdoor_v2/S10_Shot6/plate.png", "prompt": "The attached image is a TOP-DOWN aerial site sketch of one real place,\nwith a green camera icon and view-cone marking ONE camera position and\nits viewing direction. Circled letters mark site elements; red lettered\ncircles (if any) mark where people stand — but render NO people.\n\nDraw the PHOTOREALISTIC outdoor view that THAT camera sees from its\nmarked position at eye level, looking along the view-cone: the\nstructures, ground surfaces, openings and approaches the sketch places\nin front of that camera, at real-world human scale. This is an EMPTY\nbackground plate: absolutely no people, no text, no letters, no\ncircles, no arrows, no sketch lines — pure photographic realism.\n\nWHAT THIS PLACE LOOKS LIKE (production data):\n- 인천 변두리 낡은 빌라 옥탑방 옥상·현관 앞 외부: 낡은 다세대 빌라 꼭대기에 위치한 야외 공간. 물탱크, 흔들리는 빨랫줄, 평상 위 약초 건조 흔적, 낡은 철문 현관이 있다. (특징: 낡은 시멘트 바닥; 물탱크; 바람에 날리는 빨랫줄; 평상과 널려 있는 말린 약초(석창포); 전단지가 끼워진 철문 현관)\n\nSite orientation notes:\nUse a direct overhead plan. Keep the rooftop room as the central roof mass, with the iron-door side facing the terrace landing, exterior stair, and alley approach. Show only the roof outline and openings for the interior: no interior floor plan, furniture, blood, wall marks, bed, table, TV, sink, mirror, or bathroom layout. Interior shots are anchored only by the front door, exterior windows, and the abstract inner doorway markers.\n\nCAMERA: Inside the room, the camera holds static near the side wall at shoulder height, angled so only the window glass carries the action as a reflection and the direct attack is never seen. The reflected silhouettes sit within the window frame: a bent 인영 in the upper-middle area lowers its head toward the shoulder of 사람, whose body buckles beneath it in a distorted, wavering mid-action shape.\nFRAMING: medium\nLIGHTING: The reflected action is almost monochrome blue-black, broken by a weak amber practical smear and restrained crimson-brown shadow at the shoulder line.\nPERSON: {\"angle\": \"three_quarter_left\", \"body_pose\": \"hunched over shoulder\", \"character\": \"인영\", \"gaze_direction_kind\": \"looks_at_character\", \"gaze_target_id\": \"C20\", \"subject_state\": \"alive\"}\nPERSON: {\"angle\": \"profile_left\", \"body_pose\": \"buckling under lunge\", \"character\": \"사람\", \"gaze_direction_kind\": \"off_screen\", \"gaze_target_id\": null, \"subject_state\": \"severely_injured\"}\nSPATIAL CONSTRAINTS: [{\"depth_plane\": \"midground\", \"gesture_action\": \"none\", \"gesture_target_label\": \"\", \"label\": \"window reflection containing silhouettes\", \"screen_zone\": \"middle_center\", \"target_id\": \"\", \"target_kind\": \"background\"}]\nCAMERA HEIGHT CONTRACT: the camera stands ON the ground INSIDE the scene at human eye height (about 1.6 m). Sky or horizon must be visible where the view allows it. Do NOT render an overhead, elevated, aerial or drone view — this is a ground-level cinematic shot."}
{"ts": "2026-07-04 18:13:38", "kind": "stage", "stage": "s3_outdoor", "done": "plate", "root": "B", "variant": "v2", "subset": ["S4_Shot1", "S11_Shot3", "S10_Shot6"]}
{"ts": "2026-07-04 18:13:58", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "S4_Shot1_temp_v2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/outdoor_v2/S4_Shot1/plate.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/outdoor_v2/S4_Shot1/root_marked.png"], "ref_labels": ["ENVIRONMENT BACKGROUND reference — the empty environment: its space, architecture, materials and lighting are the ground truth. It contains NO people.", "CAMERA AND PLACEMENT DIAGRAM (top-down control image) — use it ONLY to understand where the camera stands, what it looks at, and where each person is. NEVER copy its drawing style, lines, circles, letters or any marks into the output."], "attempt": 1, "dur_s": 18.2, "bytes": 3238044, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/outdoor_v2/S4_Shot1/temp.png", "prompt": "Create a photorealistic cinematic still that stages this shot inside the\ngiven environment. This is a COMPOSITION DRAFT: the people are ordinary\nreal humans whose identity does not matter — focus on a strong, natural\ncomposition that matches the camera and placement exactly.\n\nSHOT CONTENT: 인천 변두리의 낡고 오래된 빌라 옥탑방 외부 전경이 한눈에 내려다보이는 부감 구도.\nCAMERA: An omniscient overhead camera holds from about forty-five meters above the old villa, centered on the rooftop room while still keeping the surrounding neighborhood readable. The rooftop structure sits in the middle of the frame like a small exposed shrine, boxed in by worn roofs, narrow alleys, and faded concrete blocks.\nFRAMING: wide\nLIGHTING: Daylight is overcast and desaturated, with blue-gray concrete shadows and faint sickly amber window stains breaking the neighborhood’s cold isolation.\nSPATIAL CONSTRAINTS: [{\"depth_plane\": \"midground\", \"gesture_action\": \"none\", \"gesture_target_label\": \"\", \"label\": \"old rooftop room\", \"screen_zone\": \"middle_center\", \"target_id\": \"\", \"target_kind\": \"background\"}]\n\nPEOPLE COUNT CONTRACT: this shot contains NO people at all — the frame must be completely unpopulated, with no figures anywhere.\nAny circled letters, numbers or legend text on the control diagram are SITE MARKERS only — they are never people and must not become people or objects in the output.\nCAMERA HEIGHT CONTRACT: the camera stands ON the ground INSIDE the scene at human eye height (about 1.6 m). Sky or horizon must be visible where the view allows it. Do NOT render an overhead, elevated, aerial or drone view — this is a ground-level cinematic shot.\n\nKeep the environment's architecture, materials and lighting from the\nenvironment reference. Place the camera and every person exactly as the\ncontrol diagram indicates. Absolutely no text, letters, circles, arrows\nor diagram marks in the output."}
{"ts": "2026-07-04 18:14:15", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "S4_Shot1_final_A_v2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/outdoor_v2/S4_Shot1/plate.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/outdoor_v2/S4_Shot1/root_marked.png"], "ref_labels": ["ENVIRONMENT BACKGROUND reference — the empty environment: its space, architecture, materials and lighting are the ground truth. It contains NO people. Use it as the shot's background, matching its space and lighting exactly.", "CAMERA AND PLACEMENT DIAGRAM (top-down control image) — use it ONLY to understand where the camera stands, what it looks at, and where each person is. NEVER copy its drawing style, lines, circles, letters or any marks into the output."], "attempt": 1, "dur_s": 17.4, "bytes": 3018121, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/outdoor_v2/S4_Shot1/final_A.png", "prompt": "Create the FINAL photorealistic cinematic film still of this shot.\n\nSHOT CONTENT: 인천 변두리의 낡고 오래된 빌라 옥탑방 외부 전경이 한눈에 내려다보이는 부감 구도.\nCAMERA: An omniscient overhead camera holds from about forty-five meters above the old villa, centered on the rooftop room while still keeping the surrounding neighborhood readable. The rooftop structure sits in the middle of the frame like a small exposed shrine, boxed in by worn roofs, narrow alleys, and faded concrete blocks.\nFRAMING: wide\nLIGHTING: Daylight is overcast and desaturated, with blue-gray concrete shadows and faint sickly amber window stains breaking the neighborhood’s cold isolation.\nSPATIAL CONSTRAINTS: [{\"depth_plane\": \"midground\", \"gesture_action\": \"none\", \"gesture_target_label\": \"\", \"label\": \"old rooftop room\", \"screen_zone\": \"middle_center\", \"target_id\": \"\", \"target_kind\": \"background\"}]\n\nPEOPLE COUNT CONTRACT: this shot contains NO people at all — the frame must be completely unpopulated, with no figures anywhere.\nAny circled letters, numbers or legend text on the control diagram are SITE MARKERS only — they are never people and must not become people or objects in the output.\nCAMERA HEIGHT CONTRACT: the camera stands ON the ground INSIDE the scene at human eye height (about 1.6 m). Sky or horizon must be visible where the view allows it. Do NOT render an overhead, elevated, aerial or drone view — this is a ground-level cinematic shot.\n\nStage the shot inside the attached environment background — keep its\narchitecture, materials and lighting exactly. Every person is a REAL\nhuman being, photorealistic, matching their identity reference photo\n(face, hair, build). Natural film lighting and grain consistent with\nthe environment.\nAbsolutely no text, letters, circles, arrows, diagram marks, and no\nmannequin-like or statue-like appearance on any person."}
{"ts": "2026-07-04 18:14:33", "kind": "llm", "step": "forest_vlm_comp", "model": "gpt", "dur_s": 17.9}
{"ts": "2026-07-04 18:16:46", "kind": "img", "engine": "gpt-image-2", "mode": "edit", "tag": "S4_Shot1_bgB_v2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/outdoor_v2/S4_Shot1/plate.png"], "size": "1536x864", "attempt": 1, "dur_s": 132.3, "bytes": 2532063, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/outdoor_v2/S4_Shot1/bg_B.png", "prompt": "Create the photorealistic EMPTY background plate for one film shot:\nthe environment exactly as the environment reference shows it (same\narchitecture, materials, lighting), seen from the shot's camera.\n\nSHOT CONTENT: 인천 변두리의 낡고 오래된 빌라 옥탑방 외부 전경이 한눈에 내려다보이는 부감 구도.\nCAMERA: An omniscient overhead camera holds from about forty-five meters above the old villa, centered on the rooftop room while still keeping the surrounding neighborhood readable. The rooftop structure sits in the middle of the frame like a small exposed shrine, boxed in by worn roofs, narrow alleys, and faded concrete blocks.\nFRAMING: wide\nLIGHTING: Daylight is overcast and desaturated, with blue-gray concrete shadows and faint sickly amber window stains breaking the neighborhood’s cold isolation.\nSPATIAL CONSTRAINTS: [{\"depth_plane\": \"midground\", \"gesture_action\": \"none\", \"gesture_target_label\": \"\", \"label\": \"old rooftop room\", \"screen_zone\": \"middle_center\", \"target_id\": \"\", \"target_kind\": \"background\"}]\n\nThe required composition, extracted from a draft of this shot:\n{\"camera\": {\"angle\": \"High oblique establishing view looking slightly downward across a dense rooftop neighborhood; camera faces roughly into the roofscape rather than straight down, with strong receding diagonals from parapets and alleys.\", \"height\": \"Elevated, likely from an upper-floor window or neighboring rooftop, several meters above the foreground courtyard and above the central roof deck; eye line is near the upper portions of midground rooftops.\", \"lens_feel\": \"Wide panoramic lens feel with broad horizontal field of view; mild wide-angle spatial expansion, deep focus, little subject isolation, extensive architectural detail from foreground to skyline.\"}, \"empty_background_requirements\": \"The empty plate should be the same overcast rooftop panorama with no people added or removed. It must include the central flat-roof concrete hut with open metal door, stairs and rust-colored handrails in the lower center, surrounding parapet walls, the foreground concrete courtyard, blue car at lower left, brick building face at far left, right-side yard with clothesline, blue water tank, wooden platform/bench with ropes/netting, shrubs/trees, all rooftop objects, stains, puddle marks, vents, railings, windows, distant apartment towers, hazy hills, and gray cloudy sky. If people were to be inserted later, the plate must preserve unobstructed roof/floor contact areas, parapet edges, and cast/contact shadow zones on the concrete surfaces.\", \"horizon_and_depth\": \"Horizon is high in the frame, softened by haze and partly hidden by distant apartment blocks and low hills. Depth is layered: immediate foreground courtyard and low parapet at bottom; left foreground brick facade and parked car; central midground rooftop hut and stairs; multiple receding concrete roofs and parapets; distant high-rise skyline under cloudy sky. Atmospheric haze reduces contrast toward the background, creating clear depth separation.\", \"major_surfaces\": [\"Large gray concrete rooftop/courtyard floors with weather staining, cracks, damp patches, and scattered weeds.\", \"Low concrete parapet walls forming terraces, alleys, and roof edges throughout the frame.\", \"Central flat-roofed concrete utility/room structure with peeling exterior, open dark doorway, yellow-lit/amber window panels, and roof slab above.\", \"Brick apartment/building facades on far left and right, with dark-framed windows and drain pipes.\", \"Stair flight and landing in lower center with rusted metal railings leading up to the central structure.\", \"Right-side service yard surface with clothesline, blue cylindrical water tank, shrubs, and wooden platform/bench.\", \"Distant apartment towers and mid-rise buildings forming the skyline.\", \"Cloudy blue-gray sky occupying the upper band of the image.\"], \"occlusion_order\": \"Nearest occluders are the bottom parapet edge, lower-right partial vertical structure, and foreground courtyard elements. The stair railings and central parapet overlap the central building base. The central rooftop hut occludes portions of the midground roofs behind it. Left brick building and right brick building frame and occlude side background structures. Midground parapets and rooftop volumes overlap one another in a stepped sequence before the distant high-rises, which sit behind all rooftop architecture. No human subjects are visible.\", \"subjects\": []}\n\nThe plate must contain NO people, no figures, and no silhouettes —\njust the environment, composed so the described people could be\ninserted later.\nPEOPLE COUNT CONTRACT: this shot contains NO people at all — the frame must be completely unpopulated, with no figures anywhere.\nAny circled letters, numbers or legend text on the control diagram are SITE MARKERS only — they are never people and must not become people or objects in the output.\nCAMERA HEIGHT CONTRACT: the camera stands ON the ground INSIDE the scene at human eye height (about 1.6 m). Sky or horizon must be visible where the view allows it. Do NOT render an overhead, elevated, aerial or drone view — this is a ground-level cinematic shot.\nAbsolutely no text, letters, circles, arrows or diagram marks."}
{"ts": "2026-07-04 18:17:01", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "S4_Shot1_final_B_v2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/outdoor_v2/S4_Shot1/bg_B.png"], "ref_labels": ["ENVIRONMENT BACKGROUND reference — the empty environment: its space, architecture, materials and lighting are the ground truth. It contains NO people. Use it as the shot's background, matching its space and lighting exactly."], "attempt": 1, "dur_s": 15.9, "bytes": 3146894, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/outdoor_v2/S4_Shot1/final_B.png", "prompt": "Create the FINAL photorealistic cinematic film still of this shot.\n\nSHOT CONTENT: 인천 변두리의 낡고 오래된 빌라 옥탑방 외부 전경이 한눈에 내려다보이는 부감 구도.\nCAMERA: An omniscient overhead camera holds from about forty-five meters above the old villa, centered on the rooftop room while still keeping the surrounding neighborhood readable. The rooftop structure sits in the middle of the frame like a small exposed shrine, boxed in by worn roofs, narrow alleys, and faded concrete blocks.\nFRAMING: wide\nLIGHTING: Daylight is overcast and desaturated, with blue-gray concrete shadows and faint sickly amber window stains breaking the neighborhood’s cold isolation.\nSPATIAL CONSTRAINTS: [{\"depth_plane\": \"midground\", \"gesture_action\": \"none\", \"gesture_target_label\": \"\", \"label\": \"old rooftop room\", \"screen_zone\": \"middle_center\", \"target_id\": \"\", \"target_kind\": \"background\"}]\n\nPEOPLE COUNT CONTRACT: this shot contains NO people at all — the frame must be completely unpopulated, with no figures anywhere.\nAny circled letters, numbers or legend text on the control diagram are SITE MARKERS only — they are never people and must not become people or objects in the output.\nCAMERA HEIGHT CONTRACT: the camera stands ON the ground INSIDE the scene at human eye height (about 1.6 m). Sky or horizon must be visible where the view allows it. Do NOT render an overhead, elevated, aerial or drone view — this is a ground-level cinematic shot.\n\nStage the shot inside the attached environment background — keep its\narchitecture, materials and lighting exactly. Every person is a REAL\nhuman being, photorealistic, matching their identity reference photo\n(face, hair, build). Natural film lighting and grain consistent with\nthe environment.\nAbsolutely no text, letters, circles, arrows, diagram marks, and no\nmannequin-like or statue-like appearance on any person."}
{"ts": "2026-07-04 18:19:18", "kind": "img", "engine": "gpt-image-2", "mode": "edit", "tag": "S4_Shot1_contour_v2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/outdoor_v2/S4_Shot1/temp.png"], "size": "1536x864", "attempt": 1, "dur_s": 136.6, "bytes": 1789586, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/outdoor_v2/S4_Shot1/contour.png", "prompt": "Convert the attached photograph into a clean LINE-ART CONTOUR drawing: thin dark ink lines on a plain white background. Preserve the EXACT composition, framing, perspective and proportions — trace the outline of every structure, surface edge and human figure as it appears. No shading, no colour fills, no photo texture, no text, no added or removed objects."}
{"ts": "2026-07-04 18:21:42", "kind": "img", "engine": "gpt-image-2", "mode": "edit", "tag": "S4_Shot1_bgC_v2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/outdoor_v2/S4_Shot1/contour.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/outdoor_v2/S4_Shot1/plate.png"], "size": "1536x864", "attempt": 1, "dur_s": 143.8, "bytes": 2557594, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/outdoor_v2/S4_Shot1/bg_C.png", "prompt": "Create the photorealistic EMPTY background plate for one film shot:\nthe environment exactly as the environment reference shows it (same\narchitecture, materials, lighting), seen from the shot's camera.\n\nSHOT CONTENT: 인천 변두리의 낡고 오래된 빌라 옥탑방 외부 전경이 한눈에 내려다보이는 부감 구도.\nCAMERA: An omniscient overhead camera holds from about forty-five meters above the old villa, centered on the rooftop room while still keeping the surrounding neighborhood readable. The rooftop structure sits in the middle of the frame like a small exposed shrine, boxed in by worn roofs, narrow alleys, and faded concrete blocks.\nFRAMING: wide\nLIGHTING: Daylight is overcast and desaturated, with blue-gray concrete shadows and faint sickly amber window stains breaking the neighborhood’s cold isolation.\nSPATIAL CONSTRAINTS: [{\"depth_plane\": \"midground\", \"gesture_action\": \"none\", \"gesture_target_label\": \"\", \"label\": \"old rooftop room\", \"screen_zone\": \"middle_center\", \"target_id\": \"\", \"target_kind\": \"background\"}]\n\nFollow the attached line contour's composition EXACTLY —\nsame framing, perspective and structure placement.\n\nThe plate must contain NO people, no figures, and no silhouettes —\njust the environment, composed so the described people could be\ninserted later.\nPEOPLE COUNT CONTRACT: this shot contains NO people at all — the frame must be completely unpopulated, with no figures anywhere.\nAny circled letters, numbers or legend text on the control diagram are SITE MARKERS only — they are never people and must not become people or objects in the output.\nCAMERA HEIGHT CONTRACT: the camera stands ON the ground INSIDE the scene at human eye height (about 1.6 m). Sky or horizon must be visible where the view allows it. Do NOT render an overhead, elevated, aerial or drone view — this is a ground-level cinematic shot.\nAbsolutely no text, letters, circles, arrows or diagram marks."}
{"ts": "2026-07-04 18:21:58", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "S4_Shot1_final_C_v2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/outdoor_v2/S4_Shot1/bg_C.png"], "ref_labels": ["ENVIRONMENT BACKGROUND reference — the empty environment: its space, architecture, materials and lighting are the ground truth. It contains NO people. Use it as the shot's background, matching its space and lighting exactly."], "attempt": 1, "dur_s": 16.5, "bytes": 3411657, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/outdoor_v2/S4_Shot1/final_C.png", "prompt": "Create the FINAL photorealistic cinematic film still of this shot.\n\nSHOT CONTENT: 인천 변두리의 낡고 오래된 빌라 옥탑방 외부 전경이 한눈에 내려다보이는 부감 구도.\nCAMERA: An omniscient overhead camera holds from about forty-five meters above the old villa, centered on the rooftop room while still keeping the surrounding neighborhood readable. The rooftop structure sits in the middle of the frame like a small exposed shrine, boxed in by worn roofs, narrow alleys, and faded concrete blocks.\nFRAMING: wide\nLIGHTING: Daylight is overcast and desaturated, with blue-gray concrete shadows and faint sickly amber window stains breaking the neighborhood’s cold isolation.\nSPATIAL CONSTRAINTS: [{\"depth_plane\": \"midground\", \"gesture_action\": \"none\", \"gesture_target_label\": \"\", \"label\": \"old rooftop room\", \"screen_zone\": \"middle_center\", \"target_id\": \"\", \"target_kind\": \"background\"}]\n\nPEOPLE COUNT CONTRACT: this shot contains NO people at all — the frame must be completely unpopulated, with no figures anywhere.\nAny circled letters, numbers or legend text on the control diagram are SITE MARKERS only — they are never people and must not become people or objects in the output.\nCAMERA HEIGHT CONTRACT: the camera stands ON the ground INSIDE the scene at human eye height (about 1.6 m). Sky or horizon must be visible where the view allows it. Do NOT render an overhead, elevated, aerial or drone view — this is a ground-level cinematic shot.\n\nStage the shot inside the attached environment background — keep its\narchitecture, materials and lighting exactly. Every person is a REAL\nhuman being, photorealistic, matching their identity reference photo\n(face, hair, build). Natural film lighting and grain consistent with\nthe environment.\nAbsolutely no text, letters, circles, arrows, diagram marks, and no\nmannequin-like or statue-like appearance on any person."}
{"ts": "2026-07-04 18:25:27", "kind": "img", "engine": "gpt-image-2", "mode": "edit", "tag": "S4_Shot1_bgC_m_v2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/outdoor_v2/S4_Shot1/contour.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/outdoor_v2/S4_Shot1/plate.png"], "size": "1536x864", "attempt": 1, "dur_s": 208.7, "bytes": 2595871, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/outdoor_v2/S4_Shot1/bg_C_m.png", "prompt": "Create the photorealistic EMPTY background plate for one film shot:\nthe environment exactly as the environment reference shows it (same\narchitecture, materials, lighting), seen from the shot's camera.\n\nSHOT CONTENT: 인천 변두리의 낡고 오래된 빌라 옥탑방 외부 전경이 한눈에 내려다보이는 부감 구도.\nCAMERA: An omniscient overhead camera holds from about forty-five meters above the old villa, centered on the rooftop room while still keeping the surrounding neighborhood readable. The rooftop structure sits in the middle of the frame like a small exposed shrine, boxed in by worn roofs, narrow alleys, and faded concrete blocks.\nFRAMING: wide\nLIGHTING: Daylight is overcast and desaturated, with blue-gray concrete shadows and faint sickly amber window stains breaking the neighborhood’s cold isolation.\nSPATIAL CONSTRAINTS: [{\"depth_plane\": \"midground\", \"gesture_action\": \"none\", \"gesture_target_label\": \"\", \"label\": \"old rooftop room\", \"screen_zone\": \"middle_center\", \"target_id\": \"\", \"target_kind\": \"background\"}]\n\nFollow the attached line contour's composition EXACTLY —\nsame framing, perspective and structure placement.\n\nWhere each person would stand or sit, place a featureless matte-grey\nartist mannequin in that exact pose and scale (no face, no clothing\ndetail) — everything else stays an empty environment.\nPEOPLE COUNT CONTRACT: this shot contains NO people at all — the frame must be completely unpopulated, with no figures anywhere.\nAny circled letters, numbers or legend text on the control diagram are SITE MARKERS only — they are never people and must not become people or objects in the output.\nCAMERA HEIGHT CONTRACT: the camera stands ON the ground INSIDE the scene at human eye height (about 1.6 m). Sky or horizon must be visible where the view allows it. Do NOT render an overhead, elevated, aerial or drone view — this is a ground-level cinematic shot.\nAbsolutely no text, letters, circles, arrows or diagram marks."}
{"ts": "2026-07-04 18:25:47", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "S4_Shot1_final_C_m_v2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/outdoor_v2/S4_Shot1/bg_C_m.png"], "ref_labels": ["ENVIRONMENT BACKGROUND reference — the empty environment: its space, architecture, materials and lighting are the ground truth. It contains NO people. Use it as the shot's background, matching its space and lighting exactly."], "attempt": 1, "dur_s": 19.4, "bytes": 3395589, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/outdoor_v2/S4_Shot1/final_C_m.png", "prompt": "Create the FINAL photorealistic cinematic film still of this shot.\n\nSHOT CONTENT: 인천 변두리의 낡고 오래된 빌라 옥탑방 외부 전경이 한눈에 내려다보이는 부감 구도.\nCAMERA: An omniscient overhead camera holds from about forty-five meters above the old villa, centered on the rooftop room while still keeping the surrounding neighborhood readable. The rooftop structure sits in the middle of the frame like a small exposed shrine, boxed in by worn roofs, narrow alleys, and faded concrete blocks.\nFRAMING: wide\nLIGHTING: Daylight is overcast and desaturated, with blue-gray concrete shadows and faint sickly amber window stains breaking the neighborhood’s cold isolation.\nSPATIAL CONSTRAINTS: [{\"depth_plane\": \"midground\", \"gesture_action\": \"none\", \"gesture_target_label\": \"\", \"label\": \"old rooftop room\", \"screen_zone\": \"middle_center\", \"target_id\": \"\", \"target_kind\": \"background\"}]\n\nPEOPLE COUNT CONTRACT: this shot contains NO people at all — the frame must be completely unpopulated, with no figures anywhere.\nAny circled letters, numbers or legend text on the control diagram are SITE MARKERS only — they are never people and must not become people or objects in the output.\nCAMERA HEIGHT CONTRACT: the camera stands ON the ground INSIDE the scene at human eye height (about 1.6 m). Sky or horizon must be visible where the view allows it. Do NOT render an overhead, elevated, aerial or drone view — this is a ground-level cinematic shot.\n\nStage the shot inside the attached environment background — keep its\narchitecture, materials and lighting exactly. Every person is a REAL\nhuman being, photorealistic, matching their identity reference photo\n(face, hair, build). Natural film lighting and grain consistent with\nthe environment.\nAbsolutely no text, letters, circles, arrows, diagram marks, and no\nmannequin-like or statue-like appearance on any person."}
{"ts": "2026-07-04 18:26:04", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "S11_Shot3_temp_v2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/outdoor_v2/S11_Shot3/plate.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/outdoor_v2/S11_Shot3/root_marked.png"], "ref_labels": ["ENVIRONMENT BACKGROUND reference — the empty environment: its space, architecture, materials and lighting are the ground truth. It contains NO people.", "CAMERA AND PLACEMENT DIAGRAM (top-down control image) — use it ONLY to understand where the camera stands, what it looks at, and where each person is. NEVER copy its drawing style, lines, circles, letters or any marks into the output."], "attempt": 1, "dur_s": 17.1, "bytes": 2369326, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/outdoor_v2/S11_Shot3/temp.png", "prompt": "Create a photorealistic cinematic still that stages this shot inside the\ngiven environment. This is a COMPOSITION DRAFT: the people are ordinary\nreal humans whose identity does not matter — focus on a strong, natural\ncomposition that matches the camera and placement exactly.\n\nSHOT CONTENT: 계단 중간에 서서 심하게 코를 찡그린 수리영의 얼굴 클로즈업.\nPEOPLE IN SHOT: 수리영\nCAMERA: Midway up the narrow concrete staircase, the camera holds static very close to 수리영 from the front-left at face height, tightening into an intense close-up that leaves only a sliver of stair texture behind her. Her nose wrinkles hard at the sudden smell, eyes lifting toward the unseen rooftop landing while her halted climb compresses her shoulders into the frame.\nFRAMING: close\nLIGHTING: A cold blue-gray stairwell wash sculpts her face while a faint amber rooftop spill catches the bridge of her nose, making the smell reaction feel physical and ominous.\nPERSON: {\"angle\": \"three_quarter_left\", \"body_pose\": \"halted mid-stair climb\", \"character\": \"수리영\", \"gaze_direction_kind\": \"up\", \"gaze_target_id\": null, \"subject_state\": \"alive\"}\n\nPEOPLE COUNT CONTRACT: exactly 1 person(s) in frame — 수리영. Absolutely no other people, bystanders or figures anywhere in the frame, foreground or background.\nAny circled letters, numbers or legend text on the control diagram are SITE MARKERS only — they are never people and must not become people or objects in the output.\nCAMERA HEIGHT CONTRACT: the camera stands ON the ground INSIDE the scene at human eye height (about 1.6 m). Sky or horizon must be visible where the view allows it. Do NOT render an overhead, elevated, aerial or drone view — this is a ground-level cinematic shot.\n\nKeep the environment's architecture, materials and lighting from the\nenvironment reference. Place the camera and every person exactly as the\ncontrol diagram indicates. Absolutely no text, letters, circles, arrows\nor diagram marks in the output."}
{"ts": "2026-07-04 18:26:20", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "S11_Shot3_final_A_v2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/outdoor_v2/S11_Shot3/plate.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/outdoor_v2/S11_Shot3/root_marked.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/b0ad5c18-5140-4022-a2b0-805de0e5a385/images/0d30302a-51c8-4ac9-98e2-6cd9180512bf/reference/0b01920a-4b59-4e19-ba35-e6e033cbd6b4.png"], "ref_labels": ["ENVIRONMENT BACKGROUND reference — the empty environment: its space, architecture, materials and lighting are the ground truth. It contains NO people. Use it as the shot's background, matching its space and lighting exactly.", "CAMERA AND PLACEMENT DIAGRAM (top-down control image) — use it ONLY to understand where the camera stands, what it looks at, and where each person is. NEVER copy its drawing style, lines, circles, letters or any marks into the output.", "IDENTITY REFERENCE photo of the person referred to as: 수리영"], "attempt": 1, "dur_s": 16.8, "bytes": 2342844, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/outdoor_v2/S11_Shot3/final_A.png", "prompt": "Create the FINAL photorealistic cinematic film still of this shot.\n\nSHOT CONTENT: 계단 중간에 서서 심하게 코를 찡그린 수리영의 얼굴 클로즈업.\nPEOPLE IN SHOT: 수리영\nCAMERA: Midway up the narrow concrete staircase, the camera holds static very close to 수리영 from the front-left at face height, tightening into an intense close-up that leaves only a sliver of stair texture behind her. Her nose wrinkles hard at the sudden smell, eyes lifting toward the unseen rooftop landing while her halted climb compresses her shoulders into the frame.\nFRAMING: close\nLIGHTING: A cold blue-gray stairwell wash sculpts her face while a faint amber rooftop spill catches the bridge of her nose, making the smell reaction feel physical and ominous.\nPERSON: {\"angle\": \"three_quarter_left\", \"body_pose\": \"halted mid-stair climb\", \"character\": \"수리영\", \"gaze_direction_kind\": \"up\", \"gaze_target_id\": null, \"subject_state\": \"alive\"}\n\nPEOPLE COUNT CONTRACT: exactly 1 person(s) in frame — 수리영. Absolutely no other people, bystanders or figures anywhere in the frame, foreground or background.\nAny circled letters, numbers or legend text on the control diagram are SITE MARKERS only — they are never people and must not become people or objects in the output.\nCAMERA HEIGHT CONTRACT: the camera stands ON the ground INSIDE the scene at human eye height (about 1.6 m). Sky or horizon must be visible where the view allows it. Do NOT render an overhead, elevated, aerial or drone view — this is a ground-level cinematic shot.\n\nStage the shot inside the attached environment background — keep its\narchitecture, materials and lighting exactly. Every person is a REAL\nhuman being, photorealistic, matching their identity reference photo\n(face, hair, build). Natural film lighting and grain consistent with\nthe environment.\nAbsolutely no text, letters, circles, arrows, diagram marks, and no\nmannequin-like or statue-like appearance on any person."}
{"ts": "2026-07-04 18:26:40", "kind": "llm", "step": "forest_vlm_comp", "model": "gpt", "dur_s": 19.8}
{"ts": "2026-07-04 18:28:56", "kind": "img", "engine": "gpt-image-2", "mode": "edit", "tag": "S11_Shot3_bgB_v2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/outdoor_v2/S11_Shot3/plate.png"], "size": "1536x864", "attempt": 1, "dur_s": 136.0, "bytes": 2303667, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/outdoor_v2/S11_Shot3/bg_B.png", "prompt": "Create the photorealistic EMPTY background plate for one film shot:\nthe environment exactly as the environment reference shows it (same\narchitecture, materials, lighting), seen from the shot's camera.\n\nSHOT CONTENT: 계단 중간에 서서 심하게 코를 찡그린 수리영의 얼굴 클로즈업.\nPEOPLE IN SHOT: 수리영\nCAMERA: Midway up the narrow concrete staircase, the camera holds static very close to 수리영 from the front-left at face height, tightening into an intense close-up that leaves only a sliver of stair texture behind her. Her nose wrinkles hard at the sudden smell, eyes lifting toward the unseen rooftop landing while her halted climb compresses her shoulders into the frame.\nFRAMING: close\nLIGHTING: A cold blue-gray stairwell wash sculpts her face while a faint amber rooftop spill catches the bridge of her nose, making the smell reaction feel physical and ominous.\nPERSON: {\"angle\": \"three_quarter_left\", \"body_pose\": \"halted mid-stair climb\", \"character\": \"수리영\", \"gaze_direction_kind\": \"up\", \"gaze_target_id\": null, \"subject_state\": \"alive\"}\n\nThe required composition, extracted from a draft of this shot:\n{\"camera\": {\"angle\": \"High-angle close-up looking down a concrete stairwell axis, with the subject looking upward toward camera left; frame has a slight off-level/diagonal feel from the stair rails and risers.\", \"height\": \"Camera is above the seated/kneeling subject’s head height, roughly one to two steps higher, aimed downward at her face and the steps behind her.\", \"lens_feel\": \"Moderately wide cinematic close-up in a very wide aspect ratio; close subject with visible environmental context. Shallow-to-moderate depth of field: face and hair are sharp, background steps and side walls are softer but legible.\"}, \"empty_background_requirements\": \"The empty plate must be the same concrete staircase from the same high downward angle: grey worn steps running horizontally across the frame with riser bands, dark central stair trough receding upward, vertical concrete side walls/curbs on both far left and far right edges, cool bluish grading, mottled stains, small debris/pebbles/leaves on the lower and mid steps, and the same soft focus falloff. It must include the full areas currently hidden by the woman: lower-right steps, central lower risers, right-side stair edge/wall, and the stair surfaces behind her head and shoulders, so her hair, face, and blue shoulder can be reinserted without gaps.\", \"horizon_and_depth\": \"No true horizon is visible; depth is established by stacked horizontal stair treads and risers receding upward/back into the frame. The stair lines create layered depth planes from the lower foreground step at the bottom to darker, higher steps near the top. Side walls/curbs converge subtly upward, forming a narrow stairwell corridor. The subject occupies the nearest foreground/mid-foreground plane, while the stair background sits behind her and falls slightly out of focus.\", \"major_surfaces\": [\"Foreground/midground grey concrete stair treads with worn, stained texture.\", \"Horizontal riser faces forming dark bands behind the subject.\", \"Left vertical concrete side wall/curb, blurred and close to the lens along the left edge.\", \"Right slanted/vertical concrete side wall or stair curb along the right edge, also receding upward.\", \"Small scattered debris on steps, including pale chips near lower left/center and a small brown leaf/debris at lower right.\", \"Subject’s dark hair mass and blue knit/denim-like shoulder forming the dominant foreground surface in the lower-right half.\"], \"occlusion_order\": \"Closest layer: the woman’s hair, face, neck, and blue shoulder dominate the lower-right and center-right foreground, occluding the lower and middle stair treads and the right-side stair edge. Fine hair strands sit in front of her forehead and cheek. Behind her are the concrete steps, then the side walls/curbs. Debris on visible steps lies behind the subject except where visible in unobstructed left/lower-right areas.\", \"subjects\": [{\"depth_plane\": \"Nearest foreground/mid-foreground, very close to camera; head and shoulders in front of the stair background.\", \"label\": \"young woman\", \"pose\": \"Tight close-up from slightly above. Head tilted back and turned slightly toward screen left, eyes looking upward off-frame left. Brows deeply furrowed, nose wrinkled, lips pursed/downturned, conveying suspicion, discomfort, or defiance. Long black hair falls around her face and shoulders with loose strands over forehead.\", \"screen_zone\": \"Face fills the lower-right quadrant and extends into the center; forehead and hair reach upper center-right; blue shoulder occupies the lower-right corner. Top of head is near the upper-right third, chin near lower center-right. Large empty negative space of stairs remains on the left half.\", \"support_contact\": \"No direct hand/foot contact visible. Body appears seated or crouched on the stairs just below frame; shoulder and torso imply support from a lower step outside the visible area.\"}]}\n\nThe plate must contain NO people, no figures, and no silhouettes —\njust the environment, composed so the described people could be\ninserted later.\nPEOPLE COUNT CONTRACT: exactly 1 person(s) in frame — 수리영. Absolutely no other people, bystanders or figures anywhere in the frame, foreground or background.\nAny circled letters, numbers or legend text on the control diagram are SITE MARKERS only — they are never people and must not become people or objects in the output.\nCAMERA HEIGHT CONTRACT: the camera stands ON the ground INSIDE the scene at human eye height (about 1.6 m). Sky or horizon must be visible where the view allows it. Do NOT render an overhead, elevated, aerial or drone view — this is a ground-level cinematic shot.\nAbsolutely no text, letters, circles, arrows or diagram marks."}
{"ts": "2026-07-04 18:29:13", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "S11_Shot3_final_B_v2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/outdoor_v2/S11_Shot3/bg_B.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/b0ad5c18-5140-4022-a2b0-805de0e5a385/images/0d30302a-51c8-4ac9-98e2-6cd9180512bf/reference/0b01920a-4b59-4e19-ba35-e6e033cbd6b4.png"], "ref_labels": ["ENVIRONMENT BACKGROUND reference — the empty environment: its space, architecture, materials and lighting are the ground truth. It contains NO people. Use it as the shot's background, matching its space and lighting exactly.", "IDENTITY REFERENCE photo of the person referred to as: 수리영"], "attempt": 1, "dur_s": 16.9, "bytes": 2504290, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/outdoor_v2/S11_Shot3/final_B.png", "prompt": "Create the FINAL photorealistic cinematic film still of this shot.\n\nSHOT CONTENT: 계단 중간에 서서 심하게 코를 찡그린 수리영의 얼굴 클로즈업.\nPEOPLE IN SHOT: 수리영\nCAMERA: Midway up the narrow concrete staircase, the camera holds static very close to 수리영 from the front-left at face height, tightening into an intense close-up that leaves only a sliver of stair texture behind her. Her nose wrinkles hard at the sudden smell, eyes lifting toward the unseen rooftop landing while her halted climb compresses her shoulders into the frame.\nFRAMING: close\nLIGHTING: A cold blue-gray stairwell wash sculpts her face while a faint amber rooftop spill catches the bridge of her nose, making the smell reaction feel physical and ominous.\nPERSON: {\"angle\": \"three_quarter_left\", \"body_pose\": \"halted mid-stair climb\", \"character\": \"수리영\", \"gaze_direction_kind\": \"up\", \"gaze_target_id\": null, \"subject_state\": \"alive\"}\n\nPEOPLE COUNT CONTRACT: exactly 1 person(s) in frame — 수리영. Absolutely no other people, bystanders or figures anywhere in the frame, foreground or background.\nAny circled letters, numbers or legend text on the control diagram are SITE MARKERS only — they are never people and must not become people or objects in the output.\nCAMERA HEIGHT CONTRACT: the camera stands ON the ground INSIDE the scene at human eye height (about 1.6 m). Sky or horizon must be visible where the view allows it. Do NOT render an overhead, elevated, aerial or drone view — this is a ground-level cinematic shot.\n\nStage the shot inside the attached environment background — keep its\narchitecture, materials and lighting exactly. Every person is a REAL\nhuman being, photorealistic, matching their identity reference photo\n(face, hair, build). Natural film lighting and grain consistent with\nthe environment.\nAbsolutely no text, letters, circles, arrows, diagram marks, and no\nmannequin-like or statue-like appearance on any person."}
{"ts": "2026-07-04 18:31:48", "kind": "img", "engine": "gpt-image-2", "mode": "edit", "tag": "S11_Shot3_contour_v2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/outdoor_v2/S11_Shot3/temp.png"], "size": "1536x864", "attempt": 1, "dur_s": 154.5, "bytes": 1754179, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/outdoor_v2/S11_Shot3/contour.png", "prompt": "Convert the attached photograph into a clean LINE-ART CONTOUR drawing: thin dark ink lines on a plain white background. Preserve the EXACT composition, framing, perspective and proportions — trace the outline of every structure, surface edge and human figure as it appears. No shading, no colour fills, no photo texture, no text, no added or removed objects."}
{"ts": "2026-07-04 18:34:05", "kind": "img", "engine": "gpt-image-2", "mode": "edit", "tag": "S11_Shot3_bgC_v2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/outdoor_v2/S11_Shot3/contour.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/outdoor_v2/S11_Shot3/plate.png"], "size": "1536x864", "attempt": 1, "dur_s": 137.5, "bytes": 1708326, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/outdoor_v2/S11_Shot3/bg_C.png", "prompt": "Create the photorealistic EMPTY background plate for one film shot:\nthe environment exactly as the environment reference shows it (same\narchitecture, materials, lighting), seen from the shot's camera.\n\nSHOT CONTENT: 계단 중간에 서서 심하게 코를 찡그린 수리영의 얼굴 클로즈업.\nPEOPLE IN SHOT: 수리영\nCAMERA: Midway up the narrow concrete staircase, the camera holds static very close to 수리영 from the front-left at face height, tightening into an intense close-up that leaves only a sliver of stair texture behind her. Her nose wrinkles hard at the sudden smell, eyes lifting toward the unseen rooftop landing while her halted climb compresses her shoulders into the frame.\nFRAMING: close\nLIGHTING: A cold blue-gray stairwell wash sculpts her face while a faint amber rooftop spill catches the bridge of her nose, making the smell reaction feel physical and ominous.\nPERSON: {\"angle\": \"three_quarter_left\", \"body_pose\": \"halted mid-stair climb\", \"character\": \"수리영\", \"gaze_direction_kind\": \"up\", \"gaze_target_id\": null, \"subject_state\": \"alive\"}\n\nFollow the attached line contour's composition EXACTLY —\nsame framing, perspective and structure placement.\n\nThe plate must contain NO people, no figures, and no silhouettes —\njust the environment, composed so the described people could be\ninserted later.\nPEOPLE COUNT CONTRACT: exactly 1 person(s) in frame — 수리영. Absolutely no other people, bystanders or figures anywhere in the frame, foreground or background.\nAny circled letters, numbers or legend text on the control diagram are SITE MARKERS only — they are never people and must not become people or objects in the output.\nCAMERA HEIGHT CONTRACT: the camera stands ON the ground INSIDE the scene at human eye height (about 1.6 m). Sky or horizon must be visible where the view allows it. Do NOT render an overhead, elevated, aerial or drone view — this is a ground-level cinematic shot.\nAbsolutely no text, letters, circles, arrows or diagram marks."}
{"ts": "2026-07-04 18:34:21", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "S11_Shot3_final_C_v2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/outdoor_v2/S11_Shot3/bg_C.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/b0ad5c18-5140-4022-a2b0-805de0e5a385/images/0d30302a-51c8-4ac9-98e2-6cd9180512bf/reference/0b01920a-4b59-4e19-ba35-e6e033cbd6b4.png"], "ref_labels": ["ENVIRONMENT BACKGROUND reference — the empty environment: its space, architecture, materials and lighting are the ground truth. It contains NO people. Use it as the shot's background, matching its space and lighting exactly.", "IDENTITY REFERENCE photo of the person referred to as: 수리영"], "attempt": 1, "dur_s": 15.6, "bytes": 2357085, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/outdoor_v2/S11_Shot3/final_C.png", "prompt": "Create the FINAL photorealistic cinematic film still of this shot.\n\nSHOT CONTENT: 계단 중간에 서서 심하게 코를 찡그린 수리영의 얼굴 클로즈업.\nPEOPLE IN SHOT: 수리영\nCAMERA: Midway up the narrow concrete staircase, the camera holds static very close to 수리영 from the front-left at face height, tightening into an intense close-up that leaves only a sliver of stair texture behind her. Her nose wrinkles hard at the sudden smell, eyes lifting toward the unseen rooftop landing while her halted climb compresses her shoulders into the frame.\nFRAMING: close\nLIGHTING: A cold blue-gray stairwell wash sculpts her face while a faint amber rooftop spill catches the bridge of her nose, making the smell reaction feel physical and ominous.\nPERSON: {\"angle\": \"three_quarter_left\", \"body_pose\": \"halted mid-stair climb\", \"character\": \"수리영\", \"gaze_direction_kind\": \"up\", \"gaze_target_id\": null, \"subject_state\": \"alive\"}\n\nPEOPLE COUNT CONTRACT: exactly 1 person(s) in frame — 수리영. Absolutely no other people, bystanders or figures anywhere in the frame, foreground or background.\nAny circled letters, numbers or legend text on the control diagram are SITE MARKERS only — they are never people and must not become people or objects in the output.\nCAMERA HEIGHT CONTRACT: the camera stands ON the ground INSIDE the scene at human eye height (about 1.6 m). Sky or horizon must be visible where the view allows it. Do NOT render an overhead, elevated, aerial or drone view — this is a ground-level cinematic shot.\n\nStage the shot inside the attached environment background — keep its\narchitecture, materials and lighting exactly. Every person is a REAL\nhuman being, photorealistic, matching their identity reference photo\n(face, hair, build). Natural film lighting and grain consistent with\nthe environment.\nAbsolutely no text, letters, circles, arrows, diagram marks, and no\nmannequin-like or statue-like appearance on any person."}
{"ts": "2026-07-04 18:34:41", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "S10_Shot6_temp_v2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/outdoor_v2/S10_Shot6/plate.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/outdoor_v2/S10_Shot6/root_marked.png"], "ref_labels": ["ENVIRONMENT BACKGROUND reference — the empty environment: its space, architecture, materials and lighting are the ground truth. It contains NO people.", "CAMERA AND PLACEMENT DIAGRAM (top-down control image) — use it ONLY to understand where the camera stands, what it looks at, and where each person is. NEVER copy its drawing style, lines, circles, letters or any marks into the output."], "attempt": 1, "dur_s": 20.0, "bytes": 2033637, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/outdoor_v2/S10_Shot6/temp.png", "prompt": "Create a photorealistic cinematic still that stages this shot inside the\ngiven environment. This is a COMPOSITION DRAFT: the people are ordinary\nreal humans whose identity does not matter — focus on a strong, natural\ncomposition that matches the camera and placement exactly.\n\nSHOT CONTENT: 방 안 창문에 비친 그림자, 굽은 형태의 인영이 다른 사람 형상 위에 포개져 멈춘 찰나의 실루엣.\nCAMERA: Inside the room, the camera holds static near the side wall at shoulder height, angled so only the window glass carries the action as a reflection and the direct attack is never seen. The reflected silhouettes sit within the window frame: a bent 인영 in the upper-middle area lowers its head toward the shoulder of 사람, whose body buckles beneath it in a distorted, wavering mid-action shape.\nFRAMING: medium\nLIGHTING: The reflected action is almost monochrome blue-black, broken by a weak amber practical smear and restrained crimson-brown shadow at the shoulder line.\nPERSON: {\"angle\": \"three_quarter_left\", \"body_pose\": \"hunched over shoulder\", \"character\": \"인영\", \"gaze_direction_kind\": \"looks_at_character\", \"gaze_target_id\": \"C20\", \"subject_state\": \"alive\"}\nPERSON: {\"angle\": \"profile_left\", \"body_pose\": \"buckling under lunge\", \"character\": \"사람\", \"gaze_direction_kind\": \"off_screen\", \"gaze_target_id\": null, \"subject_state\": \"severely_injured\"}\nSPATIAL CONSTRAINTS: [{\"depth_plane\": \"midground\", \"gesture_action\": \"none\", \"gesture_target_label\": \"\", \"label\": \"window reflection containing silhouettes\", \"screen_zone\": \"middle_center\", \"target_id\": \"\", \"target_kind\": \"background\"}]\n\nPEOPLE COUNT CONTRACT: this shot contains NO people at all — the frame must be completely unpopulated, with no figures anywhere.\nAny circled letters, numbers or legend text on the control diagram are SITE MARKERS only — they are never people and must not become people or objects in the output.\nCAMERA HEIGHT CONTRACT: the camera stands ON the ground INSIDE the scene at human eye height (about 1.6 m). Sky or horizon must be visible where the view allows it. Do NOT render an overhead, elevated, aerial or drone view — this is a ground-level cinematic shot.\n\nKeep the environment's architecture, materials and lighting from the\nenvironment reference. Place the camera and every person exactly as the\ncontrol diagram indicates. Absolutely no text, letters, circles, arrows\nor diagram marks in the output."}
{"ts": "2026-07-04 18:35:00", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "S10_Shot6_final_A_v2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/outdoor_v2/S10_Shot6/plate.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/outdoor_v2/S10_Shot6/root_marked.png"], "ref_labels": ["ENVIRONMENT BACKGROUND reference — the empty environment: its space, architecture, materials and lighting are the ground truth. It contains NO people. Use it as the shot's background, matching its space and lighting exactly.", "CAMERA AND PLACEMENT DIAGRAM (top-down control image) — use it ONLY to understand where the camera stands, what it looks at, and where each person is. NEVER copy its drawing style, lines, circles, letters or any marks into the output."], "attempt": 1, "dur_s": 18.8, "bytes": 2564669, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/outdoor_v2/S10_Shot6/final_A.png", "prompt": "Create the FINAL photorealistic cinematic film still of this shot.\n\nSHOT CONTENT: 방 안 창문에 비친 그림자, 굽은 형태의 인영이 다른 사람 형상 위에 포개져 멈춘 찰나의 실루엣.\nCAMERA: Inside the room, the camera holds static near the side wall at shoulder height, angled so only the window glass carries the action as a reflection and the direct attack is never seen. The reflected silhouettes sit within the window frame: a bent 인영 in the upper-middle area lowers its head toward the shoulder of 사람, whose body buckles beneath it in a distorted, wavering mid-action shape.\nFRAMING: medium\nLIGHTING: The reflected action is almost monochrome blue-black, broken by a weak amber practical smear and restrained crimson-brown shadow at the shoulder line.\nPERSON: {\"angle\": \"three_quarter_left\", \"body_pose\": \"hunched over shoulder\", \"character\": \"인영\", \"gaze_direction_kind\": \"looks_at_character\", \"gaze_target_id\": \"C20\", \"subject_state\": \"alive\"}\nPERSON: {\"angle\": \"profile_left\", \"body_pose\": \"buckling under lunge\", \"character\": \"사람\", \"gaze_direction_kind\": \"off_screen\", \"gaze_target_id\": null, \"subject_state\": \"severely_injured\"}\nSPATIAL CONSTRAINTS: [{\"depth_plane\": \"midground\", \"gesture_action\": \"none\", \"gesture_target_label\": \"\", \"label\": \"window reflection containing silhouettes\", \"screen_zone\": \"middle_center\", \"target_id\": \"\", \"target_kind\": \"background\"}]\n\nPEOPLE COUNT CONTRACT: this shot contains NO people at all — the frame must be completely unpopulated, with no figures anywhere.\nAny circled letters, numbers or legend text on the control diagram are SITE MARKERS only — they are never people and must not become people or objects in the output.\nCAMERA HEIGHT CONTRACT: the camera stands ON the ground INSIDE the scene at human eye height (about 1.6 m). Sky or horizon must be visible where the view allows it. Do NOT render an overhead, elevated, aerial or drone view — this is a ground-level cinematic shot.\n\nStage the shot inside the attached environment background — keep its\narchitecture, materials and lighting exactly. Every person is a REAL\nhuman being, photorealistic, matching their identity reference photo\n(face, hair, build). Natural film lighting and grain consistent with\nthe environment.\nAbsolutely no text, letters, circles, arrows, diagram marks, and no\nmannequin-like or statue-like appearance on any person."}
{"ts": "2026-07-04 18:35:31", "kind": "llm", "step": "forest_vlm_comp", "model": "gpt", "dur_s": 31.6}
{"ts": "2026-07-04 18:37:52", "kind": "img", "engine": "gpt-image-2", "mode": "edit", "tag": "S10_Shot6_bgB_v2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/outdoor_v2/S10_Shot6/plate.png"], "size": "1536x864", "attempt": 1, "dur_s": 141.0, "bytes": 2185195, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/outdoor_v2/S10_Shot6/bg_B.png", "prompt": "Create the photorealistic EMPTY background plate for one film shot:\nthe environment exactly as the environment reference shows it (same\narchitecture, materials, lighting), seen from the shot's camera.\n\nSHOT CONTENT: 방 안 창문에 비친 그림자, 굽은 형태의 인영이 다른 사람 형상 위에 포개져 멈춘 찰나의 실루엣.\nCAMERA: Inside the room, the camera holds static near the side wall at shoulder height, angled so only the window glass carries the action as a reflection and the direct attack is never seen. The reflected silhouettes sit within the window frame: a bent 인영 in the upper-middle area lowers its head toward the shoulder of 사람, whose body buckles beneath it in a distorted, wavering mid-action shape.\nFRAMING: medium\nLIGHTING: The reflected action is almost monochrome blue-black, broken by a weak amber practical smear and restrained crimson-brown shadow at the shoulder line.\nPERSON: {\"angle\": \"three_quarter_left\", \"body_pose\": \"hunched over shoulder\", \"character\": \"인영\", \"gaze_direction_kind\": \"looks_at_character\", \"gaze_target_id\": \"C20\", \"subject_state\": \"alive\"}\nPERSON: {\"angle\": \"profile_left\", \"body_pose\": \"buckling under lunge\", \"character\": \"사람\", \"gaze_direction_kind\": \"off_screen\", \"gaze_target_id\": null, \"subject_state\": \"severely_injured\"}\nSPATIAL CONSTRAINTS: [{\"depth_plane\": \"midground\", \"gesture_action\": \"none\", \"gesture_target_label\": \"\", \"label\": \"window reflection containing silhouettes\", \"screen_zone\": \"middle_center\", \"target_id\": \"\", \"target_kind\": \"background\"}]\n\nThe required composition, extracted from a draft of this shot:\n{\"camera\": {\"angle\": \"Nearly straight-on to the exterior wall/window, with a very slight downward and left-oblique view; verticals remain mostly upright and the window is treated as a flat compositional plane.\", \"height\": \"Approximately standing eye/chest height relative to the window; the camera is centered slightly below the upper window frame and above the lower sill, looking level to very slightly downward.\", \"lens_feel\": \"Moderate-wide anamorphic/cinematic feel; broad horizontal field, minimal perspective exaggeration, shallow-to-moderate depth with the window/frame and silhouettes dominant and the distant rooftop/city softened by glass/reflection.\"}, \"empty_background_requirements\": \"The empty plate must preserve the full concrete exterior wall and the entire metal-framed sliding window in exactly the same position: thick grey stucco/concrete border around all sides, top and bottom metal rails, the central vertical sliding mullion slightly right of center, left and right glass panes with grime/reflection. The left pane must still contain the reflected/seen rooftop stairwell: wet concrete floor, stairs rising upward from lower-left toward mid-frame, copper/brown handrails, rooftop parapet walls, distant grey buildings, utility poles/wires, and dim blue dusk sky. The right pane must show the dim interior room/background without people: grey interior wall, dark side window/door rectangle at far right, warm amber light glow near the lower-right/mid-right area, faint glass reflections, and the same darker vertical interior edge/reflection near the right side. It must also retain the glass tint, smudges, low-contrast reflections, and the dark lower sill band so the two silhouetted figures can be reinserted behind the right pane with their lower bodies partially hidden/cropped by the bottom frame.\", \"horizon_and_depth\": \"Depth is layered through a foreground architectural frame, reflective glass, interior figures, and background reflections/interior surfaces. The implied exterior skyline/horizon sits in the upper half of the glass, roughly around the upper-middle of the left pane, softened by dusk haze. Strong depth cues come from the rooftop stairs and handrails in the left pane receding diagonally from lower-left toward center, while the right pane is flatter and darker, dominated by the near silhouettes against a dim interior wall and warm backlight.\", \"major_surfaces\": [\"Rough grey concrete/stucco wall surrounding the window, filling the outer frame of the image.\", \"Large horizontal metal sliding-window frame with top rail, bottom rail, side jambs, and a central vertical mullion dividing the two panes.\", \"Dirty reflective glass panes, blue-grey and slightly desaturated, carrying rooftop/city reflections and interior silhouettes.\", \"Wet rooftop concrete floor reflected/visible through the left pane, with sheen and dark patches.\", \"Concrete rooftop stair structure in the left pane, including steps, parapet/side walls, and landing.\", \"Copper/brown metal stair railings and posts in the left pane, forming diagonal perspective lines.\", \"Distant urban buildings, utility poles, wires, and dusk sky reflected/seen across the upper glass.\", \"Dim grey interior wall behind the subjects in the right pane with a warm amber light spill near lower right.\", \"Dark rectangular opening/window/door shape at the far right inside the right pane.\"], \"occlusion_order\": \"Front to back: rough exterior concrete wall and metal window frame are foremost and occlude the panes at all edges; the central vertical mullion cuts between the panes and occludes the interior/reflections; the glass surface layer overlays reflections, grime, and tint over everything behind it; the two people are behind the right pane, appearing as dark silhouettes; the leaning standing figure overlaps and partially occludes the seated/slumped figure at the shoulder/upper back area; behind them are the interior wall and warm light; left-pane rooftop stairs/railings/city appear as reflected or viewed background elements behind/on the glass layer.\", \"subjects\": [{\"depth_plane\": \"Behind the right glass pane in the near interior plane, closer than the interior wall and warm light; partially masked by the lower window rail at the bottom.\", \"label\": \"Standing/leaning figure in dark blue\", \"pose\": \"Torso bent forward from left to right, head bowed over the other person; left/near arm angled down, one hand/forearm placed on or near the other figure's shoulder/upper back; legs vertical and close together, body forming a protective or burdened hunch.\", \"screen_zone\": \"Right half of the image, mainly the left side of the right window pane; head around upper-right-center, torso crossing the central-right area, legs descending toward the bottom edge just right of the central mullion.\", \"support_contact\": \"Standing on the unseen interior floor; feet/lower legs are obscured by darkness and the bottom window frame, but weight reads as supported by both legs. Hand/arm makes contact with the seated/slumped figure's shoulder/back.\"}, {\"depth_plane\": \"Behind the right glass pane in the same near interior plane, slightly to the right and partly in front of/overlapped by the leaning figure; silhouetted against warm interior light.\", \"label\": \"Seated or slumped figure with reddish upper garment\", \"pose\": \"Bent forward with head dropped toward the right, neck and shoulders rounded; torso angled diagonally down to the right; one arm hangs limp downward along the right side; lower body dark and cropped by the bottom frame.\", \"screen_zone\": \"Lower-right quadrant of the right pane; head near mid-right, shoulders just right of center, torso and legs occupying the bottom-right area.\", \"support_contact\": \"Supported by an unseen seat, bed, ledge, or low surface inside the room, mostly hidden below the window sill and silhouette; no visible hand contact with the floor, with the right arm hanging freely.\"}]}\n\nThe plate must contain NO people, no figures, and no silhouettes —\njust the environment, composed so the described people could be\ninserted later.\nPEOPLE COUNT CONTRACT: this shot contains NO people at all — the frame must be completely unpopulated, with no figures anywhere.\nAny circled letters, numbers or legend text on the control diagram are SITE MARKERS only — they are never people and must not become people or objects in the output.\nCAMERA HEIGHT CONTRACT: the camera stands ON the ground INSIDE the scene at human eye height (about 1.6 m). Sky or horizon must be visible where the view allows it. Do NOT render an overhead, elevated, aerial or drone view — this is a ground-level cinematic shot.\nAbsolutely no text, letters, circles, arrows or diagram marks."}
{"ts": "2026-07-04 18:38:11", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "S10_Shot6_final_B_v2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/outdoor_v2/S10_Shot6/bg_B.png"], "ref_labels": ["ENVIRONMENT BACKGROUND reference — the empty environment: its space, architecture, materials and lighting are the ground truth. It contains NO people. Use it as the shot's background, matching its space and lighting exactly."], "attempt": 1, "dur_s": 18.6, "bytes": 2621267, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/outdoor_v2/S10_Shot6/final_B.png", "prompt": "Create the FINAL photorealistic cinematic film still of this shot.\n\nSHOT CONTENT: 방 안 창문에 비친 그림자, 굽은 형태의 인영이 다른 사람 형상 위에 포개져 멈춘 찰나의 실루엣.\nCAMERA: Inside the room, the camera holds static near the side wall at shoulder height, angled so only the window glass carries the action as a reflection and the direct attack is never seen. The reflected silhouettes sit within the window frame: a bent 인영 in the upper-middle area lowers its head toward the shoulder of 사람, whose body buckles beneath it in a distorted, wavering mid-action shape.\nFRAMING: medium\nLIGHTING: The reflected action is almost monochrome blue-black, broken by a weak amber practical smear and restrained crimson-brown shadow at the shoulder line.\nPERSON: {\"angle\": \"three_quarter_left\", \"body_pose\": \"hunched over shoulder\", \"character\": \"인영\", \"gaze_direction_kind\": \"looks_at_character\", \"gaze_target_id\": \"C20\", \"subject_state\": \"alive\"}\nPERSON: {\"angle\": \"profile_left\", \"body_pose\": \"buckling under lunge\", \"character\": \"사람\", \"gaze_direction_kind\": \"off_screen\", \"gaze_target_id\": null, \"subject_state\": \"severely_injured\"}\nSPATIAL CONSTRAINTS: [{\"depth_plane\": \"midground\", \"gesture_action\": \"none\", \"gesture_target_label\": \"\", \"label\": \"window reflection containing silhouettes\", \"screen_zone\": \"middle_center\", \"target_id\": \"\", \"target_kind\": \"background\"}]\n\nPEOPLE COUNT CONTRACT: this shot contains NO people at all — the frame must be completely unpopulated, with no figures anywhere.\nAny circled letters, numbers or legend text on the control diagram are SITE MARKERS only — they are never people and must not become people or objects in the output.\nCAMERA HEIGHT CONTRACT: the camera stands ON the ground INSIDE the scene at human eye height (about 1.6 m). Sky or horizon must be visible where the view allows it. Do NOT render an overhead, elevated, aerial or drone view — this is a ground-level cinematic shot.\n\nStage the shot inside the attached environment background — keep its\narchitecture, materials and lighting exactly. Every person is a REAL\nhuman being, photorealistic, matching their identity reference photo\n(face, hair, build). Natural film lighting and grain consistent with\nthe environment.\nAbsolutely no text, letters, circles, arrows, diagram marks, and no\nmannequin-like or statue-like appearance on any person."}
{"ts": "2026-07-04 18:40:00", "kind": "img", "engine": "gpt-image-2", "mode": "edit", "tag": "S10_Shot6_contour_v2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/outdoor_v2/S10_Shot6/temp.png"], "size": "1536x864", "attempt": 1, "dur_s": 109.2, "bytes": 1126657, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/outdoor_v2/S10_Shot6/contour.png", "prompt": "Convert the attached photograph into a clean LINE-ART CONTOUR drawing: thin dark ink lines on a plain white background. Preserve the EXACT composition, framing, perspective and proportions — trace the outline of every structure, surface edge and human figure as it appears. No shading, no colour fills, no photo texture, no text, no added or removed objects."}
{"ts": "2026-07-04 18:42:21", "kind": "img", "engine": "gpt-image-2", "mode": "edit", "tag": "S10_Shot6_bgC_v2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/outdoor_v2/S10_Shot6/contour.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/outdoor_v2/S10_Shot6/plate.png"], "size": "1536x864", "attempt": 1, "dur_s": 141.3, "bytes": 1704027, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/outdoor_v2/S10_Shot6/bg_C.png", "prompt": "Create the photorealistic EMPTY background plate for one film shot:\nthe environment exactly as the environment reference shows it (same\narchitecture, materials, lighting), seen from the shot's camera.\n\nSHOT CONTENT: 방 안 창문에 비친 그림자, 굽은 형태의 인영이 다른 사람 형상 위에 포개져 멈춘 찰나의 실루엣.\nCAMERA: Inside the room, the camera holds static near the side wall at shoulder height, angled so only the window glass carries the action as a reflection and the direct attack is never seen. The reflected silhouettes sit within the window frame: a bent 인영 in the upper-middle area lowers its head toward the shoulder of 사람, whose body buckles beneath it in a distorted, wavering mid-action shape.\nFRAMING: medium\nLIGHTING: The reflected action is almost monochrome blue-black, broken by a weak amber practical smear and restrained crimson-brown shadow at the shoulder line.\nPERSON: {\"angle\": \"three_quarter_left\", \"body_pose\": \"hunched over shoulder\", \"character\": \"인영\", \"gaze_direction_kind\": \"looks_at_character\", \"gaze_target_id\": \"C20\", \"subject_state\": \"alive\"}\nPERSON: {\"angle\": \"profile_left\", \"body_pose\": \"buckling under lunge\", \"character\": \"사람\", \"gaze_direction_kind\": \"off_screen\", \"gaze_target_id\": null, \"subject_state\": \"severely_injured\"}\nSPATIAL CONSTRAINTS: [{\"depth_plane\": \"midground\", \"gesture_action\": \"none\", \"gesture_target_label\": \"\", \"label\": \"window reflection containing silhouettes\", \"screen_zone\": \"middle_center\", \"target_id\": \"\", \"target_kind\": \"background\"}]\n\nFollow the attached line contour's composition EXACTLY —\nsame framing, perspective and structure placement.\n\nThe plate must contain NO people, no figures, and no silhouettes —\njust the environment, composed so the described people could be\ninserted later.\nPEOPLE COUNT CONTRACT: this shot contains NO people at all — the frame must be completely unpopulated, with no figures anywhere.\nAny circled letters, numbers or legend text on the control diagram are SITE MARKERS only — they are never people and must not become people or objects in the output.\nCAMERA HEIGHT CONTRACT: the camera stands ON the ground INSIDE the scene at human eye height (about 1.6 m). Sky or horizon must be visible where the view allows it. Do NOT render an overhead, elevated, aerial or drone view — this is a ground-level cinematic shot.\nAbsolutely no text, letters, circles, arrows or diagram marks."}
{"ts": "2026-07-04 18:42:40", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "S10_Shot6_final_C_v2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/outdoor_v2/S10_Shot6/bg_C.png"], "ref_labels": ["ENVIRONMENT BACKGROUND reference — the empty environment: its space, architecture, materials and lighting are the ground truth. It contains NO people. Use it as the shot's background, matching its space and lighting exactly."], "attempt": 1, "dur_s": 19.0, "bytes": 2133653, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/outdoor_v2/S10_Shot6/final_C.png", "prompt": "Create the FINAL photorealistic cinematic film still of this shot.\n\nSHOT CONTENT: 방 안 창문에 비친 그림자, 굽은 형태의 인영이 다른 사람 형상 위에 포개져 멈춘 찰나의 실루엣.\nCAMERA: Inside the room, the camera holds static near the side wall at shoulder height, angled so only the window glass carries the action as a reflection and the direct attack is never seen. The reflected silhouettes sit within the window frame: a bent 인영 in the upper-middle area lowers its head toward the shoulder of 사람, whose body buckles beneath it in a distorted, wavering mid-action shape.\nFRAMING: medium\nLIGHTING: The reflected action is almost monochrome blue-black, broken by a weak amber practical smear and restrained crimson-brown shadow at the shoulder line.\nPERSON: {\"angle\": \"three_quarter_left\", \"body_pose\": \"hunched over shoulder\", \"character\": \"인영\", \"gaze_direction_kind\": \"looks_at_character\", \"gaze_target_id\": \"C20\", \"subject_state\": \"alive\"}\nPERSON: {\"angle\": \"profile_left\", \"body_pose\": \"buckling under lunge\", \"character\": \"사람\", \"gaze_direction_kind\": \"off_screen\", \"gaze_target_id\": null, \"subject_state\": \"severely_injured\"}\nSPATIAL CONSTRAINTS: [{\"depth_plane\": \"midground\", \"gesture_action\": \"none\", \"gesture_target_label\": \"\", \"label\": \"window reflection containing silhouettes\", \"screen_zone\": \"middle_center\", \"target_id\": \"\", \"target_kind\": \"background\"}]\n\nPEOPLE COUNT CONTRACT: this shot contains NO people at all — the frame must be completely unpopulated, with no figures anywhere.\nAny circled letters, numbers or legend text on the control diagram are SITE MARKERS only — they are never people and must not become people or objects in the output.\nCAMERA HEIGHT CONTRACT: the camera stands ON the ground INSIDE the scene at human eye height (about 1.6 m). Sky or horizon must be visible where the view allows it. Do NOT render an overhead, elevated, aerial or drone view — this is a ground-level cinematic shot.\n\nStage the shot inside the attached environment background — keep its\narchitecture, materials and lighting exactly. Every person is a REAL\nhuman being, photorealistic, matching their identity reference photo\n(face, hair, build). Natural film lighting and grain consistent with\nthe environment.\nAbsolutely no text, letters, circles, arrows, diagram marks, and no\nmannequin-like or statue-like appearance on any person."}
{"ts": "2026-07-04 18:42:40", "kind": "stage", "stage": "s3_outdoor", "done": "paths", "root": "B", "variant": "v2", "subset": ["S4_Shot1", "S11_Shot3", "S10_Shot6"]}
{"ts": "2026-07-04 18:52:57", "kind": "img", "engine": "gpt-image-2", "mode": "edit", "tag": "S4_Shot1_camview_sketch", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/outdoor_v3/S4_Shot1/root_marked.png"], "size": "1536x864", "attempt": 1, "dur_s": 154.4, "bytes": 1623855, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/outdoor_v3/S4_Shot1/sketch.png", "prompt": "The attached image is a TOP-DOWN aerial site sketch of one real place, with\na green camera icon and view-cone marking ONE camera position and its\nviewing direction (circled letters are site markers, never people).\n\nDraw the clean LINE-ART sketch of the EYE-LEVEL view that THAT camera sees\nfrom its marked position: thin dark ink lines on a plain white background,\nno colour, no shading, no photo texture. The camera stands ON the ground of\nits marked spot at human eye height (about 1.6 m) INSIDE the scene — NOT\nabove it. Show the structures, ground surfaces, openings and approaches the\nsite sketch places in front of that camera, in correct perspective at\nreal-world human scale, with the horizon at a natural eye-level height.\nDo NOT draw any overhead or bird's-eye view. No people, no text, no\nletters, no circles, no arrows — pure line drawing of the environment."}
{"ts": "2026-07-04 18:54:56", "kind": "img", "engine": "gpt-image-2", "mode": "edit", "tag": "S4_Shot1_plate_v3", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/outdoor_v3/S4_Shot1/sketch.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/outdoor_v3/S4_Shot1/root_marked.png"], "size": "1536x864", "attempt": 1, "dur_s": 119.3, "bytes": 2335350, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/outdoor_v3/S4_Shot1/plate.png", "prompt": "The FIRST attached image is a LINE-ART sketch of one camera's eye-level\nview of a real outdoor place — it is the COMPOSITION AND PERSPECTIVE\nground truth. The SECOND attached image is the top-down site sketch of\nthe same place — use it ONLY to understand materials, fixtures and\nspatial relations; never copy its top-down viewpoint or its markers.\n\nRender the PHOTOREALISTIC empty background plate of exactly the view the\nline-art sketch shows: same framing, same perspective, same structures,\nat real-world human scale. This is an EMPTY plate: no people, no text,\nno letters, no circles, no sketch lines — pure photographic realism.\n\nWHAT THIS PLACE LOOKS LIKE (production data):\n- 인천 변두리 낡은 빌라 옥탑방 옥상·현관 앞 외부: 낡은 다세대 빌라 꼭대기에 위치한 야외 공간. 물탱크, 흔들리는 빨랫줄, 평상 위 약초 건조 흔적, 낡은 철문 현관이 있다. (특징: 낡은 시멘트 바닥; 물탱크; 바람에 날리는 빨랫줄; 평상과 널려 있는 말린 약초(석창포); 전단지가 끼워진 철문 현관)\n\nSite orientation notes:\nUse a direct overhead plan. Keep the rooftop room as the central roof mass, with the iron-door side facing the terrace landing, exterior stair, and alley approach. Show only the roof outline and openings for the interior: no interior floor plan, furniture, blood, wall marks, bed, table, TV, sink, mirror, or bathroom layout. Interior shots are anchored only by the front door, exterior windows, and the abstract inner doorway markers.\n\nCAMERA: An omniscient overhead camera holds from about forty-five meters above the old villa, centered on the rooftop room while still keeping the surrounding neighborhood readable. The rooftop structure sits in the middle of the frame like a small exposed shrine, boxed in by worn roofs, narrow alleys, and faded concrete blocks.\nFRAMING: wide\nLIGHTING: Daylight is overcast and desaturated, with blue-gray concrete shadows and faint sickly amber window stains breaking the neighborhood’s cold isolation.\nSPATIAL CONSTRAINTS: [{\"depth_plane\": \"midground\", \"gesture_action\": \"none\", \"gesture_target_label\": \"\", \"label\": \"old rooftop room\", \"screen_zone\": \"middle_center\", \"target_id\": \"\", \"target_kind\": \"background\"}]\n\nCAMERA HEIGHT CONTRACT: the camera stands ON the ground INSIDE the scene at human eye height (about 1.6 m). Sky or horizon must be visible where the view allows it. Do NOT render an overhead, elevated, aerial or drone view — this is a ground-level cinematic shot."}
{"ts": "2026-07-04 18:55:14", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "S4_Shot1_temp_v3", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/outdoor_v3/S4_Shot1/plate.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/outdoor_v3/S4_Shot1/root_marked.png"], "ref_labels": ["ENVIRONMENT BACKGROUND reference — the empty environment: its space, architecture, materials and lighting are the ground truth. It contains NO people.", "CAMERA AND PLACEMENT DIAGRAM (top-down control image) — use it ONLY to understand where the camera stands, what it looks at, and where each person is. NEVER copy its drawing style, lines, circles, letters or any marks into the output."], "attempt": 1, "dur_s": 17.4, "bytes": 3314715, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/outdoor_v3/S4_Shot1/temp.png", "prompt": "Create a photorealistic cinematic still that stages this shot inside the\ngiven environment. This is a COMPOSITION DRAFT: the people are ordinary\nreal humans whose identity does not matter — focus on a strong, natural\ncomposition that matches the camera and placement exactly.\n\nSHOT CONTENT: 인천 변두리의 낡고 오래된 빌라 옥탑방 외부 전경이 한눈에 내려다보이는 부감 구도.\nCAMERA: An omniscient overhead camera holds from about forty-five meters above the old villa, centered on the rooftop room while still keeping the surrounding neighborhood readable. The rooftop structure sits in the middle of the frame like a small exposed shrine, boxed in by worn roofs, narrow alleys, and faded concrete blocks.\nFRAMING: wide\nLIGHTING: Daylight is overcast and desaturated, with blue-gray concrete shadows and faint sickly amber window stains breaking the neighborhood’s cold isolation.\nSPATIAL CONSTRAINTS: [{\"depth_plane\": \"midground\", \"gesture_action\": \"none\", \"gesture_target_label\": \"\", \"label\": \"old rooftop room\", \"screen_zone\": \"middle_center\", \"target_id\": \"\", \"target_kind\": \"background\"}]\n\nPEOPLE COUNT CONTRACT: this shot contains NO people at all — the frame must be completely unpopulated, with no figures anywhere.\nAny circled letters, numbers or legend text on the control diagram are SITE MARKERS only — they are never people and must not become people or objects in the output.\nCAMERA HEIGHT CONTRACT: the camera stands ON the ground INSIDE the scene at human eye height (about 1.6 m). Sky or horizon must be visible where the view allows it. Do NOT render an overhead, elevated, aerial or drone view — this is a ground-level cinematic shot.\n\nKeep the environment's architecture, materials and lighting from the\nenvironment reference. Place the camera and every person exactly as the\ncontrol diagram indicates. Absolutely no text, letters, circles, arrows\nor diagram marks in the output."}
{"ts": "2026-07-04 18:55:33", "kind": "llm", "step": "forest_vlm_comp", "model": "gpt", "dur_s": 19.4}
{"ts": "2026-07-04 18:57:45", "kind": "img", "engine": "gpt-image-2", "mode": "edit", "tag": "S4_Shot1_bgB_v3", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/outdoor_v3/S4_Shot1/plate.png"], "size": "1536x864", "attempt": 1, "dur_s": 131.5, "bytes": 2716642, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/outdoor_v3/S4_Shot1/bg_B.png", "prompt": "Create the photorealistic EMPTY background plate for one film shot:\nthe environment exactly as the environment reference shows it (same\narchitecture, materials, lighting), seen from the shot's camera.\n\nSHOT CONTENT: 인천 변두리의 낡고 오래된 빌라 옥탑방 외부 전경이 한눈에 내려다보이는 부감 구도.\nCAMERA: An omniscient overhead camera holds from about forty-five meters above the old villa, centered on the rooftop room while still keeping the surrounding neighborhood readable. The rooftop structure sits in the middle of the frame like a small exposed shrine, boxed in by worn roofs, narrow alleys, and faded concrete blocks.\nFRAMING: wide\nLIGHTING: Daylight is overcast and desaturated, with blue-gray concrete shadows and faint sickly amber window stains breaking the neighborhood’s cold isolation.\nSPATIAL CONSTRAINTS: [{\"depth_plane\": \"midground\", \"gesture_action\": \"none\", \"gesture_target_label\": \"\", \"label\": \"old rooftop room\", \"screen_zone\": \"middle_center\", \"target_id\": \"\", \"target_kind\": \"background\"}]\n\nThe required composition, extracted from a draft of this shot:\n{\"camera\": {\"angle\": \"Very high oblique overhead / bird’s-eye establishing angle, looking down into a dense cluster of flat-roofed urban buildings. The camera is pitched steeply downward, with only vertical wall faces and roof planes visible; no sky.\", \"height\": \"Rooftop-to-crane height, well above the main courtyard and surrounding roofs, roughly several stories up. It looks down into multiple roof levels and narrow alleys.\", \"lens_feel\": \"Wide panoramic lens feel with deep focus. Strong architectural perspective and many receding diagonals, but not heavily distorted; everything from foreground parapets to distant roofs remains sharp.\"}, \"empty_background_requirements\": \"The empty plate must be the same high, wide overhead view of the residential rooftop complex with no people added or removed. It must preserve all architecture and props: the central walled courtyard, concrete parapets, staircases with metal railings at lower left/center, the small rooftop room with open grey door and warm-lit interior, the adjacent flat roof, laundry area with blue water tank and hanging sheets at right, stacked wooden boards and coiled material at lower right, surrounding brick-and-concrete buildings, alleys, rooftop tanks, pipes, windows, weather stains, weeds, rocks, drains, and the parked car at lower left. Since there are no visible human subjects in the still, the empty background is effectively identical to the shown image.\", \"horizon_and_depth\": \"No visible horizon line; depth is constructed through stacked roof planes, parapet heights, alleys, and diagonal wall edges. The image has layered depth from the foreground lower parapets and street/courtyard edge, through the central courtyard and rooftop room, to midground and background apartment roofs. Recession runs mainly from lower frame toward upper frame, with strong diagonals leading upper left and upper right through alleys and roof walls.\", \"major_surfaces\": [\"Large weathered concrete rooftop/courtyard floor occupying the central lower-middle area, mottled with stains, dirt, weeds, and scattered stones.\", \"Low concrete parapet walls forming rectangular roof enclosures across the frame.\", \"Small central rooftop structure/room with flat concrete roof, off-white stained walls, vertical windows, and an open metal door revealing a warm beige interior floor and walls.\", \"Concrete stairs and landings with silver metal railings in the lower-left to lower-center foreground.\", \"Right-side rooftop service area with pale concrete floor, blue cylindrical water tank, metal clothesline posts, hanging laundry, pipes, and vegetation along wall bases.\", \"Lower-right storage surface: stacked wooden pallets/boards with coiled rope/wire and a bicycle-like metal frame/object nearby.\", \"Surrounding red-brick and grey-concrete building façades with windows, doors, rooftop slabs, vents, pipes, and parapets.\", \"Narrow asphalt/concrete alleys between buildings, including a darker vertical lane near upper center-left and a lower street/drive area with a parked blue-grey car at bottom left.\", \"Multiple background rooftops with blue water tanks, patched concrete, tar stains, vents, corrugated metal covers, and small utility structures.\"], \"occlusion_order\": \"No people are present. Architectural occlusion proceeds from foreground parapet and stair railings at the bottom edge, then the central courtyard walls and stairs, then the central rooftop room whose walls and open door block the roof floor behind it, then the right service-yard parapet/laundry/water tank, with surrounding midground buildings and background roofs layered behind. Parapet walls repeatedly hide lower alleys and roof floors; the open door partially occludes the doorway/interior.\", \"subjects\": []}\n\nThe plate must contain NO people, no figures, and no silhouettes —\njust the environment, composed so the described people could be\ninserted later.\nPEOPLE COUNT CONTRACT: this shot contains NO people at all — the frame must be completely unpopulated, with no figures anywhere.\nAny circled letters, numbers or legend text on the control diagram are SITE MARKERS only — they are never people and must not become people or objects in the output.\nCAMERA HEIGHT CONTRACT: the camera stands ON the ground INSIDE the scene at human eye height (about 1.6 m). Sky or horizon must be visible where the view allows it. Do NOT render an overhead, elevated, aerial or drone view — this is a ground-level cinematic shot.\nAbsolutely no text, letters, circles, arrows or diagram marks."}
{"ts": "2026-07-04 18:58:05", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "S4_Shot1_final_B_v3", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/outdoor_v3/S4_Shot1/bg_B.png"], "ref_labels": ["ENVIRONMENT BACKGROUND reference — the empty environment: its space, architecture, materials and lighting are the ground truth. It contains NO people. Use it as the shot's background, matching its space and lighting exactly."], "attempt": 1, "dur_s": 20.5, "bytes": 3287874, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/outdoor_v3/S4_Shot1/final_B.png", "prompt": "Create the FINAL photorealistic cinematic film still of this shot.\n\nSHOT CONTENT: 인천 변두리의 낡고 오래된 빌라 옥탑방 외부 전경이 한눈에 내려다보이는 부감 구도.\nCAMERA: An omniscient overhead camera holds from about forty-five meters above the old villa, centered on the rooftop room while still keeping the surrounding neighborhood readable. The rooftop structure sits in the middle of the frame like a small exposed shrine, boxed in by worn roofs, narrow alleys, and faded concrete blocks.\nFRAMING: wide\nLIGHTING: Daylight is overcast and desaturated, with blue-gray concrete shadows and faint sickly amber window stains breaking the neighborhood’s cold isolation.\nSPATIAL CONSTRAINTS: [{\"depth_plane\": \"midground\", \"gesture_action\": \"none\", \"gesture_target_label\": \"\", \"label\": \"old rooftop room\", \"screen_zone\": \"middle_center\", \"target_id\": \"\", \"target_kind\": \"background\"}]\n\nPEOPLE COUNT CONTRACT: this shot contains NO people at all — the frame must be completely unpopulated, with no figures anywhere.\nAny circled letters, numbers or legend text on the control diagram are SITE MARKERS only — they are never people and must not become people or objects in the output.\nCAMERA HEIGHT CONTRACT: the camera stands ON the ground INSIDE the scene at human eye height (about 1.6 m). Sky or horizon must be visible where the view allows it. Do NOT render an overhead, elevated, aerial or drone view — this is a ground-level cinematic shot.\n\nStage the shot inside the attached environment background — keep its\narchitecture, materials and lighting exactly. Every person is a REAL\nhuman being, photorealistic, matching their identity reference photo\n(face, hair, build). Natural film lighting and grain consistent with\nthe environment.\nAbsolutely no text, letters, circles, arrows, diagram marks, and no\nmannequin-like or statue-like appearance on any person."}
{"ts": "2026-07-04 18:59:58", "kind": "img", "engine": "gpt-image-2", "mode": "edit", "tag": "S10_Shot6_camview_sketch", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/outdoor_v3/S10_Shot6/root_marked.png"], "size": "1536x864", "attempt": 1, "dur_s": 113.3, "bytes": 1351108, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/outdoor_v3/S10_Shot6/sketch.png", "prompt": "The attached image is a TOP-DOWN aerial site sketch of one real place, with\na green camera icon and view-cone marking ONE camera position and its\nviewing direction (circled letters are site markers, never people).\n\nDraw the clean LINE-ART sketch of the EYE-LEVEL view that THAT camera sees\nfrom its marked position: thin dark ink lines on a plain white background,\nno colour, no shading, no photo texture. The camera stands ON the ground of\nits marked spot at human eye height (about 1.6 m) INSIDE the scene — NOT\nabove it. Show the structures, ground surfaces, openings and approaches the\nsite sketch places in front of that camera, in correct perspective at\nreal-world human scale, with the horizon at a natural eye-level height.\nDo NOT draw any overhead or bird's-eye view. No people, no text, no\nletters, no circles, no arrows — pure line drawing of the environment."}
{"ts": "2026-07-04 19:01:47", "kind": "img", "engine": "gpt-image-2", "mode": "edit", "tag": "S10_Shot6_plate_v3", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/outdoor_v3/S10_Shot6/sketch.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/outdoor_v3/S10_Shot6/root_marked.png"], "size": "1536x864", "attempt": 1, "dur_s": 108.1, "bytes": 2037835, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/outdoor_v3/S10_Shot6/plate.png", "prompt": "The FIRST attached image is a LINE-ART sketch of one camera's eye-level\nview of a real outdoor place — it is the COMPOSITION AND PERSPECTIVE\nground truth. The SECOND attached image is the top-down site sketch of\nthe same place — use it ONLY to understand materials, fixtures and\nspatial relations; never copy its top-down viewpoint or its markers.\n\nRender the PHOTOREALISTIC empty background plate of exactly the view the\nline-art sketch shows: same framing, same perspective, same structures,\nat real-world human scale. This is an EMPTY plate: no people, no text,\nno letters, no circles, no sketch lines — pure photographic realism.\n\nWHAT THIS PLACE LOOKS LIKE (production data):\n- 인천 변두리 낡은 빌라 옥탑방 옥상·현관 앞 외부: 낡은 다세대 빌라 꼭대기에 위치한 야외 공간. 물탱크, 흔들리는 빨랫줄, 평상 위 약초 건조 흔적, 낡은 철문 현관이 있다. (특징: 낡은 시멘트 바닥; 물탱크; 바람에 날리는 빨랫줄; 평상과 널려 있는 말린 약초(석창포); 전단지가 끼워진 철문 현관)\n\nSite orientation notes:\nUse a direct overhead plan. Keep the rooftop room as the central roof mass, with the iron-door side facing the terrace landing, exterior stair, and alley approach. Show only the roof outline and openings for the interior: no interior floor plan, furniture, blood, wall marks, bed, table, TV, sink, mirror, or bathroom layout. Interior shots are anchored only by the front door, exterior windows, and the abstract inner doorway markers.\n\nCAMERA: Inside the room, the camera holds static near the side wall at shoulder height, angled so only the window glass carries the action as a reflection and the direct attack is never seen. The reflected silhouettes sit within the window frame: a bent 인영 in the upper-middle area lowers its head toward the shoulder of 사람, whose body buckles beneath it in a distorted, wavering mid-action shape.\nFRAMING: medium\nLIGHTING: The reflected action is almost monochrome blue-black, broken by a weak amber practical smear and restrained crimson-brown shadow at the shoulder line.\nPERSON: {\"angle\": \"three_quarter_left\", \"body_pose\": \"hunched over shoulder\", \"character\": \"인영\", \"gaze_direction_kind\": \"looks_at_character\", \"gaze_target_id\": \"C20\", \"subject_state\": \"alive\"}\nPERSON: {\"angle\": \"profile_left\", \"body_pose\": \"buckling under lunge\", \"character\": \"사람\", \"gaze_direction_kind\": \"off_screen\", \"gaze_target_id\": null, \"subject_state\": \"severely_injured\"}\nSPATIAL CONSTRAINTS: [{\"depth_plane\": \"midground\", \"gesture_action\": \"none\", \"gesture_target_label\": \"\", \"label\": \"window reflection containing silhouettes\", \"screen_zone\": \"middle_center\", \"target_id\": \"\", \"target_kind\": \"background\"}]\n\nCAMERA HEIGHT CONTRACT: the camera stands ON the ground INSIDE the scene at human eye height (about 1.6 m). Sky or horizon must be visible where the view allows it. Do NOT render an overhead, elevated, aerial or drone view — this is a ground-level cinematic shot."}
{"ts": "2026-07-04 19:03:52", "kind": "img", "engine": "gpt-image-2", "mode": "edit", "tag": "S5_Shot3_bgC_m_r2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/indoor/S5_Shot3/contour.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/indoor/top_layers/TL2_living_kitchen_entry.png"], "size": "1536x864", "attempt": 1, "dur_s": 125.3, "bytes": 1910490, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/indoor/S5_Shot3/bg_C_m.png", "prompt": "Create the photorealistic EMPTY background plate for one film shot:\nthe environment exactly as the environment reference shows it (same\narchitecture, materials, lighting), seen from the shot's camera.\n\nSHOT CONTENT: 앞치마를 두른 민숙이 어두운 표정으로 거실 TV 화면을 응시하며 굳어 있는 상체.\nPEOPLE IN SHOT: 민숙\nCAMERA: The observer camera settles at the end of its lateral track from near the sink and small window, chest height and about two and a half meters from Minsuk, looking across the counter line toward the living room TV. Minsuk is held in an upper-body frame at the right-middle of the image, shoulders locked in her apron as the kitchen foreground remains softly present and the TV glow pulls her stare off-frame.\nFRAMING: medium\nLIGHTING: Cold TV blue fights a weak amber kitchen practical and pale window light, turning the cramped home into a damp, anxious interior.\nPERSON: {\"angle\": \"three_quarter_left\", \"body_pose\": \"frozen by TV\", \"character\": \"민숙\", \"gaze_direction_kind\": \"off_screen\", \"gaze_target_id\": null, \"subject_state\": \"alive\"}\n\nFollow the attached line contour's composition EXACTLY —\nsame framing, perspective and structure placement.\n\nWhere each person would stand or sit, place a featureless matte-grey\nartist mannequin in that exact pose and scale (no face, no clothing\ndetail) — everything else stays an empty environment.\nAbsolutely no text, letters, circles, arrows or diagram marks."}
{"ts": "2026-07-04 19:04:09", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "S5_Shot3_final_C_m_r2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/indoor/S5_Shot3/bg_C_m.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/b0ad5c18-5140-4022-a2b0-805de0e5a385/images/0d30302a-51c8-4ac9-98e2-6cd9180512bf/reference/d6b8ea09-1c0a-453c-93fa-be38348df5a6.png"], "ref_labels": ["ENVIRONMENT BACKGROUND reference — the empty environment: its space, architecture, materials and lighting are the ground truth. It contains NO people. Use it as the shot's background, matching its space and lighting exactly.", "IDENTITY REFERENCE photo of the person referred to as: 민숙"], "attempt": 1, "dur_s": 16.9, "bytes": 2792920, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/indoor/S5_Shot3/final_C_m.png", "prompt": "Create the FINAL photorealistic cinematic film still of this shot.\n\nSHOT CONTENT: 앞치마를 두른 민숙이 어두운 표정으로 거실 TV 화면을 응시하며 굳어 있는 상체.\nPEOPLE IN SHOT: 민숙\nCAMERA: The observer camera settles at the end of its lateral track from near the sink and small window, chest height and about two and a half meters from Minsuk, looking across the counter line toward the living room TV. Minsuk is held in an upper-body frame at the right-middle of the image, shoulders locked in her apron as the kitchen foreground remains softly present and the TV glow pulls her stare off-frame.\nFRAMING: medium\nLIGHTING: Cold TV blue fights a weak amber kitchen practical and pale window light, turning the cramped home into a damp, anxious interior.\nPERSON: {\"angle\": \"three_quarter_left\", \"body_pose\": \"frozen by TV\", \"character\": \"민숙\", \"gaze_direction_kind\": \"off_screen\", \"gaze_target_id\": null, \"subject_state\": \"alive\"}\n\nStage the shot inside the attached environment background — keep its\narchitecture, materials and lighting exactly. Every person is a REAL\nhuman being, photorealistic, matching their identity reference photo\n(face, hair, build). Natural film lighting and grain consistent with\nthe environment.\nAbsolutely no text, letters, circles, arrows, diagram marks, and no\nmannequin-like or statue-like appearance on any person."}
{"ts": "2026-07-04 19:06:12", "kind": "img", "engine": "gpt-image-2", "mode": "edit", "tag": "S11_Shot3_bgC_m_r2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/outdoor_v2/S11_Shot3/contour.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/outdoor_v2/S11_Shot3/plate.png"], "size": "1536x864", "attempt": 1, "dur_s": 123.3, "bytes": 1683614, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/outdoor_v2/S11_Shot3/bg_C_m.png", "prompt": "Create the photorealistic EMPTY background plate for one film shot:\nthe environment exactly as the environment reference shows it (same\narchitecture, materials, lighting), seen from the shot's camera.\n\nSHOT CONTENT: 계단 중간에 서서 심하게 코를 찡그린 수리영의 얼굴 클로즈업.\nPEOPLE IN SHOT: 수리영\nCAMERA: Midway up the narrow concrete staircase, the camera holds static very close to 수리영 from the front-left at face height, tightening into an intense close-up that leaves only a sliver of stair texture behind her. Her nose wrinkles hard at the sudden smell, eyes lifting toward the unseen rooftop landing while her halted climb compresses her shoulders into the frame.\nFRAMING: close\nLIGHTING: A cold blue-gray stairwell wash sculpts her face while a faint amber rooftop spill catches the bridge of her nose, making the smell reaction feel physical and ominous.\nPERSON: {\"angle\": \"three_quarter_left\", \"body_pose\": \"halted mid-stair climb\", \"character\": \"수리영\", \"gaze_direction_kind\": \"up\", \"gaze_target_id\": null, \"subject_state\": \"alive\"}\n\nFollow the attached line contour's composition EXACTLY —\nsame framing, perspective and structure placement.\n\nWhere each person would stand or sit, place a featureless matte-grey\nartist mannequin in that exact pose and scale (no face, no clothing\ndetail) — everything else stays an empty environment.\nPEOPLE COUNT CONTRACT: exactly 1 person(s) in frame — 수리영. Absolutely no other people, bystanders or figures anywhere in the frame, foreground or background.\nAny circled letters, numbers or legend text on the control diagram are SITE MARKERS only — they are never people and must not become people or objects in the output.\nCAMERA HEIGHT CONTRACT: the camera stands ON the ground INSIDE the scene at human eye height (about 1.6 m). Sky or horizon must be visible where the view allows it. Do NOT render an overhead, elevated, aerial or drone view — this is a ground-level cinematic shot.\nAbsolutely no text, letters, circles, arrows or diagram marks."}
{"ts": "2026-07-04 19:06:28", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "S11_Shot3_final_C_m_r2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/outdoor_v2/S11_Shot3/bg_C_m.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/b0ad5c18-5140-4022-a2b0-805de0e5a385/images/0d30302a-51c8-4ac9-98e2-6cd9180512bf/reference/0b01920a-4b59-4e19-ba35-e6e033cbd6b4.png"], "ref_labels": ["ENVIRONMENT BACKGROUND reference — the empty environment: its space, architecture, materials and lighting are the ground truth. It contains NO people. Use it as the shot's background, matching its space and lighting exactly.", "IDENTITY REFERENCE photo of the person referred to as: 수리영"], "attempt": 1, "dur_s": 15.6, "bytes": 2490873, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/outdoor_v2/S11_Shot3/final_C_m.png", "prompt": "Create the FINAL photorealistic cinematic film still of this shot.\n\nSHOT CONTENT: 계단 중간에 서서 심하게 코를 찡그린 수리영의 얼굴 클로즈업.\nPEOPLE IN SHOT: 수리영\nCAMERA: Midway up the narrow concrete staircase, the camera holds static very close to 수리영 from the front-left at face height, tightening into an intense close-up that leaves only a sliver of stair texture behind her. Her nose wrinkles hard at the sudden smell, eyes lifting toward the unseen rooftop landing while her halted climb compresses her shoulders into the frame.\nFRAMING: close\nLIGHTING: A cold blue-gray stairwell wash sculpts her face while a faint amber rooftop spill catches the bridge of her nose, making the smell reaction feel physical and ominous.\nPERSON: {\"angle\": \"three_quarter_left\", \"body_pose\": \"halted mid-stair climb\", \"character\": \"수리영\", \"gaze_direction_kind\": \"up\", \"gaze_target_id\": null, \"subject_state\": \"alive\"}\n\nPEOPLE COUNT CONTRACT: exactly 1 person(s) in frame — 수리영. Absolutely no other people, bystanders or figures anywhere in the frame, foreground or background.\nAny circled letters, numbers or legend text on the control diagram are SITE MARKERS only — they are never people and must not become people or objects in the output.\nCAMERA HEIGHT CONTRACT: the camera stands ON the ground INSIDE the scene at human eye height (about 1.6 m). Sky or horizon must be visible where the view allows it. Do NOT render an overhead, elevated, aerial or drone view — this is a ground-level cinematic shot.\n\nStage the shot inside the attached environment background — keep its\narchitecture, materials and lighting exactly. Every person is a REAL\nhuman being, photorealistic, matching their identity reference photo\n(face, hair, build). Natural film lighting and grain consistent with\nthe environment.\nAbsolutely no text, letters, circles, arrows, diagram marks, and no\nmannequin-like or statue-like appearance on any person."}
{"ts": "2026-07-04 19:06:28", "kind": "stage", "stage": "s5_round2", "done": "all"}
{"ts": "2026-07-04 19:08:41", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "S4_Shot1_temp_v31", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/outdoor_v3/S4_Shot1/plate.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/outdoor_v3/S4_Shot1/sketch.png"], "ref_labels": ["ENVIRONMENT BACKGROUND reference — the empty environment: its space, architecture, materials and lighting are the ground truth. It contains NO people.", "CAMERA AND PLACEMENT DIAGRAM (top-down control image) — use it ONLY to understand where the camera stands, what it looks at, and where each person is. NEVER copy its drawing style, lines, circles, letters or any marks into the output."], "attempt": 1, "dur_s": 19.1, "bytes": 3774318, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/outdoor_v3/S4_Shot1/temp_v31.png", "prompt": "Create a photorealistic cinematic still that stages this shot inside the\ngiven environment. This is a COMPOSITION DRAFT: the people are ordinary\nreal humans whose identity does not matter — focus on a strong, natural\ncomposition that matches the camera and placement exactly.\n\nSHOT CONTENT: 인천 변두리의 낡고 오래된 빌라 옥탑방 외부 전경이 한눈에 내려다보이는 부감 구도.\nCAMERA: An omniscient overhead camera holds from about forty-five meters above the old villa, centered on the rooftop room while still keeping the surrounding neighborhood readable. The rooftop structure sits in the middle of the frame like a small exposed shrine, boxed in by worn roofs, narrow alleys, and faded concrete blocks.\nFRAMING: wide\nLIGHTING: Daylight is overcast and desaturated, with blue-gray concrete shadows and faint sickly amber window stains breaking the neighborhood’s cold isolation.\nSPATIAL CONSTRAINTS: [{\"depth_plane\": \"midground\", \"gesture_action\": \"none\", \"gesture_target_label\": \"\", \"label\": \"old rooftop room\", \"screen_zone\": \"middle_center\", \"target_id\": \"\", \"target_kind\": \"background\"}]\n\nPEOPLE COUNT CONTRACT: this shot contains NO people at all — the frame must be completely unpopulated, with no figures anywhere.\nAny circled letters, numbers or legend text on the control diagram are SITE MARKERS only — they are never people and must not become people or objects in the output.\nCAMERA HEIGHT CONTRACT: the camera stands ON the ground INSIDE the scene at human eye height (about 1.6 m). Sky or horizon must be visible where the view allows it. Do NOT render an overhead, elevated, aerial or drone view — this is a ground-level cinematic shot.\n\nKeep the environment's architecture, materials and lighting from the\nenvironment reference. Place the camera and every person exactly as the\ncontrol diagram indicates. Absolutely no text, letters, circles, arrows\nor diagram marks in the output."}
{"ts": "2026-07-04 19:09:08", "kind": "llm", "step": "forest_vlm_comp", "model": "gpt", "dur_s": 27.8}
{"ts": "2026-07-04 19:11:04", "kind": "img", "engine": "gpt-image-2", "mode": "edit", "tag": "S4_Shot1_bgB_v31", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/outdoor_v3/S4_Shot1/plate.png"], "size": "1536x864", "attempt": 1, "dur_s": 115.9, "bytes": 2677926, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/outdoor_v3/S4_Shot1/bg_B_v31.png", "prompt": "Create the photorealistic EMPTY background plate for one film shot:\nthe environment exactly as the environment reference shows it (same\narchitecture, materials, lighting), seen from the shot's camera.\n\nSHOT CONTENT: 인천 변두리의 낡고 오래된 빌라 옥탑방 외부 전경이 한눈에 내려다보이는 부감 구도.\nCAMERA: An omniscient overhead camera holds from about forty-five meters above the old villa, centered on the rooftop room while still keeping the surrounding neighborhood readable. The rooftop structure sits in the middle of the frame like a small exposed shrine, boxed in by worn roofs, narrow alleys, and faded concrete blocks.\nFRAMING: wide\nLIGHTING: Daylight is overcast and desaturated, with blue-gray concrete shadows and faint sickly amber window stains breaking the neighborhood’s cold isolation.\nSPATIAL CONSTRAINTS: [{\"depth_plane\": \"midground\", \"gesture_action\": \"none\", \"gesture_target_label\": \"\", \"label\": \"old rooftop room\", \"screen_zone\": \"middle_center\", \"target_id\": \"\", \"target_kind\": \"background\"}]\n\nThe required composition, extracted from a draft of this shot:\n{\"camera\": {\"angle\": \"High oblique establishing view looking downward into a dense residential rooftop block; camera faces roughly along a central alley/roof corridor that recedes from lower center toward upper center. The frame is not level with the ground plane: rooftops are seen from above, with strong vertical drop visibility into alleys.\", \"height\": \"Elevated well above street/alley level, approximately 2–4 stories up or drone/crane height, slightly higher than most visible flat roofs and looking across/over adjacent rooftops.\", \"lens_feel\": \"Wide panoramic lens feel with a very broad horizontal field of view; rectilinear or mildly wide-angle perspective. Depth compression is moderate: parallel rooftop walls and alley edges converge gently toward the upper center, while foreground roof edges appear large and close.\"}, \"empty_background_requirements\": \"The plate must contain the entire empty urban rooftop environment exactly as shown: no people or moving figures anywhere. It must preserve the foreground red tiled roof strip along the bottom, the central foreground flat-roof building with parapet, weathered rooftop room, open grey door, rust-stained metal door, yellow-lit window, rooftop stains and cracks, surrounding concrete parapets, the narrow alleys on both sides, overhead power/utility wires crossing the lower and middle frame, utility poles, corrugated metal awnings, water tanks, tiled roofs, flat concrete roofs, rooftop sheds, small doors/windows, and the dense repeating residential buildings extending to the top of frame. Since no human subjects are visible, this image effectively already functions as an empty background plate; any future inserted people would need to be matched to the high downward perspective and occluded by parapets, wires, roof lips, awnings, and building edges where appropriate.\", \"horizon_and_depth\": \"No true sky horizon is visible; the frame is filled by rooftops and buildings to the top edge. Depth is constructed by repeated rectangular rooftops, parapet walls, alleys, and roof ridges receding toward the upper center. The central alley/void creates the main vanishing direction, with walls and roof edges converging subtly upward. Foreground depth plane occupies the bottom red tile roof and lower parapet/wire layer; midground is dominated by the central flat-roof building with rooftop room and adjacent alleys; background consists of tightly packed roofs and higher apartment blocks fading toward the top. The overall depth is layered and architectural rather than atmospheric, with cool blue-grey grading unifying the scene.\", \"major_surfaces\": [\"Foreground red clay tiled roof band along the bottom edge, with curved ridge tiles and dark weathering.\", \"Large central foreground flat concrete rooftop enclosed by a stained parapet, including mottled black/white roof surface, cracks, and roof-wall edges.\", \"Small rooftop room on the central building: white/grey stained walls, rusted metal double door, open grey hinged door, rectangular yellow-lit window, flat blackened roof slab, and attached drainpipes.\", \"Left foreground/midground flat concrete roofs with pale blue-grey waterproofing, raised parapets, rooftop access rooms, dark doors, windows, stains, and puddle-like discoloration.\", \"Right foreground/midground red tiled roof mass and adjacent pale flat roof with parapets, rooftop box structures, dark window openings, and corrugated awnings.\", \"Narrow alleys and roof-level service passages running vertically through the composition, especially the central lane receding from lower middle toward top center.\", \"Concrete boundary walls, parapets, and rooftop edges forming repeated horizontal and diagonal bands across the frame.\", \"Corrugated metal awnings and lean-to roofs in grey/white/rust tones attached to alley-facing walls.\", \"Overhead utility wires crossing diagonally and horizontally in the lower half and midframe, plus utility poles and small electrical boxes.\", \"Background dense residential block: repeating flat roofs, tiled gables, rooftop sheds, water tanks/cylinders, apartment facades, windows, balconies, and parapet tops.\"], \"occlusion_order\": \"Nearest visual layer: lower-edge foreground roofs and parapet tops, including the bottom red tile roof and lower wall edges. Next: foreground utility wires crossing over building faces and alleys, visually overlaying parts of the central and lower buildings. Main midground layer: central flat-roof building and rooftop room, which occlude the alley floor behind them and parts of adjacent roofs. Left and right neighboring parapets and roof slabs overlap the side alleys and partially hide lower walls. Corrugated awnings protrude over alleys and occlude portions of doorways/walkways beneath. Farther rooftops and tiled ridges stack behind one another toward the upper frame, with nearer parapets cutting across and hiding the bases of buildings behind them. No people are present, so there are no subject-to-background occlusions to preserve beyond architectural/wire occlusions.\", \"subjects\": []}\n\nThe plate must contain NO people, no figures, and no silhouettes —\njust the environment, composed so the described people could be\ninserted later.\nPEOPLE COUNT CONTRACT: this shot contains NO people at all — the frame must be completely unpopulated, with no figures anywhere.\nAny circled letters, numbers or legend text on the control diagram are SITE MARKERS only — they are never people and must not become people or objects in the output.\nCAMERA HEIGHT CONTRACT: the camera stands ON the ground INSIDE the scene at human eye height (about 1.6 m). Sky or horizon must be visible where the view allows it. Do NOT render an overhead, elevated, aerial or drone view — this is a ground-level cinematic shot.\nAbsolutely no text, letters, circles, arrows or diagram marks."}
{"ts": "2026-07-04 19:11:24", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "S4_Shot1_final_B_v31", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/outdoor_v3/S4_Shot1/bg_B_v31.png"], "ref_labels": ["ENVIRONMENT BACKGROUND reference — the empty environment: its space, architecture, materials and lighting are the ground truth. It contains NO people. Use it as the shot's background, matching its space and lighting exactly."], "attempt": 1, "dur_s": 19.8, "bytes": 3430442, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/outdoor_v3/S4_Shot1/final_B_v31.png", "prompt": "Create the FINAL photorealistic cinematic film still of this shot.\n\nSHOT CONTENT: 인천 변두리의 낡고 오래된 빌라 옥탑방 외부 전경이 한눈에 내려다보이는 부감 구도.\nCAMERA: An omniscient overhead camera holds from about forty-five meters above the old villa, centered on the rooftop room while still keeping the surrounding neighborhood readable. The rooftop structure sits in the middle of the frame like a small exposed shrine, boxed in by worn roofs, narrow alleys, and faded concrete blocks.\nFRAMING: wide\nLIGHTING: Daylight is overcast and desaturated, with blue-gray concrete shadows and faint sickly amber window stains breaking the neighborhood’s cold isolation.\nSPATIAL CONSTRAINTS: [{\"depth_plane\": \"midground\", \"gesture_action\": \"none\", \"gesture_target_label\": \"\", \"label\": \"old rooftop room\", \"screen_zone\": \"middle_center\", \"target_id\": \"\", \"target_kind\": \"background\"}]\n\nPEOPLE COUNT CONTRACT: this shot contains NO people at all — the frame must be completely unpopulated, with no figures anywhere.\nAny circled letters, numbers or legend text on the control diagram are SITE MARKERS only — they are never people and must not become people or objects in the output.\nCAMERA HEIGHT CONTRACT: the camera stands ON the ground INSIDE the scene at human eye height (about 1.6 m). Sky or horizon must be visible where the view allows it. Do NOT render an overhead, elevated, aerial or drone view — this is a ground-level cinematic shot.\n\nStage the shot inside the attached environment background — keep its\narchitecture, materials and lighting exactly. Every person is a REAL\nhuman being, photorealistic, matching their identity reference photo\n(face, hair, build). Natural film lighting and grain consistent with\nthe environment.\nAbsolutely no text, letters, circles, arrows, diagram marks, and no\nmannequin-like or statue-like appearance on any person."}
{"ts": "2026-07-04 19:11:24", "kind": "stage", "stage": "s6_hopfix", "shot": "S4_Shot1"}
{"ts": "2026-07-05 04:41:23", "kind": "info", "stage": "s7", "anchor_loc": "L03", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/projects/b0ad5c18-5140-4022-a2b0-805de0e5a385/episodes/0d30302a-51c8-4ac9-98e2-6cd9180512bf/images/floor_plan/fp_l03_rooftop_entry_main.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/b0ad5c18-5140-4022-a2b0-805de0e5a385/episodes/0d30302a-51c8-4ac9-98e2-6cd9180512bf/images/floor_plan/fp_l04_rooftop_room_main.png"]}
{"ts": "2026-07-05 04:44:30", "kind": "img", "engine": "gpt-image-2", "mode": "edit", "tag": "root_C_fp_anchor", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/projects/b0ad5c18-5140-4022-a2b0-805de0e5a385/episodes/0d30302a-51c8-4ac9-98e2-6cd9180512bf/images/floor_plan/fp_l03_rooftop_entry_main.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/b0ad5c18-5140-4022-a2b0-805de0e5a385/episodes/0d30302a-51c8-4ac9-98e2-6cd9180512bf/images/floor_plan/fp_l04_rooftop_room_main.png"], "size": "1536x864", "attempt": 1, "dur_s": 186.5, "bytes": 2815780, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/root/root_C.png", "prompt": "The FIRST attached image is the TOP-DOWN zone plan of one real place's\noutdoor level. Its GEOMETRY is the absolute ground truth: keep every\nboundary line, every zone's position, size and PROPORTION, the stair,\nthe fixtures and every opening EXACTLY where and how large the plan\nputs them. Do not move, resize, mirror or re-arrange anything.\n\nRedraw that exact layout as ONE hand-drawn TOP-DOWN aerial SITE SKETCH:\ndark ink outlines with light flat colour washes, straight-down view,\nNOT a photograph, NOT 3D. Translate each zone into its real surface:\nan enclosed dwelling zone becomes that dwelling's plain ROOF PLANE\n(never draw its interior rooms or furniture); open zones become the\nworn open terrace surface; a service zone keeps its fixtures (tank,\nlaundry line) as drawn; a threshold/entry zone keeps its door and the\nstair stays exactly where the plan places it.\nThe SECOND attached image is the dwelling's indoor floor plan — use it\nONLY to confirm the dwelling's outer boundary shape and where openings\nsit on that boundary. Never draw any interior layout.\n\nTHE PLACE (production data):\n- (outdoor, L03) 인천 변두리 낡은 빌라 옥탑방 옥상·현관 앞 외부: 낡은 다세대 빌라 꼭대기에 위치한 야외 공간. 물탱크, 흔들리는 빨랫줄, 평상 위 약초 건조 흔적, 낡은 철문 현관이 있다. (특징: 낡은 시멘트 바닥; 물탱크; 바람에 날리는 빨랫줄; 평상과 널려 있는 말린 약초(석창포); 전단지가 끼워진 철문 현관)\n- (indoor, L04) 옥탑방 내부: 작은 창문으로 빛이 들어오는 낡은 주거 공간. 싱크대, 식탁, TV가 있는 거실과 침대, 커튼, 거울 등이 있는 방/욕실로 구성된다. 약초 끓이는 냄비 등 생활 소품이 있으며, 간헐적으로 벽면에 붉은 원 형태의 환영과 핏자국이 생겨난다. (특징: 작은 창문의 햇살; 싱크대와 약초(석창포); 가스레인지 위 끓는 냄비와 수증기; 거실 TV와 스탠드; 침대, 커튼, 거울; 벽과 거울 표면에 나타나는 붉은 원 환영; 바닥과 벽의 핏자국 (특정 시점); 어지럽혀진 가재도구 (특정 시점))\n- (outdoor, L10) 옥탑방 외곽 골목·시멘트 계단: 다세대 빌라 마당의 후미진 구석과 옥탑방으로 올라가는 가파르고 낡은 시멘트 계단. (특징: 다세대 빌라 입구 마당; 후미진 구석 공간; 낡고 가파른 시멘트 계단)\n\nMark each of the following elements at its position with a small circle\ncontaining its single capital letter:\n(A) Rooftop room — Center the small roof outline on the rooftop terrace, with its entrance edge facing the terrace landing and exterior stair approach.\n(B) Iron door — Place on the entrance edge of the rooftop-room outline, opening directly onto the rooftop terrace landing; mark the flyer at the door seam.\n(C) Exterior windows — Draw window slots on the outer walls of the rooftop-room outline: one small/living window on a side wall visible from the terrace, and one curtained bedroom window on another outer wall.\n(D) Inner doorways — Inside the rooftop-room roof outline, mark only abstract doorway openings for the bedroom and bathroom access; do not draw interior walls, rooms, or furniture.\n(E) Rooftop terrace — Surround the rooftop-room outline with worn cement rooftop surface, widest in front of the iron door where the stair arrives.\n(F) Low wall — Run along the exposed perimeter of the rooftop terrace, outside the room and beside the cat/window line of sight.\n(G) Roof fixtures — Cluster the water tank, clothesline, and herb-drying platform on open terrace space away from the iron-door landing so the entrance remains clear.\n(H) Exterior stair — Attach the steep concrete stair to the rooftop terrace landing below the iron-door side, rising up from the villa yard/alley approach.\n(I) Alley approach — Draw the narrow wet alley and small villa-yard/back-corner approach at the foot of the exterior stair, leaving space for a parked vehicle beside the alley.\n(J) Neighbor roofs — Frame the rooftop terrace with adjacent flat villa roof planes and tight surrounding blocks, outside the main rooftop site.\n\nOn the RIGHT side of the image, add a clean legend panel listing each\ncircled letter with its English name in small neat capital letters:\nA: ROOFTOP ROOM, B: IRON DOOR, C: EXTERIOR WINDOWS, D: INNER DOORWAYS, E: ROOFTOP TERRACE, F: LOW WALL, G: ROOF FIXTURES, H: EXTERIOR STAIR, I: ALLEY APPROACH, J: NEIGHBOR ROOFS\n\nReplace the plan's zone captions and numbers — the circled letters and\nthe legend panel are the ONLY text and the ONLY circular marks allowed.\nAdd a modest margin of the immediate surroundings (neighbouring roofs,\nthe alley the stair descends into) so the place reads in context."}
{"ts": "2026-07-05 04:44:38", "kind": "llm", "step": "forest_root_readback", "model": "gpt", "dur_s": 8.5}
{"ts": "2026-07-05 04:46:51", "kind": "img", "engine": "gpt-image-2", "mode": "edit", "tag": "S4_Shot1_rootmark_C", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/root/root_C.png"], "size": "1536x864", "attempt": 1, "dur_s": 133.0, "bytes": 2674000, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/outdoor_c/S4_Shot1/root_marked.png", "prompt": "The attached image is a TOP-DOWN aerial site sketch with circled capital letters marking site elements (and possibly a legend panel on the right). Keep the sketch EXACTLY as it is — same geometry, same circled letters, same legend, do not redraw or restyle anything.\nADD exactly these annotations for ONE camera setup:\n- ONE green camera icon with a green triangular view-CONE showing where the camera stands and what it looks at, following this staging description:\nAn omniscient overhead camera holds from about forty-five meters above the old villa, centered on the rooftop room while still keeping the surrounding neighborhood readable. The rooftop structure sits in the middle of the frame like a small exposed shrine, boxed in by worn roofs, narrow alleys, and faded concrete blocks.\n- This shot has NO people — add no lettered person circles.\nAdd NOTHING else — no new structures, no new text other than the new capital letters in their small circles."}
{"ts": "2026-07-05 04:48:37", "kind": "img", "engine": "gpt-image-2", "mode": "edit", "tag": "S4_Shot1_camview_C", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/outdoor_c/S4_Shot1/root_marked.png"], "size": "1536x864", "attempt": 1, "dur_s": 106.0, "bytes": 1667002, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/outdoor_c/S4_Shot1/sketch.png", "prompt": "The attached image is a TOP-DOWN aerial site sketch of one real place, with\na green camera icon and view-cone marking ONE camera position and its\nviewing direction (circled letters are site markers, never people).\n\nDraw the clean LINE-ART sketch of the EYE-LEVEL view that THAT camera sees\nfrom its marked position: thin dark ink lines on a plain white background,\nno colour, no shading, no photo texture. The camera stands ON the ground of\nits marked spot at human eye height (about 1.6 m) INSIDE the scene — NOT\nabove it. Show the structures, ground surfaces, openings and approaches the\nsite sketch places in front of that camera, in correct perspective at\nreal-world human scale, with the horizon at a natural eye-level height.\nDo NOT draw any overhead or bird's-eye view. No people, no text, no\nletters, no circles, no arrows — pure line drawing of the environment."}
{"ts": "2026-07-05 04:50:40", "kind": "img", "engine": "gpt-image-2", "mode": "edit", "tag": "S4_Shot1_plate_C", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/outdoor_c/S4_Shot1/sketch.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/outdoor_c/S4_Shot1/root_marked.png"], "size": "1536x864", "attempt": 1, "dur_s": 123.0, "bytes": 2645630, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/outdoor_c/S4_Shot1/plate.png", "prompt": "The FIRST attached image is a LINE-ART sketch of one camera's eye-level\nview of a real outdoor place — it is the COMPOSITION AND PERSPECTIVE\nground truth. The SECOND attached image is the top-down site sketch of\nthe same place — use it ONLY to understand materials, fixtures and\nspatial relations; never copy its top-down viewpoint or its markers.\n\nRender the PHOTOREALISTIC empty background plate of exactly the view the\nline-art sketch shows: same framing, same perspective, same structures,\nat real-world human scale. This is an EMPTY plate: no people, no text,\nno letters, no circles, no sketch lines — pure photographic realism.\n\nWHAT THIS PLACE LOOKS LIKE (production data):\n- 인천 변두리 낡은 빌라 옥탑방 옥상·현관 앞 외부: 낡은 다세대 빌라 꼭대기에 위치한 야외 공간. 물탱크, 흔들리는 빨랫줄, 평상 위 약초 건조 흔적, 낡은 철문 현관이 있다. (특징: 낡은 시멘트 바닥; 물탱크; 바람에 날리는 빨랫줄; 평상과 널려 있는 말린 약초(석창포); 전단지가 끼워진 철문 현관)\n\nSite orientation notes:\nUse a direct overhead plan. Keep the rooftop room as the central roof mass, with the iron-door side facing the terrace landing, exterior stair, and alley approach. Show only the roof outline and openings for the interior: no interior floor plan, furniture, blood, wall marks, bed, table, TV, sink, mirror, or bathroom layout. Interior shots are anchored only by the front door, exterior windows, and the abstract inner doorway markers.\n\nCAMERA: An omniscient overhead camera holds from about forty-five meters above the old villa, centered on the rooftop room while still keeping the surrounding neighborhood readable. The rooftop structure sits in the middle of the frame like a small exposed shrine, boxed in by worn roofs, narrow alleys, and faded concrete blocks.\nFRAMING: wide\nLIGHTING: Daylight is overcast and desaturated, with blue-gray concrete shadows and faint sickly amber window stains breaking the neighborhood’s cold isolation.\nSPATIAL CONSTRAINTS: [{\"depth_plane\": \"midground\", \"gesture_action\": \"none\", \"gesture_target_label\": \"\", \"label\": \"old rooftop room\", \"screen_zone\": \"middle_center\", \"target_id\": \"\", \"target_kind\": \"background\"}]\n\nCAMERA HEIGHT CONTRACT: the camera stands ON the ground INSIDE the scene at human eye height (about 1.6 m). Sky or horizon must be visible where the view allows it. Do NOT render an overhead, elevated, aerial or drone view — this is a ground-level cinematic shot."}
{"ts": "2026-07-05 04:50:40", "kind": "stage", "stage": "s7_root_fp", "done": "all"}
{"ts": "2026-07-05 05:07:44", "kind": "llm", "step": "forest_root_plan_v2", "model": "gpt", "dur_s": 46.6, "system_prompt": "You are the master planner for a group of connected filming locations\n(one real-world place: a building and its grounds, with indoor and outdoor parts).\nYou are given the place's member descriptions and the FULL content of every shot.\n\nDesign ONE comprehensive TOP-DOWN site plan of the WHOLE property — not just its\ntop level. The plan must show, together in one drawing:\n- the full BUILDING footprint (the multi-storey building the upper dwelling sits on),\n- the GROUND level around it: the yard/alley, the building's street-side entrance\n  and the approach path where characters arrive,\n- the exterior STAIR route connecting ground to the top level,\n- the TOP level: the upper dwelling's roof outline, its terrace and fixtures,\n- a modest margin of the immediate surroundings.\n\nSelect the elements to mark on this one plan. Hard rules:\n- NEVER expose interior floor plans or interior furniture; enclosed spaces show\n  only their outline and boundary openings (doors, windows, gates).\n- Cover every shot: for each shot, the elements needed to locate its action.\n- At most 12 elements, each with a single capital letter ID and a SHORT English\n  name (1-3 words). Placement phrases must be relative and physical, grounded in\n  the given data only. Generic physical terms, no proper names.", "user_prompt": "PLACE MEMBERS:\n- (outdoor, L03) 인천 변두리 낡은 빌라 옥탑방 옥상·현관 앞 외부: 낡은 다세대 빌라 꼭대기에 위치한 야외 공간. 물탱크, 흔들리는 빨랫줄, 평상 위 약초 건조 흔적, 낡은 철문 현관이 있다. (특징: 낡은 시멘트 바닥; 물탱크; 바람에 날리는 빨랫줄; 평상과 널려 있는 말린 약초(석창포); 전단지가 끼워진 철문 현관)\n- (indoor, L04) 옥탑방 내부: 작은 창문으로 빛이 들어오는 낡은 주거 공간. 싱크대, 식탁, TV가 있는 거실과 침대, 커튼, 거울 등이 있는 방/욕실로 구성된다. 약초 끓이는 냄비 등 생활 소품이 있으며, 간헐적으로 벽면에 붉은 원 형태의 환영과 핏자국이 생겨난다. (특징: 작은 창문의 햇살; 싱크대와 약초(석창포); 가스레인지 위 끓는 냄비와 수증기; 거실 TV와 스탠드; 침대, 커튼, 거울; 벽과 거울 표면에 나타나는 붉은 원 환영; 바닥과 벽의 핏자국 (특정 시점); 어지럽혀진 가재도구 (특정 시점))\n- (outdoor, L10) 옥탑방 외곽 골목·시멘트 계단: 다세대 빌라 마당의 후미진 구석과 옥탑방으로 올라가는 가파르고 낡은 시멘트 계단. (특징: 다세대 빌라 입구 마당; 후미진 구석 공간; 낡고 가파른 시멘트 계단)\n\nALL SHOTS AT THIS PLACE:\n\n[S10_Shot5] (outdoor; loc=L03; scene_heading=S#10. 옥탑방 / N)\ndescription: 철문이 미세하게 열린 틈 사이로 어두운 내부가 보이는 구도.\nframing_scale: insert\ncamera_direction: At the end of the flow’s dolly-in, the lens freezes just outside the iron door at handle height, only inches from the seam, staring directly into the thin opening. The dark crack sits in the center like a vertical wound, with rough iron surfaces on both sides occupying the foreground while the interior beyond remains unreadable and almost lightless.\nkey_bg_elements: [{\"camera_use\": \"Primary focal aperture; turns the entry into a threatening slit rather than a normal doorway.\", \"directionality_class\": \"directional_3d\", \"element\": \"iron front door\", \"orientation\": \"The two heavy door edges face camera at close range, separated by a narrow central crack leading into darkness.\", \"state\": \"slightly open, scratched, cold metal\"}, {\"camera_use\": \"Hides what is inside and makes the gap feel predatory.\", \"directionality_class\": \"non_directional\", \"element\": \"dark interior beyond the crack\", \"orientation\": \"\", \"state\": \"unlit, opaque, silent\"}, {\"camera_use\": \"Adds tactile evidence of forced entry near the seam.\", \"directionality_class\": \"content_surface\", \"element\": \"creased advertisement flyer edge\", \"orientation\": \"Only the printed edge of the paper face is visible near the door seam, with partial color blocks and unreadable text.\", \"state\": \"bent, partly displaced, dirty\"}]\nframe_spatial_contract: {\"constraints\": [{\"depth_plane\": \"foreground\", \"gesture_action\": \"none\", \"gesture_target_label\": \"\", \"label\": \"narrow iron door seam\", \"screen_zone\": \"middle_center\", \"target_id\": \"\", \"target_kind\": \"background\"}], \"reason\": \"required_background_position\"}\n\n[S10_Shot6] (outdoor; loc=L03; scene_heading=S#10. 옥탑방 / N)\ndescription: 방 안 창문에 비친 그림자, 굽은 형태의 인영이 다른 사람 형상 위에 포개져 멈춘 찰나의 실루엣.\nframing_scale: medium\ncamera_direction: Inside the room, the camera holds static near the side wall at shoulder height, angled so only the window glass carries the action as a reflection and the direct attack is never seen. The reflected silhouettes sit within the window frame: a bent 인영 in the upper-middle area lowers its head toward the shoulder of 사람, whose body buckles beneath it in a distorted, wavering mid-action shape.\nkey_bg_elements: [{\"camera_use\": \"Serves as the only visible surface for the attack, keeping violence indirect and distorted.\", \"directionality_class\": \"reflective_surface\", \"element\": \"room window glass\", \"orientation\": \"The glass reflects the bent 인영 and 사람 as warped dark silhouettes, with faint interior light streaks trembling across them.\", \"state\": \"closed, grimy, reflective in darkness\"}, {\"camera_use\": \"Frames the reflection and prevents the viewer from seeing the real bodies directly.\", \"directionality_class\": \"directional_3d\", \"element\": \"window frame\", \"orientation\": \"The frame’s inner edges face camera and box the reflected action into a rigid rectangle.\", \"state\": \"old, chipped, motionless\"}, {\"camera_use\": \"Adds low, diseased color to the reflected silhouettes.\", \"directionality_class\": \"directional_3d\", \"element\": \"dim interior practical light\", \"orientation\": \"The lamp’s shaded side is off-frame but its amber spill grazes the wall and window reflection.\", \"state\": \"on, weak, sickly amber\"}, {\"camera_use\": \"Keeps the room claustrophobic around the window surface.\", \"directionality_class\": \"non_directional\", \"element\": \"dark side wall\", \"orientation\": \"\", \"state\": \"rough, stained, blue-gray shadowed\"}]\nframe_spatial_contract: {\"constraints\": [{\"depth_plane\": \"midground\", \"gesture_action\": \"none\", \"gesture_target_label\": \"\", \"label\": \"window reflection containing silhouettes\", \"screen_zone\": \"middle_center\", \"target_id\": \"\", \"target_kind\": \"background\"}], \"reason\": \"required_background_position\"}\n\n[S11_Shot3] (outdoor; loc=L10; scene_heading=S#11. 옥탑 방 밖 / N)\ndescription: 계단 중간에 서서 심하게 코를 찡그린 수리영의 얼굴 클로즈업.\ncharacters: 수리영\nframing_scale: close\ncamera_direction: Midway up the narrow concrete staircase, the camera holds static very close to 수리영 from the front-left at face height, tightening into an intense close-up that leaves only a sliver of stair texture behind her. Her nose wrinkles hard at the sudden smell, eyes lifting toward the unseen rooftop landing while her halted climb compresses her shoulders into the frame.\nkey_bg_elements: [{\"camera_use\": \"Minimal background texture that preserves the stair location without diluting the reaction.\", \"directionality_class\": \"directional_3d\", \"element\": \"narrow concrete staircase\", \"orientation\": \"Only the side edge and riser texture angle behind her cheek, indicating the upward path to the rooftop.\", \"state\": \"dark, damp, rough\"}, {\"camera_use\": \"Creates a suffocating side boundary close to her face.\", \"directionality_class\": \"non_directional\", \"element\": \"stairwell wall\", \"orientation\": \"\", \"state\": \"stained, cold, blue-gray\"}, {\"camera_use\": \"Suggests the unseen source direction through faint light above.\", \"directionality_class\": \"non_directional\", \"element\": \"rooftop darkness above the stairs\", \"orientation\": \"\", \"state\": \"unseen, heavy, foul implied\"}]\n\n[S11_Shot4] (outdoor; loc=L10; scene_heading=S#11. 옥탑 방 밖 / N)\ndescription: 옥상 위, 어둠 속에 반쯤 열려 멈춰 있는 옥탑방 현관 철문의 정적 구도.\nframing_scale: wide\ncamera_direction: After the hard eyeline cut, the camera adopts 수리영’s direct viewpoint from the rooftop landing, several meters from the entrance and at human eye level, facing the iron front door squarely. The half-open door is held in rigid symmetry at the center of the frame, surrounded by still rooftop darkness, with no figure entering to relieve the threat.\nkey_bg_elements: [{\"camera_use\": \"Central reveal and source of unease, held motionless after her smell reaction.\", \"directionality_class\": \"directional_3d\", \"element\": \"rooftop room iron front door\", \"orientation\": \"The door faces camera squarely but hangs half-open, exposing a narrow black interior gap along one side.\", \"state\": \"half-open, frozen, scratched\"}, {\"camera_use\": \"Frames the doorway in isolated negative space.\", \"directionality_class\": \"non_directional\", \"element\": \"rooftop landing darkness\", \"orientation\": \"\", \"state\": \"still, damp, blue-black\"}, {\"camera_use\": \"Adds rough domestic rooftop texture without drawing attention from the door.\", \"directionality_class\": \"directional_3d\", \"element\": \"low rooftop wall\", \"orientation\": \"Its top edge runs horizontally across the lower background, barely lit against the night.\", \"state\": \"wet-stained, concrete, motionless\"}]\nframe_spatial_contract: {\"constraints\": [{\"depth_plane\": \"background\", \"gesture_action\": \"none\", \"gesture_target_label\": \"\", \"label\": \"half-open rooftop iron door\", \"screen_zone\": \"middle_center\", \"target_id\": \"\", \"target_kind\": \"background\"}], \"reason\": \"required_background_position\"}\n\n[S12_Shot15] (indoor; loc=L04; scene_heading=S#12. 옥탑방 안 / N)\ndescription: 침대 위 어두운 벽면에 피가 번지듯 선명한 붉은색 원형 표식이 그려진 상태의 정지 구도.\nframing_scale: medium\ncamera_direction: From low bedside height near the mattress edge, the camera completes its upward tilt and locks off on the dark wall above the bed, where a completed red circular mark sits in the upper middle of frame. The bed edge remains only as a thin lower strip for scale, while the wall becomes an oppressive flat plane; this is aligned with 수리영’s panicked perception, the image subtly treated as an occult hallucination rather than stable reality.\nkey_bg_elements: [{\"camera_use\": \"Primary occult surface holding the completed mark.\", \"directionality_class\": \"content_surface\", \"element\": \"dark wall above the bed\", \"orientation\": \"The camera-facing wall face is visible, carrying a vivid red circular mark at its center.\", \"state\": \"dark, stained-looking, marked\"}, {\"camera_use\": \"Lower frame scale reference beneath the wall.\", \"directionality_class\": \"directional_3d\", \"element\": \"bed edge\", \"orientation\": \"The side edge of the mattress faces the camera from below, cropped into a narrow horizontal band.\", \"state\": \"dim, still, partly obscured\"}, {\"camera_use\": \"Symbolic focal mark on the wall.\", \"directionality_class\": \"content_surface\", \"element\": \"red circular mark\", \"orientation\": \"The painted-looking face of the circle is fully visible to the camera, as if freshly drawn into the wall surface.\", \"state\": \"bright red, wet-looking, completed\"}]\n\n[S12_Shot4] (indoor; loc=L04; scene_heading=S#12. 옥탑방 안 / N)\ndescription: 열린 방문 틈으로 보이는 방바닥에 검붉은 핏자국이 흥건하게 고여 있는 정지 구도.\nframing_scale: close\ncamera_direction: From the low waist-height position outside the bedroom doorway, the camera holds completely still about three feet back, peering through the opened door gap toward the dark red blood pooled on the floor just beyond the threshold. The door edges form a narrow vertical frame on both sides, with the blood occupying the lower middle of the image and the dim bedroom receding into blue-gray darkness behind it; this is a neutral observer’s direct view, not a character POV.\nkey_bg_elements: [{\"camera_use\": \"Foreground framing device that restricts the view into the room.\", \"directionality_class\": \"directional_3d\", \"element\": \"opened bedroom door\", \"orientation\": \"The inner edge of the door faces the camera at an oblique angle, creating a narrow gap into the room.\", \"state\": \"open, still, shadowed\"}, {\"camera_use\": \"Primary visual focus on the floor just inside the doorway.\", \"directionality_class\": \"non_directional\", \"element\": \"dark red blood pool\", \"orientation\": \"\", \"state\": \"wet, thick, spread across the floor\"}, {\"camera_use\": \"Texture under the blood and scale reference for the room.\", \"directionality_class\": \"non_directional\", \"element\": \"bedroom floor\", \"orientation\": \"\", \"state\": \"dirty, damp-looking, partially covered by blood\"}]\n\n[S12_Shot8] (indoor; loc=L04; scene_heading=S#12. 옥탑방 안 / N)\ndescription: 두 눈을 크게 뜨고 입을 벌린 채 굳어버린 수리영의 창백한 얼굴 클로즈업.\ncharacters: 수리영\nframing_scale: close\ncamera_direction: At eye level directly in front of 수리영, the handheld camera compresses tighter than the stage distance until her pale face nearly fills the frame, backing away only a fraction as her shock freezes mid-recoil. The background is almost lost in darkness, with only a faint suggestion of the room’s black edges behind her; the view remains a direct observer angle, but the proximity feels invasive and breathless.\nkey_bg_elements: [{\"camera_use\": \"Nearly swallowed background plane behind her face.\", \"directionality_class\": \"non_directional\", \"element\": \"dark bedroom recess\", \"orientation\": \"\", \"state\": \"unlit, indistinct\"}, {\"camera_use\": \"Soft edge shadow that isolates her head from the room.\", \"directionality_class\": \"directional_3d\", \"element\": \"bedroom doorway edge\", \"orientation\": \"A narrow side edge catches minimal spill light behind her shoulder.\", \"state\": \"partially visible, shadowed\"}]\nframe_spatial_contract: {\"constraints\": [{\"depth_plane\": \"foreground\", \"gesture_action\": \"none\", \"gesture_target_label\": \"\", \"label\": \"수리영 terrified face\", \"screen_zone\": \"middle_center\", \"target_id\": \"C01\", \"target_kind\": \"character\"}], \"reason\": \"primary_subject_isolation\"}\n\n[S13_Shot3] (outdoor; loc=L03; scene_heading=S#13. 옥탑방 외곽 / N)\ndescription: 차에서 내린 혜수가 초점 없는 눈으로 멍하게 서 있는 수리영을 향해 시선을 고정한 찰나의 상체.\ncharacters: 혜수, 수리영\nframing_scale: medium\ncamera_direction: Beside the police car at chest height, the tracking move slows into a held upper-body frame on 혜수 as she has just stepped out, her body paused between the car and the alley. 수리영 appears farther down the alley in soft background focus, small and blank beneath flashing siren wash, while 혜수 occupies the left foreground in a tense three-quarter view; this is a direct observer view moving parallel with her discovery.\nkey_bg_elements: [{\"camera_use\": \"Foreground context and flashing light source beside 혜수.\", \"directionality_class\": \"directional_3d\", \"element\": \"police car\", \"orientation\": \"The side of the car and open door angle toward the camera, framing 혜수’s exit.\", \"state\": \"parked, door open, siren lights active\"}, {\"camera_use\": \"Depth corridor between 혜수 and 수리영.\", \"directionality_class\": \"directional_3d\", \"element\": \"narrow alley\", \"orientation\": \"The alley recedes diagonally from the police car toward 수리영 in the background.\", \"state\": \"wet, dark, foggy\"}, {\"camera_use\": \"Intermittent color wash across faces and walls.\", \"directionality_class\": \"non_directional\", \"element\": \"siren light spill\", \"orientation\": \"\", \"state\": \"flashing red-blue across damp surfaces\"}]\nframe_spatial_contract: {\"constraints\": [{\"depth_plane\": \"foreground\", \"gesture_action\": \"looks_toward\", \"gesture_target_label\": \"수리영 down the alley\", \"label\": \"혜수 by police car\", \"screen_zone\": \"middle_left\", \"target_id\": \"C02\", \"target_kind\": \"character\"}, {\"depth_plane\": \"background\", \"gesture_action\": \"none\", \"gesture_target_label\": \"\", \"label\": \"수리영 in alley\", \"screen_zone\": \"middle_right\", \"target_id\": \"C01\", \"target_kind\": \"character\"}], \"reason\": \"shared_space_relation\"}\n\n[S13_Shot5] (outdoor; loc=L03; scene_heading=S#13. 옥탑방 외곽 / N)\ndescription: 수리영이 고개를 들어 혜수의 얼굴을 올려다보는 정적 구도.\ncharacters: 수리영, 혜수\nframing_scale: close\ncamera_direction: The camera sits low near 수리영’s eye level, about one meter away, tightened into a still close composition as she lifts her face toward 혜수 just above the frame. 수리영 holds the lower center of the image, her upward eyeline creating the unseen presence of 혜수, while the wet alley background blurs into dark blue-gray; this is a direct observer angle from the space between them.\nkey_bg_elements: [{\"camera_use\": \"Soft, dark background texture behind 수리영’s head.\", \"directionality_class\": \"non_directional\", \"element\": \"wet alley wall\", \"orientation\": \"\", \"state\": \"damp, shadowed, out of focus\"}, {\"camera_use\": \"Atmospheric layer around her face.\", \"directionality_class\": \"non_directional\", \"element\": \"night fog\", \"orientation\": \"\", \"state\": \"thin, drifting, blue-gray\"}, {\"camera_use\": \"Off-screen motivated color pulse on her skin.\", \"directionality_class\": \"non_directional\", \"element\": \"police siren spill\", \"orientation\": \"\", \"state\": \"intermittent, faint\"}]\nframe_spatial_contract: {\"constraints\": [{\"depth_plane\": \"foreground\", \"gesture_action\": \"looks_toward\", \"gesture_target_label\": \"혜수 just above frame\", \"label\": \"수리영 close low frame\", \"screen_zone\": \"middle_center\", \"target_id\": \"C01\", \"target_kind\": \"character\"}], \"reason\": \"primary_subject_isolation\"}\n\n[S14_Shot4] (indoor; loc=L04; scene_heading=S#14. 옥탑방 안 / N)\ndescription: 핏자국 하나 없이 깨끗하게 정돈된 수리영의 방 내부 정지 구도.\nframing_scale: wide\ncamera_direction: Just inside 수리영’s bedroom doorway at eye level, the camera holds a wide, unmoving view inward toward the bed, bare wall, curtain, and spotless floor. The room is framed as evidence: the clean floor stretches across the lower half, the curtain line sits to one side where the body should have been, and the wall above the bed remains blank; this is a direct neutral observation of absence.\nkey_bg_elements: [{\"camera_use\": \"Primary proof of erased violence across the lower frame.\", \"directionality_class\": \"non_directional\", \"element\": \"spotless bedroom floor\", \"orientation\": \"\", \"state\": \"clean, dry, no blood marks\"}, {\"camera_use\": \"Central room anchor and comparison point for the missing wall mark.\", \"directionality_class\": \"directional_3d\", \"element\": \"bed\", \"orientation\": \"The side and top plane of the bed face the camera from mid-frame.\", \"state\": \"neatly made, undisturbed\"}, {\"camera_use\": \"Surface where the red circle should have been absent.\", \"directionality_class\": \"content_surface\", \"element\": \"wall above the bed\", \"orientation\": \"The camera-facing wall face is visible and completely bare, carrying no red circular mark.\", \"state\": \"clean, dark, unmarked\"}, {\"camera_use\": \"Empty area where the hidden body had been discovered earlier.\", \"directionality_class\": \"directional_3d\", \"element\": \"curtain line\", \"orientation\": \"The front folds face the camera from the side of the room, concealing only darkness and empty space behind.\", \"state\": \"hanging still, clean, no body visible\"}]\n\n[S14_Shot6] (indoor; loc=L04; scene_heading=S#14. 옥탑방 안 / N)\ndescription: 수리영이 핏기가 가신 창백한 얼굴로 멍하니 빈 커튼 쪽을 응시하는 정면.\ncharacters: 수리영\nframing_scale: close\ncamera_direction: Inside the bedroom near the bed and curtain side, the dolly-in ends in a frontal upper-body emphasis on 수리영, close enough that her pale face and rigid shoulders take most of the frame. She looks past the camera toward the empty curtain area, which is kept implied rather than shown, turning the direct observer view into a psychological confrontation with the missing evidence.\nkey_bg_elements: [{\"camera_use\": \"Blurred side texture suggesting where the corpse should have been.\", \"directionality_class\": \"directional_3d\", \"element\": \"curtain edge\", \"orientation\": \"Only a soft side fold is visible near the frame edge, with the empty area kept off-camera.\", \"state\": \"still, clean, partially out of focus\"}, {\"camera_use\": \"Low background shape behind her shoulder.\", \"directionality_class\": \"directional_3d\", \"element\": \"bed corner\", \"orientation\": \"The near corner angles away behind 수리영, cropped and subdued.\", \"state\": \"neat, undisturbed\"}, {\"camera_use\": \"Absence marker behind her expression.\", \"directionality_class\": \"content_surface\", \"element\": \"blank wall\", \"orientation\": \"The visible wall face behind her is bare and carries no red mark.\", \"state\": \"unmarked, dim\"}]\nframe_spatial_contract: {\"constraints\": [{\"depth_plane\": \"foreground\", \"gesture_action\": \"looks_toward\", \"gesture_target_label\": \"empty curtain area behind camera\", \"label\": \"수리영 frontal close frame\", \"screen_zone\": \"middle_center\", \"target_id\": \"C01\", \"target_kind\": \"character\"}], \"reason\": \"primary_subject_isolation\"}\n\n[S14_Shot8] (indoor; loc=L04; scene_heading=S#14. 옥탑방 안 / N)\ndescription: 식탁 앞에 선 수리영이 빈 식탁을 손가락으로 가리킨 채 멈춘 측면 상체.\ncharacters: 수리영\nframing_scale: medium\ncamera_direction: At chest height beside the dining table, the camera settles from the track into a brief still side composition perpendicular to 수리영’s body line. Her profile holds the left half of frame while her pointing hand cuts toward the bare tabletop on the right, keeping both the gesture and the missing teacups in one direct observational image.\nkey_bg_elements: [{\"camera_use\": \"Gesture target proving the vanished cups.\", \"directionality_class\": \"directional_3d\", \"element\": \"bare dining table\", \"orientation\": \"The clean top plane faces the camera at a shallow angle, with no cups where her finger indicates.\", \"state\": \"clean, empty, dry\"}, {\"camera_use\": \"Dim living-room depth behind the table.\", \"directionality_class\": \"directional_3d\", \"element\": \"living room wall and doorway\", \"orientation\": \"The wall and doorway recede behind 수리영 in side view.\", \"state\": \"shadowed, quiet\"}, {\"camera_use\": \"Soft ambient source in the room.\", \"directionality_class\": \"directional_3d\", \"element\": \"living room stand lamp\", \"orientation\": \"The lamp shade is seen from the side, its warm face turned slightly away from camera.\", \"state\": \"on, weak amber\"}]\nframe_spatial_contract: {\"constraints\": [{\"depth_plane\": \"foreground\", \"gesture_action\": \"points_to\", \"gesture_target_label\": \"bare dining tabletop\", \"label\": \"수리영 pointing beside table\", \"screen_zone\": \"middle_left\", \"target_id\": \"C01\", \"target_kind\": \"character\"}, {\"depth_plane\": \"midground\", \"gesture_action\": \"none\", \"gesture_target_label\": \"\", \"label\": \"bare dining tabletop\", \"screen_zone\": \"middle_right\", \"target_id\": \"\", \"target_kind\": \"background\"}], \"reason\": \"points_to_anchor\"}\n\n[S17_Shot1] (outdoor; loc=L03; scene_heading=S#17. 옥탑방 / 동틀무렵)\ndescription: 짙고 푸른 안개가 깔린 새벽녘, 희미한 노란 불빛이 켜진 옥탑방 창문을 향해 검은 고양이 한 마리가 고개를 돌린 찰나의 측면.\nframing_scale: medium\ncamera_direction: Low at the 검은 고양이’s shoulder height, roughly one meter away, the camera tracks parallel along the rooftop wall and then holds a brief side profile as the cat turns its head toward the lit rooftop-room window. The cat occupies the lower left-to-center band of the frame, while the faint yellow window hangs in the misty background line of sight above the wall.\nkey_bg_elements: [{\"camera_use\": \"distant visual lure for the cat’s head turn\", \"directionality_class\": \"transparent_surface\", \"element\": \"rooftop-room window\", \"orientation\": \"fogged glass shows a weak yellow interior glow beyond it\", \"state\": \"closed, lit from inside\"}, {\"camera_use\": \"tracking guide and jump setup\", \"directionality_class\": \"directional_3d\", \"element\": \"low concrete rooftop wall\", \"orientation\": \"the long side face runs parallel to the camera movement, with its top edge rising toward the next action\", \"state\": \"damp, stained\"}, {\"camera_use\": \"atmospheric veil separating cat and room\", \"directionality_class\": \"non_directional\", \"element\": \"blue dawn fog\", \"orientation\": \"\", \"state\": \"thick, cold, slowly moving\"}]\nframe_spatial_contract: {\"constraints\": [{\"depth_plane\": \"foreground\", \"gesture_action\": \"looks_toward\", \"gesture_target_label\": \"lit rooftop window\", \"label\": \"black cat\", \"screen_zone\": \"lower_left\", \"target_id\": \"C11\", \"target_kind\": \"character\"}, {\"depth_plane\": \"background\", \"gesture_action\": \"none\", \"gesture_target_label\": \"\", \"label\": \"lit rooftop window\", \"screen_zone\": \"upper_right\", \"target_id\": \"\", \"target_kind\": \"background\"}], \"reason\": \"looks_to_anchor\"}\n\n[S18_Shot15] (indoor; loc=L04; scene_heading=S#18. 안방 안 / D)\ndescription: 거울 속 욕실 벽면에 선명한 붉은색 원형 표식이 맺혀 있는 정지 구도.\nframing_scale: insert\ncamera_direction: Inside the bathroom, the camera is fixed at eye level about three feet from the mirror, tightened so the mirror reflection becomes the frame and the reflected rear wall sits centered. The red circular mark is isolated near the middle of the reflected wall, with only a sliver of mirror edge and damp tile context allowed to remain, making the apparition feel graphic and unavoidable.\nkey_bg_elements: [{\"camera_use\": \"the shot’s perceptual surface and compositional border\", \"directionality_class\": \"reflective_surface\", \"element\": \"bathroom mirror\", \"orientation\": \"the mirror reflects the rear bathroom wall and the impossible red circular mark; a narrow mirror edge confirms this is a reflected view\", \"state\": \"slightly misted, cold\"}, {\"camera_use\": \"surface on which the occult symbol appears within reflection\", \"directionality_class\": \"content_surface\", \"element\": \"reflected bathroom wall\", \"orientation\": \"the wall face visible in the mirror carries a sharp crimson circular mark at its center\", \"state\": \"pale tile surface, otherwise clean\"}, {\"camera_use\": \"claustrophobic bathroom texture\", \"directionality_class\": \"non_directional\", \"element\": \"damp tile grout\", \"orientation\": \"\", \"state\": \"wet-looking, gray, stained\"}]\nframe_spatial_contract: {\"constraints\": [{\"depth_plane\": \"midground\", \"gesture_action\": \"none\", \"gesture_target_label\": \"\", \"label\": \"red circular mark in mirror reflection\", \"screen_zone\": \"middle_center\", \"target_id\": \"\", \"target_kind\": \"background\"}], \"reason\": \"required_background_position\"}\n\n[S18_Shot20] (indoor; loc=L04; scene_heading=S#18. 안방 안 / D)\ndescription: 식탁 위에 놓인 사진 속, 살점이 뭉개진 채 기괴하게 흘러내린 (변형된 민숙)의 모습 클로즈업.\ncharacters: 민숙\nframing_scale: insert\ncamera_direction: At tabletop height beside the dining table, the push-in finishes at an extreme close angle on the framed photograph, stripping away nearly all surrounding table context. The mother’s photographed face, now perceived as 민숙 (변형된), occupies the central close field in a grotesque melted distortion, while the photo frame edge remains barely visible to prove this horror is trapped inside the image surface.\nkey_bg_elements: [{\"camera_use\": \"primary hallucinated image surface\", \"directionality_class\": \"content_surface\", \"element\": \"framed family photograph\", \"orientation\": \"the front image face is angled slightly upward to camera, showing the mother’s face grotesquely distorted within the printed photo\", \"state\": \"upright on table, visually corrupted by hallucination\"}, {\"camera_use\": \"thin physical proof that this is still a household object\", \"directionality_class\": \"reflective_surface\", \"element\": \"photo frame glass\", \"orientation\": \"the glass reflects a dim streak of room light across the distorted face without hiding it\", \"state\": \"clean but unnervingly glossy\"}, {\"camera_use\": \"minimal scale reference around the frame\", \"directionality_class\": \"directional_3d\", \"element\": \"dining table edge\", \"orientation\": \"only a narrow tabletop plane and edge remain at the lower frame margin\", \"state\": \"still, ordinary, dim\"}]\nframe_spatial_contract: {\"constraints\": [{\"depth_plane\": \"foreground\", \"gesture_action\": \"none\", \"gesture_target_label\": \"\", \"label\": \"distorted mother’s face inside framed photograph\", \"screen_zone\": \"middle_center\", \"target_id\": \"C12\", \"target_kind\": \"character\"}], \"reason\": \"primary_subject_isolation\"}\n\n[S18_Shot6] (indoor; loc=L04; scene_heading=S#18. 안방 안 / D)\ndescription: 열린 방문 너머, 핏자국 하나 없이 말끔하게 정돈된 방안 정경.\nframing_scale: wide\ncamera_direction: Just outside 수리영’s room, the camera stays eye-level and static about five feet from the threshold, looking straight through the opened door into a room that appears too clean. The doorway forms a dark rectangular frame around the orderly bed, smooth floor, and untouched curtains, with no body, no stain, and no trace where memory said there should be horror.\nkey_bg_elements: [{\"camera_use\": \"primary frame-within-frame revealing the room\", \"directionality_class\": \"directional_3d\", \"element\": \"opened bedroom door\", \"orientation\": \"the door slab is swung aside so the camera sees through the threshold into the room\", \"state\": \"open, still\"}, {\"camera_use\": \"visual proof of unnatural order\", \"directionality_class\": \"directional_3d\", \"element\": \"neatly arranged bed\", \"orientation\": \"the bed’s side and top plane face camera beyond the doorway\", \"state\": \"made, undisturbed\"}, {\"camera_use\": \"absence marker where the earlier horror is expected\", \"directionality_class\": \"transparent_surface\", \"element\": \"bedroom window with curtains\", \"orientation\": \"the window is partly obscured by clean curtains, with pale daylight diffused beyond\", \"state\": \"closed, curtains hanging evenly\"}, {\"camera_use\": \"negative evidence emphasized by stillness\", \"directionality_class\": \"non_directional\", \"element\": \"spotless bedroom floor\", \"orientation\": \"\", \"state\": \"clean, dry, no blood visible\"}]\n\n[S25_Shot4] (indoor; loc=L04; scene_heading=S#25. 옥탑방 안 / 해질 무렵)\ndescription: 붉은 원 한가운데에 피가 묻은 낡은 흑백 사진이 꽂혀 있는 클로즈업.\nframing_scale: close\ncamera_direction: Inside the bedroom at eye level, the dolly-in ends locked nearly perpendicular to the torn wall, holding a close composition where the blood-stained black-and-white photograph sits pinned at the exact center of a crimson circle. The photo and red mark take up the central mass of the frame, while the rough wall texture remains visible around them like scraped skin.\nkey_bg_elements: [{\"camera_use\": \"central occult symbol and compositional target\", \"directionality_class\": \"content_surface\", \"element\": \"red circular wall mark\", \"orientation\": \"the painted wall face is directly visible to camera, showing a rough crimson circle surrounding the pinned photograph\", \"state\": \"fresh-looking, uneven, ominous\"}, {\"camera_use\": \"primary revealed clue\", \"directionality_class\": \"content_surface\", \"element\": \"old black-and-white photograph\", \"orientation\": \"the front image face is visible, showing an aged rural restaurant scene partially obscured by blood stains\", \"state\": \"pinned to wall, creased, blood-stained\"}, {\"camera_use\": \"macabre texture around the clue\", \"directionality_class\": \"non_directional\", \"element\": \"torn bedroom wall texture\", \"orientation\": \"\", \"state\": \"scraped, dirty, disturbed\"}]\n\n[S25_Shot8] (indoor; loc=L04; scene_heading=S#25. 옥탑방 안 / 해질 무렵)\ndescription: 수리영이 한 손에 구겨진 사진을 꽉 쥔 채 백팩을 메고 현관 밖으로 한 발을 내디딘 찰나의 뒷모습.\ncharacters: 수리영\nframing_scale: wide\ncamera_direction: From inside the rooftop room behind 수리영, slightly below eye level and several feet back, the tracking shot widens just enough to include the open front-door threshold as she steps out. Her back and backpack sit in the middle of frame, one foot crossing into the exterior light, while the crumpled photograph remains readable as a tight fist-level detail near her right side.\nkey_bg_elements: [{\"camera_use\": \"destination frame and exit boundary\", \"directionality_class\": \"directional_3d\", \"element\": \"open front door\", \"orientation\": \"the inside face of the open door and its threshold angle toward the camera as 수리영 exits\", \"state\": \"open, letting in dim exterior dusk\"}, {\"camera_use\": \"evidence of intrusion in the room she leaves behind\", \"directionality_class\": \"non_directional\", \"element\": \"scattered household debris\", \"orientation\": \"\", \"state\": \"ransacked, strewn across the floor\"}, {\"camera_use\": \"broken domestic geometry in the side background\", \"directionality_class\": \"directional_3d\", \"element\": \"overturned dining chairs\", \"orientation\": \"chair legs jut sideways at uneven angles across the room\", \"state\": \"knocked over\"}, {\"camera_use\": \"damp air source and unsettling escape route implication\", \"directionality_class\": \"transparent_surface\", \"element\": \"open living-room window\", \"orientation\": \"the camera sees the dark opening and wet exterior air beyond the window frame\", \"state\": \"open, dirty, cold\"}]\nframe_spatial_contract: {\"constraints\": [{\"depth_plane\": \"midground\", \"gesture_action\": \"moves_toward\", \"gesture_target_label\": \"open front door\", \"label\": \"수리영\", \"screen_zone\": \"middle_center\", \"target_id\": \"C01\", \"target_kind\": \"character\"}, {\"depth_plane\": \"background\", \"gesture_action\": \"none\", \"gesture_target_label\": \"\", \"label\": \"open front door threshold\", \"screen_zone\": \"upper_center\", \"target_id\": \"\", \"target_kind\": \"background\"}], \"reason\": \"movement_direction\"}\n\n[S27_Shot1] (indoor; loc=L04; scene_heading=S#27. 옥탑방 안 / 해질 무렵)\ndescription: 난장판이 된 옥탑방 거실, 혜수가 핸드폰을 귀에 댄 채 심각한 표정으로 굳어 있는 상체.\ncharacters: 혜수\nframing_scale: medium\ncamera_direction: Inside the rooftop living room at chest height, the camera continues the flow’s slow dolly-in from about 2.5 meters, tightening to a medium upper-body frame of 혜수 with the phone pressed to her ear. She sits slightly right of center amid overturned, damp-looking clutter, angled three-quarters as if her attention has just pulled toward 김형사 off-frame rather than toward us.\nkey_bg_elements: [{\"camera_use\": \"visible disorder around 혜수, keeping the room’s violated condition readable behind her\", \"directionality_class\": \"non_directional\", \"element\": \"scattered rooftop-room clutter\", \"orientation\": \"\", \"state\": \"messy, overturned, neglected\"}, {\"camera_use\": \"background source of cold draft and later sound, held out of focus behind the anxiety\", \"directionality_class\": \"directional_3d\", \"element\": \"entrance door\", \"orientation\": \"its inner face angles slightly away from camera, showing the rattling edge and frame gap\", \"state\": \"not fully secure, wind-shaken\"}, {\"camera_use\": \"thin translucent layer over the small room window, adding a damp dusk haze\", \"directionality_class\": \"transparent_surface\", \"element\": \"grimy window glass\", \"orientation\": \"dirty glass catches the gray exterior light while showing only a blurred rooftop beyond\", \"state\": \"streaked, dim\"}]\n\n[S4_Shot1] (outdoor; loc=L03; scene_heading=S#4. 옥탑방 / D)\ndescription: 인천 변두리의 낡고 오래된 빌라 옥탑방 외부 전경이 한눈에 내려다보이는 부감 구도.\nframing_scale: wide\ncamera_direction: An omniscient overhead camera holds from about forty-five meters above the old villa, centered on the rooftop room while still keeping the surrounding neighborhood readable. The rooftop structure sits in the middle of the frame like a small exposed shrine, boxed in by worn roofs, narrow alleys, and faded concrete blocks.\nkey_bg_elements: [{\"camera_use\": \"The rooftop room is the central visual anchor and destination of the aerial reveal.\", \"directionality_class\": \"directional_3d\", \"element\": \"old rooftop room exterior\", \"orientation\": \"its roof and front wall are visible from above, with the doorway side angled slightly toward camera\", \"state\": \"aged, patched, weather-stained\"}, {\"camera_use\": \"Surrounding villa roofs create a cramped grid that isolates the rooftop room.\", \"directionality_class\": \"directional_3d\", \"element\": \"neighboring old villa rooftops\", \"orientation\": \"flat roof planes face upward toward the overhead camera\", \"state\": \"worn, cluttered, pale gray\"}, {\"camera_use\": \"A thin haze softens the outskirts and carries the news voice’s unease into the space.\", \"directionality_class\": \"non_directional\", \"element\": \"damp urban haze\", \"orientation\": \"\", \"state\": \"thin, bluish, stagnant\"}]\nframe_spatial_contract: {\"constraints\": [{\"depth_plane\": \"midground\", \"gesture_action\": \"none\", \"gesture_target_label\": \"\", \"label\": \"old rooftop room\", \"screen_zone\": \"middle_center\", \"target_id\": \"\", \"target_kind\": \"background\"}], \"reason\": \"required_background_position\"}\n\n[S5_Shot10] (indoor; loc=L04; scene_heading=S#5. 옥탑방 안 / 실내)\ndescription: 수리영이 민숙의 어깨에 코를 묻고 멈춘 찰나의 측면.\ncharacters: 수리영, 민숙\nframing_scale: close\ncamera_direction: The camera follows the flow into the narrow entrance area and holds side-on at shoulder height, about one meter away, lens parallel to the wall to compress mother and daughter together. The tighter profile frame favors the contact point: Suriyeong’s face and nose press into Minsuk’s shoulder at center-left, while Minsuk’s softened profile and apron edge sit center-right.\nkey_bg_elements: [{\"camera_use\": \"The narrow wall flattens the space and makes their closeness feel private and fragile.\", \"directionality_class\": \"non_directional\", \"element\": \"entrance wall\", \"orientation\": \"\", \"state\": \"worn, slightly yellowed, close to camera plane\"}, {\"camera_use\": \"The shoe area at the bottom edge hints at Suriyeong leaving soon without pulling focus from the embrace.\", \"directionality_class\": \"directional_3d\", \"element\": \"entryway shoe area\", \"orientation\": \"shoe tops and low threshold edge face the camera from below the profiles\", \"state\": \"cluttered, dim\"}, {\"camera_use\": \"The door seam creates a vertical boundary beside them, suggesting a moment just before departure.\", \"directionality_class\": \"directional_3d\", \"element\": \"front door seam\", \"orientation\": \"the flat door face is seen in side compression, seam running vertically near the right edge\", \"state\": \"closed, dull, scuffed\"}]\n\n[S5_Shot12] (indoor; loc=L04; scene_heading=S#5. 옥탑방 안 / 실내)\ndescription: 민숙의 손목 안쪽에 새겨진 작은 원 모양의 표식 클로즈업.\ncharacters: 민숙\nframing_scale: insert\ncamera_direction: The camera completes the flow’s downward push from Suriyeong’s side of the entrance to a very close waist-height insert, about twenty centimeters from Minsuk’s inner wrist. The wrist cuts diagonally across the center of frame, the small circular mark isolated in sharp focus while skin, sleeve edge, and the entryway behind fall into creamy blur.\nkey_bg_elements: [{\"camera_use\": \"The marked skin surface is the focal plane and occult reveal.\", \"directionality_class\": \"content_surface\", \"element\": \"inner wrist with circular mark\", \"orientation\": \"the inner wrist surface faces the camera, showing a small dark circular mark clearly against the skin\", \"state\": \"exposed, sharply focused, mark unusually distinct\"}, {\"camera_use\": \"The sleeve cuff frames the wrist without becoming the subject.\", \"directionality_class\": \"directional_3d\", \"element\": \"apron or sleeve edge\", \"orientation\": \"fabric edge runs along the wrist from camera-left, seen as a soft side fold\", \"state\": \"soft, worn, out of focus\"}, {\"camera_use\": \"The entrance background becomes an indistinct shadow field so the symbol carries the tension.\", \"directionality_class\": \"non_directional\", \"element\": \"blurred entryway background\", \"orientation\": \"\", \"state\": \"dim, warm-gray, unfocused\"}]\nframe_spatial_contract: {\"constraints\": [{\"depth_plane\": \"foreground\", \"gesture_action\": \"none\", \"gesture_target_label\": \"\", \"label\": \"Minsuk inner wrist mark\", \"screen_zone\": \"middle_center\", \"target_id\": \"C04\", \"target_kind\": \"character\"}], \"reason\": \"primary_subject_isolation\"}\n\n[S5_Shot3] (indoor; loc=L04; scene_heading=S#5. 옥탑방 안 / 실내)\ndescription: 앞치마를 두른 민숙이 어두운 표정으로 거실 TV 화면을 응시하며 굳어 있는 상체.\ncharacters: 민숙\nframing_scale: medium\ncamera_direction: The observer camera settles at the end of its lateral track from near the sink and small window, chest height and about two and a half meters from Minsuk, looking across the counter line toward the living room TV. Minsuk is held in an upper-body frame at the right-middle of the image, shoulders locked in her apron as the kitchen foreground remains softly present and the TV glow pulls her stare off-frame.\nkey_bg_elements: [{\"camera_use\": \"The TV is the off-frame source of her fixed attention and casts a cold news glow across the room.\", \"directionality_class\": \"content_surface\", \"element\": \"living room TV screen\", \"orientation\": \"the screen face is angled away from the camera, showing only a sliver of moving blue news light rather than readable content\", \"state\": \"on, low volume, flickering\"}, {\"camera_use\": \"The sink and herbs sit in the near foreground, domestic routine interrupted by dread.\", \"directionality_class\": \"directional_3d\", \"element\": \"sink with unfinished medicinal herbs\", \"orientation\": \"the basin rim and faucet side face the camera across the counter\", \"state\": \"water running, herbs wet and half-washed\"}, {\"camera_use\": \"Steam from the pot veils the compact room and gives the practical light a sick texture.\", \"directionality_class\": \"non_directional\", \"element\": \"boiling pot steam\", \"orientation\": \"\", \"state\": \"rising, thin, wavering\"}, {\"camera_use\": \"The small window gives a narrow daylight slit that contrasts with the TV’s colder glow.\", \"directionality_class\": \"transparent_surface\", \"element\": \"small living-room window\", \"orientation\": \"slightly dirty glass admits pale daylight; only a blurred exterior brightness is visible through it\", \"state\": \"closed, dusty\"}]\n\nDesign the whole-property site plan element set now."}
{"ts": "2026-07-05 05:09:31", "kind": "img", "engine": "gpt-image-2", "mode": "edit", "tag": "root_v2_whole_property", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/projects/b0ad5c18-5140-4022-a2b0-805de0e5a385/episodes/0d30302a-51c8-4ac9-98e2-6cd9180512bf/images/floor_plan/fp_l03_rooftop_entry_main.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/b0ad5c18-5140-4022-a2b0-805de0e5a385/episodes/0d30302a-51c8-4ac9-98e2-6cd9180512bf/images/floor_plan/fp_l10_cement_stairs.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/b0ad5c18-5140-4022-a2b0-805de0e5a385/episodes/0d30302a-51c8-4ac9-98e2-6cd9180512bf/images/floor_plan/fp_l10_exterior_alley.png"], "size": "1536x864", "attempt": 1, "dur_s": 106.9, "bytes": 2593274, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/root_v2/root_v2.png", "prompt": "ONE hand-drawn TOP-DOWN aerial SITE PLAN of a single real-world\nproperty, seen straight from above: dark ink outlines with light flat\ncolour washes. NOT a photograph, NOT 3D, no perspective.\n\nDraw the WHOLE property in one coherent drawing:\n- the full multi-storey BUILDING footprint (roof plane seen from above),\n- the upper-level dwelling on that roof: its outline, terrace, fixtures\n  (draw ONLY what its attached plan shows — never interior rooms),\n- the exterior STAIR route connecting the ground to the top level,\n- the GROUND level around the building: the yard/alley, the street-side\n  building ENTRANCE and the approach path where people arrive,\n- a modest margin of neighbouring structures and the street.\nMake the levels readable from above: the building's roof edge/parapet\noutline separates the top level from the ground around it; the stair\nvisibly connects them; the ground entrance sits on the building's\nstreet side.\n\nThe attached images are the property's real top-down plans — compose\nthem into this ONE plan, keeping each part's geometry, proportions and\nopening positions EXACTLY (do not move, resize, mirror or invent):\n- attached image #1: top-down plan of one part of the property (its geometry for that part is ground truth)\n- attached image #2: top-down plan of one part of the property (its geometry for that part is ground truth)\n- attached image #3: top-down plan of one part of the property (its geometry for that part is ground truth)\n\nTHE PLACE (production data):\n- (outdoor, L03) 인천 변두리 낡은 빌라 옥탑방 옥상·현관 앞 외부: 낡은 다세대 빌라 꼭대기에 위치한 야외 공간. 물탱크, 흔들리는 빨랫줄, 평상 위 약초 건조 흔적, 낡은 철문 현관이 있다. (특징: 낡은 시멘트 바닥; 물탱크; 바람에 날리는 빨랫줄; 평상과 널려 있는 말린 약초(석창포); 전단지가 끼워진 철문 현관)\n- (indoor, L04) 옥탑방 내부: 작은 창문으로 빛이 들어오는 낡은 주거 공간. 싱크대, 식탁, TV가 있는 거실과 침대, 커튼, 거울 등이 있는 방/욕실로 구성된다. 약초 끓이는 냄비 등 생활 소품이 있으며, 간헐적으로 벽면에 붉은 원 형태의 환영과 핏자국이 생겨난다. (특징: 작은 창문의 햇살; 싱크대와 약초(석창포); 가스레인지 위 끓는 냄비와 수증기; 거실 TV와 스탠드; 침대, 커튼, 거울; 벽과 거울 표면에 나타나는 붉은 원 환영; 바닥과 벽의 핏자국 (특정 시점); 어지럽혀진 가재도구 (특정 시점))\n- (outdoor, L10) 옥탑방 외곽 골목·시멘트 계단: 다세대 빌라 마당의 후미진 구석과 옥탑방으로 올라가는 가파르고 낡은 시멘트 계단. (특징: 다세대 빌라 입구 마당; 후미진 구석 공간; 낡고 가파른 시멘트 계단)\n\nMark each element with a small circle containing its capital letter:\n(A) Villa footprint — Main rectangular building mass in the center of the plan; draw the complete multi-storey footprint below the rooftop room and roof terrace, with no interior subdivisions.\n(B) Arrival alley — Narrow exterior lane along the street-facing side of the villa footprint; leave space beside it for the vehicle stop and characters arriving before entering the property.\n(C) Street entrance — Opening on the street-facing edge of the property, between the arrival alley and the ground entry yard; mark only the gate or doorway line, not any interior plan.\n(D) Entry yard — Small ground-level court just inside the street entrance and beside the villa footprint, leading toward the more secluded stair corner.\n(E) Rear corner — Darker, tucked ground-level corner at the far side of the entry yard, tight against the building footprint where the exterior stairs begin.\n(F) Exterior stairs — Narrow stair run attached to the outside edge of the villa, rising from the rear corner up to the roof terrace landing; show as a continuous exterior route.\n(G) Roof terrace — Open cement roof deck over the villa footprint, surrounding the upper room shell; include a low parapet boundary around the exposed edges and a clear landing at the stair top.\n(H) Upper shell — Small enclosed rooftop dwelling outline set on the roof terrace, slightly offset within the villa roof; draw only the outer walls and roof outline, with no interior rooms or furniture.\n(I) Iron door — Exterior opening on the side of the upper shell facing the roof terrace landing and stair arrival; show the door leaf swing/open state symbol outside the shell.\n(J) Room windows — A small set of perimeter window openings on the upper shell walls, including one facing the roof terrace/parapet line; mark only openings in the outer walls.\n(K) Roof fixtures — Clustered on the open roof terrace away from the iron door path: water tank near one roof edge, clothesline spanning open space, and low drying platform on the cement surface.\n(L) Neighbor blocks — Simplified adjacent building and roof outlines around the property margin, outside the arrival alley and beyond the villa footprint, kept secondary to the main site.\n\nOn the RIGHT side, add a clean legend panel listing each circled letter\nwith its English name in small neat capital letters:\nA: VILLA FOOTPRINT, B: ARRIVAL ALLEY, C: STREET ENTRANCE, D: ENTRY YARD, E: REAR CORNER, F: EXTERIOR STAIRS, G: ROOF TERRACE, H: UPPER SHELL, I: IRON DOOR, J: ROOM WINDOWS, K: ROOF FIXTURES, L: NEIGHBOR BLOCKS\n\nThe circled letters and the legend are the ONLY text and the ONLY\ncircular marks allowed. No zone captions, no numbers, no other labels."}
{"ts": "2026-07-05 05:09:36", "kind": "llm", "step": "forest_root_readback", "model": "gpt", "dur_s": 4.4, "system_prompt": "You read technical plans precisely.", "user_prompt": "[{\"type\": \"text\", \"text\": \"This is a top-down site plan with circled capital letters and a legend panel. List every circled capital letter, list the legend entries as written, and say whether any interior room layout is exposed.\"}]"}
{"ts": "2026-07-05 05:11:31", "kind": "img", "engine": "gpt-image-2", "mode": "edit", "tag": "S11_Shot4_camview_v2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/root_v2/root_v2.png"], "size": "1536x864", "attempt": 1, "dur_s": 115.1, "bytes": 2030317, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/outdoor_d/S11_Shot4/sketch.png", "prompt": "The attached image is a TOP-DOWN site plan of one real property\n(circled letters are site markers, never people).\n\nDraw the clean LINE-ART sketch of the EYE-LEVEL view described below:\nthin dark ink lines on plain white, no colour, no shading. The camera\nstands ON the ground INSIDE the scene at human eye height (about\n1.6 m) — NOT above it. Correct perspective at real-world human scale,\nhorizon at natural eye level. Show the structures, surfaces, openings\nand approaches the plan places in front of that camera.\nNo people, no text, no letters, no circles — pure line drawing.\n\nCAMERA (from production staging):\nAfter the hard eyeline cut, the camera adopts 수리영’s direct viewpoint from the rooftop landing, several meters from the entrance and at human eye level, facing the iron front door squarely. The half-open door is held in rigid symmetry at the center of the frame, surrounded by still rooftop darkness, with no figure entering to relieve the threat.\nCAMERA: After the hard eyeline cut, the camera adopts 수리영’s direct viewpoint from the rooftop landing, several meters from the entrance and at human eye level, facing the iron front door squarely. The half-open door is held in rigid symmetry at the center of the frame, surrounded by still rooftop darkness, with no figure entering to relieve the threat.\nFRAMING: wide\nLIGHTING: Muted moon-blue darkness surrounds the door, with a thin sickly amber leak from inside making the opening feel contaminated rather than welcoming.\nSPATIAL CONSTRAINTS: [{\"depth_plane\": \"background\", \"gesture_action\": \"none\", \"gesture_target_label\": \"\", \"label\": \"half-open rooftop iron door\", \"screen_zone\": \"middle_center\", \"target_id\": \"\", \"target_kind\": \"background\"}]"}
{"ts": "2026-07-05 05:13:25", "kind": "img", "engine": "gpt-image-2", "mode": "edit", "tag": "S11_Shot4_plate_v2root", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/outdoor_d/S11_Shot4/sketch.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/root_v2/root_v2.png"], "size": "1536x864", "attempt": 1, "dur_s": 114.3, "bytes": 2066528, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/outdoor_d/S11_Shot4/plate.png", "prompt": "The FIRST attached image is a LINE-ART sketch of one camera's\neye-level view of a real outdoor place — composition and perspective\nground truth. The SECOND attached image is the property's top-down\nsite plan — use it ONLY for spatial relations and fixtures; never\ncopy its top-down viewpoint or markers.\n\nRender the PHOTOREALISTIC EMPTY view exactly as the line-art frames\nit: same framing, perspective, structures, real-world human scale.\nCompletely unpopulated — no people, no figures. No text, letters,\ncircles, arrows or sketch lines. Pure photographic realism, natural\nweathered materials.\n\nWHAT THIS PLACE LOOKS LIKE (production data):\n- 옥탑방 외곽 골목·시멘트 계단: 다세대 빌라 마당의 후미진 구석과 옥탑방으로 올라가는 가파르고 낡은 시멘트 계단. (특징: 다세대 빌라 입구 마당; 후미진 구석 공간; 낡고 가파른 시멘트 계단)\n\nCAMERA: After the hard eyeline cut, the camera adopts 수리영’s direct viewpoint from the rooftop landing, several meters from the entrance and at human eye level, facing the iron front door squarely. The half-open door is held in rigid symmetry at the center of the frame, surrounded by still rooftop darkness, with no figure entering to relieve the threat.\nFRAMING: wide\nLIGHTING: Muted moon-blue darkness surrounds the door, with a thin sickly amber leak from inside making the opening feel contaminated rather than welcoming.\nSPATIAL CONSTRAINTS: [{\"depth_plane\": \"background\", \"gesture_action\": \"none\", \"gesture_target_label\": \"\", \"label\": \"half-open rooftop iron door\", \"screen_zone\": \"middle_center\", \"target_id\": \"\", \"target_kind\": \"background\"}]\n\nCAMERA HEIGHT CONTRACT: the camera stands ON the ground INSIDE the scene at human eye height (about 1.6 m). Sky or horizon must be visible where the view allows it. Do NOT render an overhead, elevated, aerial or drone view — this is a ground-level cinematic shot."}
{"ts": "2026-07-05 05:13:25", "kind": "stage", "stage": "s8_root_v2", "done": "all"}
{"ts": "2026-07-05 12:21:13", "kind": "llm", "step": "forest_birdseye_prompts", "model": "gpt", "dur_s": 38.1, "system_prompt": "You are a senior text-to-image prompt author for film pre-production.\nYou are given one real-world place (a building group with an upper rooftop dwelling,\nits terrace, an exterior stair, the building body, its ground-level entrance/alley\napproach and surroundings) described by production data: member descriptions and the\nFULL content of every shot that happens there.\n\nWrite FOUR self-contained English image prompts about this ONE place. All four must\ncover the WHOLE related area together: the upper dwelling and its terrace fixtures,\nthe exterior stair route, the building the dwelling sits on, the ground-level\nentrance / alley approach where people arrive, and a modest margin of surroundings.\n\nCommon hard rules for all four:\n- Viewed from HIGH ABOVE at an OBLIQUE angle — NOT straight down: the camera is\n  tilted about 30 degrees away from vertical (about a 150-degree downward view), so\n  building sides, wall heights and level differences are clearly readable.\n- NEVER expose interior rooms or interior furniture; enclosed spaces show only\n  their outer shell, roof and boundary openings (doors, windows, gates).\n- No people, no animals, no text, no letters, no numbers, no logos, no watermarks.\n- Ground every physical detail in the given production data; do not invent major\n  structures that contradict it. Use generic physical terms, no proper names.\n\nThe four prompts:\n1. prompt_1_sketch: a hand-drawn technical SKETCH of the whole place from that\n   oblique overhead angle — clean dark ink lines, light flat colour washes, not a\n   photo, not 3D render. Pure text-to-image (no reference image exists).\n2. prompt_2_birdseye_from_sketch: a PHOTOREALISTIC bird's-eye view of the same\n   place at the same oblique overhead angle. This prompt will be used WITH prompt\n   1's sketch attached as the reference image — write it as an image-edit prompt:\n   keep the attached sketch's layout, proportions and camera angle EXACTLY and\n   render it photorealistic (real weathered materials, natural light).\n3. prompt_3_birdseye_pure: a PHOTOREALISTIC bird's-eye view of the same place at\n   the same oblique overhead angle, as pure text-to-image with NO reference image\n   — the prompt alone must carry the full layout.\n4. prompt_4_sketch_from_birdseye: the same kind of hand-drawn SKETCH as prompt 1,\n   but this prompt will be used WITH prompt 3's photorealistic image attached as\n   reference — write it as an image-edit prompt: keep the attached photo's layout,\n   proportions and camera angle EXACTLY and redraw it as the ink-and-wash sketch.\n\nEach prompt must be complete on its own (the image model sees only that prompt and,\nfor 2 and 4, the attached image).", "user_prompt": "PLACE MEMBERS:\n- (outdoor, L03) 인천 변두리 낡은 빌라 옥탑방 옥상·현관 앞 외부: 낡은 다세대 빌라 꼭대기에 위치한 야외 공간. 물탱크, 흔들리는 빨랫줄, 평상 위 약초 건조 흔적, 낡은 철문 현관이 있다. (특징: 낡은 시멘트 바닥; 물탱크; 바람에 날리는 빨랫줄; 평상과 널려 있는 말린 약초(석창포); 전단지가 끼워진 철문 현관)\n- (indoor, L04) 옥탑방 내부: 작은 창문으로 빛이 들어오는 낡은 주거 공간. 싱크대, 식탁, TV가 있는 거실과 침대, 커튼, 거울 등이 있는 방/욕실로 구성된다. 약초 끓이는 냄비 등 생활 소품이 있으며, 간헐적으로 벽면에 붉은 원 형태의 환영과 핏자국이 생겨난다. (특징: 작은 창문의 햇살; 싱크대와 약초(석창포); 가스레인지 위 끓는 냄비와 수증기; 거실 TV와 스탠드; 침대, 커튼, 거울; 벽과 거울 표면에 나타나는 붉은 원 환영; 바닥과 벽의 핏자국 (특정 시점); 어지럽혀진 가재도구 (특정 시점))\n- (outdoor, L10) 옥탑방 외곽 골목·시멘트 계단: 다세대 빌라 마당의 후미진 구석과 옥탑방으로 올라가는 가파르고 낡은 시멘트 계단. (특징: 다세대 빌라 입구 마당; 후미진 구석 공간; 낡고 가파른 시멘트 계단)\n\nALL SHOTS AT THIS PLACE (full content):\n\n[S10_Shot5] (outdoor; loc=L03; scene_heading=S#10. 옥탑방 / N)\ndescription: 철문이 미세하게 열린 틈 사이로 어두운 내부가 보이는 구도.\nframing_scale: insert\ncamera_direction: At the end of the flow’s dolly-in, the lens freezes just outside the iron door at handle height, only inches from the seam, staring directly into the thin opening. The dark crack sits in the center like a vertical wound, with rough iron surfaces on both sides occupying the foreground while the interior beyond remains unreadable and almost lightless.\nkey_bg_elements: [{\"camera_use\": \"Primary focal aperture; turns the entry into a threatening slit rather than a normal doorway.\", \"directionality_class\": \"directional_3d\", \"element\": \"iron front door\", \"orientation\": \"The two heavy door edges face camera at close range, separated by a narrow central crack leading into darkness.\", \"state\": \"slightly open, scratched, cold metal\"}, {\"camera_use\": \"Hides what is inside and makes the gap feel predatory.\", \"directionality_class\": \"non_directional\", \"element\": \"dark interior beyond the crack\", \"orientation\": \"\", \"state\": \"unlit, opaque, silent\"}, {\"camera_use\": \"Adds tactile evidence of forced entry near the seam.\", \"directionality_class\": \"content_surface\", \"element\": \"creased advertisement flyer edge\", \"orientation\": \"Only the printed edge of the paper face is visible near the door seam, with partial color blocks and unreadable text.\", \"state\": \"bent, partly displaced, dirty\"}]\nframe_spatial_contract: {\"constraints\": [{\"depth_plane\": \"foreground\", \"gesture_action\": \"none\", \"gesture_target_label\": \"\", \"label\": \"narrow iron door seam\", \"screen_zone\": \"middle_center\", \"target_id\": \"\", \"target_kind\": \"background\"}], \"reason\": \"required_background_position\"}\n\n[S10_Shot6] (outdoor; loc=L03; scene_heading=S#10. 옥탑방 / N)\ndescription: 방 안 창문에 비친 그림자, 굽은 형태의 인영이 다른 사람 형상 위에 포개져 멈춘 찰나의 실루엣.\nframing_scale: medium\ncamera_direction: Inside the room, the camera holds static near the side wall at shoulder height, angled so only the window glass carries the action as a reflection and the direct attack is never seen. The reflected silhouettes sit within the window frame: a bent 인영 in the upper-middle area lowers its head toward the shoulder of 사람, whose body buckles beneath it in a distorted, wavering mid-action shape.\nkey_bg_elements: [{\"camera_use\": \"Serves as the only visible surface for the attack, keeping violence indirect and distorted.\", \"directionality_class\": \"reflective_surface\", \"element\": \"room window glass\", \"orientation\": \"The glass reflects the bent 인영 and 사람 as warped dark silhouettes, with faint interior light streaks trembling across them.\", \"state\": \"closed, grimy, reflective in darkness\"}, {\"camera_use\": \"Frames the reflection and prevents the viewer from seeing the real bodies directly.\", \"directionality_class\": \"directional_3d\", \"element\": \"window frame\", \"orientation\": \"The frame’s inner edges face camera and box the reflected action into a rigid rectangle.\", \"state\": \"old, chipped, motionless\"}, {\"camera_use\": \"Adds low, diseased color to the reflected silhouettes.\", \"directionality_class\": \"directional_3d\", \"element\": \"dim interior practical light\", \"orientation\": \"The lamp’s shaded side is off-frame but its amber spill grazes the wall and window reflection.\", \"state\": \"on, weak, sickly amber\"}, {\"camera_use\": \"Keeps the room claustrophobic around the window surface.\", \"directionality_class\": \"non_directional\", \"element\": \"dark side wall\", \"orientation\": \"\", \"state\": \"rough, stained, blue-gray shadowed\"}]\nframe_spatial_contract: {\"constraints\": [{\"depth_plane\": \"midground\", \"gesture_action\": \"none\", \"gesture_target_label\": \"\", \"label\": \"window reflection containing silhouettes\", \"screen_zone\": \"middle_center\", \"target_id\": \"\", \"target_kind\": \"background\"}], \"reason\": \"required_background_position\"}\n\n[S11_Shot3] (outdoor; loc=L10; scene_heading=S#11. 옥탑 방 밖 / N)\ndescription: 계단 중간에 서서 심하게 코를 찡그린 수리영의 얼굴 클로즈업.\ncharacters: 수리영\nframing_scale: close\ncamera_direction: Midway up the narrow concrete staircase, the camera holds static very close to 수리영 from the front-left at face height, tightening into an intense close-up that leaves only a sliver of stair texture behind her. Her nose wrinkles hard at the sudden smell, eyes lifting toward the unseen rooftop landing while her halted climb compresses her shoulders into the frame.\nkey_bg_elements: [{\"camera_use\": \"Minimal background texture that preserves the stair location without diluting the reaction.\", \"directionality_class\": \"directional_3d\", \"element\": \"narrow concrete staircase\", \"orientation\": \"Only the side edge and riser texture angle behind her cheek, indicating the upward path to the rooftop.\", \"state\": \"dark, damp, rough\"}, {\"camera_use\": \"Creates a suffocating side boundary close to her face.\", \"directionality_class\": \"non_directional\", \"element\": \"stairwell wall\", \"orientation\": \"\", \"state\": \"stained, cold, blue-gray\"}, {\"camera_use\": \"Suggests the unseen source direction through faint light above.\", \"directionality_class\": \"non_directional\", \"element\": \"rooftop darkness above the stairs\", \"orientation\": \"\", \"state\": \"unseen, heavy, foul implied\"}]\n\n[S11_Shot4] (outdoor; loc=L10; scene_heading=S#11. 옥탑 방 밖 / N)\ndescription: 옥상 위, 어둠 속에 반쯤 열려 멈춰 있는 옥탑방 현관 철문의 정적 구도.\nframing_scale: wide\ncamera_direction: After the hard eyeline cut, the camera adopts 수리영’s direct viewpoint from the rooftop landing, several meters from the entrance and at human eye level, facing the iron front door squarely. The half-open door is held in rigid symmetry at the center of the frame, surrounded by still rooftop darkness, with no figure entering to relieve the threat.\nkey_bg_elements: [{\"camera_use\": \"Central reveal and source of unease, held motionless after her smell reaction.\", \"directionality_class\": \"directional_3d\", \"element\": \"rooftop room iron front door\", \"orientation\": \"The door faces camera squarely but hangs half-open, exposing a narrow black interior gap along one side.\", \"state\": \"half-open, frozen, scratched\"}, {\"camera_use\": \"Frames the doorway in isolated negative space.\", \"directionality_class\": \"non_directional\", \"element\": \"rooftop landing darkness\", \"orientation\": \"\", \"state\": \"still, damp, blue-black\"}, {\"camera_use\": \"Adds rough domestic rooftop texture without drawing attention from the door.\", \"directionality_class\": \"directional_3d\", \"element\": \"low rooftop wall\", \"orientation\": \"Its top edge runs horizontally across the lower background, barely lit against the night.\", \"state\": \"wet-stained, concrete, motionless\"}]\nframe_spatial_contract: {\"constraints\": [{\"depth_plane\": \"background\", \"gesture_action\": \"none\", \"gesture_target_label\": \"\", \"label\": \"half-open rooftop iron door\", \"screen_zone\": \"middle_center\", \"target_id\": \"\", \"target_kind\": \"background\"}], \"reason\": \"required_background_position\"}\n\n[S12_Shot15] (indoor; loc=L04; scene_heading=S#12. 옥탑방 안 / N)\ndescription: 침대 위 어두운 벽면에 피가 번지듯 선명한 붉은색 원형 표식이 그려진 상태의 정지 구도.\nframing_scale: medium\ncamera_direction: From low bedside height near the mattress edge, the camera completes its upward tilt and locks off on the dark wall above the bed, where a completed red circular mark sits in the upper middle of frame. The bed edge remains only as a thin lower strip for scale, while the wall becomes an oppressive flat plane; this is aligned with 수리영’s panicked perception, the image subtly treated as an occult hallucination rather than stable reality.\nkey_bg_elements: [{\"camera_use\": \"Primary occult surface holding the completed mark.\", \"directionality_class\": \"content_surface\", \"element\": \"dark wall above the bed\", \"orientation\": \"The camera-facing wall face is visible, carrying a vivid red circular mark at its center.\", \"state\": \"dark, stained-looking, marked\"}, {\"camera_use\": \"Lower frame scale reference beneath the wall.\", \"directionality_class\": \"directional_3d\", \"element\": \"bed edge\", \"orientation\": \"The side edge of the mattress faces the camera from below, cropped into a narrow horizontal band.\", \"state\": \"dim, still, partly obscured\"}, {\"camera_use\": \"Symbolic focal mark on the wall.\", \"directionality_class\": \"content_surface\", \"element\": \"red circular mark\", \"orientation\": \"The painted-looking face of the circle is fully visible to the camera, as if freshly drawn into the wall surface.\", \"state\": \"bright red, wet-looking, completed\"}]\n\n[S12_Shot4] (indoor; loc=L04; scene_heading=S#12. 옥탑방 안 / N)\ndescription: 열린 방문 틈으로 보이는 방바닥에 검붉은 핏자국이 흥건하게 고여 있는 정지 구도.\nframing_scale: close\ncamera_direction: From the low waist-height position outside the bedroom doorway, the camera holds completely still about three feet back, peering through the opened door gap toward the dark red blood pooled on the floor just beyond the threshold. The door edges form a narrow vertical frame on both sides, with the blood occupying the lower middle of the image and the dim bedroom receding into blue-gray darkness behind it; this is a neutral observer’s direct view, not a character POV.\nkey_bg_elements: [{\"camera_use\": \"Foreground framing device that restricts the view into the room.\", \"directionality_class\": \"directional_3d\", \"element\": \"opened bedroom door\", \"orientation\": \"The inner edge of the door faces the camera at an oblique angle, creating a narrow gap into the room.\", \"state\": \"open, still, shadowed\"}, {\"camera_use\": \"Primary visual focus on the floor just inside the doorway.\", \"directionality_class\": \"non_directional\", \"element\": \"dark red blood pool\", \"orientation\": \"\", \"state\": \"wet, thick, spread across the floor\"}, {\"camera_use\": \"Texture under the blood and scale reference for the room.\", \"directionality_class\": \"non_directional\", \"element\": \"bedroom floor\", \"orientation\": \"\", \"state\": \"dirty, damp-looking, partially covered by blood\"}]\n\n[S12_Shot8] (indoor; loc=L04; scene_heading=S#12. 옥탑방 안 / N)\ndescription: 두 눈을 크게 뜨고 입을 벌린 채 굳어버린 수리영의 창백한 얼굴 클로즈업.\ncharacters: 수리영\nframing_scale: close\ncamera_direction: At eye level directly in front of 수리영, the handheld camera compresses tighter than the stage distance until her pale face nearly fills the frame, backing away only a fraction as her shock freezes mid-recoil. The background is almost lost in darkness, with only a faint suggestion of the room’s black edges behind her; the view remains a direct observer angle, but the proximity feels invasive and breathless.\nkey_bg_elements: [{\"camera_use\": \"Nearly swallowed background plane behind her face.\", \"directionality_class\": \"non_directional\", \"element\": \"dark bedroom recess\", \"orientation\": \"\", \"state\": \"unlit, indistinct\"}, {\"camera_use\": \"Soft edge shadow that isolates her head from the room.\", \"directionality_class\": \"directional_3d\", \"element\": \"bedroom doorway edge\", \"orientation\": \"A narrow side edge catches minimal spill light behind her shoulder.\", \"state\": \"partially visible, shadowed\"}]\nframe_spatial_contract: {\"constraints\": [{\"depth_plane\": \"foreground\", \"gesture_action\": \"none\", \"gesture_target_label\": \"\", \"label\": \"수리영 terrified face\", \"screen_zone\": \"middle_center\", \"target_id\": \"C01\", \"target_kind\": \"character\"}], \"reason\": \"primary_subject_isolation\"}\n\n[S13_Shot3] (outdoor; loc=L03; scene_heading=S#13. 옥탑방 외곽 / N)\ndescription: 차에서 내린 혜수가 초점 없는 눈으로 멍하게 서 있는 수리영을 향해 시선을 고정한 찰나의 상체.\ncharacters: 혜수, 수리영\nframing_scale: medium\ncamera_direction: Beside the police car at chest height, the tracking move slows into a held upper-body frame on 혜수 as she has just stepped out, her body paused between the car and the alley. 수리영 appears farther down the alley in soft background focus, small and blank beneath flashing siren wash, while 혜수 occupies the left foreground in a tense three-quarter view; this is a direct observer view moving parallel with her discovery.\nkey_bg_elements: [{\"camera_use\": \"Foreground context and flashing light source beside 혜수.\", \"directionality_class\": \"directional_3d\", \"element\": \"police car\", \"orientation\": \"The side of the car and open door angle toward the camera, framing 혜수’s exit.\", \"state\": \"parked, door open, siren lights active\"}, {\"camera_use\": \"Depth corridor between 혜수 and 수리영.\", \"directionality_class\": \"directional_3d\", \"element\": \"narrow alley\", \"orientation\": \"The alley recedes diagonally from the police car toward 수리영 in the background.\", \"state\": \"wet, dark, foggy\"}, {\"camera_use\": \"Intermittent color wash across faces and walls.\", \"directionality_class\": \"non_directional\", \"element\": \"siren light spill\", \"orientation\": \"\", \"state\": \"flashing red-blue across damp surfaces\"}]\nframe_spatial_contract: {\"constraints\": [{\"depth_plane\": \"foreground\", \"gesture_action\": \"looks_toward\", \"gesture_target_label\": \"수리영 down the alley\", \"label\": \"혜수 by police car\", \"screen_zone\": \"middle_left\", \"target_id\": \"C02\", \"target_kind\": \"character\"}, {\"depth_plane\": \"background\", \"gesture_action\": \"none\", \"gesture_target_label\": \"\", \"label\": \"수리영 in alley\", \"screen_zone\": \"middle_right\", \"target_id\": \"C01\", \"target_kind\": \"character\"}], \"reason\": \"shared_space_relation\"}\n\n[S13_Shot5] (outdoor; loc=L03; scene_heading=S#13. 옥탑방 외곽 / N)\ndescription: 수리영이 고개를 들어 혜수의 얼굴을 올려다보는 정적 구도.\ncharacters: 수리영, 혜수\nframing_scale: close\ncamera_direction: The camera sits low near 수리영’s eye level, about one meter away, tightened into a still close composition as she lifts her face toward 혜수 just above the frame. 수리영 holds the lower center of the image, her upward eyeline creating the unseen presence of 혜수, while the wet alley background blurs into dark blue-gray; this is a direct observer angle from the space between them.\nkey_bg_elements: [{\"camera_use\": \"Soft, dark background texture behind 수리영’s head.\", \"directionality_class\": \"non_directional\", \"element\": \"wet alley wall\", \"orientation\": \"\", \"state\": \"damp, shadowed, out of focus\"}, {\"camera_use\": \"Atmospheric layer around her face.\", \"directionality_class\": \"non_directional\", \"element\": \"night fog\", \"orientation\": \"\", \"state\": \"thin, drifting, blue-gray\"}, {\"camera_use\": \"Off-screen motivated color pulse on her skin.\", \"directionality_class\": \"non_directional\", \"element\": \"police siren spill\", \"orientation\": \"\", \"state\": \"intermittent, faint\"}]\nframe_spatial_contract: {\"constraints\": [{\"depth_plane\": \"foreground\", \"gesture_action\": \"looks_toward\", \"gesture_target_label\": \"혜수 just above frame\", \"label\": \"수리영 close low frame\", \"screen_zone\": \"middle_center\", \"target_id\": \"C01\", \"target_kind\": \"character\"}], \"reason\": \"primary_subject_isolation\"}\n\n[S14_Shot4] (indoor; loc=L04; scene_heading=S#14. 옥탑방 안 / N)\ndescription: 핏자국 하나 없이 깨끗하게 정돈된 수리영의 방 내부 정지 구도.\nframing_scale: wide\ncamera_direction: Just inside 수리영’s bedroom doorway at eye level, the camera holds a wide, unmoving view inward toward the bed, bare wall, curtain, and spotless floor. The room is framed as evidence: the clean floor stretches across the lower half, the curtain line sits to one side where the body should have been, and the wall above the bed remains blank; this is a direct neutral observation of absence.\nkey_bg_elements: [{\"camera_use\": \"Primary proof of erased violence across the lower frame.\", \"directionality_class\": \"non_directional\", \"element\": \"spotless bedroom floor\", \"orientation\": \"\", \"state\": \"clean, dry, no blood marks\"}, {\"camera_use\": \"Central room anchor and comparison point for the missing wall mark.\", \"directionality_class\": \"directional_3d\", \"element\": \"bed\", \"orientation\": \"The side and top plane of the bed face the camera from mid-frame.\", \"state\": \"neatly made, undisturbed\"}, {\"camera_use\": \"Surface where the red circle should have been absent.\", \"directionality_class\": \"content_surface\", \"element\": \"wall above the bed\", \"orientation\": \"The camera-facing wall face is visible and completely bare, carrying no red circular mark.\", \"state\": \"clean, dark, unmarked\"}, {\"camera_use\": \"Empty area where the hidden body had been discovered earlier.\", \"directionality_class\": \"directional_3d\", \"element\": \"curtain line\", \"orientation\": \"The front folds face the camera from the side of the room, concealing only darkness and empty space behind.\", \"state\": \"hanging still, clean, no body visible\"}]\n\n[S14_Shot6] (indoor; loc=L04; scene_heading=S#14. 옥탑방 안 / N)\ndescription: 수리영이 핏기가 가신 창백한 얼굴로 멍하니 빈 커튼 쪽을 응시하는 정면.\ncharacters: 수리영\nframing_scale: close\ncamera_direction: Inside the bedroom near the bed and curtain side, the dolly-in ends in a frontal upper-body emphasis on 수리영, close enough that her pale face and rigid shoulders take most of the frame. She looks past the camera toward the empty curtain area, which is kept implied rather than shown, turning the direct observer view into a psychological confrontation with the missing evidence.\nkey_bg_elements: [{\"camera_use\": \"Blurred side texture suggesting where the corpse should have been.\", \"directionality_class\": \"directional_3d\", \"element\": \"curtain edge\", \"orientation\": \"Only a soft side fold is visible near the frame edge, with the empty area kept off-camera.\", \"state\": \"still, clean, partially out of focus\"}, {\"camera_use\": \"Low background shape behind her shoulder.\", \"directionality_class\": \"directional_3d\", \"element\": \"bed corner\", \"orientation\": \"The near corner angles away behind 수리영, cropped and subdued.\", \"state\": \"neat, undisturbed\"}, {\"camera_use\": \"Absence marker behind her expression.\", \"directionality_class\": \"content_surface\", \"element\": \"blank wall\", \"orientation\": \"The visible wall face behind her is bare and carries no red mark.\", \"state\": \"unmarked, dim\"}]\nframe_spatial_contract: {\"constraints\": [{\"depth_plane\": \"foreground\", \"gesture_action\": \"looks_toward\", \"gesture_target_label\": \"empty curtain area behind camera\", \"label\": \"수리영 frontal close frame\", \"screen_zone\": \"middle_center\", \"target_id\": \"C01\", \"target_kind\": \"character\"}], \"reason\": \"primary_subject_isolation\"}\n\n[S14_Shot8] (indoor; loc=L04; scene_heading=S#14. 옥탑방 안 / N)\ndescription: 식탁 앞에 선 수리영이 빈 식탁을 손가락으로 가리킨 채 멈춘 측면 상체.\ncharacters: 수리영\nframing_scale: medium\ncamera_direction: At chest height beside the dining table, the camera settles from the track into a brief still side composition perpendicular to 수리영’s body line. Her profile holds the left half of frame while her pointing hand cuts toward the bare tabletop on the right, keeping both the gesture and the missing teacups in one direct observational image.\nkey_bg_elements: [{\"camera_use\": \"Gesture target proving the vanished cups.\", \"directionality_class\": \"directional_3d\", \"element\": \"bare dining table\", \"orientation\": \"The clean top plane faces the camera at a shallow angle, with no cups where her finger indicates.\", \"state\": \"clean, empty, dry\"}, {\"camera_use\": \"Dim living-room depth behind the table.\", \"directionality_class\": \"directional_3d\", \"element\": \"living room wall and doorway\", \"orientation\": \"The wall and doorway recede behind 수리영 in side view.\", \"state\": \"shadowed, quiet\"}, {\"camera_use\": \"Soft ambient source in the room.\", \"directionality_class\": \"directional_3d\", \"element\": \"living room stand lamp\", \"orientation\": \"The lamp shade is seen from the side, its warm face turned slightly away from camera.\", \"state\": \"on, weak amber\"}]\nframe_spatial_contract: {\"constraints\": [{\"depth_plane\": \"foreground\", \"gesture_action\": \"points_to\", \"gesture_target_label\": \"bare dining tabletop\", \"label\": \"수리영 pointing beside table\", \"screen_zone\": \"middle_left\", \"target_id\": \"C01\", \"target_kind\": \"character\"}, {\"depth_plane\": \"midground\", \"gesture_action\": \"none\", \"gesture_target_label\": \"\", \"label\": \"bare dining tabletop\", \"screen_zone\": \"middle_right\", \"target_id\": \"\", \"target_kind\": \"background\"}], \"reason\": \"points_to_anchor\"}\n\n[S17_Shot1] (outdoor; loc=L03; scene_heading=S#17. 옥탑방 / 동틀무렵)\ndescription: 짙고 푸른 안개가 깔린 새벽녘, 희미한 노란 불빛이 켜진 옥탑방 창문을 향해 검은 고양이 한 마리가 고개를 돌린 찰나의 측면.\nframing_scale: medium\ncamera_direction: Low at the 검은 고양이’s shoulder height, roughly one meter away, the camera tracks parallel along the rooftop wall and then holds a brief side profile as the cat turns its head toward the lit rooftop-room window. The cat occupies the lower left-to-center band of the frame, while the faint yellow window hangs in the misty background line of sight above the wall.\nkey_bg_elements: [{\"camera_use\": \"distant visual lure for the cat’s head turn\", \"directionality_class\": \"transparent_surface\", \"element\": \"rooftop-room window\", \"orientation\": \"fogged glass shows a weak yellow interior glow beyond it\", \"state\": \"closed, lit from inside\"}, {\"camera_use\": \"tracking guide and jump setup\", \"directionality_class\": \"directional_3d\", \"element\": \"low concrete rooftop wall\", \"orientation\": \"the long side face runs parallel to the camera movement, with its top edge rising toward the next action\", \"state\": \"damp, stained\"}, {\"camera_use\": \"atmospheric veil separating cat and room\", \"directionality_class\": \"non_directional\", \"element\": \"blue dawn fog\", \"orientation\": \"\", \"state\": \"thick, cold, slowly moving\"}]\nframe_spatial_contract: {\"constraints\": [{\"depth_plane\": \"foreground\", \"gesture_action\": \"looks_toward\", \"gesture_target_label\": \"lit rooftop window\", \"label\": \"black cat\", \"screen_zone\": \"lower_left\", \"target_id\": \"C11\", \"target_kind\": \"character\"}, {\"depth_plane\": \"background\", \"gesture_action\": \"none\", \"gesture_target_label\": \"\", \"label\": \"lit rooftop window\", \"screen_zone\": \"upper_right\", \"target_id\": \"\", \"target_kind\": \"background\"}], \"reason\": \"looks_to_anchor\"}\n\n[S18_Shot15] (indoor; loc=L04; scene_heading=S#18. 안방 안 / D)\ndescription: 거울 속 욕실 벽면에 선명한 붉은색 원형 표식이 맺혀 있는 정지 구도.\nframing_scale: insert\ncamera_direction: Inside the bathroom, the camera is fixed at eye level about three feet from the mirror, tightened so the mirror reflection becomes the frame and the reflected rear wall sits centered. The red circular mark is isolated near the middle of the reflected wall, with only a sliver of mirror edge and damp tile context allowed to remain, making the apparition feel graphic and unavoidable.\nkey_bg_elements: [{\"camera_use\": \"the shot’s perceptual surface and compositional border\", \"directionality_class\": \"reflective_surface\", \"element\": \"bathroom mirror\", \"orientation\": \"the mirror reflects the rear bathroom wall and the impossible red circular mark; a narrow mirror edge confirms this is a reflected view\", \"state\": \"slightly misted, cold\"}, {\"camera_use\": \"surface on which the occult symbol appears within reflection\", \"directionality_class\": \"content_surface\", \"element\": \"reflected bathroom wall\", \"orientation\": \"the wall face visible in the mirror carries a sharp crimson circular mark at its center\", \"state\": \"pale tile surface, otherwise clean\"}, {\"camera_use\": \"claustrophobic bathroom texture\", \"directionality_class\": \"non_directional\", \"element\": \"damp tile grout\", \"orientation\": \"\", \"state\": \"wet-looking, gray, stained\"}]\nframe_spatial_contract: {\"constraints\": [{\"depth_plane\": \"midground\", \"gesture_action\": \"none\", \"gesture_target_label\": \"\", \"label\": \"red circular mark in mirror reflection\", \"screen_zone\": \"middle_center\", \"target_id\": \"\", \"target_kind\": \"background\"}], \"reason\": \"required_background_position\"}\n\n[S18_Shot20] (indoor; loc=L04; scene_heading=S#18. 안방 안 / D)\ndescription: 식탁 위에 놓인 사진 속, 살점이 뭉개진 채 기괴하게 흘러내린 (변형된 민숙)의 모습 클로즈업.\ncharacters: 민숙\nframing_scale: insert\ncamera_direction: At tabletop height beside the dining table, the push-in finishes at an extreme close angle on the framed photograph, stripping away nearly all surrounding table context. The mother’s photographed face, now perceived as 민숙 (변형된), occupies the central close field in a grotesque melted distortion, while the photo frame edge remains barely visible to prove this horror is trapped inside the image surface.\nkey_bg_elements: [{\"camera_use\": \"primary hallucinated image surface\", \"directionality_class\": \"content_surface\", \"element\": \"framed family photograph\", \"orientation\": \"the front image face is angled slightly upward to camera, showing the mother’s face grotesquely distorted within the printed photo\", \"state\": \"upright on table, visually corrupted by hallucination\"}, {\"camera_use\": \"thin physical proof that this is still a household object\", \"directionality_class\": \"reflective_surface\", \"element\": \"photo frame glass\", \"orientation\": \"the glass reflects a dim streak of room light across the distorted face without hiding it\", \"state\": \"clean but unnervingly glossy\"}, {\"camera_use\": \"minimal scale reference around the frame\", \"directionality_class\": \"directional_3d\", \"element\": \"dining table edge\", \"orientation\": \"only a narrow tabletop plane and edge remain at the lower frame margin\", \"state\": \"still, ordinary, dim\"}]\nframe_spatial_contract: {\"constraints\": [{\"depth_plane\": \"foreground\", \"gesture_action\": \"none\", \"gesture_target_label\": \"\", \"label\": \"distorted mother’s face inside framed photograph\", \"screen_zone\": \"middle_center\", \"target_id\": \"C12\", \"target_kind\": \"character\"}], \"reason\": \"primary_subject_isolation\"}\n\n[S18_Shot6] (indoor; loc=L04; scene_heading=S#18. 안방 안 / D)\ndescription: 열린 방문 너머, 핏자국 하나 없이 말끔하게 정돈된 방안 정경.\nframing_scale: wide\ncamera_direction: Just outside 수리영’s room, the camera stays eye-level and static about five feet from the threshold, looking straight through the opened door into a room that appears too clean. The doorway forms a dark rectangular frame around the orderly bed, smooth floor, and untouched curtains, with no body, no stain, and no trace where memory said there should be horror.\nkey_bg_elements: [{\"camera_use\": \"primary frame-within-frame revealing the room\", \"directionality_class\": \"directional_3d\", \"element\": \"opened bedroom door\", \"orientation\": \"the door slab is swung aside so the camera sees through the threshold into the room\", \"state\": \"open, still\"}, {\"camera_use\": \"visual proof of unnatural order\", \"directionality_class\": \"directional_3d\", \"element\": \"neatly arranged bed\", \"orientation\": \"the bed’s side and top plane face camera beyond the doorway\", \"state\": \"made, undisturbed\"}, {\"camera_use\": \"absence marker where the earlier horror is expected\", \"directionality_class\": \"transparent_surface\", \"element\": \"bedroom window with curtains\", \"orientation\": \"the window is partly obscured by clean curtains, with pale daylight diffused beyond\", \"state\": \"closed, curtains hanging evenly\"}, {\"camera_use\": \"negative evidence emphasized by stillness\", \"directionality_class\": \"non_directional\", \"element\": \"spotless bedroom floor\", \"orientation\": \"\", \"state\": \"clean, dry, no blood visible\"}]\n\n[S25_Shot4] (indoor; loc=L04; scene_heading=S#25. 옥탑방 안 / 해질 무렵)\ndescription: 붉은 원 한가운데에 피가 묻은 낡은 흑백 사진이 꽂혀 있는 클로즈업.\nframing_scale: close\ncamera_direction: Inside the bedroom at eye level, the dolly-in ends locked nearly perpendicular to the torn wall, holding a close composition where the blood-stained black-and-white photograph sits pinned at the exact center of a crimson circle. The photo and red mark take up the central mass of the frame, while the rough wall texture remains visible around them like scraped skin.\nkey_bg_elements: [{\"camera_use\": \"central occult symbol and compositional target\", \"directionality_class\": \"content_surface\", \"element\": \"red circular wall mark\", \"orientation\": \"the painted wall face is directly visible to camera, showing a rough crimson circle surrounding the pinned photograph\", \"state\": \"fresh-looking, uneven, ominous\"}, {\"camera_use\": \"primary revealed clue\", \"directionality_class\": \"content_surface\", \"element\": \"old black-and-white photograph\", \"orientation\": \"the front image face is visible, showing an aged rural restaurant scene partially obscured by blood stains\", \"state\": \"pinned to wall, creased, blood-stained\"}, {\"camera_use\": \"macabre texture around the clue\", \"directionality_class\": \"non_directional\", \"element\": \"torn bedroom wall texture\", \"orientation\": \"\", \"state\": \"scraped, dirty, disturbed\"}]\n\n[S25_Shot8] (indoor; loc=L04; scene_heading=S#25. 옥탑방 안 / 해질 무렵)\ndescription: 수리영이 한 손에 구겨진 사진을 꽉 쥔 채 백팩을 메고 현관 밖으로 한 발을 내디딘 찰나의 뒷모습.\ncharacters: 수리영\nframing_scale: wide\ncamera_direction: From inside the rooftop room behind 수리영, slightly below eye level and several feet back, the tracking shot widens just enough to include the open front-door threshold as she steps out. Her back and backpack sit in the middle of frame, one foot crossing into the exterior light, while the crumpled photograph remains readable as a tight fist-level detail near her right side.\nkey_bg_elements: [{\"camera_use\": \"destination frame and exit boundary\", \"directionality_class\": \"directional_3d\", \"element\": \"open front door\", \"orientation\": \"the inside face of the open door and its threshold angle toward the camera as 수리영 exits\", \"state\": \"open, letting in dim exterior dusk\"}, {\"camera_use\": \"evidence of intrusion in the room she leaves behind\", \"directionality_class\": \"non_directional\", \"element\": \"scattered household debris\", \"orientation\": \"\", \"state\": \"ransacked, strewn across the floor\"}, {\"camera_use\": \"broken domestic geometry in the side background\", \"directionality_class\": \"directional_3d\", \"element\": \"overturned dining chairs\", \"orientation\": \"chair legs jut sideways at uneven angles across the room\", \"state\": \"knocked over\"}, {\"camera_use\": \"damp air source and unsettling escape route implication\", \"directionality_class\": \"transparent_surface\", \"element\": \"open living-room window\", \"orientation\": \"the camera sees the dark opening and wet exterior air beyond the window frame\", \"state\": \"open, dirty, cold\"}]\nframe_spatial_contract: {\"constraints\": [{\"depth_plane\": \"midground\", \"gesture_action\": \"moves_toward\", \"gesture_target_label\": \"open front door\", \"label\": \"수리영\", \"screen_zone\": \"middle_center\", \"target_id\": \"C01\", \"target_kind\": \"character\"}, {\"depth_plane\": \"background\", \"gesture_action\": \"none\", \"gesture_target_label\": \"\", \"label\": \"open front door threshold\", \"screen_zone\": \"upper_center\", \"target_id\": \"\", \"target_kind\": \"background\"}], \"reason\": \"movement_direction\"}\n\n[S27_Shot1] (indoor; loc=L04; scene_heading=S#27. 옥탑방 안 / 해질 무렵)\ndescription: 난장판이 된 옥탑방 거실, 혜수가 핸드폰을 귀에 댄 채 심각한 표정으로 굳어 있는 상체.\ncharacters: 혜수\nframing_scale: medium\ncamera_direction: Inside the rooftop living room at chest height, the camera continues the flow’s slow dolly-in from about 2.5 meters, tightening to a medium upper-body frame of 혜수 with the phone pressed to her ear. She sits slightly right of center amid overturned, damp-looking clutter, angled three-quarters as if her attention has just pulled toward 김형사 off-frame rather than toward us.\nkey_bg_elements: [{\"camera_use\": \"visible disorder around 혜수, keeping the room’s violated condition readable behind her\", \"directionality_class\": \"non_directional\", \"element\": \"scattered rooftop-room clutter\", \"orientation\": \"\", \"state\": \"messy, overturned, neglected\"}, {\"camera_use\": \"background source of cold draft and later sound, held out of focus behind the anxiety\", \"directionality_class\": \"directional_3d\", \"element\": \"entrance door\", \"orientation\": \"its inner face angles slightly away from camera, showing the rattling edge and frame gap\", \"state\": \"not fully secure, wind-shaken\"}, {\"camera_use\": \"thin translucent layer over the small room window, adding a damp dusk haze\", \"directionality_class\": \"transparent_surface\", \"element\": \"grimy window glass\", \"orientation\": \"dirty glass catches the gray exterior light while showing only a blurred rooftop beyond\", \"state\": \"streaked, dim\"}]\n\n[S4_Shot1] (outdoor; loc=L03; scene_heading=S#4. 옥탑방 / D)\ndescription: 인천 변두리의 낡고 오래된 빌라 옥탑방 외부 전경이 한눈에 내려다보이는 부감 구도.\nframing_scale: wide\ncamera_direction: An omniscient overhead camera holds from about forty-five meters above the old villa, centered on the rooftop room while still keeping the surrounding neighborhood readable. The rooftop structure sits in the middle of the frame like a small exposed shrine, boxed in by worn roofs, narrow alleys, and faded concrete blocks.\nkey_bg_elements: [{\"camera_use\": \"The rooftop room is the central visual anchor and destination of the aerial reveal.\", \"directionality_class\": \"directional_3d\", \"element\": \"old rooftop room exterior\", \"orientation\": \"its roof and front wall are visible from above, with the doorway side angled slightly toward camera\", \"state\": \"aged, patched, weather-stained\"}, {\"camera_use\": \"Surrounding villa roofs create a cramped grid that isolates the rooftop room.\", \"directionality_class\": \"directional_3d\", \"element\": \"neighboring old villa rooftops\", \"orientation\": \"flat roof planes face upward toward the overhead camera\", \"state\": \"worn, cluttered, pale gray\"}, {\"camera_use\": \"A thin haze softens the outskirts and carries the news voice’s unease into the space.\", \"directionality_class\": \"non_directional\", \"element\": \"damp urban haze\", \"orientation\": \"\", \"state\": \"thin, bluish, stagnant\"}]\nframe_spatial_contract: {\"constraints\": [{\"depth_plane\": \"midground\", \"gesture_action\": \"none\", \"gesture_target_label\": \"\", \"label\": \"old rooftop room\", \"screen_zone\": \"middle_center\", \"target_id\": \"\", \"target_kind\": \"background\"}], \"reason\": \"required_background_position\"}\n\n[S5_Shot10] (indoor; loc=L04; scene_heading=S#5. 옥탑방 안 / 실내)\ndescription: 수리영이 민숙의 어깨에 코를 묻고 멈춘 찰나의 측면.\ncharacters: 수리영, 민숙\nframing_scale: close\ncamera_direction: The camera follows the flow into the narrow entrance area and holds side-on at shoulder height, about one meter away, lens parallel to the wall to compress mother and daughter together. The tighter profile frame favors the contact point: Suriyeong’s face and nose press into Minsuk’s shoulder at center-left, while Minsuk’s softened profile and apron edge sit center-right.\nkey_bg_elements: [{\"camera_use\": \"The narrow wall flattens the space and makes their closeness feel private and fragile.\", \"directionality_class\": \"non_directional\", \"element\": \"entrance wall\", \"orientation\": \"\", \"state\": \"worn, slightly yellowed, close to camera plane\"}, {\"camera_use\": \"The shoe area at the bottom edge hints at Suriyeong leaving soon without pulling focus from the embrace.\", \"directionality_class\": \"directional_3d\", \"element\": \"entryway shoe area\", \"orientation\": \"shoe tops and low threshold edge face the camera from below the profiles\", \"state\": \"cluttered, dim\"}, {\"camera_use\": \"The door seam creates a vertical boundary beside them, suggesting a moment just before departure.\", \"directionality_class\": \"directional_3d\", \"element\": \"front door seam\", \"orientation\": \"the flat door face is seen in side compression, seam running vertically near the right edge\", \"state\": \"closed, dull, scuffed\"}]\n\n[S5_Shot12] (indoor; loc=L04; scene_heading=S#5. 옥탑방 안 / 실내)\ndescription: 민숙의 손목 안쪽에 새겨진 작은 원 모양의 표식 클로즈업.\ncharacters: 민숙\nframing_scale: insert\ncamera_direction: The camera completes the flow’s downward push from Suriyeong’s side of the entrance to a very close waist-height insert, about twenty centimeters from Minsuk’s inner wrist. The wrist cuts diagonally across the center of frame, the small circular mark isolated in sharp focus while skin, sleeve edge, and the entryway behind fall into creamy blur.\nkey_bg_elements: [{\"camera_use\": \"The marked skin surface is the focal plane and occult reveal.\", \"directionality_class\": \"content_surface\", \"element\": \"inner wrist with circular mark\", \"orientation\": \"the inner wrist surface faces the camera, showing a small dark circular mark clearly against the skin\", \"state\": \"exposed, sharply focused, mark unusually distinct\"}, {\"camera_use\": \"The sleeve cuff frames the wrist without becoming the subject.\", \"directionality_class\": \"directional_3d\", \"element\": \"apron or sleeve edge\", \"orientation\": \"fabric edge runs along the wrist from camera-left, seen as a soft side fold\", \"state\": \"soft, worn, out of focus\"}, {\"camera_use\": \"The entrance background becomes an indistinct shadow field so the symbol carries the tension.\", \"directionality_class\": \"non_directional\", \"element\": \"blurred entryway background\", \"orientation\": \"\", \"state\": \"dim, warm-gray, unfocused\"}]\nframe_spatial_contract: {\"constraints\": [{\"depth_plane\": \"foreground\", \"gesture_action\": \"none\", \"gesture_target_label\": \"\", \"label\": \"Minsuk inner wrist mark\", \"screen_zone\": \"middle_center\", \"target_id\": \"C04\", \"target_kind\": \"character\"}], \"reason\": \"primary_subject_isolation\"}\n\n[S5_Shot3] (indoor; loc=L04; scene_heading=S#5. 옥탑방 안 / 실내)\ndescription: 앞치마를 두른 민숙이 어두운 표정으로 거실 TV 화면을 응시하며 굳어 있는 상체.\ncharacters: 민숙\nframing_scale: medium\ncamera_direction: The observer camera settles at the end of its lateral track from near the sink and small window, chest height and about two and a half meters from Minsuk, looking across the counter line toward the living room TV. Minsuk is held in an upper-body frame at the right-middle of the image, shoulders locked in her apron as the kitchen foreground remains softly present and the TV glow pulls her stare off-frame.\nkey_bg_elements: [{\"camera_use\": \"The TV is the off-frame source of her fixed attention and casts a cold news glow across the room.\", \"directionality_class\": \"content_surface\", \"element\": \"living room TV screen\", \"orientation\": \"the screen face is angled away from the camera, showing only a sliver of moving blue news light rather than readable content\", \"state\": \"on, low volume, flickering\"}, {\"camera_use\": \"The sink and herbs sit in the near foreground, domestic routine interrupted by dread.\", \"directionality_class\": \"directional_3d\", \"element\": \"sink with unfinished medicinal herbs\", \"orientation\": \"the basin rim and faucet side face the camera across the counter\", \"state\": \"water running, herbs wet and half-washed\"}, {\"camera_use\": \"Steam from the pot veils the compact room and gives the practical light a sick texture.\", \"directionality_class\": \"non_directional\", \"element\": \"boiling pot steam\", \"orientation\": \"\", \"state\": \"rising, thin, wavering\"}, {\"camera_use\": \"The small window gives a narrow daylight slit that contrasts with the TV’s colder glow.\", \"directionality_class\": \"transparent_surface\", \"element\": \"small living-room window\", \"orientation\": \"slightly dirty glass admits pale daylight; only a blurred exterior brightness is visible through it\", \"state\": \"closed, dusty\"}]\n\nWrite the four prompts now."}
{"ts": "2026-07-05 12:23:00", "kind": "img", "engine": "gpt-image-2", "mode": "generate", "tag": "birdseye_p1_sketch", "refs": [], "size": "1536x864", "attempt": 1, "dur_s": 107.2, "bytes": 2958802, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/birdseye/p1_sketch_t2i.png", "prompt": "Hand-drawn technical site sketch of a worn old multi-family concrete villa and its rooftop dwelling, viewed from high above at an oblique bird’s-eye angle, camera tilted about 30 degrees away from vertical so the roof planes, facade heights, stair run and alley depth are all readable. Center the small rooftop room on the flat roof of the larger villa block, with its weather-stained outer walls, patched roof, closed grimy small window with only a faint opaque glow, and a scratched old iron front door on the terrace side, slightly ajar but showing only a black unreadable slit, no interior visible. Draw the surrounding rooftop terrace as aged cement with stains and cracks, bordered by a low concrete parapet; include a rooftop water tank, loose laundry lines sagging between simple posts, a low wooden platform with scattered dried medicinal herb bundles, and a small blank folded flyer wedged at the iron door seam with no readable writing. Show the exterior stair route clearly: a steep narrow old cement staircase with damp stained side walls climbing from a secluded rear ground-level corner up the side/back of the villa to the rooftop landing. Below, include the building body: faded concrete walls, small exterior windows as opaque dark or reflective rectangles, worn roof edges, no interior rooms. At ground level show the narrow wet alley approach and small entrance courtyard where arrivals would stop, with a plain parked light-bar car shape nearby but no markings, no text, no people. Add a modest margin of surrounding old villa rooftops, faded concrete blocks and tight alleys, all cramped and weathered. Style: clean dark ink linework, architectural sketch clarity, light flat grey-blue and beige colour washes, subtle damp night or dawn atmosphere, not photorealistic, not a 3D render, no labels, no visible letters, no numbers, no logos, no watermarks, no people, no animals."}
{"ts": "2026-07-05 12:23:45", "kind": "stage", "stage": "s9_birdseye", "done": "html"}
{"ts": "2026-07-05 12:25:05", "kind": "img", "engine": "gpt-image-2", "mode": "edit", "tag": "birdseye_p2_from_sketch", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/birdseye/p1_sketch_t2i.png"], "size": "1536x864", "attempt": 1, "dur_s": 125.6, "bytes": 2703117, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/birdseye/p2_birdseye_from_p1.png", "prompt": "Use the attached sketch as the exact reference for layout, proportions, object placement and camera angle. Keep the same high oblique bird’s-eye view, tilted about 30 degrees away from vertical, and render the scene photorealistically without changing the composition. Make it a real weathered old concrete multi-family villa with a small rooftop dwelling at the center: stained cement rooftop terrace, low parapet, patched rooftop-room shell, scratched iron front door slightly open to a pitch-black unreadable gap, grimy closed small window with only opaque faint yellowish glow, no interior visible. Render the rooftop fixtures exactly where shown: water tank, sagging laundry lines, low wooden platform, scattered dried medicinal herb bundles, and a blank dirty flyer caught in the iron door seam with no readable marks. Preserve the steep exterior cement stair climbing from the secluded ground-level rear courtyard/alley corner up to the rooftop landing; show damp rough concrete, stained stair walls and worn risers. Preserve the larger building body below with faded concrete facade and opaque windows only, plus the narrow wet alley approach and modest surrounding worn villa rooftops and tight alleys. If a parked arrival vehicle is in the sketch, keep it plain and unmarked with no lettering or numbers. Natural low dawn/dusk light, bluish damp haze, realistic stains, cracks, peeling paint and wet surfaces. Absolutely no people, no animals, no exposed interior rooms or furniture, no visible text, no letters, no numbers, no logos, no watermarks."}
{"ts": "2026-07-05 12:25:15", "kind": "stage", "stage": "s9_birdseye", "done": "html"}
{"ts": "2026-07-05 12:26:48", "kind": "img", "engine": "gpt-image-2", "mode": "generate", "tag": "birdseye_p3_pure", "refs": [], "size": "1536x864", "attempt": 1, "dur_s": 102.3, "bytes": 2562405, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/birdseye/p3_birdseye_t2i.png", "prompt": "Photorealistic high oblique bird’s-eye view of an old outskirts multi-family concrete villa with a rooftop dwelling, seen from far above but not straight down: the camera is tilted about 30 degrees away from vertical so the building sides, stair height and rooftop levels are clearly visible. Composition: the larger faded concrete villa block fills the middle, surrounded by narrow wet alleys and other worn flat-roofed villa buildings. On top of the main building, place a small weather-stained rooftop-room structure near the center of the roof, set within a worn cement terrace bordered by a low concrete parapet. The rooftop room has patched exterior walls, a flat roof, a closed grimy small window showing only opaque faint yellow glow, and an old scratched iron front door facing the rooftop landing; the iron door is slightly open or half-open but reveals only a narrow black void, never any interior. On the terrace around it, include a cylindrical rooftop water tank, sagging loose laundry lines stretched between simple posts, a low wooden platform with scattered dried medicinal herb bundles drying on it, cracked stained cement floor, and a small dirty blank flyer wedged into the iron door seam with no readable writing. Show the route from street to roof: at ground level a narrow damp alley leads to a small entrance courtyard and secluded rear corner of the villa; from that corner, a steep narrow old concrete exterior staircase climbs along the side/back of the building in switchback or tight straight segments to the rooftop landing beside the iron door, with stained side walls and rough worn risers. The building body below is faded grey-beige concrete with opaque dark windows and exterior openings only, no interior rooms visible. Add a modest margin of surrounding cramped rooftops, pale concrete blocks and wet alley surfaces; a plain unmarked light-bar car may be parked near the alley approach, with no lettering or numbers. Mood: damp blue-grey dawn or dusk haze, natural low light, realistic weathering, peeling paint, dark stains, wet concrete reflections. No people, no animals, no visible text, no letters, no numbers, no logos, no watermarks, no interior furniture, no cutaway view."}
{"ts": "2026-07-05 12:26:57", "kind": "stage", "stage": "s9_birdseye", "done": "html"}
{"ts": "2026-07-05 12:29:03", "kind": "img", "engine": "gpt-image-2", "mode": "edit", "tag": "birdseye_p4_from_birdseye", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/birdseye/p3_birdseye_t2i.png"], "size": "1536x864", "attempt": 1, "dur_s": 135.4, "bytes": 3486418, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/birdseye/p4_sketch_from_p3.png", "prompt": "Use the attached photorealistic bird’s-eye image as the exact reference for layout, proportions, object placement and camera angle. Keep the same high oblique overhead view, tilted about 30 degrees away from vertical, and redraw the entire place as a clean hand-drawn technical ink-and-wash sketch. Preserve the old multi-family villa body, the rooftop dwelling shell, the cement terrace, low parapet, water tank, sagging laundry lines, low wooden platform, scattered dried medicinal herbs, scratched iron door with only a black unreadable gap, grimy opaque window, steep exterior concrete stair from the secluded ground-level alley/courtyard corner to the rooftop landing, the narrow wet alley approach, and the modest surrounding worn rooftops exactly as shown. Do not reveal any interior rooms or furniture; all doors, windows and openings remain exterior surfaces, dark voids or opaque glass only. Style: precise dark ink outlines, architectural bird’s-eye sketch, light flat colour washes in grey-blue, beige and muted brown, simple shadow hatching for height differences and stair levels, no photorealism, no 3D-render look. Remove or avoid all visible writing, signs, labels, letters, numbers, logos and watermarks. No people and no animals."}
{"ts": "2026-07-05 12:29:03", "kind": "stage", "stage": "s9_birdseye", "done": "all"}
{"ts": "2026-07-05 12:29:10", "kind": "stage", "stage": "s9_birdseye", "done": "html"}
{"ts": "2026-07-05 12:39:25", "kind": "llm", "step": "forest_birdseye_prompts_v2", "model": "gpt", "dur_s": 28.1, "system_prompt": "You write text-to-image prompts for LOCATION REFERENCE ASSETS in film\npre-production. The place is a scouted location: an upper rooftop dwelling on an old\nmulti-family building, with its terrace, an exterior stair, the building body, the\nground-level entrance/alley approach, and immediate surroundings. You get production\ndata (member descriptions + full shot contents) — extract ONLY the permanent physical\nanatomy of the place from it.\n\nWrite FOUR ENGLISH image prompts. HARD STYLE RULES for every prompt:\n- CONCISE. 60-110 words each. List what must be IN the image — nothing else.\n- This is a NEUTRAL location document. NO storytelling, NO mood, NO atmosphere\n  words, NO weather, NO time-of-day drama, NO lighting effects (no glow, no haze,\n  no wet reflections), NO story props or states (no flyers, no vehicles, no lit\n  windows). Plain even daylight. Cinematic dressing happens later in shots — never\n  here.\n- Include only PERMANENT physical elements grounded in the data (structures,\n  levels, stair, openings, fixed rooftop fixtures).\n- Never expose interior rooms/furniture. No people, no animals, no text/letters/\n  numbers/logos in the image.\n- View: from high above at an oblique angle, tilted about 30 degrees from vertical\n  (NOT straight down), so wall heights, the stair run and level differences read.\n- Whole property in one view: rooftop dwelling shell + terrace + fixtures, the\n  building body below, exterior stair from ground rear corner to rooftop, ground\n  entrance yard/alley, small margin of neighbours.\n\nThe four prompts:\n1. prompt_1_plan: a technical PLAN DRAWING in the exact drafting style of a clean\n   architectural floor plan (thin dark outlines, flat colour fills, simple fixture\n   symbols) but drawn with slight axonometric depth at that oblique angle. Pure\n   text-to-image.\n2. prompt_2_birdseye_from_plan: photorealistic bird's-eye of the same place;\n   image-edit prompt — keep the attached drawing's layout, proportions and camera\n   angle exactly; render real materials in plain daylight.\n3. prompt_3_birdseye_pure: photorealistic bird's-eye, standalone text-to-image;\n   the text alone carries the layout.\n4. prompt_4_plan_from_birdseye: same technical plan-drawing form as prompt 1;\n   image-edit prompt — redraw the attached photo in that drafting style, keeping\n   layout and camera angle exactly.\n\nAlso output a faithful KOREAN translation of each prompt (for human review only;\nthe image model receives the English).", "user_prompt": "PLACE MEMBERS:\n- (outdoor, L03) 인천 변두리 낡은 빌라 옥탑방 옥상·현관 앞 외부: 낡은 다세대 빌라 꼭대기에 위치한 야외 공간. 물탱크, 흔들리는 빨랫줄, 평상 위 약초 건조 흔적, 낡은 철문 현관이 있다. (특징: 낡은 시멘트 바닥; 물탱크; 바람에 날리는 빨랫줄; 평상과 널려 있는 말린 약초(석창포); 전단지가 끼워진 철문 현관)\n- (indoor, L04) 옥탑방 내부: 작은 창문으로 빛이 들어오는 낡은 주거 공간. 싱크대, 식탁, TV가 있는 거실과 침대, 커튼, 거울 등이 있는 방/욕실로 구성된다. 약초 끓이는 냄비 등 생활 소품이 있으며, 간헐적으로 벽면에 붉은 원 형태의 환영과 핏자국이 생겨난다. (특징: 작은 창문의 햇살; 싱크대와 약초(석창포); 가스레인지 위 끓는 냄비와 수증기; 거실 TV와 스탠드; 침대, 커튼, 거울; 벽과 거울 표면에 나타나는 붉은 원 환영; 바닥과 벽의 핏자국 (특정 시점); 어지럽혀진 가재도구 (특정 시점))\n- (outdoor, L10) 옥탑방 외곽 골목·시멘트 계단: 다세대 빌라 마당의 후미진 구석과 옥탑방으로 올라가는 가파르고 낡은 시멘트 계단. (특징: 다세대 빌라 입구 마당; 후미진 구석 공간; 낡고 가파른 시멘트 계단)\n\nALL SHOTS AT THIS PLACE (full content):\n\n[S10_Shot5] (outdoor; loc=L03; scene_heading=S#10. 옥탑방 / N)\ndescription: 철문이 미세하게 열린 틈 사이로 어두운 내부가 보이는 구도.\nframing_scale: insert\ncamera_direction: At the end of the flow’s dolly-in, the lens freezes just outside the iron door at handle height, only inches from the seam, staring directly into the thin opening. The dark crack sits in the center like a vertical wound, with rough iron surfaces on both sides occupying the foreground while the interior beyond remains unreadable and almost lightless.\nkey_bg_elements: [{\"camera_use\": \"Primary focal aperture; turns the entry into a threatening slit rather than a normal doorway.\", \"directionality_class\": \"directional_3d\", \"element\": \"iron front door\", \"orientation\": \"The two heavy door edges face camera at close range, separated by a narrow central crack leading into darkness.\", \"state\": \"slightly open, scratched, cold metal\"}, {\"camera_use\": \"Hides what is inside and makes the gap feel predatory.\", \"directionality_class\": \"non_directional\", \"element\": \"dark interior beyond the crack\", \"orientation\": \"\", \"state\": \"unlit, opaque, silent\"}, {\"camera_use\": \"Adds tactile evidence of forced entry near the seam.\", \"directionality_class\": \"content_surface\", \"element\": \"creased advertisement flyer edge\", \"orientation\": \"Only the printed edge of the paper face is visible near the door seam, with partial color blocks and unreadable text.\", \"state\": \"bent, partly displaced, dirty\"}]\nframe_spatial_contract: {\"constraints\": [{\"depth_plane\": \"foreground\", \"gesture_action\": \"none\", \"gesture_target_label\": \"\", \"label\": \"narrow iron door seam\", \"screen_zone\": \"middle_center\", \"target_id\": \"\", \"target_kind\": \"background\"}], \"reason\": \"required_background_position\"}\n\n[S10_Shot6] (outdoor; loc=L03; scene_heading=S#10. 옥탑방 / N)\ndescription: 방 안 창문에 비친 그림자, 굽은 형태의 인영이 다른 사람 형상 위에 포개져 멈춘 찰나의 실루엣.\nframing_scale: medium\ncamera_direction: Inside the room, the camera holds static near the side wall at shoulder height, angled so only the window glass carries the action as a reflection and the direct attack is never seen. The reflected silhouettes sit within the window frame: a bent 인영 in the upper-middle area lowers its head toward the shoulder of 사람, whose body buckles beneath it in a distorted, wavering mid-action shape.\nkey_bg_elements: [{\"camera_use\": \"Serves as the only visible surface for the attack, keeping violence indirect and distorted.\", \"directionality_class\": \"reflective_surface\", \"element\": \"room window glass\", \"orientation\": \"The glass reflects the bent 인영 and 사람 as warped dark silhouettes, with faint interior light streaks trembling across them.\", \"state\": \"closed, grimy, reflective in darkness\"}, {\"camera_use\": \"Frames the reflection and prevents the viewer from seeing the real bodies directly.\", \"directionality_class\": \"directional_3d\", \"element\": \"window frame\", \"orientation\": \"The frame’s inner edges face camera and box the reflected action into a rigid rectangle.\", \"state\": \"old, chipped, motionless\"}, {\"camera_use\": \"Adds low, diseased color to the reflected silhouettes.\", \"directionality_class\": \"directional_3d\", \"element\": \"dim interior practical light\", \"orientation\": \"The lamp’s shaded side is off-frame but its amber spill grazes the wall and window reflection.\", \"state\": \"on, weak, sickly amber\"}, {\"camera_use\": \"Keeps the room claustrophobic around the window surface.\", \"directionality_class\": \"non_directional\", \"element\": \"dark side wall\", \"orientation\": \"\", \"state\": \"rough, stained, blue-gray shadowed\"}]\nframe_spatial_contract: {\"constraints\": [{\"depth_plane\": \"midground\", \"gesture_action\": \"none\", \"gesture_target_label\": \"\", \"label\": \"window reflection containing silhouettes\", \"screen_zone\": \"middle_center\", \"target_id\": \"\", \"target_kind\": \"background\"}], \"reason\": \"required_background_position\"}\n\n[S11_Shot3] (outdoor; loc=L10; scene_heading=S#11. 옥탑 방 밖 / N)\ndescription: 계단 중간에 서서 심하게 코를 찡그린 수리영의 얼굴 클로즈업.\ncharacters: 수리영\nframing_scale: close\ncamera_direction: Midway up the narrow concrete staircase, the camera holds static very close to 수리영 from the front-left at face height, tightening into an intense close-up that leaves only a sliver of stair texture behind her. Her nose wrinkles hard at the sudden smell, eyes lifting toward the unseen rooftop landing while her halted climb compresses her shoulders into the frame.\nkey_bg_elements: [{\"camera_use\": \"Minimal background texture that preserves the stair location without diluting the reaction.\", \"directionality_class\": \"directional_3d\", \"element\": \"narrow concrete staircase\", \"orientation\": \"Only the side edge and riser texture angle behind her cheek, indicating the upward path to the rooftop.\", \"state\": \"dark, damp, rough\"}, {\"camera_use\": \"Creates a suffocating side boundary close to her face.\", \"directionality_class\": \"non_directional\", \"element\": \"stairwell wall\", \"orientation\": \"\", \"state\": \"stained, cold, blue-gray\"}, {\"camera_use\": \"Suggests the unseen source direction through faint light above.\", \"directionality_class\": \"non_directional\", \"element\": \"rooftop darkness above the stairs\", \"orientation\": \"\", \"state\": \"unseen, heavy, foul implied\"}]\n\n[S11_Shot4] (outdoor; loc=L10; scene_heading=S#11. 옥탑 방 밖 / N)\ndescription: 옥상 위, 어둠 속에 반쯤 열려 멈춰 있는 옥탑방 현관 철문의 정적 구도.\nframing_scale: wide\ncamera_direction: After the hard eyeline cut, the camera adopts 수리영’s direct viewpoint from the rooftop landing, several meters from the entrance and at human eye level, facing the iron front door squarely. The half-open door is held in rigid symmetry at the center of the frame, surrounded by still rooftop darkness, with no figure entering to relieve the threat.\nkey_bg_elements: [{\"camera_use\": \"Central reveal and source of unease, held motionless after her smell reaction.\", \"directionality_class\": \"directional_3d\", \"element\": \"rooftop room iron front door\", \"orientation\": \"The door faces camera squarely but hangs half-open, exposing a narrow black interior gap along one side.\", \"state\": \"half-open, frozen, scratched\"}, {\"camera_use\": \"Frames the doorway in isolated negative space.\", \"directionality_class\": \"non_directional\", \"element\": \"rooftop landing darkness\", \"orientation\": \"\", \"state\": \"still, damp, blue-black\"}, {\"camera_use\": \"Adds rough domestic rooftop texture without drawing attention from the door.\", \"directionality_class\": \"directional_3d\", \"element\": \"low rooftop wall\", \"orientation\": \"Its top edge runs horizontally across the lower background, barely lit against the night.\", \"state\": \"wet-stained, concrete, motionless\"}]\nframe_spatial_contract: {\"constraints\": [{\"depth_plane\": \"background\", \"gesture_action\": \"none\", \"gesture_target_label\": \"\", \"label\": \"half-open rooftop iron door\", \"screen_zone\": \"middle_center\", \"target_id\": \"\", \"target_kind\": \"background\"}], \"reason\": \"required_background_position\"}\n\n[S12_Shot15] (indoor; loc=L04; scene_heading=S#12. 옥탑방 안 / N)\ndescription: 침대 위 어두운 벽면에 피가 번지듯 선명한 붉은색 원형 표식이 그려진 상태의 정지 구도.\nframing_scale: medium\ncamera_direction: From low bedside height near the mattress edge, the camera completes its upward tilt and locks off on the dark wall above the bed, where a completed red circular mark sits in the upper middle of frame. The bed edge remains only as a thin lower strip for scale, while the wall becomes an oppressive flat plane; this is aligned with 수리영’s panicked perception, the image subtly treated as an occult hallucination rather than stable reality.\nkey_bg_elements: [{\"camera_use\": \"Primary occult surface holding the completed mark.\", \"directionality_class\": \"content_surface\", \"element\": \"dark wall above the bed\", \"orientation\": \"The camera-facing wall face is visible, carrying a vivid red circular mark at its center.\", \"state\": \"dark, stained-looking, marked\"}, {\"camera_use\": \"Lower frame scale reference beneath the wall.\", \"directionality_class\": \"directional_3d\", \"element\": \"bed edge\", \"orientation\": \"The side edge of the mattress faces the camera from below, cropped into a narrow horizontal band.\", \"state\": \"dim, still, partly obscured\"}, {\"camera_use\": \"Symbolic focal mark on the wall.\", \"directionality_class\": \"content_surface\", \"element\": \"red circular mark\", \"orientation\": \"The painted-looking face of the circle is fully visible to the camera, as if freshly drawn into the wall surface.\", \"state\": \"bright red, wet-looking, completed\"}]\n\n[S12_Shot4] (indoor; loc=L04; scene_heading=S#12. 옥탑방 안 / N)\ndescription: 열린 방문 틈으로 보이는 방바닥에 검붉은 핏자국이 흥건하게 고여 있는 정지 구도.\nframing_scale: close\ncamera_direction: From the low waist-height position outside the bedroom doorway, the camera holds completely still about three feet back, peering through the opened door gap toward the dark red blood pooled on the floor just beyond the threshold. The door edges form a narrow vertical frame on both sides, with the blood occupying the lower middle of the image and the dim bedroom receding into blue-gray darkness behind it; this is a neutral observer’s direct view, not a character POV.\nkey_bg_elements: [{\"camera_use\": \"Foreground framing device that restricts the view into the room.\", \"directionality_class\": \"directional_3d\", \"element\": \"opened bedroom door\", \"orientation\": \"The inner edge of the door faces the camera at an oblique angle, creating a narrow gap into the room.\", \"state\": \"open, still, shadowed\"}, {\"camera_use\": \"Primary visual focus on the floor just inside the doorway.\", \"directionality_class\": \"non_directional\", \"element\": \"dark red blood pool\", \"orientation\": \"\", \"state\": \"wet, thick, spread across the floor\"}, {\"camera_use\": \"Texture under the blood and scale reference for the room.\", \"directionality_class\": \"non_directional\", \"element\": \"bedroom floor\", \"orientation\": \"\", \"state\": \"dirty, damp-looking, partially covered by blood\"}]\n\n[S12_Shot8] (indoor; loc=L04; scene_heading=S#12. 옥탑방 안 / N)\ndescription: 두 눈을 크게 뜨고 입을 벌린 채 굳어버린 수리영의 창백한 얼굴 클로즈업.\ncharacters: 수리영\nframing_scale: close\ncamera_direction: At eye level directly in front of 수리영, the handheld camera compresses tighter than the stage distance until her pale face nearly fills the frame, backing away only a fraction as her shock freezes mid-recoil. The background is almost lost in darkness, with only a faint suggestion of the room’s black edges behind her; the view remains a direct observer angle, but the proximity feels invasive and breathless.\nkey_bg_elements: [{\"camera_use\": \"Nearly swallowed background plane behind her face.\", \"directionality_class\": \"non_directional\", \"element\": \"dark bedroom recess\", \"orientation\": \"\", \"state\": \"unlit, indistinct\"}, {\"camera_use\": \"Soft edge shadow that isolates her head from the room.\", \"directionality_class\": \"directional_3d\", \"element\": \"bedroom doorway edge\", \"orientation\": \"A narrow side edge catches minimal spill light behind her shoulder.\", \"state\": \"partially visible, shadowed\"}]\nframe_spatial_contract: {\"constraints\": [{\"depth_plane\": \"foreground\", \"gesture_action\": \"none\", \"gesture_target_label\": \"\", \"label\": \"수리영 terrified face\", \"screen_zone\": \"middle_center\", \"target_id\": \"C01\", \"target_kind\": \"character\"}], \"reason\": \"primary_subject_isolation\"}\n\n[S13_Shot3] (outdoor; loc=L03; scene_heading=S#13. 옥탑방 외곽 / N)\ndescription: 차에서 내린 혜수가 초점 없는 눈으로 멍하게 서 있는 수리영을 향해 시선을 고정한 찰나의 상체.\ncharacters: 혜수, 수리영\nframing_scale: medium\ncamera_direction: Beside the police car at chest height, the tracking move slows into a held upper-body frame on 혜수 as she has just stepped out, her body paused between the car and the alley. 수리영 appears farther down the alley in soft background focus, small and blank beneath flashing siren wash, while 혜수 occupies the left foreground in a tense three-quarter view; this is a direct observer view moving parallel with her discovery.\nkey_bg_elements: [{\"camera_use\": \"Foreground context and flashing light source beside 혜수.\", \"directionality_class\": \"directional_3d\", \"element\": \"police car\", \"orientation\": \"The side of the car and open door angle toward the camera, framing 혜수’s exit.\", \"state\": \"parked, door open, siren lights active\"}, {\"camera_use\": \"Depth corridor between 혜수 and 수리영.\", \"directionality_class\": \"directional_3d\", \"element\": \"narrow alley\", \"orientation\": \"The alley recedes diagonally from the police car toward 수리영 in the background.\", \"state\": \"wet, dark, foggy\"}, {\"camera_use\": \"Intermittent color wash across faces and walls.\", \"directionality_class\": \"non_directional\", \"element\": \"siren light spill\", \"orientation\": \"\", \"state\": \"flashing red-blue across damp surfaces\"}]\nframe_spatial_contract: {\"constraints\": [{\"depth_plane\": \"foreground\", \"gesture_action\": \"looks_toward\", \"gesture_target_label\": \"수리영 down the alley\", \"label\": \"혜수 by police car\", \"screen_zone\": \"middle_left\", \"target_id\": \"C02\", \"target_kind\": \"character\"}, {\"depth_plane\": \"background\", \"gesture_action\": \"none\", \"gesture_target_label\": \"\", \"label\": \"수리영 in alley\", \"screen_zone\": \"middle_right\", \"target_id\": \"C01\", \"target_kind\": \"character\"}], \"reason\": \"shared_space_relation\"}\n\n[S13_Shot5] (outdoor; loc=L03; scene_heading=S#13. 옥탑방 외곽 / N)\ndescription: 수리영이 고개를 들어 혜수의 얼굴을 올려다보는 정적 구도.\ncharacters: 수리영, 혜수\nframing_scale: close\ncamera_direction: The camera sits low near 수리영’s eye level, about one meter away, tightened into a still close composition as she lifts her face toward 혜수 just above the frame. 수리영 holds the lower center of the image, her upward eyeline creating the unseen presence of 혜수, while the wet alley background blurs into dark blue-gray; this is a direct observer angle from the space between them.\nkey_bg_elements: [{\"camera_use\": \"Soft, dark background texture behind 수리영’s head.\", \"directionality_class\": \"non_directional\", \"element\": \"wet alley wall\", \"orientation\": \"\", \"state\": \"damp, shadowed, out of focus\"}, {\"camera_use\": \"Atmospheric layer around her face.\", \"directionality_class\": \"non_directional\", \"element\": \"night fog\", \"orientation\": \"\", \"state\": \"thin, drifting, blue-gray\"}, {\"camera_use\": \"Off-screen motivated color pulse on her skin.\", \"directionality_class\": \"non_directional\", \"element\": \"police siren spill\", \"orientation\": \"\", \"state\": \"intermittent, faint\"}]\nframe_spatial_contract: {\"constraints\": [{\"depth_plane\": \"foreground\", \"gesture_action\": \"looks_toward\", \"gesture_target_label\": \"혜수 just above frame\", \"label\": \"수리영 close low frame\", \"screen_zone\": \"middle_center\", \"target_id\": \"C01\", \"target_kind\": \"character\"}], \"reason\": \"primary_subject_isolation\"}\n\n[S14_Shot4] (indoor; loc=L04; scene_heading=S#14. 옥탑방 안 / N)\ndescription: 핏자국 하나 없이 깨끗하게 정돈된 수리영의 방 내부 정지 구도.\nframing_scale: wide\ncamera_direction: Just inside 수리영’s bedroom doorway at eye level, the camera holds a wide, unmoving view inward toward the bed, bare wall, curtain, and spotless floor. The room is framed as evidence: the clean floor stretches across the lower half, the curtain line sits to one side where the body should have been, and the wall above the bed remains blank; this is a direct neutral observation of absence.\nkey_bg_elements: [{\"camera_use\": \"Primary proof of erased violence across the lower frame.\", \"directionality_class\": \"non_directional\", \"element\": \"spotless bedroom floor\", \"orientation\": \"\", \"state\": \"clean, dry, no blood marks\"}, {\"camera_use\": \"Central room anchor and comparison point for the missing wall mark.\", \"directionality_class\": \"directional_3d\", \"element\": \"bed\", \"orientation\": \"The side and top plane of the bed face the camera from mid-frame.\", \"state\": \"neatly made, undisturbed\"}, {\"camera_use\": \"Surface where the red circle should have been absent.\", \"directionality_class\": \"content_surface\", \"element\": \"wall above the bed\", \"orientation\": \"The camera-facing wall face is visible and completely bare, carrying no red circular mark.\", \"state\": \"clean, dark, unmarked\"}, {\"camera_use\": \"Empty area where the hidden body had been discovered earlier.\", \"directionality_class\": \"directional_3d\", \"element\": \"curtain line\", \"orientation\": \"The front folds face the camera from the side of the room, concealing only darkness and empty space behind.\", \"state\": \"hanging still, clean, no body visible\"}]\n\n[S14_Shot6] (indoor; loc=L04; scene_heading=S#14. 옥탑방 안 / N)\ndescription: 수리영이 핏기가 가신 창백한 얼굴로 멍하니 빈 커튼 쪽을 응시하는 정면.\ncharacters: 수리영\nframing_scale: close\ncamera_direction: Inside the bedroom near the bed and curtain side, the dolly-in ends in a frontal upper-body emphasis on 수리영, close enough that her pale face and rigid shoulders take most of the frame. She looks past the camera toward the empty curtain area, which is kept implied rather than shown, turning the direct observer view into a psychological confrontation with the missing evidence.\nkey_bg_elements: [{\"camera_use\": \"Blurred side texture suggesting where the corpse should have been.\", \"directionality_class\": \"directional_3d\", \"element\": \"curtain edge\", \"orientation\": \"Only a soft side fold is visible near the frame edge, with the empty area kept off-camera.\", \"state\": \"still, clean, partially out of focus\"}, {\"camera_use\": \"Low background shape behind her shoulder.\", \"directionality_class\": \"directional_3d\", \"element\": \"bed corner\", \"orientation\": \"The near corner angles away behind 수리영, cropped and subdued.\", \"state\": \"neat, undisturbed\"}, {\"camera_use\": \"Absence marker behind her expression.\", \"directionality_class\": \"content_surface\", \"element\": \"blank wall\", \"orientation\": \"The visible wall face behind her is bare and carries no red mark.\", \"state\": \"unmarked, dim\"}]\nframe_spatial_contract: {\"constraints\": [{\"depth_plane\": \"foreground\", \"gesture_action\": \"looks_toward\", \"gesture_target_label\": \"empty curtain area behind camera\", \"label\": \"수리영 frontal close frame\", \"screen_zone\": \"middle_center\", \"target_id\": \"C01\", \"target_kind\": \"character\"}], \"reason\": \"primary_subject_isolation\"}\n\n[S14_Shot8] (indoor; loc=L04; scene_heading=S#14. 옥탑방 안 / N)\ndescription: 식탁 앞에 선 수리영이 빈 식탁을 손가락으로 가리킨 채 멈춘 측면 상체.\ncharacters: 수리영\nframing_scale: medium\ncamera_direction: At chest height beside the dining table, the camera settles from the track into a brief still side composition perpendicular to 수리영’s body line. Her profile holds the left half of frame while her pointing hand cuts toward the bare tabletop on the right, keeping both the gesture and the missing teacups in one direct observational image.\nkey_bg_elements: [{\"camera_use\": \"Gesture target proving the vanished cups.\", \"directionality_class\": \"directional_3d\", \"element\": \"bare dining table\", \"orientation\": \"The clean top plane faces the camera at a shallow angle, with no cups where her finger indicates.\", \"state\": \"clean, empty, dry\"}, {\"camera_use\": \"Dim living-room depth behind the table.\", \"directionality_class\": \"directional_3d\", \"element\": \"living room wall and doorway\", \"orientation\": \"The wall and doorway recede behind 수리영 in side view.\", \"state\": \"shadowed, quiet\"}, {\"camera_use\": \"Soft ambient source in the room.\", \"directionality_class\": \"directional_3d\", \"element\": \"living room stand lamp\", \"orientation\": \"The lamp shade is seen from the side, its warm face turned slightly away from camera.\", \"state\": \"on, weak amber\"}]\nframe_spatial_contract: {\"constraints\": [{\"depth_plane\": \"foreground\", \"gesture_action\": \"points_to\", \"gesture_target_label\": \"bare dining tabletop\", \"label\": \"수리영 pointing beside table\", \"screen_zone\": \"middle_left\", \"target_id\": \"C01\", \"target_kind\": \"character\"}, {\"depth_plane\": \"midground\", \"gesture_action\": \"none\", \"gesture_target_label\": \"\", \"label\": \"bare dining tabletop\", \"screen_zone\": \"middle_right\", \"target_id\": \"\", \"target_kind\": \"background\"}], \"reason\": \"points_to_anchor\"}\n\n[S17_Shot1] (outdoor; loc=L03; scene_heading=S#17. 옥탑방 / 동틀무렵)\ndescription: 짙고 푸른 안개가 깔린 새벽녘, 희미한 노란 불빛이 켜진 옥탑방 창문을 향해 검은 고양이 한 마리가 고개를 돌린 찰나의 측면.\nframing_scale: medium\ncamera_direction: Low at the 검은 고양이’s shoulder height, roughly one meter away, the camera tracks parallel along the rooftop wall and then holds a brief side profile as the cat turns its head toward the lit rooftop-room window. The cat occupies the lower left-to-center band of the frame, while the faint yellow window hangs in the misty background line of sight above the wall.\nkey_bg_elements: [{\"camera_use\": \"distant visual lure for the cat’s head turn\", \"directionality_class\": \"transparent_surface\", \"element\": \"rooftop-room window\", \"orientation\": \"fogged glass shows a weak yellow interior glow beyond it\", \"state\": \"closed, lit from inside\"}, {\"camera_use\": \"tracking guide and jump setup\", \"directionality_class\": \"directional_3d\", \"element\": \"low concrete rooftop wall\", \"orientation\": \"the long side face runs parallel to the camera movement, with its top edge rising toward the next action\", \"state\": \"damp, stained\"}, {\"camera_use\": \"atmospheric veil separating cat and room\", \"directionality_class\": \"non_directional\", \"element\": \"blue dawn fog\", \"orientation\": \"\", \"state\": \"thick, cold, slowly moving\"}]\nframe_spatial_contract: {\"constraints\": [{\"depth_plane\": \"foreground\", \"gesture_action\": \"looks_toward\", \"gesture_target_label\": \"lit rooftop window\", \"label\": \"black cat\", \"screen_zone\": \"lower_left\", \"target_id\": \"C11\", \"target_kind\": \"character\"}, {\"depth_plane\": \"background\", \"gesture_action\": \"none\", \"gesture_target_label\": \"\", \"label\": \"lit rooftop window\", \"screen_zone\": \"upper_right\", \"target_id\": \"\", \"target_kind\": \"background\"}], \"reason\": \"looks_to_anchor\"}\n\n[S18_Shot15] (indoor; loc=L04; scene_heading=S#18. 안방 안 / D)\ndescription: 거울 속 욕실 벽면에 선명한 붉은색 원형 표식이 맺혀 있는 정지 구도.\nframing_scale: insert\ncamera_direction: Inside the bathroom, the camera is fixed at eye level about three feet from the mirror, tightened so the mirror reflection becomes the frame and the reflected rear wall sits centered. The red circular mark is isolated near the middle of the reflected wall, with only a sliver of mirror edge and damp tile context allowed to remain, making the apparition feel graphic and unavoidable.\nkey_bg_elements: [{\"camera_use\": \"the shot’s perceptual surface and compositional border\", \"directionality_class\": \"reflective_surface\", \"element\": \"bathroom mirror\", \"orientation\": \"the mirror reflects the rear bathroom wall and the impossible red circular mark; a narrow mirror edge confirms this is a reflected view\", \"state\": \"slightly misted, cold\"}, {\"camera_use\": \"surface on which the occult symbol appears within reflection\", \"directionality_class\": \"content_surface\", \"element\": \"reflected bathroom wall\", \"orientation\": \"the wall face visible in the mirror carries a sharp crimson circular mark at its center\", \"state\": \"pale tile surface, otherwise clean\"}, {\"camera_use\": \"claustrophobic bathroom texture\", \"directionality_class\": \"non_directional\", \"element\": \"damp tile grout\", \"orientation\": \"\", \"state\": \"wet-looking, gray, stained\"}]\nframe_spatial_contract: {\"constraints\": [{\"depth_plane\": \"midground\", \"gesture_action\": \"none\", \"gesture_target_label\": \"\", \"label\": \"red circular mark in mirror reflection\", \"screen_zone\": \"middle_center\", \"target_id\": \"\", \"target_kind\": \"background\"}], \"reason\": \"required_background_position\"}\n\n[S18_Shot20] (indoor; loc=L04; scene_heading=S#18. 안방 안 / D)\ndescription: 식탁 위에 놓인 사진 속, 살점이 뭉개진 채 기괴하게 흘러내린 (변형된 민숙)의 모습 클로즈업.\ncharacters: 민숙\nframing_scale: insert\ncamera_direction: At tabletop height beside the dining table, the push-in finishes at an extreme close angle on the framed photograph, stripping away nearly all surrounding table context. The mother’s photographed face, now perceived as 민숙 (변형된), occupies the central close field in a grotesque melted distortion, while the photo frame edge remains barely visible to prove this horror is trapped inside the image surface.\nkey_bg_elements: [{\"camera_use\": \"primary hallucinated image surface\", \"directionality_class\": \"content_surface\", \"element\": \"framed family photograph\", \"orientation\": \"the front image face is angled slightly upward to camera, showing the mother’s face grotesquely distorted within the printed photo\", \"state\": \"upright on table, visually corrupted by hallucination\"}, {\"camera_use\": \"thin physical proof that this is still a household object\", \"directionality_class\": \"reflective_surface\", \"element\": \"photo frame glass\", \"orientation\": \"the glass reflects a dim streak of room light across the distorted face without hiding it\", \"state\": \"clean but unnervingly glossy\"}, {\"camera_use\": \"minimal scale reference around the frame\", \"directionality_class\": \"directional_3d\", \"element\": \"dining table edge\", \"orientation\": \"only a narrow tabletop plane and edge remain at the lower frame margin\", \"state\": \"still, ordinary, dim\"}]\nframe_spatial_contract: {\"constraints\": [{\"depth_plane\": \"foreground\", \"gesture_action\": \"none\", \"gesture_target_label\": \"\", \"label\": \"distorted mother’s face inside framed photograph\", \"screen_zone\": \"middle_center\", \"target_id\": \"C12\", \"target_kind\": \"character\"}], \"reason\": \"primary_subject_isolation\"}\n\n[S18_Shot6] (indoor; loc=L04; scene_heading=S#18. 안방 안 / D)\ndescription: 열린 방문 너머, 핏자국 하나 없이 말끔하게 정돈된 방안 정경.\nframing_scale: wide\ncamera_direction: Just outside 수리영’s room, the camera stays eye-level and static about five feet from the threshold, looking straight through the opened door into a room that appears too clean. The doorway forms a dark rectangular frame around the orderly bed, smooth floor, and untouched curtains, with no body, no stain, and no trace where memory said there should be horror.\nkey_bg_elements: [{\"camera_use\": \"primary frame-within-frame revealing the room\", \"directionality_class\": \"directional_3d\", \"element\": \"opened bedroom door\", \"orientation\": \"the door slab is swung aside so the camera sees through the threshold into the room\", \"state\": \"open, still\"}, {\"camera_use\": \"visual proof of unnatural order\", \"directionality_class\": \"directional_3d\", \"element\": \"neatly arranged bed\", \"orientation\": \"the bed’s side and top plane face camera beyond the doorway\", \"state\": \"made, undisturbed\"}, {\"camera_use\": \"absence marker where the earlier horror is expected\", \"directionality_class\": \"transparent_surface\", \"element\": \"bedroom window with curtains\", \"orientation\": \"the window is partly obscured by clean curtains, with pale daylight diffused beyond\", \"state\": \"closed, curtains hanging evenly\"}, {\"camera_use\": \"negative evidence emphasized by stillness\", \"directionality_class\": \"non_directional\", \"element\": \"spotless bedroom floor\", \"orientation\": \"\", \"state\": \"clean, dry, no blood visible\"}]\n\n[S25_Shot4] (indoor; loc=L04; scene_heading=S#25. 옥탑방 안 / 해질 무렵)\ndescription: 붉은 원 한가운데에 피가 묻은 낡은 흑백 사진이 꽂혀 있는 클로즈업.\nframing_scale: close\ncamera_direction: Inside the bedroom at eye level, the dolly-in ends locked nearly perpendicular to the torn wall, holding a close composition where the blood-stained black-and-white photograph sits pinned at the exact center of a crimson circle. The photo and red mark take up the central mass of the frame, while the rough wall texture remains visible around them like scraped skin.\nkey_bg_elements: [{\"camera_use\": \"central occult symbol and compositional target\", \"directionality_class\": \"content_surface\", \"element\": \"red circular wall mark\", \"orientation\": \"the painted wall face is directly visible to camera, showing a rough crimson circle surrounding the pinned photograph\", \"state\": \"fresh-looking, uneven, ominous\"}, {\"camera_use\": \"primary revealed clue\", \"directionality_class\": \"content_surface\", \"element\": \"old black-and-white photograph\", \"orientation\": \"the front image face is visible, showing an aged rural restaurant scene partially obscured by blood stains\", \"state\": \"pinned to wall, creased, blood-stained\"}, {\"camera_use\": \"macabre texture around the clue\", \"directionality_class\": \"non_directional\", \"element\": \"torn bedroom wall texture\", \"orientation\": \"\", \"state\": \"scraped, dirty, disturbed\"}]\n\n[S25_Shot8] (indoor; loc=L04; scene_heading=S#25. 옥탑방 안 / 해질 무렵)\ndescription: 수리영이 한 손에 구겨진 사진을 꽉 쥔 채 백팩을 메고 현관 밖으로 한 발을 내디딘 찰나의 뒷모습.\ncharacters: 수리영\nframing_scale: wide\ncamera_direction: From inside the rooftop room behind 수리영, slightly below eye level and several feet back, the tracking shot widens just enough to include the open front-door threshold as she steps out. Her back and backpack sit in the middle of frame, one foot crossing into the exterior light, while the crumpled photograph remains readable as a tight fist-level detail near her right side.\nkey_bg_elements: [{\"camera_use\": \"destination frame and exit boundary\", \"directionality_class\": \"directional_3d\", \"element\": \"open front door\", \"orientation\": \"the inside face of the open door and its threshold angle toward the camera as 수리영 exits\", \"state\": \"open, letting in dim exterior dusk\"}, {\"camera_use\": \"evidence of intrusion in the room she leaves behind\", \"directionality_class\": \"non_directional\", \"element\": \"scattered household debris\", \"orientation\": \"\", \"state\": \"ransacked, strewn across the floor\"}, {\"camera_use\": \"broken domestic geometry in the side background\", \"directionality_class\": \"directional_3d\", \"element\": \"overturned dining chairs\", \"orientation\": \"chair legs jut sideways at uneven angles across the room\", \"state\": \"knocked over\"}, {\"camera_use\": \"damp air source and unsettling escape route implication\", \"directionality_class\": \"transparent_surface\", \"element\": \"open living-room window\", \"orientation\": \"the camera sees the dark opening and wet exterior air beyond the window frame\", \"state\": \"open, dirty, cold\"}]\nframe_spatial_contract: {\"constraints\": [{\"depth_plane\": \"midground\", \"gesture_action\": \"moves_toward\", \"gesture_target_label\": \"open front door\", \"label\": \"수리영\", \"screen_zone\": \"middle_center\", \"target_id\": \"C01\", \"target_kind\": \"character\"}, {\"depth_plane\": \"background\", \"gesture_action\": \"none\", \"gesture_target_label\": \"\", \"label\": \"open front door threshold\", \"screen_zone\": \"upper_center\", \"target_id\": \"\", \"target_kind\": \"background\"}], \"reason\": \"movement_direction\"}\n\n[S27_Shot1] (indoor; loc=L04; scene_heading=S#27. 옥탑방 안 / 해질 무렵)\ndescription: 난장판이 된 옥탑방 거실, 혜수가 핸드폰을 귀에 댄 채 심각한 표정으로 굳어 있는 상체.\ncharacters: 혜수\nframing_scale: medium\ncamera_direction: Inside the rooftop living room at chest height, the camera continues the flow’s slow dolly-in from about 2.5 meters, tightening to a medium upper-body frame of 혜수 with the phone pressed to her ear. She sits slightly right of center amid overturned, damp-looking clutter, angled three-quarters as if her attention has just pulled toward 김형사 off-frame rather than toward us.\nkey_bg_elements: [{\"camera_use\": \"visible disorder around 혜수, keeping the room’s violated condition readable behind her\", \"directionality_class\": \"non_directional\", \"element\": \"scattered rooftop-room clutter\", \"orientation\": \"\", \"state\": \"messy, overturned, neglected\"}, {\"camera_use\": \"background source of cold draft and later sound, held out of focus behind the anxiety\", \"directionality_class\": \"directional_3d\", \"element\": \"entrance door\", \"orientation\": \"its inner face angles slightly away from camera, showing the rattling edge and frame gap\", \"state\": \"not fully secure, wind-shaken\"}, {\"camera_use\": \"thin translucent layer over the small room window, adding a damp dusk haze\", \"directionality_class\": \"transparent_surface\", \"element\": \"grimy window glass\", \"orientation\": \"dirty glass catches the gray exterior light while showing only a blurred rooftop beyond\", \"state\": \"streaked, dim\"}]\n\n[S4_Shot1] (outdoor; loc=L03; scene_heading=S#4. 옥탑방 / D)\ndescription: 인천 변두리의 낡고 오래된 빌라 옥탑방 외부 전경이 한눈에 내려다보이는 부감 구도.\nframing_scale: wide\ncamera_direction: An omniscient overhead camera holds from about forty-five meters above the old villa, centered on the rooftop room while still keeping the surrounding neighborhood readable. The rooftop structure sits in the middle of the frame like a small exposed shrine, boxed in by worn roofs, narrow alleys, and faded concrete blocks.\nkey_bg_elements: [{\"camera_use\": \"The rooftop room is the central visual anchor and destination of the aerial reveal.\", \"directionality_class\": \"directional_3d\", \"element\": \"old rooftop room exterior\", \"orientation\": \"its roof and front wall are visible from above, with the doorway side angled slightly toward camera\", \"state\": \"aged, patched, weather-stained\"}, {\"camera_use\": \"Surrounding villa roofs create a cramped grid that isolates the rooftop room.\", \"directionality_class\": \"directional_3d\", \"element\": \"neighboring old villa rooftops\", \"orientation\": \"flat roof planes face upward toward the overhead camera\", \"state\": \"worn, cluttered, pale gray\"}, {\"camera_use\": \"A thin haze softens the outskirts and carries the news voice’s unease into the space.\", \"directionality_class\": \"non_directional\", \"element\": \"damp urban haze\", \"orientation\": \"\", \"state\": \"thin, bluish, stagnant\"}]\nframe_spatial_contract: {\"constraints\": [{\"depth_plane\": \"midground\", \"gesture_action\": \"none\", \"gesture_target_label\": \"\", \"label\": \"old rooftop room\", \"screen_zone\": \"middle_center\", \"target_id\": \"\", \"target_kind\": \"background\"}], \"reason\": \"required_background_position\"}\n\n[S5_Shot10] (indoor; loc=L04; scene_heading=S#5. 옥탑방 안 / 실내)\ndescription: 수리영이 민숙의 어깨에 코를 묻고 멈춘 찰나의 측면.\ncharacters: 수리영, 민숙\nframing_scale: close\ncamera_direction: The camera follows the flow into the narrow entrance area and holds side-on at shoulder height, about one meter away, lens parallel to the wall to compress mother and daughter together. The tighter profile frame favors the contact point: Suriyeong’s face and nose press into Minsuk’s shoulder at center-left, while Minsuk’s softened profile and apron edge sit center-right.\nkey_bg_elements: [{\"camera_use\": \"The narrow wall flattens the space and makes their closeness feel private and fragile.\", \"directionality_class\": \"non_directional\", \"element\": \"entrance wall\", \"orientation\": \"\", \"state\": \"worn, slightly yellowed, close to camera plane\"}, {\"camera_use\": \"The shoe area at the bottom edge hints at Suriyeong leaving soon without pulling focus from the embrace.\", \"directionality_class\": \"directional_3d\", \"element\": \"entryway shoe area\", \"orientation\": \"shoe tops and low threshold edge face the camera from below the profiles\", \"state\": \"cluttered, dim\"}, {\"camera_use\": \"The door seam creates a vertical boundary beside them, suggesting a moment just before departure.\", \"directionality_class\": \"directional_3d\", \"element\": \"front door seam\", \"orientation\": \"the flat door face is seen in side compression, seam running vertically near the right edge\", \"state\": \"closed, dull, scuffed\"}]\n\n[S5_Shot12] (indoor; loc=L04; scene_heading=S#5. 옥탑방 안 / 실내)\ndescription: 민숙의 손목 안쪽에 새겨진 작은 원 모양의 표식 클로즈업.\ncharacters: 민숙\nframing_scale: insert\ncamera_direction: The camera completes the flow’s downward push from Suriyeong’s side of the entrance to a very close waist-height insert, about twenty centimeters from Minsuk’s inner wrist. The wrist cuts diagonally across the center of frame, the small circular mark isolated in sharp focus while skin, sleeve edge, and the entryway behind fall into creamy blur.\nkey_bg_elements: [{\"camera_use\": \"The marked skin surface is the focal plane and occult reveal.\", \"directionality_class\": \"content_surface\", \"element\": \"inner wrist with circular mark\", \"orientation\": \"the inner wrist surface faces the camera, showing a small dark circular mark clearly against the skin\", \"state\": \"exposed, sharply focused, mark unusually distinct\"}, {\"camera_use\": \"The sleeve cuff frames the wrist without becoming the subject.\", \"directionality_class\": \"directional_3d\", \"element\": \"apron or sleeve edge\", \"orientation\": \"fabric edge runs along the wrist from camera-left, seen as a soft side fold\", \"state\": \"soft, worn, out of focus\"}, {\"camera_use\": \"The entrance background becomes an indistinct shadow field so the symbol carries the tension.\", \"directionality_class\": \"non_directional\", \"element\": \"blurred entryway background\", \"orientation\": \"\", \"state\": \"dim, warm-gray, unfocused\"}]\nframe_spatial_contract: {\"constraints\": [{\"depth_plane\": \"foreground\", \"gesture_action\": \"none\", \"gesture_target_label\": \"\", \"label\": \"Minsuk inner wrist mark\", \"screen_zone\": \"middle_center\", \"target_id\": \"C04\", \"target_kind\": \"character\"}], \"reason\": \"primary_subject_isolation\"}\n\n[S5_Shot3] (indoor; loc=L04; scene_heading=S#5. 옥탑방 안 / 실내)\ndescription: 앞치마를 두른 민숙이 어두운 표정으로 거실 TV 화면을 응시하며 굳어 있는 상체.\ncharacters: 민숙\nframing_scale: medium\ncamera_direction: The observer camera settles at the end of its lateral track from near the sink and small window, chest height and about two and a half meters from Minsuk, looking across the counter line toward the living room TV. Minsuk is held in an upper-body frame at the right-middle of the image, shoulders locked in her apron as the kitchen foreground remains softly present and the TV glow pulls her stare off-frame.\nkey_bg_elements: [{\"camera_use\": \"The TV is the off-frame source of her fixed attention and casts a cold news glow across the room.\", \"directionality_class\": \"content_surface\", \"element\": \"living room TV screen\", \"orientation\": \"the screen face is angled away from the camera, showing only a sliver of moving blue news light rather than readable content\", \"state\": \"on, low volume, flickering\"}, {\"camera_use\": \"The sink and herbs sit in the near foreground, domestic routine interrupted by dread.\", \"directionality_class\": \"directional_3d\", \"element\": \"sink with unfinished medicinal herbs\", \"orientation\": \"the basin rim and faucet side face the camera across the counter\", \"state\": \"water running, herbs wet and half-washed\"}, {\"camera_use\": \"Steam from the pot veils the compact room and gives the practical light a sick texture.\", \"directionality_class\": \"non_directional\", \"element\": \"boiling pot steam\", \"orientation\": \"\", \"state\": \"rising, thin, wavering\"}, {\"camera_use\": \"The small window gives a narrow daylight slit that contrasts with the TV’s colder glow.\", \"directionality_class\": \"transparent_surface\", \"element\": \"small living-room window\", \"orientation\": \"slightly dirty glass admits pale daylight; only a blurred exterior brightness is visible through it\", \"state\": \"closed, dusty\"}]\n\nWrite the four prompts now."}
{"ts": "2026-07-05 12:39:25", "kind": "stage", "stage": "s9_birdseye", "done": "prompts"}
{"ts": "2026-07-05 12:39:59", "kind": "stage", "stage": "s9_birdseye", "done": "html"}
{"ts": "2026-07-05 12:41:31", "kind": "img", "engine": "gpt-image-2", "mode": "generate", "tag": "bird2_p1_plan", "refs": [], "size": "1536x864", "attempt": 1, "dur_s": 95.1, "bytes": 2456741, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/birdseye2/p1_plan_t2i.png", "prompt": "Technical architectural plan drawing with slight axonometric depth, high oblique view tilted about 30 degrees from vertical. Whole old multi-family villa property in one view: rectangular building body below, flat rooftop terrace with low parapet, small rooftop dwelling shell centered off one side, iron front door, small window openings, cement roof surface, cylindrical water tank, fixed clothesline posts, simple flat platform symbol. Steep exterior concrete stair runs from a secluded rear ground corner up to rooftop landing. Ground entrance yard and narrow alley approach visible, with small margins of neighboring building blocks. Thin dark outlines, flat muted color fills, simple fixture symbols, no labels."}
{"ts": "2026-07-05 12:41:42", "kind": "stage", "stage": "s9_birdseye", "done": "html"}
{"ts": "2026-07-05 12:43:08", "kind": "img", "engine": "gpt-image-2", "mode": "edit", "tag": "bird2_p2_from_plan", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/birdseye2/p1_plan_t2i.png"], "size": "1536x864", "attempt": 1, "dur_s": 96.5, "bytes": 2790282, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/birdseye2/p2_birdseye_from_p1.png", "prompt": "Image-edit prompt: keep the attached drawing’s layout, proportions and 30-degree high oblique camera angle exactly. Render a photorealistic plain-daylight location reference of the same old multi-family villa: weathered concrete building body, flat rooftop terrace, low parapet walls, small rooftop dwelling shell with scratched iron front door and small window openings, cement roof floor, cylindrical rooftop water tank, fixed clothesline posts, simple wooden flat platform. Show the steep exterior concrete stair from rear ground corner to rooftop landing, the ground entrance yard, narrow alley approach, and small margins of neighboring buildings. No interiors visible, no movable story props."}
{"ts": "2026-07-05 12:43:14", "kind": "stage", "stage": "s9_birdseye", "done": "html"}
{"ts": "2026-07-05 12:44:49", "kind": "img", "engine": "gpt-image-2", "mode": "generate", "tag": "bird2_p3_pure", "refs": [], "size": "1536x864", "attempt": 1, "dur_s": 100.8, "bytes": 2932582, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/birdseye2/p3_birdseye_t2i.png", "prompt": "Photorealistic bird’s-eye location reference, high above at an oblique angle tilted about 30 degrees from vertical, plain even daylight. Show the whole old multi-family villa property: rectangular concrete building mass, flat roof terrace with low parapet walls, small rooftop dwelling shell set on the terrace, scratched iron entrance door facing the landing, small window openings, worn cement roof surface, cylindrical water tank, fixed clothesline posts, simple wooden flat platform. A steep exterior concrete stair climbs from the secluded rear corner of the ground entrance yard to the rooftop. Include the narrow alley approach and slight edges of neighboring old villa buildings. No interior exposure."}
{"ts": "2026-07-05 12:44:56", "kind": "stage", "stage": "s9_birdseye", "done": "html"}
{"ts": "2026-07-05 12:47:15", "kind": "img", "engine": "gpt-image-2", "mode": "edit", "tag": "bird2_p4_from_birdseye", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/birdseye2/p3_birdseye_t2i.png"], "size": "1536x864", "attempt": 1, "dur_s": 146.7, "bytes": 2561690, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/birdseye2/p4_plan_from_p3.png", "prompt": "Image-edit prompt: redraw the attached photo as a clean architectural floor-plan reference with slight axonometric depth, preserving the exact layout, proportions and 30-degree high oblique camera angle. Use thin dark outlines, flat muted color fills and simple fixture symbols. Include the complete property: old multi-family building body, rooftop terrace, low parapet, rooftop dwelling shell, iron front door, small window openings, cement roof floor, cylindrical water tank, fixed clothesline posts, simple flat platform, exterior concrete stair from rear ground corner to rooftop landing, ground entrance yard, narrow alley approach, and narrow margins of neighboring buildings. No labels."}
{"ts": "2026-07-05 12:47:15", "kind": "stage", "stage": "s9_birdseye", "done": "images"}
{"ts": "2026-07-05 12:47:17", "kind": "stage", "stage": "s9_birdseye", "done": "html"}
{"ts": "2026-07-05 12:47:19", "kind": "stage", "stage": "s9_birdseye", "done": "html"}
{"ts": "2026-07-05 13:04:10", "kind": "llm", "step": "forest_r6_root_core", "model": "gpt", "dur_s": 18.1, "system_prompt": "You write the CORE of one image prompt for a LOCATION SITE-PLAN\nASSET in film pre-production. The place is a scouted location: an upper rooftop\ndwelling on an old multi-family building, its terrace, an exterior stair, the\nbuilding body, the ground-level entrance/yard/alley approach and immediate\nsurroundings. You get production data (member descriptions + full shot contents)\n— extract ONLY the permanent physical anatomy of the place.\n\nHARD STYLE RULES:\n- CONCISE. 70-130 words. List what must be IN the drawing — nothing else.\n- The drawing form: a technical architectural SITE PLAN in the exact drafting\n  language of a clean floor plan (thin dark outlines, flat muted colour fills,\n  simple fixture symbols), drawn with slight axonometric depth, viewed from high\n  above at an oblique angle tilted about 30 degrees from vertical — NOT straight\n  down, NOT a photograph, NOT an artistic ink sketch.\n- One drawing covers the WHOLE property: the building body, the upper dwelling\n  shell + terrace + fixed rooftop fixtures, the exterior stair from ground to\n  top, the ground entry yard / alley approach / street-side entrance, and a\n  modest margin of neighbours. Levels and wall heights must read.\n- NEUTRAL location document: no storytelling, no mood, no weather, no lighting\n  effects, no story props, no vehicles. Never expose interior rooms/furniture.\n  No people. Do not ask for any text in the image.\n- Do NOT mention attached reference images, markers, letters or legends — those\n  instructions are appended separately by the pipeline.\n\nOutput the core in ENGLISH plus a faithful KOREAN translation (human review\nonly; the image model receives the English).", "user_prompt": "PLACE MEMBERS:\n- (outdoor, L03) 인천 변두리 낡은 빌라 옥탑방 옥상·현관 앞 외부: 낡은 다세대 빌라 꼭대기에 위치한 야외 공간. 물탱크, 흔들리는 빨랫줄, 평상 위 약초 건조 흔적, 낡은 철문 현관이 있다. (특징: 낡은 시멘트 바닥; 물탱크; 바람에 날리는 빨랫줄; 평상과 널려 있는 말린 약초(석창포); 전단지가 끼워진 철문 현관)\n- (indoor, L04) 옥탑방 내부: 작은 창문으로 빛이 들어오는 낡은 주거 공간. 싱크대, 식탁, TV가 있는 거실과 침대, 커튼, 거울 등이 있는 방/욕실로 구성된다. 약초 끓이는 냄비 등 생활 소품이 있으며, 간헐적으로 벽면에 붉은 원 형태의 환영과 핏자국이 생겨난다. (특징: 작은 창문의 햇살; 싱크대와 약초(석창포); 가스레인지 위 끓는 냄비와 수증기; 거실 TV와 스탠드; 침대, 커튼, 거울; 벽과 거울 표면에 나타나는 붉은 원 환영; 바닥과 벽의 핏자국 (특정 시점); 어지럽혀진 가재도구 (특정 시점))\n- (outdoor, L10) 옥탑방 외곽 골목·시멘트 계단: 다세대 빌라 마당의 후미진 구석과 옥탑방으로 올라가는 가파르고 낡은 시멘트 계단. (특징: 다세대 빌라 입구 마당; 후미진 구석 공간; 낡고 가파른 시멘트 계단)\n\nALL SHOTS AT THIS PLACE (full content):\n\n[S10_Shot5] (outdoor; loc=L03; scene_heading=S#10. 옥탑방 / N)\ndescription: 철문이 미세하게 열린 틈 사이로 어두운 내부가 보이는 구도.\nframing_scale: insert\ncamera_direction: At the end of the flow’s dolly-in, the lens freezes just outside the iron door at handle height, only inches from the seam, staring directly into the thin opening. The dark crack sits in the center like a vertical wound, with rough iron surfaces on both sides occupying the foreground while the interior beyond remains unreadable and almost lightless.\nkey_bg_elements: [{\"camera_use\": \"Primary focal aperture; turns the entry into a threatening slit rather than a normal doorway.\", \"directionality_class\": \"directional_3d\", \"element\": \"iron front door\", \"orientation\": \"The two heavy door edges face camera at close range, separated by a narrow central crack leading into darkness.\", \"state\": \"slightly open, scratched, cold metal\"}, {\"camera_use\": \"Hides what is inside and makes the gap feel predatory.\", \"directionality_class\": \"non_directional\", \"element\": \"dark interior beyond the crack\", \"orientation\": \"\", \"state\": \"unlit, opaque, silent\"}, {\"camera_use\": \"Adds tactile evidence of forced entry near the seam.\", \"directionality_class\": \"content_surface\", \"element\": \"creased advertisement flyer edge\", \"orientation\": \"Only the printed edge of the paper face is visible near the door seam, with partial color blocks and unreadable text.\", \"state\": \"bent, partly displaced, dirty\"}]\nframe_spatial_contract: {\"constraints\": [{\"depth_plane\": \"foreground\", \"gesture_action\": \"none\", \"gesture_target_label\": \"\", \"label\": \"narrow iron door seam\", \"screen_zone\": \"middle_center\", \"target_id\": \"\", \"target_kind\": \"background\"}], \"reason\": \"required_background_position\"}\n\n[S10_Shot6] (outdoor; loc=L03; scene_heading=S#10. 옥탑방 / N)\ndescription: 방 안 창문에 비친 그림자, 굽은 형태의 인영이 다른 사람 형상 위에 포개져 멈춘 찰나의 실루엣.\nframing_scale: medium\ncamera_direction: Inside the room, the camera holds static near the side wall at shoulder height, angled so only the window glass carries the action as a reflection and the direct attack is never seen. The reflected silhouettes sit within the window frame: a bent 인영 in the upper-middle area lowers its head toward the shoulder of 사람, whose body buckles beneath it in a distorted, wavering mid-action shape.\nkey_bg_elements: [{\"camera_use\": \"Serves as the only visible surface for the attack, keeping violence indirect and distorted.\", \"directionality_class\": \"reflective_surface\", \"element\": \"room window glass\", \"orientation\": \"The glass reflects the bent 인영 and 사람 as warped dark silhouettes, with faint interior light streaks trembling across them.\", \"state\": \"closed, grimy, reflective in darkness\"}, {\"camera_use\": \"Frames the reflection and prevents the viewer from seeing the real bodies directly.\", \"directionality_class\": \"directional_3d\", \"element\": \"window frame\", \"orientation\": \"The frame’s inner edges face camera and box the reflected action into a rigid rectangle.\", \"state\": \"old, chipped, motionless\"}, {\"camera_use\": \"Adds low, diseased color to the reflected silhouettes.\", \"directionality_class\": \"directional_3d\", \"element\": \"dim interior practical light\", \"orientation\": \"The lamp’s shaded side is off-frame but its amber spill grazes the wall and window reflection.\", \"state\": \"on, weak, sickly amber\"}, {\"camera_use\": \"Keeps the room claustrophobic around the window surface.\", \"directionality_class\": \"non_directional\", \"element\": \"dark side wall\", \"orientation\": \"\", \"state\": \"rough, stained, blue-gray shadowed\"}]\nframe_spatial_contract: {\"constraints\": [{\"depth_plane\": \"midground\", \"gesture_action\": \"none\", \"gesture_target_label\": \"\", \"label\": \"window reflection containing silhouettes\", \"screen_zone\": \"middle_center\", \"target_id\": \"\", \"target_kind\": \"background\"}], \"reason\": \"required_background_position\"}\n\n[S11_Shot3] (outdoor; loc=L10; scene_heading=S#11. 옥탑 방 밖 / N)\ndescription: 계단 중간에 서서 심하게 코를 찡그린 수리영의 얼굴 클로즈업.\ncharacters: 수리영\nframing_scale: close\ncamera_direction: Midway up the narrow concrete staircase, the camera holds static very close to 수리영 from the front-left at face height, tightening into an intense close-up that leaves only a sliver of stair texture behind her. Her nose wrinkles hard at the sudden smell, eyes lifting toward the unseen rooftop landing while her halted climb compresses her shoulders into the frame.\nkey_bg_elements: [{\"camera_use\": \"Minimal background texture that preserves the stair location without diluting the reaction.\", \"directionality_class\": \"directional_3d\", \"element\": \"narrow concrete staircase\", \"orientation\": \"Only the side edge and riser texture angle behind her cheek, indicating the upward path to the rooftop.\", \"state\": \"dark, damp, rough\"}, {\"camera_use\": \"Creates a suffocating side boundary close to her face.\", \"directionality_class\": \"non_directional\", \"element\": \"stairwell wall\", \"orientation\": \"\", \"state\": \"stained, cold, blue-gray\"}, {\"camera_use\": \"Suggests the unseen source direction through faint light above.\", \"directionality_class\": \"non_directional\", \"element\": \"rooftop darkness above the stairs\", \"orientation\": \"\", \"state\": \"unseen, heavy, foul implied\"}]\n\n[S11_Shot4] (outdoor; loc=L10; scene_heading=S#11. 옥탑 방 밖 / N)\ndescription: 옥상 위, 어둠 속에 반쯤 열려 멈춰 있는 옥탑방 현관 철문의 정적 구도.\nframing_scale: wide\ncamera_direction: After the hard eyeline cut, the camera adopts 수리영’s direct viewpoint from the rooftop landing, several meters from the entrance and at human eye level, facing the iron front door squarely. The half-open door is held in rigid symmetry at the center of the frame, surrounded by still rooftop darkness, with no figure entering to relieve the threat.\nkey_bg_elements: [{\"camera_use\": \"Central reveal and source of unease, held motionless after her smell reaction.\", \"directionality_class\": \"directional_3d\", \"element\": \"rooftop room iron front door\", \"orientation\": \"The door faces camera squarely but hangs half-open, exposing a narrow black interior gap along one side.\", \"state\": \"half-open, frozen, scratched\"}, {\"camera_use\": \"Frames the doorway in isolated negative space.\", \"directionality_class\": \"non_directional\", \"element\": \"rooftop landing darkness\", \"orientation\": \"\", \"state\": \"still, damp, blue-black\"}, {\"camera_use\": \"Adds rough domestic rooftop texture without drawing attention from the door.\", \"directionality_class\": \"directional_3d\", \"element\": \"low rooftop wall\", \"orientation\": \"Its top edge runs horizontally across the lower background, barely lit against the night.\", \"state\": \"wet-stained, concrete, motionless\"}]\nframe_spatial_contract: {\"constraints\": [{\"depth_plane\": \"background\", \"gesture_action\": \"none\", \"gesture_target_label\": \"\", \"label\": \"half-open rooftop iron door\", \"screen_zone\": \"middle_center\", \"target_id\": \"\", \"target_kind\": \"background\"}], \"reason\": \"required_background_position\"}\n\n[S12_Shot15] (indoor; loc=L04; scene_heading=S#12. 옥탑방 안 / N)\ndescription: 침대 위 어두운 벽면에 피가 번지듯 선명한 붉은색 원형 표식이 그려진 상태의 정지 구도.\nframing_scale: medium\ncamera_direction: From low bedside height near the mattress edge, the camera completes its upward tilt and locks off on the dark wall above the bed, where a completed red circular mark sits in the upper middle of frame. The bed edge remains only as a thin lower strip for scale, while the wall becomes an oppressive flat plane; this is aligned with 수리영’s panicked perception, the image subtly treated as an occult hallucination rather than stable reality.\nkey_bg_elements: [{\"camera_use\": \"Primary occult surface holding the completed mark.\", \"directionality_class\": \"content_surface\", \"element\": \"dark wall above the bed\", \"orientation\": \"The camera-facing wall face is visible, carrying a vivid red circular mark at its center.\", \"state\": \"dark, stained-looking, marked\"}, {\"camera_use\": \"Lower frame scale reference beneath the wall.\", \"directionality_class\": \"directional_3d\", \"element\": \"bed edge\", \"orientation\": \"The side edge of the mattress faces the camera from below, cropped into a narrow horizontal band.\", \"state\": \"dim, still, partly obscured\"}, {\"camera_use\": \"Symbolic focal mark on the wall.\", \"directionality_class\": \"content_surface\", \"element\": \"red circular mark\", \"orientation\": \"The painted-looking face of the circle is fully visible to the camera, as if freshly drawn into the wall surface.\", \"state\": \"bright red, wet-looking, completed\"}]\n\n[S12_Shot4] (indoor; loc=L04; scene_heading=S#12. 옥탑방 안 / N)\ndescription: 열린 방문 틈으로 보이는 방바닥에 검붉은 핏자국이 흥건하게 고여 있는 정지 구도.\nframing_scale: close\ncamera_direction: From the low waist-height position outside the bedroom doorway, the camera holds completely still about three feet back, peering through the opened door gap toward the dark red blood pooled on the floor just beyond the threshold. The door edges form a narrow vertical frame on both sides, with the blood occupying the lower middle of the image and the dim bedroom receding into blue-gray darkness behind it; this is a neutral observer’s direct view, not a character POV.\nkey_bg_elements: [{\"camera_use\": \"Foreground framing device that restricts the view into the room.\", \"directionality_class\": \"directional_3d\", \"element\": \"opened bedroom door\", \"orientation\": \"The inner edge of the door faces the camera at an oblique angle, creating a narrow gap into the room.\", \"state\": \"open, still, shadowed\"}, {\"camera_use\": \"Primary visual focus on the floor just inside the doorway.\", \"directionality_class\": \"non_directional\", \"element\": \"dark red blood pool\", \"orientation\": \"\", \"state\": \"wet, thick, spread across the floor\"}, {\"camera_use\": \"Texture under the blood and scale reference for the room.\", \"directionality_class\": \"non_directional\", \"element\": \"bedroom floor\", \"orientation\": \"\", \"state\": \"dirty, damp-looking, partially covered by blood\"}]\n\n[S12_Shot8] (indoor; loc=L04; scene_heading=S#12. 옥탑방 안 / N)\ndescription: 두 눈을 크게 뜨고 입을 벌린 채 굳어버린 수리영의 창백한 얼굴 클로즈업.\ncharacters: 수리영\nframing_scale: close\ncamera_direction: At eye level directly in front of 수리영, the handheld camera compresses tighter than the stage distance until her pale face nearly fills the frame, backing away only a fraction as her shock freezes mid-recoil. The background is almost lost in darkness, with only a faint suggestion of the room’s black edges behind her; the view remains a direct observer angle, but the proximity feels invasive and breathless.\nkey_bg_elements: [{\"camera_use\": \"Nearly swallowed background plane behind her face.\", \"directionality_class\": \"non_directional\", \"element\": \"dark bedroom recess\", \"orientation\": \"\", \"state\": \"unlit, indistinct\"}, {\"camera_use\": \"Soft edge shadow that isolates her head from the room.\", \"directionality_class\": \"directional_3d\", \"element\": \"bedroom doorway edge\", \"orientation\": \"A narrow side edge catches minimal spill light behind her shoulder.\", \"state\": \"partially visible, shadowed\"}]\nframe_spatial_contract: {\"constraints\": [{\"depth_plane\": \"foreground\", \"gesture_action\": \"none\", \"gesture_target_label\": \"\", \"label\": \"수리영 terrified face\", \"screen_zone\": \"middle_center\", \"target_id\": \"C01\", \"target_kind\": \"character\"}], \"reason\": \"primary_subject_isolation\"}\n\n[S13_Shot3] (outdoor; loc=L03; scene_heading=S#13. 옥탑방 외곽 / N)\ndescription: 차에서 내린 혜수가 초점 없는 눈으로 멍하게 서 있는 수리영을 향해 시선을 고정한 찰나의 상체.\ncharacters: 혜수, 수리영\nframing_scale: medium\ncamera_direction: Beside the police car at chest height, the tracking move slows into a held upper-body frame on 혜수 as she has just stepped out, her body paused between the car and the alley. 수리영 appears farther down the alley in soft background focus, small and blank beneath flashing siren wash, while 혜수 occupies the left foreground in a tense three-quarter view; this is a direct observer view moving parallel with her discovery.\nkey_bg_elements: [{\"camera_use\": \"Foreground context and flashing light source beside 혜수.\", \"directionality_class\": \"directional_3d\", \"element\": \"police car\", \"orientation\": \"The side of the car and open door angle toward the camera, framing 혜수’s exit.\", \"state\": \"parked, door open, siren lights active\"}, {\"camera_use\": \"Depth corridor between 혜수 and 수리영.\", \"directionality_class\": \"directional_3d\", \"element\": \"narrow alley\", \"orientation\": \"The alley recedes diagonally from the police car toward 수리영 in the background.\", \"state\": \"wet, dark, foggy\"}, {\"camera_use\": \"Intermittent color wash across faces and walls.\", \"directionality_class\": \"non_directional\", \"element\": \"siren light spill\", \"orientation\": \"\", \"state\": \"flashing red-blue across damp surfaces\"}]\nframe_spatial_contract: {\"constraints\": [{\"depth_plane\": \"foreground\", \"gesture_action\": \"looks_toward\", \"gesture_target_label\": \"수리영 down the alley\", \"label\": \"혜수 by police car\", \"screen_zone\": \"middle_left\", \"target_id\": \"C02\", \"target_kind\": \"character\"}, {\"depth_plane\": \"background\", \"gesture_action\": \"none\", \"gesture_target_label\": \"\", \"label\": \"수리영 in alley\", \"screen_zone\": \"middle_right\", \"target_id\": \"C01\", \"target_kind\": \"character\"}], \"reason\": \"shared_space_relation\"}\n\n[S13_Shot5] (outdoor; loc=L03; scene_heading=S#13. 옥탑방 외곽 / N)\ndescription: 수리영이 고개를 들어 혜수의 얼굴을 올려다보는 정적 구도.\ncharacters: 수리영, 혜수\nframing_scale: close\ncamera_direction: The camera sits low near 수리영’s eye level, about one meter away, tightened into a still close composition as she lifts her face toward 혜수 just above the frame. 수리영 holds the lower center of the image, her upward eyeline creating the unseen presence of 혜수, while the wet alley background blurs into dark blue-gray; this is a direct observer angle from the space between them.\nkey_bg_elements: [{\"camera_use\": \"Soft, dark background texture behind 수리영’s head.\", \"directionality_class\": \"non_directional\", \"element\": \"wet alley wall\", \"orientation\": \"\", \"state\": \"damp, shadowed, out of focus\"}, {\"camera_use\": \"Atmospheric layer around her face.\", \"directionality_class\": \"non_directional\", \"element\": \"night fog\", \"orientation\": \"\", \"state\": \"thin, drifting, blue-gray\"}, {\"camera_use\": \"Off-screen motivated color pulse on her skin.\", \"directionality_class\": \"non_directional\", \"element\": \"police siren spill\", \"orientation\": \"\", \"state\": \"intermittent, faint\"}]\nframe_spatial_contract: {\"constraints\": [{\"depth_plane\": \"foreground\", \"gesture_action\": \"looks_toward\", \"gesture_target_label\": \"혜수 just above frame\", \"label\": \"수리영 close low frame\", \"screen_zone\": \"middle_center\", \"target_id\": \"C01\", \"target_kind\": \"character\"}], \"reason\": \"primary_subject_isolation\"}\n\n[S14_Shot4] (indoor; loc=L04; scene_heading=S#14. 옥탑방 안 / N)\ndescription: 핏자국 하나 없이 깨끗하게 정돈된 수리영의 방 내부 정지 구도.\nframing_scale: wide\ncamera_direction: Just inside 수리영’s bedroom doorway at eye level, the camera holds a wide, unmoving view inward toward the bed, bare wall, curtain, and spotless floor. The room is framed as evidence: the clean floor stretches across the lower half, the curtain line sits to one side where the body should have been, and the wall above the bed remains blank; this is a direct neutral observation of absence.\nkey_bg_elements: [{\"camera_use\": \"Primary proof of erased violence across the lower frame.\", \"directionality_class\": \"non_directional\", \"element\": \"spotless bedroom floor\", \"orientation\": \"\", \"state\": \"clean, dry, no blood marks\"}, {\"camera_use\": \"Central room anchor and comparison point for the missing wall mark.\", \"directionality_class\": \"directional_3d\", \"element\": \"bed\", \"orientation\": \"The side and top plane of the bed face the camera from mid-frame.\", \"state\": \"neatly made, undisturbed\"}, {\"camera_use\": \"Surface where the red circle should have been absent.\", \"directionality_class\": \"content_surface\", \"element\": \"wall above the bed\", \"orientation\": \"The camera-facing wall face is visible and completely bare, carrying no red circular mark.\", \"state\": \"clean, dark, unmarked\"}, {\"camera_use\": \"Empty area where the hidden body had been discovered earlier.\", \"directionality_class\": \"directional_3d\", \"element\": \"curtain line\", \"orientation\": \"The front folds face the camera from the side of the room, concealing only darkness and empty space behind.\", \"state\": \"hanging still, clean, no body visible\"}]\n\n[S14_Shot6] (indoor; loc=L04; scene_heading=S#14. 옥탑방 안 / N)\ndescription: 수리영이 핏기가 가신 창백한 얼굴로 멍하니 빈 커튼 쪽을 응시하는 정면.\ncharacters: 수리영\nframing_scale: close\ncamera_direction: Inside the bedroom near the bed and curtain side, the dolly-in ends in a frontal upper-body emphasis on 수리영, close enough that her pale face and rigid shoulders take most of the frame. She looks past the camera toward the empty curtain area, which is kept implied rather than shown, turning the direct observer view into a psychological confrontation with the missing evidence.\nkey_bg_elements: [{\"camera_use\": \"Blurred side texture suggesting where the corpse should have been.\", \"directionality_class\": \"directional_3d\", \"element\": \"curtain edge\", \"orientation\": \"Only a soft side fold is visible near the frame edge, with the empty area kept off-camera.\", \"state\": \"still, clean, partially out of focus\"}, {\"camera_use\": \"Low background shape behind her shoulder.\", \"directionality_class\": \"directional_3d\", \"element\": \"bed corner\", \"orientation\": \"The near corner angles away behind 수리영, cropped and subdued.\", \"state\": \"neat, undisturbed\"}, {\"camera_use\": \"Absence marker behind her expression.\", \"directionality_class\": \"content_surface\", \"element\": \"blank wall\", \"orientation\": \"The visible wall face behind her is bare and carries no red mark.\", \"state\": \"unmarked, dim\"}]\nframe_spatial_contract: {\"constraints\": [{\"depth_plane\": \"foreground\", \"gesture_action\": \"looks_toward\", \"gesture_target_label\": \"empty curtain area behind camera\", \"label\": \"수리영 frontal close frame\", \"screen_zone\": \"middle_center\", \"target_id\": \"C01\", \"target_kind\": \"character\"}], \"reason\": \"primary_subject_isolation\"}\n\n[S14_Shot8] (indoor; loc=L04; scene_heading=S#14. 옥탑방 안 / N)\ndescription: 식탁 앞에 선 수리영이 빈 식탁을 손가락으로 가리킨 채 멈춘 측면 상체.\ncharacters: 수리영\nframing_scale: medium\ncamera_direction: At chest height beside the dining table, the camera settles from the track into a brief still side composition perpendicular to 수리영’s body line. Her profile holds the left half of frame while her pointing hand cuts toward the bare tabletop on the right, keeping both the gesture and the missing teacups in one direct observational image.\nkey_bg_elements: [{\"camera_use\": \"Gesture target proving the vanished cups.\", \"directionality_class\": \"directional_3d\", \"element\": \"bare dining table\", \"orientation\": \"The clean top plane faces the camera at a shallow angle, with no cups where her finger indicates.\", \"state\": \"clean, empty, dry\"}, {\"camera_use\": \"Dim living-room depth behind the table.\", \"directionality_class\": \"directional_3d\", \"element\": \"living room wall and doorway\", \"orientation\": \"The wall and doorway recede behind 수리영 in side view.\", \"state\": \"shadowed, quiet\"}, {\"camera_use\": \"Soft ambient source in the room.\", \"directionality_class\": \"directional_3d\", \"element\": \"living room stand lamp\", \"orientation\": \"The lamp shade is seen from the side, its warm face turned slightly away from camera.\", \"state\": \"on, weak amber\"}]\nframe_spatial_contract: {\"constraints\": [{\"depth_plane\": \"foreground\", \"gesture_action\": \"points_to\", \"gesture_target_label\": \"bare dining tabletop\", \"label\": \"수리영 pointing beside table\", \"screen_zone\": \"middle_left\", \"target_id\": \"C01\", \"target_kind\": \"character\"}, {\"depth_plane\": \"midground\", \"gesture_action\": \"none\", \"gesture_target_label\": \"\", \"label\": \"bare dining tabletop\", \"screen_zone\": \"middle_right\", \"target_id\": \"\", \"target_kind\": \"background\"}], \"reason\": \"points_to_anchor\"}\n\n[S17_Shot1] (outdoor; loc=L03; scene_heading=S#17. 옥탑방 / 동틀무렵)\ndescription: 짙고 푸른 안개가 깔린 새벽녘, 희미한 노란 불빛이 켜진 옥탑방 창문을 향해 검은 고양이 한 마리가 고개를 돌린 찰나의 측면.\nframing_scale: medium\ncamera_direction: Low at the 검은 고양이’s shoulder height, roughly one meter away, the camera tracks parallel along the rooftop wall and then holds a brief side profile as the cat turns its head toward the lit rooftop-room window. The cat occupies the lower left-to-center band of the frame, while the faint yellow window hangs in the misty background line of sight above the wall.\nkey_bg_elements: [{\"camera_use\": \"distant visual lure for the cat’s head turn\", \"directionality_class\": \"transparent_surface\", \"element\": \"rooftop-room window\", \"orientation\": \"fogged glass shows a weak yellow interior glow beyond it\", \"state\": \"closed, lit from inside\"}, {\"camera_use\": \"tracking guide and jump setup\", \"directionality_class\": \"directional_3d\", \"element\": \"low concrete rooftop wall\", \"orientation\": \"the long side face runs parallel to the camera movement, with its top edge rising toward the next action\", \"state\": \"damp, stained\"}, {\"camera_use\": \"atmospheric veil separating cat and room\", \"directionality_class\": \"non_directional\", \"element\": \"blue dawn fog\", \"orientation\": \"\", \"state\": \"thick, cold, slowly moving\"}]\nframe_spatial_contract: {\"constraints\": [{\"depth_plane\": \"foreground\", \"gesture_action\": \"looks_toward\", \"gesture_target_label\": \"lit rooftop window\", \"label\": \"black cat\", \"screen_zone\": \"lower_left\", \"target_id\": \"C11\", \"target_kind\": \"character\"}, {\"depth_plane\": \"background\", \"gesture_action\": \"none\", \"gesture_target_label\": \"\", \"label\": \"lit rooftop window\", \"screen_zone\": \"upper_right\", \"target_id\": \"\", \"target_kind\": \"background\"}], \"reason\": \"looks_to_anchor\"}\n\n[S18_Shot15] (indoor; loc=L04; scene_heading=S#18. 안방 안 / D)\ndescription: 거울 속 욕실 벽면에 선명한 붉은색 원형 표식이 맺혀 있는 정지 구도.\nframing_scale: insert\ncamera_direction: Inside the bathroom, the camera is fixed at eye level about three feet from the mirror, tightened so the mirror reflection becomes the frame and the reflected rear wall sits centered. The red circular mark is isolated near the middle of the reflected wall, with only a sliver of mirror edge and damp tile context allowed to remain, making the apparition feel graphic and unavoidable.\nkey_bg_elements: [{\"camera_use\": \"the shot’s perceptual surface and compositional border\", \"directionality_class\": \"reflective_surface\", \"element\": \"bathroom mirror\", \"orientation\": \"the mirror reflects the rear bathroom wall and the impossible red circular mark; a narrow mirror edge confirms this is a reflected view\", \"state\": \"slightly misted, cold\"}, {\"camera_use\": \"surface on which the occult symbol appears within reflection\", \"directionality_class\": \"content_surface\", \"element\": \"reflected bathroom wall\", \"orientation\": \"the wall face visible in the mirror carries a sharp crimson circular mark at its center\", \"state\": \"pale tile surface, otherwise clean\"}, {\"camera_use\": \"claustrophobic bathroom texture\", \"directionality_class\": \"non_directional\", \"element\": \"damp tile grout\", \"orientation\": \"\", \"state\": \"wet-looking, gray, stained\"}]\nframe_spatial_contract: {\"constraints\": [{\"depth_plane\": \"midground\", \"gesture_action\": \"none\", \"gesture_target_label\": \"\", \"label\": \"red circular mark in mirror reflection\", \"screen_zone\": \"middle_center\", \"target_id\": \"\", \"target_kind\": \"background\"}], \"reason\": \"required_background_position\"}\n\n[S18_Shot20] (indoor; loc=L04; scene_heading=S#18. 안방 안 / D)\ndescription: 식탁 위에 놓인 사진 속, 살점이 뭉개진 채 기괴하게 흘러내린 (변형된 민숙)의 모습 클로즈업.\ncharacters: 민숙\nframing_scale: insert\ncamera_direction: At tabletop height beside the dining table, the push-in finishes at an extreme close angle on the framed photograph, stripping away nearly all surrounding table context. The mother’s photographed face, now perceived as 민숙 (변형된), occupies the central close field in a grotesque melted distortion, while the photo frame edge remains barely visible to prove this horror is trapped inside the image surface.\nkey_bg_elements: [{\"camera_use\": \"primary hallucinated image surface\", \"directionality_class\": \"content_surface\", \"element\": \"framed family photograph\", \"orientation\": \"the front image face is angled slightly upward to camera, showing the mother’s face grotesquely distorted within the printed photo\", \"state\": \"upright on table, visually corrupted by hallucination\"}, {\"camera_use\": \"thin physical proof that this is still a household object\", \"directionality_class\": \"reflective_surface\", \"element\": \"photo frame glass\", \"orientation\": \"the glass reflects a dim streak of room light across the distorted face without hiding it\", \"state\": \"clean but unnervingly glossy\"}, {\"camera_use\": \"minimal scale reference around the frame\", \"directionality_class\": \"directional_3d\", \"element\": \"dining table edge\", \"orientation\": \"only a narrow tabletop plane and edge remain at the lower frame margin\", \"state\": \"still, ordinary, dim\"}]\nframe_spatial_contract: {\"constraints\": [{\"depth_plane\": \"foreground\", \"gesture_action\": \"none\", \"gesture_target_label\": \"\", \"label\": \"distorted mother’s face inside framed photograph\", \"screen_zone\": \"middle_center\", \"target_id\": \"C12\", \"target_kind\": \"character\"}], \"reason\": \"primary_subject_isolation\"}\n\n[S18_Shot6] (indoor; loc=L04; scene_heading=S#18. 안방 안 / D)\ndescription: 열린 방문 너머, 핏자국 하나 없이 말끔하게 정돈된 방안 정경.\nframing_scale: wide\ncamera_direction: Just outside 수리영’s room, the camera stays eye-level and static about five feet from the threshold, looking straight through the opened door into a room that appears too clean. The doorway forms a dark rectangular frame around the orderly bed, smooth floor, and untouched curtains, with no body, no stain, and no trace where memory said there should be horror.\nkey_bg_elements: [{\"camera_use\": \"primary frame-within-frame revealing the room\", \"directionality_class\": \"directional_3d\", \"element\": \"opened bedroom door\", \"orientation\": \"the door slab is swung aside so the camera sees through the threshold into the room\", \"state\": \"open, still\"}, {\"camera_use\": \"visual proof of unnatural order\", \"directionality_class\": \"directional_3d\", \"element\": \"neatly arranged bed\", \"orientation\": \"the bed’s side and top plane face camera beyond the doorway\", \"state\": \"made, undisturbed\"}, {\"camera_use\": \"absence marker where the earlier horror is expected\", \"directionality_class\": \"transparent_surface\", \"element\": \"bedroom window with curtains\", \"orientation\": \"the window is partly obscured by clean curtains, with pale daylight diffused beyond\", \"state\": \"closed, curtains hanging evenly\"}, {\"camera_use\": \"negative evidence emphasized by stillness\", \"directionality_class\": \"non_directional\", \"element\": \"spotless bedroom floor\", \"orientation\": \"\", \"state\": \"clean, dry, no blood visible\"}]\n\n[S25_Shot4] (indoor; loc=L04; scene_heading=S#25. 옥탑방 안 / 해질 무렵)\ndescription: 붉은 원 한가운데에 피가 묻은 낡은 흑백 사진이 꽂혀 있는 클로즈업.\nframing_scale: close\ncamera_direction: Inside the bedroom at eye level, the dolly-in ends locked nearly perpendicular to the torn wall, holding a close composition where the blood-stained black-and-white photograph sits pinned at the exact center of a crimson circle. The photo and red mark take up the central mass of the frame, while the rough wall texture remains visible around them like scraped skin.\nkey_bg_elements: [{\"camera_use\": \"central occult symbol and compositional target\", \"directionality_class\": \"content_surface\", \"element\": \"red circular wall mark\", \"orientation\": \"the painted wall face is directly visible to camera, showing a rough crimson circle surrounding the pinned photograph\", \"state\": \"fresh-looking, uneven, ominous\"}, {\"camera_use\": \"primary revealed clue\", \"directionality_class\": \"content_surface\", \"element\": \"old black-and-white photograph\", \"orientation\": \"the front image face is visible, showing an aged rural restaurant scene partially obscured by blood stains\", \"state\": \"pinned to wall, creased, blood-stained\"}, {\"camera_use\": \"macabre texture around the clue\", \"directionality_class\": \"non_directional\", \"element\": \"torn bedroom wall texture\", \"orientation\": \"\", \"state\": \"scraped, dirty, disturbed\"}]\n\n[S25_Shot8] (indoor; loc=L04; scene_heading=S#25. 옥탑방 안 / 해질 무렵)\ndescription: 수리영이 한 손에 구겨진 사진을 꽉 쥔 채 백팩을 메고 현관 밖으로 한 발을 내디딘 찰나의 뒷모습.\ncharacters: 수리영\nframing_scale: wide\ncamera_direction: From inside the rooftop room behind 수리영, slightly below eye level and several feet back, the tracking shot widens just enough to include the open front-door threshold as she steps out. Her back and backpack sit in the middle of frame, one foot crossing into the exterior light, while the crumpled photograph remains readable as a tight fist-level detail near her right side.\nkey_bg_elements: [{\"camera_use\": \"destination frame and exit boundary\", \"directionality_class\": \"directional_3d\", \"element\": \"open front door\", \"orientation\": \"the inside face of the open door and its threshold angle toward the camera as 수리영 exits\", \"state\": \"open, letting in dim exterior dusk\"}, {\"camera_use\": \"evidence of intrusion in the room she leaves behind\", \"directionality_class\": \"non_directional\", \"element\": \"scattered household debris\", \"orientation\": \"\", \"state\": \"ransacked, strewn across the floor\"}, {\"camera_use\": \"broken domestic geometry in the side background\", \"directionality_class\": \"directional_3d\", \"element\": \"overturned dining chairs\", \"orientation\": \"chair legs jut sideways at uneven angles across the room\", \"state\": \"knocked over\"}, {\"camera_use\": \"damp air source and unsettling escape route implication\", \"directionality_class\": \"transparent_surface\", \"element\": \"open living-room window\", \"orientation\": \"the camera sees the dark opening and wet exterior air beyond the window frame\", \"state\": \"open, dirty, cold\"}]\nframe_spatial_contract: {\"constraints\": [{\"depth_plane\": \"midground\", \"gesture_action\": \"moves_toward\", \"gesture_target_label\": \"open front door\", \"label\": \"수리영\", \"screen_zone\": \"middle_center\", \"target_id\": \"C01\", \"target_kind\": \"character\"}, {\"depth_plane\": \"background\", \"gesture_action\": \"none\", \"gesture_target_label\": \"\", \"label\": \"open front door threshold\", \"screen_zone\": \"upper_center\", \"target_id\": \"\", \"target_kind\": \"background\"}], \"reason\": \"movement_direction\"}\n\n[S27_Shot1] (indoor; loc=L04; scene_heading=S#27. 옥탑방 안 / 해질 무렵)\ndescription: 난장판이 된 옥탑방 거실, 혜수가 핸드폰을 귀에 댄 채 심각한 표정으로 굳어 있는 상체.\ncharacters: 혜수\nframing_scale: medium\ncamera_direction: Inside the rooftop living room at chest height, the camera continues the flow’s slow dolly-in from about 2.5 meters, tightening to a medium upper-body frame of 혜수 with the phone pressed to her ear. She sits slightly right of center amid overturned, damp-looking clutter, angled three-quarters as if her attention has just pulled toward 김형사 off-frame rather than toward us.\nkey_bg_elements: [{\"camera_use\": \"visible disorder around 혜수, keeping the room’s violated condition readable behind her\", \"directionality_class\": \"non_directional\", \"element\": \"scattered rooftop-room clutter\", \"orientation\": \"\", \"state\": \"messy, overturned, neglected\"}, {\"camera_use\": \"background source of cold draft and later sound, held out of focus behind the anxiety\", \"directionality_class\": \"directional_3d\", \"element\": \"entrance door\", \"orientation\": \"its inner face angles slightly away from camera, showing the rattling edge and frame gap\", \"state\": \"not fully secure, wind-shaken\"}, {\"camera_use\": \"thin translucent layer over the small room window, adding a damp dusk haze\", \"directionality_class\": \"transparent_surface\", \"element\": \"grimy window glass\", \"orientation\": \"dirty glass catches the gray exterior light while showing only a blurred rooftop beyond\", \"state\": \"streaked, dim\"}]\n\n[S4_Shot1] (outdoor; loc=L03; scene_heading=S#4. 옥탑방 / D)\ndescription: 인천 변두리의 낡고 오래된 빌라 옥탑방 외부 전경이 한눈에 내려다보이는 부감 구도.\nframing_scale: wide\ncamera_direction: An omniscient overhead camera holds from about forty-five meters above the old villa, centered on the rooftop room while still keeping the surrounding neighborhood readable. The rooftop structure sits in the middle of the frame like a small exposed shrine, boxed in by worn roofs, narrow alleys, and faded concrete blocks.\nkey_bg_elements: [{\"camera_use\": \"The rooftop room is the central visual anchor and destination of the aerial reveal.\", \"directionality_class\": \"directional_3d\", \"element\": \"old rooftop room exterior\", \"orientation\": \"its roof and front wall are visible from above, with the doorway side angled slightly toward camera\", \"state\": \"aged, patched, weather-stained\"}, {\"camera_use\": \"Surrounding villa roofs create a cramped grid that isolates the rooftop room.\", \"directionality_class\": \"directional_3d\", \"element\": \"neighboring old villa rooftops\", \"orientation\": \"flat roof planes face upward toward the overhead camera\", \"state\": \"worn, cluttered, pale gray\"}, {\"camera_use\": \"A thin haze softens the outskirts and carries the news voice’s unease into the space.\", \"directionality_class\": \"non_directional\", \"element\": \"damp urban haze\", \"orientation\": \"\", \"state\": \"thin, bluish, stagnant\"}]\nframe_spatial_contract: {\"constraints\": [{\"depth_plane\": \"midground\", \"gesture_action\": \"none\", \"gesture_target_label\": \"\", \"label\": \"old rooftop room\", \"screen_zone\": \"middle_center\", \"target_id\": \"\", \"target_kind\": \"background\"}], \"reason\": \"required_background_position\"}\n\n[S5_Shot10] (indoor; loc=L04; scene_heading=S#5. 옥탑방 안 / 실내)\ndescription: 수리영이 민숙의 어깨에 코를 묻고 멈춘 찰나의 측면.\ncharacters: 수리영, 민숙\nframing_scale: close\ncamera_direction: The camera follows the flow into the narrow entrance area and holds side-on at shoulder height, about one meter away, lens parallel to the wall to compress mother and daughter together. The tighter profile frame favors the contact point: Suriyeong’s face and nose press into Minsuk’s shoulder at center-left, while Minsuk’s softened profile and apron edge sit center-right.\nkey_bg_elements: [{\"camera_use\": \"The narrow wall flattens the space and makes their closeness feel private and fragile.\", \"directionality_class\": \"non_directional\", \"element\": \"entrance wall\", \"orientation\": \"\", \"state\": \"worn, slightly yellowed, close to camera plane\"}, {\"camera_use\": \"The shoe area at the bottom edge hints at Suriyeong leaving soon without pulling focus from the embrace.\", \"directionality_class\": \"directional_3d\", \"element\": \"entryway shoe area\", \"orientation\": \"shoe tops and low threshold edge face the camera from below the profiles\", \"state\": \"cluttered, dim\"}, {\"camera_use\": \"The door seam creates a vertical boundary beside them, suggesting a moment just before departure.\", \"directionality_class\": \"directional_3d\", \"element\": \"front door seam\", \"orientation\": \"the flat door face is seen in side compression, seam running vertically near the right edge\", \"state\": \"closed, dull, scuffed\"}]\n\n[S5_Shot12] (indoor; loc=L04; scene_heading=S#5. 옥탑방 안 / 실내)\ndescription: 민숙의 손목 안쪽에 새겨진 작은 원 모양의 표식 클로즈업.\ncharacters: 민숙\nframing_scale: insert\ncamera_direction: The camera completes the flow’s downward push from Suriyeong’s side of the entrance to a very close waist-height insert, about twenty centimeters from Minsuk’s inner wrist. The wrist cuts diagonally across the center of frame, the small circular mark isolated in sharp focus while skin, sleeve edge, and the entryway behind fall into creamy blur.\nkey_bg_elements: [{\"camera_use\": \"The marked skin surface is the focal plane and occult reveal.\", \"directionality_class\": \"content_surface\", \"element\": \"inner wrist with circular mark\", \"orientation\": \"the inner wrist surface faces the camera, showing a small dark circular mark clearly against the skin\", \"state\": \"exposed, sharply focused, mark unusually distinct\"}, {\"camera_use\": \"The sleeve cuff frames the wrist without becoming the subject.\", \"directionality_class\": \"directional_3d\", \"element\": \"apron or sleeve edge\", \"orientation\": \"fabric edge runs along the wrist from camera-left, seen as a soft side fold\", \"state\": \"soft, worn, out of focus\"}, {\"camera_use\": \"The entrance background becomes an indistinct shadow field so the symbol carries the tension.\", \"directionality_class\": \"non_directional\", \"element\": \"blurred entryway background\", \"orientation\": \"\", \"state\": \"dim, warm-gray, unfocused\"}]\nframe_spatial_contract: {\"constraints\": [{\"depth_plane\": \"foreground\", \"gesture_action\": \"none\", \"gesture_target_label\": \"\", \"label\": \"Minsuk inner wrist mark\", \"screen_zone\": \"middle_center\", \"target_id\": \"C04\", \"target_kind\": \"character\"}], \"reason\": \"primary_subject_isolation\"}\n\n[S5_Shot3] (indoor; loc=L04; scene_heading=S#5. 옥탑방 안 / 실내)\ndescription: 앞치마를 두른 민숙이 어두운 표정으로 거실 TV 화면을 응시하며 굳어 있는 상체.\ncharacters: 민숙\nframing_scale: medium\ncamera_direction: The observer camera settles at the end of its lateral track from near the sink and small window, chest height and about two and a half meters from Minsuk, looking across the counter line toward the living room TV. Minsuk is held in an upper-body frame at the right-middle of the image, shoulders locked in her apron as the kitchen foreground remains softly present and the TV glow pulls her stare off-frame.\nkey_bg_elements: [{\"camera_use\": \"The TV is the off-frame source of her fixed attention and casts a cold news glow across the room.\", \"directionality_class\": \"content_surface\", \"element\": \"living room TV screen\", \"orientation\": \"the screen face is angled away from the camera, showing only a sliver of moving blue news light rather than readable content\", \"state\": \"on, low volume, flickering\"}, {\"camera_use\": \"The sink and herbs sit in the near foreground, domestic routine interrupted by dread.\", \"directionality_class\": \"directional_3d\", \"element\": \"sink with unfinished medicinal herbs\", \"orientation\": \"the basin rim and faucet side face the camera across the counter\", \"state\": \"water running, herbs wet and half-washed\"}, {\"camera_use\": \"Steam from the pot veils the compact room and gives the practical light a sick texture.\", \"directionality_class\": \"non_directional\", \"element\": \"boiling pot steam\", \"orientation\": \"\", \"state\": \"rising, thin, wavering\"}, {\"camera_use\": \"The small window gives a narrow daylight slit that contrasts with the TV’s colder glow.\", \"directionality_class\": \"transparent_surface\", \"element\": \"small living-room window\", \"orientation\": \"slightly dirty glass admits pale daylight; only a blurred exterior brightness is visible through it\", \"state\": \"closed, dusty\"}]\n\nWrite the site-plan prompt core now."}
{"ts": "2026-07-05 13:05:59", "kind": "img", "engine": "gpt-image-2", "mode": "edit", "tag": "r6_root_v3a", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/projects/b0ad5c18-5140-4022-a2b0-805de0e5a385/episodes/0d30302a-51c8-4ac9-98e2-6cd9180512bf/images/floor_plan/fp_l03_rooftop_entry_main.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/b0ad5c18-5140-4022-a2b0-805de0e5a385/episodes/0d30302a-51c8-4ac9-98e2-6cd9180512bf/images/floor_plan/fp_l10_cement_stairs.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/b0ad5c18-5140-4022-a2b0-805de0e5a385/episodes/0d30302a-51c8-4ac9-98e2-6cd9180512bf/images/floor_plan/fp_l10_exterior_alley.png"], "size": "1536x864", "attempt": 1, "dur_s": 109.1, "bytes": 2487446, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/root_v3/root_v3a.png", "prompt": "ONE technical architectural SITE PLAN drawing of a single real-world\nproperty, in the exact drafting language of a clean floor plan — thin dark\noutlines, flat muted colour fills, simple fixture symbols — drawn with\nslight axonometric depth, viewed from high above at an oblique angle tilted\nabout 30 degrees from vertical. NOT straight down, NOT a photograph, NOT an\nartistic ink sketch. Neutral document presentation: no mood, no weather,\nno story props, no vehicles, no people.\n\nDraw the WHOLE property in one coherent drawing:\n- the multi-storey BUILDING body (its roof plane and the walls the tilt\n  reveals),\n- the upper-level dwelling shell on that roof with its terrace and fixed\n  rooftop fixtures (only what its plan shows — never interior rooms),\n- the exterior STAIR route connecting the ground to the top level,\n- the GROUND level around the building: the entry yard, the narrow alley\n  approach and the street-side entrance,\n- a modest margin of neighbouring structures.\nWall heights, the stair run and the ground-to-roof level difference must\nread clearly through the slight axonometric depth.\n\nThe attached images are the property's real top-down partial plans —\ncompose them into this ONE drawing, keeping each part's geometry,\nproportions and opening positions EXACTLY (do not move, resize, mirror\nor invent):\n- attached image #1: top-down plan of one part of the property (its geometry for that part is ground truth)\n- attached image #2: top-down plan of one part of the property (its geometry for that part is ground truth)\n- attached image #3: top-down plan of one part of the property (its geometry for that part is ground truth)\n\nTHE PLACE (production data):\n- (outdoor, L03) 인천 변두리 낡은 빌라 옥탑방 옥상·현관 앞 외부: 낡은 다세대 빌라 꼭대기에 위치한 야외 공간. 물탱크, 흔들리는 빨랫줄, 평상 위 약초 건조 흔적, 낡은 철문 현관이 있다. (특징: 낡은 시멘트 바닥; 물탱크; 바람에 날리는 빨랫줄; 평상과 널려 있는 말린 약초(석창포); 전단지가 끼워진 철문 현관)\n- (indoor, L04) 옥탑방 내부: 작은 창문으로 빛이 들어오는 낡은 주거 공간. 싱크대, 식탁, TV가 있는 거실과 침대, 커튼, 거울 등이 있는 방/욕실로 구성된다. 약초 끓이는 냄비 등 생활 소품이 있으며, 간헐적으로 벽면에 붉은 원 형태의 환영과 핏자국이 생겨난다. (특징: 작은 창문의 햇살; 싱크대와 약초(석창포); 가스레인지 위 끓는 냄비와 수증기; 거실 TV와 스탠드; 침대, 커튼, 거울; 벽과 거울 표면에 나타나는 붉은 원 환영; 바닥과 벽의 핏자국 (특정 시점); 어지럽혀진 가재도구 (특정 시점))\n- (outdoor, L10) 옥탑방 외곽 골목·시멘트 계단: 다세대 빌라 마당의 후미진 구석과 옥탑방으로 올라가는 가파르고 낡은 시멘트 계단. (특징: 다세대 빌라 입구 마당; 후미진 구석 공간; 낡고 가파른 시멘트 계단)\n\nMark each element with a small circle containing its capital letter:\n(A) Villa footprint — Main rectangular building mass in the center of the plan; draw the complete multi-storey footprint below the rooftop room and roof terrace, with no interior subdivisions.\n(B) Arrival alley — Narrow exterior lane along the street-facing side of the villa footprint; leave space beside it for the vehicle stop and characters arriving before entering the property.\n(C) Street entrance — Opening on the street-facing edge of the property, between the arrival alley and the ground entry yard; mark only the gate or doorway line, not any interior plan.\n(D) Entry yard — Small ground-level court just inside the street entrance and beside the villa footprint, leading toward the more secluded stair corner.\n(E) Rear corner — Darker, tucked ground-level corner at the far side of the entry yard, tight against the building footprint where the exterior stairs begin.\n(F) Exterior stairs — Narrow stair run attached to the outside edge of the villa, rising from the rear corner up to the roof terrace landing; show as a continuous exterior route.\n(G) Roof terrace — Open cement roof deck over the villa footprint, surrounding the upper room shell; include a low parapet boundary around the exposed edges and a clear landing at the stair top.\n(H) Upper shell — Small enclosed rooftop dwelling outline set on the roof terrace, slightly offset within the villa roof; draw only the outer walls and roof outline, with no interior rooms or furniture.\n(I) Iron door — Exterior opening on the side of the upper shell facing the roof terrace landing and stair arrival; show the door leaf swing/open state symbol outside the shell.\n(J) Room windows — A small set of perimeter window openings on the upper shell walls, including one facing the roof terrace/parapet line; mark only openings in the outer walls.\n(K) Roof fixtures — Clustered on the open roof terrace away from the iron door path: water tank near one roof edge, clothesline spanning open space, and low drying platform on the cement surface.\n(L) Neighbor blocks — Simplified adjacent building and roof outlines around the property margin, outside the arrival alley and beyond the villa footprint, kept secondary to the main site.\n\nOn the RIGHT side, add a clean legend panel listing each circled\nletter with its English name in small neat capital letters:\nA: VILLA FOOTPRINT, B: ARRIVAL ALLEY, C: STREET ENTRANCE, D: ENTRY YARD, E: REAR CORNER, F: EXTERIOR STAIRS, G: ROOF TERRACE, H: UPPER SHELL, I: IRON DOOR, J: ROOM WINDOWS, K: ROOF FIXTURES, L: NEIGHBOR BLOCKS\n\nThe circled letters and the legend are the ONLY text and the ONLY\ncircular marks allowed. No zone captions, no numbers, no other labels."}
{"ts": "2026-07-05 13:08:07", "kind": "img", "engine": "gpt-image-2", "mode": "edit", "tag": "r6_root_v3b", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/projects/b0ad5c18-5140-4022-a2b0-805de0e5a385/episodes/0d30302a-51c8-4ac9-98e2-6cd9180512bf/images/floor_plan/fp_l03_rooftop_entry_main.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/b0ad5c18-5140-4022-a2b0-805de0e5a385/episodes/0d30302a-51c8-4ac9-98e2-6cd9180512bf/images/floor_plan/fp_l10_cement_stairs.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/b0ad5c18-5140-4022-a2b0-805de0e5a385/episodes/0d30302a-51c8-4ac9-98e2-6cd9180512bf/images/floor_plan/fp_l10_exterior_alley.png"], "size": "1536x864", "attempt": 1, "dur_s": 127.9, "bytes": 2443727, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/root_v3/root_v3b.png", "prompt": "Technical architectural site-plan of an aging Incheon outskirts multi-family villa property, thin dark floor-plan outlines, flat muted fills, simple fixture symbols, slight axonometric depth from high oblique view about 30° off vertical. Show full building mass with readable wall heights and roof levels, modest neighboring roofs and blocks around it. Center the upper rooftop dwelling as a closed exterior shell with patched roof, small windows, scratched iron entrance door and threshold opening onto a worn cement terrace. Include low concrete parapet, rooftop water tank, fixed clothesline posts and lines, low wooden platform footprint. Trace the steep exterior concrete stair from ground yard/recessed corner up to rooftop landing. Include street-side entrance, narrow alley approach, small entrance yard, boundary walls.\n\nThe attached images are the property's real top-down partial plans —\ncompose them into this ONE drawing, keeping each part's geometry,\nproportions and opening positions EXACTLY (do not move, resize, mirror\nor invent):\n- attached image #1: top-down plan of one part of the property (its geometry for that part is ground truth)\n- attached image #2: top-down plan of one part of the property (its geometry for that part is ground truth)\n- attached image #3: top-down plan of one part of the property (its geometry for that part is ground truth)\n\nTHE PLACE (production data):\n- (outdoor, L03) 인천 변두리 낡은 빌라 옥탑방 옥상·현관 앞 외부: 낡은 다세대 빌라 꼭대기에 위치한 야외 공간. 물탱크, 흔들리는 빨랫줄, 평상 위 약초 건조 흔적, 낡은 철문 현관이 있다. (특징: 낡은 시멘트 바닥; 물탱크; 바람에 날리는 빨랫줄; 평상과 널려 있는 말린 약초(석창포); 전단지가 끼워진 철문 현관)\n- (indoor, L04) 옥탑방 내부: 작은 창문으로 빛이 들어오는 낡은 주거 공간. 싱크대, 식탁, TV가 있는 거실과 침대, 커튼, 거울 등이 있는 방/욕실로 구성된다. 약초 끓이는 냄비 등 생활 소품이 있으며, 간헐적으로 벽면에 붉은 원 형태의 환영과 핏자국이 생겨난다. (특징: 작은 창문의 햇살; 싱크대와 약초(석창포); 가스레인지 위 끓는 냄비와 수증기; 거실 TV와 스탠드; 침대, 커튼, 거울; 벽과 거울 표면에 나타나는 붉은 원 환영; 바닥과 벽의 핏자국 (특정 시점); 어지럽혀진 가재도구 (특정 시점))\n- (outdoor, L10) 옥탑방 외곽 골목·시멘트 계단: 다세대 빌라 마당의 후미진 구석과 옥탑방으로 올라가는 가파르고 낡은 시멘트 계단. (특징: 다세대 빌라 입구 마당; 후미진 구석 공간; 낡고 가파른 시멘트 계단)\n\nMark each element with a small circle containing its capital letter:\n(A) Villa footprint — Main rectangular building mass in the center of the plan; draw the complete multi-storey footprint below the rooftop room and roof terrace, with no interior subdivisions.\n(B) Arrival alley — Narrow exterior lane along the street-facing side of the villa footprint; leave space beside it for the vehicle stop and characters arriving before entering the property.\n(C) Street entrance — Opening on the street-facing edge of the property, between the arrival alley and the ground entry yard; mark only the gate or doorway line, not any interior plan.\n(D) Entry yard — Small ground-level court just inside the street entrance and beside the villa footprint, leading toward the more secluded stair corner.\n(E) Rear corner — Darker, tucked ground-level corner at the far side of the entry yard, tight against the building footprint where the exterior stairs begin.\n(F) Exterior stairs — Narrow stair run attached to the outside edge of the villa, rising from the rear corner up to the roof terrace landing; show as a continuous exterior route.\n(G) Roof terrace — Open cement roof deck over the villa footprint, surrounding the upper room shell; include a low parapet boundary around the exposed edges and a clear landing at the stair top.\n(H) Upper shell — Small enclosed rooftop dwelling outline set on the roof terrace, slightly offset within the villa roof; draw only the outer walls and roof outline, with no interior rooms or furniture.\n(I) Iron door — Exterior opening on the side of the upper shell facing the roof terrace landing and stair arrival; show the door leaf swing/open state symbol outside the shell.\n(J) Room windows — A small set of perimeter window openings on the upper shell walls, including one facing the roof terrace/parapet line; mark only openings in the outer walls.\n(K) Roof fixtures — Clustered on the open roof terrace away from the iron door path: water tank near one roof edge, clothesline spanning open space, and low drying platform on the cement surface.\n(L) Neighbor blocks — Simplified adjacent building and roof outlines around the property margin, outside the arrival alley and beyond the villa footprint, kept secondary to the main site.\n\nOn the RIGHT side, add a clean legend panel listing each circled\nletter with its English name in small neat capital letters:\nA: VILLA FOOTPRINT, B: ARRIVAL ALLEY, C: STREET ENTRANCE, D: ENTRY YARD, E: REAR CORNER, F: EXTERIOR STAIRS, G: ROOF TERRACE, H: UPPER SHELL, I: IRON DOOR, J: ROOM WINDOWS, K: ROOF FIXTURES, L: NEIGHBOR BLOCKS\n\nThe circled letters and the legend are the ONLY text and the ONLY\ncircular marks allowed. No zone captions, no numbers, no other labels."}
{"ts": "2026-07-05 13:09:48", "kind": "img", "engine": "gpt-image-2", "mode": "edit", "tag": "r6_root_v3c", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/root_v2/root_v2.png"], "size": "1536x864", "attempt": 1, "dur_s": 101.0, "bytes": 2294125, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/root_v3/root_v3c.png", "prompt": "Image edit. Redraw the attached TOP-DOWN site plan in the exact drafting\nlanguage of a clean architectural floor plan — thin dark outlines, flat\nmuted colour fills, simple fixture symbols — and give it slight axonometric\ndepth: tilt the view about 30 degrees from vertical so wall heights, the\nexterior stair run and the ground-to-roof level difference read clearly.\n\nKeep EVERYTHING in the drawing exactly where it is: the same layout,\nproportions and opening positions, the same circled capital-letter markers\nat the same spots, and the same right-side legend panel with identical\ntext. Do not add, remove, move or rename anything.\nNever expose interior rooms or furniture. No people, no story props, no\nvehicles, no other text."}
{"ts": "2026-07-05 13:09:53", "kind": "llm", "step": "forest_r6_root_readback", "model": "gpt", "dur_s": 4.5, "system_prompt": "You read technical plans precisely.", "user_prompt": "[{\"type\": \"text\", \"text\": \"This is an architectural site plan drawn at a high oblique angle, with circled capital letters and a legend panel. List every circled capital letter, list the legend entries as written, and say whether any interior room layout or furniture is exposed.\"}]"}
{"ts": "2026-07-05 13:09:57", "kind": "llm", "step": "forest_r6_root_readback", "model": "gpt", "dur_s": 4.6, "system_prompt": "You read technical plans precisely.", "user_prompt": "[{\"type\": \"text\", \"text\": \"This is an architectural site plan drawn at a high oblique angle, with circled capital letters and a legend panel. List every circled capital letter, list the legend entries as written, and say whether any interior room layout or furniture is exposed.\"}]"}
{"ts": "2026-07-05 13:10:02", "kind": "llm", "step": "forest_r6_root_readback", "model": "gpt", "dur_s": 4.8, "system_prompt": "You read technical plans precisely.", "user_prompt": "[{\"type\": \"text\", \"text\": \"This is an architectural site plan drawn at a high oblique angle, with circled capital letters and a legend panel. List every circled capital letter, list the legend entries as written, and say whether any interior room layout or furniture is exposed.\"}]"}
{"ts": "2026-07-05 13:10:02", "kind": "stage", "stage": "s10_root_v3", "done": "all"}
{"ts": "2026-07-05 13:13:01", "kind": "img", "engine": "gpt-image-2", "mode": "edit", "tag": "r6_S4_Shot1_sketch", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/root_v3/root_v3a.png"], "size": "1536x864", "attempt": 1, "dur_s": 102.8, "bytes": 1981559, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/outdoor_r6/S4_Shot1/sketch.png", "prompt": "The attached image is a SITE PLAN of one real property, drawn at a\nhigh oblique angle (circled letters and the legend panel are site\nmarkers, never people).\n\nDraw the clean LINE-ART sketch of the EYE-LEVEL view described below:\nthin dark ink lines on plain white, no colour, no shading. The camera\nstands ON the ground INSIDE the scene at human eye height (about\n1.6 m) — NOT above it. Correct perspective at real-world human scale,\nhorizon at natural eye level. Show the structures, surfaces, openings\nand approaches the plan places in front of that camera.\nNo people, no text, no letters, no circles — pure line drawing.\n\nCAMERA (from production staging):\nAn omniscient overhead camera holds from about forty-five meters above the old villa, centered on the rooftop room while still keeping the surrounding neighborhood readable. The rooftop structure sits in the middle of the frame like a small exposed shrine, boxed in by worn roofs, narrow alleys, and faded concrete blocks.\nCAMERA: An omniscient overhead camera holds from about forty-five meters above the old villa, centered on the rooftop room while still keeping the surrounding neighborhood readable. The rooftop structure sits in the middle of the frame like a small exposed shrine, boxed in by worn roofs, narrow alleys, and faded concrete blocks.\nFRAMING: wide\nLIGHTING: Daylight is overcast and desaturated, with blue-gray concrete shadows and faint sickly amber window stains breaking the neighborhood’s cold isolation.\nSPATIAL CONSTRAINTS: [{\"depth_plane\": \"midground\", \"gesture_action\": \"none\", \"gesture_target_label\": \"\", \"label\": \"old rooftop room\", \"screen_zone\": \"middle_center\", \"target_id\": \"\", \"target_kind\": \"background\"}]"}
{"ts": "2026-07-05 13:14:50", "kind": "img", "engine": "gpt-image-2", "mode": "edit", "tag": "r6_S4_Shot1_plate_hop", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/outdoor_r6/S4_Shot1/sketch.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/root_v3/root_v3a.png"], "size": "1536x864", "attempt": 1, "dur_s": 109.2, "bytes": 2477134, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/outdoor_r6/S4_Shot1/plate_hop.png", "prompt": "The FIRST attached image is a LINE-ART sketch of one camera's\neye-level view of a real outdoor place — composition and perspective\nground truth. The SECOND attached image is the property's site plan\n(high-oblique drawing) — use it ONLY for spatial relations, levels\nand fixtures; never copy its drawing style, viewpoint or markers.\n\nRender the PHOTOREALISTIC EMPTY view exactly as the line-art frames\nit: same framing, perspective, structures, real-world human scale.\nCompletely unpopulated — no people, no figures. No text, letters,\ncircles, arrows or sketch lines. Pure photographic realism, natural\nweathered materials.\n\nWHAT THIS PLACE LOOKS LIKE (production data):\n- 인천 변두리 낡은 빌라 옥탑방 옥상·현관 앞 외부: 낡은 다세대 빌라 꼭대기에 위치한 야외 공간. 물탱크, 흔들리는 빨랫줄, 평상 위 약초 건조 흔적, 낡은 철문 현관이 있다. (특징: 낡은 시멘트 바닥; 물탱크; 바람에 날리는 빨랫줄; 평상과 널려 있는 말린 약초(석창포); 전단지가 끼워진 철문 현관)\n\nCAMERA: An omniscient overhead camera holds from about forty-five meters above the old villa, centered on the rooftop room while still keeping the surrounding neighborhood readable. The rooftop structure sits in the middle of the frame like a small exposed shrine, boxed in by worn roofs, narrow alleys, and faded concrete blocks.\nFRAMING: wide\nLIGHTING: Daylight is overcast and desaturated, with blue-gray concrete shadows and faint sickly amber window stains breaking the neighborhood’s cold isolation.\nSPATIAL CONSTRAINTS: [{\"depth_plane\": \"midground\", \"gesture_action\": \"none\", \"gesture_target_label\": \"\", \"label\": \"old rooftop room\", \"screen_zone\": \"middle_center\", \"target_id\": \"\", \"target_kind\": \"background\"}]\n\nPEOPLE COUNT CONTRACT: this shot contains NO people at all — the frame must be completely unpopulated, with no figures anywhere.\nAny circled letters, numbers or legend text on the control diagram are SITE MARKERS only — they are never people and must not become people or objects in the output.\nCAMERA HEIGHT CONTRACT: the camera stands ON the ground INSIDE the scene at human eye height (about 1.6 m). Sky or horizon must be visible where the view allows it. Do NOT render an overhead, elevated, aerial or drone view — this is a ground-level cinematic shot."}
{"ts": "2026-07-05 13:17:10", "kind": "img", "engine": "gpt-image-2", "mode": "edit", "tag": "r6_S4_Shot1_plate_direct", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/root_v3/root_v3a.png"], "size": "1536x864", "attempt": 1, "dur_s": 140.2, "bytes": 2837519, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/outdoor_r6/S4_Shot1/plate_direct.png", "prompt": "The attached image is the SITE PLAN of one real property, drawn at a\nhigh oblique angle. Its geometry, levels and fixtures are the spatial\nground truth. Circled letters and the legend panel are site markers\nonly — never people or objects; render none of them.\n\nRender the PHOTOREALISTIC view of this place that the camera\ndescribed below sees — the staging text is the camera ground truth\n(position, height, angle, framing). Real-world scale, natural\nweathered materials. This is an EMPTY plate: no people, no figures,\nno text, letters, circles, arrows or drawing lines.\n\nWHAT THIS PLACE LOOKS LIKE (production data):\n- 인천 변두리 낡은 빌라 옥탑방 옥상·현관 앞 외부: 낡은 다세대 빌라 꼭대기에 위치한 야외 공간. 물탱크, 흔들리는 빨랫줄, 평상 위 약초 건조 흔적, 낡은 철문 현관이 있다. (특징: 낡은 시멘트 바닥; 물탱크; 바람에 날리는 빨랫줄; 평상과 널려 있는 말린 약초(석창포); 전단지가 끼워진 철문 현관)\n\nCAMERA (from production staging):\nAn omniscient overhead camera holds from about forty-five meters above the old villa, centered on the rooftop room while still keeping the surrounding neighborhood readable. The rooftop structure sits in the middle of the frame like a small exposed shrine, boxed in by worn roofs, narrow alleys, and faded concrete blocks.\nCAMERA: An omniscient overhead camera holds from about forty-five meters above the old villa, centered on the rooftop room while still keeping the surrounding neighborhood readable. The rooftop structure sits in the middle of the frame like a small exposed shrine, boxed in by worn roofs, narrow alleys, and faded concrete blocks.\nFRAMING: wide\nLIGHTING: Daylight is overcast and desaturated, with blue-gray concrete shadows and faint sickly amber window stains breaking the neighborhood’s cold isolation.\nSPATIAL CONSTRAINTS: [{\"depth_plane\": \"midground\", \"gesture_action\": \"none\", \"gesture_target_label\": \"\", \"label\": \"old rooftop room\", \"screen_zone\": \"middle_center\", \"target_id\": \"\", \"target_kind\": \"background\"}]\n\nPEOPLE COUNT CONTRACT: this shot contains NO people at all — the frame must be completely unpopulated, with no figures anywhere.\nAny circled letters, numbers or legend text on the control diagram are SITE MARKERS only — they are never people and must not become people or objects in the output."}
{"ts": "2026-07-05 13:18:38", "kind": "img", "engine": "gpt-image-2", "mode": "edit", "tag": "r6_S10_Shot6_sketch", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/root_v3/root_v3a.png"], "size": "1536x864", "attempt": 1, "dur_s": 87.8, "bytes": 975217, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/outdoor_r6/S10_Shot6/sketch.png", "prompt": "The attached image is a SITE PLAN of one real property, drawn at a\nhigh oblique angle (circled letters and the legend panel are site\nmarkers, never people).\n\nDraw the clean LINE-ART sketch of the EYE-LEVEL view described below:\nthin dark ink lines on plain white, no colour, no shading. The camera\nstands ON the ground INSIDE the scene at human eye height (about\n1.6 m) — NOT above it. Correct perspective at real-world human scale,\nhorizon at natural eye level. Show the structures, surfaces, openings\nand approaches the plan places in front of that camera.\nNo people, no text, no letters, no circles — pure line drawing.\n\nCAMERA (from production staging):\nInside the room, the camera holds static near the side wall at shoulder height, angled so only the window glass carries the action as a reflection and the direct attack is never seen. The reflected silhouettes sit within the window frame: a bent 인영 in the upper-middle area lowers its head toward the shoulder of 사람, whose body buckles beneath it in a distorted, wavering mid-action shape.\nCAMERA: Inside the room, the camera holds static near the side wall at shoulder height, angled so only the window glass carries the action as a reflection and the direct attack is never seen. The reflected silhouettes sit within the window frame: a bent 인영 in the upper-middle area lowers its head toward the shoulder of 사람, whose body buckles beneath it in a distorted, wavering mid-action shape.\nFRAMING: medium\nLIGHTING: The reflected action is almost monochrome blue-black, broken by a weak amber practical smear and restrained crimson-brown shadow at the shoulder line.\nPERSON: {\"angle\": \"three_quarter_left\", \"body_pose\": \"hunched over shoulder\", \"character\": \"인영\", \"gaze_direction_kind\": \"looks_at_character\", \"gaze_target_id\": \"C20\", \"subject_state\": \"alive\"}\nPERSON: {\"angle\": \"profile_left\", \"body_pose\": \"buckling under lunge\", \"character\": \"사람\", \"gaze_direction_kind\": \"off_screen\", \"gaze_target_id\": null, \"subject_state\": \"severely_injured\"}\nSPATIAL CONSTRAINTS: [{\"depth_plane\": \"midground\", \"gesture_action\": \"none\", \"gesture_target_label\": \"\", \"label\": \"window reflection containing silhouettes\", \"screen_zone\": \"middle_center\", \"target_id\": \"\", \"target_kind\": \"background\"}]"}
{"ts": "2026-07-05 13:20:16", "kind": "img", "engine": "gpt-image-2", "mode": "edit", "tag": "r6_S10_Shot6_plate_hop", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/outdoor_r6/S10_Shot6/sketch.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/root_v3/root_v3a.png"], "size": "1536x864", "attempt": 1, "dur_s": 98.0, "bytes": 1706598, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/outdoor_r6/S10_Shot6/plate_hop.png", "prompt": "The FIRST attached image is a LINE-ART sketch of one camera's\neye-level view of a real outdoor place — composition and perspective\nground truth. The SECOND attached image is the property's site plan\n(high-oblique drawing) — use it ONLY for spatial relations, levels\nand fixtures; never copy its drawing style, viewpoint or markers.\n\nRender the PHOTOREALISTIC EMPTY view exactly as the line-art frames\nit: same framing, perspective, structures, real-world human scale.\nCompletely unpopulated — no people, no figures. No text, letters,\ncircles, arrows or sketch lines. Pure photographic realism, natural\nweathered materials.\n\nWHAT THIS PLACE LOOKS LIKE (production data):\n- 인천 변두리 낡은 빌라 옥탑방 옥상·현관 앞 외부: 낡은 다세대 빌라 꼭대기에 위치한 야외 공간. 물탱크, 흔들리는 빨랫줄, 평상 위 약초 건조 흔적, 낡은 철문 현관이 있다. (특징: 낡은 시멘트 바닥; 물탱크; 바람에 날리는 빨랫줄; 평상과 널려 있는 말린 약초(석창포); 전단지가 끼워진 철문 현관)\n\nCAMERA: Inside the room, the camera holds static near the side wall at shoulder height, angled so only the window glass carries the action as a reflection and the direct attack is never seen. The reflected silhouettes sit within the window frame: a bent 인영 in the upper-middle area lowers its head toward the shoulder of 사람, whose body buckles beneath it in a distorted, wavering mid-action shape.\nFRAMING: medium\nLIGHTING: The reflected action is almost monochrome blue-black, broken by a weak amber practical smear and restrained crimson-brown shadow at the shoulder line.\nPERSON: {\"angle\": \"three_quarter_left\", \"body_pose\": \"hunched over shoulder\", \"character\": \"인영\", \"gaze_direction_kind\": \"looks_at_character\", \"gaze_target_id\": \"C20\", \"subject_state\": \"alive\"}\nPERSON: {\"angle\": \"profile_left\", \"body_pose\": \"buckling under lunge\", \"character\": \"사람\", \"gaze_direction_kind\": \"off_screen\", \"gaze_target_id\": null, \"subject_state\": \"severely_injured\"}\nSPATIAL CONSTRAINTS: [{\"depth_plane\": \"midground\", \"gesture_action\": \"none\", \"gesture_target_label\": \"\", \"label\": \"window reflection containing silhouettes\", \"screen_zone\": \"middle_center\", \"target_id\": \"\", \"target_kind\": \"background\"}]\n\nPEOPLE COUNT CONTRACT: this shot contains NO people at all — the frame must be completely unpopulated, with no figures anywhere.\nAny circled letters, numbers or legend text on the control diagram are SITE MARKERS only — they are never people and must not become people or objects in the output.\nCAMERA HEIGHT CONTRACT: the camera stands ON the ground INSIDE the scene at human eye height (about 1.6 m). Sky or horizon must be visible where the view allows it. Do NOT render an overhead, elevated, aerial or drone view — this is a ground-level cinematic shot."}
{"ts": "2026-07-05 13:22:00", "kind": "img", "engine": "gpt-image-2", "mode": "edit", "tag": "r6_S10_Shot6_plate_direct", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/root_v3/root_v3a.png"], "size": "1536x864", "attempt": 1, "dur_s": 103.7, "bytes": 2041125, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/outdoor_r6/S10_Shot6/plate_direct.png", "prompt": "The attached image is the SITE PLAN of one real property, drawn at a\nhigh oblique angle. Its geometry, levels and fixtures are the spatial\nground truth. Circled letters and the legend panel are site markers\nonly — never people or objects; render none of them.\n\nRender the PHOTOREALISTIC view of this place that the camera\ndescribed below sees — the staging text is the camera ground truth\n(position, height, angle, framing). Real-world scale, natural\nweathered materials. This is an EMPTY plate: no people, no figures,\nno text, letters, circles, arrows or drawing lines.\n\nWHAT THIS PLACE LOOKS LIKE (production data):\n- 인천 변두리 낡은 빌라 옥탑방 옥상·현관 앞 외부: 낡은 다세대 빌라 꼭대기에 위치한 야외 공간. 물탱크, 흔들리는 빨랫줄, 평상 위 약초 건조 흔적, 낡은 철문 현관이 있다. (특징: 낡은 시멘트 바닥; 물탱크; 바람에 날리는 빨랫줄; 평상과 널려 있는 말린 약초(석창포); 전단지가 끼워진 철문 현관)\n\nCAMERA (from production staging):\nInside the room, the camera holds static near the side wall at shoulder height, angled so only the window glass carries the action as a reflection and the direct attack is never seen. The reflected silhouettes sit within the window frame: a bent 인영 in the upper-middle area lowers its head toward the shoulder of 사람, whose body buckles beneath it in a distorted, wavering mid-action shape.\nCAMERA: Inside the room, the camera holds static near the side wall at shoulder height, angled so only the window glass carries the action as a reflection and the direct attack is never seen. The reflected silhouettes sit within the window frame: a bent 인영 in the upper-middle area lowers its head toward the shoulder of 사람, whose body buckles beneath it in a distorted, wavering mid-action shape.\nFRAMING: medium\nLIGHTING: The reflected action is almost monochrome blue-black, broken by a weak amber practical smear and restrained crimson-brown shadow at the shoulder line.\nPERSON: {\"angle\": \"three_quarter_left\", \"body_pose\": \"hunched over shoulder\", \"character\": \"인영\", \"gaze_direction_kind\": \"looks_at_character\", \"gaze_target_id\": \"C20\", \"subject_state\": \"alive\"}\nPERSON: {\"angle\": \"profile_left\", \"body_pose\": \"buckling under lunge\", \"character\": \"사람\", \"gaze_direction_kind\": \"off_screen\", \"gaze_target_id\": null, \"subject_state\": \"severely_injured\"}\nSPATIAL CONSTRAINTS: [{\"depth_plane\": \"midground\", \"gesture_action\": \"none\", \"gesture_target_label\": \"\", \"label\": \"window reflection containing silhouettes\", \"screen_zone\": \"middle_center\", \"target_id\": \"\", \"target_kind\": \"background\"}]\n\nPEOPLE COUNT CONTRACT: this shot contains NO people at all — the frame must be completely unpopulated, with no figures anywhere.\nAny circled letters, numbers or legend text on the control diagram are SITE MARKERS only — they are never people and must not become people or objects in the output."}
{"ts": "2026-07-05 13:23:28", "kind": "img", "engine": "gpt-image-2", "mode": "edit", "tag": "r6_S11_Shot4_sketch", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/root_v3/root_v3a.png"], "size": "1536x864", "attempt": 1, "dur_s": 88.1, "bytes": 992532, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/outdoor_r6/S11_Shot4/sketch.png", "prompt": "The attached image is a SITE PLAN of one real property, drawn at a\nhigh oblique angle (circled letters and the legend panel are site\nmarkers, never people).\n\nDraw the clean LINE-ART sketch of the EYE-LEVEL view described below:\nthin dark ink lines on plain white, no colour, no shading. The camera\nstands ON the ground INSIDE the scene at human eye height (about\n1.6 m) — NOT above it. Correct perspective at real-world human scale,\nhorizon at natural eye level. Show the structures, surfaces, openings\nand approaches the plan places in front of that camera.\nNo people, no text, no letters, no circles — pure line drawing.\n\nCAMERA (from production staging):\nAfter the hard eyeline cut, the camera adopts 수리영’s direct viewpoint from the rooftop landing, several meters from the entrance and at human eye level, facing the iron front door squarely. The half-open door is held in rigid symmetry at the center of the frame, surrounded by still rooftop darkness, with no figure entering to relieve the threat.\nCAMERA: After the hard eyeline cut, the camera adopts 수리영’s direct viewpoint from the rooftop landing, several meters from the entrance and at human eye level, facing the iron front door squarely. The half-open door is held in rigid symmetry at the center of the frame, surrounded by still rooftop darkness, with no figure entering to relieve the threat.\nFRAMING: wide\nLIGHTING: Muted moon-blue darkness surrounds the door, with a thin sickly amber leak from inside making the opening feel contaminated rather than welcoming.\nSPATIAL CONSTRAINTS: [{\"depth_plane\": \"background\", \"gesture_action\": \"none\", \"gesture_target_label\": \"\", \"label\": \"half-open rooftop iron door\", \"screen_zone\": \"middle_center\", \"target_id\": \"\", \"target_kind\": \"background\"}]"}
{"ts": "2026-07-05 13:25:04", "kind": "img", "engine": "gpt-image-2", "mode": "edit", "tag": "r6_S11_Shot4_plate_hop", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/outdoor_r6/S11_Shot4/sketch.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/root_v3/root_v3a.png"], "size": "1536x864", "attempt": 1, "dur_s": 95.7, "bytes": 1891190, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/outdoor_r6/S11_Shot4/plate_hop.png", "prompt": "The FIRST attached image is a LINE-ART sketch of one camera's\neye-level view of a real outdoor place — composition and perspective\nground truth. The SECOND attached image is the property's site plan\n(high-oblique drawing) — use it ONLY for spatial relations, levels\nand fixtures; never copy its drawing style, viewpoint or markers.\n\nRender the PHOTOREALISTIC EMPTY view exactly as the line-art frames\nit: same framing, perspective, structures, real-world human scale.\nCompletely unpopulated — no people, no figures. No text, letters,\ncircles, arrows or sketch lines. Pure photographic realism, natural\nweathered materials.\n\nWHAT THIS PLACE LOOKS LIKE (production data):\n- 옥탑방 외곽 골목·시멘트 계단: 다세대 빌라 마당의 후미진 구석과 옥탑방으로 올라가는 가파르고 낡은 시멘트 계단. (특징: 다세대 빌라 입구 마당; 후미진 구석 공간; 낡고 가파른 시멘트 계단)\n\nCAMERA: After the hard eyeline cut, the camera adopts 수리영’s direct viewpoint from the rooftop landing, several meters from the entrance and at human eye level, facing the iron front door squarely. The half-open door is held in rigid symmetry at the center of the frame, surrounded by still rooftop darkness, with no figure entering to relieve the threat.\nFRAMING: wide\nLIGHTING: Muted moon-blue darkness surrounds the door, with a thin sickly amber leak from inside making the opening feel contaminated rather than welcoming.\nSPATIAL CONSTRAINTS: [{\"depth_plane\": \"background\", \"gesture_action\": \"none\", \"gesture_target_label\": \"\", \"label\": \"half-open rooftop iron door\", \"screen_zone\": \"middle_center\", \"target_id\": \"\", \"target_kind\": \"background\"}]\n\nPEOPLE COUNT CONTRACT: this shot contains NO people at all — the frame must be completely unpopulated, with no figures anywhere.\nAny circled letters, numbers or legend text on the control diagram are SITE MARKERS only — they are never people and must not become people or objects in the output.\nCAMERA HEIGHT CONTRACT: the camera stands ON the ground INSIDE the scene at human eye height (about 1.6 m). Sky or horizon must be visible where the view allows it. Do NOT render an overhead, elevated, aerial or drone view — this is a ground-level cinematic shot."}
{"ts": "2026-07-05 13:26:47", "kind": "img", "engine": "gpt-image-2", "mode": "edit", "tag": "r6_S11_Shot4_plate_direct", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/root_v3/root_v3a.png"], "size": "1536x864", "attempt": 1, "dur_s": 102.9, "bytes": 1974297, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/outdoor_r6/S11_Shot4/plate_direct.png", "prompt": "The attached image is the SITE PLAN of one real property, drawn at a\nhigh oblique angle. Its geometry, levels and fixtures are the spatial\nground truth. Circled letters and the legend panel are site markers\nonly — never people or objects; render none of them.\n\nRender the PHOTOREALISTIC view of this place that the camera\ndescribed below sees — the staging text is the camera ground truth\n(position, height, angle, framing). Real-world scale, natural\nweathered materials. This is an EMPTY plate: no people, no figures,\nno text, letters, circles, arrows or drawing lines.\n\nWHAT THIS PLACE LOOKS LIKE (production data):\n- 옥탑방 외곽 골목·시멘트 계단: 다세대 빌라 마당의 후미진 구석과 옥탑방으로 올라가는 가파르고 낡은 시멘트 계단. (특징: 다세대 빌라 입구 마당; 후미진 구석 공간; 낡고 가파른 시멘트 계단)\n\nCAMERA (from production staging):\nAfter the hard eyeline cut, the camera adopts 수리영’s direct viewpoint from the rooftop landing, several meters from the entrance and at human eye level, facing the iron front door squarely. The half-open door is held in rigid symmetry at the center of the frame, surrounded by still rooftop darkness, with no figure entering to relieve the threat.\nCAMERA: After the hard eyeline cut, the camera adopts 수리영’s direct viewpoint from the rooftop landing, several meters from the entrance and at human eye level, facing the iron front door squarely. The half-open door is held in rigid symmetry at the center of the frame, surrounded by still rooftop darkness, with no figure entering to relieve the threat.\nFRAMING: wide\nLIGHTING: Muted moon-blue darkness surrounds the door, with a thin sickly amber leak from inside making the opening feel contaminated rather than welcoming.\nSPATIAL CONSTRAINTS: [{\"depth_plane\": \"background\", \"gesture_action\": \"none\", \"gesture_target_label\": \"\", \"label\": \"half-open rooftop iron door\", \"screen_zone\": \"middle_center\", \"target_id\": \"\", \"target_kind\": \"background\"}]\n\nPEOPLE COUNT CONTRACT: this shot contains NO people at all — the frame must be completely unpopulated, with no figures anywhere.\nAny circled letters, numbers or legend text on the control diagram are SITE MARKERS only — they are never people and must not become people or objects in the output."}
{"ts": "2026-07-05 13:28:38", "kind": "img", "engine": "gpt-image-2", "mode": "edit", "tag": "r6_S11_Shot3_sketch", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/root_v3/root_v3a.png"], "size": "1536x864", "attempt": 1, "dur_s": 111.4, "bytes": 1756776, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/outdoor_r6/S11_Shot3/sketch.png", "prompt": "The attached image is a SITE PLAN of one real property, drawn at a\nhigh oblique angle (circled letters and the legend panel are site\nmarkers, never people).\n\nDraw the clean LINE-ART sketch of the EYE-LEVEL view described below:\nthin dark ink lines on plain white, no colour, no shading. The camera\nstands ON the ground INSIDE the scene at human eye height (about\n1.6 m) — NOT above it. Correct perspective at real-world human scale,\nhorizon at natural eye level. Show the structures, surfaces, openings\nand approaches the plan places in front of that camera.\nNo people, no text, no letters, no circles — pure line drawing.\n\nCAMERA (from production staging):\nMidway up the narrow concrete staircase, the camera holds static very close to 수리영 from the front-left at face height, tightening into an intense close-up that leaves only a sliver of stair texture behind her. Her nose wrinkles hard at the sudden smell, eyes lifting toward the unseen rooftop landing while her halted climb compresses her shoulders into the frame.\nCAMERA: Midway up the narrow concrete staircase, the camera holds static very close to 수리영 from the front-left at face height, tightening into an intense close-up that leaves only a sliver of stair texture behind her. Her nose wrinkles hard at the sudden smell, eyes lifting toward the unseen rooftop landing while her halted climb compresses her shoulders into the frame.\nFRAMING: close\nLIGHTING: A cold blue-gray stairwell wash sculpts her face while a faint amber rooftop spill catches the bridge of her nose, making the smell reaction feel physical and ominous.\nPERSON: {\"angle\": \"three_quarter_left\", \"body_pose\": \"halted mid-stair climb\", \"character\": \"수리영\", \"gaze_direction_kind\": \"up\", \"gaze_target_id\": null, \"subject_state\": \"alive\"}"}
{"ts": "2026-07-05 13:30:20", "kind": "img", "engine": "gpt-image-2", "mode": "edit", "tag": "r6_S11_Shot3_plate_hop", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/outdoor_r6/S11_Shot3/sketch.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/root_v3/root_v3a.png"], "size": "1536x864", "attempt": 1, "dur_s": 102.4, "bytes": 2119754, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/outdoor_r6/S11_Shot3/plate_hop.png", "prompt": "The FIRST attached image is a LINE-ART sketch of one camera's\neye-level view of a real outdoor place — composition and perspective\nground truth. The SECOND attached image is the property's site plan\n(high-oblique drawing) — use it ONLY for spatial relations, levels\nand fixtures; never copy its drawing style, viewpoint or markers.\n\nRender the PHOTOREALISTIC EMPTY view exactly as the line-art frames\nit: same framing, perspective, structures, real-world human scale.\nCompletely unpopulated — no people, no figures. No text, letters,\ncircles, arrows or sketch lines. Pure photographic realism, natural\nweathered materials.\n\nWHAT THIS PLACE LOOKS LIKE (production data):\n- 옥탑방 외곽 골목·시멘트 계단: 다세대 빌라 마당의 후미진 구석과 옥탑방으로 올라가는 가파르고 낡은 시멘트 계단. (특징: 다세대 빌라 입구 마당; 후미진 구석 공간; 낡고 가파른 시멘트 계단)\n\nCAMERA: Midway up the narrow concrete staircase, the camera holds static very close to 수리영 from the front-left at face height, tightening into an intense close-up that leaves only a sliver of stair texture behind her. Her nose wrinkles hard at the sudden smell, eyes lifting toward the unseen rooftop landing while her halted climb compresses her shoulders into the frame.\nFRAMING: close\nLIGHTING: A cold blue-gray stairwell wash sculpts her face while a faint amber rooftop spill catches the bridge of her nose, making the smell reaction feel physical and ominous.\nPERSON: {\"angle\": \"three_quarter_left\", \"body_pose\": \"halted mid-stair climb\", \"character\": \"수리영\", \"gaze_direction_kind\": \"up\", \"gaze_target_id\": null, \"subject_state\": \"alive\"}\n\nPEOPLE COUNT CONTRACT: exactly 1 person(s) in frame — 수리영. Absolutely no other people, bystanders or figures anywhere in the frame, foreground or background.\nAny circled letters, numbers or legend text on the control diagram are SITE MARKERS only — they are never people and must not become people or objects in the output.\nCAMERA HEIGHT CONTRACT: the camera stands ON the ground INSIDE the scene at human eye height (about 1.6 m). Sky or horizon must be visible where the view allows it. Do NOT render an overhead, elevated, aerial or drone view — this is a ground-level cinematic shot."}
{"ts": "2026-07-05 13:30:39", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "r6_S11_Shot3_temp", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/outdoor_r6/S11_Shot3/plate_hop.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/outdoor_r6/S11_Shot3/sketch.png"], "ref_labels": ["ENVIRONMENT BACKGROUND reference — the empty environment: its space, architecture, materials and lighting are the ground truth. It contains NO people.", "CAMERA AND COMPOSITION GUIDE (eye-level line-art sketch) — its framing, camera height and perspective are the composition ground truth for this shot. Follow that composition exactly; NEVER copy its line style or any sketch lines into the output."], "attempt": 1, "dur_s": 19.0, "bytes": 2508795, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/outdoor_r6/S11_Shot3/temp.png", "prompt": "Create a photorealistic cinematic still that stages this shot inside\nthe given environment. This is a COMPOSITION DRAFT: the people are\nordinary real humans whose identity does not matter — focus on a\nstrong, natural composition that matches the camera and staging\nexactly.\n\nSHOT CONTENT: 계단 중간에 서서 심하게 코를 찡그린 수리영의 얼굴 클로즈업.\nPEOPLE IN SHOT: 수리영\nCAMERA: Midway up the narrow concrete staircase, the camera holds static very close to 수리영 from the front-left at face height, tightening into an intense close-up that leaves only a sliver of stair texture behind her. Her nose wrinkles hard at the sudden smell, eyes lifting toward the unseen rooftop landing while her halted climb compresses her shoulders into the frame.\nFRAMING: close\nLIGHTING: A cold blue-gray stairwell wash sculpts her face while a faint amber rooftop spill catches the bridge of her nose, making the smell reaction feel physical and ominous.\nPERSON: {\"angle\": \"three_quarter_left\", \"body_pose\": \"halted mid-stair climb\", \"character\": \"수리영\", \"gaze_direction_kind\": \"up\", \"gaze_target_id\": null, \"subject_state\": \"alive\"}\n\nPEOPLE COUNT CONTRACT: exactly 1 person(s) in frame — 수리영. Absolutely no other people, bystanders or figures anywhere in the frame, foreground or background.\nAny circled letters, numbers or legend text on the control diagram are SITE MARKERS only — they are never people and must not become people or objects in the output.\nCAMERA HEIGHT CONTRACT: the camera stands ON the ground INSIDE the scene at human eye height (about 1.6 m). Sky or horizon must be visible where the view allows it. Do NOT render an overhead, elevated, aerial or drone view — this is a ground-level cinematic shot.\n\nKeep the environment's architecture, materials and lighting from the\nenvironment reference. Match the camera, framing and perspective of\nthe composition guide exactly; place each person exactly as the\nstaging describes. Absolutely no text, letters, circles, arrows or\nsketch lines in the output."}
{"ts": "2026-07-05 13:32:57", "kind": "img", "engine": "gpt-image-2", "mode": "edit", "tag": "r6_S11_Shot3_contour", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/outdoor_r6/S11_Shot3/temp.png"], "size": "1536x864", "attempt": 1, "dur_s": 137.8, "bytes": 1440974, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/outdoor_r6/S11_Shot3/contour.png", "prompt": "Convert the attached photograph into a clean LINE-ART CONTOUR drawing: thin dark ink lines on a plain white background. Preserve the EXACT composition, framing, perspective and proportions — trace the outline of every structure, surface edge and human figure as it appears. No shading, no colour fills, no photo texture, no text, no added or removed objects."}
{"ts": "2026-07-05 13:35:14", "kind": "img", "engine": "gpt-image-2", "mode": "edit", "tag": "r6_S11_Shot3_bgC", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/outdoor_r6/S11_Shot3/contour.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/outdoor_r6/S11_Shot3/plate_hop.png"], "size": "1536x864", "attempt": 1, "dur_s": 136.4, "bytes": 2229978, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/outdoor_r6/S11_Shot3/bg_C.png", "prompt": "Create the photorealistic EMPTY background plate for one film shot:\nthe environment exactly as the environment reference shows it (same\narchitecture, materials, lighting), seen from the shot's camera.\n\nSHOT CONTENT: 계단 중간에 서서 심하게 코를 찡그린 수리영의 얼굴 클로즈업.\nPEOPLE IN SHOT: 수리영\nCAMERA: Midway up the narrow concrete staircase, the camera holds static very close to 수리영 from the front-left at face height, tightening into an intense close-up that leaves only a sliver of stair texture behind her. Her nose wrinkles hard at the sudden smell, eyes lifting toward the unseen rooftop landing while her halted climb compresses her shoulders into the frame.\nFRAMING: close\nLIGHTING: A cold blue-gray stairwell wash sculpts her face while a faint amber rooftop spill catches the bridge of her nose, making the smell reaction feel physical and ominous.\nPERSON: {\"angle\": \"three_quarter_left\", \"body_pose\": \"halted mid-stair climb\", \"character\": \"수리영\", \"gaze_direction_kind\": \"up\", \"gaze_target_id\": null, \"subject_state\": \"alive\"}\n\nFollow the attached line contour's composition EXACTLY —\nsame framing, perspective and structure placement.\n\nThe plate must contain NO people, no figures, and no silhouettes —\njust the environment, composed so the described people could be\ninserted later.\nPEOPLE COUNT CONTRACT: exactly 1 person(s) in frame — 수리영. Absolutely no other people, bystanders or figures anywhere in the frame, foreground or background.\nAny circled letters, numbers or legend text on the control diagram are SITE MARKERS only — they are never people and must not become people or objects in the output.\nCAMERA HEIGHT CONTRACT: the camera stands ON the ground INSIDE the scene at human eye height (about 1.6 m). Sky or horizon must be visible where the view allows it. Do NOT render an overhead, elevated, aerial or drone view — this is a ground-level cinematic shot.\nAbsolutely no text, letters, circles, arrows or diagram marks."}
{"ts": "2026-07-05 13:35:33", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "r6_S11_Shot3_finalC", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/outdoor_r6/S11_Shot3/bg_C.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/b0ad5c18-5140-4022-a2b0-805de0e5a385/images/0d30302a-51c8-4ac9-98e2-6cd9180512bf/reference/0b01920a-4b59-4e19-ba35-e6e033cbd6b4.png"], "ref_labels": ["ENVIRONMENT BACKGROUND reference — the empty environment: its space, architecture, materials and lighting are the ground truth. It contains NO people. Use it as the shot's background, matching its space and lighting exactly.", "IDENTITY REFERENCE photo of the person referred to as: 수리영"], "attempt": 1, "dur_s": 18.9, "bytes": 2624428, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/outdoor_r6/S11_Shot3/final_C.png", "prompt": "Create the FINAL photorealistic cinematic film still of this shot.\n\nSHOT CONTENT: 계단 중간에 서서 심하게 코를 찡그린 수리영의 얼굴 클로즈업.\nPEOPLE IN SHOT: 수리영\nCAMERA: Midway up the narrow concrete staircase, the camera holds static very close to 수리영 from the front-left at face height, tightening into an intense close-up that leaves only a sliver of stair texture behind her. Her nose wrinkles hard at the sudden smell, eyes lifting toward the unseen rooftop landing while her halted climb compresses her shoulders into the frame.\nFRAMING: close\nLIGHTING: A cold blue-gray stairwell wash sculpts her face while a faint amber rooftop spill catches the bridge of her nose, making the smell reaction feel physical and ominous.\nPERSON: {\"angle\": \"three_quarter_left\", \"body_pose\": \"halted mid-stair climb\", \"character\": \"수리영\", \"gaze_direction_kind\": \"up\", \"gaze_target_id\": null, \"subject_state\": \"alive\"}\n\nPEOPLE COUNT CONTRACT: exactly 1 person(s) in frame — 수리영. Absolutely no other people, bystanders or figures anywhere in the frame, foreground or background.\nAny circled letters, numbers or legend text on the control diagram are SITE MARKERS only — they are never people and must not become people or objects in the output.\nCAMERA HEIGHT CONTRACT: the camera stands ON the ground INSIDE the scene at human eye height (about 1.6 m). Sky or horizon must be visible where the view allows it. Do NOT render an overhead, elevated, aerial or drone view — this is a ground-level cinematic shot.\n\nStage the shot inside the attached environment background — keep its\narchitecture, materials and lighting exactly. Every person is a REAL\nhuman being, photorealistic, matching their identity reference photo\n(face, hair, build). Natural film lighting and grain consistent with\nthe environment.\nAbsolutely no text, letters, circles, arrows, diagram marks, and no\nmannequin-like or statue-like appearance on any person."}
{"ts": "2026-07-05 13:35:50", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "r6_S11_Shot3_final_direct", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/outdoor_r6/S11_Shot3/plate_hop.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/b0ad5c18-5140-4022-a2b0-805de0e5a385/images/0d30302a-51c8-4ac9-98e2-6cd9180512bf/reference/0b01920a-4b59-4e19-ba35-e6e033cbd6b4.png"], "ref_labels": ["ENVIRONMENT BACKGROUND reference — the empty environment: its space, architecture, materials and lighting are the ground truth. It contains NO people. Use it as the shot's background, matching its space and lighting exactly.", "IDENTITY REFERENCE photo of the person referred to as: 수리영"], "attempt": 1, "dur_s": 17.2, "bytes": 2447306, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/outdoor_r6/S11_Shot3/final_direct.png", "prompt": "Create the FINAL photorealistic cinematic film still of this shot.\n\nSHOT CONTENT: 계단 중간에 서서 심하게 코를 찡그린 수리영의 얼굴 클로즈업.\nPEOPLE IN SHOT: 수리영\nCAMERA: Midway up the narrow concrete staircase, the camera holds static very close to 수리영 from the front-left at face height, tightening into an intense close-up that leaves only a sliver of stair texture behind her. Her nose wrinkles hard at the sudden smell, eyes lifting toward the unseen rooftop landing while her halted climb compresses her shoulders into the frame.\nFRAMING: close\nLIGHTING: A cold blue-gray stairwell wash sculpts her face while a faint amber rooftop spill catches the bridge of her nose, making the smell reaction feel physical and ominous.\nPERSON: {\"angle\": \"three_quarter_left\", \"body_pose\": \"halted mid-stair climb\", \"character\": \"수리영\", \"gaze_direction_kind\": \"up\", \"gaze_target_id\": null, \"subject_state\": \"alive\"}\n\nPEOPLE COUNT CONTRACT: exactly 1 person(s) in frame — 수리영. Absolutely no other people, bystanders or figures anywhere in the frame, foreground or background.\nAny circled letters, numbers or legend text on the control diagram are SITE MARKERS only — they are never people and must not become people or objects in the output.\nCAMERA HEIGHT CONTRACT: the camera stands ON the ground INSIDE the scene at human eye height (about 1.6 m). Sky or horizon must be visible where the view allows it. Do NOT render an overhead, elevated, aerial or drone view — this is a ground-level cinematic shot.\n\nStage the shot inside the attached environment background — keep its\narchitecture, materials and lighting exactly. Every person is a REAL\nhuman being, photorealistic, matching their identity reference photo\n(face, hair, build). Natural film lighting and grain consistent with\nthe environment.\nAbsolutely no text, letters, circles, arrows, diagram marks, and no\nmannequin-like or statue-like appearance on any person."}
{"ts": "2026-07-05 13:39:29", "kind": "img", "engine": "gpt-image-2", "mode": "edit", "tag": "r6_S13_Shot3_sketch", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/root_v3/root_v3a.png"], "size": "1536x864", "attempt": 1, "dur_s": 219.0, "bytes": 1837165, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/outdoor_r6/S13_Shot3/sketch.png", "prompt": "The attached image is a SITE PLAN of one real property, drawn at a\nhigh oblique angle (circled letters and the legend panel are site\nmarkers, never people).\n\nDraw the clean LINE-ART sketch of the EYE-LEVEL view described below:\nthin dark ink lines on plain white, no colour, no shading. The camera\nstands ON the ground INSIDE the scene at human eye height (about\n1.6 m) — NOT above it. Correct perspective at real-world human scale,\nhorizon at natural eye level. Show the structures, surfaces, openings\nand approaches the plan places in front of that camera.\nNo people, no text, no letters, no circles — pure line drawing.\n\nCAMERA (from production staging):\nBeside the police car at chest height, the tracking move slows into a held upper-body frame on 혜수 as she has just stepped out, her body paused between the car and the alley. 수리영 appears farther down the alley in soft background focus, small and blank beneath flashing siren wash, while 혜수 occupies the left foreground in a tense three-quarter view; this is a direct observer view moving parallel with her discovery.\nCAMERA: Beside the police car at chest height, the tracking move slows into a held upper-body frame on 혜수 as she has just stepped out, her body paused between the car and the alley. 수리영 appears farther down the alley in soft background focus, small and blank beneath flashing siren wash, while 혜수 occupies the left foreground in a tense three-quarter view; this is a direct observer view moving parallel with her discovery.\nFRAMING: medium\nLIGHTING: Strobing police red-blue cuts through damp fog, mixing with dirty amber streetlight and cold coastal shadows.\nPERSON: {\"angle\": \"three_quarter_right\", \"body_pose\": \"half-stepping from car\", \"character\": \"혜수\", \"gaze_direction_kind\": \"looks_at_character\", \"gaze_target_id\": \"C01\", \"subject_state\": \"alive\"}\nPERSON: {\"angle\": \"three_quarter_left\", \"body_pose\": \"stalled mid-alley\", \"character\": \"수리영\", \"gaze_direction_kind\": \"distant\", \"gaze_target_id\": null, \"subject_state\": \"alive\"}\nSPATIAL CONSTRAINTS: [{\"depth_plane\": \"foreground\", \"gesture_action\": \"looks_toward\", \"gesture_target_label\": \"수리영 down the alley\", \"label\": \"혜수 by police car\", \"screen_zone\": \"middle_left\", \"target_id\": \"C02\", \"target_kind\": \"character\"}, {\"depth_plane\": \"background\", \"gesture_action\": \"none\", \"gesture_target_label\": \"\", \"label\": \"수리영 in alley\", \"screen_zone\": \"middle_right\", \"target_id\": \"C01\", \"target_kind\": \"character\"}]"}
{"ts": "2026-07-05 13:42:08", "kind": "img", "engine": "gpt-image-2", "mode": "edit", "tag": "r6_S13_Shot3_plate_hop", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/outdoor_r6/S13_Shot3/sketch.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/root_v3/root_v3a.png"], "size": "1536x864", "attempt": 1, "dur_s": 159.6, "bytes": 1966373, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/outdoor_r6/S13_Shot3/plate_hop.png", "prompt": "The FIRST attached image is a LINE-ART sketch of one camera's\neye-level view of a real outdoor place — composition and perspective\nground truth. The SECOND attached image is the property's site plan\n(high-oblique drawing) — use it ONLY for spatial relations, levels\nand fixtures; never copy its drawing style, viewpoint or markers.\n\nRender the PHOTOREALISTIC EMPTY view exactly as the line-art frames\nit: same framing, perspective, structures, real-world human scale.\nCompletely unpopulated — no people, no figures. No text, letters,\ncircles, arrows or sketch lines. Pure photographic realism, natural\nweathered materials.\n\nWHAT THIS PLACE LOOKS LIKE (production data):\n- 인천 변두리 낡은 빌라 옥탑방 옥상·현관 앞 외부: 낡은 다세대 빌라 꼭대기에 위치한 야외 공간. 물탱크, 흔들리는 빨랫줄, 평상 위 약초 건조 흔적, 낡은 철문 현관이 있다. (특징: 낡은 시멘트 바닥; 물탱크; 바람에 날리는 빨랫줄; 평상과 널려 있는 말린 약초(석창포); 전단지가 끼워진 철문 현관)\n\nCAMERA: Beside the police car at chest height, the tracking move slows into a held upper-body frame on 혜수 as she has just stepped out, her body paused between the car and the alley. 수리영 appears farther down the alley in soft background focus, small and blank beneath flashing siren wash, while 혜수 occupies the left foreground in a tense three-quarter view; this is a direct observer view moving parallel with her discovery.\nFRAMING: medium\nLIGHTING: Strobing police red-blue cuts through damp fog, mixing with dirty amber streetlight and cold coastal shadows.\nPERSON: {\"angle\": \"three_quarter_right\", \"body_pose\": \"half-stepping from car\", \"character\": \"혜수\", \"gaze_direction_kind\": \"looks_at_character\", \"gaze_target_id\": \"C01\", \"subject_state\": \"alive\"}\nPERSON: {\"angle\": \"three_quarter_left\", \"body_pose\": \"stalled mid-alley\", \"character\": \"수리영\", \"gaze_direction_kind\": \"distant\", \"gaze_target_id\": null, \"subject_state\": \"alive\"}\nSPATIAL CONSTRAINTS: [{\"depth_plane\": \"foreground\", \"gesture_action\": \"looks_toward\", \"gesture_target_label\": \"수리영 down the alley\", \"label\": \"혜수 by police car\", \"screen_zone\": \"middle_left\", \"target_id\": \"C02\", \"target_kind\": \"character\"}, {\"depth_plane\": \"background\", \"gesture_action\": \"none\", \"gesture_target_label\": \"\", \"label\": \"수리영 in alley\", \"screen_zone\": \"middle_right\", \"target_id\": \"C01\", \"target_kind\": \"character\"}]\n\nPEOPLE COUNT CONTRACT: exactly 2 person(s) in frame — 혜수, 수리영. Absolutely no other people, bystanders or figures anywhere in the frame, foreground or background.\nAny circled letters, numbers or legend text on the control diagram are SITE MARKERS only — they are never people and must not become people or objects in the output.\nCAMERA HEIGHT CONTRACT: the camera stands ON the ground INSIDE the scene at human eye height (about 1.6 m). Sky or horizon must be visible where the view allows it. Do NOT render an overhead, elevated, aerial or drone view — this is a ground-level cinematic shot."}
{"ts": "2026-07-05 13:42:28", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "r6_S13_Shot3_temp", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/outdoor_r6/S13_Shot3/plate_hop.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/outdoor_r6/S13_Shot3/sketch.png"], "ref_labels": ["ENVIRONMENT BACKGROUND reference — the empty environment: its space, architecture, materials and lighting are the ground truth. It contains NO people.", "CAMERA AND COMPOSITION GUIDE (eye-level line-art sketch) — its framing, camera height and perspective are the composition ground truth for this shot. Follow that composition exactly; NEVER copy its line style or any sketch lines into the output."], "attempt": 1, "dur_s": 19.1, "bytes": 2664042, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/outdoor_r6/S13_Shot3/temp.png", "prompt": "Create a photorealistic cinematic still that stages this shot inside\nthe given environment. This is a COMPOSITION DRAFT: the people are\nordinary real humans whose identity does not matter — focus on a\nstrong, natural composition that matches the camera and staging\nexactly.\n\nSHOT CONTENT: 차에서 내린 혜수가 초점 없는 눈으로 멍하게 서 있는 수리영을 향해 시선을 고정한 찰나의 상체.\nPEOPLE IN SHOT: 혜수, 수리영\nCAMERA: Beside the police car at chest height, the tracking move slows into a held upper-body frame on 혜수 as she has just stepped out, her body paused between the car and the alley. 수리영 appears farther down the alley in soft background focus, small and blank beneath flashing siren wash, while 혜수 occupies the left foreground in a tense three-quarter view; this is a direct observer view moving parallel with her discovery.\nFRAMING: medium\nLIGHTING: Strobing police red-blue cuts through damp fog, mixing with dirty amber streetlight and cold coastal shadows.\nPERSON: {\"angle\": \"three_quarter_right\", \"body_pose\": \"half-stepping from car\", \"character\": \"혜수\", \"gaze_direction_kind\": \"looks_at_character\", \"gaze_target_id\": \"C01\", \"subject_state\": \"alive\"}\nPERSON: {\"angle\": \"three_quarter_left\", \"body_pose\": \"stalled mid-alley\", \"character\": \"수리영\", \"gaze_direction_kind\": \"distant\", \"gaze_target_id\": null, \"subject_state\": \"alive\"}\nSPATIAL CONSTRAINTS: [{\"depth_plane\": \"foreground\", \"gesture_action\": \"looks_toward\", \"gesture_target_label\": \"수리영 down the alley\", \"label\": \"혜수 by police car\", \"screen_zone\": \"middle_left\", \"target_id\": \"C02\", \"target_kind\": \"character\"}, {\"depth_plane\": \"background\", \"gesture_action\": \"none\", \"gesture_target_label\": \"\", \"label\": \"수리영 in alley\", \"screen_zone\": \"middle_right\", \"target_id\": \"C01\", \"target_kind\": \"character\"}]\n\nPEOPLE COUNT CONTRACT: exactly 2 person(s) in frame — 혜수, 수리영. Absolutely no other people, bystanders or figures anywhere in the frame, foreground or background.\nAny circled letters, numbers or legend text on the control diagram are SITE MARKERS only — they are never people and must not become people or objects in the output.\nCAMERA HEIGHT CONTRACT: the camera stands ON the ground INSIDE the scene at human eye height (about 1.6 m). Sky or horizon must be visible where the view allows it. Do NOT render an overhead, elevated, aerial or drone view — this is a ground-level cinematic shot.\n\nKeep the environment's architecture, materials and lighting from the\nenvironment reference. Match the camera, framing and perspective of\nthe composition guide exactly; place each person exactly as the\nstaging describes. Absolutely no text, letters, circles, arrows or\nsketch lines in the output."}
{"ts": "2026-07-05 13:44:21", "kind": "img", "engine": "gpt-image-2", "mode": "edit", "tag": "r6_S13_Shot3_contour", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/outdoor_r6/S13_Shot3/temp.png"], "size": "1536x864", "attempt": 1, "dur_s": 114.0, "bytes": 1505246, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/outdoor_r6/S13_Shot3/contour.png", "prompt": "Convert the attached photograph into a clean LINE-ART CONTOUR drawing: thin dark ink lines on a plain white background. Preserve the EXACT composition, framing, perspective and proportions — trace the outline of every structure, surface edge and human figure as it appears. No shading, no colour fills, no photo texture, no text, no added or removed objects."}
{"ts": "2026-07-05 13:46:58", "kind": "img", "engine": "gpt-image-2", "mode": "edit", "tag": "r6_S13_Shot3_bgC", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/outdoor_r6/S13_Shot3/contour.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/outdoor_r6/S13_Shot3/plate_hop.png"], "size": "1536x864", "attempt": 1, "dur_s": 156.4, "bytes": 1962960, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/outdoor_r6/S13_Shot3/bg_C.png", "prompt": "Create the photorealistic EMPTY background plate for one film shot:\nthe environment exactly as the environment reference shows it (same\narchitecture, materials, lighting), seen from the shot's camera.\n\nSHOT CONTENT: 차에서 내린 혜수가 초점 없는 눈으로 멍하게 서 있는 수리영을 향해 시선을 고정한 찰나의 상체.\nPEOPLE IN SHOT: 혜수, 수리영\nCAMERA: Beside the police car at chest height, the tracking move slows into a held upper-body frame on 혜수 as she has just stepped out, her body paused between the car and the alley. 수리영 appears farther down the alley in soft background focus, small and blank beneath flashing siren wash, while 혜수 occupies the left foreground in a tense three-quarter view; this is a direct observer view moving parallel with her discovery.\nFRAMING: medium\nLIGHTING: Strobing police red-blue cuts through damp fog, mixing with dirty amber streetlight and cold coastal shadows.\nPERSON: {\"angle\": \"three_quarter_right\", \"body_pose\": \"half-stepping from car\", \"character\": \"혜수\", \"gaze_direction_kind\": \"looks_at_character\", \"gaze_target_id\": \"C01\", \"subject_state\": \"alive\"}\nPERSON: {\"angle\": \"three_quarter_left\", \"body_pose\": \"stalled mid-alley\", \"character\": \"수리영\", \"gaze_direction_kind\": \"distant\", \"gaze_target_id\": null, \"subject_state\": \"alive\"}\nSPATIAL CONSTRAINTS: [{\"depth_plane\": \"foreground\", \"gesture_action\": \"looks_toward\", \"gesture_target_label\": \"수리영 down the alley\", \"label\": \"혜수 by police car\", \"screen_zone\": \"middle_left\", \"target_id\": \"C02\", \"target_kind\": \"character\"}, {\"depth_plane\": \"background\", \"gesture_action\": \"none\", \"gesture_target_label\": \"\", \"label\": \"수리영 in alley\", \"screen_zone\": \"middle_right\", \"target_id\": \"C01\", \"target_kind\": \"character\"}]\n\nFollow the attached line contour's composition EXACTLY —\nsame framing, perspective and structure placement.\n\nThe plate must contain NO people, no figures, and no silhouettes —\njust the environment, composed so the described people could be\ninserted later.\nPEOPLE COUNT CONTRACT: exactly 2 person(s) in frame — 혜수, 수리영. Absolutely no other people, bystanders or figures anywhere in the frame, foreground or background.\nAny circled letters, numbers or legend text on the control diagram are SITE MARKERS only — they are never people and must not become people or objects in the output.\nCAMERA HEIGHT CONTRACT: the camera stands ON the ground INSIDE the scene at human eye height (about 1.6 m). Sky or horizon must be visible where the view allows it. Do NOT render an overhead, elevated, aerial or drone view — this is a ground-level cinematic shot.\nAbsolutely no text, letters, circles, arrows or diagram marks."}
{"ts": "2026-07-05 13:47:23", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "r6_S13_Shot3_finalC", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/outdoor_r6/S13_Shot3/bg_C.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/b0ad5c18-5140-4022-a2b0-805de0e5a385/images/0d30302a-51c8-4ac9-98e2-6cd9180512bf/reference/78811b6c-4b5f-4358-aa50-cff9ffa84508.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/b0ad5c18-5140-4022-a2b0-805de0e5a385/images/0d30302a-51c8-4ac9-98e2-6cd9180512bf/reference/0b01920a-4b59-4e19-ba35-e6e033cbd6b4.png"], "ref_labels": ["ENVIRONMENT BACKGROUND reference — the empty environment: its space, architecture, materials and lighting are the ground truth. It contains NO people. Use it as the shot's background, matching its space and lighting exactly.", "IDENTITY REFERENCE photo of the person referred to as: 혜수", "IDENTITY REFERENCE photo of the person referred to as: 수리영"], "attempt": 1, "dur_s": 25.5, "bytes": 2696820, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/outdoor_r6/S13_Shot3/final_C.png", "prompt": "Create the FINAL photorealistic cinematic film still of this shot.\n\nSHOT CONTENT: 차에서 내린 혜수가 초점 없는 눈으로 멍하게 서 있는 수리영을 향해 시선을 고정한 찰나의 상체.\nPEOPLE IN SHOT: 혜수, 수리영\nCAMERA: Beside the police car at chest height, the tracking move slows into a held upper-body frame on 혜수 as she has just stepped out, her body paused between the car and the alley. 수리영 appears farther down the alley in soft background focus, small and blank beneath flashing siren wash, while 혜수 occupies the left foreground in a tense three-quarter view; this is a direct observer view moving parallel with her discovery.\nFRAMING: medium\nLIGHTING: Strobing police red-blue cuts through damp fog, mixing with dirty amber streetlight and cold coastal shadows.\nPERSON: {\"angle\": \"three_quarter_right\", \"body_pose\": \"half-stepping from car\", \"character\": \"혜수\", \"gaze_direction_kind\": \"looks_at_character\", \"gaze_target_id\": \"C01\", \"subject_state\": \"alive\"}\nPERSON: {\"angle\": \"three_quarter_left\", \"body_pose\": \"stalled mid-alley\", \"character\": \"수리영\", \"gaze_direction_kind\": \"distant\", \"gaze_target_id\": null, \"subject_state\": \"alive\"}\nSPATIAL CONSTRAINTS: [{\"depth_plane\": \"foreground\", \"gesture_action\": \"looks_toward\", \"gesture_target_label\": \"수리영 down the alley\", \"label\": \"혜수 by police car\", \"screen_zone\": \"middle_left\", \"target_id\": \"C02\", \"target_kind\": \"character\"}, {\"depth_plane\": \"background\", \"gesture_action\": \"none\", \"gesture_target_label\": \"\", \"label\": \"수리영 in alley\", \"screen_zone\": \"middle_right\", \"target_id\": \"C01\", \"target_kind\": \"character\"}]\n\nPEOPLE COUNT CONTRACT: exactly 2 person(s) in frame — 혜수, 수리영. Absolutely no other people, bystanders or figures anywhere in the frame, foreground or background.\nAny circled letters, numbers or legend text on the control diagram are SITE MARKERS only — they are never people and must not become people or objects in the output.\nCAMERA HEIGHT CONTRACT: the camera stands ON the ground INSIDE the scene at human eye height (about 1.6 m). Sky or horizon must be visible where the view allows it. Do NOT render an overhead, elevated, aerial or drone view — this is a ground-level cinematic shot.\n\nStage the shot inside the attached environment background — keep its\narchitecture, materials and lighting exactly. Every person is a REAL\nhuman being, photorealistic, matching their identity reference photo\n(face, hair, build). Natural film lighting and grain consistent with\nthe environment.\nAbsolutely no text, letters, circles, arrows, diagram marks, and no\nmannequin-like or statue-like appearance on any person."}
{"ts": "2026-07-05 13:47:49", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "r6_S13_Shot3_final_direct", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/outdoor_r6/S13_Shot3/plate_hop.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/b0ad5c18-5140-4022-a2b0-805de0e5a385/images/0d30302a-51c8-4ac9-98e2-6cd9180512bf/reference/78811b6c-4b5f-4358-aa50-cff9ffa84508.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/b0ad5c18-5140-4022-a2b0-805de0e5a385/images/0d30302a-51c8-4ac9-98e2-6cd9180512bf/reference/0b01920a-4b59-4e19-ba35-e6e033cbd6b4.png"], "ref_labels": ["ENVIRONMENT BACKGROUND reference — the empty environment: its space, architecture, materials and lighting are the ground truth. It contains NO people. Use it as the shot's background, matching its space and lighting exactly.", "IDENTITY REFERENCE photo of the person referred to as: 혜수", "IDENTITY REFERENCE photo of the person referred to as: 수리영"], "attempt": 1, "dur_s": 26.0, "bytes": 2542400, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/outdoor_r6/S13_Shot3/final_direct.png", "prompt": "Create the FINAL photorealistic cinematic film still of this shot.\n\nSHOT CONTENT: 차에서 내린 혜수가 초점 없는 눈으로 멍하게 서 있는 수리영을 향해 시선을 고정한 찰나의 상체.\nPEOPLE IN SHOT: 혜수, 수리영\nCAMERA: Beside the police car at chest height, the tracking move slows into a held upper-body frame on 혜수 as she has just stepped out, her body paused between the car and the alley. 수리영 appears farther down the alley in soft background focus, small and blank beneath flashing siren wash, while 혜수 occupies the left foreground in a tense three-quarter view; this is a direct observer view moving parallel with her discovery.\nFRAMING: medium\nLIGHTING: Strobing police red-blue cuts through damp fog, mixing with dirty amber streetlight and cold coastal shadows.\nPERSON: {\"angle\": \"three_quarter_right\", \"body_pose\": \"half-stepping from car\", \"character\": \"혜수\", \"gaze_direction_kind\": \"looks_at_character\", \"gaze_target_id\": \"C01\", \"subject_state\": \"alive\"}\nPERSON: {\"angle\": \"three_quarter_left\", \"body_pose\": \"stalled mid-alley\", \"character\": \"수리영\", \"gaze_direction_kind\": \"distant\", \"gaze_target_id\": null, \"subject_state\": \"alive\"}\nSPATIAL CONSTRAINTS: [{\"depth_plane\": \"foreground\", \"gesture_action\": \"looks_toward\", \"gesture_target_label\": \"수리영 down the alley\", \"label\": \"혜수 by police car\", \"screen_zone\": \"middle_left\", \"target_id\": \"C02\", \"target_kind\": \"character\"}, {\"depth_plane\": \"background\", \"gesture_action\": \"none\", \"gesture_target_label\": \"\", \"label\": \"수리영 in alley\", \"screen_zone\": \"middle_right\", \"target_id\": \"C01\", \"target_kind\": \"character\"}]\n\nPEOPLE COUNT CONTRACT: exactly 2 person(s) in frame — 혜수, 수리영. Absolutely no other people, bystanders or figures anywhere in the frame, foreground or background.\nAny circled letters, numbers or legend text on the control diagram are SITE MARKERS only — they are never people and must not become people or objects in the output.\nCAMERA HEIGHT CONTRACT: the camera stands ON the ground INSIDE the scene at human eye height (about 1.6 m). Sky or horizon must be visible where the view allows it. Do NOT render an overhead, elevated, aerial or drone view — this is a ground-level cinematic shot.\n\nStage the shot inside the attached environment background — keep its\narchitecture, materials and lighting exactly. Every person is a REAL\nhuman being, photorealistic, matching their identity reference photo\n(face, hair, build). Natural film lighting and grain consistent with\nthe environment.\nAbsolutely no text, letters, circles, arrows, diagram marks, and no\nmannequin-like or statue-like appearance on any person."}
{"ts": "2026-07-05 13:47:49", "kind": "stage", "stage": "s11_outdoor_r6", "done": "all", "root": "a", "no_person": ["S4_Shot1", "S10_Shot6", "S11_Shot4"], "person": ["S11_Shot3", "S13_Shot3"]}
{"ts": "2026-07-05 13:54:53", "kind": "llm", "step": "forest_blockset_layout", "model": "gpt", "dur_s": 69.4, "system_prompt": "You are a set-layout analyst for film pre-production. You get one\nreal-world place's member descriptions and the FULL content of every shot there.\nBuild ONE top-down BLOCK LAYOUT of the whole property as structured data for a\ncode renderer — plain blocks for structural understanding (relative sizes and\npositions), not art.\n\nCanvas: 100 wide x 100 tall, x rightward, y downward. Use most of the canvas.\nChoose relative sizes and positions so every shot's action space exists and the\nspatial relations the data implies (what is beside/under/above what, what\nconnects what, which side an entrance or stair is on) stay consistent. Where the\ndata implies a layout fact, honour it; otherwise choose one plausible consistent\narrangement.\n\nElement rules:\n- kind must be one of: building_mass (main building footprint), upper_shell\n  (enclosed upper dwelling — outline only, never interior), terrace (open roof\n  deck), yard, road, alley, stair, gate, door, window, fixture_round (round\n  free-standing fixture), fixture_rect (low rectangular fixture), equipment\n  (small mounted/free machine unit), neighbor_mass, wall.\n- shape \"rect\": x,y = top-left corner, w,h = sizes, rot_deg rotates around the\n  rect centre. shape \"circle\": x,y = centre, w = h = diameter, rot_deg = 0.\n- level: 0 = ground, 1 = main roof / terrace level, 2 = top of the upper shell.\n  A stair connecting levels lists both in connects_levels (otherwise []).\n- doors/windows/gates sit ON their block's edge line, sized to that wall.\n  Mark ONLY structurally important openings (the ones shots depend on).\n- Include the road/alley approach around the building's street entrance.\n- Simplify ALL neighbouring buildings to plain neighbor_mass rects (no detail,\n  no openings, no fixtures).\n- Include the permanent fixtures shots rely on (round tanks -> fixture_round,\n  low platforms -> fixture_rect, machine units -> equipment). NO story props,\n  no vehicles, no people, nothing temporary.\n- 8 to 20 elements total. name_en: 1-3 generic English words, no proper names.\n- EVERY element needs evidence: source = a shot key or member id, quote = the\n  exact grounding phrase copied from the data (original language). Do not\n  invent elements without evidence.", "user_prompt": "PLACE MEMBERS:\n- (outdoor, L03) 인천 변두리 낡은 빌라 옥탑방 옥상·현관 앞 외부: 낡은 다세대 빌라 꼭대기에 위치한 야외 공간. 물탱크, 흔들리는 빨랫줄, 평상 위 약초 건조 흔적, 낡은 철문 현관이 있다. (특징: 낡은 시멘트 바닥; 물탱크; 바람에 날리는 빨랫줄; 평상과 널려 있는 말린 약초(석창포); 전단지가 끼워진 철문 현관)\n- (indoor, L04) 옥탑방 내부: 작은 창문으로 빛이 들어오는 낡은 주거 공간. 싱크대, 식탁, TV가 있는 거실과 침대, 커튼, 거울 등이 있는 방/욕실로 구성된다. 약초 끓이는 냄비 등 생활 소품이 있으며, 간헐적으로 벽면에 붉은 원 형태의 환영과 핏자국이 생겨난다. (특징: 작은 창문의 햇살; 싱크대와 약초(석창포); 가스레인지 위 끓는 냄비와 수증기; 거실 TV와 스탠드; 침대, 커튼, 거울; 벽과 거울 표면에 나타나는 붉은 원 환영; 바닥과 벽의 핏자국 (특정 시점); 어지럽혀진 가재도구 (특정 시점))\n- (outdoor, L10) 옥탑방 외곽 골목·시멘트 계단: 다세대 빌라 마당의 후미진 구석과 옥탑방으로 올라가는 가파르고 낡은 시멘트 계단. (특징: 다세대 빌라 입구 마당; 후미진 구석 공간; 낡고 가파른 시멘트 계단)\n\nALL SHOTS AT THIS PLACE (full content):\n\n[S10_Shot5] (outdoor; loc=L03; scene_heading=S#10. 옥탑방 / N)\ndescription: 철문이 미세하게 열린 틈 사이로 어두운 내부가 보이는 구도.\nframing_scale: insert\ncamera_direction: At the end of the flow’s dolly-in, the lens freezes just outside the iron door at handle height, only inches from the seam, staring directly into the thin opening. The dark crack sits in the center like a vertical wound, with rough iron surfaces on both sides occupying the foreground while the interior beyond remains unreadable and almost lightless.\nkey_bg_elements: [{\"camera_use\": \"Primary focal aperture; turns the entry into a threatening slit rather than a normal doorway.\", \"directionality_class\": \"directional_3d\", \"element\": \"iron front door\", \"orientation\": \"The two heavy door edges face camera at close range, separated by a narrow central crack leading into darkness.\", \"state\": \"slightly open, scratched, cold metal\"}, {\"camera_use\": \"Hides what is inside and makes the gap feel predatory.\", \"directionality_class\": \"non_directional\", \"element\": \"dark interior beyond the crack\", \"orientation\": \"\", \"state\": \"unlit, opaque, silent\"}, {\"camera_use\": \"Adds tactile evidence of forced entry near the seam.\", \"directionality_class\": \"content_surface\", \"element\": \"creased advertisement flyer edge\", \"orientation\": \"Only the printed edge of the paper face is visible near the door seam, with partial color blocks and unreadable text.\", \"state\": \"bent, partly displaced, dirty\"}]\nframe_spatial_contract: {\"constraints\": [{\"depth_plane\": \"foreground\", \"gesture_action\": \"none\", \"gesture_target_label\": \"\", \"label\": \"narrow iron door seam\", \"screen_zone\": \"middle_center\", \"target_id\": \"\", \"target_kind\": \"background\"}], \"reason\": \"required_background_position\"}\n\n[S10_Shot6] (outdoor; loc=L03; scene_heading=S#10. 옥탑방 / N)\ndescription: 방 안 창문에 비친 그림자, 굽은 형태의 인영이 다른 사람 형상 위에 포개져 멈춘 찰나의 실루엣.\nframing_scale: medium\ncamera_direction: Inside the room, the camera holds static near the side wall at shoulder height, angled so only the window glass carries the action as a reflection and the direct attack is never seen. The reflected silhouettes sit within the window frame: a bent 인영 in the upper-middle area lowers its head toward the shoulder of 사람, whose body buckles beneath it in a distorted, wavering mid-action shape.\nkey_bg_elements: [{\"camera_use\": \"Serves as the only visible surface for the attack, keeping violence indirect and distorted.\", \"directionality_class\": \"reflective_surface\", \"element\": \"room window glass\", \"orientation\": \"The glass reflects the bent 인영 and 사람 as warped dark silhouettes, with faint interior light streaks trembling across them.\", \"state\": \"closed, grimy, reflective in darkness\"}, {\"camera_use\": \"Frames the reflection and prevents the viewer from seeing the real bodies directly.\", \"directionality_class\": \"directional_3d\", \"element\": \"window frame\", \"orientation\": \"The frame’s inner edges face camera and box the reflected action into a rigid rectangle.\", \"state\": \"old, chipped, motionless\"}, {\"camera_use\": \"Adds low, diseased color to the reflected silhouettes.\", \"directionality_class\": \"directional_3d\", \"element\": \"dim interior practical light\", \"orientation\": \"The lamp’s shaded side is off-frame but its amber spill grazes the wall and window reflection.\", \"state\": \"on, weak, sickly amber\"}, {\"camera_use\": \"Keeps the room claustrophobic around the window surface.\", \"directionality_class\": \"non_directional\", \"element\": \"dark side wall\", \"orientation\": \"\", \"state\": \"rough, stained, blue-gray shadowed\"}]\nframe_spatial_contract: {\"constraints\": [{\"depth_plane\": \"midground\", \"gesture_action\": \"none\", \"gesture_target_label\": \"\", \"label\": \"window reflection containing silhouettes\", \"screen_zone\": \"middle_center\", \"target_id\": \"\", \"target_kind\": \"background\"}], \"reason\": \"required_background_position\"}\n\n[S11_Shot3] (outdoor; loc=L10; scene_heading=S#11. 옥탑 방 밖 / N)\ndescription: 계단 중간에 서서 심하게 코를 찡그린 수리영의 얼굴 클로즈업.\ncharacters: 수리영\nframing_scale: close\ncamera_direction: Midway up the narrow concrete staircase, the camera holds static very close to 수리영 from the front-left at face height, tightening into an intense close-up that leaves only a sliver of stair texture behind her. Her nose wrinkles hard at the sudden smell, eyes lifting toward the unseen rooftop landing while her halted climb compresses her shoulders into the frame.\nkey_bg_elements: [{\"camera_use\": \"Minimal background texture that preserves the stair location without diluting the reaction.\", \"directionality_class\": \"directional_3d\", \"element\": \"narrow concrete staircase\", \"orientation\": \"Only the side edge and riser texture angle behind her cheek, indicating the upward path to the rooftop.\", \"state\": \"dark, damp, rough\"}, {\"camera_use\": \"Creates a suffocating side boundary close to her face.\", \"directionality_class\": \"non_directional\", \"element\": \"stairwell wall\", \"orientation\": \"\", \"state\": \"stained, cold, blue-gray\"}, {\"camera_use\": \"Suggests the unseen source direction through faint light above.\", \"directionality_class\": \"non_directional\", \"element\": \"rooftop darkness above the stairs\", \"orientation\": \"\", \"state\": \"unseen, heavy, foul implied\"}]\n\n[S11_Shot4] (outdoor; loc=L10; scene_heading=S#11. 옥탑 방 밖 / N)\ndescription: 옥상 위, 어둠 속에 반쯤 열려 멈춰 있는 옥탑방 현관 철문의 정적 구도.\nframing_scale: wide\ncamera_direction: After the hard eyeline cut, the camera adopts 수리영’s direct viewpoint from the rooftop landing, several meters from the entrance and at human eye level, facing the iron front door squarely. The half-open door is held in rigid symmetry at the center of the frame, surrounded by still rooftop darkness, with no figure entering to relieve the threat.\nkey_bg_elements: [{\"camera_use\": \"Central reveal and source of unease, held motionless after her smell reaction.\", \"directionality_class\": \"directional_3d\", \"element\": \"rooftop room iron front door\", \"orientation\": \"The door faces camera squarely but hangs half-open, exposing a narrow black interior gap along one side.\", \"state\": \"half-open, frozen, scratched\"}, {\"camera_use\": \"Frames the doorway in isolated negative space.\", \"directionality_class\": \"non_directional\", \"element\": \"rooftop landing darkness\", \"orientation\": \"\", \"state\": \"still, damp, blue-black\"}, {\"camera_use\": \"Adds rough domestic rooftop texture without drawing attention from the door.\", \"directionality_class\": \"directional_3d\", \"element\": \"low rooftop wall\", \"orientation\": \"Its top edge runs horizontally across the lower background, barely lit against the night.\", \"state\": \"wet-stained, concrete, motionless\"}]\nframe_spatial_contract: {\"constraints\": [{\"depth_plane\": \"background\", \"gesture_action\": \"none\", \"gesture_target_label\": \"\", \"label\": \"half-open rooftop iron door\", \"screen_zone\": \"middle_center\", \"target_id\": \"\", \"target_kind\": \"background\"}], \"reason\": \"required_background_position\"}\n\n[S12_Shot15] (indoor; loc=L04; scene_heading=S#12. 옥탑방 안 / N)\ndescription: 침대 위 어두운 벽면에 피가 번지듯 선명한 붉은색 원형 표식이 그려진 상태의 정지 구도.\nframing_scale: medium\ncamera_direction: From low bedside height near the mattress edge, the camera completes its upward tilt and locks off on the dark wall above the bed, where a completed red circular mark sits in the upper middle of frame. The bed edge remains only as a thin lower strip for scale, while the wall becomes an oppressive flat plane; this is aligned with 수리영’s panicked perception, the image subtly treated as an occult hallucination rather than stable reality.\nkey_bg_elements: [{\"camera_use\": \"Primary occult surface holding the completed mark.\", \"directionality_class\": \"content_surface\", \"element\": \"dark wall above the bed\", \"orientation\": \"The camera-facing wall face is visible, carrying a vivid red circular mark at its center.\", \"state\": \"dark, stained-looking, marked\"}, {\"camera_use\": \"Lower frame scale reference beneath the wall.\", \"directionality_class\": \"directional_3d\", \"element\": \"bed edge\", \"orientation\": \"The side edge of the mattress faces the camera from below, cropped into a narrow horizontal band.\", \"state\": \"dim, still, partly obscured\"}, {\"camera_use\": \"Symbolic focal mark on the wall.\", \"directionality_class\": \"content_surface\", \"element\": \"red circular mark\", \"orientation\": \"The painted-looking face of the circle is fully visible to the camera, as if freshly drawn into the wall surface.\", \"state\": \"bright red, wet-looking, completed\"}]\n\n[S12_Shot4] (indoor; loc=L04; scene_heading=S#12. 옥탑방 안 / N)\ndescription: 열린 방문 틈으로 보이는 방바닥에 검붉은 핏자국이 흥건하게 고여 있는 정지 구도.\nframing_scale: close\ncamera_direction: From the low waist-height position outside the bedroom doorway, the camera holds completely still about three feet back, peering through the opened door gap toward the dark red blood pooled on the floor just beyond the threshold. The door edges form a narrow vertical frame on both sides, with the blood occupying the lower middle of the image and the dim bedroom receding into blue-gray darkness behind it; this is a neutral observer’s direct view, not a character POV.\nkey_bg_elements: [{\"camera_use\": \"Foreground framing device that restricts the view into the room.\", \"directionality_class\": \"directional_3d\", \"element\": \"opened bedroom door\", \"orientation\": \"The inner edge of the door faces the camera at an oblique angle, creating a narrow gap into the room.\", \"state\": \"open, still, shadowed\"}, {\"camera_use\": \"Primary visual focus on the floor just inside the doorway.\", \"directionality_class\": \"non_directional\", \"element\": \"dark red blood pool\", \"orientation\": \"\", \"state\": \"wet, thick, spread across the floor\"}, {\"camera_use\": \"Texture under the blood and scale reference for the room.\", \"directionality_class\": \"non_directional\", \"element\": \"bedroom floor\", \"orientation\": \"\", \"state\": \"dirty, damp-looking, partially covered by blood\"}]\n\n[S12_Shot8] (indoor; loc=L04; scene_heading=S#12. 옥탑방 안 / N)\ndescription: 두 눈을 크게 뜨고 입을 벌린 채 굳어버린 수리영의 창백한 얼굴 클로즈업.\ncharacters: 수리영\nframing_scale: close\ncamera_direction: At eye level directly in front of 수리영, the handheld camera compresses tighter than the stage distance until her pale face nearly fills the frame, backing away only a fraction as her shock freezes mid-recoil. The background is almost lost in darkness, with only a faint suggestion of the room’s black edges behind her; the view remains a direct observer angle, but the proximity feels invasive and breathless.\nkey_bg_elements: [{\"camera_use\": \"Nearly swallowed background plane behind her face.\", \"directionality_class\": \"non_directional\", \"element\": \"dark bedroom recess\", \"orientation\": \"\", \"state\": \"unlit, indistinct\"}, {\"camera_use\": \"Soft edge shadow that isolates her head from the room.\", \"directionality_class\": \"directional_3d\", \"element\": \"bedroom doorway edge\", \"orientation\": \"A narrow side edge catches minimal spill light behind her shoulder.\", \"state\": \"partially visible, shadowed\"}]\nframe_spatial_contract: {\"constraints\": [{\"depth_plane\": \"foreground\", \"gesture_action\": \"none\", \"gesture_target_label\": \"\", \"label\": \"수리영 terrified face\", \"screen_zone\": \"middle_center\", \"target_id\": \"C01\", \"target_kind\": \"character\"}], \"reason\": \"primary_subject_isolation\"}\n\n[S13_Shot3] (outdoor; loc=L03; scene_heading=S#13. 옥탑방 외곽 / N)\ndescription: 차에서 내린 혜수가 초점 없는 눈으로 멍하게 서 있는 수리영을 향해 시선을 고정한 찰나의 상체.\ncharacters: 혜수, 수리영\nframing_scale: medium\ncamera_direction: Beside the police car at chest height, the tracking move slows into a held upper-body frame on 혜수 as she has just stepped out, her body paused between the car and the alley. 수리영 appears farther down the alley in soft background focus, small and blank beneath flashing siren wash, while 혜수 occupies the left foreground in a tense three-quarter view; this is a direct observer view moving parallel with her discovery.\nkey_bg_elements: [{\"camera_use\": \"Foreground context and flashing light source beside 혜수.\", \"directionality_class\": \"directional_3d\", \"element\": \"police car\", \"orientation\": \"The side of the car and open door angle toward the camera, framing 혜수’s exit.\", \"state\": \"parked, door open, siren lights active\"}, {\"camera_use\": \"Depth corridor between 혜수 and 수리영.\", \"directionality_class\": \"directional_3d\", \"element\": \"narrow alley\", \"orientation\": \"The alley recedes diagonally from the police car toward 수리영 in the background.\", \"state\": \"wet, dark, foggy\"}, {\"camera_use\": \"Intermittent color wash across faces and walls.\", \"directionality_class\": \"non_directional\", \"element\": \"siren light spill\", \"orientation\": \"\", \"state\": \"flashing red-blue across damp surfaces\"}]\nframe_spatial_contract: {\"constraints\": [{\"depth_plane\": \"foreground\", \"gesture_action\": \"looks_toward\", \"gesture_target_label\": \"수리영 down the alley\", \"label\": \"혜수 by police car\", \"screen_zone\": \"middle_left\", \"target_id\": \"C02\", \"target_kind\": \"character\"}, {\"depth_plane\": \"background\", \"gesture_action\": \"none\", \"gesture_target_label\": \"\", \"label\": \"수리영 in alley\", \"screen_zone\": \"middle_right\", \"target_id\": \"C01\", \"target_kind\": \"character\"}], \"reason\": \"shared_space_relation\"}\n\n[S13_Shot5] (outdoor; loc=L03; scene_heading=S#13. 옥탑방 외곽 / N)\ndescription: 수리영이 고개를 들어 혜수의 얼굴을 올려다보는 정적 구도.\ncharacters: 수리영, 혜수\nframing_scale: close\ncamera_direction: The camera sits low near 수리영’s eye level, about one meter away, tightened into a still close composition as she lifts her face toward 혜수 just above the frame. 수리영 holds the lower center of the image, her upward eyeline creating the unseen presence of 혜수, while the wet alley background blurs into dark blue-gray; this is a direct observer angle from the space between them.\nkey_bg_elements: [{\"camera_use\": \"Soft, dark background texture behind 수리영’s head.\", \"directionality_class\": \"non_directional\", \"element\": \"wet alley wall\", \"orientation\": \"\", \"state\": \"damp, shadowed, out of focus\"}, {\"camera_use\": \"Atmospheric layer around her face.\", \"directionality_class\": \"non_directional\", \"element\": \"night fog\", \"orientation\": \"\", \"state\": \"thin, drifting, blue-gray\"}, {\"camera_use\": \"Off-screen motivated color pulse on her skin.\", \"directionality_class\": \"non_directional\", \"element\": \"police siren spill\", \"orientation\": \"\", \"state\": \"intermittent, faint\"}]\nframe_spatial_contract: {\"constraints\": [{\"depth_plane\": \"foreground\", \"gesture_action\": \"looks_toward\", \"gesture_target_label\": \"혜수 just above frame\", \"label\": \"수리영 close low frame\", \"screen_zone\": \"middle_center\", \"target_id\": \"C01\", \"target_kind\": \"character\"}], \"reason\": \"primary_subject_isolation\"}\n\n[S14_Shot4] (indoor; loc=L04; scene_heading=S#14. 옥탑방 안 / N)\ndescription: 핏자국 하나 없이 깨끗하게 정돈된 수리영의 방 내부 정지 구도.\nframing_scale: wide\ncamera_direction: Just inside 수리영’s bedroom doorway at eye level, the camera holds a wide, unmoving view inward toward the bed, bare wall, curtain, and spotless floor. The room is framed as evidence: the clean floor stretches across the lower half, the curtain line sits to one side where the body should have been, and the wall above the bed remains blank; this is a direct neutral observation of absence.\nkey_bg_elements: [{\"camera_use\": \"Primary proof of erased violence across the lower frame.\", \"directionality_class\": \"non_directional\", \"element\": \"spotless bedroom floor\", \"orientation\": \"\", \"state\": \"clean, dry, no blood marks\"}, {\"camera_use\": \"Central room anchor and comparison point for the missing wall mark.\", \"directionality_class\": \"directional_3d\", \"element\": \"bed\", \"orientation\": \"The side and top plane of the bed face the camera from mid-frame.\", \"state\": \"neatly made, undisturbed\"}, {\"camera_use\": \"Surface where the red circle should have been absent.\", \"directionality_class\": \"content_surface\", \"element\": \"wall above the bed\", \"orientation\": \"The camera-facing wall face is visible and completely bare, carrying no red circular mark.\", \"state\": \"clean, dark, unmarked\"}, {\"camera_use\": \"Empty area where the hidden body had been discovered earlier.\", \"directionality_class\": \"directional_3d\", \"element\": \"curtain line\", \"orientation\": \"The front folds face the camera from the side of the room, concealing only darkness and empty space behind.\", \"state\": \"hanging still, clean, no body visible\"}]\n\n[S14_Shot6] (indoor; loc=L04; scene_heading=S#14. 옥탑방 안 / N)\ndescription: 수리영이 핏기가 가신 창백한 얼굴로 멍하니 빈 커튼 쪽을 응시하는 정면.\ncharacters: 수리영\nframing_scale: close\ncamera_direction: Inside the bedroom near the bed and curtain side, the dolly-in ends in a frontal upper-body emphasis on 수리영, close enough that her pale face and rigid shoulders take most of the frame. She looks past the camera toward the empty curtain area, which is kept implied rather than shown, turning the direct observer view into a psychological confrontation with the missing evidence.\nkey_bg_elements: [{\"camera_use\": \"Blurred side texture suggesting where the corpse should have been.\", \"directionality_class\": \"directional_3d\", \"element\": \"curtain edge\", \"orientation\": \"Only a soft side fold is visible near the frame edge, with the empty area kept off-camera.\", \"state\": \"still, clean, partially out of focus\"}, {\"camera_use\": \"Low background shape behind her shoulder.\", \"directionality_class\": \"directional_3d\", \"element\": \"bed corner\", \"orientation\": \"The near corner angles away behind 수리영, cropped and subdued.\", \"state\": \"neat, undisturbed\"}, {\"camera_use\": \"Absence marker behind her expression.\", \"directionality_class\": \"content_surface\", \"element\": \"blank wall\", \"orientation\": \"The visible wall face behind her is bare and carries no red mark.\", \"state\": \"unmarked, dim\"}]\nframe_spatial_contract: {\"constraints\": [{\"depth_plane\": \"foreground\", \"gesture_action\": \"looks_toward\", \"gesture_target_label\": \"empty curtain area behind camera\", \"label\": \"수리영 frontal close frame\", \"screen_zone\": \"middle_center\", \"target_id\": \"C01\", \"target_kind\": \"character\"}], \"reason\": \"primary_subject_isolation\"}\n\n[S14_Shot8] (indoor; loc=L04; scene_heading=S#14. 옥탑방 안 / N)\ndescription: 식탁 앞에 선 수리영이 빈 식탁을 손가락으로 가리킨 채 멈춘 측면 상체.\ncharacters: 수리영\nframing_scale: medium\ncamera_direction: At chest height beside the dining table, the camera settles from the track into a brief still side composition perpendicular to 수리영’s body line. Her profile holds the left half of frame while her pointing hand cuts toward the bare tabletop on the right, keeping both the gesture and the missing teacups in one direct observational image.\nkey_bg_elements: [{\"camera_use\": \"Gesture target proving the vanished cups.\", \"directionality_class\": \"directional_3d\", \"element\": \"bare dining table\", \"orientation\": \"The clean top plane faces the camera at a shallow angle, with no cups where her finger indicates.\", \"state\": \"clean, empty, dry\"}, {\"camera_use\": \"Dim living-room depth behind the table.\", \"directionality_class\": \"directional_3d\", \"element\": \"living room wall and doorway\", \"orientation\": \"The wall and doorway recede behind 수리영 in side view.\", \"state\": \"shadowed, quiet\"}, {\"camera_use\": \"Soft ambient source in the room.\", \"directionality_class\": \"directional_3d\", \"element\": \"living room stand lamp\", \"orientation\": \"The lamp shade is seen from the side, its warm face turned slightly away from camera.\", \"state\": \"on, weak amber\"}]\nframe_spatial_contract: {\"constraints\": [{\"depth_plane\": \"foreground\", \"gesture_action\": \"points_to\", \"gesture_target_label\": \"bare dining tabletop\", \"label\": \"수리영 pointing beside table\", \"screen_zone\": \"middle_left\", \"target_id\": \"C01\", \"target_kind\": \"character\"}, {\"depth_plane\": \"midground\", \"gesture_action\": \"none\", \"gesture_target_label\": \"\", \"label\": \"bare dining tabletop\", \"screen_zone\": \"middle_right\", \"target_id\": \"\", \"target_kind\": \"background\"}], \"reason\": \"points_to_anchor\"}\n\n[S17_Shot1] (outdoor; loc=L03; scene_heading=S#17. 옥탑방 / 동틀무렵)\ndescription: 짙고 푸른 안개가 깔린 새벽녘, 희미한 노란 불빛이 켜진 옥탑방 창문을 향해 검은 고양이 한 마리가 고개를 돌린 찰나의 측면.\nframing_scale: medium\ncamera_direction: Low at the 검은 고양이’s shoulder height, roughly one meter away, the camera tracks parallel along the rooftop wall and then holds a brief side profile as the cat turns its head toward the lit rooftop-room window. The cat occupies the lower left-to-center band of the frame, while the faint yellow window hangs in the misty background line of sight above the wall.\nkey_bg_elements: [{\"camera_use\": \"distant visual lure for the cat’s head turn\", \"directionality_class\": \"transparent_surface\", \"element\": \"rooftop-room window\", \"orientation\": \"fogged glass shows a weak yellow interior glow beyond it\", \"state\": \"closed, lit from inside\"}, {\"camera_use\": \"tracking guide and jump setup\", \"directionality_class\": \"directional_3d\", \"element\": \"low concrete rooftop wall\", \"orientation\": \"the long side face runs parallel to the camera movement, with its top edge rising toward the next action\", \"state\": \"damp, stained\"}, {\"camera_use\": \"atmospheric veil separating cat and room\", \"directionality_class\": \"non_directional\", \"element\": \"blue dawn fog\", \"orientation\": \"\", \"state\": \"thick, cold, slowly moving\"}]\nframe_spatial_contract: {\"constraints\": [{\"depth_plane\": \"foreground\", \"gesture_action\": \"looks_toward\", \"gesture_target_label\": \"lit rooftop window\", \"label\": \"black cat\", \"screen_zone\": \"lower_left\", \"target_id\": \"C11\", \"target_kind\": \"character\"}, {\"depth_plane\": \"background\", \"gesture_action\": \"none\", \"gesture_target_label\": \"\", \"label\": \"lit rooftop window\", \"screen_zone\": \"upper_right\", \"target_id\": \"\", \"target_kind\": \"background\"}], \"reason\": \"looks_to_anchor\"}\n\n[S18_Shot15] (indoor; loc=L04; scene_heading=S#18. 안방 안 / D)\ndescription: 거울 속 욕실 벽면에 선명한 붉은색 원형 표식이 맺혀 있는 정지 구도.\nframing_scale: insert\ncamera_direction: Inside the bathroom, the camera is fixed at eye level about three feet from the mirror, tightened so the mirror reflection becomes the frame and the reflected rear wall sits centered. The red circular mark is isolated near the middle of the reflected wall, with only a sliver of mirror edge and damp tile context allowed to remain, making the apparition feel graphic and unavoidable.\nkey_bg_elements: [{\"camera_use\": \"the shot’s perceptual surface and compositional border\", \"directionality_class\": \"reflective_surface\", \"element\": \"bathroom mirror\", \"orientation\": \"the mirror reflects the rear bathroom wall and the impossible red circular mark; a narrow mirror edge confirms this is a reflected view\", \"state\": \"slightly misted, cold\"}, {\"camera_use\": \"surface on which the occult symbol appears within reflection\", \"directionality_class\": \"content_surface\", \"element\": \"reflected bathroom wall\", \"orientation\": \"the wall face visible in the mirror carries a sharp crimson circular mark at its center\", \"state\": \"pale tile surface, otherwise clean\"}, {\"camera_use\": \"claustrophobic bathroom texture\", \"directionality_class\": \"non_directional\", \"element\": \"damp tile grout\", \"orientation\": \"\", \"state\": \"wet-looking, gray, stained\"}]\nframe_spatial_contract: {\"constraints\": [{\"depth_plane\": \"midground\", \"gesture_action\": \"none\", \"gesture_target_label\": \"\", \"label\": \"red circular mark in mirror reflection\", \"screen_zone\": \"middle_center\", \"target_id\": \"\", \"target_kind\": \"background\"}], \"reason\": \"required_background_position\"}\n\n[S18_Shot20] (indoor; loc=L04; scene_heading=S#18. 안방 안 / D)\ndescription: 식탁 위에 놓인 사진 속, 살점이 뭉개진 채 기괴하게 흘러내린 (변형된 민숙)의 모습 클로즈업.\ncharacters: 민숙\nframing_scale: insert\ncamera_direction: At tabletop height beside the dining table, the push-in finishes at an extreme close angle on the framed photograph, stripping away nearly all surrounding table context. The mother’s photographed face, now perceived as 민숙 (변형된), occupies the central close field in a grotesque melted distortion, while the photo frame edge remains barely visible to prove this horror is trapped inside the image surface.\nkey_bg_elements: [{\"camera_use\": \"primary hallucinated image surface\", \"directionality_class\": \"content_surface\", \"element\": \"framed family photograph\", \"orientation\": \"the front image face is angled slightly upward to camera, showing the mother’s face grotesquely distorted within the printed photo\", \"state\": \"upright on table, visually corrupted by hallucination\"}, {\"camera_use\": \"thin physical proof that this is still a household object\", \"directionality_class\": \"reflective_surface\", \"element\": \"photo frame glass\", \"orientation\": \"the glass reflects a dim streak of room light across the distorted face without hiding it\", \"state\": \"clean but unnervingly glossy\"}, {\"camera_use\": \"minimal scale reference around the frame\", \"directionality_class\": \"directional_3d\", \"element\": \"dining table edge\", \"orientation\": \"only a narrow tabletop plane and edge remain at the lower frame margin\", \"state\": \"still, ordinary, dim\"}]\nframe_spatial_contract: {\"constraints\": [{\"depth_plane\": \"foreground\", \"gesture_action\": \"none\", \"gesture_target_label\": \"\", \"label\": \"distorted mother’s face inside framed photograph\", \"screen_zone\": \"middle_center\", \"target_id\": \"C12\", \"target_kind\": \"character\"}], \"reason\": \"primary_subject_isolation\"}\n\n[S18_Shot6] (indoor; loc=L04; scene_heading=S#18. 안방 안 / D)\ndescription: 열린 방문 너머, 핏자국 하나 없이 말끔하게 정돈된 방안 정경.\nframing_scale: wide\ncamera_direction: Just outside 수리영’s room, the camera stays eye-level and static about five feet from the threshold, looking straight through the opened door into a room that appears too clean. The doorway forms a dark rectangular frame around the orderly bed, smooth floor, and untouched curtains, with no body, no stain, and no trace where memory said there should be horror.\nkey_bg_elements: [{\"camera_use\": \"primary frame-within-frame revealing the room\", \"directionality_class\": \"directional_3d\", \"element\": \"opened bedroom door\", \"orientation\": \"the door slab is swung aside so the camera sees through the threshold into the room\", \"state\": \"open, still\"}, {\"camera_use\": \"visual proof of unnatural order\", \"directionality_class\": \"directional_3d\", \"element\": \"neatly arranged bed\", \"orientation\": \"the bed’s side and top plane face camera beyond the doorway\", \"state\": \"made, undisturbed\"}, {\"camera_use\": \"absence marker where the earlier horror is expected\", \"directionality_class\": \"transparent_surface\", \"element\": \"bedroom window with curtains\", \"orientation\": \"the window is partly obscured by clean curtains, with pale daylight diffused beyond\", \"state\": \"closed, curtains hanging evenly\"}, {\"camera_use\": \"negative evidence emphasized by stillness\", \"directionality_class\": \"non_directional\", \"element\": \"spotless bedroom floor\", \"orientation\": \"\", \"state\": \"clean, dry, no blood visible\"}]\n\n[S25_Shot4] (indoor; loc=L04; scene_heading=S#25. 옥탑방 안 / 해질 무렵)\ndescription: 붉은 원 한가운데에 피가 묻은 낡은 흑백 사진이 꽂혀 있는 클로즈업.\nframing_scale: close\ncamera_direction: Inside the bedroom at eye level, the dolly-in ends locked nearly perpendicular to the torn wall, holding a close composition where the blood-stained black-and-white photograph sits pinned at the exact center of a crimson circle. The photo and red mark take up the central mass of the frame, while the rough wall texture remains visible around them like scraped skin.\nkey_bg_elements: [{\"camera_use\": \"central occult symbol and compositional target\", \"directionality_class\": \"content_surface\", \"element\": \"red circular wall mark\", \"orientation\": \"the painted wall face is directly visible to camera, showing a rough crimson circle surrounding the pinned photograph\", \"state\": \"fresh-looking, uneven, ominous\"}, {\"camera_use\": \"primary revealed clue\", \"directionality_class\": \"content_surface\", \"element\": \"old black-and-white photograph\", \"orientation\": \"the front image face is visible, showing an aged rural restaurant scene partially obscured by blood stains\", \"state\": \"pinned to wall, creased, blood-stained\"}, {\"camera_use\": \"macabre texture around the clue\", \"directionality_class\": \"non_directional\", \"element\": \"torn bedroom wall texture\", \"orientation\": \"\", \"state\": \"scraped, dirty, disturbed\"}]\n\n[S25_Shot8] (indoor; loc=L04; scene_heading=S#25. 옥탑방 안 / 해질 무렵)\ndescription: 수리영이 한 손에 구겨진 사진을 꽉 쥔 채 백팩을 메고 현관 밖으로 한 발을 내디딘 찰나의 뒷모습.\ncharacters: 수리영\nframing_scale: wide\ncamera_direction: From inside the rooftop room behind 수리영, slightly below eye level and several feet back, the tracking shot widens just enough to include the open front-door threshold as she steps out. Her back and backpack sit in the middle of frame, one foot crossing into the exterior light, while the crumpled photograph remains readable as a tight fist-level detail near her right side.\nkey_bg_elements: [{\"camera_use\": \"destination frame and exit boundary\", \"directionality_class\": \"directional_3d\", \"element\": \"open front door\", \"orientation\": \"the inside face of the open door and its threshold angle toward the camera as 수리영 exits\", \"state\": \"open, letting in dim exterior dusk\"}, {\"camera_use\": \"evidence of intrusion in the room she leaves behind\", \"directionality_class\": \"non_directional\", \"element\": \"scattered household debris\", \"orientation\": \"\", \"state\": \"ransacked, strewn across the floor\"}, {\"camera_use\": \"broken domestic geometry in the side background\", \"directionality_class\": \"directional_3d\", \"element\": \"overturned dining chairs\", \"orientation\": \"chair legs jut sideways at uneven angles across the room\", \"state\": \"knocked over\"}, {\"camera_use\": \"damp air source and unsettling escape route implication\", \"directionality_class\": \"transparent_surface\", \"element\": \"open living-room window\", \"orientation\": \"the camera sees the dark opening and wet exterior air beyond the window frame\", \"state\": \"open, dirty, cold\"}]\nframe_spatial_contract: {\"constraints\": [{\"depth_plane\": \"midground\", \"gesture_action\": \"moves_toward\", \"gesture_target_label\": \"open front door\", \"label\": \"수리영\", \"screen_zone\": \"middle_center\", \"target_id\": \"C01\", \"target_kind\": \"character\"}, {\"depth_plane\": \"background\", \"gesture_action\": \"none\", \"gesture_target_label\": \"\", \"label\": \"open front door threshold\", \"screen_zone\": \"upper_center\", \"target_id\": \"\", \"target_kind\": \"background\"}], \"reason\": \"movement_direction\"}\n\n[S27_Shot1] (indoor; loc=L04; scene_heading=S#27. 옥탑방 안 / 해질 무렵)\ndescription: 난장판이 된 옥탑방 거실, 혜수가 핸드폰을 귀에 댄 채 심각한 표정으로 굳어 있는 상체.\ncharacters: 혜수\nframing_scale: medium\ncamera_direction: Inside the rooftop living room at chest height, the camera continues the flow’s slow dolly-in from about 2.5 meters, tightening to a medium upper-body frame of 혜수 with the phone pressed to her ear. She sits slightly right of center amid overturned, damp-looking clutter, angled three-quarters as if her attention has just pulled toward 김형사 off-frame rather than toward us.\nkey_bg_elements: [{\"camera_use\": \"visible disorder around 혜수, keeping the room’s violated condition readable behind her\", \"directionality_class\": \"non_directional\", \"element\": \"scattered rooftop-room clutter\", \"orientation\": \"\", \"state\": \"messy, overturned, neglected\"}, {\"camera_use\": \"background source of cold draft and later sound, held out of focus behind the anxiety\", \"directionality_class\": \"directional_3d\", \"element\": \"entrance door\", \"orientation\": \"its inner face angles slightly away from camera, showing the rattling edge and frame gap\", \"state\": \"not fully secure, wind-shaken\"}, {\"camera_use\": \"thin translucent layer over the small room window, adding a damp dusk haze\", \"directionality_class\": \"transparent_surface\", \"element\": \"grimy window glass\", \"orientation\": \"dirty glass catches the gray exterior light while showing only a blurred rooftop beyond\", \"state\": \"streaked, dim\"}]\n\n[S4_Shot1] (outdoor; loc=L03; scene_heading=S#4. 옥탑방 / D)\ndescription: 인천 변두리의 낡고 오래된 빌라 옥탑방 외부 전경이 한눈에 내려다보이는 부감 구도.\nframing_scale: wide\ncamera_direction: An omniscient overhead camera holds from about forty-five meters above the old villa, centered on the rooftop room while still keeping the surrounding neighborhood readable. The rooftop structure sits in the middle of the frame like a small exposed shrine, boxed in by worn roofs, narrow alleys, and faded concrete blocks.\nkey_bg_elements: [{\"camera_use\": \"The rooftop room is the central visual anchor and destination of the aerial reveal.\", \"directionality_class\": \"directional_3d\", \"element\": \"old rooftop room exterior\", \"orientation\": \"its roof and front wall are visible from above, with the doorway side angled slightly toward camera\", \"state\": \"aged, patched, weather-stained\"}, {\"camera_use\": \"Surrounding villa roofs create a cramped grid that isolates the rooftop room.\", \"directionality_class\": \"directional_3d\", \"element\": \"neighboring old villa rooftops\", \"orientation\": \"flat roof planes face upward toward the overhead camera\", \"state\": \"worn, cluttered, pale gray\"}, {\"camera_use\": \"A thin haze softens the outskirts and carries the news voice’s unease into the space.\", \"directionality_class\": \"non_directional\", \"element\": \"damp urban haze\", \"orientation\": \"\", \"state\": \"thin, bluish, stagnant\"}]\nframe_spatial_contract: {\"constraints\": [{\"depth_plane\": \"midground\", \"gesture_action\": \"none\", \"gesture_target_label\": \"\", \"label\": \"old rooftop room\", \"screen_zone\": \"middle_center\", \"target_id\": \"\", \"target_kind\": \"background\"}], \"reason\": \"required_background_position\"}\n\n[S5_Shot10] (indoor; loc=L04; scene_heading=S#5. 옥탑방 안 / 실내)\ndescription: 수리영이 민숙의 어깨에 코를 묻고 멈춘 찰나의 측면.\ncharacters: 수리영, 민숙\nframing_scale: close\ncamera_direction: The camera follows the flow into the narrow entrance area and holds side-on at shoulder height, about one meter away, lens parallel to the wall to compress mother and daughter together. The tighter profile frame favors the contact point: Suriyeong’s face and nose press into Minsuk’s shoulder at center-left, while Minsuk’s softened profile and apron edge sit center-right.\nkey_bg_elements: [{\"camera_use\": \"The narrow wall flattens the space and makes their closeness feel private and fragile.\", \"directionality_class\": \"non_directional\", \"element\": \"entrance wall\", \"orientation\": \"\", \"state\": \"worn, slightly yellowed, close to camera plane\"}, {\"camera_use\": \"The shoe area at the bottom edge hints at Suriyeong leaving soon without pulling focus from the embrace.\", \"directionality_class\": \"directional_3d\", \"element\": \"entryway shoe area\", \"orientation\": \"shoe tops and low threshold edge face the camera from below the profiles\", \"state\": \"cluttered, dim\"}, {\"camera_use\": \"The door seam creates a vertical boundary beside them, suggesting a moment just before departure.\", \"directionality_class\": \"directional_3d\", \"element\": \"front door seam\", \"orientation\": \"the flat door face is seen in side compression, seam running vertically near the right edge\", \"state\": \"closed, dull, scuffed\"}]\n\n[S5_Shot12] (indoor; loc=L04; scene_heading=S#5. 옥탑방 안 / 실내)\ndescription: 민숙의 손목 안쪽에 새겨진 작은 원 모양의 표식 클로즈업.\ncharacters: 민숙\nframing_scale: insert\ncamera_direction: The camera completes the flow’s downward push from Suriyeong’s side of the entrance to a very close waist-height insert, about twenty centimeters from Minsuk’s inner wrist. The wrist cuts diagonally across the center of frame, the small circular mark isolated in sharp focus while skin, sleeve edge, and the entryway behind fall into creamy blur.\nkey_bg_elements: [{\"camera_use\": \"The marked skin surface is the focal plane and occult reveal.\", \"directionality_class\": \"content_surface\", \"element\": \"inner wrist with circular mark\", \"orientation\": \"the inner wrist surface faces the camera, showing a small dark circular mark clearly against the skin\", \"state\": \"exposed, sharply focused, mark unusually distinct\"}, {\"camera_use\": \"The sleeve cuff frames the wrist without becoming the subject.\", \"directionality_class\": \"directional_3d\", \"element\": \"apron or sleeve edge\", \"orientation\": \"fabric edge runs along the wrist from camera-left, seen as a soft side fold\", \"state\": \"soft, worn, out of focus\"}, {\"camera_use\": \"The entrance background becomes an indistinct shadow field so the symbol carries the tension.\", \"directionality_class\": \"non_directional\", \"element\": \"blurred entryway background\", \"orientation\": \"\", \"state\": \"dim, warm-gray, unfocused\"}]\nframe_spatial_contract: {\"constraints\": [{\"depth_plane\": \"foreground\", \"gesture_action\": \"none\", \"gesture_target_label\": \"\", \"label\": \"Minsuk inner wrist mark\", \"screen_zone\": \"middle_center\", \"target_id\": \"C04\", \"target_kind\": \"character\"}], \"reason\": \"primary_subject_isolation\"}\n\n[S5_Shot3] (indoor; loc=L04; scene_heading=S#5. 옥탑방 안 / 실내)\ndescription: 앞치마를 두른 민숙이 어두운 표정으로 거실 TV 화면을 응시하며 굳어 있는 상체.\ncharacters: 민숙\nframing_scale: medium\ncamera_direction: The observer camera settles at the end of its lateral track from near the sink and small window, chest height and about two and a half meters from Minsuk, looking across the counter line toward the living room TV. Minsuk is held in an upper-body frame at the right-middle of the image, shoulders locked in her apron as the kitchen foreground remains softly present and the TV glow pulls her stare off-frame.\nkey_bg_elements: [{\"camera_use\": \"The TV is the off-frame source of her fixed attention and casts a cold news glow across the room.\", \"directionality_class\": \"content_surface\", \"element\": \"living room TV screen\", \"orientation\": \"the screen face is angled away from the camera, showing only a sliver of moving blue news light rather than readable content\", \"state\": \"on, low volume, flickering\"}, {\"camera_use\": \"The sink and herbs sit in the near foreground, domestic routine interrupted by dread.\", \"directionality_class\": \"directional_3d\", \"element\": \"sink with unfinished medicinal herbs\", \"orientation\": \"the basin rim and faucet side face the camera across the counter\", \"state\": \"water running, herbs wet and half-washed\"}, {\"camera_use\": \"Steam from the pot veils the compact room and gives the practical light a sick texture.\", \"directionality_class\": \"non_directional\", \"element\": \"boiling pot steam\", \"orientation\": \"\", \"state\": \"rising, thin, wavering\"}, {\"camera_use\": \"The small window gives a narrow daylight slit that contrasts with the TV’s colder glow.\", \"directionality_class\": \"transparent_surface\", \"element\": \"small living-room window\", \"orientation\": \"slightly dirty glass admits pale daylight; only a blurred exterior brightness is visible through it\", \"state\": \"closed, dusty\"}]\n\nBuild the block layout now."}
{"ts": "2026-07-05 13:54:53", "kind": "code_render", "tag": "blockset", "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/blockset.png", "elements": 16}
{"ts": "2026-07-05 13:54:53", "kind": "stage", "stage": "s12_blockset", "done": "all"}
{"ts": "2026-07-05 14:11:10", "kind": "llm", "step": "forest_blockset_layout_v2", "model": "gpt", "dur_s": 67.6, "system_prompt": "You are a set-layout analyst for film pre-production. You get one\nreal-world place's member descriptions, the FULL ORIGINAL TEXT of every scene\nthat plays there, and the full content of every shot. Build ONE top-down BLOCK\nLAYOUT of the whole property as structured data for a code renderer — plain\nblocks for structural understanding (relative sizes and positions), not art.\n\nCanvas: 100 wide x 100 tall, x rightward, y downward. Use most of the canvas.\nSizes and positions are YOUR relative judgement, but every spatial relation the\ntexts imply (what is beside/under/above what, what connects what, which side an\nentrance/stair/window is on) must be honoured.\n\nHEIGHT LAYERS (3-6): you define them. Each layer = layer_id, name_en (1-3\nwords), desc_ko (one Korean sentence: what physical height this is, e.g. 지면 /\n건물 옥상면 / 옥탑 지붕면), rel_height (number, 0 = ground, increasing upward).\nEvery element references one layer_id — the renderer colours by layer, because\na top-down drawing cannot show height. Neighbour buildings also get the layer\nmatching their described height.\n\nElements:\n- kinds: building_mass, upper_shell (enclosed upper dwelling — outline only,\n  never interior), terrace, yard, road, alley, stair, wall, neighbor_mass\n  (BLOCK kinds — marker must be a capital LETTER A,B,C...), and door, window,\n  gate, fixture_round, fixture_rect, equipment (POINT kinds — marker must be a\n  NUMBER 1,2,3...). Markers unique.\n- shape \"rect\": x,y = top-left, w,h sizes, rot_deg rotates around centre.\n  shape \"circle\": x,y = centre, w = h = diameter, rot_deg 0.\n- doors/windows/gates sit ON their host block's edge line. \"repeat\" = how many\n  identical openings the strip contains (1 for a single opening).\n- COUNT-CRITICAL: the number and count of openings must match the texts. The\n  upper dwelling's windows: mark exactly as many as the scenes support, on the\n  sides the texts support. The main building's facade windows: include them;\n  if the texts give no exact count, choose a modest count and set\n  certainty=\"inferred\" (otherwise certainty=\"text\").\n- Simplify ALL neighbouring buildings to plain neighbor_mass rects (no detail,\n  no openings). Include the road/alley approach around the street entrance.\n- Include permanent fixtures the scenes rely on (round tank -> fixture_round,\n  low platform -> fixture_rect, machine unit -> equipment). NO story props, no\n  vehicles, no people, nothing temporary.\n- 10 to 26 elements. name_en: 1-3 generic English words, no proper names.\n  desc_ko: one short Korean sentence — what it is and its key relation\n  (verbatim shown to the human reviewer).\n- evidence: source = scene index / shot key / member id, quote = exact phrase\n  copied from the given texts (original language). certainty=\"text\" needs a\n  real quote; \"inferred\" states the nearest supporting line.\n\nAlso output layout_notes_ko: 3-6 Korean sentences describing the overall\narrangement logic (verbatim shown to the human reviewer).", "user_prompt": "PLACE MEMBERS:\n- (outdoor, L03) 인천 변두리 낡은 빌라 옥탑방 옥상·현관 앞 외부: 낡은 다세대 빌라 꼭대기에 위치한 야외 공간. 물탱크, 흔들리는 빨랫줄, 평상 위 약초 건조 흔적, 낡은 철문 현관이 있다. (특징: 낡은 시멘트 바닥; 물탱크; 바람에 날리는 빨랫줄; 평상과 널려 있는 말린 약초(석창포); 전단지가 끼워진 철문 현관)\n- (indoor, L04) 옥탑방 내부: 작은 창문으로 빛이 들어오는 낡은 주거 공간. 싱크대, 식탁, TV가 있는 거실과 침대, 커튼, 거울 등이 있는 방/욕실로 구성된다. 약초 끓이는 냄비 등 생활 소품이 있으며, 간헐적으로 벽면에 붉은 원 형태의 환영과 핏자국이 생겨난다. (특징: 작은 창문의 햇살; 싱크대와 약초(석창포); 가스레인지 위 끓는 냄비와 수증기; 거실 TV와 스탠드; 침대, 커튼, 거울; 벽과 거울 표면에 나타나는 붉은 원 환영; 바닥과 벽의 핏자국 (특정 시점); 어지럽혀진 가재도구 (특정 시점))\n- (outdoor, L10) 옥탑방 외곽 골목·시멘트 계단: 다세대 빌라 마당의 후미진 구석과 옥탑방으로 올라가는 가파르고 낡은 시멘트 계단. (특징: 다세대 빌라 입구 마당; 후미진 구석 공간; 낡고 가파른 시멘트 계단)\n\nFULL ORIGINAL SCENE TEXTS (every scene at this place):\n\n=== SCENE 4 FULL TEXT ===\nS#4. 옥탑방 / D\n인천 변두리 부감, 오래된 빌라 옥탑방 전경.\n기자(E)\n지역 주민들 사이에 횡행한 소문이 돌고 있지만, 경찰은 범인의 윤곽조차 잡지 못하고 있어 지역주민들의 불안과 두려움을 더 키우는 모양새입니다.\n\n\n\n=== SCENE 5 FULL TEXT ===\nS#5. 옥탑방 안 / 실내\n거실에 난 작은 창으로 햇살에 가늘게 비친다. 싱크대 수도꼭지에 흐르는 물, 씻다 만 약초(석창포). 냄비의 물이 끓어 달그락거리는 소리… 김이 피어오르고. 앞치마를 두른 채 TV 뉴스를 뚫어지게 바라보는 민숙(수리영 엄마. 40세) 표정이 어둡다. (뉴스멘트는 작아졌다 커졌다 반복하면서 여기까지 이어진다)\n딸, 수리영(21. 애완동물미용학과 2년)이 방문을 열고 기지개를 켜며 나오자 후다닥 TV를 끄는 민숙. 다정한 말투로\n수리영\n(심드렁) 뭐~야. 사건 났어? 뭔데.\n민숙\n아냐.\n수리영\n(식탁에 앉으며) 이모 또 야근하겠네. 조그만 도시에 왠 사건이 이렇게 많아. 바다가 가까워서 그런가.\n민숙\n신경 꺼. (석창포 달인 물을 따라주면서) 마셔. 방학인데 왜 더 자지않고.\n수리영\n(마시고 나서) 아, 진짜 맛 없어...(투정) 나 알바 있어, 엄마. 원장님이 하루만 봐 달래.\n(cut to.)\n가벼운 차림새. 수리영 신발을 신으며\n수리영\n엄마는 오늘 안 나가?\n민숙\n이따가 1시 타임.\n수리영\n(엄마의 냄새를 맡으며) 아, 좋다. 끝나고 마트로 갈게. 모처럼 밖에서 저녁먹자 엄마.\n민숙\n응 (미소)\n힐끗, 민숙 손목에 보이는 작은 원(이하 표식)을 본다. 오늘따라 유난히 또렷해 보이지만 워낙 어릴 적부터 봐온 터라 개의치 않는.\n\n\n\n=== SCENE 10 FULL TEXT ===\nS#10. 옥탑방 / N\n그 시각. 옥탑방 옥상. 물탱크. 바람에 빨랫줄이 툭- 툭- 평상에 놓인 말린 석창포가 바람에 날리는데... 말린 잎이 걸어오는 낯선 남자의 신발 위를 스친다. 남자의 긴 그림자. (얼굴은 보이지 않는다)\n신발은 옥탑방 철문 현관 앞에 멈춰 선다. 문틈에 낀 광고 전단지. 전단지를 뽑아서 손가락으로 문틈에 꾹 밀어 넣는다. ‘철컥’ 하고 잠금 새가 풀리는 소리. 문이 미세하게 열리고 안으로 들어가는 남자.\n창문에 비친 그림자. 민숙을 덮쳐 어깨를 물어뜯는 듯한 모습 ‘아악-’\n\n\n\n=== SCENE 11 FULL TEXT ===\nS#11. 옥탑 방 밖 / N\n자전거를 타고 골목길을 달리는 수리영. 다세대 빌라 문을 열고 들어와 마당 후미진 곳에 자전거를 대충 세우고, 옥탑방과 연결되는 계단을 급히 오른다.\n갑자기 훅- 느껴지는 역겨운 냄새. 뭐지? 옥상에 올라와 보니 반쯤 열린 현관 철문.\n\n\n\n=== SCENE 12 FULL TEXT ===\nS#12. 옥탑방 안 / N\n/거실\n‘엄마?’를 부르며 들어오는 수리영, 끓다 식은 냄비. 켜져 있는 TV. 희미한 거실 스탠드 불빛,\n/민숙 방\n안방 문을 여는데... 없다. 거실 식탁에 놓여있는 찻잔 두 개. 하나는 엎어져있다.\n/수리영 방\n마지막으로 자기 방문을 연다 헉!- 여기저기 핏자국. 바닥에 흥건한 혈흔. 피묻은 발자국은 커튼으로 이어져 있다 호흡을 가다듬고 커튼을 젖히자 앉은 채로 고개를 떨군 채 죽어있는 엄마- 민숙!!!!\n수리영\n(달려가) 어어어어----엄마\n충격에 온 몸이 얼어붙은 수리영, 살점이 뜯긴 어깨와 쇄골, 마치 동물에게 물어뜯긴 듯한 거친 상처가 고스란히 드러나있다. 덜렁거리는 살점과 뜯겨진 부위에 흘러내리는 피.\n수리영\n(놀라 뒤로 주춤) 어-어-어- 엄마….\n부들부들 떨며 핸드폰을 누른다. 2번 혜수이모\n수리영\n받아, 이모. 받아….\n혜수(E)\n영아, 영아, 왜?\n답은 안 나오고… 엄마 손안에 구겨진 사진 한 장이 보인다. 다가가 사진을 꺼내는데 엄마 손목에 있던 문신이 붉은색으로 변한다. 헉! 호흡이 빨라지고... 침대 위 벽에 붉은 원이 생겨난다 (마치 누군가 붓으로 벽에 원으로 그리는 것처럼). 소름끼치는 으아악---!\n\n\n\n=== SCENE 13 FULL TEXT ===\nS#13. 옥탑방 외곽 / N\n비명을 지르며 옥탑방을 빠져나오는 수리영, 허겁지겁 계단을 내려간다. 동시에 사이렌이 울리고~. (포즈)\n차에서 내린 혜수(40대 중반, 여자, 경위) 초점을 잃고 멍하니 서있는 수리영의 모습을 발견하고 달려간다.\n혜수\n영아? 왜! 무슨 일이야?\n수리영\n(올라다보며) 엄마가, 엄마가... 죽어있어.\n혜수\n(놀라) 뭐?!\n옥탑 방으로 뛰어 올라가는 혜수와 후배 형사(30대 남/ 이하 김형사)\n\n\n\n=== SCENE 14 FULL TEXT ===\nS#14. 옥탑방 안 / N\n/현관\n집안 여기저기를 확인하면서 나오는 형사와 혜수\n김형사\n(허탈한 표정) 없는데.. 아무 것도.\n혜수\n(뒤따라온 수리영에게) 영아, 없어. 뭘 봤는데...?\n어? 수리영, 부리나케 방 안으로 뛰어 들어간다.\n/수리영 방 안\n지나칠 정도로 깨끗하게 정돈된 방안. 핏자국도 보이지 않고, 침대 위에 붉은 표식은 물론 커튼 뒤의 시신도 감쪽 같이 사라졌다. 얼굴이 파리해지는 수리영. ‘어----?’ ‘분명히 봤는데...’\n뛰쳐나가 식탁으로 가본다. 식탁 역시 깨끗한.\n수리영\n여기 찻잔도 두 개 있었고...\n김형사\n(답답) 허 참! 죽은 사람이 발이 달렸을 리도 없고. 쯧쯧 그러게 살인사건은 자세하게 보도하면 안 된다구요...(궁시렁) 이봐요. 학생? 장난전화 하면 안 되는 거 몰라? (짜증) 안 그래도 살인사건으로 난리도 아닌데...\n혜수\n(김형사 째리고) 김형사. 먼저 가 있어. (김형사 나가면) (수리영 어깨를 어루만지며) 영아.\n수리영\n엄마(시신), 어디갔을까? 분명히 봤는데...\n혜수\n네가 요즘 과로했잖아. 공부에다 알바까지... 악몽을 꾼 걸 수도 있으니... 바람이나 쐬러 가자.\n수리영 방안에 놓여진 백팩, 인형. 약간씩 위치가 달라진. (시신을 발견했을 때와 다른)\n\n\n\n=== SCENE 17 FULL TEXT ===\nS#17. 옥탑방 / 동틀무렵\n새벽녘, 고양이 울음소리. 검은 고양이가 불이 켜져 있는 옥탑 방을 슬쩍 보더니 담을 넘는다\n\n\n\n=== SCENE 18 FULL TEXT ===\nS#18. 안방 안 / D\n침대에 머리를 대고 앉아있는 수리영, 밤새 엄마를 기다리다 깜박 졸았다 고양이 울음소리에 번쩍 눈을 뜨고, ‘엄마? ’혹시나 해서 집안을 살피지만 아무런 인기척도 보이지 않는다\n/수리영 방안\n닫혀있는 자신의 방을 바라본다. [F.B: 1부12씬] 커튼 뒤에 죽어있던 엄마. 상처. 혈흔 크게 심호흡하고 조심스럽게 문을 연다. 지나치리만큼 깨끗하게 정돈된 방안. 창문에 다가가 커튼을 확 열어젖힌다. 시신은 없다. 한숨 후~ 다행이긴 한데. 그때, 울리는 폰 벨소리, 화들짝 놀라는 수리영. 달려가 받자마자\n수리영\n엄마?\n혜수(E)\n아직이니?\n수리영\n응. 아무래도 이상해. 이럴 리가 없잖아! 우리 엄마가. 이모, 사고 난 게 분명해\n혜수(E)\n실종신고 냈어. 이모가 엄마 폰 위치추적하고 있으니까 조금만 기다려 별일 없을 거야. 알았지?\n수리영\n응.\n무작정 기다리는게 불안한 수리영, 인형이 달린 자신의 백팩을 꺼내 나온다\n/욕실 안\n얼굴을 씻고 거울을 보며\n수리영\n엄마, 도대체 어딨는 거야...\n거울에 비친 욕실 벽에 갑자기 또 발생하는 붉은 원. 호흡이 가빠지고... 훅 고개를 돌려 벽을 보는 수리영 거짓말처럼 사라지고 없다. 거실로 튀어나와 물 한컵 마시고 식탁에 놓인 엄마와 수리영의 사진을 보는데... 환하게 웃는 엄마 얼굴이 뭉개져 흘러내린다\n수리영\n아아악~~~ (다시보니 멀쩡하다) 나 왜 이러는 거지. (자신의 뺨을 치며) 정신 차려 수리영!\n\n\n\n=== SCENE 25 FULL TEXT ===\nS#25. 옥탑방 안 / 해질 무렵\n누군가 다녀간 흔적으로 보이는 발자국들. 다시 호흡이 가빠지는 수리영. 집안에서 뭔가를 찾기 위해 가재도구를 온통 헤집은 것으로 보인다. 거실에 난 창은 열려있고, 식탁 의자들을 쓰러져있다.\n/수리영 방\n열린 자신의 방을 힐끗 보는데 벽에 또 붉은 원이 그려져있다. 그 가운데 꽂혀있는 피묻은 사진 한 장! 사진을 떼어서 자세히 본다. 어? 그 사진!!!\n[F.B: 1부 12씬] 죽은 엄마의 손에 구겨져있던 바로 그 사진이다. 7-80년대 쯤 보이는 시골 식당과 지붕위에 둥근 원이 설치된 (마치 십자가처럼) 식당 앞에는 어린 여자애 둘(12살)이 앉아있다. 그중에 한 아이는 분명히 어릴 적 엄마다.\n침대에 털썩 주저앉는 수리영. 연속해서 벌어지는 기이한 상황에 정신이 혼미한 엉망이 된 집 안을 한번 획 둘러보는 수리영, 마치 이끌리듯 백팩을 메고 밖으로 나간다. 사진을 손에 꼭 쥔 채.\n\n\n\n=== SCENE 27 FULL TEXT ===\nS#27. 옥탑방 안 / 해질 무렵\n수리영의 녹음메시지를 확인하는 혜수,\n혜수\n너 봤니..본 거니... (김형사에게) 좌표를 보지않았을까?\n김형사\n그럴리가요. (혀를 끌끌 차며) 아이구 쯧쯧. 설사 본들 망망대해에서 뭘 어쩌겠어요. 돌아오겠죠.\n덜커덩 덜커덩. 바람에 현관문 소리. 황량하다.\n\n\n\nALL SHOTS AT THIS PLACE (full content):\n\n[S10_Shot5] (outdoor; loc=L03; scene_heading=S#10. 옥탑방 / N)\ndescription: 철문이 미세하게 열린 틈 사이로 어두운 내부가 보이는 구도.\nframing_scale: insert\ncamera_direction: At the end of the flow’s dolly-in, the lens freezes just outside the iron door at handle height, only inches from the seam, staring directly into the thin opening. The dark crack sits in the center like a vertical wound, with rough iron surfaces on both sides occupying the foreground while the interior beyond remains unreadable and almost lightless.\nkey_bg_elements: [{\"camera_use\": \"Primary focal aperture; turns the entry into a threatening slit rather than a normal doorway.\", \"directionality_class\": \"directional_3d\", \"element\": \"iron front door\", \"orientation\": \"The two heavy door edges face camera at close range, separated by a narrow central crack leading into darkness.\", \"state\": \"slightly open, scratched, cold metal\"}, {\"camera_use\": \"Hides what is inside and makes the gap feel predatory.\", \"directionality_class\": \"non_directional\", \"element\": \"dark interior beyond the crack\", \"orientation\": \"\", \"state\": \"unlit, opaque, silent\"}, {\"camera_use\": \"Adds tactile evidence of forced entry near the seam.\", \"directionality_class\": \"content_surface\", \"element\": \"creased advertisement flyer edge\", \"orientation\": \"Only the printed edge of the paper face is visible near the door seam, with partial color blocks and unreadable text.\", \"state\": \"bent, partly displaced, dirty\"}]\nframe_spatial_contract: {\"constraints\": [{\"depth_plane\": \"foreground\", \"gesture_action\": \"none\", \"gesture_target_label\": \"\", \"label\": \"narrow iron door seam\", \"screen_zone\": \"middle_center\", \"target_id\": \"\", \"target_kind\": \"background\"}], \"reason\": \"required_background_position\"}\n\n[S10_Shot6] (outdoor; loc=L03; scene_heading=S#10. 옥탑방 / N)\ndescription: 방 안 창문에 비친 그림자, 굽은 형태의 인영이 다른 사람 형상 위에 포개져 멈춘 찰나의 실루엣.\nframing_scale: medium\ncamera_direction: Inside the room, the camera holds static near the side wall at shoulder height, angled so only the window glass carries the action as a reflection and the direct attack is never seen. The reflected silhouettes sit within the window frame: a bent 인영 in the upper-middle area lowers its head toward the shoulder of 사람, whose body buckles beneath it in a distorted, wavering mid-action shape.\nkey_bg_elements: [{\"camera_use\": \"Serves as the only visible surface for the attack, keeping violence indirect and distorted.\", \"directionality_class\": \"reflective_surface\", \"element\": \"room window glass\", \"orientation\": \"The glass reflects the bent 인영 and 사람 as warped dark silhouettes, with faint interior light streaks trembling across them.\", \"state\": \"closed, grimy, reflective in darkness\"}, {\"camera_use\": \"Frames the reflection and prevents the viewer from seeing the real bodies directly.\", \"directionality_class\": \"directional_3d\", \"element\": \"window frame\", \"orientation\": \"The frame’s inner edges face camera and box the reflected action into a rigid rectangle.\", \"state\": \"old, chipped, motionless\"}, {\"camera_use\": \"Adds low, diseased color to the reflected silhouettes.\", \"directionality_class\": \"directional_3d\", \"element\": \"dim interior practical light\", \"orientation\": \"The lamp’s shaded side is off-frame but its amber spill grazes the wall and window reflection.\", \"state\": \"on, weak, sickly amber\"}, {\"camera_use\": \"Keeps the room claustrophobic around the window surface.\", \"directionality_class\": \"non_directional\", \"element\": \"dark side wall\", \"orientation\": \"\", \"state\": \"rough, stained, blue-gray shadowed\"}]\nframe_spatial_contract: {\"constraints\": [{\"depth_plane\": \"midground\", \"gesture_action\": \"none\", \"gesture_target_label\": \"\", \"label\": \"window reflection containing silhouettes\", \"screen_zone\": \"middle_center\", \"target_id\": \"\", \"target_kind\": \"background\"}], \"reason\": \"required_background_position\"}\n\n[S11_Shot3] (outdoor; loc=L10; scene_heading=S#11. 옥탑 방 밖 / N)\ndescription: 계단 중간에 서서 심하게 코를 찡그린 수리영의 얼굴 클로즈업.\ncharacters: 수리영\nframing_scale: close\ncamera_direction: Midway up the narrow concrete staircase, the camera holds static very close to 수리영 from the front-left at face height, tightening into an intense close-up that leaves only a sliver of stair texture behind her. Her nose wrinkles hard at the sudden smell, eyes lifting toward the unseen rooftop landing while her halted climb compresses her shoulders into the frame.\nkey_bg_elements: [{\"camera_use\": \"Minimal background texture that preserves the stair location without diluting the reaction.\", \"directionality_class\": \"directional_3d\", \"element\": \"narrow concrete staircase\", \"orientation\": \"Only the side edge and riser texture angle behind her cheek, indicating the upward path to the rooftop.\", \"state\": \"dark, damp, rough\"}, {\"camera_use\": \"Creates a suffocating side boundary close to her face.\", \"directionality_class\": \"non_directional\", \"element\": \"stairwell wall\", \"orientation\": \"\", \"state\": \"stained, cold, blue-gray\"}, {\"camera_use\": \"Suggests the unseen source direction through faint light above.\", \"directionality_class\": \"non_directional\", \"element\": \"rooftop darkness above the stairs\", \"orientation\": \"\", \"state\": \"unseen, heavy, foul implied\"}]\n\n[S11_Shot4] (outdoor; loc=L10; scene_heading=S#11. 옥탑 방 밖 / N)\ndescription: 옥상 위, 어둠 속에 반쯤 열려 멈춰 있는 옥탑방 현관 철문의 정적 구도.\nframing_scale: wide\ncamera_direction: After the hard eyeline cut, the camera adopts 수리영’s direct viewpoint from the rooftop landing, several meters from the entrance and at human eye level, facing the iron front door squarely. The half-open door is held in rigid symmetry at the center of the frame, surrounded by still rooftop darkness, with no figure entering to relieve the threat.\nkey_bg_elements: [{\"camera_use\": \"Central reveal and source of unease, held motionless after her smell reaction.\", \"directionality_class\": \"directional_3d\", \"element\": \"rooftop room iron front door\", \"orientation\": \"The door faces camera squarely but hangs half-open, exposing a narrow black interior gap along one side.\", \"state\": \"half-open, frozen, scratched\"}, {\"camera_use\": \"Frames the doorway in isolated negative space.\", \"directionality_class\": \"non_directional\", \"element\": \"rooftop landing darkness\", \"orientation\": \"\", \"state\": \"still, damp, blue-black\"}, {\"camera_use\": \"Adds rough domestic rooftop texture without drawing attention from the door.\", \"directionality_class\": \"directional_3d\", \"element\": \"low rooftop wall\", \"orientation\": \"Its top edge runs horizontally across the lower background, barely lit against the night.\", \"state\": \"wet-stained, concrete, motionless\"}]\nframe_spatial_contract: {\"constraints\": [{\"depth_plane\": \"background\", \"gesture_action\": \"none\", \"gesture_target_label\": \"\", \"label\": \"half-open rooftop iron door\", \"screen_zone\": \"middle_center\", \"target_id\": \"\", \"target_kind\": \"background\"}], \"reason\": \"required_background_position\"}\n\n[S12_Shot15] (indoor; loc=L04; scene_heading=S#12. 옥탑방 안 / N)\ndescription: 침대 위 어두운 벽면에 피가 번지듯 선명한 붉은색 원형 표식이 그려진 상태의 정지 구도.\nframing_scale: medium\ncamera_direction: From low bedside height near the mattress edge, the camera completes its upward tilt and locks off on the dark wall above the bed, where a completed red circular mark sits in the upper middle of frame. The bed edge remains only as a thin lower strip for scale, while the wall becomes an oppressive flat plane; this is aligned with 수리영’s panicked perception, the image subtly treated as an occult hallucination rather than stable reality.\nkey_bg_elements: [{\"camera_use\": \"Primary occult surface holding the completed mark.\", \"directionality_class\": \"content_surface\", \"element\": \"dark wall above the bed\", \"orientation\": \"The camera-facing wall face is visible, carrying a vivid red circular mark at its center.\", \"state\": \"dark, stained-looking, marked\"}, {\"camera_use\": \"Lower frame scale reference beneath the wall.\", \"directionality_class\": \"directional_3d\", \"element\": \"bed edge\", \"orientation\": \"The side edge of the mattress faces the camera from below, cropped into a narrow horizontal band.\", \"state\": \"dim, still, partly obscured\"}, {\"camera_use\": \"Symbolic focal mark on the wall.\", \"directionality_class\": \"content_surface\", \"element\": \"red circular mark\", \"orientation\": \"The painted-looking face of the circle is fully visible to the camera, as if freshly drawn into the wall surface.\", \"state\": \"bright red, wet-looking, completed\"}]\n\n[S12_Shot4] (indoor; loc=L04; scene_heading=S#12. 옥탑방 안 / N)\ndescription: 열린 방문 틈으로 보이는 방바닥에 검붉은 핏자국이 흥건하게 고여 있는 정지 구도.\nframing_scale: close\ncamera_direction: From the low waist-height position outside the bedroom doorway, the camera holds completely still about three feet back, peering through the opened door gap toward the dark red blood pooled on the floor just beyond the threshold. The door edges form a narrow vertical frame on both sides, with the blood occupying the lower middle of the image and the dim bedroom receding into blue-gray darkness behind it; this is a neutral observer’s direct view, not a character POV.\nkey_bg_elements: [{\"camera_use\": \"Foreground framing device that restricts the view into the room.\", \"directionality_class\": \"directional_3d\", \"element\": \"opened bedroom door\", \"orientation\": \"The inner edge of the door faces the camera at an oblique angle, creating a narrow gap into the room.\", \"state\": \"open, still, shadowed\"}, {\"camera_use\": \"Primary visual focus on the floor just inside the doorway.\", \"directionality_class\": \"non_directional\", \"element\": \"dark red blood pool\", \"orientation\": \"\", \"state\": \"wet, thick, spread across the floor\"}, {\"camera_use\": \"Texture under the blood and scale reference for the room.\", \"directionality_class\": \"non_directional\", \"element\": \"bedroom floor\", \"orientation\": \"\", \"state\": \"dirty, damp-looking, partially covered by blood\"}]\n\n[S12_Shot8] (indoor; loc=L04; scene_heading=S#12. 옥탑방 안 / N)\ndescription: 두 눈을 크게 뜨고 입을 벌린 채 굳어버린 수리영의 창백한 얼굴 클로즈업.\ncharacters: 수리영\nframing_scale: close\ncamera_direction: At eye level directly in front of 수리영, the handheld camera compresses tighter than the stage distance until her pale face nearly fills the frame, backing away only a fraction as her shock freezes mid-recoil. The background is almost lost in darkness, with only a faint suggestion of the room’s black edges behind her; the view remains a direct observer angle, but the proximity feels invasive and breathless.\nkey_bg_elements: [{\"camera_use\": \"Nearly swallowed background plane behind her face.\", \"directionality_class\": \"non_directional\", \"element\": \"dark bedroom recess\", \"orientation\": \"\", \"state\": \"unlit, indistinct\"}, {\"camera_use\": \"Soft edge shadow that isolates her head from the room.\", \"directionality_class\": \"directional_3d\", \"element\": \"bedroom doorway edge\", \"orientation\": \"A narrow side edge catches minimal spill light behind her shoulder.\", \"state\": \"partially visible, shadowed\"}]\nframe_spatial_contract: {\"constraints\": [{\"depth_plane\": \"foreground\", \"gesture_action\": \"none\", \"gesture_target_label\": \"\", \"label\": \"수리영 terrified face\", \"screen_zone\": \"middle_center\", \"target_id\": \"C01\", \"target_kind\": \"character\"}], \"reason\": \"primary_subject_isolation\"}\n\n[S13_Shot3] (outdoor; loc=L03; scene_heading=S#13. 옥탑방 외곽 / N)\ndescription: 차에서 내린 혜수가 초점 없는 눈으로 멍하게 서 있는 수리영을 향해 시선을 고정한 찰나의 상체.\ncharacters: 혜수, 수리영\nframing_scale: medium\ncamera_direction: Beside the police car at chest height, the tracking move slows into a held upper-body frame on 혜수 as she has just stepped out, her body paused between the car and the alley. 수리영 appears farther down the alley in soft background focus, small and blank beneath flashing siren wash, while 혜수 occupies the left foreground in a tense three-quarter view; this is a direct observer view moving parallel with her discovery.\nkey_bg_elements: [{\"camera_use\": \"Foreground context and flashing light source beside 혜수.\", \"directionality_class\": \"directional_3d\", \"element\": \"police car\", \"orientation\": \"The side of the car and open door angle toward the camera, framing 혜수’s exit.\", \"state\": \"parked, door open, siren lights active\"}, {\"camera_use\": \"Depth corridor between 혜수 and 수리영.\", \"directionality_class\": \"directional_3d\", \"element\": \"narrow alley\", \"orientation\": \"The alley recedes diagonally from the police car toward 수리영 in the background.\", \"state\": \"wet, dark, foggy\"}, {\"camera_use\": \"Intermittent color wash across faces and walls.\", \"directionality_class\": \"non_directional\", \"element\": \"siren light spill\", \"orientation\": \"\", \"state\": \"flashing red-blue across damp surfaces\"}]\nframe_spatial_contract: {\"constraints\": [{\"depth_plane\": \"foreground\", \"gesture_action\": \"looks_toward\", \"gesture_target_label\": \"수리영 down the alley\", \"label\": \"혜수 by police car\", \"screen_zone\": \"middle_left\", \"target_id\": \"C02\", \"target_kind\": \"character\"}, {\"depth_plane\": \"background\", \"gesture_action\": \"none\", \"gesture_target_label\": \"\", \"label\": \"수리영 in alley\", \"screen_zone\": \"middle_right\", \"target_id\": \"C01\", \"target_kind\": \"character\"}], \"reason\": \"shared_space_relation\"}\n\n[S13_Shot5] (outdoor; loc=L03; scene_heading=S#13. 옥탑방 외곽 / N)\ndescription: 수리영이 고개를 들어 혜수의 얼굴을 올려다보는 정적 구도.\ncharacters: 수리영, 혜수\nframing_scale: close\ncamera_direction: The camera sits low near 수리영’s eye level, about one meter away, tightened into a still close composition as she lifts her face toward 혜수 just above the frame. 수리영 holds the lower center of the image, her upward eyeline creating the unseen presence of 혜수, while the wet alley background blurs into dark blue-gray; this is a direct observer angle from the space between them.\nkey_bg_elements: [{\"camera_use\": \"Soft, dark background texture behind 수리영’s head.\", \"directionality_class\": \"non_directional\", \"element\": \"wet alley wall\", \"orientation\": \"\", \"state\": \"damp, shadowed, out of focus\"}, {\"camera_use\": \"Atmospheric layer around her face.\", \"directionality_class\": \"non_directional\", \"element\": \"night fog\", \"orientation\": \"\", \"state\": \"thin, drifting, blue-gray\"}, {\"camera_use\": \"Off-screen motivated color pulse on her skin.\", \"directionality_class\": \"non_directional\", \"element\": \"police siren spill\", \"orientation\": \"\", \"state\": \"intermittent, faint\"}]\nframe_spatial_contract: {\"constraints\": [{\"depth_plane\": \"foreground\", \"gesture_action\": \"looks_toward\", \"gesture_target_label\": \"혜수 just above frame\", \"label\": \"수리영 close low frame\", \"screen_zone\": \"middle_center\", \"target_id\": \"C01\", \"target_kind\": \"character\"}], \"reason\": \"primary_subject_isolation\"}\n\n[S14_Shot4] (indoor; loc=L04; scene_heading=S#14. 옥탑방 안 / N)\ndescription: 핏자국 하나 없이 깨끗하게 정돈된 수리영의 방 내부 정지 구도.\nframing_scale: wide\ncamera_direction: Just inside 수리영’s bedroom doorway at eye level, the camera holds a wide, unmoving view inward toward the bed, bare wall, curtain, and spotless floor. The room is framed as evidence: the clean floor stretches across the lower half, the curtain line sits to one side where the body should have been, and the wall above the bed remains blank; this is a direct neutral observation of absence.\nkey_bg_elements: [{\"camera_use\": \"Primary proof of erased violence across the lower frame.\", \"directionality_class\": \"non_directional\", \"element\": \"spotless bedroom floor\", \"orientation\": \"\", \"state\": \"clean, dry, no blood marks\"}, {\"camera_use\": \"Central room anchor and comparison point for the missing wall mark.\", \"directionality_class\": \"directional_3d\", \"element\": \"bed\", \"orientation\": \"The side and top plane of the bed face the camera from mid-frame.\", \"state\": \"neatly made, undisturbed\"}, {\"camera_use\": \"Surface where the red circle should have been absent.\", \"directionality_class\": \"content_surface\", \"element\": \"wall above the bed\", \"orientation\": \"The camera-facing wall face is visible and completely bare, carrying no red circular mark.\", \"state\": \"clean, dark, unmarked\"}, {\"camera_use\": \"Empty area where the hidden body had been discovered earlier.\", \"directionality_class\": \"directional_3d\", \"element\": \"curtain line\", \"orientation\": \"The front folds face the camera from the side of the room, concealing only darkness and empty space behind.\", \"state\": \"hanging still, clean, no body visible\"}]\n\n[S14_Shot6] (indoor; loc=L04; scene_heading=S#14. 옥탑방 안 / N)\ndescription: 수리영이 핏기가 가신 창백한 얼굴로 멍하니 빈 커튼 쪽을 응시하는 정면.\ncharacters: 수리영\nframing_scale: close\ncamera_direction: Inside the bedroom near the bed and curtain side, the dolly-in ends in a frontal upper-body emphasis on 수리영, close enough that her pale face and rigid shoulders take most of the frame. She looks past the camera toward the empty curtain area, which is kept implied rather than shown, turning the direct observer view into a psychological confrontation with the missing evidence.\nkey_bg_elements: [{\"camera_use\": \"Blurred side texture suggesting where the corpse should have been.\", \"directionality_class\": \"directional_3d\", \"element\": \"curtain edge\", \"orientation\": \"Only a soft side fold is visible near the frame edge, with the empty area kept off-camera.\", \"state\": \"still, clean, partially out of focus\"}, {\"camera_use\": \"Low background shape behind her shoulder.\", \"directionality_class\": \"directional_3d\", \"element\": \"bed corner\", \"orientation\": \"The near corner angles away behind 수리영, cropped and subdued.\", \"state\": \"neat, undisturbed\"}, {\"camera_use\": \"Absence marker behind her expression.\", \"directionality_class\": \"content_surface\", \"element\": \"blank wall\", \"orientation\": \"The visible wall face behind her is bare and carries no red mark.\", \"state\": \"unmarked, dim\"}]\nframe_spatial_contract: {\"constraints\": [{\"depth_plane\": \"foreground\", \"gesture_action\": \"looks_toward\", \"gesture_target_label\": \"empty curtain area behind camera\", \"label\": \"수리영 frontal close frame\", \"screen_zone\": \"middle_center\", \"target_id\": \"C01\", \"target_kind\": \"character\"}], \"reason\": \"primary_subject_isolation\"}\n\n[S14_Shot8] (indoor; loc=L04; scene_heading=S#14. 옥탑방 안 / N)\ndescription: 식탁 앞에 선 수리영이 빈 식탁을 손가락으로 가리킨 채 멈춘 측면 상체.\ncharacters: 수리영\nframing_scale: medium\ncamera_direction: At chest height beside the dining table, the camera settles from the track into a brief still side composition perpendicular to 수리영’s body line. Her profile holds the left half of frame while her pointing hand cuts toward the bare tabletop on the right, keeping both the gesture and the missing teacups in one direct observational image.\nkey_bg_elements: [{\"camera_use\": \"Gesture target proving the vanished cups.\", \"directionality_class\": \"directional_3d\", \"element\": \"bare dining table\", \"orientation\": \"The clean top plane faces the camera at a shallow angle, with no cups where her finger indicates.\", \"state\": \"clean, empty, dry\"}, {\"camera_use\": \"Dim living-room depth behind the table.\", \"directionality_class\": \"directional_3d\", \"element\": \"living room wall and doorway\", \"orientation\": \"The wall and doorway recede behind 수리영 in side view.\", \"state\": \"shadowed, quiet\"}, {\"camera_use\": \"Soft ambient source in the room.\", \"directionality_class\": \"directional_3d\", \"element\": \"living room stand lamp\", \"orientation\": \"The lamp shade is seen from the side, its warm face turned slightly away from camera.\", \"state\": \"on, weak amber\"}]\nframe_spatial_contract: {\"constraints\": [{\"depth_plane\": \"foreground\", \"gesture_action\": \"points_to\", \"gesture_target_label\": \"bare dining tabletop\", \"label\": \"수리영 pointing beside table\", \"screen_zone\": \"middle_left\", \"target_id\": \"C01\", \"target_kind\": \"character\"}, {\"depth_plane\": \"midground\", \"gesture_action\": \"none\", \"gesture_target_label\": \"\", \"label\": \"bare dining tabletop\", \"screen_zone\": \"middle_right\", \"target_id\": \"\", \"target_kind\": \"background\"}], \"reason\": \"points_to_anchor\"}\n\n[S17_Shot1] (outdoor; loc=L03; scene_heading=S#17. 옥탑방 / 동틀무렵)\ndescription: 짙고 푸른 안개가 깔린 새벽녘, 희미한 노란 불빛이 켜진 옥탑방 창문을 향해 검은 고양이 한 마리가 고개를 돌린 찰나의 측면.\nframing_scale: medium\ncamera_direction: Low at the 검은 고양이’s shoulder height, roughly one meter away, the camera tracks parallel along the rooftop wall and then holds a brief side profile as the cat turns its head toward the lit rooftop-room window. The cat occupies the lower left-to-center band of the frame, while the faint yellow window hangs in the misty background line of sight above the wall.\nkey_bg_elements: [{\"camera_use\": \"distant visual lure for the cat’s head turn\", \"directionality_class\": \"transparent_surface\", \"element\": \"rooftop-room window\", \"orientation\": \"fogged glass shows a weak yellow interior glow beyond it\", \"state\": \"closed, lit from inside\"}, {\"camera_use\": \"tracking guide and jump setup\", \"directionality_class\": \"directional_3d\", \"element\": \"low concrete rooftop wall\", \"orientation\": \"the long side face runs parallel to the camera movement, with its top edge rising toward the next action\", \"state\": \"damp, stained\"}, {\"camera_use\": \"atmospheric veil separating cat and room\", \"directionality_class\": \"non_directional\", \"element\": \"blue dawn fog\", \"orientation\": \"\", \"state\": \"thick, cold, slowly moving\"}]\nframe_spatial_contract: {\"constraints\": [{\"depth_plane\": \"foreground\", \"gesture_action\": \"looks_toward\", \"gesture_target_label\": \"lit rooftop window\", \"label\": \"black cat\", \"screen_zone\": \"lower_left\", \"target_id\": \"C11\", \"target_kind\": \"character\"}, {\"depth_plane\": \"background\", \"gesture_action\": \"none\", \"gesture_target_label\": \"\", \"label\": \"lit rooftop window\", \"screen_zone\": \"upper_right\", \"target_id\": \"\", \"target_kind\": \"background\"}], \"reason\": \"looks_to_anchor\"}\n\n[S18_Shot15] (indoor; loc=L04; scene_heading=S#18. 안방 안 / D)\ndescription: 거울 속 욕실 벽면에 선명한 붉은색 원형 표식이 맺혀 있는 정지 구도.\nframing_scale: insert\ncamera_direction: Inside the bathroom, the camera is fixed at eye level about three feet from the mirror, tightened so the mirror reflection becomes the frame and the reflected rear wall sits centered. The red circular mark is isolated near the middle of the reflected wall, with only a sliver of mirror edge and damp tile context allowed to remain, making the apparition feel graphic and unavoidable.\nkey_bg_elements: [{\"camera_use\": \"the shot’s perceptual surface and compositional border\", \"directionality_class\": \"reflective_surface\", \"element\": \"bathroom mirror\", \"orientation\": \"the mirror reflects the rear bathroom wall and the impossible red circular mark; a narrow mirror edge confirms this is a reflected view\", \"state\": \"slightly misted, cold\"}, {\"camera_use\": \"surface on which the occult symbol appears within reflection\", \"directionality_class\": \"content_surface\", \"element\": \"reflected bathroom wall\", \"orientation\": \"the wall face visible in the mirror carries a sharp crimson circular mark at its center\", \"state\": \"pale tile surface, otherwise clean\"}, {\"camera_use\": \"claustrophobic bathroom texture\", \"directionality_class\": \"non_directional\", \"element\": \"damp tile grout\", \"orientation\": \"\", \"state\": \"wet-looking, gray, stained\"}]\nframe_spatial_contract: {\"constraints\": [{\"depth_plane\": \"midground\", \"gesture_action\": \"none\", \"gesture_target_label\": \"\", \"label\": \"red circular mark in mirror reflection\", \"screen_zone\": \"middle_center\", \"target_id\": \"\", \"target_kind\": \"background\"}], \"reason\": \"required_background_position\"}\n\n[S18_Shot20] (indoor; loc=L04; scene_heading=S#18. 안방 안 / D)\ndescription: 식탁 위에 놓인 사진 속, 살점이 뭉개진 채 기괴하게 흘러내린 (변형된 민숙)의 모습 클로즈업.\ncharacters: 민숙\nframing_scale: insert\ncamera_direction: At tabletop height beside the dining table, the push-in finishes at an extreme close angle on the framed photograph, stripping away nearly all surrounding table context. The mother’s photographed face, now perceived as 민숙 (변형된), occupies the central close field in a grotesque melted distortion, while the photo frame edge remains barely visible to prove this horror is trapped inside the image surface.\nkey_bg_elements: [{\"camera_use\": \"primary hallucinated image surface\", \"directionality_class\": \"content_surface\", \"element\": \"framed family photograph\", \"orientation\": \"the front image face is angled slightly upward to camera, showing the mother’s face grotesquely distorted within the printed photo\", \"state\": \"upright on table, visually corrupted by hallucination\"}, {\"camera_use\": \"thin physical proof that this is still a household object\", \"directionality_class\": \"reflective_surface\", \"element\": \"photo frame glass\", \"orientation\": \"the glass reflects a dim streak of room light across the distorted face without hiding it\", \"state\": \"clean but unnervingly glossy\"}, {\"camera_use\": \"minimal scale reference around the frame\", \"directionality_class\": \"directional_3d\", \"element\": \"dining table edge\", \"orientation\": \"only a narrow tabletop plane and edge remain at the lower frame margin\", \"state\": \"still, ordinary, dim\"}]\nframe_spatial_contract: {\"constraints\": [{\"depth_plane\": \"foreground\", \"gesture_action\": \"none\", \"gesture_target_label\": \"\", \"label\": \"distorted mother’s face inside framed photograph\", \"screen_zone\": \"middle_center\", \"target_id\": \"C12\", \"target_kind\": \"character\"}], \"reason\": \"primary_subject_isolation\"}\n\n[S18_Shot6] (indoor; loc=L04; scene_heading=S#18. 안방 안 / D)\ndescription: 열린 방문 너머, 핏자국 하나 없이 말끔하게 정돈된 방안 정경.\nframing_scale: wide\ncamera_direction: Just outside 수리영’s room, the camera stays eye-level and static about five feet from the threshold, looking straight through the opened door into a room that appears too clean. The doorway forms a dark rectangular frame around the orderly bed, smooth floor, and untouched curtains, with no body, no stain, and no trace where memory said there should be horror.\nkey_bg_elements: [{\"camera_use\": \"primary frame-within-frame revealing the room\", \"directionality_class\": \"directional_3d\", \"element\": \"opened bedroom door\", \"orientation\": \"the door slab is swung aside so the camera sees through the threshold into the room\", \"state\": \"open, still\"}, {\"camera_use\": \"visual proof of unnatural order\", \"directionality_class\": \"directional_3d\", \"element\": \"neatly arranged bed\", \"orientation\": \"the bed’s side and top plane face camera beyond the doorway\", \"state\": \"made, undisturbed\"}, {\"camera_use\": \"absence marker where the earlier horror is expected\", \"directionality_class\": \"transparent_surface\", \"element\": \"bedroom window with curtains\", \"orientation\": \"the window is partly obscured by clean curtains, with pale daylight diffused beyond\", \"state\": \"closed, curtains hanging evenly\"}, {\"camera_use\": \"negative evidence emphasized by stillness\", \"directionality_class\": \"non_directional\", \"element\": \"spotless bedroom floor\", \"orientation\": \"\", \"state\": \"clean, dry, no blood visible\"}]\n\n[S25_Shot4] (indoor; loc=L04; scene_heading=S#25. 옥탑방 안 / 해질 무렵)\ndescription: 붉은 원 한가운데에 피가 묻은 낡은 흑백 사진이 꽂혀 있는 클로즈업.\nframing_scale: close\ncamera_direction: Inside the bedroom at eye level, the dolly-in ends locked nearly perpendicular to the torn wall, holding a close composition where the blood-stained black-and-white photograph sits pinned at the exact center of a crimson circle. The photo and red mark take up the central mass of the frame, while the rough wall texture remains visible around them like scraped skin.\nkey_bg_elements: [{\"camera_use\": \"central occult symbol and compositional target\", \"directionality_class\": \"content_surface\", \"element\": \"red circular wall mark\", \"orientation\": \"the painted wall face is directly visible to camera, showing a rough crimson circle surrounding the pinned photograph\", \"state\": \"fresh-looking, uneven, ominous\"}, {\"camera_use\": \"primary revealed clue\", \"directionality_class\": \"content_surface\", \"element\": \"old black-and-white photograph\", \"orientation\": \"the front image face is visible, showing an aged rural restaurant scene partially obscured by blood stains\", \"state\": \"pinned to wall, creased, blood-stained\"}, {\"camera_use\": \"macabre texture around the clue\", \"directionality_class\": \"non_directional\", \"element\": \"torn bedroom wall texture\", \"orientation\": \"\", \"state\": \"scraped, dirty, disturbed\"}]\n\n[S25_Shot8] (indoor; loc=L04; scene_heading=S#25. 옥탑방 안 / 해질 무렵)\ndescription: 수리영이 한 손에 구겨진 사진을 꽉 쥔 채 백팩을 메고 현관 밖으로 한 발을 내디딘 찰나의 뒷모습.\ncharacters: 수리영\nframing_scale: wide\ncamera_direction: From inside the rooftop room behind 수리영, slightly below eye level and several feet back, the tracking shot widens just enough to include the open front-door threshold as she steps out. Her back and backpack sit in the middle of frame, one foot crossing into the exterior light, while the crumpled photograph remains readable as a tight fist-level detail near her right side.\nkey_bg_elements: [{\"camera_use\": \"destination frame and exit boundary\", \"directionality_class\": \"directional_3d\", \"element\": \"open front door\", \"orientation\": \"the inside face of the open door and its threshold angle toward the camera as 수리영 exits\", \"state\": \"open, letting in dim exterior dusk\"}, {\"camera_use\": \"evidence of intrusion in the room she leaves behind\", \"directionality_class\": \"non_directional\", \"element\": \"scattered household debris\", \"orientation\": \"\", \"state\": \"ransacked, strewn across the floor\"}, {\"camera_use\": \"broken domestic geometry in the side background\", \"directionality_class\": \"directional_3d\", \"element\": \"overturned dining chairs\", \"orientation\": \"chair legs jut sideways at uneven angles across the room\", \"state\": \"knocked over\"}, {\"camera_use\": \"damp air source and unsettling escape route implication\", \"directionality_class\": \"transparent_surface\", \"element\": \"open living-room window\", \"orientation\": \"the camera sees the dark opening and wet exterior air beyond the window frame\", \"state\": \"open, dirty, cold\"}]\nframe_spatial_contract: {\"constraints\": [{\"depth_plane\": \"midground\", \"gesture_action\": \"moves_toward\", \"gesture_target_label\": \"open front door\", \"label\": \"수리영\", \"screen_zone\": \"middle_center\", \"target_id\": \"C01\", \"target_kind\": \"character\"}, {\"depth_plane\": \"background\", \"gesture_action\": \"none\", \"gesture_target_label\": \"\", \"label\": \"open front door threshold\", \"screen_zone\": \"upper_center\", \"target_id\": \"\", \"target_kind\": \"background\"}], \"reason\": \"movement_direction\"}\n\n[S27_Shot1] (indoor; loc=L04; scene_heading=S#27. 옥탑방 안 / 해질 무렵)\ndescription: 난장판이 된 옥탑방 거실, 혜수가 핸드폰을 귀에 댄 채 심각한 표정으로 굳어 있는 상체.\ncharacters: 혜수\nframing_scale: medium\ncamera_direction: Inside the rooftop living room at chest height, the camera continues the flow’s slow dolly-in from about 2.5 meters, tightening to a medium upper-body frame of 혜수 with the phone pressed to her ear. She sits slightly right of center amid overturned, damp-looking clutter, angled three-quarters as if her attention has just pulled toward 김형사 off-frame rather than toward us.\nkey_bg_elements: [{\"camera_use\": \"visible disorder around 혜수, keeping the room’s violated condition readable behind her\", \"directionality_class\": \"non_directional\", \"element\": \"scattered rooftop-room clutter\", \"orientation\": \"\", \"state\": \"messy, overturned, neglected\"}, {\"camera_use\": \"background source of cold draft and later sound, held out of focus behind the anxiety\", \"directionality_class\": \"directional_3d\", \"element\": \"entrance door\", \"orientation\": \"its inner face angles slightly away from camera, showing the rattling edge and frame gap\", \"state\": \"not fully secure, wind-shaken\"}, {\"camera_use\": \"thin translucent layer over the small room window, adding a damp dusk haze\", \"directionality_class\": \"transparent_surface\", \"element\": \"grimy window glass\", \"orientation\": \"dirty glass catches the gray exterior light while showing only a blurred rooftop beyond\", \"state\": \"streaked, dim\"}]\n\n[S4_Shot1] (outdoor; loc=L03; scene_heading=S#4. 옥탑방 / D)\ndescription: 인천 변두리의 낡고 오래된 빌라 옥탑방 외부 전경이 한눈에 내려다보이는 부감 구도.\nframing_scale: wide\ncamera_direction: An omniscient overhead camera holds from about forty-five meters above the old villa, centered on the rooftop room while still keeping the surrounding neighborhood readable. The rooftop structure sits in the middle of the frame like a small exposed shrine, boxed in by worn roofs, narrow alleys, and faded concrete blocks.\nkey_bg_elements: [{\"camera_use\": \"The rooftop room is the central visual anchor and destination of the aerial reveal.\", \"directionality_class\": \"directional_3d\", \"element\": \"old rooftop room exterior\", \"orientation\": \"its roof and front wall are visible from above, with the doorway side angled slightly toward camera\", \"state\": \"aged, patched, weather-stained\"}, {\"camera_use\": \"Surrounding villa roofs create a cramped grid that isolates the rooftop room.\", \"directionality_class\": \"directional_3d\", \"element\": \"neighboring old villa rooftops\", \"orientation\": \"flat roof planes face upward toward the overhead camera\", \"state\": \"worn, cluttered, pale gray\"}, {\"camera_use\": \"A thin haze softens the outskirts and carries the news voice’s unease into the space.\", \"directionality_class\": \"non_directional\", \"element\": \"damp urban haze\", \"orientation\": \"\", \"state\": \"thin, bluish, stagnant\"}]\nframe_spatial_contract: {\"constraints\": [{\"depth_plane\": \"midground\", \"gesture_action\": \"none\", \"gesture_target_label\": \"\", \"label\": \"old rooftop room\", \"screen_zone\": \"middle_center\", \"target_id\": \"\", \"target_kind\": \"background\"}], \"reason\": \"required_background_position\"}\n\n[S5_Shot10] (indoor; loc=L04; scene_heading=S#5. 옥탑방 안 / 실내)\ndescription: 수리영이 민숙의 어깨에 코를 묻고 멈춘 찰나의 측면.\ncharacters: 수리영, 민숙\nframing_scale: close\ncamera_direction: The camera follows the flow into the narrow entrance area and holds side-on at shoulder height, about one meter away, lens parallel to the wall to compress mother and daughter together. The tighter profile frame favors the contact point: Suriyeong’s face and nose press into Minsuk’s shoulder at center-left, while Minsuk’s softened profile and apron edge sit center-right.\nkey_bg_elements: [{\"camera_use\": \"The narrow wall flattens the space and makes their closeness feel private and fragile.\", \"directionality_class\": \"non_directional\", \"element\": \"entrance wall\", \"orientation\": \"\", \"state\": \"worn, slightly yellowed, close to camera plane\"}, {\"camera_use\": \"The shoe area at the bottom edge hints at Suriyeong leaving soon without pulling focus from the embrace.\", \"directionality_class\": \"directional_3d\", \"element\": \"entryway shoe area\", \"orientation\": \"shoe tops and low threshold edge face the camera from below the profiles\", \"state\": \"cluttered, dim\"}, {\"camera_use\": \"The door seam creates a vertical boundary beside them, suggesting a moment just before departure.\", \"directionality_class\": \"directional_3d\", \"element\": \"front door seam\", \"orientation\": \"the flat door face is seen in side compression, seam running vertically near the right edge\", \"state\": \"closed, dull, scuffed\"}]\n\n[S5_Shot12] (indoor; loc=L04; scene_heading=S#5. 옥탑방 안 / 실내)\ndescription: 민숙의 손목 안쪽에 새겨진 작은 원 모양의 표식 클로즈업.\ncharacters: 민숙\nframing_scale: insert\ncamera_direction: The camera completes the flow’s downward push from Suriyeong’s side of the entrance to a very close waist-height insert, about twenty centimeters from Minsuk’s inner wrist. The wrist cuts diagonally across the center of frame, the small circular mark isolated in sharp focus while skin, sleeve edge, and the entryway behind fall into creamy blur.\nkey_bg_elements: [{\"camera_use\": \"The marked skin surface is the focal plane and occult reveal.\", \"directionality_class\": \"content_surface\", \"element\": \"inner wrist with circular mark\", \"orientation\": \"the inner wrist surface faces the camera, showing a small dark circular mark clearly against the skin\", \"state\": \"exposed, sharply focused, mark unusually distinct\"}, {\"camera_use\": \"The sleeve cuff frames the wrist without becoming the subject.\", \"directionality_class\": \"directional_3d\", \"element\": \"apron or sleeve edge\", \"orientation\": \"fabric edge runs along the wrist from camera-left, seen as a soft side fold\", \"state\": \"soft, worn, out of focus\"}, {\"camera_use\": \"The entrance background becomes an indistinct shadow field so the symbol carries the tension.\", \"directionality_class\": \"non_directional\", \"element\": \"blurred entryway background\", \"orientation\": \"\", \"state\": \"dim, warm-gray, unfocused\"}]\nframe_spatial_contract: {\"constraints\": [{\"depth_plane\": \"foreground\", \"gesture_action\": \"none\", \"gesture_target_label\": \"\", \"label\": \"Minsuk inner wrist mark\", \"screen_zone\": \"middle_center\", \"target_id\": \"C04\", \"target_kind\": \"character\"}], \"reason\": \"primary_subject_isolation\"}\n\n[S5_Shot3] (indoor; loc=L04; scene_heading=S#5. 옥탑방 안 / 실내)\ndescription: 앞치마를 두른 민숙이 어두운 표정으로 거실 TV 화면을 응시하며 굳어 있는 상체.\ncharacters: 민숙\nframing_scale: medium\ncamera_direction: The observer camera settles at the end of its lateral track from near the sink and small window, chest height and about two and a half meters from Minsuk, looking across the counter line toward the living room TV. Minsuk is held in an upper-body frame at the right-middle of the image, shoulders locked in her apron as the kitchen foreground remains softly present and the TV glow pulls her stare off-frame.\nkey_bg_elements: [{\"camera_use\": \"The TV is the off-frame source of her fixed attention and casts a cold news glow across the room.\", \"directionality_class\": \"content_surface\", \"element\": \"living room TV screen\", \"orientation\": \"the screen face is angled away from the camera, showing only a sliver of moving blue news light rather than readable content\", \"state\": \"on, low volume, flickering\"}, {\"camera_use\": \"The sink and herbs sit in the near foreground, domestic routine interrupted by dread.\", \"directionality_class\": \"directional_3d\", \"element\": \"sink with unfinished medicinal herbs\", \"orientation\": \"the basin rim and faucet side face the camera across the counter\", \"state\": \"water running, herbs wet and half-washed\"}, {\"camera_use\": \"Steam from the pot veils the compact room and gives the practical light a sick texture.\", \"directionality_class\": \"non_directional\", \"element\": \"boiling pot steam\", \"orientation\": \"\", \"state\": \"rising, thin, wavering\"}, {\"camera_use\": \"The small window gives a narrow daylight slit that contrasts with the TV’s colder glow.\", \"directionality_class\": \"transparent_surface\", \"element\": \"small living-room window\", \"orientation\": \"slightly dirty glass admits pale daylight; only a blurred exterior brightness is visible through it\", \"state\": \"closed, dusty\"}]\n\nBuild the block layout now."}
{"ts": "2026-07-05 14:11:10", "kind": "code_render", "tag": "blockset_v2", "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/blockset_v2.png", "elements": 19, "layers": 4}
{"ts": "2026-07-05 14:11:10", "kind": "stage", "stage": "s13_blockset_v2", "done": "all"}
{"ts": "2026-07-05 14:38:40", "kind": "stage", "stage": "s14_blockgen", "done": "crop"}
{"ts": "2026-07-05 14:39:04", "kind": "stage", "stage": "s14_blockgen", "done": "html"}
{"ts": "2026-07-05 14:40:43", "kind": "img", "engine": "gpt-image-2", "mode": "edit", "tag": "blockgen_plan_gpt", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/blockset_v2_canvas.png"], "size": "1536x864", "attempt": 1, "dur_s": 105.8, "bytes": 2110020, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/gen_plan_gpt.png", "prompt": "The attached image is a BLOCK SET DIAGRAM of one real property: plain\nblocks, top-down, and the blocks' RELATIVE sizes and positions are the\nlayout ground truth. The fill COLOURS encode HEIGHT LAYERS, not surface\ncolours or materials. Circled letters/numbers are annotations only —\nnever draw them or any text.\n\nIMPORTANT LAYOUT FACTS (the diagram's data — obey exactly):\n- height layers, low to high: Ground h=0 (lightest), Stair run h=1.5 (mid 1), Roof deck h=3 (mid 2), Rooftop room h=4 (darkest). Darker fill = higher.\n- (A) street road [road] — south-centre area; height: Ground\n- (B) narrow alley [alley] — centre-west area; height: Ground\n- (C) entry yard [yard] — south-centre area; height: Ground\n- (D) villa mass [building_mass] — centre area; height: Roof deck\n- (E) roof terrace [terrace] — centre area; height: Roof deck\n- (F) rooftop room [upper_shell] — centre area; height: Rooftop room\n- (G) concrete stair [stair] — south-east area; height: Stair run\n- (H) low wall [wall] — south-centre area; height: Roof deck\n- (I) neighbor block [neighbor_mass] — north-west area; height: Roof deck\n- (J) rear neighbor [neighbor_mass] — north-centre area; height: Roof deck\n- (K) side neighbor [neighbor_mass] — centre-east area; height: Roof deck\n- (1) water tank [fixture_round] — north-west area; height: Roof deck round\n- (2) low platform [fixture_rect] — centre-west area; height: Roof deck\n- (3) laundry line [equipment] — centre area, on the west edge of the rooftop room; height: Roof deck\n- (4) iron door [door] — centre area, on the south edge of the rooftop room; height: Rooftop room\n- (5) living window [window] — centre area, on the east edge of the rooftop room; height: Rooftop room\n- (6) bedroom window [window] — north-centre area, on the north edge of the rooftop room; height: Rooftop room\n- (7) entry gate [gate] — south-west area; height: Ground\n- (8) facade windows [window] — south-centre area, on the north edge of the entry yard, 4 identical openings in a row; height: Roof deck\n\nRedraw this as ONE technical architectural SITE PLAN drawing in the\ndrafting language of a clean floor plan — thin dark outlines, flat\nmuted colour fills, simple fixture symbols — with slight axonometric\ndepth, the view tilted about 30 degrees from vertical so the height\nlayers read as real levels (ground, roof deck, rooftop dwelling on\ntop). Keep every block's position, proportion and opening count\nexactly; replace each block with the real structure it stands for.\nNeutral location document: plain even daylight, no people, no story\nprops, no vehicles, no text, no markers, no legend. Never expose\ninterior rooms or furniture."}
{"ts": "2026-07-05 14:42:33", "kind": "img", "engine": "gpt-image-2", "mode": "edit", "tag": "blockgen_photo_gpt", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/blockset_v2_canvas.png"], "size": "1536x864", "attempt": 1, "dur_s": 109.8, "bytes": 2723192, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/gen_photo_gpt.png", "prompt": "The attached image is a BLOCK SET DIAGRAM of one real property: plain\nblocks, top-down, and the blocks' RELATIVE sizes and positions are the\nlayout ground truth. The fill COLOURS encode HEIGHT LAYERS, not surface\ncolours or materials. Circled letters/numbers are annotations only —\nnever draw them or any text.\n\nIMPORTANT LAYOUT FACTS (the diagram's data — obey exactly):\n- height layers, low to high: Ground h=0 (lightest), Stair run h=1.5 (mid 1), Roof deck h=3 (mid 2), Rooftop room h=4 (darkest). Darker fill = higher.\n- (A) street road [road] — south-centre area; height: Ground\n- (B) narrow alley [alley] — centre-west area; height: Ground\n- (C) entry yard [yard] — south-centre area; height: Ground\n- (D) villa mass [building_mass] — centre area; height: Roof deck\n- (E) roof terrace [terrace] — centre area; height: Roof deck\n- (F) rooftop room [upper_shell] — centre area; height: Rooftop room\n- (G) concrete stair [stair] — south-east area; height: Stair run\n- (H) low wall [wall] — south-centre area; height: Roof deck\n- (I) neighbor block [neighbor_mass] — north-west area; height: Roof deck\n- (J) rear neighbor [neighbor_mass] — north-centre area; height: Roof deck\n- (K) side neighbor [neighbor_mass] — centre-east area; height: Roof deck\n- (1) water tank [fixture_round] — north-west area; height: Roof deck round\n- (2) low platform [fixture_rect] — centre-west area; height: Roof deck\n- (3) laundry line [equipment] — centre area, on the west edge of the rooftop room; height: Roof deck\n- (4) iron door [door] — centre area, on the south edge of the rooftop room; height: Rooftop room\n- (5) living window [window] — centre area, on the east edge of the rooftop room; height: Rooftop room\n- (6) bedroom window [window] — north-centre area, on the north edge of the rooftop room; height: Rooftop room\n- (7) entry gate [gate] — south-west area; height: Ground\n- (8) facade windows [window] — south-centre area, on the north edge of the entry yard, 4 identical openings in a row; height: Roof deck\n\nWHAT THIS PLACE LOOKS LIKE (production data):\n- 인천 변두리 낡은 빌라 옥탑방 옥상·현관 앞 외부: 낡은 다세대 빌라 꼭대기에 위치한 야외 공간. 물탱크, 흔들리는 빨랫줄, 평상 위 약초 건조 흔적, 낡은 철문 현관이 있다. (특징: 낡은 시멘트 바닥; 물탱크; 바람에 날리는 빨랫줄; 평상과 널려 있는 말린 약초(석창포); 전단지가 끼워진 철문 현관)\n- 옥탑방 내부: 작은 창문으로 빛이 들어오는 낡은 주거 공간. 싱크대, 식탁, TV가 있는 거실과 침대, 커튼, 거울 등이 있는 방/욕실로 구성된다. 약초 끓이는 냄비 등 생활 소품이 있으며, 간헐적으로 벽면에 붉은 원 형태의 환영과 핏자국이 생겨난다. (특징: 작은 창문의 햇살; 싱크대와 약초(석창포); 가스레인지 위 끓는 냄비와 수증기; 거실 TV와 스탠드; 침대, 커튼, 거울; 벽과 거울 표면에 나타나는 붉은 원 환영; 바닥과 벽의 핏자국 (특정 시점); 어지럽혀진 가재도구 (특정 시점))\n- 옥탑방 외곽 골목·시멘트 계단: 다세대 빌라 마당의 후미진 구석과 옥탑방으로 올라가는 가파르고 낡은 시멘트 계단. (특징: 다세대 빌라 입구 마당; 후미진 구석 공간; 낡고 가파른 시멘트 계단)\n\nRender ONE PHOTOREALISTIC bird's-eye location reference of this\nproperty from a high oblique angle tilted about 30 degrees from\nvertical: translate the height layers into real built volumes — the\nground road/alley/yard, the multi-storey building body with its roof\ndeck, and the small rooftop dwelling standing highest. Keep every\nposition, proportion and opening count from the diagram exactly.\nThe diagram's fill colours are height codes — do NOT copy them as\npaint or material colours; use aged everyday urban materials. Plain\neven daylight, completely unpopulated, no text, letters, circles,\nmarkers or legend anywhere. Never expose interior rooms."}
{"ts": "2026-07-05 14:42:49", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "blockgen_plan_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/blockset_v2_canvas.png"], "ref_labels": ["BLOCK SET DIAGRAM (geometry + height control) — block positions/sizes are layout ground truth; fill colours encode height layers as the prompt explains; circled letters/numbers are annotations, never objects."], "attempt": 1, "dur_s": 16.1, "bytes": 1609375, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/gen_plan_nb2.png", "prompt": "The attached image is a BLOCK SET DIAGRAM of one real property: plain\nblocks, top-down, and the blocks' RELATIVE sizes and positions are the\nlayout ground truth. The fill COLOURS encode HEIGHT LAYERS, not surface\ncolours or materials. Circled letters/numbers are annotations only —\nnever draw them or any text.\n\nIMPORTANT LAYOUT FACTS (the diagram's data — obey exactly):\n- height layers, low to high: Ground h=0 (lightest), Stair run h=1.5 (mid 1), Roof deck h=3 (mid 2), Rooftop room h=4 (darkest). Darker fill = higher.\n- (A) street road [road] — south-centre area; height: Ground\n- (B) narrow alley [alley] — centre-west area; height: Ground\n- (C) entry yard [yard] — south-centre area; height: Ground\n- (D) villa mass [building_mass] — centre area; height: Roof deck\n- (E) roof terrace [terrace] — centre area; height: Roof deck\n- (F) rooftop room [upper_shell] — centre area; height: Rooftop room\n- (G) concrete stair [stair] — south-east area; height: Stair run\n- (H) low wall [wall] — south-centre area; height: Roof deck\n- (I) neighbor block [neighbor_mass] — north-west area; height: Roof deck\n- (J) rear neighbor [neighbor_mass] — north-centre area; height: Roof deck\n- (K) side neighbor [neighbor_mass] — centre-east area; height: Roof deck\n- (1) water tank [fixture_round] — north-west area; height: Roof deck round\n- (2) low platform [fixture_rect] — centre-west area; height: Roof deck\n- (3) laundry line [equipment] — centre area, on the west edge of the rooftop room; height: Roof deck\n- (4) iron door [door] — centre area, on the south edge of the rooftop room; height: Rooftop room\n- (5) living window [window] — centre area, on the east edge of the rooftop room; height: Rooftop room\n- (6) bedroom window [window] — north-centre area, on the north edge of the rooftop room; height: Rooftop room\n- (7) entry gate [gate] — south-west area; height: Ground\n- (8) facade windows [window] — south-centre area, on the north edge of the entry yard, 4 identical openings in a row; height: Roof deck\n\nRedraw this as ONE technical architectural SITE PLAN drawing in the\ndrafting language of a clean floor plan — thin dark outlines, flat\nmuted colour fills, simple fixture symbols — with slight axonometric\ndepth, the view tilted about 30 degrees from vertical so the height\nlayers read as real levels (ground, roof deck, rooftop dwelling on\ntop). Keep every block's position, proportion and opening count\nexactly; replace each block with the real structure it stands for.\nNeutral location document: plain even daylight, no people, no story\nprops, no vehicles, no text, no markers, no legend. Never expose\ninterior rooms or furniture."}
{"ts": "2026-07-05 14:43:07", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "blockgen_photo_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/blockset_v2_canvas.png"], "ref_labels": ["BLOCK SET DIAGRAM (geometry + height control) — block positions/sizes are layout ground truth; fill colours encode height layers as the prompt explains; circled letters/numbers are annotations, never objects."], "attempt": 1, "dur_s": 17.9, "bytes": 3368605, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/gen_photo_nb2.png", "prompt": "The attached image is a BLOCK SET DIAGRAM of one real property: plain\nblocks, top-down, and the blocks' RELATIVE sizes and positions are the\nlayout ground truth. The fill COLOURS encode HEIGHT LAYERS, not surface\ncolours or materials. Circled letters/numbers are annotations only —\nnever draw them or any text.\n\nIMPORTANT LAYOUT FACTS (the diagram's data — obey exactly):\n- height layers, low to high: Ground h=0 (lightest), Stair run h=1.5 (mid 1), Roof deck h=3 (mid 2), Rooftop room h=4 (darkest). Darker fill = higher.\n- (A) street road [road] — south-centre area; height: Ground\n- (B) narrow alley [alley] — centre-west area; height: Ground\n- (C) entry yard [yard] — south-centre area; height: Ground\n- (D) villa mass [building_mass] — centre area; height: Roof deck\n- (E) roof terrace [terrace] — centre area; height: Roof deck\n- (F) rooftop room [upper_shell] — centre area; height: Rooftop room\n- (G) concrete stair [stair] — south-east area; height: Stair run\n- (H) low wall [wall] — south-centre area; height: Roof deck\n- (I) neighbor block [neighbor_mass] — north-west area; height: Roof deck\n- (J) rear neighbor [neighbor_mass] — north-centre area; height: Roof deck\n- (K) side neighbor [neighbor_mass] — centre-east area; height: Roof deck\n- (1) water tank [fixture_round] — north-west area; height: Roof deck round\n- (2) low platform [fixture_rect] — centre-west area; height: Roof deck\n- (3) laundry line [equipment] — centre area, on the west edge of the rooftop room; height: Roof deck\n- (4) iron door [door] — centre area, on the south edge of the rooftop room; height: Rooftop room\n- (5) living window [window] — centre area, on the east edge of the rooftop room; height: Rooftop room\n- (6) bedroom window [window] — north-centre area, on the north edge of the rooftop room; height: Rooftop room\n- (7) entry gate [gate] — south-west area; height: Ground\n- (8) facade windows [window] — south-centre area, on the north edge of the entry yard, 4 identical openings in a row; height: Roof deck\n\nWHAT THIS PLACE LOOKS LIKE (production data):\n- 인천 변두리 낡은 빌라 옥탑방 옥상·현관 앞 외부: 낡은 다세대 빌라 꼭대기에 위치한 야외 공간. 물탱크, 흔들리는 빨랫줄, 평상 위 약초 건조 흔적, 낡은 철문 현관이 있다. (특징: 낡은 시멘트 바닥; 물탱크; 바람에 날리는 빨랫줄; 평상과 널려 있는 말린 약초(석창포); 전단지가 끼워진 철문 현관)\n- 옥탑방 내부: 작은 창문으로 빛이 들어오는 낡은 주거 공간. 싱크대, 식탁, TV가 있는 거실과 침대, 커튼, 거울 등이 있는 방/욕실로 구성된다. 약초 끓이는 냄비 등 생활 소품이 있으며, 간헐적으로 벽면에 붉은 원 형태의 환영과 핏자국이 생겨난다. (특징: 작은 창문의 햇살; 싱크대와 약초(석창포); 가스레인지 위 끓는 냄비와 수증기; 거실 TV와 스탠드; 침대, 커튼, 거울; 벽과 거울 표면에 나타나는 붉은 원 환영; 바닥과 벽의 핏자국 (특정 시점); 어지럽혀진 가재도구 (특정 시점))\n- 옥탑방 외곽 골목·시멘트 계단: 다세대 빌라 마당의 후미진 구석과 옥탑방으로 올라가는 가파르고 낡은 시멘트 계단. (특징: 다세대 빌라 입구 마당; 후미진 구석 공간; 낡고 가파른 시멘트 계단)\n\nRender ONE PHOTOREALISTIC bird's-eye location reference of this\nproperty from a high oblique angle tilted about 30 degrees from\nvertical: translate the height layers into real built volumes — the\nground road/alley/yard, the multi-storey building body with its roof\ndeck, and the small rooftop dwelling standing highest. Keep every\nposition, proportion and opening count from the diagram exactly.\nThe diagram's fill colours are height codes — do NOT copy them as\npaint or material colours; use aged everyday urban materials. Plain\neven daylight, completely unpopulated, no text, letters, circles,\nmarkers or legend anywhere. Never expose interior rooms."}
{"ts": "2026-07-05 14:43:07", "kind": "stage", "stage": "s14_blockgen", "done": "images"}
{"ts": "2026-07-05 15:06:14", "kind": "stage", "stage": "s14_blockgen", "done": "html"}
{"ts": "2026-07-05 15:07:52", "kind": "img", "engine": "gpt-image-2", "mode": "edit", "tag": "blockgen2_plan_gpt", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/blockset_v2_canvas.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/b0ad5c18-5140-4022-a2b0-805de0e5a385/episodes/0d30302a-51c8-4ac9-98e2-6cd9180512bf/images/floor_plan/fp_l04_rooftop_room_main.png"], "size": "1536x864", "attempt": 1, "dur_s": 89.3, "bytes": 1005109, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/gen2_plan_gpt.png", "prompt": "The FIRST attached image is a BLOCK SET DIAGRAM of one real property:\nplain blocks, top-down, and the blocks' RELATIVE sizes and positions are\nthe layout ground truth. The fill COLOURS encode HEIGHT LAYERS, not\nsurface colours or materials. Circled letters/numbers are annotations\nonly — never draw them or any text.\n\nIMPORTANT LAYOUT FACTS (the diagram's data — obey exactly):\n- height layers, low to high: Ground h=0 (lightest), Stair run h=1.5 (mid 1), Roof deck h=3 (mid 2), Rooftop room h=4 (darkest). Darker fill = higher.\n- (A) street road [road] — south-centre area; height: Ground\n- (B) narrow alley [alley] — centre-west area; height: Ground\n- (C) entry yard [yard] — south-centre area; height: Ground\n- (D) villa mass [building_mass] — centre area; height: Roof deck\n- (E) roof terrace [terrace] — centre area; height: Roof deck\n- (F) rooftop room [upper_shell] — centre area; height: Rooftop room\n- (G) concrete stair [stair] — south-east area; height: Stair run\n- (H) low wall [wall] — south-centre area; height: Roof deck\n- (I) neighbor block [neighbor_mass] — north-west area; height: Roof deck\n- (J) rear neighbor [neighbor_mass] — north-centre area; height: Roof deck\n- (K) side neighbor [neighbor_mass] — centre-east area; height: Roof deck\n- (1) water tank [fixture_round] — north-west area; height: Roof deck round\n- (2) low platform [fixture_rect] — centre-west area; height: Roof deck\n- (3) laundry line [equipment] — centre area, on the west edge of the rooftop room; height: Roof deck\n- (4) iron door [door] — centre area, on the south edge of the rooftop room; height: Rooftop room\n- (5) living window [window] — centre area, on the east edge of the rooftop room; height: Rooftop room\n- (6) bedroom window [window] — north-centre area, on the north edge of the rooftop room; height: Rooftop room\n- (7) entry gate [gate] — south-west area; height: Ground\n- (8) facade windows [window] — south-centre area, on the north edge of the entry yard, 4 windows for the whole facade — distribute them across the building's storeys with clear wall between each (never fused edge-to-edge, never one tight row); height: Roof deck\n- any facade windows sit apart with clear wall between them, aligned to the building's real storeys — never touching.\n\nThe SECOND attached image is an interior floor plan from the same\nproduction — use it ONLY as the DRAFTING-STYLE reference: same line\nweight, same flat colour-fill language, same simple fixture/opening\nsymbols. NEVER copy its rooms, furniture, numbers or any content.\n\nRedraw the block diagram as ONE strict TOP-DOWN 2D architectural\nSITE PLAN in exactly that floor-plan drafting style. Flat orthographic\nplan view only: NO 3D, NO axonometric, NO perspective, NO volume\nshading, no cast shadows. Height layers appear ONLY as flat fill\ntints (slightly darker = higher). Use plan symbols: stair with tread\nlines, door-swing arcs, window ticks on wall lines, circle for the\nround tank, low platform as a thin rectangle. Keep every block's\nposition, proportion and opening count exactly. The upper dwelling\nstays an outer shell with boundary openings only — never interior\nrooms or furniture. Neutral document: no people, no story props, no\nvehicles, no text, no markers, no legend."}
{"ts": "2026-07-05 15:09:55", "kind": "img", "engine": "gpt-image-2", "mode": "edit", "tag": "blockgen2_photo_gpt", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/blockset_v2_canvas.png"], "size": "1536x864", "attempt": 1, "dur_s": 123.2, "bytes": 2695742, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/gen2_photo_gpt.png", "prompt": "The FIRST attached image is a BLOCK SET DIAGRAM of one real property:\nplain blocks, top-down, and the blocks' RELATIVE sizes and positions are\nthe layout ground truth. The fill COLOURS encode HEIGHT LAYERS, not\nsurface colours or materials. Circled letters/numbers are annotations\nonly — never draw them or any text.\n\nIMPORTANT LAYOUT FACTS (the diagram's data — obey exactly):\n- height layers, low to high: Ground h=0 (lightest), Stair run h=1.5 (mid 1), Roof deck h=3 (mid 2), Rooftop room h=4 (darkest). Darker fill = higher.\n- (A) street road [road] — south-centre area; height: Ground\n- (B) narrow alley [alley] — centre-west area; height: Ground\n- (C) entry yard [yard] — south-centre area; height: Ground\n- (D) villa mass [building_mass] — centre area; height: Roof deck\n- (E) roof terrace [terrace] — centre area; height: Roof deck\n- (F) rooftop room [upper_shell] — centre area; height: Rooftop room\n- (G) concrete stair [stair] — south-east area; height: Stair run\n- (H) low wall [wall] — south-centre area; height: Roof deck\n- (I) neighbor block [neighbor_mass] — north-west area; height: Roof deck\n- (J) rear neighbor [neighbor_mass] — north-centre area; height: Roof deck\n- (K) side neighbor [neighbor_mass] — centre-east area; height: Roof deck\n- (1) water tank [fixture_round] — north-west area; height: Roof deck round\n- (2) low platform [fixture_rect] — centre-west area; height: Roof deck\n- (3) laundry line [equipment] — centre area, on the west edge of the rooftop room; height: Roof deck\n- (4) iron door [door] — centre area, on the south edge of the rooftop room; height: Rooftop room\n- (5) living window [window] — centre area, on the east edge of the rooftop room; height: Rooftop room\n- (6) bedroom window [window] — north-centre area, on the north edge of the rooftop room; height: Rooftop room\n- (7) entry gate [gate] — south-west area; height: Ground\n- (8) facade windows [window] — south-centre area, on the north edge of the entry yard, 4 windows for the whole facade — distribute them across the building's storeys with clear wall between each (never fused edge-to-edge, never one tight row); height: Roof deck\n- any facade windows sit apart with clear wall between them, aligned to the building's real storeys — never touching.\n\nWHAT THIS PLACE LOOKS LIKE (production data):\n- 인천 변두리 낡은 빌라 옥탑방 옥상·현관 앞 외부: 낡은 다세대 빌라 꼭대기에 위치한 야외 공간. 물탱크, 흔들리는 빨랫줄, 평상 위 약초 건조 흔적, 낡은 철문 현관이 있다. (특징: 낡은 시멘트 바닥; 물탱크; 바람에 날리는 빨랫줄; 평상과 널려 있는 말린 약초(석창포); 전단지가 끼워진 철문 현관)\n- 옥탑방 내부: 작은 창문으로 빛이 들어오는 낡은 주거 공간. 싱크대, 식탁, TV가 있는 거실과 침대, 커튼, 거울 등이 있는 방/욕실로 구성된다. 약초 끓이는 냄비 등 생활 소품이 있으며, 간헐적으로 벽면에 붉은 원 형태의 환영과 핏자국이 생겨난다. (특징: 작은 창문의 햇살; 싱크대와 약초(석창포); 가스레인지 위 끓는 냄비와 수증기; 거실 TV와 스탠드; 침대, 커튼, 거울; 벽과 거울 표면에 나타나는 붉은 원 환영; 바닥과 벽의 핏자국 (특정 시점); 어지럽혀진 가재도구 (특정 시점))\n- 옥탑방 외곽 골목·시멘트 계단: 다세대 빌라 마당의 후미진 구석과 옥탑방으로 올라가는 가파르고 낡은 시멘트 계단. (특징: 다세대 빌라 입구 마당; 후미진 구석 공간; 낡고 가파른 시멘트 계단)\n\nRender ONE PHOTOREALISTIC bird's-eye location reference of this\nproperty from a high oblique angle tilted about 30 degrees from\nvertical: translate the height layers into real built volumes — the\nground road/alley/yard, the multi-storey building body with its roof\ndeck, and the small rooftop dwelling standing highest. Keep every\nposition, proportion and opening count from the diagram exactly;\nfacade windows spread naturally across the storeys, never one fused\nrow. The diagram's fill colours are height codes — do NOT copy them\nas paint or material colours; use aged everyday urban materials.\nPlain even daylight, completely unpopulated, no text, letters,\ncircles, markers or legend anywhere. Never expose interior rooms."}
{"ts": "2026-07-05 15:10:20", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "blockgen2_plan_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/blockset_v2_canvas.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/b0ad5c18-5140-4022-a2b0-805de0e5a385/episodes/0d30302a-51c8-4ac9-98e2-6cd9180512bf/images/floor_plan/fp_l04_rooftop_room_main.png"], "ref_labels": ["BLOCK SET DIAGRAM (geometry + height control) — block positions/sizes are layout ground truth; fill colours encode height layers as the prompt explains; circled letters/numbers are annotations, never objects — draw none of them and no text at all.", "DRAFTING STYLE REFERENCE (an interior floor plan) — copy ONLY its drawing style: line weight, flat fills, plan symbols. Never its rooms, furniture, numbers or content."], "attempt": 1, "dur_s": 24.9, "bytes": 1314456, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/gen2_plan_nb2.png", "prompt": "The FIRST attached image is a BLOCK SET DIAGRAM of one real property:\nplain blocks, top-down, and the blocks' RELATIVE sizes and positions are\nthe layout ground truth. The fill COLOURS encode HEIGHT LAYERS, not\nsurface colours or materials. Circled letters/numbers are annotations\nonly — never draw them or any text.\n\nIMPORTANT LAYOUT FACTS (the diagram's data — obey exactly):\n- height layers, low to high: Ground h=0 (lightest), Stair run h=1.5 (mid 1), Roof deck h=3 (mid 2), Rooftop room h=4 (darkest). Darker fill = higher.\n- (A) street road [road] — south-centre area; height: Ground\n- (B) narrow alley [alley] — centre-west area; height: Ground\n- (C) entry yard [yard] — south-centre area; height: Ground\n- (D) villa mass [building_mass] — centre area; height: Roof deck\n- (E) roof terrace [terrace] — centre area; height: Roof deck\n- (F) rooftop room [upper_shell] — centre area; height: Rooftop room\n- (G) concrete stair [stair] — south-east area; height: Stair run\n- (H) low wall [wall] — south-centre area; height: Roof deck\n- (I) neighbor block [neighbor_mass] — north-west area; height: Roof deck\n- (J) rear neighbor [neighbor_mass] — north-centre area; height: Roof deck\n- (K) side neighbor [neighbor_mass] — centre-east area; height: Roof deck\n- (1) water tank [fixture_round] — north-west area; height: Roof deck round\n- (2) low platform [fixture_rect] — centre-west area; height: Roof deck\n- (3) laundry line [equipment] — centre area, on the west edge of the rooftop room; height: Roof deck\n- (4) iron door [door] — centre area, on the south edge of the rooftop room; height: Rooftop room\n- (5) living window [window] — centre area, on the east edge of the rooftop room; height: Rooftop room\n- (6) bedroom window [window] — north-centre area, on the north edge of the rooftop room; height: Rooftop room\n- (7) entry gate [gate] — south-west area; height: Ground\n- (8) facade windows [window] — south-centre area, on the north edge of the entry yard, 4 windows for the whole facade — distribute them across the building's storeys with clear wall between each (never fused edge-to-edge, never one tight row); height: Roof deck\n- any facade windows sit apart with clear wall between them, aligned to the building's real storeys — never touching.\n\nThe SECOND attached image is an interior floor plan from the same\nproduction — use it ONLY as the DRAFTING-STYLE reference: same line\nweight, same flat colour-fill language, same simple fixture/opening\nsymbols. NEVER copy its rooms, furniture, numbers or any content.\n\nRedraw the block diagram as ONE strict TOP-DOWN 2D architectural\nSITE PLAN in exactly that floor-plan drafting style. Flat orthographic\nplan view only: NO 3D, NO axonometric, NO perspective, NO volume\nshading, no cast shadows. Height layers appear ONLY as flat fill\ntints (slightly darker = higher). Use plan symbols: stair with tread\nlines, door-swing arcs, window ticks on wall lines, circle for the\nround tank, low platform as a thin rectangle. Keep every block's\nposition, proportion and opening count exactly. The upper dwelling\nstays an outer shell with boundary openings only — never interior\nrooms or furniture. Neutral document: no people, no story props, no\nvehicles, no text, no markers, no legend."}
{"ts": "2026-07-05 15:10:38", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "blockgen2_photo_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/blockset_v2_canvas.png"], "ref_labels": ["BLOCK SET DIAGRAM (geometry + height control) — block positions/sizes are layout ground truth; fill colours encode height layers as the prompt explains; circled letters/numbers are annotations, never objects — draw none of them and no text at all."], "attempt": 1, "dur_s": 17.8, "bytes": 3844479, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/gen2_photo_nb2.png", "prompt": "The FIRST attached image is a BLOCK SET DIAGRAM of one real property:\nplain blocks, top-down, and the blocks' RELATIVE sizes and positions are\nthe layout ground truth. The fill COLOURS encode HEIGHT LAYERS, not\nsurface colours or materials. Circled letters/numbers are annotations\nonly — never draw them or any text.\n\nIMPORTANT LAYOUT FACTS (the diagram's data — obey exactly):\n- height layers, low to high: Ground h=0 (lightest), Stair run h=1.5 (mid 1), Roof deck h=3 (mid 2), Rooftop room h=4 (darkest). Darker fill = higher.\n- (A) street road [road] — south-centre area; height: Ground\n- (B) narrow alley [alley] — centre-west area; height: Ground\n- (C) entry yard [yard] — south-centre area; height: Ground\n- (D) villa mass [building_mass] — centre area; height: Roof deck\n- (E) roof terrace [terrace] — centre area; height: Roof deck\n- (F) rooftop room [upper_shell] — centre area; height: Rooftop room\n- (G) concrete stair [stair] — south-east area; height: Stair run\n- (H) low wall [wall] — south-centre area; height: Roof deck\n- (I) neighbor block [neighbor_mass] — north-west area; height: Roof deck\n- (J) rear neighbor [neighbor_mass] — north-centre area; height: Roof deck\n- (K) side neighbor [neighbor_mass] — centre-east area; height: Roof deck\n- (1) water tank [fixture_round] — north-west area; height: Roof deck round\n- (2) low platform [fixture_rect] — centre-west area; height: Roof deck\n- (3) laundry line [equipment] — centre area, on the west edge of the rooftop room; height: Roof deck\n- (4) iron door [door] — centre area, on the south edge of the rooftop room; height: Rooftop room\n- (5) living window [window] — centre area, on the east edge of the rooftop room; height: Rooftop room\n- (6) bedroom window [window] — north-centre area, on the north edge of the rooftop room; height: Rooftop room\n- (7) entry gate [gate] — south-west area; height: Ground\n- (8) facade windows [window] — south-centre area, on the north edge of the entry yard, 4 windows for the whole facade — distribute them across the building's storeys with clear wall between each (never fused edge-to-edge, never one tight row); height: Roof deck\n- any facade windows sit apart with clear wall between them, aligned to the building's real storeys — never touching.\n\nWHAT THIS PLACE LOOKS LIKE (production data):\n- 인천 변두리 낡은 빌라 옥탑방 옥상·현관 앞 외부: 낡은 다세대 빌라 꼭대기에 위치한 야외 공간. 물탱크, 흔들리는 빨랫줄, 평상 위 약초 건조 흔적, 낡은 철문 현관이 있다. (특징: 낡은 시멘트 바닥; 물탱크; 바람에 날리는 빨랫줄; 평상과 널려 있는 말린 약초(석창포); 전단지가 끼워진 철문 현관)\n- 옥탑방 내부: 작은 창문으로 빛이 들어오는 낡은 주거 공간. 싱크대, 식탁, TV가 있는 거실과 침대, 커튼, 거울 등이 있는 방/욕실로 구성된다. 약초 끓이는 냄비 등 생활 소품이 있으며, 간헐적으로 벽면에 붉은 원 형태의 환영과 핏자국이 생겨난다. (특징: 작은 창문의 햇살; 싱크대와 약초(석창포); 가스레인지 위 끓는 냄비와 수증기; 거실 TV와 스탠드; 침대, 커튼, 거울; 벽과 거울 표면에 나타나는 붉은 원 환영; 바닥과 벽의 핏자국 (특정 시점); 어지럽혀진 가재도구 (특정 시점))\n- 옥탑방 외곽 골목·시멘트 계단: 다세대 빌라 마당의 후미진 구석과 옥탑방으로 올라가는 가파르고 낡은 시멘트 계단. (특징: 다세대 빌라 입구 마당; 후미진 구석 공간; 낡고 가파른 시멘트 계단)\n\nRender ONE PHOTOREALISTIC bird's-eye location reference of this\nproperty from a high oblique angle tilted about 30 degrees from\nvertical: translate the height layers into real built volumes — the\nground road/alley/yard, the multi-storey building body with its roof\ndeck, and the small rooftop dwelling standing highest. Keep every\nposition, proportion and opening count from the diagram exactly;\nfacade windows spread naturally across the storeys, never one fused\nrow. The diagram's fill colours are height codes — do NOT copy them\nas paint or material colours; use aged everyday urban materials.\nPlain even daylight, completely unpopulated, no text, letters,\ncircles, markers or legend anywhere. Never expose interior rooms."}
{"ts": "2026-07-05 15:10:38", "kind": "stage", "stage": "s14_blockgen", "done": "images"}
{"ts": "2026-07-05 15:12:29", "kind": "code_render", "tag": "blockset_v2", "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/blockset_v2_nomark.png", "elements": 19, "layers": 4}
{"ts": "2026-07-05 15:12:46", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "blockgen2_plan_nb2_clean", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/blockset_v2_canvas_clean.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/b0ad5c18-5140-4022-a2b0-805de0e5a385/episodes/0d30302a-51c8-4ac9-98e2-6cd9180512bf/images/floor_plan/fp_l04_rooftop_room_main.png"], "ref_labels": ["BLOCK SET DIAGRAM (geometry + height control) — block positions/sizes are layout ground truth; fill colours encode height layers as the prompt explains; circled letters/numbers are annotations, never objects — draw none of them and no text at all.", "DRAFTING STYLE REFERENCE (an interior floor plan) — copy ONLY its drawing style: line weight, flat fills, plan symbols. Never its rooms, furniture, numbers or content."], "attempt": 1, "dur_s": 16.9, "bytes": 1361603, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/gen2_plan_nb2_clean.png", "prompt": "The FIRST attached image is a BLOCK SET DIAGRAM of one real property:\nplain blocks, top-down, and the blocks' RELATIVE sizes and positions are\nthe layout ground truth. The fill COLOURS encode HEIGHT LAYERS, not\nsurface colours or materials. Circled letters/numbers are annotations\nonly — never draw them or any text.\n\nIMPORTANT LAYOUT FACTS (the diagram's data — obey exactly):\n- height layers, low to high: Ground h=0 (lightest), Stair run h=1.5 (mid 1), Roof deck h=3 (mid 2), Rooftop room h=4 (darkest). Darker fill = higher.\n- (A) street road [road] — south-centre area; height: Ground\n- (B) narrow alley [alley] — centre-west area; height: Ground\n- (C) entry yard [yard] — south-centre area; height: Ground\n- (D) villa mass [building_mass] — centre area; height: Roof deck\n- (E) roof terrace [terrace] — centre area; height: Roof deck\n- (F) rooftop room [upper_shell] — centre area; height: Rooftop room\n- (G) concrete stair [stair] — south-east area; height: Stair run\n- (H) low wall [wall] — south-centre area; height: Roof deck\n- (I) neighbor block [neighbor_mass] — north-west area; height: Roof deck\n- (J) rear neighbor [neighbor_mass] — north-centre area; height: Roof deck\n- (K) side neighbor [neighbor_mass] — centre-east area; height: Roof deck\n- (1) water tank [fixture_round] — north-west area; height: Roof deck round\n- (2) low platform [fixture_rect] — centre-west area; height: Roof deck\n- (3) laundry line [equipment] — centre area, on the west edge of the rooftop room; height: Roof deck\n- (4) iron door [door] — centre area, on the south edge of the rooftop room; height: Rooftop room\n- (5) living window [window] — centre area, on the east edge of the rooftop room; height: Rooftop room\n- (6) bedroom window [window] — north-centre area, on the north edge of the rooftop room; height: Rooftop room\n- (7) entry gate [gate] — south-west area; height: Ground\n- (8) facade windows [window] — south-centre area, on the north edge of the entry yard, 4 windows for the whole facade — distribute them across the building's storeys with clear wall between each (never fused edge-to-edge, never one tight row); height: Roof deck\n- any facade windows sit apart with clear wall between them, aligned to the building's real storeys — never touching.\n\nThe SECOND attached image is an interior floor plan from the same\nproduction — use it ONLY as the DRAFTING-STYLE reference: same line\nweight, same flat colour-fill language, same simple fixture/opening\nsymbols. NEVER copy its rooms, furniture, numbers or any content.\n\nRedraw the block diagram as ONE strict TOP-DOWN 2D architectural\nSITE PLAN in exactly that floor-plan drafting style. Flat orthographic\nplan view only: NO 3D, NO axonometric, NO perspective, NO volume\nshading, no cast shadows. Height layers appear ONLY as flat fill\ntints (slightly darker = higher). Use plan symbols: stair with tread\nlines, door-swing arcs, window ticks on wall lines, circle for the\nround tank, low platform as a thin rectangle. Keep every block's\nposition, proportion and opening count exactly. The upper dwelling\nstays an outer shell with boundary openings only — never interior\nrooms or furniture. Neutral document: no people, no story props, no\nvehicles, no text, no markers, no legend."}
{"ts": "2026-07-05 15:13:02", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "blockgen2_photo_nb2_clean", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/blockset_v2_canvas_clean.png"], "ref_labels": ["BLOCK SET DIAGRAM (geometry + height control) — block positions/sizes are layout ground truth; fill colours encode height layers as the prompt explains; circled letters/numbers are annotations, never objects — draw none of them and no text at all."], "attempt": 1, "dur_s": 15.4, "bytes": 3444175, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/gen2_photo_nb2_clean.png", "prompt": "The FIRST attached image is a BLOCK SET DIAGRAM of one real property:\nplain blocks, top-down, and the blocks' RELATIVE sizes and positions are\nthe layout ground truth. The fill COLOURS encode HEIGHT LAYERS, not\nsurface colours or materials. Circled letters/numbers are annotations\nonly — never draw them or any text.\n\nIMPORTANT LAYOUT FACTS (the diagram's data — obey exactly):\n- height layers, low to high: Ground h=0 (lightest), Stair run h=1.5 (mid 1), Roof deck h=3 (mid 2), Rooftop room h=4 (darkest). Darker fill = higher.\n- (A) street road [road] — south-centre area; height: Ground\n- (B) narrow alley [alley] — centre-west area; height: Ground\n- (C) entry yard [yard] — south-centre area; height: Ground\n- (D) villa mass [building_mass] — centre area; height: Roof deck\n- (E) roof terrace [terrace] — centre area; height: Roof deck\n- (F) rooftop room [upper_shell] — centre area; height: Rooftop room\n- (G) concrete stair [stair] — south-east area; height: Stair run\n- (H) low wall [wall] — south-centre area; height: Roof deck\n- (I) neighbor block [neighbor_mass] — north-west area; height: Roof deck\n- (J) rear neighbor [neighbor_mass] — north-centre area; height: Roof deck\n- (K) side neighbor [neighbor_mass] — centre-east area; height: Roof deck\n- (1) water tank [fixture_round] — north-west area; height: Roof deck round\n- (2) low platform [fixture_rect] — centre-west area; height: Roof deck\n- (3) laundry line [equipment] — centre area, on the west edge of the rooftop room; height: Roof deck\n- (4) iron door [door] — centre area, on the south edge of the rooftop room; height: Rooftop room\n- (5) living window [window] — centre area, on the east edge of the rooftop room; height: Rooftop room\n- (6) bedroom window [window] — north-centre area, on the north edge of the rooftop room; height: Rooftop room\n- (7) entry gate [gate] — south-west area; height: Ground\n- (8) facade windows [window] — south-centre area, on the north edge of the entry yard, 4 windows for the whole facade — distribute them across the building's storeys with clear wall between each (never fused edge-to-edge, never one tight row); height: Roof deck\n- any facade windows sit apart with clear wall between them, aligned to the building's real storeys — never touching.\n\nWHAT THIS PLACE LOOKS LIKE (production data):\n- 인천 변두리 낡은 빌라 옥탑방 옥상·현관 앞 외부: 낡은 다세대 빌라 꼭대기에 위치한 야외 공간. 물탱크, 흔들리는 빨랫줄, 평상 위 약초 건조 흔적, 낡은 철문 현관이 있다. (특징: 낡은 시멘트 바닥; 물탱크; 바람에 날리는 빨랫줄; 평상과 널려 있는 말린 약초(석창포); 전단지가 끼워진 철문 현관)\n- 옥탑방 내부: 작은 창문으로 빛이 들어오는 낡은 주거 공간. 싱크대, 식탁, TV가 있는 거실과 침대, 커튼, 거울 등이 있는 방/욕실로 구성된다. 약초 끓이는 냄비 등 생활 소품이 있으며, 간헐적으로 벽면에 붉은 원 형태의 환영과 핏자국이 생겨난다. (특징: 작은 창문의 햇살; 싱크대와 약초(석창포); 가스레인지 위 끓는 냄비와 수증기; 거실 TV와 스탠드; 침대, 커튼, 거울; 벽과 거울 표면에 나타나는 붉은 원 환영; 바닥과 벽의 핏자국 (특정 시점); 어지럽혀진 가재도구 (특정 시점))\n- 옥탑방 외곽 골목·시멘트 계단: 다세대 빌라 마당의 후미진 구석과 옥탑방으로 올라가는 가파르고 낡은 시멘트 계단. (특징: 다세대 빌라 입구 마당; 후미진 구석 공간; 낡고 가파른 시멘트 계단)\n\nRender ONE PHOTOREALISTIC bird's-eye location reference of this\nproperty from a high oblique angle tilted about 30 degrees from\nvertical: translate the height layers into real built volumes — the\nground road/alley/yard, the multi-storey building body with its roof\ndeck, and the small rooftop dwelling standing highest. Keep every\nposition, proportion and opening count from the diagram exactly;\nfacade windows spread naturally across the storeys, never one fused\nrow. The diagram's fill colours are height codes — do NOT copy them\nas paint or material colours; use aged everyday urban materials.\nPlain even daylight, completely unpopulated, no text, letters,\ncircles, markers or legend anywhere. Never expose interior rooms."}
{"ts": "2026-07-05 15:14:33", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "blockgen2_plan_nb2_noid", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/blockset_v2_canvas_clean.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/b0ad5c18-5140-4022-a2b0-805de0e5a385/episodes/0d30302a-51c8-4ac9-98e2-6cd9180512bf/images/floor_plan/fp_l04_rooftop_room_main.png"], "ref_labels": ["BLOCK SET DIAGRAM (geometry + height control) — block positions/sizes are layout ground truth; fill colours encode height layers as the prompt explains; circled letters/numbers are annotations, never objects — draw none of them and no text at all.", "DRAFTING STYLE REFERENCE (an interior floor plan) — copy ONLY its drawing style: line weight, flat fills, plan symbols. Never its rooms, furniture, numbers or content."], "attempt": 1, "dur_s": 27.1, "bytes": 1329000, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/gen2_plan_nb2_noid.png", "prompt": "The FIRST attached image is a BLOCK SET DIAGRAM of one real property:\nplain blocks, top-down, and the blocks' RELATIVE sizes and positions are\nthe layout ground truth. The fill COLOURS encode HEIGHT LAYERS, not\nsurface colours or materials. The output must contain NO text, NO\nletters, NO numbers, NO labels of any kind.\n\nIMPORTANT LAYOUT FACTS (the diagram's data — obey exactly):\n- height layers, low to high: Ground h=0 (lightest), Stair run h=1.5 (mid 1), Roof deck h=3 (mid 2), Rooftop room h=4 (darkest). Darker fill = higher.\n- street road [road] — south-centre area; height: Ground\n- narrow alley [alley] — centre-west area; height: Ground\n- entry yard [yard] — south-centre area; height: Ground\n- villa mass [building_mass] — centre area; height: Roof deck\n- roof terrace [terrace] — centre area; height: Roof deck\n- rooftop room [upper_shell] — centre area; height: Rooftop room\n- concrete stair [stair] — south-east area; height: Stair run\n- low wall [wall] — south-centre area; height: Roof deck\n- neighbor block [neighbor_mass] — north-west area; height: Roof deck\n- rear neighbor [neighbor_mass] — north-centre area; height: Roof deck\n- side neighbor [neighbor_mass] — centre-east area; height: Roof deck\n- water tank [fixture_round] — north-west area; height: Roof deck round\n- low platform [fixture_rect] — centre-west area; height: Roof deck\n- laundry line [equipment] — centre area, on the west edge of the rooftop room; height: Roof deck\n- iron door [door] — centre area, on the south edge of the rooftop room; height: Rooftop room\n- living window [window] — centre area, on the east edge of the rooftop room; height: Rooftop room\n- bedroom window [window] — north-centre area, on the north edge of the rooftop room; height: Rooftop room\n- entry gate [gate] — south-west area; height: Ground\n- facade windows [window] — south-centre area, on the north edge of the entry yard, 4 windows for the whole facade — distribute them across the building's storeys with clear wall between each (never fused edge-to-edge, never one tight row); height: Roof deck\n- any facade windows sit apart with clear wall between them, aligned to the building's real storeys — never touching.\n\nThe SECOND attached image is an interior floor plan from the same\nproduction — use it ONLY as the DRAFTING-STYLE reference: same line\nweight, same flat colour-fill language, same simple fixture/opening\nsymbols. NEVER copy its rooms, furniture, numbers or any content.\n\nRedraw the block diagram as ONE strict TOP-DOWN 2D architectural\nSITE PLAN in exactly that floor-plan drafting style. Flat orthographic\nplan view only: NO 3D, NO axonometric, NO perspective, NO volume\nshading, no cast shadows. Height layers appear ONLY as flat fill\ntints (slightly darker = higher). Use plan symbols: stair with tread\nlines, door-swing arcs, window ticks on wall lines, circle for the\nround tank, low platform as a thin rectangle. Keep every block's\nposition, proportion and opening count exactly. The upper dwelling\nstays an outer shell with boundary openings only — never interior\nrooms or furniture. Neutral document: no people, no story props, no\nvehicles, no text, no markers, no legend."}
{"ts": "2026-07-05 15:14:51", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "blockgen2_photo_nb2_noid", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/blockset_v2_canvas_clean.png"], "ref_labels": ["BLOCK SET DIAGRAM (geometry + height control) — block positions/sizes are layout ground truth; fill colours encode height layers as the prompt explains; circled letters/numbers are annotations, never objects — draw none of them and no text at all."], "attempt": 1, "dur_s": 17.7, "bytes": 3557779, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/gen2_photo_nb2_noid.png", "prompt": "The FIRST attached image is a BLOCK SET DIAGRAM of one real property:\nplain blocks, top-down, and the blocks' RELATIVE sizes and positions are\nthe layout ground truth. The fill COLOURS encode HEIGHT LAYERS, not\nsurface colours or materials. The output must contain NO text, NO\nletters, NO numbers, NO labels of any kind.\n\nIMPORTANT LAYOUT FACTS (the diagram's data — obey exactly):\n- height layers, low to high: Ground h=0 (lightest), Stair run h=1.5 (mid 1), Roof deck h=3 (mid 2), Rooftop room h=4 (darkest). Darker fill = higher.\n- street road [road] — south-centre area; height: Ground\n- narrow alley [alley] — centre-west area; height: Ground\n- entry yard [yard] — south-centre area; height: Ground\n- villa mass [building_mass] — centre area; height: Roof deck\n- roof terrace [terrace] — centre area; height: Roof deck\n- rooftop room [upper_shell] — centre area; height: Rooftop room\n- concrete stair [stair] — south-east area; height: Stair run\n- low wall [wall] — south-centre area; height: Roof deck\n- neighbor block [neighbor_mass] — north-west area; height: Roof deck\n- rear neighbor [neighbor_mass] — north-centre area; height: Roof deck\n- side neighbor [neighbor_mass] — centre-east area; height: Roof deck\n- water tank [fixture_round] — north-west area; height: Roof deck round\n- low platform [fixture_rect] — centre-west area; height: Roof deck\n- laundry line [equipment] — centre area, on the west edge of the rooftop room; height: Roof deck\n- iron door [door] — centre area, on the south edge of the rooftop room; height: Rooftop room\n- living window [window] — centre area, on the east edge of the rooftop room; height: Rooftop room\n- bedroom window [window] — north-centre area, on the north edge of the rooftop room; height: Rooftop room\n- entry gate [gate] — south-west area; height: Ground\n- facade windows [window] — south-centre area, on the north edge of the entry yard, 4 windows for the whole facade — distribute them across the building's storeys with clear wall between each (never fused edge-to-edge, never one tight row); height: Roof deck\n- any facade windows sit apart with clear wall between them, aligned to the building's real storeys — never touching.\n\nWHAT THIS PLACE LOOKS LIKE (production data):\n- 인천 변두리 낡은 빌라 옥탑방 옥상·현관 앞 외부: 낡은 다세대 빌라 꼭대기에 위치한 야외 공간. 물탱크, 흔들리는 빨랫줄, 평상 위 약초 건조 흔적, 낡은 철문 현관이 있다. (특징: 낡은 시멘트 바닥; 물탱크; 바람에 날리는 빨랫줄; 평상과 널려 있는 말린 약초(석창포); 전단지가 끼워진 철문 현관)\n- 옥탑방 내부: 작은 창문으로 빛이 들어오는 낡은 주거 공간. 싱크대, 식탁, TV가 있는 거실과 침대, 커튼, 거울 등이 있는 방/욕실로 구성된다. 약초 끓이는 냄비 등 생활 소품이 있으며, 간헐적으로 벽면에 붉은 원 형태의 환영과 핏자국이 생겨난다. (특징: 작은 창문의 햇살; 싱크대와 약초(석창포); 가스레인지 위 끓는 냄비와 수증기; 거실 TV와 스탠드; 침대, 커튼, 거울; 벽과 거울 표면에 나타나는 붉은 원 환영; 바닥과 벽의 핏자국 (특정 시점); 어지럽혀진 가재도구 (특정 시점))\n- 옥탑방 외곽 골목·시멘트 계단: 다세대 빌라 마당의 후미진 구석과 옥탑방으로 올라가는 가파르고 낡은 시멘트 계단. (특징: 다세대 빌라 입구 마당; 후미진 구석 공간; 낡고 가파른 시멘트 계단)\n\nRender ONE PHOTOREALISTIC bird's-eye location reference of this\nproperty from a high oblique angle tilted about 30 degrees from\nvertical: translate the height layers into real built volumes — the\nground road/alley/yard, the multi-storey building body with its roof\ndeck, and the small rooftop dwelling standing highest. Keep every\nposition, proportion and opening count from the diagram exactly;\nfacade windows spread naturally across the storeys, never one fused\nrow. The diagram's fill colours are height codes — do NOT copy them\nas paint or material colours; use aged everyday urban materials.\nPlain even daylight, completely unpopulated, no text, letters,\ncircles, markers or legend anywhere. Never expose interior rooms."}
{"ts": "2026-07-05 15:34:16", "kind": "img", "engine": "gpt-image-2", "mode": "edit", "tag": "blockgen3_plan_gpt", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/blockset_v2_canvas.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/b0ad5c18-5140-4022-a2b0-805de0e5a385/episodes/0d30302a-51c8-4ac9-98e2-6cd9180512bf/images/floor_plan/fp_l04_rooftop_room_main.png"], "size": "1536x864", "attempt": 1, "dur_s": 157.8, "bytes": 2165336, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/gen3_plan_gpt.png", "prompt": "The FIRST attached image is a BLOCK SET DIAGRAM of one real property:\nplain blocks, top-down, and the blocks' RELATIVE sizes and positions are\nthe layout ground truth. The fill COLOURS encode HEIGHT LAYERS, not\nsurface colours or materials. Circled letters/numbers are annotations\nonly — never draw them or any text.\n\nIMPORTANT LAYOUT FACTS (the diagram's data — obey exactly):\n- height layers, low to high: Ground h=0 (lightest), Stair run h=1.5 (mid 1), Roof deck h=3 (mid 2), Rooftop room h=4 (darkest). Darker fill = higher.\n- (A) street road [road] — south-centre area; height: Ground\n- (B) narrow alley [alley] — centre-west area; height: Ground\n- (C) entry yard [yard] — south-centre area; height: Ground\n- (D) villa mass [building_mass] — centre area; height: Roof deck\n- (E) roof terrace [terrace] — centre area; height: Roof deck\n- (F) rooftop room [upper_shell] — centre area; height: Rooftop room\n- (G) concrete stair [stair] — south-east area; height: Stair run\n- (H) low wall [wall] — south-centre area; height: Roof deck\n- (I) neighbor block [neighbor_mass] — north-west area; height: Roof deck\n- (J) rear neighbor [neighbor_mass] — north-centre area; height: Roof deck\n- (K) side neighbor [neighbor_mass] — centre-east area; height: Roof deck\n- (1) water tank [fixture_round] — north-west area; height: Roof deck round\n- (2) low platform [fixture_rect] — centre-west area; height: Roof deck\n- (3) laundry line [equipment] — centre area, on the west edge of the rooftop room; height: Roof deck\n- (4) iron door [door] — centre area, on the south edge of the rooftop room; height: Rooftop room\n- (5) living window [window] — centre area, on the east edge of the rooftop room; height: Rooftop room\n- (6) bedroom window [window] — north-centre area, on the north edge of the rooftop room; height: Rooftop room\n- (7) entry gate [gate] — south-west area; height: Ground\n- (8) facade windows [window] — south-centre area, on the north edge of the entry yard, 4 windows for the whole facade — distribute them across the building's storeys with clear wall between each (never fused edge-to-edge, never one tight row); height: Roof deck\n- any facade windows sit apart with clear wall between them, aligned to the building's real storeys — never touching.\n\nWHAT THIS PLACE LOOKS LIKE (production data):\n- 인천 변두리 낡은 빌라 옥탑방 옥상·현관 앞 외부: 낡은 다세대 빌라 꼭대기에 위치한 야외 공간. 물탱크, 흔들리는 빨랫줄, 평상 위 약초 건조 흔적, 낡은 철문 현관이 있다. (특징: 낡은 시멘트 바닥; 물탱크; 바람에 날리는 빨랫줄; 평상과 널려 있는 말린 약초(석창포); 전단지가 끼워진 철문 현관)\n- 옥탑방 내부: 작은 창문으로 빛이 들어오는 낡은 주거 공간. 싱크대, 식탁, TV가 있는 거실과 침대, 커튼, 거울 등이 있는 방/욕실로 구성된다. 약초 끓이는 냄비 등 생활 소품이 있으며, 간헐적으로 벽면에 붉은 원 형태의 환영과 핏자국이 생겨난다. (특징: 작은 창문의 햇살; 싱크대와 약초(석창포); 가스레인지 위 끓는 냄비와 수증기; 거실 TV와 스탠드; 침대, 커튼, 거울; 벽과 거울 표면에 나타나는 붉은 원 환영; 바닥과 벽의 핏자국 (특정 시점); 어지럽혀진 가재도구 (특정 시점))\n- 옥탑방 외곽 골목·시멘트 계단: 다세대 빌라 마당의 후미진 구석과 옥탑방으로 올라가는 가파르고 낡은 시멘트 계단. (특징: 다세대 빌라 입구 마당; 후미진 구석 공간; 낡고 가파른 시멘트 계단)\n\nThe SECOND attached image is an interior floor plan from the same\nproduction — match its DRAFTING LANGUAGE and its LEVEL OF DETAIL:\nsame line weights, flat colour fills, detailed plan symbols. Never\ncopy its rooms, furniture or any content.\n\nDraw ONE strict TOP-DOWN 2D architectural SITE PLAN that DEVELOPS\nthis block layout into a fully detailed drawing. The blocks give\nONLY each element's position, relative size and count — do NOT\nredraw them as plain empty rectangles. Elaborate every element into\nits real plan representation with believable construction detail:\n- walls as double lines with real thickness; the roof parapet drawn\n  with its coping line;\n- the exterior stair with individual treads, railing line and top/\n  bottom landings;\n- doors as leaf + swing arc set in a wall opening; windows as frame\n  lines set INTO the wall; the upper dwelling as a thick-walled\n  shell with boundary openings only (never interior rooms);\n- the round tank with its base ring, the low platform with slat\n  lines, clothesline posts with the line spanning between, paving\n  joints in the yard and alley, the road with kerb line;\n- neighbouring buildings stay simplified roof outlines (secondary).\nGround added detail in the production data above; nothing\nstory-specific, no movable props. Height layers appear only as flat\nfill tints (darker = higher). Flat orthographic plan view: NO 3D,\nNO axonometric, NO perspective, no shadows. No people, no vehicles,\nno text, no markers, no legend, no compass."}
{"ts": "2026-07-05 15:34:43", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "blockgen3_plan_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/blockset_v2_canvas_clean.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/b0ad5c18-5140-4022-a2b0-805de0e5a385/episodes/0d30302a-51c8-4ac9-98e2-6cd9180512bf/images/floor_plan/fp_l04_rooftop_room_main.png"], "ref_labels": ["BLOCK SET DIAGRAM (geometry + height control) — block positions/sizes are layout ground truth; fill colours encode height layers as the prompt explains; circled letters/numbers are annotations, never objects — draw none of them and no text at all.", "DRAFTING STYLE REFERENCE (an interior floor plan) — copy ONLY its drawing style: line weight, flat fills, plan symbols. Never its rooms, furniture, numbers or content."], "attempt": 1, "dur_s": 26.8, "bytes": 1653917, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/gen3_plan_nb2.png", "prompt": "The FIRST attached image is a BLOCK SET DIAGRAM of one real property:\nplain blocks, top-down, and the blocks' RELATIVE sizes and positions are\nthe layout ground truth. The fill COLOURS encode HEIGHT LAYERS, not\nsurface colours or materials. The output must contain NO text, NO\nletters, NO numbers, NO labels of any kind.\n\nIMPORTANT LAYOUT FACTS (the diagram's data — obey exactly):\n- height layers, low to high: Ground h=0 (lightest), Stair run h=1.5 (mid 1), Roof deck h=3 (mid 2), Rooftop room h=4 (darkest). Darker fill = higher.\n- street road [road] — south-centre area; height: Ground\n- narrow alley [alley] — centre-west area; height: Ground\n- entry yard [yard] — south-centre area; height: Ground\n- villa mass [building_mass] — centre area; height: Roof deck\n- roof terrace [terrace] — centre area; height: Roof deck\n- rooftop room [upper_shell] — centre area; height: Rooftop room\n- concrete stair [stair] — south-east area; height: Stair run\n- low wall [wall] — south-centre area; height: Roof deck\n- neighbor block [neighbor_mass] — north-west area; height: Roof deck\n- rear neighbor [neighbor_mass] — north-centre area; height: Roof deck\n- side neighbor [neighbor_mass] — centre-east area; height: Roof deck\n- water tank [fixture_round] — north-west area; height: Roof deck round\n- low platform [fixture_rect] — centre-west area; height: Roof deck\n- laundry line [equipment] — centre area, on the west edge of the rooftop room; height: Roof deck\n- iron door [door] — centre area, on the south edge of the rooftop room; height: Rooftop room\n- living window [window] — centre area, on the east edge of the rooftop room; height: Rooftop room\n- bedroom window [window] — north-centre area, on the north edge of the rooftop room; height: Rooftop room\n- entry gate [gate] — south-west area; height: Ground\n- facade windows [window] — south-centre area, on the north edge of the entry yard, 4 windows for the whole facade — distribute them across the building's storeys with clear wall between each (never fused edge-to-edge, never one tight row); height: Roof deck\n- any facade windows sit apart with clear wall between them, aligned to the building's real storeys — never touching.\n\nWHAT THIS PLACE LOOKS LIKE (production data):\n- 인천 변두리 낡은 빌라 옥탑방 옥상·현관 앞 외부: 낡은 다세대 빌라 꼭대기에 위치한 야외 공간. 물탱크, 흔들리는 빨랫줄, 평상 위 약초 건조 흔적, 낡은 철문 현관이 있다. (특징: 낡은 시멘트 바닥; 물탱크; 바람에 날리는 빨랫줄; 평상과 널려 있는 말린 약초(석창포); 전단지가 끼워진 철문 현관)\n- 옥탑방 내부: 작은 창문으로 빛이 들어오는 낡은 주거 공간. 싱크대, 식탁, TV가 있는 거실과 침대, 커튼, 거울 등이 있는 방/욕실로 구성된다. 약초 끓이는 냄비 등 생활 소품이 있으며, 간헐적으로 벽면에 붉은 원 형태의 환영과 핏자국이 생겨난다. (특징: 작은 창문의 햇살; 싱크대와 약초(석창포); 가스레인지 위 끓는 냄비와 수증기; 거실 TV와 스탠드; 침대, 커튼, 거울; 벽과 거울 표면에 나타나는 붉은 원 환영; 바닥과 벽의 핏자국 (특정 시점); 어지럽혀진 가재도구 (특정 시점))\n- 옥탑방 외곽 골목·시멘트 계단: 다세대 빌라 마당의 후미진 구석과 옥탑방으로 올라가는 가파르고 낡은 시멘트 계단. (특징: 다세대 빌라 입구 마당; 후미진 구석 공간; 낡고 가파른 시멘트 계단)\n\nThe SECOND attached image is an interior floor plan from the same\nproduction — match its DRAFTING LANGUAGE and its LEVEL OF DETAIL:\nsame line weights, flat colour fills, detailed plan symbols. Never\ncopy its rooms, furniture or any content.\n\nDraw ONE strict TOP-DOWN 2D architectural SITE PLAN that DEVELOPS\nthis block layout into a fully detailed drawing. The blocks give\nONLY each element's position, relative size and count — do NOT\nredraw them as plain empty rectangles. Elaborate every element into\nits real plan representation with believable construction detail:\n- walls as double lines with real thickness; the roof parapet drawn\n  with its coping line;\n- the exterior stair with individual treads, railing line and top/\n  bottom landings;\n- doors as leaf + swing arc set in a wall opening; windows as frame\n  lines set INTO the wall; the upper dwelling as a thick-walled\n  shell with boundary openings only (never interior rooms);\n- the round tank with its base ring, the low platform with slat\n  lines, clothesline posts with the line spanning between, paving\n  joints in the yard and alley, the road with kerb line;\n- neighbouring buildings stay simplified roof outlines (secondary).\nGround added detail in the production data above; nothing\nstory-specific, no movable props. Height layers appear only as flat\nfill tints (darker = higher). Flat orthographic plan view: NO 3D,\nNO axonometric, NO perspective, no shadows. No people, no vehicles,\nno text, no markers, no legend, no compass."}
{"ts": "2026-07-05 15:49:21", "kind": "img", "engine": "gpt-image-2", "mode": "edit", "tag": "blockgen4_plan_gpt", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/blockset_v2_canvas.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/b0ad5c18-5140-4022-a2b0-805de0e5a385/episodes/0d30302a-51c8-4ac9-98e2-6cd9180512bf/images/floor_plan/fp_l04_rooftop_room_main.png"], "size": "1536x864", "attempt": 1, "dur_s": 132.9, "bytes": 1680442, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/gen4_plan_gpt.png", "prompt": "The FIRST attached image is a BLOCK SET DIAGRAM of one real property:\nplain blocks, top-down, and the blocks' RELATIVE sizes and positions are\nthe layout ground truth. The fill COLOURS encode HEIGHT LAYERS, not\nsurface colours or materials. Circled letters/numbers are annotations\nonly — never draw them or any text.\n\nIMPORTANT LAYOUT FACTS (the diagram's data — obey exactly):\n- height layers, low to high: Ground h=0 (lightest), Stair run h=1.5 (mid 1), Roof deck h=3 (mid 2), Rooftop room h=4 (darkest). Darker fill = higher.\n- (A) street road [road] — south-centre area; height: Ground\n- (B) narrow alley [alley] — centre-west area; height: Ground\n- (C) entry yard [yard] — south-centre area; height: Ground\n- (D) villa mass [building_mass] — centre area; height: Roof deck\n- (E) roof terrace [terrace] — centre area; height: Roof deck\n- (F) rooftop room [upper_shell] — centre area; height: Rooftop room\n- (G) steel retrofit stair [stair] — south-east area; height: Stair run\n- (H) low wall [wall] — south-centre area; height: Roof deck\n- (I) neighbor block [neighbor_mass] — north-west area; height: Roof deck\n- (J) rear neighbor [neighbor_mass] — north-centre area; height: Roof deck\n- (K) side neighbor [neighbor_mass] — centre-east area; height: Roof deck\n- (1) water tank [fixture_round] — north-west area; height: Roof deck round\n- (2) low platform [fixture_rect] — centre-west area; height: Roof deck\n- (3) laundry line [equipment] — centre area, on the west edge of the rooftop room; height: Roof deck\n- (4) iron door [door] — centre area, on the south edge of the rooftop room; height: Rooftop room\n- (5) living window [window] — centre area, on the east edge of the rooftop room; height: Rooftop room\n- (6) bedroom window [window] — north-centre area, on the north edge of the rooftop room; height: Rooftop room\n- (7) entry gate [gate] — south-west area; height: Ground\n- (8) facade windows [window] — south-centre area, on the north edge of the entry yard, 4 windows for the whole facade — distribute them across the building's storeys with clear wall between each (never fused edge-to-edge, never one tight row); height: Roof deck\n- any facade windows sit apart with clear wall between them, aligned to the building's real storeys — never touching.\n- CORRECTION (production owner): the exterior stair is an ADDED-ON STEEL stair retrofitted later onto the building's outside wall — open treads, thin steel stringers and support posts, pipe handrail, visibly a separate later addition against the aged masonry building. It is NOT concrete or cement; this supersedes any cement/concrete stair mention elsewhere in the data.\n\nWHAT THIS PLACE LOOKS LIKE (production data):\n- 인천 변두리 낡은 빌라 옥탑방 옥상·현관 앞 외부: 낡은 다세대 빌라 꼭대기에 위치한 야외 공간. 물탱크, 흔들리는 빨랫줄, 평상 위 약초 건조 흔적, 낡은 철문 현관이 있다. (특징: 낡은 시멘트 바닥; 물탱크; 바람에 날리는 빨랫줄; 평상과 널려 있는 말린 약초(석창포); 전단지가 끼워진 철문 현관)\n- 옥탑방 내부: 작은 창문으로 빛이 들어오는 낡은 주거 공간. 싱크대, 식탁, TV가 있는 거실과 침대, 커튼, 거울 등이 있는 방/욕실로 구성된다. 약초 끓이는 냄비 등 생활 소품이 있으며, 간헐적으로 벽면에 붉은 원 형태의 환영과 핏자국이 생겨난다. (특징: 작은 창문의 햇살; 싱크대와 약초(석창포); 가스레인지 위 끓는 냄비와 수증기; 거실 TV와 스탠드; 침대, 커튼, 거울; 벽과 거울 표면에 나타나는 붉은 원 환영; 바닥과 벽의 핏자국 (특정 시점); 어지럽혀진 가재도구 (특정 시점))\n- 옥탑방 외곽 골목·시멘트 계단: 다세대 빌라 마당의 후미진 구석과 옥탑방으로 올라가는 가파르고 낡은 시멘트 계단. (특징: 다세대 빌라 입구 마당; 후미진 구석 공간; 낡고 가파른 시멘트 계단)\n\nThe SECOND attached image is an interior floor plan from the same\nproduction — match its DRAFTING LANGUAGE and its LEVEL OF DETAIL:\nsame line weights, flat colour fills, detailed plan symbols. Never\ncopy its rooms, furniture or any content.\n\nDraw ONE strict TOP-DOWN 2D architectural SITE PLAN that DEVELOPS\nthis block layout into a fully detailed drawing. The blocks give\nONLY each element's position, relative size and count — do NOT\nredraw them as plain empty rectangles. Elaborate every element into\nits real plan representation with believable construction detail:\n- walls as double lines with real thickness; the roof parapet drawn\n  with its coping line;\n- the exterior stair with individual treads, railing line and top/\n  bottom landings;\n- doors as leaf + swing arc set in a wall opening; windows as frame\n  lines set INTO the wall; the upper dwelling as a thick-walled\n  shell with boundary openings only (never interior rooms);\n- the round tank with its base ring, the low platform with slat\n  lines, clothesline posts with the line spanning between, paving\n  joints in the yard and alley, the road with kerb line;\n- neighbouring buildings stay simplified roof outlines (secondary).\nGround added detail in the production data above; nothing\nstory-specific, no movable props. Height layers appear only as flat\nfill tints (darker = higher). Flat orthographic plan view: NO 3D,\nNO axonometric, NO perspective, no shadows. No people, no vehicles,\nno text, no markers, no legend, no compass."}
{"ts": "2026-07-05 15:51:35", "kind": "img", "engine": "gpt-image-2", "mode": "edit", "tag": "blockgen4_photo_gpt", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/blockset_v2_canvas.png"], "size": "1536x864", "attempt": 1, "dur_s": 134.1, "bytes": 2893037, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/gen4_photo_gpt.png", "prompt": "The FIRST attached image is a BLOCK SET DIAGRAM of one real property:\nplain blocks, top-down, and the blocks' RELATIVE sizes and positions are\nthe layout ground truth. The fill COLOURS encode HEIGHT LAYERS, not\nsurface colours or materials. Circled letters/numbers are annotations\nonly — never draw them or any text.\n\nIMPORTANT LAYOUT FACTS (the diagram's data — obey exactly):\n- height layers, low to high: Ground h=0 (lightest), Stair run h=1.5 (mid 1), Roof deck h=3 (mid 2), Rooftop room h=4 (darkest). Darker fill = higher.\n- (A) street road [road] — south-centre area; height: Ground\n- (B) narrow alley [alley] — centre-west area; height: Ground\n- (C) entry yard [yard] — south-centre area; height: Ground\n- (D) villa mass [building_mass] — centre area; height: Roof deck\n- (E) roof terrace [terrace] — centre area; height: Roof deck\n- (F) rooftop room [upper_shell] — centre area; height: Rooftop room\n- (G) steel retrofit stair [stair] — south-east area; height: Stair run\n- (H) low wall [wall] — south-centre area; height: Roof deck\n- (I) neighbor block [neighbor_mass] — north-west area; height: Roof deck\n- (J) rear neighbor [neighbor_mass] — north-centre area; height: Roof deck\n- (K) side neighbor [neighbor_mass] — centre-east area; height: Roof deck\n- (1) water tank [fixture_round] — north-west area; height: Roof deck round\n- (2) low platform [fixture_rect] — centre-west area; height: Roof deck\n- (3) laundry line [equipment] — centre area, on the west edge of the rooftop room; height: Roof deck\n- (4) iron door [door] — centre area, on the south edge of the rooftop room; height: Rooftop room\n- (5) living window [window] — centre area, on the east edge of the rooftop room; height: Rooftop room\n- (6) bedroom window [window] — north-centre area, on the north edge of the rooftop room; height: Rooftop room\n- (7) entry gate [gate] — south-west area; height: Ground\n- (8) facade windows [window] — south-centre area, on the north edge of the entry yard, 4 windows for the whole facade — distribute them across the building's storeys with clear wall between each (never fused edge-to-edge, never one tight row); height: Roof deck\n- any facade windows sit apart with clear wall between them, aligned to the building's real storeys — never touching.\n- CORRECTION (production owner): the exterior stair is an ADDED-ON STEEL stair retrofitted later onto the building's outside wall — open treads, thin steel stringers and support posts, pipe handrail, visibly a separate later addition against the aged masonry building. It is NOT concrete or cement; this supersedes any cement/concrete stair mention elsewhere in the data.\n\nWHAT THIS PLACE LOOKS LIKE (production data):\n- 인천 변두리 낡은 빌라 옥탑방 옥상·현관 앞 외부: 낡은 다세대 빌라 꼭대기에 위치한 야외 공간. 물탱크, 흔들리는 빨랫줄, 평상 위 약초 건조 흔적, 낡은 철문 현관이 있다. (특징: 낡은 시멘트 바닥; 물탱크; 바람에 날리는 빨랫줄; 평상과 널려 있는 말린 약초(석창포); 전단지가 끼워진 철문 현관)\n- 옥탑방 내부: 작은 창문으로 빛이 들어오는 낡은 주거 공간. 싱크대, 식탁, TV가 있는 거실과 침대, 커튼, 거울 등이 있는 방/욕실로 구성된다. 약초 끓이는 냄비 등 생활 소품이 있으며, 간헐적으로 벽면에 붉은 원 형태의 환영과 핏자국이 생겨난다. (특징: 작은 창문의 햇살; 싱크대와 약초(석창포); 가스레인지 위 끓는 냄비와 수증기; 거실 TV와 스탠드; 침대, 커튼, 거울; 벽과 거울 표면에 나타나는 붉은 원 환영; 바닥과 벽의 핏자국 (특정 시점); 어지럽혀진 가재도구 (특정 시점))\n- 옥탑방 외곽 골목·시멘트 계단: 다세대 빌라 마당의 후미진 구석과 옥탑방으로 올라가는 가파르고 낡은 시멘트 계단. (특징: 다세대 빌라 입구 마당; 후미진 구석 공간; 낡고 가파른 시멘트 계단)\n\nRender ONE PHOTOREALISTIC bird's-eye location reference of this\nproperty from a high oblique angle tilted about 30 degrees from\nvertical: translate the height layers into real built volumes — the\nground road/alley/yard, the multi-storey building body with its roof\ndeck, and the small rooftop dwelling standing highest. Keep every\nposition, proportion and opening count from the diagram exactly;\nfacade windows spread naturally across the storeys, never one fused\nrow. The diagram's fill colours are height codes — do NOT copy them\nas paint or material colours; use aged everyday urban materials.\nPlain even daylight, completely unpopulated, no text, letters,\ncircles, markers or legend anywhere. Never expose interior rooms."}
{"ts": "2026-07-05 15:51:57", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "blockgen4_plan_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/blockset_v2_canvas_clean.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/b0ad5c18-5140-4022-a2b0-805de0e5a385/episodes/0d30302a-51c8-4ac9-98e2-6cd9180512bf/images/floor_plan/fp_l04_rooftop_room_main.png"], "ref_labels": ["BLOCK SET DIAGRAM (geometry + height control) — block positions/sizes are layout ground truth; fill colours encode height layers as the prompt explains; circled letters/numbers are annotations, never objects — draw none of them and no text at all.", "DRAFTING STYLE REFERENCE (an interior floor plan) — copy ONLY its drawing style: line weight, flat fills, plan symbols. Never its rooms, furniture, numbers or content."], "attempt": 1, "dur_s": 21.5, "bytes": 1432047, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/gen4_plan_nb2.png", "prompt": "The FIRST attached image is a BLOCK SET DIAGRAM of one real property:\nplain blocks, top-down, and the blocks' RELATIVE sizes and positions are\nthe layout ground truth. The fill COLOURS encode HEIGHT LAYERS, not\nsurface colours or materials. The output must contain NO text, NO\nletters, NO numbers, NO labels of any kind.\n\nIMPORTANT LAYOUT FACTS (the diagram's data — obey exactly):\n- height layers, low to high: Ground h=0 (lightest), Stair run h=1.5 (mid 1), Roof deck h=3 (mid 2), Rooftop room h=4 (darkest). Darker fill = higher.\n- street road [road] — south-centre area; height: Ground\n- narrow alley [alley] — centre-west area; height: Ground\n- entry yard [yard] — south-centre area; height: Ground\n- villa mass [building_mass] — centre area; height: Roof deck\n- roof terrace [terrace] — centre area; height: Roof deck\n- rooftop room [upper_shell] — centre area; height: Rooftop room\n- steel retrofit stair [stair] — south-east area; height: Stair run\n- low wall [wall] — south-centre area; height: Roof deck\n- neighbor block [neighbor_mass] — north-west area; height: Roof deck\n- rear neighbor [neighbor_mass] — north-centre area; height: Roof deck\n- side neighbor [neighbor_mass] — centre-east area; height: Roof deck\n- water tank [fixture_round] — north-west area; height: Roof deck round\n- low platform [fixture_rect] — centre-west area; height: Roof deck\n- laundry line [equipment] — centre area, on the west edge of the rooftop room; height: Roof deck\n- iron door [door] — centre area, on the south edge of the rooftop room; height: Rooftop room\n- living window [window] — centre area, on the east edge of the rooftop room; height: Rooftop room\n- bedroom window [window] — north-centre area, on the north edge of the rooftop room; height: Rooftop room\n- entry gate [gate] — south-west area; height: Ground\n- facade windows [window] — south-centre area, on the north edge of the entry yard, 4 windows for the whole facade — distribute them across the building's storeys with clear wall between each (never fused edge-to-edge, never one tight row); height: Roof deck\n- any facade windows sit apart with clear wall between them, aligned to the building's real storeys — never touching.\n- CORRECTION (production owner): the exterior stair is an ADDED-ON STEEL stair retrofitted later onto the building's outside wall — open treads, thin steel stringers and support posts, pipe handrail, visibly a separate later addition against the aged masonry building. It is NOT concrete or cement; this supersedes any cement/concrete stair mention elsewhere in the data.\n\nWHAT THIS PLACE LOOKS LIKE (production data):\n- 인천 변두리 낡은 빌라 옥탑방 옥상·현관 앞 외부: 낡은 다세대 빌라 꼭대기에 위치한 야외 공간. 물탱크, 흔들리는 빨랫줄, 평상 위 약초 건조 흔적, 낡은 철문 현관이 있다. (특징: 낡은 시멘트 바닥; 물탱크; 바람에 날리는 빨랫줄; 평상과 널려 있는 말린 약초(석창포); 전단지가 끼워진 철문 현관)\n- 옥탑방 내부: 작은 창문으로 빛이 들어오는 낡은 주거 공간. 싱크대, 식탁, TV가 있는 거실과 침대, 커튼, 거울 등이 있는 방/욕실로 구성된다. 약초 끓이는 냄비 등 생활 소품이 있으며, 간헐적으로 벽면에 붉은 원 형태의 환영과 핏자국이 생겨난다. (특징: 작은 창문의 햇살; 싱크대와 약초(석창포); 가스레인지 위 끓는 냄비와 수증기; 거실 TV와 스탠드; 침대, 커튼, 거울; 벽과 거울 표면에 나타나는 붉은 원 환영; 바닥과 벽의 핏자국 (특정 시점); 어지럽혀진 가재도구 (특정 시점))\n- 옥탑방 외곽 골목·시멘트 계단: 다세대 빌라 마당의 후미진 구석과 옥탑방으로 올라가는 가파르고 낡은 시멘트 계단. (특징: 다세대 빌라 입구 마당; 후미진 구석 공간; 낡고 가파른 시멘트 계단)\n\nThe SECOND attached image is an interior floor plan from the same\nproduction — match its DRAFTING LANGUAGE and its LEVEL OF DETAIL:\nsame line weights, flat colour fills, detailed plan symbols. Never\ncopy its rooms, furniture or any content.\n\nDraw ONE strict TOP-DOWN 2D architectural SITE PLAN that DEVELOPS\nthis block layout into a fully detailed drawing. The blocks give\nONLY each element's position, relative size and count — do NOT\nredraw them as plain empty rectangles. Elaborate every element into\nits real plan representation with believable construction detail:\n- walls as double lines with real thickness; the roof parapet drawn\n  with its coping line;\n- the exterior stair with individual treads, railing line and top/\n  bottom landings;\n- doors as leaf + swing arc set in a wall opening; windows as frame\n  lines set INTO the wall; the upper dwelling as a thick-walled\n  shell with boundary openings only (never interior rooms);\n- the round tank with its base ring, the low platform with slat\n  lines, clothesline posts with the line spanning between, paving\n  joints in the yard and alley, the road with kerb line;\n- neighbouring buildings stay simplified roof outlines (secondary).\nGround added detail in the production data above; nothing\nstory-specific, no movable props. Height layers appear only as flat\nfill tints (darker = higher). Flat orthographic plan view: NO 3D,\nNO axonometric, NO perspective, no shadows. No people, no vehicles,\nno text, no markers, no legend, no compass."}
{"ts": "2026-07-05 15:52:13", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "blockgen4_photo_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/blockset_v2_canvas_clean.png"], "ref_labels": ["BLOCK SET DIAGRAM (geometry + height control) — block positions/sizes are layout ground truth; fill colours encode height layers as the prompt explains; circled letters/numbers are annotations, never objects — draw none of them and no text at all."], "attempt": 1, "dur_s": 15.9, "bytes": 3354309, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/gen4_photo_nb2.png", "prompt": "The FIRST attached image is a BLOCK SET DIAGRAM of one real property:\nplain blocks, top-down, and the blocks' RELATIVE sizes and positions are\nthe layout ground truth. The fill COLOURS encode HEIGHT LAYERS, not\nsurface colours or materials. The output must contain NO text, NO\nletters, NO numbers, NO labels of any kind.\n\nIMPORTANT LAYOUT FACTS (the diagram's data — obey exactly):\n- height layers, low to high: Ground h=0 (lightest), Stair run h=1.5 (mid 1), Roof deck h=3 (mid 2), Rooftop room h=4 (darkest). Darker fill = higher.\n- street road [road] — south-centre area; height: Ground\n- narrow alley [alley] — centre-west area; height: Ground\n- entry yard [yard] — south-centre area; height: Ground\n- villa mass [building_mass] — centre area; height: Roof deck\n- roof terrace [terrace] — centre area; height: Roof deck\n- rooftop room [upper_shell] — centre area; height: Rooftop room\n- steel retrofit stair [stair] — south-east area; height: Stair run\n- low wall [wall] — south-centre area; height: Roof deck\n- neighbor block [neighbor_mass] — north-west area; height: Roof deck\n- rear neighbor [neighbor_mass] — north-centre area; height: Roof deck\n- side neighbor [neighbor_mass] — centre-east area; height: Roof deck\n- water tank [fixture_round] — north-west area; height: Roof deck round\n- low platform [fixture_rect] — centre-west area; height: Roof deck\n- laundry line [equipment] — centre area, on the west edge of the rooftop room; height: Roof deck\n- iron door [door] — centre area, on the south edge of the rooftop room; height: Rooftop room\n- living window [window] — centre area, on the east edge of the rooftop room; height: Rooftop room\n- bedroom window [window] — north-centre area, on the north edge of the rooftop room; height: Rooftop room\n- entry gate [gate] — south-west area; height: Ground\n- facade windows [window] — south-centre area, on the north edge of the entry yard, 4 windows for the whole facade — distribute them across the building's storeys with clear wall between each (never fused edge-to-edge, never one tight row); height: Roof deck\n- any facade windows sit apart with clear wall between them, aligned to the building's real storeys — never touching.\n- CORRECTION (production owner): the exterior stair is an ADDED-ON STEEL stair retrofitted later onto the building's outside wall — open treads, thin steel stringers and support posts, pipe handrail, visibly a separate later addition against the aged masonry building. It is NOT concrete or cement; this supersedes any cement/concrete stair mention elsewhere in the data.\n\nWHAT THIS PLACE LOOKS LIKE (production data):\n- 인천 변두리 낡은 빌라 옥탑방 옥상·현관 앞 외부: 낡은 다세대 빌라 꼭대기에 위치한 야외 공간. 물탱크, 흔들리는 빨랫줄, 평상 위 약초 건조 흔적, 낡은 철문 현관이 있다. (특징: 낡은 시멘트 바닥; 물탱크; 바람에 날리는 빨랫줄; 평상과 널려 있는 말린 약초(석창포); 전단지가 끼워진 철문 현관)\n- 옥탑방 내부: 작은 창문으로 빛이 들어오는 낡은 주거 공간. 싱크대, 식탁, TV가 있는 거실과 침대, 커튼, 거울 등이 있는 방/욕실로 구성된다. 약초 끓이는 냄비 등 생활 소품이 있으며, 간헐적으로 벽면에 붉은 원 형태의 환영과 핏자국이 생겨난다. (특징: 작은 창문의 햇살; 싱크대와 약초(석창포); 가스레인지 위 끓는 냄비와 수증기; 거실 TV와 스탠드; 침대, 커튼, 거울; 벽과 거울 표면에 나타나는 붉은 원 환영; 바닥과 벽의 핏자국 (특정 시점); 어지럽혀진 가재도구 (특정 시점))\n- 옥탑방 외곽 골목·시멘트 계단: 다세대 빌라 마당의 후미진 구석과 옥탑방으로 올라가는 가파르고 낡은 시멘트 계단. (특징: 다세대 빌라 입구 마당; 후미진 구석 공간; 낡고 가파른 시멘트 계단)\n\nRender ONE PHOTOREALISTIC bird's-eye location reference of this\nproperty from a high oblique angle tilted about 30 degrees from\nvertical: translate the height layers into real built volumes — the\nground road/alley/yard, the multi-storey building body with its roof\ndeck, and the small rooftop dwelling standing highest. Keep every\nposition, proportion and opening count from the diagram exactly;\nfacade windows spread naturally across the storeys, never one fused\nrow. The diagram's fill colours are height codes — do NOT copy them\nas paint or material colours; use aged everyday urban materials.\nPlain even daylight, completely unpopulated, no text, letters,\ncircles, markers or legend anywhere. Never expose interior rooms."}
{"ts": "2026-07-05 16:00:43", "kind": "img", "engine": "gpt-image-2", "mode": "edit", "tag": "blockgen5_plan_gpt", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/blockset_v2_canvas.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/b0ad5c18-5140-4022-a2b0-805de0e5a385/episodes/0d30302a-51c8-4ac9-98e2-6cd9180512bf/images/floor_plan/fp_l04_rooftop_room_main.png"], "size": "1536x864", "attempt": 1, "dur_s": 106.2, "bytes": 2083350, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/gen5_plan_gpt.png", "prompt": "The FIRST attached image is a BLOCK SET DIAGRAM of one real property:\nplain blocks, top-down, and the blocks' RELATIVE sizes and positions are\nthe layout ground truth. The fill COLOURS encode HEIGHT LAYERS, not\nsurface colours or materials. Circled letters/numbers are annotations\nonly — never draw them or any text.\n\nIMPORTANT LAYOUT FACTS (the diagram's data — obey exactly):\n- height layers, low to high: Ground h=0 (lightest), Stair run h=1.5 (mid 1), Roof deck h=3 (mid 2), Rooftop room h=4 (darkest). Darker fill = higher.\n- (A) street road [road] — south-centre area; height: Ground\n- (B) narrow alley [alley] — centre-west area; height: Ground\n- (C) entry yard [yard] — south-centre area; height: Ground\n- (D) villa mass [building_mass] — centre area; height: Roof deck\n- (E) roof terrace [terrace] — centre area; height: Roof deck\n- (F) rooftop room [upper_shell] — centre area; height: Rooftop room\n- (G) steel retrofit stair [stair] — south-east area; height: Stair run\n- (H) low wall [wall] — south-centre area; height: Roof deck\n- (I) neighbor block [neighbor_mass] — north-west area; height: Roof deck\n- (J) rear neighbor [neighbor_mass] — north-centre area; height: Roof deck\n- (K) side neighbor [neighbor_mass] — centre-east area; height: Roof deck\n- (1) water tank [fixture_round] — north-west area; height: Roof deck round\n- (2) low platform [fixture_rect] — centre-west area; height: Roof deck\n- (3) laundry line [equipment] — centre area, on the west edge of the rooftop room; height: Roof deck\n- (4) iron door [door] — centre area, on the south edge of the rooftop room; height: Rooftop room\n- (5) living window [window] — centre area, on the east edge of the rooftop room; height: Rooftop room\n- (6) bedroom window [window] — north-centre area, on the north edge of the rooftop room; height: Rooftop room\n- (7) entry gate [gate] — south-west area; height: Ground\n- (8) facade windows [window] — south-centre area, on the north edge of the entry yard, 4 windows for the whole facade — distribute them across the building's storeys with clear wall between each (never fused edge-to-edge, never one tight row); height: Roof deck\n- any facade windows sit apart with clear wall between them, aligned to the building's real storeys — never touching.\n- CORRECTION (production owner): the exterior stair element is an ADDED-ON STEEL stair retrofitted later onto its building's outside wall — open treads, thin steel stringers and support posts, pipe handrail, visibly a separate later addition to the building. It is NOT concrete or cement; this supersedes any cement/concrete stair mention elsewhere in the data.\n\nWHAT THIS PLACE LOOKS LIKE (production data):\n- 인천 변두리 낡은 빌라 옥탑방 옥상·현관 앞 외부: 낡은 다세대 빌라 꼭대기에 위치한 야외 공간. 물탱크, 흔들리는 빨랫줄, 평상 위 약초 건조 흔적, 낡은 철문 현관이 있다. (특징: 낡은 시멘트 바닥; 물탱크; 바람에 날리는 빨랫줄; 평상과 널려 있는 말린 약초(석창포); 전단지가 끼워진 철문 현관)\n- 옥탑방 내부: 작은 창문으로 빛이 들어오는 낡은 주거 공간. 싱크대, 식탁, TV가 있는 거실과 침대, 커튼, 거울 등이 있는 방/욕실로 구성된다. 약초 끓이는 냄비 등 생활 소품이 있으며, 간헐적으로 벽면에 붉은 원 형태의 환영과 핏자국이 생겨난다. (특징: 작은 창문의 햇살; 싱크대와 약초(석창포); 가스레인지 위 끓는 냄비와 수증기; 거실 TV와 스탠드; 침대, 커튼, 거울; 벽과 거울 표면에 나타나는 붉은 원 환영; 바닥과 벽의 핏자국 (특정 시점); 어지럽혀진 가재도구 (특정 시점))\n- 옥탑방 외곽 골목·시멘트 계단: 다세대 빌라 마당의 후미진 구석과 옥탑방으로 올라가는 가파르고 낡은 시멘트 계단. (특징: 다세대 빌라 입구 마당; 후미진 구석 공간; 낡고 가파른 시멘트 계단)\n\nThe SECOND attached image is an interior floor plan from the same\nproduction — match its DRAFTING LANGUAGE and its LEVEL OF DETAIL:\nsame line weights, flat colour fills, detailed plan symbols. Never\ncopy its rooms, furniture or any content.\n\nDraw ONE strict TOP-DOWN 2D architectural SITE PLAN that DEVELOPS\nthis block layout into a fully detailed drawing. The blocks give\nONLY each element's position, relative size and count — do NOT\nredraw them as plain empty rectangles. Elaborate every element into\nits real plan representation with believable construction detail,\nby element kind:\n- roads: kerb lines\n- alleys: paving joints\n- yards: paving joints\n- building masses: walls as double lines with real thickness, roof edges with parapet coping lines\n- open decks: edge/parapet lines and a flat surface tone\n- enclosed upper-shell units: thick-walled outline with boundary openings only — never interior rooms\n- stairs: individual treads, stringer/railing lines, top and bottom landings\n- boundary walls: double lines\n- neighbouring buildings: simplified roof outlines only (secondary)\n- round free-standing fixtures: circle with its base ring\n- low rectangular fixtures: outline with slat/edge lines\n- small equipment units: simple outlined box with support/mount lines\n- doors: leaf + swing arc set in a wall opening\n- windows: frame lines set INTO the wall\n- gates: leaf/swing symbol set in the boundary wall\nGround every added detail in the production data above; nothing\nstory-specific, no movable props, no posted papers or notices.\nHeight layers appear only as flat fill tints (darker = higher).\nFlat orthographic plan view: NO 3D, NO axonometric, NO perspective,\nno shadows. No people, no vehicles, no text, no markers, no legend,\nno compass."}
{"ts": "2026-07-05 16:02:27", "kind": "img", "engine": "gpt-image-2", "mode": "edit", "tag": "blockgen5_photo_gpt", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/blockset_v2_canvas.png"], "size": "1536x864", "attempt": 1, "dur_s": 104.6, "bytes": 2611470, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/gen5_photo_gpt.png", "prompt": "The FIRST attached image is a BLOCK SET DIAGRAM of one real property:\nplain blocks, top-down, and the blocks' RELATIVE sizes and positions are\nthe layout ground truth. The fill COLOURS encode HEIGHT LAYERS, not\nsurface colours or materials. Circled letters/numbers are annotations\nonly — never draw them or any text.\n\nIMPORTANT LAYOUT FACTS (the diagram's data — obey exactly):\n- height layers, low to high: Ground h=0 (lightest), Stair run h=1.5 (mid 1), Roof deck h=3 (mid 2), Rooftop room h=4 (darkest). Darker fill = higher.\n- (A) street road [road] — south-centre area; height: Ground\n- (B) narrow alley [alley] — centre-west area; height: Ground\n- (C) entry yard [yard] — south-centre area; height: Ground\n- (D) villa mass [building_mass] — centre area; height: Roof deck\n- (E) roof terrace [terrace] — centre area; height: Roof deck\n- (F) rooftop room [upper_shell] — centre area; height: Rooftop room\n- (G) steel retrofit stair [stair] — south-east area; height: Stair run\n- (H) low wall [wall] — south-centre area; height: Roof deck\n- (I) neighbor block [neighbor_mass] — north-west area; height: Roof deck\n- (J) rear neighbor [neighbor_mass] — north-centre area; height: Roof deck\n- (K) side neighbor [neighbor_mass] — centre-east area; height: Roof deck\n- (1) water tank [fixture_round] — north-west area; height: Roof deck round\n- (2) low platform [fixture_rect] — centre-west area; height: Roof deck\n- (3) laundry line [equipment] — centre area, on the west edge of the rooftop room; height: Roof deck\n- (4) iron door [door] — centre area, on the south edge of the rooftop room; height: Rooftop room\n- (5) living window [window] — centre area, on the east edge of the rooftop room; height: Rooftop room\n- (6) bedroom window [window] — north-centre area, on the north edge of the rooftop room; height: Rooftop room\n- (7) entry gate [gate] — south-west area; height: Ground\n- (8) facade windows [window] — south-centre area, on the north edge of the entry yard, 4 windows for the whole facade — distribute them across the building's storeys with clear wall between each (never fused edge-to-edge, never one tight row); height: Roof deck\n- any facade windows sit apart with clear wall between them, aligned to the building's real storeys — never touching.\n- CORRECTION (production owner): the exterior stair element is an ADDED-ON STEEL stair retrofitted later onto its building's outside wall — open treads, thin steel stringers and support posts, pipe handrail, visibly a separate later addition to the building. It is NOT concrete or cement; this supersedes any cement/concrete stair mention elsewhere in the data.\n\nWHAT THIS PLACE LOOKS LIKE (production data):\n- 인천 변두리 낡은 빌라 옥탑방 옥상·현관 앞 외부: 낡은 다세대 빌라 꼭대기에 위치한 야외 공간. 물탱크, 흔들리는 빨랫줄, 평상 위 약초 건조 흔적, 낡은 철문 현관이 있다. (특징: 낡은 시멘트 바닥; 물탱크; 바람에 날리는 빨랫줄; 평상과 널려 있는 말린 약초(석창포); 전단지가 끼워진 철문 현관)\n- 옥탑방 내부: 작은 창문으로 빛이 들어오는 낡은 주거 공간. 싱크대, 식탁, TV가 있는 거실과 침대, 커튼, 거울 등이 있는 방/욕실로 구성된다. 약초 끓이는 냄비 등 생활 소품이 있으며, 간헐적으로 벽면에 붉은 원 형태의 환영과 핏자국이 생겨난다. (특징: 작은 창문의 햇살; 싱크대와 약초(석창포); 가스레인지 위 끓는 냄비와 수증기; 거실 TV와 스탠드; 침대, 커튼, 거울; 벽과 거울 표면에 나타나는 붉은 원 환영; 바닥과 벽의 핏자국 (특정 시점); 어지럽혀진 가재도구 (특정 시점))\n- 옥탑방 외곽 골목·시멘트 계단: 다세대 빌라 마당의 후미진 구석과 옥탑방으로 올라가는 가파르고 낡은 시멘트 계단. (특징: 다세대 빌라 입구 마당; 후미진 구석 공간; 낡고 가파른 시멘트 계단)\n\nRender ONE PHOTOREALISTIC bird's-eye location reference of this\nproperty from a high oblique angle tilted about 30 degrees from\nvertical: translate the height layers into real built volumes —\nground-level surfaces, building masses with their decks, and the\ntopmost enclosed unit standing highest, exactly as the layer\nheights order them. Keep every position, proportion and opening\ncount from the diagram exactly; facade windows spread naturally\nacross the storeys, never one fused row. The diagram's fill colours\nare height codes — do NOT copy them as paint or material colours;\nuse aged everyday urban materials grounded in the production data.\nPlain even daylight, completely unpopulated, no movable props, no\nposted papers or notices, no text, letters, circles, markers or\nlegend anywhere. Never expose interior rooms."}
{"ts": "2026-07-05 16:02:53", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "blockgen5_plan_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/blockset_v2_canvas_clean.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/b0ad5c18-5140-4022-a2b0-805de0e5a385/episodes/0d30302a-51c8-4ac9-98e2-6cd9180512bf/images/floor_plan/fp_l04_rooftop_room_main.png"], "ref_labels": ["BLOCK SET DIAGRAM (geometry + height control) — block positions/sizes are layout ground truth; fill colours encode height layers as the prompt explains; circled letters/numbers are annotations, never objects — draw none of them and no text at all.", "DRAFTING STYLE REFERENCE (an interior floor plan) — copy ONLY its drawing style: line weight, flat fills, plan symbols. Never its rooms, furniture, numbers or content."], "attempt": 1, "dur_s": 26.3, "bytes": 1460599, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/gen5_plan_nb2.png", "prompt": "The FIRST attached image is a BLOCK SET DIAGRAM of one real property:\nplain blocks, top-down, and the blocks' RELATIVE sizes and positions are\nthe layout ground truth. The fill COLOURS encode HEIGHT LAYERS, not\nsurface colours or materials. The output must contain NO text, NO\nletters, NO numbers, NO labels of any kind.\n\nIMPORTANT LAYOUT FACTS (the diagram's data — obey exactly):\n- height layers, low to high: Ground h=0 (lightest), Stair run h=1.5 (mid 1), Roof deck h=3 (mid 2), Rooftop room h=4 (darkest). Darker fill = higher.\n- street road [road] — south-centre area; height: Ground\n- narrow alley [alley] — centre-west area; height: Ground\n- entry yard [yard] — south-centre area; height: Ground\n- villa mass [building_mass] — centre area; height: Roof deck\n- roof terrace [terrace] — centre area; height: Roof deck\n- rooftop room [upper_shell] — centre area; height: Rooftop room\n- steel retrofit stair [stair] — south-east area; height: Stair run\n- low wall [wall] — south-centre area; height: Roof deck\n- neighbor block [neighbor_mass] — north-west area; height: Roof deck\n- rear neighbor [neighbor_mass] — north-centre area; height: Roof deck\n- side neighbor [neighbor_mass] — centre-east area; height: Roof deck\n- water tank [fixture_round] — north-west area; height: Roof deck round\n- low platform [fixture_rect] — centre-west area; height: Roof deck\n- laundry line [equipment] — centre area, on the west edge of the rooftop room; height: Roof deck\n- iron door [door] — centre area, on the south edge of the rooftop room; height: Rooftop room\n- living window [window] — centre area, on the east edge of the rooftop room; height: Rooftop room\n- bedroom window [window] — north-centre area, on the north edge of the rooftop room; height: Rooftop room\n- entry gate [gate] — south-west area; height: Ground\n- facade windows [window] — south-centre area, on the north edge of the entry yard, 4 windows for the whole facade — distribute them across the building's storeys with clear wall between each (never fused edge-to-edge, never one tight row); height: Roof deck\n- any facade windows sit apart with clear wall between them, aligned to the building's real storeys — never touching.\n- CORRECTION (production owner): the exterior stair element is an ADDED-ON STEEL stair retrofitted later onto its building's outside wall — open treads, thin steel stringers and support posts, pipe handrail, visibly a separate later addition to the building. It is NOT concrete or cement; this supersedes any cement/concrete stair mention elsewhere in the data.\n\nWHAT THIS PLACE LOOKS LIKE (production data):\n- 인천 변두리 낡은 빌라 옥탑방 옥상·현관 앞 외부: 낡은 다세대 빌라 꼭대기에 위치한 야외 공간. 물탱크, 흔들리는 빨랫줄, 평상 위 약초 건조 흔적, 낡은 철문 현관이 있다. (특징: 낡은 시멘트 바닥; 물탱크; 바람에 날리는 빨랫줄; 평상과 널려 있는 말린 약초(석창포); 전단지가 끼워진 철문 현관)\n- 옥탑방 내부: 작은 창문으로 빛이 들어오는 낡은 주거 공간. 싱크대, 식탁, TV가 있는 거실과 침대, 커튼, 거울 등이 있는 방/욕실로 구성된다. 약초 끓이는 냄비 등 생활 소품이 있으며, 간헐적으로 벽면에 붉은 원 형태의 환영과 핏자국이 생겨난다. (특징: 작은 창문의 햇살; 싱크대와 약초(석창포); 가스레인지 위 끓는 냄비와 수증기; 거실 TV와 스탠드; 침대, 커튼, 거울; 벽과 거울 표면에 나타나는 붉은 원 환영; 바닥과 벽의 핏자국 (특정 시점); 어지럽혀진 가재도구 (특정 시점))\n- 옥탑방 외곽 골목·시멘트 계단: 다세대 빌라 마당의 후미진 구석과 옥탑방으로 올라가는 가파르고 낡은 시멘트 계단. (특징: 다세대 빌라 입구 마당; 후미진 구석 공간; 낡고 가파른 시멘트 계단)\n\nThe SECOND attached image is an interior floor plan from the same\nproduction — match its DRAFTING LANGUAGE and its LEVEL OF DETAIL:\nsame line weights, flat colour fills, detailed plan symbols. Never\ncopy its rooms, furniture or any content.\n\nDraw ONE strict TOP-DOWN 2D architectural SITE PLAN that DEVELOPS\nthis block layout into a fully detailed drawing. The blocks give\nONLY each element's position, relative size and count — do NOT\nredraw them as plain empty rectangles. Elaborate every element into\nits real plan representation with believable construction detail,\nby element kind:\n- roads: kerb lines\n- alleys: paving joints\n- yards: paving joints\n- building masses: walls as double lines with real thickness, roof edges with parapet coping lines\n- open decks: edge/parapet lines and a flat surface tone\n- enclosed upper-shell units: thick-walled outline with boundary openings only — never interior rooms\n- stairs: individual treads, stringer/railing lines, top and bottom landings\n- boundary walls: double lines\n- neighbouring buildings: simplified roof outlines only (secondary)\n- round free-standing fixtures: circle with its base ring\n- low rectangular fixtures: outline with slat/edge lines\n- small equipment units: simple outlined box with support/mount lines\n- doors: leaf + swing arc set in a wall opening\n- windows: frame lines set INTO the wall\n- gates: leaf/swing symbol set in the boundary wall\nGround every added detail in the production data above; nothing\nstory-specific, no movable props, no posted papers or notices.\nHeight layers appear only as flat fill tints (darker = higher).\nFlat orthographic plan view: NO 3D, NO axonometric, NO perspective,\nno shadows. No people, no vehicles, no text, no markers, no legend,\nno compass."}
{"ts": "2026-07-05 16:03:10", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "blockgen5_photo_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/blockset_v2_canvas_clean.png"], "ref_labels": ["BLOCK SET DIAGRAM (geometry + height control) — block positions/sizes are layout ground truth; fill colours encode height layers as the prompt explains; circled letters/numbers are annotations, never objects — draw none of them and no text at all."], "attempt": 1, "dur_s": 16.3, "bytes": 3321849, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/gen5_photo_nb2.png", "prompt": "The FIRST attached image is a BLOCK SET DIAGRAM of one real property:\nplain blocks, top-down, and the blocks' RELATIVE sizes and positions are\nthe layout ground truth. The fill COLOURS encode HEIGHT LAYERS, not\nsurface colours or materials. The output must contain NO text, NO\nletters, NO numbers, NO labels of any kind.\n\nIMPORTANT LAYOUT FACTS (the diagram's data — obey exactly):\n- height layers, low to high: Ground h=0 (lightest), Stair run h=1.5 (mid 1), Roof deck h=3 (mid 2), Rooftop room h=4 (darkest). Darker fill = higher.\n- street road [road] — south-centre area; height: Ground\n- narrow alley [alley] — centre-west area; height: Ground\n- entry yard [yard] — south-centre area; height: Ground\n- villa mass [building_mass] — centre area; height: Roof deck\n- roof terrace [terrace] — centre area; height: Roof deck\n- rooftop room [upper_shell] — centre area; height: Rooftop room\n- steel retrofit stair [stair] — south-east area; height: Stair run\n- low wall [wall] — south-centre area; height: Roof deck\n- neighbor block [neighbor_mass] — north-west area; height: Roof deck\n- rear neighbor [neighbor_mass] — north-centre area; height: Roof deck\n- side neighbor [neighbor_mass] — centre-east area; height: Roof deck\n- water tank [fixture_round] — north-west area; height: Roof deck round\n- low platform [fixture_rect] — centre-west area; height: Roof deck\n- laundry line [equipment] — centre area, on the west edge of the rooftop room; height: Roof deck\n- iron door [door] — centre area, on the south edge of the rooftop room; height: Rooftop room\n- living window [window] — centre area, on the east edge of the rooftop room; height: Rooftop room\n- bedroom window [window] — north-centre area, on the north edge of the rooftop room; height: Rooftop room\n- entry gate [gate] — south-west area; height: Ground\n- facade windows [window] — south-centre area, on the north edge of the entry yard, 4 windows for the whole facade — distribute them across the building's storeys with clear wall between each (never fused edge-to-edge, never one tight row); height: Roof deck\n- any facade windows sit apart with clear wall between them, aligned to the building's real storeys — never touching.\n- CORRECTION (production owner): the exterior stair element is an ADDED-ON STEEL stair retrofitted later onto its building's outside wall — open treads, thin steel stringers and support posts, pipe handrail, visibly a separate later addition to the building. It is NOT concrete or cement; this supersedes any cement/concrete stair mention elsewhere in the data.\n\nWHAT THIS PLACE LOOKS LIKE (production data):\n- 인천 변두리 낡은 빌라 옥탑방 옥상·현관 앞 외부: 낡은 다세대 빌라 꼭대기에 위치한 야외 공간. 물탱크, 흔들리는 빨랫줄, 평상 위 약초 건조 흔적, 낡은 철문 현관이 있다. (특징: 낡은 시멘트 바닥; 물탱크; 바람에 날리는 빨랫줄; 평상과 널려 있는 말린 약초(석창포); 전단지가 끼워진 철문 현관)\n- 옥탑방 내부: 작은 창문으로 빛이 들어오는 낡은 주거 공간. 싱크대, 식탁, TV가 있는 거실과 침대, 커튼, 거울 등이 있는 방/욕실로 구성된다. 약초 끓이는 냄비 등 생활 소품이 있으며, 간헐적으로 벽면에 붉은 원 형태의 환영과 핏자국이 생겨난다. (특징: 작은 창문의 햇살; 싱크대와 약초(석창포); 가스레인지 위 끓는 냄비와 수증기; 거실 TV와 스탠드; 침대, 커튼, 거울; 벽과 거울 표면에 나타나는 붉은 원 환영; 바닥과 벽의 핏자국 (특정 시점); 어지럽혀진 가재도구 (특정 시점))\n- 옥탑방 외곽 골목·시멘트 계단: 다세대 빌라 마당의 후미진 구석과 옥탑방으로 올라가는 가파르고 낡은 시멘트 계단. (특징: 다세대 빌라 입구 마당; 후미진 구석 공간; 낡고 가파른 시멘트 계단)\n\nRender ONE PHOTOREALISTIC bird's-eye location reference of this\nproperty from a high oblique angle tilted about 30 degrees from\nvertical: translate the height layers into real built volumes —\nground-level surfaces, building masses with their decks, and the\ntopmost enclosed unit standing highest, exactly as the layer\nheights order them. Keep every position, proportion and opening\ncount from the diagram exactly; facade windows spread naturally\nacross the storeys, never one fused row. The diagram's fill colours\nare height codes — do NOT copy them as paint or material colours;\nuse aged everyday urban materials grounded in the production data.\nPlain even daylight, completely unpopulated, no movable props, no\nposted papers or notices, no text, letters, circles, markers or\nlegend anywhere. Never expose interior rooms."}
{"ts": "2026-07-05 16:17:29", "kind": "llm", "step": "forest_fp_place_desc", "model": "gpt", "dur_s": 20.2, "system_prompt": "You write the PLACE DESCRIPTION for an architectural SITE-PLAN\nasset in film pre-production. The place is one real-world location: a building\nand its grounds with connected indoor and outdoor parts. You get production\ndata: member descriptions, the FULL original scene texts, a structured block\nlayout (elements with kinds and height layers) and any production-owner\ncorrections. Every specific must come from that data.\n\nWrite a DETAILED, CONCRETE description for the plan-drawing model:\n- building_en: the main building itself — ★its storey structure explicitly\n  (how many storeys the body has BELOW any upper-level unit; if the texts do\n  not state a count, choose the most plausible one for this type of building\n  and say it plainly as a chosen assumption), massing, envelope materials as\n  the data gives them, facade opening pattern per storey, roof condition.\n- upper_en: any topmost enclosed unit and its open deck level — envelope,\n  boundary openings (counts per the data), fixed fixtures around it.\n- grounds_en: ground level — approach, boundary, entrances, any exterior\n  level-connecting route (honour production-owner corrections about it).\n- plan_en: what the finished TOP-DOWN site plan must therefore show, in\n  drawing terms (2-4 sentences).\nEach field 40-90 words, plain factual tone. NO story props, no vehicles, no\npeople, no mood/lighting words, no proper names, no text/labels in the image.\nAlso output faithful Korean translations (same keys with _ko) for human\nreview. notes: which data grounded the storey choice and opening counts.", "user_prompt": "PLACE MEMBERS:\n- (outdoor, L03) 인천 변두리 낡은 빌라 옥탑방 옥상·현관 앞 외부: 낡은 다세대 빌라 꼭대기에 위치한 야외 공간. 물탱크, 흔들리는 빨랫줄, 평상 위 약초 건조 흔적, 낡은 철문 현관이 있다. (특징: 낡은 시멘트 바닥; 물탱크; 바람에 날리는 빨랫줄; 평상과 널려 있는 말린 약초(석창포); 전단지가 끼워진 철문 현관)\n- (indoor, L04) 옥탑방 내부: 작은 창문으로 빛이 들어오는 낡은 주거 공간. 싱크대, 식탁, TV가 있는 거실과 침대, 커튼, 거울 등이 있는 방/욕실로 구성된다. 약초 끓이는 냄비 등 생활 소품이 있으며, 간헐적으로 벽면에 붉은 원 형태의 환영과 핏자국이 생겨난다. (특징: 작은 창문의 햇살; 싱크대와 약초(석창포); 가스레인지 위 끓는 냄비와 수증기; 거실 TV와 스탠드; 침대, 커튼, 거울; 벽과 거울 표면에 나타나는 붉은 원 환영; 바닥과 벽의 핏자국 (특정 시점); 어지럽혀진 가재도구 (특정 시점))\n- (outdoor, L10) 옥탑방 외곽 골목·시멘트 계단: 다세대 빌라 마당의 후미진 구석과 옥탑방으로 올라가는 가파르고 낡은 시멘트 계단. (특징: 다세대 빌라 입구 마당; 후미진 구석 공간; 낡고 가파른 시멘트 계단)\n\nFULL ORIGINAL SCENE TEXTS:\n\n=== SCENE 4 FULL TEXT ===\nS#4. 옥탑방 / D\n인천 변두리 부감, 오래된 빌라 옥탑방 전경.\n기자(E)\n지역 주민들 사이에 횡행한 소문이 돌고 있지만, 경찰은 범인의 윤곽조차 잡지 못하고 있어 지역주민들의 불안과 두려움을 더 키우는 모양새입니다.\n\n\n\n=== SCENE 5 FULL TEXT ===\nS#5. 옥탑방 안 / 실내\n거실에 난 작은 창으로 햇살에 가늘게 비친다. 싱크대 수도꼭지에 흐르는 물, 씻다 만 약초(석창포). 냄비의 물이 끓어 달그락거리는 소리… 김이 피어오르고. 앞치마를 두른 채 TV 뉴스를 뚫어지게 바라보는 민숙(수리영 엄마. 40세) 표정이 어둡다. (뉴스멘트는 작아졌다 커졌다 반복하면서 여기까지 이어진다)\n딸, 수리영(21. 애완동물미용학과 2년)이 방문을 열고 기지개를 켜며 나오자 후다닥 TV를 끄는 민숙. 다정한 말투로\n수리영\n(심드렁) 뭐~야. 사건 났어? 뭔데.\n민숙\n아냐.\n수리영\n(식탁에 앉으며) 이모 또 야근하겠네. 조그만 도시에 왠 사건이 이렇게 많아. 바다가 가까워서 그런가.\n민숙\n신경 꺼. (석창포 달인 물을 따라주면서) 마셔. 방학인데 왜 더 자지않고.\n수리영\n(마시고 나서) 아, 진짜 맛 없어...(투정) 나 알바 있어, 엄마. 원장님이 하루만 봐 달래.\n(cut to.)\n가벼운 차림새. 수리영 신발을 신으며\n수리영\n엄마는 오늘 안 나가?\n민숙\n이따가 1시 타임.\n수리영\n(엄마의 냄새를 맡으며) 아, 좋다. 끝나고 마트로 갈게. 모처럼 밖에서 저녁먹자 엄마.\n민숙\n응 (미소)\n힐끗, 민숙 손목에 보이는 작은 원(이하 표식)을 본다. 오늘따라 유난히 또렷해 보이지만 워낙 어릴 적부터 봐온 터라 개의치 않는.\n\n\n\n=== SCENE 10 FULL TEXT ===\nS#10. 옥탑방 / N\n그 시각. 옥탑방 옥상. 물탱크. 바람에 빨랫줄이 툭- 툭- 평상에 놓인 말린 석창포가 바람에 날리는데... 말린 잎이 걸어오는 낯선 남자의 신발 위를 스친다. 남자의 긴 그림자. (얼굴은 보이지 않는다)\n신발은 옥탑방 철문 현관 앞에 멈춰 선다. 문틈에 낀 광고 전단지. 전단지를 뽑아서 손가락으로 문틈에 꾹 밀어 넣는다. ‘철컥’ 하고 잠금 새가 풀리는 소리. 문이 미세하게 열리고 안으로 들어가는 남자.\n창문에 비친 그림자. 민숙을 덮쳐 어깨를 물어뜯는 듯한 모습 ‘아악-’\n\n\n\n=== SCENE 11 FULL TEXT ===\nS#11. 옥탑 방 밖 / N\n자전거를 타고 골목길을 달리는 수리영. 다세대 빌라 문을 열고 들어와 마당 후미진 곳에 자전거를 대충 세우고, 옥탑방과 연결되는 계단을 급히 오른다.\n갑자기 훅- 느껴지는 역겨운 냄새. 뭐지? 옥상에 올라와 보니 반쯤 열린 현관 철문.\n\n\n\n=== SCENE 12 FULL TEXT ===\nS#12. 옥탑방 안 / N\n/거실\n‘엄마?’를 부르며 들어오는 수리영, 끓다 식은 냄비. 켜져 있는 TV. 희미한 거실 스탠드 불빛,\n/민숙 방\n안방 문을 여는데... 없다. 거실 식탁에 놓여있는 찻잔 두 개. 하나는 엎어져있다.\n/수리영 방\n마지막으로 자기 방문을 연다 헉!- 여기저기 핏자국. 바닥에 흥건한 혈흔. 피묻은 발자국은 커튼으로 이어져 있다 호흡을 가다듬고 커튼을 젖히자 앉은 채로 고개를 떨군 채 죽어있는 엄마- 민숙!!!!\n수리영\n(달려가) 어어어어----엄마\n충격에 온 몸이 얼어붙은 수리영, 살점이 뜯긴 어깨와 쇄골, 마치 동물에게 물어뜯긴 듯한 거친 상처가 고스란히 드러나있다. 덜렁거리는 살점과 뜯겨진 부위에 흘러내리는 피.\n수리영\n(놀라 뒤로 주춤) 어-어-어- 엄마….\n부들부들 떨며 핸드폰을 누른다. 2번 혜수이모\n수리영\n받아, 이모. 받아….\n혜수(E)\n영아, 영아, 왜?\n답은 안 나오고… 엄마 손안에 구겨진 사진 한 장이 보인다. 다가가 사진을 꺼내는데 엄마 손목에 있던 문신이 붉은색으로 변한다. 헉! 호흡이 빨라지고... 침대 위 벽에 붉은 원이 생겨난다 (마치 누군가 붓으로 벽에 원으로 그리는 것처럼). 소름끼치는 으아악---!\n\n\n\n=== SCENE 13 FULL TEXT ===\nS#13. 옥탑방 외곽 / N\n비명을 지르며 옥탑방을 빠져나오는 수리영, 허겁지겁 계단을 내려간다. 동시에 사이렌이 울리고~. (포즈)\n차에서 내린 혜수(40대 중반, 여자, 경위) 초점을 잃고 멍하니 서있는 수리영의 모습을 발견하고 달려간다.\n혜수\n영아? 왜! 무슨 일이야?\n수리영\n(올라다보며) 엄마가, 엄마가... 죽어있어.\n혜수\n(놀라) 뭐?!\n옥탑 방으로 뛰어 올라가는 혜수와 후배 형사(30대 남/ 이하 김형사)\n\n\n\n=== SCENE 14 FULL TEXT ===\nS#14. 옥탑방 안 / N\n/현관\n집안 여기저기를 확인하면서 나오는 형사와 혜수\n김형사\n(허탈한 표정) 없는데.. 아무 것도.\n혜수\n(뒤따라온 수리영에게) 영아, 없어. 뭘 봤는데...?\n어? 수리영, 부리나케 방 안으로 뛰어 들어간다.\n/수리영 방 안\n지나칠 정도로 깨끗하게 정돈된 방안. 핏자국도 보이지 않고, 침대 위에 붉은 표식은 물론 커튼 뒤의 시신도 감쪽 같이 사라졌다. 얼굴이 파리해지는 수리영. ‘어----?’ ‘분명히 봤는데...’\n뛰쳐나가 식탁으로 가본다. 식탁 역시 깨끗한.\n수리영\n여기 찻잔도 두 개 있었고...\n김형사\n(답답) 허 참! 죽은 사람이 발이 달렸을 리도 없고. 쯧쯧 그러게 살인사건은 자세하게 보도하면 안 된다구요...(궁시렁) 이봐요. 학생? 장난전화 하면 안 되는 거 몰라? (짜증) 안 그래도 살인사건으로 난리도 아닌데...\n혜수\n(김형사 째리고) 김형사. 먼저 가 있어. (김형사 나가면) (수리영 어깨를 어루만지며) 영아.\n수리영\n엄마(시신), 어디갔을까? 분명히 봤는데...\n혜수\n네가 요즘 과로했잖아. 공부에다 알바까지... 악몽을 꾼 걸 수도 있으니... 바람이나 쐬러 가자.\n수리영 방안에 놓여진 백팩, 인형. 약간씩 위치가 달라진. (시신을 발견했을 때와 다른)\n\n\n\n=== SCENE 17 FULL TEXT ===\nS#17. 옥탑방 / 동틀무렵\n새벽녘, 고양이 울음소리. 검은 고양이가 불이 켜져 있는 옥탑 방을 슬쩍 보더니 담을 넘는다\n\n\n\n=== SCENE 18 FULL TEXT ===\nS#18. 안방 안 / D\n침대에 머리를 대고 앉아있는 수리영, 밤새 엄마를 기다리다 깜박 졸았다 고양이 울음소리에 번쩍 눈을 뜨고, ‘엄마? ’혹시나 해서 집안을 살피지만 아무런 인기척도 보이지 않는다\n/수리영 방안\n닫혀있는 자신의 방을 바라본다. [F.B: 1부12씬] 커튼 뒤에 죽어있던 엄마. 상처. 혈흔 크게 심호흡하고 조심스럽게 문을 연다. 지나치리만큼 깨끗하게 정돈된 방안. 창문에 다가가 커튼을 확 열어젖힌다. 시신은 없다. 한숨 후~ 다행이긴 한데. 그때, 울리는 폰 벨소리, 화들짝 놀라는 수리영. 달려가 받자마자\n수리영\n엄마?\n혜수(E)\n아직이니?\n수리영\n응. 아무래도 이상해. 이럴 리가 없잖아! 우리 엄마가. 이모, 사고 난 게 분명해\n혜수(E)\n실종신고 냈어. 이모가 엄마 폰 위치추적하고 있으니까 조금만 기다려 별일 없을 거야. 알았지?\n수리영\n응.\n무작정 기다리는게 불안한 수리영, 인형이 달린 자신의 백팩을 꺼내 나온다\n/욕실 안\n얼굴을 씻고 거울을 보며\n수리영\n엄마, 도대체 어딨는 거야...\n거울에 비친 욕실 벽에 갑자기 또 발생하는 붉은 원. 호흡이 가빠지고... 훅 고개를 돌려 벽을 보는 수리영 거짓말처럼 사라지고 없다. 거실로 튀어나와 물 한컵 마시고 식탁에 놓인 엄마와 수리영의 사진을 보는데... 환하게 웃는 엄마 얼굴이 뭉개져 흘러내린다\n수리영\n아아악~~~ (다시보니 멀쩡하다) 나 왜 이러는 거지. (자신의 뺨을 치며) 정신 차려 수리영!\n\n\n\n=== SCENE 25 FULL TEXT ===\nS#25. 옥탑방 안 / 해질 무렵\n누군가 다녀간 흔적으로 보이는 발자국들. 다시 호흡이 가빠지는 수리영. 집안에서 뭔가를 찾기 위해 가재도구를 온통 헤집은 것으로 보인다. 거실에 난 창은 열려있고, 식탁 의자들을 쓰러져있다.\n/수리영 방\n열린 자신의 방을 힐끗 보는데 벽에 또 붉은 원이 그려져있다. 그 가운데 꽂혀있는 피묻은 사진 한 장! 사진을 떼어서 자세히 본다. 어? 그 사진!!!\n[F.B: 1부 12씬] 죽은 엄마의 손에 구겨져있던 바로 그 사진이다. 7-80년대 쯤 보이는 시골 식당과 지붕위에 둥근 원이 설치된 (마치 십자가처럼) 식당 앞에는 어린 여자애 둘(12살)이 앉아있다. 그중에 한 아이는 분명히 어릴 적 엄마다.\n침대에 털썩 주저앉는 수리영. 연속해서 벌어지는 기이한 상황에 정신이 혼미한 엉망이 된 집 안을 한번 획 둘러보는 수리영, 마치 이끌리듯 백팩을 메고 밖으로 나간다. 사진을 손에 꼭 쥔 채.\n\n\n\n=== SCENE 27 FULL TEXT ===\nS#27. 옥탑방 안 / 해질 무렵\n수리영의 녹음메시지를 확인하는 혜수,\n혜수\n너 봤니..본 거니... (김형사에게) 좌표를 보지않았을까?\n김형사\n그럴리가요. (혀를 끌끌 차며) 아이구 쯧쯧. 설사 본들 망망대해에서 뭘 어쩌겠어요. 돌아오겠죠.\n덜커덩 덜커덩. 바람에 현관문 소리. 황량하다.\n\n\n\nSTRUCTURED BLOCK LAYOUT (extracted):\n{\"canvas\": {\"height\": 100, \"orientation_note\": \"Top-down plan, x rightward and y downward; the street approach is at the bottom, the villa block and rooftop room occupy the center.\", \"width\": 100}, \"elements\": [{\"certainty\": \"inferred\", \"desc_ko\": \"하단의 큰 도로는 골목과 차량 접근이 만나는 거리로 배치했다.\", \"evidence\": [{\"quote\": \"차에서 내린 혜수\", \"source\": \"S#13\"}, {\"quote\": \"Beside the police car\", \"source\": \"S13_Shot3\"}], \"h\": 10, \"importance\": \"major\", \"kind\": \"road\", \"layer_id\": \"L0\", \"marker\": \"A\", \"name_en\": \"street road\", \"repeat\": 1, \"rot_deg\": 0, \"shape\": \"rect\", \"w\": 100, \"x\": 0, \"y\": 88}, {\"certainty\": \"text\", \"desc_ko\": \"왼쪽 세로 골목은 도로에서 빌라 입구로 이어지는 좁은 진입로이다.\", \"evidence\": [{\"quote\": \"골목길을 달리는 수리영\", \"source\": \"S#11\"}, {\"quote\": \"narrow alley\", \"source\": \"S13_Shot3\"}], \"h\": 73, \"importance\": \"major\", \"kind\": \"alley\", \"layer_id\": \"L0\", \"marker\": \"B\", \"name_en\": \"narrow alley\", \"repeat\": 1, \"rot_deg\": 0, \"shape\": \"rect\", \"w\": 12, \"x\": 5, \"y\": 15}, {\"certainty\": \"text\", \"desc_ko\": \"빌라 앞마당은 골목에서 들어와 계단을 타기 전 머무는 후미진 공간이다.\", \"evidence\": [{\"quote\": \"다세대 빌라 입구 마당\", \"source\": \"PLACE MEMBERS L10\"}, {\"quote\": \"마당 후미진 곳에 자전거를 대충 세우고\", \"source\": \"S#11\"}], \"h\": 14, \"importance\": \"major\", \"kind\": \"yard\", \"layer_id\": \"L0\", \"marker\": \"C\", \"name_en\": \"entry yard\", \"repeat\": 1, \"rot_deg\": 0, \"shape\": \"rect\", \"w\": 63, \"x\": 17, \"y\": 72}, {\"certainty\": \"text\", \"desc_ko\": \"중앙의 낡은 빌라 본체는 옥탑방이 올라앉은 다세대 건물 매스이다.\", \"evidence\": [{\"quote\": \"오래된 빌라 옥탑방 전경\", \"source\": \"S#4\"}, {\"quote\": \"낡은 다세대 빌라 꼭대기에 위치한 야외 공간\", \"source\": \"PLACE MEMBERS L03\"}], \"h\": 54, \"importance\": \"major\", \"kind\": \"building_mass\", \"layer_id\": \"L2\", \"marker\": \"D\", \"name_en\": \"villa mass\", \"repeat\": 1, \"rot_deg\": 0, \"shape\": \"rect\", \"w\": 63, \"x\": 17, \"y\": 18}, {\"certainty\": \"text\", \"desc_ko\": \"옥상 테라스는 본관 지붕 위에서 옥탑방 현관과 물탱크가 함께 놓이는 시멘트 바닥이다.\", \"evidence\": [{\"quote\": \"옥탑방 옥상. 물탱크.\", \"source\": \"S#10\"}, {\"quote\": \"낡은 시멘트 바닥\", \"source\": \"PLACE MEMBERS L03\"}], \"h\": 50, \"importance\": \"major\", \"kind\": \"terrace\", \"layer_id\": \"L2\", \"marker\": \"E\", \"name_en\": \"roof terrace\", \"repeat\": 1, \"rot_deg\": 0, \"shape\": \"rect\", \"w\": 57, \"x\": 20, \"y\": 20}, {\"certainty\": \"text\", \"desc_ko\": \"옥탑 주거 셸은 옥상 중앙에 놓인 작은 실내 공간의 외곽선이다.\", \"evidence\": [{\"quote\": \"old rooftop room exterior\", \"source\": \"S4_Shot1\"}, {\"quote\": \"작은 창문으로 빛이 들어오는 낡은 주거 공간\", \"source\": \"PLACE MEMBERS L04\"}], \"h\": 18, \"importance\": \"major\", \"kind\": \"upper_shell\", \"layer_id\": \"L3\", \"marker\": \"F\", \"name_en\": \"rooftop room\", \"repeat\": 1, \"rot_deg\": 0, \"shape\": \"rect\", \"w\": 25, \"x\": 39, \"y\": 31}, {\"certainty\": \"text\", \"desc_ko\": \"오른쪽 외부 계단은 마당 후미진 곳에서 옥상 현관 앞까지 이어진다.\", \"evidence\": [{\"quote\": \"옥탑방과 연결되는 계단을 급히 오른다\", \"source\": \"S#11\"}, {\"quote\": \"낡고 가파른 시멘트 계단\", \"source\": \"PLACE MEMBERS L10\"}], \"h\": 35, \"importance\": \"major\", \"kind\": \"stair\", \"layer_id\": \"L1\", \"marker\": \"G\", \"name_en\": \"concrete stair\", \"repeat\": 1, \"rot_deg\": 0, \"shape\": \"rect\", \"w\": 8, \"x\": 80, \"y\": 51}, {\"certainty\": \"text\", \"desc_ko\": \"낮은 옥상 담은 테라스 가장자리를 따라 둘러져 있고 고양이가 넘는 경계이다.\", \"evidence\": [{\"quote\": \"검은 고양이가 불이 켜져 있는 옥탑 방을 슬쩍 보더니 담을 넘는다\", \"source\": \"S#17\"}, {\"quote\": \"low concrete rooftop wall\", \"source\": \"S17_Shot1\"}], \"h\": 3, \"importance\": \"minor\", \"kind\": \"wall\", \"layer_id\": \"L2\", \"marker\": \"H\", \"name_en\": \"low wall\", \"repeat\": 1, \"rot_deg\": 0, \"shape\": \"rect\", \"w\": 57, \"x\": 20, \"y\": 67}, {\"certainty\": \"text\", \"desc_ko\": \"왼쪽 이웃 건물은 부감에서 옥탑방을 둘러싸는 낡은 빌라 지붕 중 하나이다.\", \"evidence\": [{\"quote\": \"neighboring old villa rooftops\", \"source\": \"S4_Shot1\"}, {\"quote\": \"surrounding neighborhood readable\", \"source\": \"S4_Shot1\"}], \"h\": 25, \"importance\": \"minor\", \"kind\": \"neighbor_mass\", \"layer_id\": \"L2\", \"marker\": \"I\", \"name_en\": \"neighbor block\", \"repeat\": 1, \"rot_deg\": 0, \"shape\": \"rect\", \"w\": 17, \"x\": 0, \"y\": 0}, {\"certainty\": \"text\", \"desc_ko\": \"상단 이웃 건물은 옥탑방 뒤쪽을 막는 낡은 지붕 매스이다.\", \"evidence\": [{\"quote\": \"neighboring old villa rooftops\", \"source\": \"S4_Shot1\"}, {\"quote\": \"boxed in by worn roofs\", \"source\": \"S4_Shot1\"}], \"h\": 16, \"importance\": \"minor\", \"kind\": \"neighbor_mass\", \"layer_id\": \"L2\", \"marker\": \"J\", \"name_en\": \"rear neighbor\", \"repeat\": 1, \"rot_deg\": 0, \"shape\": \"rect\", \"w\": 63, \"x\": 17, \"y\": 0}, {\"certainty\": \"text\", \"desc_ko\": \"오른쪽 이웃 건물은 계단 바깥쪽 골목을 좁게 만드는 주변 매스이다.\", \"evidence\": [{\"quote\": \"neighboring old villa rooftops\", \"source\": \"S4_Shot1\"}, {\"quote\": \"narrow alleys, and faded concrete blocks\", \"source\": \"S4_Shot1\"}], \"h\": 68, \"importance\": \"minor\", \"kind\": \"neighbor_mass\", \"layer_id\": \"L2\", \"marker\": \"K\", \"name_en\": \"side neighbor\", \"repeat\": 1, \"rot_deg\": 0, \"shape\": \"rect\", \"w\": 12, \"x\": 88, \"y\": 12}, {\"certainty\": \"text\", \"desc_ko\": \"물탱크는 옥상 왼쪽 뒤편에 둔 원형 설비이다.\", \"evidence\": [{\"quote\": \"옥탑방 옥상. 물탱크.\", \"source\": \"S#10\"}, {\"quote\": \"물탱크\", \"source\": \"PLACE MEMBERS L03\"}], \"h\": 8, \"importance\": \"minor\", \"kind\": \"fixture_round\", \"layer_id\": \"L2\", \"marker\": \"1\", \"name_en\": \"water tank\", \"repeat\": 1, \"rot_deg\": 0, \"shape\": \"circle\", \"w\": 8, \"x\": 31, \"y\": 30}, {\"certainty\": \"text\", \"desc_ko\": \"낮은 평상은 옥상 앞쪽에 놓여 말린 약초가 바람에 날리던 자리이다.\", \"evidence\": [{\"quote\": \"평상에 놓인 말린 석창포가 바람에 날리는데\", \"source\": \"S#10\"}, {\"quote\": \"평상과 널려 있는 말린 약초\", \"source\": \"PLACE MEMBERS L03\"}], \"h\": 5, \"importance\": \"minor\", \"kind\": \"fixture_rect\", \"layer_id\": \"L2\", \"marker\": \"2\", \"name_en\": \"low platform\", \"repeat\": 1, \"rot_deg\": 0, \"shape\": \"rect\", \"w\": 13, \"x\": 25, \"y\": 55}, {\"certainty\": \"text\", \"desc_ko\": \"빨랫줄은 물탱크와 옥탑방 사이를 가로질러 바람에 흔들리는 얇은 고정 설비이다.\", \"evidence\": [{\"quote\": \"바람에 빨랫줄이 툭- 툭-\", \"source\": \"S#10\"}, {\"quote\": \"바람에 날리는 빨랫줄\", \"source\": \"PLACE MEMBERS L03\"}], \"h\": 1.2, \"importance\": \"minor\", \"kind\": \"equipment\", \"layer_id\": \"L2\", \"marker\": \"3\", \"name_en\": \"laundry line\", \"repeat\": 1, \"rot_deg\": 0, \"shape\": \"rect\", \"w\": 26, \"x\": 29, \"y\": 42}, {\"certainty\": \"inferred\", \"desc_ko\": \"철문 현관은 옥탑 셸의 아래쪽 가장자리에 두어 계단 상부 랜딩과 마주 보게 했다.\", \"evidence\": [{\"quote\": \"신발은 옥탑방 철문 현관 앞에 멈춰 선다\", \"source\": \"S#10\"}, {\"quote\": \"옥탑방과 연결되는 계단을 급히 오른다\", \"source\": \"S#11\"}], \"h\": 1.4, \"importance\": \"major\", \"kind\": \"door\", \"layer_id\": \"L3\", \"marker\": \"4\", \"name_en\": \"iron door\", \"repeat\": 1, \"rot_deg\": 0, \"shape\": \"rect\", \"w\": 5.5, \"x\": 49, \"y\": 49}, {\"certainty\": \"inferred\", \"desc_ko\": \"거실의 작은 창은 옥탑방 오른쪽 외벽에 둔 첫 번째 창이다.\", \"evidence\": [{\"quote\": \"거실에 난 작은 창으로 햇살에 가늘게 비친다\", \"source\": \"S#5\"}, {\"quote\": \"거실에 난 창은 열려있고\", \"source\": \"S#25\"}], \"h\": 5, \"importance\": \"major\", \"kind\": \"window\", \"layer_id\": \"L3\", \"marker\": \"5\", \"name_en\": \"living window\", \"repeat\": 1, \"rot_deg\": 0, \"shape\": \"rect\", \"w\": 1.4, \"x\": 64, \"y\": 36}, {\"certainty\": \"inferred\", \"desc_ko\": \"침실의 커튼 달린 창은 옥탑방 위쪽 외벽에 둔 두 번째 창이다.\", \"evidence\": [{\"quote\": \"창문에 다가가 커튼을 확 열어젖힌다\", \"source\": \"S#18\"}, {\"quote\": \"bedroom window with curtains\", \"source\": \"S18_Shot6\"}], \"h\": 1.4, \"importance\": \"major\", \"kind\": \"window\", \"layer_id\": \"L3\", \"marker\": \"6\", \"name_en\": \"bedroom window\", \"repeat\": 1, \"rot_deg\": 0, \"shape\": \"rect\", \"w\": 6, \"x\": 48, \"y\": 31}, {\"certainty\": \"text\", \"desc_ko\": \"빌라 입구문은 골목에서 앞마당으로 들어가는 단일 출입 게이트이다.\", \"evidence\": [{\"quote\": \"다세대 빌라 문을 열고 들어와\", \"source\": \"S#11\"}, {\"quote\": \"다세대 빌라 입구 마당\", \"source\": \"PLACE MEMBERS L10\"}], \"h\": 1.6, \"importance\": \"major\", \"kind\": \"gate\", \"layer_id\": \"L0\", \"marker\": \"7\", \"name_en\": \"entry gate\", \"repeat\": 1, \"rot_deg\": 0, \"shape\": \"rect\", \"w\": 7, \"x\": 17, \"y\": 80}, {\"certainty\": \"inferred\", \"desc_ko\": \"본관 전면 창들은 다세대 빌라의 정면을 읽히게 하도록 앞마당 쪽 벽에 네 칸 반복으로 배치했다.\", \"evidence\": [{\"quote\": \"오래된 빌라 옥탑방 전경\", \"source\": \"S#4\"}, {\"quote\": \"old villa\", \"source\": \"S4_Shot1\"}], \"h\": 1.2, \"importance\": \"minor\", \"kind\": \"window\", \"layer_id\": \"L2\", \"marker\": \"8\", \"name_en\": \"facade windows\", \"repeat\": 4, \"rot_deg\": 0, \"shape\": \"rect\", \"w\": 32, \"x\": 31, \"y\": 72}], \"layers\": [{\"desc_ko\": \"지면 높이의 도로, 골목, 마당과 출입문이 놓이는 층이다.\", \"layer_id\": \"L0\", \"name_en\": \"Ground\", \"rel_height\": 0}, {\"desc_ko\": \"지면에서 옥상으로 상승하는 외부 시멘트 계단의 중간 높이이다.\", \"layer_id\": \"L1\", \"name_en\": \"Stair run\", \"rel_height\": 1.5}, {\"desc_ko\": \"다세대 빌라와 주변 건물의 옥상면 및 그 위의 낮은 설비가 놓이는 높이이다.\", \"layer_id\": \"L2\", \"name_en\": \"Roof deck\", \"rel_height\": 3}, {\"desc_ko\": \"옥상 위에 세워진 옥탑 주거 외피와 그 출입구·창문 높이이다.\", \"layer_id\": \"L3\", \"name_en\": \"Rooftop room\", \"rel_height\": 4}], \"layout_notes_ko\": \"전체 배치는 하단 도로에서 왼쪽 골목을 따라 들어와 빌라 앞마당과 게이트에 닿고, 오른쪽 후미진 계단으로 옥상까지 오르는 흐름으로 잡았다. 본관 매스의 지붕 위에는 넓은 옥상 테라스를 두고, 그 중앙 약간 위쪽에 옥탑방 외곽 셸을 올려 주변 낡은 지붕들에 갇힌 느낌을 만들었다. 옥탑방 철문은 계단 상부와 마주보는 아래쪽 면에 두었고, 물탱크·빨랫줄·평상은 현관 앞 옥상 공간에 흩어 놓았다. 창문은 텍스트가 지지하는 거실 작은 창과 커튼 달린 침실 창 두 개만 표시했으며, 정확한 방위가 없어서 오른쪽과 위쪽 외벽에 추정 배치했다. 주변 이웃 건물은 세부 없이 낡은 지붕 매스로만 단순화해 부감 장면의 밀집감을 반영했다.\"}\n\nPRODUCTION-OWNER CORRECTIONS:\n- CORRECTION (production owner): the exterior stair element is an ADDED-ON STEEL stair retrofitted later onto its building's outside wall — open treads, thin steel stringers and support posts, pipe handrail, visibly a separate later addition to the building. It is NOT concrete or cement; this supersedes any cement/concrete stair mention elsewhere in the data.\n\nWrite the place description now."}
{"ts": "2026-07-05 16:19:37", "kind": "img", "engine": "gpt-image-2", "mode": "edit", "tag": "fp_r1_gpt", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/blockset_v2_canvas.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/b0ad5c18-5140-4022-a2b0-805de0e5a385/episodes/0d30302a-51c8-4ac9-98e2-6cd9180512bf/images/floor_plan/fp_l04_rooftop_room_main.png"], "size": "1536x864", "attempt": 1, "dur_s": 128.2, "bytes": 1934953, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/fp_r1_gpt.png", "prompt": "The FIRST attached image is a rough BLOCK REFERENCE of one real property:\nit tells you only WHAT exists and the APPROXIMATE arrangement. Do NOT\ntrace, copy or reproduce its composition, block shapes, proportions or\nspacing. Compose the site plan yourself so the place reads as a real,\nbelievable property that satisfies the facts below. Its fill colours\nencode height layers only — never surface colours. Any letters/numbers\non it are annotations — never draw them.\n\nLAYOUT RELATIONS (approximate — honour what exists and rough relations, NOT exact geometry):\n- height layers, low to high: Ground h=0 (lightest), Stair run h=1.5 (mid 1), Roof deck h=3 (mid 2), Rooftop room h=4 (darkest). Darker fill = higher.\n- (A) street road [road] — south-centre area; height: Ground\n- (B) narrow alley [alley] — centre-west area; height: Ground\n- (C) entry yard [yard] — south-centre area; height: Ground\n- (D) villa mass [building_mass] — centre area; height: Roof deck\n- (E) roof terrace [terrace] — centre area; height: Roof deck\n- (F) rooftop room [upper_shell] — centre area; height: Rooftop room\n- (G) steel retrofit stair [stair] — south-east area; height: Stair run\n- (H) low wall [wall] — south-centre area; height: Roof deck\n- (I) neighbor block [neighbor_mass] — north-west area; height: Roof deck\n- (J) rear neighbor [neighbor_mass] — north-centre area; height: Roof deck\n- (K) side neighbor [neighbor_mass] — centre-east area; height: Roof deck\n- (1) water tank [fixture_round] — north-west area; height: Roof deck round\n- (2) low platform [fixture_rect] — centre-west area; height: Roof deck\n- (3) laundry line [equipment] — centre area, on the west edge of the rooftop room; height: Roof deck\n- (4) iron door [door] — centre area, on the south edge of the rooftop room; height: Rooftop room\n- (5) living window [window] — centre area, on the east edge of the rooftop room; height: Rooftop room\n- (6) bedroom window [window] — north-centre area, on the north edge of the rooftop room; height: Rooftop room\n- (7) entry gate [gate] — south-west area; height: Ground\n- (8) facade windows [window] — south-centre area, on the north edge of the entry yard, 4 windows for the whole facade — distribute them across the building's storeys with clear wall between each (never fused edge-to-edge, never one tight row); height: Roof deck\n- any facade windows sit apart with clear wall between them, aligned to the building's real storeys — never touching.\n- CORRECTION (production owner): the exterior stair element is an ADDED-ON STEEL stair retrofitted later onto its building's outside wall — open treads, thin steel stringers and support posts, pipe handrail, visibly a separate later addition to the building. It is NOT concrete or cement; this supersedes any cement/concrete stair mention elsewhere in the data.\n\nWHAT THIS PLACE LOOKS LIKE (production data):\n- 인천 변두리 낡은 빌라 옥탑방 옥상·현관 앞 외부: 낡은 다세대 빌라 꼭대기에 위치한 야외 공간. 물탱크, 흔들리는 빨랫줄, 평상 위 약초 건조 흔적, 낡은 철문 현관이 있다. (특징: 낡은 시멘트 바닥; 물탱크; 바람에 날리는 빨랫줄; 평상과 널려 있는 말린 약초(석창포); 전단지가 끼워진 철문 현관)\n- 옥탑방 내부: 작은 창문으로 빛이 들어오는 낡은 주거 공간. 싱크대, 식탁, TV가 있는 거실과 침대, 커튼, 거울 등이 있는 방/욕실로 구성된다. 약초 끓이는 냄비 등 생활 소품이 있으며, 간헐적으로 벽면에 붉은 원 형태의 환영과 핏자국이 생겨난다. (특징: 작은 창문의 햇살; 싱크대와 약초(석창포); 가스레인지 위 끓는 냄비와 수증기; 거실 TV와 스탠드; 침대, 커튼, 거울; 벽과 거울 표면에 나타나는 붉은 원 환영; 바닥과 벽의 핏자국 (특정 시점); 어지럽혀진 가재도구 (특정 시점))\n- 옥탑방 외곽 골목·시멘트 계단: 다세대 빌라 마당의 후미진 구석과 옥탑방으로 올라가는 가파르고 낡은 시멘트 계단. (특징: 다세대 빌라 입구 마당; 후미진 구석 공간; 낡고 가파른 시멘트 계단)\n\nThe LAST attached image is an interior floor plan from the same\nproduction — use it ONLY as the DRAFTING-STYLE reference (line weight,\nfill language, symbol vocabulary). Never copy its rooms or content.\n\nDraw ONE strict TOP-DOWN 2D architectural SITE PLAN in the drafting\nlanguage of a clean floor plan — thin dark outlines, flat muted colour\nfills, detailed plan symbols (double-line walls, door leaf + swing arc,\nwindow frames set in walls, stair treads with stringers and landings,\nbase rings for round fixtures, paving joints, kerb lines). Height\nlevels appear only as flat fill tints (darker = higher). Flat\northographic plan view: NO 3D, NO axonometric, NO perspective, no\nshadows. Neutral document: no people, no story props, no vehicles, no\nposted papers, no text, no letters, no numbers, no markers, no legend,\nno compass. Never expose interior rooms or furniture of any enclosed\nunit — outer shell and boundary openings only."}
{"ts": "2026-07-05 16:20:03", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "fp_r1_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/blockset_v2_canvas_clean.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/b0ad5c18-5140-4022-a2b0-805de0e5a385/episodes/0d30302a-51c8-4ac9-98e2-6cd9180512bf/images/floor_plan/fp_l04_rooftop_room_main.png"], "ref_labels": ["BLOCK SET DIAGRAM (geometry + height control) — block positions/sizes are layout ground truth; fill colours encode height layers as the prompt explains; circled letters/numbers are annotations, never objects — draw none of them and no text at all.", "DRAFTING STYLE REFERENCE (an interior floor plan) — copy ONLY its drawing style: line weight, flat fills, plan symbols. Never its rooms, furniture, numbers or content."], "attempt": 1, "dur_s": 25.2, "bytes": 1583818, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/fp_r1_nb2.png", "prompt": "The FIRST attached image is a rough BLOCK REFERENCE of one real property:\nit tells you only WHAT exists and the APPROXIMATE arrangement. Do NOT\ntrace, copy or reproduce its composition, block shapes, proportions or\nspacing. Compose the site plan yourself so the place reads as a real,\nbelievable property that satisfies the facts below. Its fill colours\nencode height layers only — never surface colours. Any letters/numbers\non it are annotations — never draw them.\n\nLAYOUT RELATIONS (approximate — honour what exists and rough relations, NOT exact geometry):\n- height layers, low to high: Ground h=0 (lightest), Stair run h=1.5 (mid 1), Roof deck h=3 (mid 2), Rooftop room h=4 (darkest). Darker fill = higher.\n- street road [road] — south-centre area; height: Ground\n- narrow alley [alley] — centre-west area; height: Ground\n- entry yard [yard] — south-centre area; height: Ground\n- villa mass [building_mass] — centre area; height: Roof deck\n- roof terrace [terrace] — centre area; height: Roof deck\n- rooftop room [upper_shell] — centre area; height: Rooftop room\n- steel retrofit stair [stair] — south-east area; height: Stair run\n- low wall [wall] — south-centre area; height: Roof deck\n- neighbor block [neighbor_mass] — north-west area; height: Roof deck\n- rear neighbor [neighbor_mass] — north-centre area; height: Roof deck\n- side neighbor [neighbor_mass] — centre-east area; height: Roof deck\n- water tank [fixture_round] — north-west area; height: Roof deck round\n- low platform [fixture_rect] — centre-west area; height: Roof deck\n- laundry line [equipment] — centre area, on the west edge of the rooftop room; height: Roof deck\n- iron door [door] — centre area, on the south edge of the rooftop room; height: Rooftop room\n- living window [window] — centre area, on the east edge of the rooftop room; height: Rooftop room\n- bedroom window [window] — north-centre area, on the north edge of the rooftop room; height: Rooftop room\n- entry gate [gate] — south-west area; height: Ground\n- facade windows [window] — south-centre area, on the north edge of the entry yard, 4 windows for the whole facade — distribute them across the building's storeys with clear wall between each (never fused edge-to-edge, never one tight row); height: Roof deck\n- any facade windows sit apart with clear wall between them, aligned to the building's real storeys — never touching.\n- CORRECTION (production owner): the exterior stair element is an ADDED-ON STEEL stair retrofitted later onto its building's outside wall — open treads, thin steel stringers and support posts, pipe handrail, visibly a separate later addition to the building. It is NOT concrete or cement; this supersedes any cement/concrete stair mention elsewhere in the data.\n\nWHAT THIS PLACE LOOKS LIKE (production data):\n- 인천 변두리 낡은 빌라 옥탑방 옥상·현관 앞 외부: 낡은 다세대 빌라 꼭대기에 위치한 야외 공간. 물탱크, 흔들리는 빨랫줄, 평상 위 약초 건조 흔적, 낡은 철문 현관이 있다. (특징: 낡은 시멘트 바닥; 물탱크; 바람에 날리는 빨랫줄; 평상과 널려 있는 말린 약초(석창포); 전단지가 끼워진 철문 현관)\n- 옥탑방 내부: 작은 창문으로 빛이 들어오는 낡은 주거 공간. 싱크대, 식탁, TV가 있는 거실과 침대, 커튼, 거울 등이 있는 방/욕실로 구성된다. 약초 끓이는 냄비 등 생활 소품이 있으며, 간헐적으로 벽면에 붉은 원 형태의 환영과 핏자국이 생겨난다. (특징: 작은 창문의 햇살; 싱크대와 약초(석창포); 가스레인지 위 끓는 냄비와 수증기; 거실 TV와 스탠드; 침대, 커튼, 거울; 벽과 거울 표면에 나타나는 붉은 원 환영; 바닥과 벽의 핏자국 (특정 시점); 어지럽혀진 가재도구 (특정 시점))\n- 옥탑방 외곽 골목·시멘트 계단: 다세대 빌라 마당의 후미진 구석과 옥탑방으로 올라가는 가파르고 낡은 시멘트 계단. (특징: 다세대 빌라 입구 마당; 후미진 구석 공간; 낡고 가파른 시멘트 계단)\n\nThe LAST attached image is an interior floor plan from the same\nproduction — use it ONLY as the DRAFTING-STYLE reference (line weight,\nfill language, symbol vocabulary). Never copy its rooms or content.\n\nDraw ONE strict TOP-DOWN 2D architectural SITE PLAN in the drafting\nlanguage of a clean floor plan — thin dark outlines, flat muted colour\nfills, detailed plan symbols (double-line walls, door leaf + swing arc,\nwindow frames set in walls, stair treads with stringers and landings,\nbase rings for round fixtures, paving joints, kerb lines). Height\nlevels appear only as flat fill tints (darker = higher). Flat\northographic plan view: NO 3D, NO axonometric, NO perspective, no\nshadows. Neutral document: no people, no story props, no vehicles, no\nposted papers, no text, no letters, no numbers, no markers, no legend,\nno compass. Never expose interior rooms or furniture of any enclosed\nunit — outer shell and boundary openings only."}
{"ts": "2026-07-05 16:22:11", "kind": "img", "engine": "gpt-image-2", "mode": "edit", "tag": "fp_r2_gpt", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/blockset_v2_canvas.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/b0ad5c18-5140-4022-a2b0-805de0e5a385/episodes/0d30302a-51c8-4ac9-98e2-6cd9180512bf/images/floor_plan/fp_l04_rooftop_room_main.png"], "size": "1536x864", "attempt": 1, "dur_s": 128.5, "bytes": 2159439, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/fp_r2_gpt.png", "prompt": "The FIRST attached image is a rough BLOCK REFERENCE of one real property:\nit tells you only WHAT exists and the APPROXIMATE arrangement. Do NOT\ntrace, copy or reproduce its composition, block shapes, proportions or\nspacing. Compose the site plan yourself so the place reads as a real,\nbelievable property that satisfies the facts below. Its fill colours\nencode height layers only — never surface colours. Any letters/numbers\non it are annotations — never draw them.\n\nTHE PLACE (authored description — the content ground truth):\nBUILDING: The main building is an old multifamily villa block, drawn as an assumed three-storey body below the rooftop unit because the script only states an old villa with a rooftop room. Its mass is a plain rectangular concrete volume set behind an entry yard. The roof is flat and usable as a cement-surfaced terrace. The front facade facing the yard should show four repeated window bays per storey, matching the extracted layout’s inferred facade-window rhythm.\nTOP UNIT & DECK: The topmost enclosed unit is a small, old rooftop dwelling set on the flat terrace, drawn as a simple rectangular shell. Its boundary openings are one iron entrance door facing the stair landing, one small living-room window on a side wall, and one bedroom window on another wall. Around it, the open deck has a low concrete parapet or wall, a round water tank, a fixed laundry line, and a low platform on the cement surface.\nGROUNDS: At ground level, a street edge feeds a narrow alley along the left side, leading to a single entry gate and a small recessed yard at the villa entrance. Neighboring building masses close the rear and sides, making the approach compact. From the yard’s back corner, a later-added exterior steel stair is fixed to the outside wall, with open treads, thin stringers, support posts, and a pipe handrail, continuing up to the rooftop terrace and iron-door landing.\nTHE PLAN MUST SHOW: The finished top-down site plan should show a rectangular villa mass centered behind the yard, with its flat roof terrace visible as the primary upper surface. Place the rooftop room as a smaller rectangle on the terrace, with one door toward the stair landing and two windows on separate sides. Draw the left alley, entry gate, recessed yard, surrounding neighbor blocks, low roof wall, fixed rooftop fixtures, and the retrofitted steel stair as a separate exterior structure attached to the building wall.\n\nLAYOUT RELATIONS (approximate — honour what exists and rough relations, NOT exact geometry):\n- height layers, low to high: Ground h=0 (lightest), Stair run h=1.5 (mid 1), Roof deck h=3 (mid 2), Rooftop room h=4 (darkest). Darker fill = higher.\n- (A) street road [road] — south-centre area; height: Ground\n- (B) narrow alley [alley] — centre-west area; height: Ground\n- (C) entry yard [yard] — south-centre area; height: Ground\n- (D) villa mass [building_mass] — centre area; height: Roof deck\n- (E) roof terrace [terrace] — centre area; height: Roof deck\n- (F) rooftop room [upper_shell] — centre area; height: Rooftop room\n- (G) steel retrofit stair [stair] — south-east area; height: Stair run\n- (H) low wall [wall] — south-centre area; height: Roof deck\n- (I) neighbor block [neighbor_mass] — north-west area; height: Roof deck\n- (J) rear neighbor [neighbor_mass] — north-centre area; height: Roof deck\n- (K) side neighbor [neighbor_mass] — centre-east area; height: Roof deck\n- (1) water tank [fixture_round] — north-west area; height: Roof deck round\n- (2) low platform [fixture_rect] — centre-west area; height: Roof deck\n- (3) laundry line [equipment] — centre area, on the west edge of the rooftop room; height: Roof deck\n- (4) iron door [door] — centre area, on the south edge of the rooftop room; height: Rooftop room\n- (5) living window [window] — centre area, on the east edge of the rooftop room; height: Rooftop room\n- (6) bedroom window [window] — north-centre area, on the north edge of the rooftop room; height: Rooftop room\n- (7) entry gate [gate] — south-west area; height: Ground\n- (8) facade windows [window] — south-centre area, on the north edge of the entry yard, 4 windows for the whole facade — distribute them across the building's storeys with clear wall between each (never fused edge-to-edge, never one tight row); height: Roof deck\n- any facade windows sit apart with clear wall between them, aligned to the building's real storeys — never touching.\n- CORRECTION (production owner): the exterior stair element is an ADDED-ON STEEL stair retrofitted later onto its building's outside wall — open treads, thin steel stringers and support posts, pipe handrail, visibly a separate later addition to the building. It is NOT concrete or cement; this supersedes any cement/concrete stair mention elsewhere in the data.\n\nThe LAST attached image is an interior floor plan from the same\nproduction — use it ONLY as the DRAFTING-STYLE reference (line weight,\nfill language, symbol vocabulary). Never copy its rooms or content.\n\nDraw ONE strict TOP-DOWN 2D architectural SITE PLAN in the drafting\nlanguage of a clean floor plan — thin dark outlines, flat muted colour\nfills, detailed plan symbols (double-line walls, door leaf + swing arc,\nwindow frames set in walls, stair treads with stringers and landings,\nbase rings for round fixtures, paving joints, kerb lines). Height\nlevels appear only as flat fill tints (darker = higher). Flat\northographic plan view: NO 3D, NO axonometric, NO perspective, no\nshadows. Neutral document: no people, no story props, no vehicles, no\nposted papers, no text, no letters, no numbers, no markers, no legend,\nno compass. Never expose interior rooms or furniture of any enclosed\nunit — outer shell and boundary openings only."}
{"ts": "2026-07-05 16:22:30", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "fp_r2_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/blockset_v2_canvas_clean.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/b0ad5c18-5140-4022-a2b0-805de0e5a385/episodes/0d30302a-51c8-4ac9-98e2-6cd9180512bf/images/floor_plan/fp_l04_rooftop_room_main.png"], "ref_labels": ["BLOCK SET DIAGRAM (geometry + height control) — block positions/sizes are layout ground truth; fill colours encode height layers as the prompt explains; circled letters/numbers are annotations, never objects — draw none of them and no text at all.", "DRAFTING STYLE REFERENCE (an interior floor plan) — copy ONLY its drawing style: line weight, flat fills, plan symbols. Never its rooms, furniture, numbers or content."], "attempt": 1, "dur_s": 19.0, "bytes": 1061541, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/fp_r2_nb2.png", "prompt": "The FIRST attached image is a rough BLOCK REFERENCE of one real property:\nit tells you only WHAT exists and the APPROXIMATE arrangement. Do NOT\ntrace, copy or reproduce its composition, block shapes, proportions or\nspacing. Compose the site plan yourself so the place reads as a real,\nbelievable property that satisfies the facts below. Its fill colours\nencode height layers only — never surface colours. Any letters/numbers\non it are annotations — never draw them.\n\nTHE PLACE (authored description — the content ground truth):\nBUILDING: The main building is an old multifamily villa block, drawn as an assumed three-storey body below the rooftop unit because the script only states an old villa with a rooftop room. Its mass is a plain rectangular concrete volume set behind an entry yard. The roof is flat and usable as a cement-surfaced terrace. The front facade facing the yard should show four repeated window bays per storey, matching the extracted layout’s inferred facade-window rhythm.\nTOP UNIT & DECK: The topmost enclosed unit is a small, old rooftop dwelling set on the flat terrace, drawn as a simple rectangular shell. Its boundary openings are one iron entrance door facing the stair landing, one small living-room window on a side wall, and one bedroom window on another wall. Around it, the open deck has a low concrete parapet or wall, a round water tank, a fixed laundry line, and a low platform on the cement surface.\nGROUNDS: At ground level, a street edge feeds a narrow alley along the left side, leading to a single entry gate and a small recessed yard at the villa entrance. Neighboring building masses close the rear and sides, making the approach compact. From the yard’s back corner, a later-added exterior steel stair is fixed to the outside wall, with open treads, thin stringers, support posts, and a pipe handrail, continuing up to the rooftop terrace and iron-door landing.\nTHE PLAN MUST SHOW: The finished top-down site plan should show a rectangular villa mass centered behind the yard, with its flat roof terrace visible as the primary upper surface. Place the rooftop room as a smaller rectangle on the terrace, with one door toward the stair landing and two windows on separate sides. Draw the left alley, entry gate, recessed yard, surrounding neighbor blocks, low roof wall, fixed rooftop fixtures, and the retrofitted steel stair as a separate exterior structure attached to the building wall.\n\nLAYOUT RELATIONS (approximate — honour what exists and rough relations, NOT exact geometry):\n- height layers, low to high: Ground h=0 (lightest), Stair run h=1.5 (mid 1), Roof deck h=3 (mid 2), Rooftop room h=4 (darkest). Darker fill = higher.\n- street road [road] — south-centre area; height: Ground\n- narrow alley [alley] — centre-west area; height: Ground\n- entry yard [yard] — south-centre area; height: Ground\n- villa mass [building_mass] — centre area; height: Roof deck\n- roof terrace [terrace] — centre area; height: Roof deck\n- rooftop room [upper_shell] — centre area; height: Rooftop room\n- steel retrofit stair [stair] — south-east area; height: Stair run\n- low wall [wall] — south-centre area; height: Roof deck\n- neighbor block [neighbor_mass] — north-west area; height: Roof deck\n- rear neighbor [neighbor_mass] — north-centre area; height: Roof deck\n- side neighbor [neighbor_mass] — centre-east area; height: Roof deck\n- water tank [fixture_round] — north-west area; height: Roof deck round\n- low platform [fixture_rect] — centre-west area; height: Roof deck\n- laundry line [equipment] — centre area, on the west edge of the rooftop room; height: Roof deck\n- iron door [door] — centre area, on the south edge of the rooftop room; height: Rooftop room\n- living window [window] — centre area, on the east edge of the rooftop room; height: Rooftop room\n- bedroom window [window] — north-centre area, on the north edge of the rooftop room; height: Rooftop room\n- entry gate [gate] — south-west area; height: Ground\n- facade windows [window] — south-centre area, on the north edge of the entry yard, 4 windows for the whole facade — distribute them across the building's storeys with clear wall between each (never fused edge-to-edge, never one tight row); height: Roof deck\n- any facade windows sit apart with clear wall between them, aligned to the building's real storeys — never touching.\n- CORRECTION (production owner): the exterior stair element is an ADDED-ON STEEL stair retrofitted later onto its building's outside wall — open treads, thin steel stringers and support posts, pipe handrail, visibly a separate later addition to the building. It is NOT concrete or cement; this supersedes any cement/concrete stair mention elsewhere in the data.\n\nThe LAST attached image is an interior floor plan from the same\nproduction — use it ONLY as the DRAFTING-STYLE reference (line weight,\nfill language, symbol vocabulary). Never copy its rooms or content.\n\nDraw ONE strict TOP-DOWN 2D architectural SITE PLAN in the drafting\nlanguage of a clean floor plan — thin dark outlines, flat muted colour\nfills, detailed plan symbols (double-line walls, door leaf + swing arc,\nwindow frames set in walls, stair treads with stringers and landings,\nbase rings for round fixtures, paving joints, kerb lines). Height\nlevels appear only as flat fill tints (darker = higher). Flat\northographic plan view: NO 3D, NO axonometric, NO perspective, no\nshadows. Neutral document: no people, no story props, no vehicles, no\nposted papers, no text, no letters, no numbers, no markers, no legend,\nno compass. Never expose interior rooms or furniture of any enclosed\nunit — outer shell and boundary openings only."}
{"ts": "2026-07-05 16:24:08", "kind": "img", "engine": "gpt-image-2", "mode": "edit", "tag": "fp_r0_gpt", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/projects/b0ad5c18-5140-4022-a2b0-805de0e5a385/episodes/0d30302a-51c8-4ac9-98e2-6cd9180512bf/images/floor_plan/fp_l04_rooftop_room_main.png"], "size": "1536x864", "attempt": 1, "dur_s": 98.2, "bytes": 2258866, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/fp_r0_gpt.png", "prompt": "Compose the site plan of one real property entirely from the text\n\nbelow — there is NO layout reference image; you decide the whole\n\ncomposition so the place reads as real and believable. If a\n\ndrafting-style reference image is attached, copy ONLY its drawing\n\nstyle (line weight, fills, symbols) — never its rooms or content.\n\nTHE PLACE (authored description — the content ground truth):\nBUILDING: The main building is an old multifamily villa block, drawn as an assumed three-storey body below the rooftop unit because the script only states an old villa with a rooftop room. Its mass is a plain rectangular concrete volume set behind an entry yard. The roof is flat and usable as a cement-surfaced terrace. The front facade facing the yard should show four repeated window bays per storey, matching the extracted layout’s inferred facade-window rhythm.\nTOP UNIT & DECK: The topmost enclosed unit is a small, old rooftop dwelling set on the flat terrace, drawn as a simple rectangular shell. Its boundary openings are one iron entrance door facing the stair landing, one small living-room window on a side wall, and one bedroom window on another wall. Around it, the open deck has a low concrete parapet or wall, a round water tank, a fixed laundry line, and a low platform on the cement surface.\nGROUNDS: At ground level, a street edge feeds a narrow alley along the left side, leading to a single entry gate and a small recessed yard at the villa entrance. Neighboring building masses close the rear and sides, making the approach compact. From the yard’s back corner, a later-added exterior steel stair is fixed to the outside wall, with open treads, thin stringers, support posts, and a pipe handrail, continuing up to the rooftop terrace and iron-door landing.\nTHE PLAN MUST SHOW: The finished top-down site plan should show a rectangular villa mass centered behind the yard, with its flat roof terrace visible as the primary upper surface. Place the rooftop room as a smaller rectangle on the terrace, with one door toward the stair landing and two windows on separate sides. Draw the left alley, entry gate, recessed yard, surrounding neighbor blocks, low roof wall, fixed rooftop fixtures, and the retrofitted steel stair as a separate exterior structure attached to the building wall.\n\nLAYOUT RELATIONS (approximate — honour what exists and rough relations, NOT exact geometry):\n- height layers, low to high: Ground h=0 (lightest), Stair run h=1.5 (mid 1), Roof deck h=3 (mid 2), Rooftop room h=4 (darkest). Darker fill = higher.\n- (A) street road [road] — south-centre area; height: Ground\n- (B) narrow alley [alley] — centre-west area; height: Ground\n- (C) entry yard [yard] — south-centre area; height: Ground\n- (D) villa mass [building_mass] — centre area; height: Roof deck\n- (E) roof terrace [terrace] — centre area; height: Roof deck\n- (F) rooftop room [upper_shell] — centre area; height: Rooftop room\n- (G) steel retrofit stair [stair] — south-east area; height: Stair run\n- (H) low wall [wall] — south-centre area; height: Roof deck\n- (I) neighbor block [neighbor_mass] — north-west area; height: Roof deck\n- (J) rear neighbor [neighbor_mass] — north-centre area; height: Roof deck\n- (K) side neighbor [neighbor_mass] — centre-east area; height: Roof deck\n- (1) water tank [fixture_round] — north-west area; height: Roof deck round\n- (2) low platform [fixture_rect] — centre-west area; height: Roof deck\n- (3) laundry line [equipment] — centre area, on the west edge of the rooftop room; height: Roof deck\n- (4) iron door [door] — centre area, on the south edge of the rooftop room; height: Rooftop room\n- (5) living window [window] — centre area, on the east edge of the rooftop room; height: Rooftop room\n- (6) bedroom window [window] — north-centre area, on the north edge of the rooftop room; height: Rooftop room\n- (7) entry gate [gate] — south-west area; height: Ground\n- (8) facade windows [window] — south-centre area, on the north edge of the entry yard, 4 windows for the whole facade — distribute them across the building's storeys with clear wall between each (never fused edge-to-edge, never one tight row); height: Roof deck\n- any facade windows sit apart with clear wall between them, aligned to the building's real storeys — never touching.\n- CORRECTION (production owner): the exterior stair element is an ADDED-ON STEEL stair retrofitted later onto its building's outside wall — open treads, thin steel stringers and support posts, pipe handrail, visibly a separate later addition to the building. It is NOT concrete or cement; this supersedes any cement/concrete stair mention elsewhere in the data.\n\nDraw ONE strict TOP-DOWN 2D architectural SITE PLAN in the drafting\nlanguage of a clean floor plan — thin dark outlines, flat muted colour\nfills, detailed plan symbols (double-line walls, door leaf + swing arc,\nwindow frames set in walls, stair treads with stringers and landings,\nbase rings for round fixtures, paving joints, kerb lines). Height\nlevels appear only as flat fill tints (darker = higher). Flat\northographic plan view: NO 3D, NO axonometric, NO perspective, no\nshadows. Neutral document: no people, no story props, no vehicles, no\nposted papers, no text, no letters, no numbers, no markers, no legend,\nno compass. Never expose interior rooms or furniture of any enclosed\nunit — outer shell and boundary openings only."}
{"ts": "2026-07-05 16:24:24", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "fp_r0_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/projects/b0ad5c18-5140-4022-a2b0-805de0e5a385/episodes/0d30302a-51c8-4ac9-98e2-6cd9180512bf/images/floor_plan/fp_l04_rooftop_room_main.png"], "ref_labels": ["DRAFTING STYLE REFERENCE (an interior floor plan) — copy ONLY its drawing style: line weight, flat fills, plan symbols. Never its rooms, furniture, numbers or content."], "attempt": 1, "dur_s": 15.3, "bytes": 1655680, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/fp_r0_nb2.png", "prompt": "Compose the site plan of one real property entirely from the text\n\nbelow — there is NO layout reference image; you decide the whole\n\ncomposition so the place reads as real and believable. If a\n\ndrafting-style reference image is attached, copy ONLY its drawing\n\nstyle (line weight, fills, symbols) — never its rooms or content.\n\nTHE PLACE (authored description — the content ground truth):\nBUILDING: The main building is an old multifamily villa block, drawn as an assumed three-storey body below the rooftop unit because the script only states an old villa with a rooftop room. Its mass is a plain rectangular concrete volume set behind an entry yard. The roof is flat and usable as a cement-surfaced terrace. The front facade facing the yard should show four repeated window bays per storey, matching the extracted layout’s inferred facade-window rhythm.\nTOP UNIT & DECK: The topmost enclosed unit is a small, old rooftop dwelling set on the flat terrace, drawn as a simple rectangular shell. Its boundary openings are one iron entrance door facing the stair landing, one small living-room window on a side wall, and one bedroom window on another wall. Around it, the open deck has a low concrete parapet or wall, a round water tank, a fixed laundry line, and a low platform on the cement surface.\nGROUNDS: At ground level, a street edge feeds a narrow alley along the left side, leading to a single entry gate and a small recessed yard at the villa entrance. Neighboring building masses close the rear and sides, making the approach compact. From the yard’s back corner, a later-added exterior steel stair is fixed to the outside wall, with open treads, thin stringers, support posts, and a pipe handrail, continuing up to the rooftop terrace and iron-door landing.\nTHE PLAN MUST SHOW: The finished top-down site plan should show a rectangular villa mass centered behind the yard, with its flat roof terrace visible as the primary upper surface. Place the rooftop room as a smaller rectangle on the terrace, with one door toward the stair landing and two windows on separate sides. Draw the left alley, entry gate, recessed yard, surrounding neighbor blocks, low roof wall, fixed rooftop fixtures, and the retrofitted steel stair as a separate exterior structure attached to the building wall.\n\nLAYOUT RELATIONS (approximate — honour what exists and rough relations, NOT exact geometry):\n- height layers, low to high: Ground h=0 (lightest), Stair run h=1.5 (mid 1), Roof deck h=3 (mid 2), Rooftop room h=4 (darkest). Darker fill = higher.\n- street road [road] — south-centre area; height: Ground\n- narrow alley [alley] — centre-west area; height: Ground\n- entry yard [yard] — south-centre area; height: Ground\n- villa mass [building_mass] — centre area; height: Roof deck\n- roof terrace [terrace] — centre area; height: Roof deck\n- rooftop room [upper_shell] — centre area; height: Rooftop room\n- steel retrofit stair [stair] — south-east area; height: Stair run\n- low wall [wall] — south-centre area; height: Roof deck\n- neighbor block [neighbor_mass] — north-west area; height: Roof deck\n- rear neighbor [neighbor_mass] — north-centre area; height: Roof deck\n- side neighbor [neighbor_mass] — centre-east area; height: Roof deck\n- water tank [fixture_round] — north-west area; height: Roof deck round\n- low platform [fixture_rect] — centre-west area; height: Roof deck\n- laundry line [equipment] — centre area, on the west edge of the rooftop room; height: Roof deck\n- iron door [door] — centre area, on the south edge of the rooftop room; height: Rooftop room\n- living window [window] — centre area, on the east edge of the rooftop room; height: Rooftop room\n- bedroom window [window] — north-centre area, on the north edge of the rooftop room; height: Rooftop room\n- entry gate [gate] — south-west area; height: Ground\n- facade windows [window] — south-centre area, on the north edge of the entry yard, 4 windows for the whole facade — distribute them across the building's storeys with clear wall between each (never fused edge-to-edge, never one tight row); height: Roof deck\n- any facade windows sit apart with clear wall between them, aligned to the building's real storeys — never touching.\n- CORRECTION (production owner): the exterior stair element is an ADDED-ON STEEL stair retrofitted later onto its building's outside wall — open treads, thin steel stringers and support posts, pipe handrail, visibly a separate later addition to the building. It is NOT concrete or cement; this supersedes any cement/concrete stair mention elsewhere in the data.\n\nDraw ONE strict TOP-DOWN 2D architectural SITE PLAN in the drafting\nlanguage of a clean floor plan — thin dark outlines, flat muted colour\nfills, detailed plan symbols (double-line walls, door leaf + swing arc,\nwindow frames set in walls, stair treads with stringers and landings,\nbase rings for round fixtures, paving joints, kerb lines). Height\nlevels appear only as flat fill tints (darker = higher). Flat\northographic plan view: NO 3D, NO axonometric, NO perspective, no\nshadows. Neutral document: no people, no story props, no vehicles, no\nposted papers, no text, no letters, no numbers, no markers, no legend,\nno compass. Never expose interior rooms or furniture of any enclosed\nunit — outer shell and boundary openings only."}
{"ts": "2026-07-05 16:24:24", "kind": "stage", "stage": "s15_fp_redo", "done": "all"}
{"ts": "2026-07-05 16:37:03", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s16_nb2_blocks", "refs": [], "ref_labels": [], "attempt": 1, "dur_s": 33.3, "bytes": 1903261, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/nb2_blocks.png", "prompt": "Draw ONE SCHEMATIC BLOCK DIAGRAM of a real property's layout —\nthe kind of flat figure a computer program draws: strict\nTOP-DOWN, plain solid-colour rectangles and circles on a plain\nlight background, uniform thin dark outlines. PURPOSE:\nstructural comprehension only — which elements exist and their\nrelative sizes, positions and physical/logical relations (what\nis beside / inside / connected to what). NOT a picture: no\ntexture, no materials, no shading, no shadows, no 3D, no\nperspective, no artistic detail, no tiny symbols — every\nelement is ONE plain block (rectangle or circle). Fill colour\nencodes ONLY the height layer, in flat steps (darker = higher).\nNo text, letters, numbers, markers, legend or compass anywhere.\n\nLAYOUT RELATIONS (draw exactly these elements and relations):\n- height layers, low to high: Ground h=0 (lightest), Stair run h=1.5 (mid 1), Roof deck h=3 (mid 2), Rooftop room h=4 (darkest). Darker fill = higher.\n- street road [road] — south-centre area; height: Ground\n- narrow alley [alley] — centre-west area; height: Ground\n- entry yard [yard] — south-centre area; height: Ground\n- villa mass [building_mass] — centre area; height: Roof deck\n- roof terrace [terrace] — centre area; height: Roof deck\n- rooftop room [upper_shell] — centre area; height: Rooftop room\n- steel retrofit stair [stair] — south-east area; height: Stair run\n- low wall [wall] — south-centre area; height: Roof deck\n- neighbor block [neighbor_mass] — north-west area; height: Roof deck\n- rear neighbor [neighbor_mass] — north-centre area; height: Roof deck\n- side neighbor [neighbor_mass] — centre-east area; height: Roof deck\n- water tank [fixture_round] — north-west area; height: Roof deck round\n- low platform [fixture_rect] — centre-west area; height: Roof deck\n- laundry line [equipment] — centre area, on the west edge of the rooftop room; height: Roof deck\n- iron door [door] — centre area, on the south edge of the rooftop room; height: Rooftop room\n- living window [window] — centre area, on the east edge of the rooftop room; height: Rooftop room\n- bedroom window [window] — north-centre area, on the north edge of the rooftop room; height: Rooftop room\n- entry gate [gate] — south-west area; height: Ground\n- facade windows [window] — south-centre area, on the north edge of the entry yard, 4 windows for the whole facade — distribute them across the building's storeys with clear wall between each (never fused edge-to-edge, never one tight row); height: Roof deck\n- any facade windows sit apart with clear wall between them, aligned to the building's real storeys — never touching.\n- CORRECTION (production owner): the exterior stair element is an ADDED-ON STEEL stair retrofitted later onto its building's outside wall — open treads, thin steel stringers and support posts, pipe handrail, visibly a separate later addition to the building. It is NOT concrete or cement; this supersedes any cement/concrete stair mention elsewhere in the data."}
{"ts": "2026-07-05 16:37:35", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s16_nb2_fp", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/nb2_blocks.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/b0ad5c18-5140-4022-a2b0-805de0e5a385/episodes/0d30302a-51c8-4ac9-98e2-6cd9180512bf/images/floor_plan/fp_l04_rooftop_room_main.png"], "ref_labels": ["BLOCK REFERENCE (what exists + approximate arrangement only) — never trace its shapes; fill colours encode height layers only.", "DRAFTING STYLE REFERENCE (an interior floor plan) — copy ONLY its drawing style: line weight, flat fills, plan symbols. Never its rooms, furniture, numbers or content."], "attempt": 1, "dur_s": 31.9, "bytes": 1599171, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/nb2_fp.png", "prompt": "The FIRST attached image is a rough BLOCK REFERENCE of one real\nproperty: it tells you only WHAT exists and the APPROXIMATE\narrangement. Do NOT trace or copy its composition, block shapes,\nproportions or spacing — compose the site plan yourself so the\nplace reads as a real, believable property that satisfies the\nfacts below. Its fill colours encode height layers only.\n\nTHE PLACE (authored description — the content ground truth):\nBUILDING: The main building is an old multifamily villa block, drawn as an assumed three-storey body below the rooftop unit because the script only states an old villa with a rooftop room. Its mass is a plain rectangular concrete volume set behind an entry yard. The roof is flat and usable as a cement-surfaced terrace. The front facade facing the yard should show four repeated window bays per storey, matching the extracted layout’s inferred facade-window rhythm.\nTOP UNIT & DECK: The topmost enclosed unit is a small, old rooftop dwelling set on the flat terrace, drawn as a simple rectangular shell. Its boundary openings are one iron entrance door facing the stair landing, one small living-room window on a side wall, and one bedroom window on another wall. Around it, the open deck has a low concrete parapet or wall, a round water tank, a fixed laundry line, and a low platform on the cement surface.\nGROUNDS: At ground level, a street edge feeds a narrow alley along the left side, leading to a single entry gate and a small recessed yard at the villa entrance. Neighboring building masses close the rear and sides, making the approach compact. From the yard’s back corner, a later-added exterior steel stair is fixed to the outside wall, with open treads, thin stringers, support posts, and a pipe handrail, continuing up to the rooftop terrace and iron-door landing.\nTHE PLAN MUST SHOW: The finished top-down site plan should show a rectangular villa mass centered behind the yard, with its flat roof terrace visible as the primary upper surface. Place the rooftop room as a smaller rectangle on the terrace, with one door toward the stair landing and two windows on separate sides. Draw the left alley, entry gate, recessed yard, surrounding neighbor blocks, low roof wall, fixed rooftop fixtures, and the retrofitted steel stair as a separate exterior structure attached to the building wall.\n\nLAYOUT RELATIONS (approximate — honour what exists and rough relations, NOT exact geometry):\n- height layers, low to high: Ground h=0 (lightest), Stair run h=1.5 (mid 1), Roof deck h=3 (mid 2), Rooftop room h=4 (darkest). Darker fill = higher.\n- street road [road] — south-centre area; height: Ground\n- narrow alley [alley] — centre-west area; height: Ground\n- entry yard [yard] — south-centre area; height: Ground\n- villa mass [building_mass] — centre area; height: Roof deck\n- roof terrace [terrace] — centre area; height: Roof deck\n- rooftop room [upper_shell] — centre area; height: Rooftop room\n- steel retrofit stair [stair] — south-east area; height: Stair run\n- low wall [wall] — south-centre area; height: Roof deck\n- neighbor block [neighbor_mass] — north-west area; height: Roof deck\n- rear neighbor [neighbor_mass] — north-centre area; height: Roof deck\n- side neighbor [neighbor_mass] — centre-east area; height: Roof deck\n- water tank [fixture_round] — north-west area; height: Roof deck round\n- low platform [fixture_rect] — centre-west area; height: Roof deck\n- laundry line [equipment] — centre area, on the west edge of the rooftop room; height: Roof deck\n- iron door [door] — centre area, on the south edge of the rooftop room; height: Rooftop room\n- living window [window] — centre area, on the east edge of the rooftop room; height: Rooftop room\n- bedroom window [window] — north-centre area, on the north edge of the rooftop room; height: Rooftop room\n- entry gate [gate] — south-west area; height: Ground\n- facade windows [window] — south-centre area, on the north edge of the entry yard, 4 windows for the whole facade — distribute them across the building's storeys with clear wall between each (never fused edge-to-edge, never one tight row); height: Roof deck\n- any facade windows sit apart with clear wall between them, aligned to the building's real storeys — never touching.\n- CORRECTION (production owner): the exterior stair element is an ADDED-ON STEEL stair retrofitted later onto its building's outside wall — open treads, thin steel stringers and support posts, pipe handrail, visibly a separate later addition to the building. It is NOT concrete or cement; this supersedes any cement/concrete stair mention elsewhere in the data.\n\nThe LAST attached image is an interior floor plan from the same\nproduction — use it ONLY as the DRAFTING-STYLE reference (line weight,\nfill language, symbol vocabulary). Never copy its rooms or content.\n\nDraw ONE strict TOP-DOWN 2D architectural SITE PLAN in the drafting\nlanguage of a clean floor plan — thin dark outlines, flat muted colour\nfills, detailed plan symbols (double-line walls, door leaf + swing arc,\nwindow frames set in walls, stair treads with stringers and landings,\nbase rings for round fixtures, paving joints, kerb lines). Height\nlevels appear only as flat fill tints (darker = higher). Flat\northographic plan view: NO 3D, NO axonometric, NO perspective, no\nshadows. Neutral document: no people, no story props, no vehicles, no\nposted papers, no text, no letters, no numbers, no markers, no legend,\nno compass. Never expose interior rooms or furniture of any enclosed\nunit — outer shell and boundary openings only."}
{"ts": "2026-07-05 16:39:17", "kind": "img", "engine": "gpt-image-2", "mode": "edit", "tag": "s16_photo_fromfp_gpt", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/nb2_fp.png"], "size": "1536x864", "attempt": 1, "dur_s": 102.0, "bytes": 2677770, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/photo_fromfp_gpt.png", "prompt": "The FIRST attached image is the property's SITE PLAN — its\nlayout, relative sizes and positions are the spatial ground\ntruth. Never copy its drawing style, lines or flat fills into\nthe output.\n\nTHE PLACE (authored description — the content ground truth):\nBUILDING: The main building is an old multifamily villa block, drawn as an assumed three-storey body below the rooftop unit because the script only states an old villa with a rooftop room. Its mass is a plain rectangular concrete volume set behind an entry yard. The roof is flat and usable as a cement-surfaced terrace. The front facade facing the yard should show four repeated window bays per storey, matching the extracted layout’s inferred facade-window rhythm.\nTOP UNIT & DECK: The topmost enclosed unit is a small, old rooftop dwelling set on the flat terrace, drawn as a simple rectangular shell. Its boundary openings are one iron entrance door facing the stair landing, one small living-room window on a side wall, and one bedroom window on another wall. Around it, the open deck has a low concrete parapet or wall, a round water tank, a fixed laundry line, and a low platform on the cement surface.\nGROUNDS: At ground level, a street edge feeds a narrow alley along the left side, leading to a single entry gate and a small recessed yard at the villa entrance. Neighboring building masses close the rear and sides, making the approach compact. From the yard’s back corner, a later-added exterior steel stair is fixed to the outside wall, with open treads, thin stringers, support posts, and a pipe handrail, continuing up to the rooftop terrace and iron-door landing.\nTHE PLAN MUST SHOW: The finished top-down site plan should show a rectangular villa mass centered behind the yard, with its flat roof terrace visible as the primary upper surface. Place the rooftop room as a smaller rectangle on the terrace, with one door toward the stair landing and two windows on separate sides. Draw the left alley, entry gate, recessed yard, surrounding neighbor blocks, low roof wall, fixed rooftop fixtures, and the retrofitted steel stair as a separate exterior structure attached to the building wall.\n\nLAYOUT RELATIONS (approximate — honour what exists and rough relations, NOT exact geometry):\n- height layers, low to high: Ground h=0 (lightest), Stair run h=1.5 (mid 1), Roof deck h=3 (mid 2), Rooftop room h=4 (darkest). Darker fill = higher.\n- (A) street road [road] — south-centre area; height: Ground\n- (B) narrow alley [alley] — centre-west area; height: Ground\n- (C) entry yard [yard] — south-centre area; height: Ground\n- (D) villa mass [building_mass] — centre area; height: Roof deck\n- (E) roof terrace [terrace] — centre area; height: Roof deck\n- (F) rooftop room [upper_shell] — centre area; height: Rooftop room\n- (G) steel retrofit stair [stair] — south-east area; height: Stair run\n- (H) low wall [wall] — south-centre area; height: Roof deck\n- (I) neighbor block [neighbor_mass] — north-west area; height: Roof deck\n- (J) rear neighbor [neighbor_mass] — north-centre area; height: Roof deck\n- (K) side neighbor [neighbor_mass] — centre-east area; height: Roof deck\n- (1) water tank [fixture_round] — north-west area; height: Roof deck round\n- (2) low platform [fixture_rect] — centre-west area; height: Roof deck\n- (3) laundry line [equipment] — centre area, on the west edge of the rooftop room; height: Roof deck\n- (4) iron door [door] — centre area, on the south edge of the rooftop room; height: Rooftop room\n- (5) living window [window] — centre area, on the east edge of the rooftop room; height: Rooftop room\n- (6) bedroom window [window] — north-centre area, on the north edge of the rooftop room; height: Rooftop room\n- (7) entry gate [gate] — south-west area; height: Ground\n- (8) facade windows [window] — south-centre area, on the north edge of the entry yard, 4 windows for the whole facade — distribute them across the building's storeys with clear wall between each (never fused edge-to-edge, never one tight row); height: Roof deck\n- any facade windows sit apart with clear wall between them, aligned to the building's real storeys — never touching.\n- CORRECTION (production owner): the exterior stair element is an ADDED-ON STEEL stair retrofitted later onto its building's outside wall — open treads, thin steel stringers and support posts, pipe handrail, visibly a separate later addition to the building. It is NOT concrete or cement; this supersedes any cement/concrete stair mention elsewhere in the data.\n\nWHAT THIS PLACE LOOKS LIKE (production data):\n- 인천 변두리 낡은 빌라 옥탑방 옥상·현관 앞 외부: 낡은 다세대 빌라 꼭대기에 위치한 야외 공간. 물탱크, 흔들리는 빨랫줄, 평상 위 약초 건조 흔적, 낡은 철문 현관이 있다. (특징: 낡은 시멘트 바닥; 물탱크; 바람에 날리는 빨랫줄; 평상과 널려 있는 말린 약초(석창포); 전단지가 끼워진 철문 현관)\n- 옥탑방 내부: 작은 창문으로 빛이 들어오는 낡은 주거 공간. 싱크대, 식탁, TV가 있는 거실과 침대, 커튼, 거울 등이 있는 방/욕실로 구성된다. 약초 끓이는 냄비 등 생활 소품이 있으며, 간헐적으로 벽면에 붉은 원 형태의 환영과 핏자국이 생겨난다. (특징: 작은 창문의 햇살; 싱크대와 약초(석창포); 가스레인지 위 끓는 냄비와 수증기; 거실 TV와 스탠드; 침대, 커튼, 거울; 벽과 거울 표면에 나타나는 붉은 원 환영; 바닥과 벽의 핏자국 (특정 시점); 어지럽혀진 가재도구 (특정 시점))\n- 옥탑방 외곽 골목·시멘트 계단: 다세대 빌라 마당의 후미진 구석과 옥탑방으로 올라가는 가파르고 낡은 시멘트 계단. (특징: 다세대 빌라 입구 마당; 후미진 구석 공간; 낡고 가파른 시멘트 계단)\n\nRender ONE PHOTOREALISTIC bird's-eye location reference of this\nproperty from a high oblique angle tilted about 30 degrees from\nvertical: translate the plan into real built volumes ordered by\nthe described heights and storeys. Aged everyday urban\nmaterials as the data gives them. Plain even daylight,\ncompletely unpopulated, no movable props, no posted papers, no\ntext, letters, circles, markers or legend anywhere. Never\nexpose interior rooms."}
{"ts": "2026-07-05 16:39:37", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s16_photo_fromfp_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/nb2_fp.png"], "ref_labels": ["SITE PLAN (spatial ground truth) — translate to real photographic volumes; never copy its drawing style; no text anywhere."], "attempt": 1, "dur_s": 19.4, "bytes": 3564124, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/photo_fromfp_nb2.png", "prompt": "The FIRST attached image is the property's SITE PLAN — its\nlayout, relative sizes and positions are the spatial ground\ntruth. Never copy its drawing style, lines or flat fills into\nthe output.\n\nTHE PLACE (authored description — the content ground truth):\nBUILDING: The main building is an old multifamily villa block, drawn as an assumed three-storey body below the rooftop unit because the script only states an old villa with a rooftop room. Its mass is a plain rectangular concrete volume set behind an entry yard. The roof is flat and usable as a cement-surfaced terrace. The front facade facing the yard should show four repeated window bays per storey, matching the extracted layout’s inferred facade-window rhythm.\nTOP UNIT & DECK: The topmost enclosed unit is a small, old rooftop dwelling set on the flat terrace, drawn as a simple rectangular shell. Its boundary openings are one iron entrance door facing the stair landing, one small living-room window on a side wall, and one bedroom window on another wall. Around it, the open deck has a low concrete parapet or wall, a round water tank, a fixed laundry line, and a low platform on the cement surface.\nGROUNDS: At ground level, a street edge feeds a narrow alley along the left side, leading to a single entry gate and a small recessed yard at the villa entrance. Neighboring building masses close the rear and sides, making the approach compact. From the yard’s back corner, a later-added exterior steel stair is fixed to the outside wall, with open treads, thin stringers, support posts, and a pipe handrail, continuing up to the rooftop terrace and iron-door landing.\nTHE PLAN MUST SHOW: The finished top-down site plan should show a rectangular villa mass centered behind the yard, with its flat roof terrace visible as the primary upper surface. Place the rooftop room as a smaller rectangle on the terrace, with one door toward the stair landing and two windows on separate sides. Draw the left alley, entry gate, recessed yard, surrounding neighbor blocks, low roof wall, fixed rooftop fixtures, and the retrofitted steel stair as a separate exterior structure attached to the building wall.\n\nLAYOUT RELATIONS (approximate — honour what exists and rough relations, NOT exact geometry):\n- height layers, low to high: Ground h=0 (lightest), Stair run h=1.5 (mid 1), Roof deck h=3 (mid 2), Rooftop room h=4 (darkest). Darker fill = higher.\n- street road [road] — south-centre area; height: Ground\n- narrow alley [alley] — centre-west area; height: Ground\n- entry yard [yard] — south-centre area; height: Ground\n- villa mass [building_mass] — centre area; height: Roof deck\n- roof terrace [terrace] — centre area; height: Roof deck\n- rooftop room [upper_shell] — centre area; height: Rooftop room\n- steel retrofit stair [stair] — south-east area; height: Stair run\n- low wall [wall] — south-centre area; height: Roof deck\n- neighbor block [neighbor_mass] — north-west area; height: Roof deck\n- rear neighbor [neighbor_mass] — north-centre area; height: Roof deck\n- side neighbor [neighbor_mass] — centre-east area; height: Roof deck\n- water tank [fixture_round] — north-west area; height: Roof deck round\n- low platform [fixture_rect] — centre-west area; height: Roof deck\n- laundry line [equipment] — centre area, on the west edge of the rooftop room; height: Roof deck\n- iron door [door] — centre area, on the south edge of the rooftop room; height: Rooftop room\n- living window [window] — centre area, on the east edge of the rooftop room; height: Rooftop room\n- bedroom window [window] — north-centre area, on the north edge of the rooftop room; height: Rooftop room\n- entry gate [gate] — south-west area; height: Ground\n- facade windows [window] — south-centre area, on the north edge of the entry yard, 4 windows for the whole facade — distribute them across the building's storeys with clear wall between each (never fused edge-to-edge, never one tight row); height: Roof deck\n- any facade windows sit apart with clear wall between them, aligned to the building's real storeys — never touching.\n- CORRECTION (production owner): the exterior stair element is an ADDED-ON STEEL stair retrofitted later onto its building's outside wall — open treads, thin steel stringers and support posts, pipe handrail, visibly a separate later addition to the building. It is NOT concrete or cement; this supersedes any cement/concrete stair mention elsewhere in the data.\n\nWHAT THIS PLACE LOOKS LIKE (production data):\n- 인천 변두리 낡은 빌라 옥탑방 옥상·현관 앞 외부: 낡은 다세대 빌라 꼭대기에 위치한 야외 공간. 물탱크, 흔들리는 빨랫줄, 평상 위 약초 건조 흔적, 낡은 철문 현관이 있다. (특징: 낡은 시멘트 바닥; 물탱크; 바람에 날리는 빨랫줄; 평상과 널려 있는 말린 약초(석창포); 전단지가 끼워진 철문 현관)\n- 옥탑방 내부: 작은 창문으로 빛이 들어오는 낡은 주거 공간. 싱크대, 식탁, TV가 있는 거실과 침대, 커튼, 거울 등이 있는 방/욕실로 구성된다. 약초 끓이는 냄비 등 생활 소품이 있으며, 간헐적으로 벽면에 붉은 원 형태의 환영과 핏자국이 생겨난다. (특징: 작은 창문의 햇살; 싱크대와 약초(석창포); 가스레인지 위 끓는 냄비와 수증기; 거실 TV와 스탠드; 침대, 커튼, 거울; 벽과 거울 표면에 나타나는 붉은 원 환영; 바닥과 벽의 핏자국 (특정 시점); 어지럽혀진 가재도구 (특정 시점))\n- 옥탑방 외곽 골목·시멘트 계단: 다세대 빌라 마당의 후미진 구석과 옥탑방으로 올라가는 가파르고 낡은 시멘트 계단. (특징: 다세대 빌라 입구 마당; 후미진 구석 공간; 낡고 가파른 시멘트 계단)\n\nRender ONE PHOTOREALISTIC bird's-eye location reference of this\nproperty from a high oblique angle tilted about 30 degrees from\nvertical: translate the plan into real built volumes ordered by\nthe described heights and storeys. Aged everyday urban\nmaterials as the data gives them. Plain even daylight,\ncompletely unpopulated, no movable props, no posted papers, no\ntext, letters, circles, markers or legend anywhere. Never\nexpose interior rooms."}
{"ts": "2026-07-05 16:39:37", "kind": "stage", "stage": "s16_nb2_chain", "done": "all"}
{"ts": "2026-07-05 16:49:35", "kind": "img", "engine": "gpt-image-2", "mode": "edit", "tag": "s16_photo_fromfp2_gpt", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/nb2_fp.png"], "size": "1536x864", "attempt": 1, "dur_s": 122.5, "bytes": 2819147, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/photo_fromfp2_gpt.png", "prompt": "The FIRST attached image is the property's SITE PLAN — use it\nfor STRUCTURE ONLY: what exists, counts, relative positions and\nconnections. It is a flat drawing: its colours, flat fills and\ngraphic style are NOT materials and must not appear in the\noutput. Compose the real scene freely from that structure.\n\nTHE PLACE (authored description — the content ground truth):\nBUILDING: The main building is an old multifamily villa block, drawn as an assumed three-storey body below the rooftop unit because the script only states an old villa with a rooftop room. Its mass is a plain rectangular concrete volume set behind an entry yard. The roof is flat and usable as a cement-surfaced terrace. The front facade facing the yard should show four repeated window bays per storey, matching the extracted layout’s inferred facade-window rhythm.\nTOP UNIT & DECK: The topmost enclosed unit is a small, old rooftop dwelling set on the flat terrace, drawn as a simple rectangular shell. Its boundary openings are one iron entrance door facing the stair landing, one small living-room window on a side wall, and one bedroom window on another wall. Around it, the open deck has a low concrete parapet or wall, a round water tank, a fixed laundry line, and a low platform on the cement surface.\nGROUNDS: At ground level, a street edge feeds a narrow alley along the left side, leading to a single entry gate and a small recessed yard at the villa entrance. Neighboring building masses close the rear and sides, making the approach compact. From the yard’s back corner, a later-added exterior steel stair is fixed to the outside wall, with open treads, thin stringers, support posts, and a pipe handrail, continuing up to the rooftop terrace and iron-door landing.\nTHE PLAN MUST SHOW: The finished top-down site plan should show a rectangular villa mass centered behind the yard, with its flat roof terrace visible as the primary upper surface. Place the rooftop room as a smaller rectangle on the terrace, with one door toward the stair landing and two windows on separate sides. Draw the left alley, entry gate, recessed yard, surrounding neighbor blocks, low roof wall, fixed rooftop fixtures, and the retrofitted steel stair as a separate exterior structure attached to the building wall.\n\nLAYOUT RELATIONS (approximate — honour what exists and rough relations, NOT exact geometry):\n- height layers, low to high: Ground h=0 (lightest), Stair run h=1.5 (mid 1), Roof deck h=3 (mid 2), Rooftop room h=4 (darkest). Darker fill = higher.\n- (A) street road [road] — south-centre area; height: Ground\n- (B) narrow alley [alley] — centre-west area; height: Ground\n- (C) entry yard [yard] — south-centre area; height: Ground\n- (D) villa mass [building_mass] — centre area; height: Roof deck\n- (E) roof terrace [terrace] — centre area; height: Roof deck\n- (F) rooftop room [upper_shell] — centre area; height: Rooftop room\n- (G) steel retrofit stair [stair] — south-east area; height: Stair run\n- (H) low wall [wall] — south-centre area; height: Roof deck\n- (I) neighbor block [neighbor_mass] — north-west area; height: Roof deck\n- (J) rear neighbor [neighbor_mass] — north-centre area; height: Roof deck\n- (K) side neighbor [neighbor_mass] — centre-east area; height: Roof deck\n- (1) water tank [fixture_round] — north-west area; height: Roof deck round\n- (2) low platform [fixture_rect] — centre-west area; height: Roof deck\n- (3) laundry line [equipment] — centre area, on the west edge of the rooftop room; height: Roof deck\n- (4) iron door [door] — centre area, on the south edge of the rooftop room; height: Rooftop room\n- (5) living window [window] — centre area, on the east edge of the rooftop room; height: Rooftop room\n- (6) bedroom window [window] — north-centre area, on the north edge of the rooftop room; height: Rooftop room\n- (7) entry gate [gate] — south-west area; height: Ground\n- (8) facade windows [window] — south-centre area, on the north edge of the entry yard, 4 windows for the whole facade — distribute them across the building's storeys with clear wall between each (never fused edge-to-edge, never one tight row); height: Roof deck\n- any facade windows sit apart with clear wall between them, aligned to the building's real storeys — never touching.\n- CORRECTION (production owner): the exterior stair element is an ADDED-ON STEEL stair retrofitted later onto its building's outside wall — open treads, thin steel stringers and support posts, pipe handrail, visibly a separate later addition to the building. It is NOT concrete or cement; this supersedes any cement/concrete stair mention elsewhere in the data.\n\nWHAT THIS PLACE LOOKS LIKE (production data):\n- 인천 변두리 낡은 빌라 옥탑방 옥상·현관 앞 외부: 낡은 다세대 빌라 꼭대기에 위치한 야외 공간. 물탱크, 흔들리는 빨랫줄, 평상 위 약초 건조 흔적, 낡은 철문 현관이 있다. (특징: 낡은 시멘트 바닥; 물탱크; 바람에 날리는 빨랫줄; 평상과 널려 있는 말린 약초(석창포); 전단지가 끼워진 철문 현관)\n- 옥탑방 내부: 작은 창문으로 빛이 들어오는 낡은 주거 공간. 싱크대, 식탁, TV가 있는 거실과 침대, 커튼, 거울 등이 있는 방/욕실로 구성된다. 약초 끓이는 냄비 등 생활 소품이 있으며, 간헐적으로 벽면에 붉은 원 형태의 환영과 핏자국이 생겨난다. (특징: 작은 창문의 햇살; 싱크대와 약초(석창포); 가스레인지 위 끓는 냄비와 수증기; 거실 TV와 스탠드; 침대, 커튼, 거울; 벽과 거울 표면에 나타나는 붉은 원 환영; 바닥과 벽의 핏자국 (특정 시점); 어지럽혀진 가재도구 (특정 시점))\n- 옥탑방 외곽 골목·시멘트 계단: 다세대 빌라 마당의 후미진 구석과 옥탑방으로 올라가는 가파르고 낡은 시멘트 계단. (특징: 다세대 빌라 입구 마당; 후미진 구석 공간; 낡고 가파른 시멘트 계단)\n\nREAL-WORLD APPEARANCE (production owner): render the property as a REAL, EXISTING aged multi-family villa with a rooftop dwelling of the exact regional type the production data describes — the way such buildings actually look there: typical vernacular materials and construction (e.g. aged red-brick or exterior tile cladding on the body, cement mouldings and sills, weathered stucco patches, grime streaks under the parapet, a rusty steel retrofit stair), varied and lived-in. Do NOT render a uniform cement-gray mass, and NEVER copy the site plan's flat drawing colours as building materials.\n\nRender ONE PHOTOREALISTIC bird's-eye location reference of this\nproperty from a high oblique angle tilted about 30 degrees from\nvertical: real built volumes ordered by the described heights\nand storeys, with real varied materials per the data — never a\nuniform drawing-coloured mass. Plain even daylight, completely\nunpopulated, no movable props, no posted papers, no text,\nletters, circles, markers or legend anywhere. Never expose\ninterior rooms."}
{"ts": "2026-07-05 16:49:55", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s16_photo_fromfp2_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/nb2_fp.png"], "ref_labels": ["SITE PLAN (spatial ground truth) — translate to real photographic volumes; never copy its drawing style; no text anywhere."], "attempt": 1, "dur_s": 20.6, "bytes": 3665010, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/photo_fromfp2_nb2.png", "prompt": "The FIRST attached image is the property's SITE PLAN — use it\nfor STRUCTURE ONLY: what exists, counts, relative positions and\nconnections. It is a flat drawing: its colours, flat fills and\ngraphic style are NOT materials and must not appear in the\noutput. Compose the real scene freely from that structure.\n\nTHE PLACE (authored description — the content ground truth):\nBUILDING: The main building is an old multifamily villa block, drawn as an assumed three-storey body below the rooftop unit because the script only states an old villa with a rooftop room. Its mass is a plain rectangular concrete volume set behind an entry yard. The roof is flat and usable as a cement-surfaced terrace. The front facade facing the yard should show four repeated window bays per storey, matching the extracted layout’s inferred facade-window rhythm.\nTOP UNIT & DECK: The topmost enclosed unit is a small, old rooftop dwelling set on the flat terrace, drawn as a simple rectangular shell. Its boundary openings are one iron entrance door facing the stair landing, one small living-room window on a side wall, and one bedroom window on another wall. Around it, the open deck has a low concrete parapet or wall, a round water tank, a fixed laundry line, and a low platform on the cement surface.\nGROUNDS: At ground level, a street edge feeds a narrow alley along the left side, leading to a single entry gate and a small recessed yard at the villa entrance. Neighboring building masses close the rear and sides, making the approach compact. From the yard’s back corner, a later-added exterior steel stair is fixed to the outside wall, with open treads, thin stringers, support posts, and a pipe handrail, continuing up to the rooftop terrace and iron-door landing.\nTHE PLAN MUST SHOW: The finished top-down site plan should show a rectangular villa mass centered behind the yard, with its flat roof terrace visible as the primary upper surface. Place the rooftop room as a smaller rectangle on the terrace, with one door toward the stair landing and two windows on separate sides. Draw the left alley, entry gate, recessed yard, surrounding neighbor blocks, low roof wall, fixed rooftop fixtures, and the retrofitted steel stair as a separate exterior structure attached to the building wall.\n\nLAYOUT RELATIONS (approximate — honour what exists and rough relations, NOT exact geometry):\n- height layers, low to high: Ground h=0 (lightest), Stair run h=1.5 (mid 1), Roof deck h=3 (mid 2), Rooftop room h=4 (darkest). Darker fill = higher.\n- street road [road] — south-centre area; height: Ground\n- narrow alley [alley] — centre-west area; height: Ground\n- entry yard [yard] — south-centre area; height: Ground\n- villa mass [building_mass] — centre area; height: Roof deck\n- roof terrace [terrace] — centre area; height: Roof deck\n- rooftop room [upper_shell] — centre area; height: Rooftop room\n- steel retrofit stair [stair] — south-east area; height: Stair run\n- low wall [wall] — south-centre area; height: Roof deck\n- neighbor block [neighbor_mass] — north-west area; height: Roof deck\n- rear neighbor [neighbor_mass] — north-centre area; height: Roof deck\n- side neighbor [neighbor_mass] — centre-east area; height: Roof deck\n- water tank [fixture_round] — north-west area; height: Roof deck round\n- low platform [fixture_rect] — centre-west area; height: Roof deck\n- laundry line [equipment] — centre area, on the west edge of the rooftop room; height: Roof deck\n- iron door [door] — centre area, on the south edge of the rooftop room; height: Rooftop room\n- living window [window] — centre area, on the east edge of the rooftop room; height: Rooftop room\n- bedroom window [window] — north-centre area, on the north edge of the rooftop room; height: Rooftop room\n- entry gate [gate] — south-west area; height: Ground\n- facade windows [window] — south-centre area, on the north edge of the entry yard, 4 windows for the whole facade — distribute them across the building's storeys with clear wall between each (never fused edge-to-edge, never one tight row); height: Roof deck\n- any facade windows sit apart with clear wall between them, aligned to the building's real storeys — never touching.\n- CORRECTION (production owner): the exterior stair element is an ADDED-ON STEEL stair retrofitted later onto its building's outside wall — open treads, thin steel stringers and support posts, pipe handrail, visibly a separate later addition to the building. It is NOT concrete or cement; this supersedes any cement/concrete stair mention elsewhere in the data.\n\nWHAT THIS PLACE LOOKS LIKE (production data):\n- 인천 변두리 낡은 빌라 옥탑방 옥상·현관 앞 외부: 낡은 다세대 빌라 꼭대기에 위치한 야외 공간. 물탱크, 흔들리는 빨랫줄, 평상 위 약초 건조 흔적, 낡은 철문 현관이 있다. (특징: 낡은 시멘트 바닥; 물탱크; 바람에 날리는 빨랫줄; 평상과 널려 있는 말린 약초(석창포); 전단지가 끼워진 철문 현관)\n- 옥탑방 내부: 작은 창문으로 빛이 들어오는 낡은 주거 공간. 싱크대, 식탁, TV가 있는 거실과 침대, 커튼, 거울 등이 있는 방/욕실로 구성된다. 약초 끓이는 냄비 등 생활 소품이 있으며, 간헐적으로 벽면에 붉은 원 형태의 환영과 핏자국이 생겨난다. (특징: 작은 창문의 햇살; 싱크대와 약초(석창포); 가스레인지 위 끓는 냄비와 수증기; 거실 TV와 스탠드; 침대, 커튼, 거울; 벽과 거울 표면에 나타나는 붉은 원 환영; 바닥과 벽의 핏자국 (특정 시점); 어지럽혀진 가재도구 (특정 시점))\n- 옥탑방 외곽 골목·시멘트 계단: 다세대 빌라 마당의 후미진 구석과 옥탑방으로 올라가는 가파르고 낡은 시멘트 계단. (특징: 다세대 빌라 입구 마당; 후미진 구석 공간; 낡고 가파른 시멘트 계단)\n\nREAL-WORLD APPEARANCE (production owner): render the property as a REAL, EXISTING aged multi-family villa with a rooftop dwelling of the exact regional type the production data describes — the way such buildings actually look there: typical vernacular materials and construction (e.g. aged red-brick or exterior tile cladding on the body, cement mouldings and sills, weathered stucco patches, grime streaks under the parapet, a rusty steel retrofit stair), varied and lived-in. Do NOT render a uniform cement-gray mass, and NEVER copy the site plan's flat drawing colours as building materials.\n\nRender ONE PHOTOREALISTIC bird's-eye location reference of this\nproperty from a high oblique angle tilted about 30 degrees from\nvertical: real built volumes ordered by the described heights\nand storeys, with real varied materials per the data — never a\nuniform drawing-coloured mass. Plain even daylight, completely\nunpopulated, no movable props, no posted papers, no text,\nletters, circles, markers or legend anywhere. Never expose\ninterior rooms."}
{"ts": "2026-07-05 16:49:55", "kind": "stage", "stage": "s16_nb2_chain", "done": "photos2"}
{"ts": "2026-07-05 17:10:09", "kind": "img", "engine": "gpt-image-2", "mode": "edit", "tag": "s16_photo_fromfp3_gpt", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/nb2_fp.png"], "size": "1536x864", "attempt": 1, "dur_s": 129.0, "bytes": 2518946, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/photo_fromfp3_gpt.png", "prompt": "The FIRST attached image is the property's SITE PLAN — use it\nfor STRUCTURE ONLY: what exists, counts, relative positions and\nconnections. It is a flat drawing: its colours, flat fills and\ngraphic style are NOT materials and must not appear in the\noutput. Compose the real scene freely from that structure.\n\nTHE PLACE (authored description — the content ground truth):\nBUILDING: The main building is an old multifamily villa block, drawn as an assumed three-storey body below the rooftop unit because the script only states an old villa with a rooftop room. Its mass is a plain rectangular concrete volume set behind an entry yard. The roof is flat and usable as a cement-surfaced terrace. The front facade facing the yard should show four repeated window bays per storey, matching the extracted layout’s inferred facade-window rhythm.\nTOP UNIT & DECK: The topmost enclosed unit is a small, old rooftop dwelling set on the flat terrace, drawn as a simple rectangular shell. Its boundary openings are one iron entrance door facing the stair landing, one small living-room window on a side wall, and one bedroom window on another wall. Around it, the open deck has a low concrete parapet or wall, a round water tank, a fixed laundry line, and a low platform on the cement surface.\nGROUNDS: At ground level, a street edge feeds a narrow alley along the left side, leading to a single entry gate and a small recessed yard at the villa entrance. Neighboring building masses close the rear and sides, making the approach compact. From the yard’s back corner, a later-added exterior steel stair is fixed to the outside wall, with open treads, thin stringers, support posts, and a pipe handrail, continuing up to the rooftop terrace and iron-door landing.\nTHE PLAN MUST SHOW: The finished top-down site plan should show a rectangular villa mass centered behind the yard, with its flat roof terrace visible as the primary upper surface. Place the rooftop room as a smaller rectangle on the terrace, with one door toward the stair landing and two windows on separate sides. Draw the left alley, entry gate, recessed yard, surrounding neighbor blocks, low roof wall, fixed rooftop fixtures, and the retrofitted steel stair as a separate exterior structure attached to the building wall.\n\nLAYOUT RELATIONS (approximate — honour what exists and rough relations, NOT exact geometry):\n- height layers, low to high: Ground h=0 (lightest), Stair run h=1.5 (mid 1), Roof deck h=3 (mid 2), Rooftop room h=4 (darkest). Darker fill = higher.\n- (A) street road [road] — south-centre area; height: Ground\n- (B) narrow alley [alley] — centre-west area; height: Ground\n- (C) entry yard [yard] — south-centre area; height: Ground\n- (D) villa mass [building_mass] — centre area; height: Roof deck\n- (E) roof terrace [terrace] — centre area; height: Roof deck\n- (F) rooftop room [upper_shell] — centre area; height: Rooftop room\n- (G) steel retrofit stair [stair] — south-east area; height: Stair run\n- (H) low wall [wall] — south-centre area; height: Roof deck\n- (I) neighbor block [neighbor_mass] — north-west area; height: Roof deck\n- (J) rear neighbor [neighbor_mass] — north-centre area; height: Roof deck\n- (K) side neighbor [neighbor_mass] — centre-east area; height: Roof deck\n- (1) water tank [fixture_round] — north-west area; height: Roof deck round\n- (2) low platform [fixture_rect] — centre-west area; height: Roof deck\n- (3) laundry line [equipment] — centre area, on the west edge of the rooftop room; height: Roof deck\n- (4) iron door [door] — centre area, on the south edge of the rooftop room; height: Rooftop room\n- (5) living window [window] — centre area, on the east edge of the rooftop room; height: Rooftop room\n- (6) bedroom window [window] — north-centre area, on the north edge of the rooftop room; height: Rooftop room\n- (7) entry gate [gate] — south-west area; height: Ground\n- (8) facade windows [window] — south-centre area, on the north edge of the entry yard, 4 windows for the whole facade — distribute them across the building's storeys with clear wall between each (never fused edge-to-edge, never one tight row); height: Roof deck\n- any facade windows sit apart with clear wall between them, aligned to the building's real storeys — never touching.\n- CORRECTION (production owner): the exterior stair element is an ADDED-ON STEEL stair retrofitted later onto its building's outside wall — open treads, thin steel stringers and support posts, pipe handrail, visibly a separate later addition to the building. It is NOT concrete or cement; this supersedes any cement/concrete stair mention elsewhere in the data.\n\nWHAT THIS PLACE LOOKS LIKE (production data):\n- 인천 변두리 낡은 빌라 옥탑방 옥상·현관 앞 외부: 낡은 다세대 빌라 꼭대기에 위치한 야외 공간. 물탱크, 흔들리는 빨랫줄, 평상 위 약초 건조 흔적, 낡은 철문 현관이 있다. (특징: 낡은 시멘트 바닥; 물탱크; 바람에 날리는 빨랫줄; 평상과 널려 있는 말린 약초(석창포); 전단지가 끼워진 철문 현관)\n- 옥탑방 내부: 작은 창문으로 빛이 들어오는 낡은 주거 공간. 싱크대, 식탁, TV가 있는 거실과 침대, 커튼, 거울 등이 있는 방/욕실로 구성된다. 약초 끓이는 냄비 등 생활 소품이 있으며, 간헐적으로 벽면에 붉은 원 형태의 환영과 핏자국이 생겨난다. (특징: 작은 창문의 햇살; 싱크대와 약초(석창포); 가스레인지 위 끓는 냄비와 수증기; 거실 TV와 스탠드; 침대, 커튼, 거울; 벽과 거울 표면에 나타나는 붉은 원 환영; 바닥과 벽의 핏자국 (특정 시점); 어지럽혀진 가재도구 (특정 시점))\n- 옥탑방 외곽 골목·시멘트 계단: 다세대 빌라 마당의 후미진 구석과 옥탑방으로 올라가는 가파르고 낡은 시멘트 계단. (특징: 다세대 빌라 입구 마당; 후미진 구석 공간; 낡고 가파른 시멘트 계단)\n\nREAL-WORLD APPEARANCE (production owner): render the property as a REAL, EXISTING aged multi-family villa with a rooftop dwelling of the exact regional type the production data describes — the way such buildings actually look there: typical vernacular materials and construction (e.g. aged red-brick or exterior tile cladding on the body, cement mouldings and sills, weathered stucco patches, grime streaks under the parapet, a rusty steel retrofit stair), varied and lived-in. Do NOT render a uniform cement-gray mass, and NEVER copy the site plan's flat drawing colours as building materials.\n\nRender ONE PHOTOREALISTIC bird's-eye location reference of this\nproperty from a high oblique angle tilted about 30 degrees from\nvertical: real built volumes ordered by the described heights\nand storeys, real varied materials per the data.\nNo people in frame, no readable text, letters, numbers, markers\nor legend anywhere, and nothing tied to any specific story\nevent. BUT the place must clearly look LIVED-IN: the ordinary\neveryday traces that real residents of such a place naturally\nleave — you invent them freely; their kind, amount and\nplacement are your choice, true to how this regional building\ntype actually looks inhabited. Avoid a sterile, empty,\nshowroom look. Never expose interior rooms."}
{"ts": "2026-07-05 17:10:31", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s16_photo_fromfp3_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/nb2_fp.png"], "ref_labels": ["SITE PLAN (spatial ground truth) — translate to real photographic volumes; never copy its drawing style; no text anywhere."], "attempt": 1, "dur_s": 22.2, "bytes": 3682694, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/photo_fromfp3_nb2.png", "prompt": "The FIRST attached image is the property's SITE PLAN — use it\nfor STRUCTURE ONLY: what exists, counts, relative positions and\nconnections. It is a flat drawing: its colours, flat fills and\ngraphic style are NOT materials and must not appear in the\noutput. Compose the real scene freely from that structure.\n\nTHE PLACE (authored description — the content ground truth):\nBUILDING: The main building is an old multifamily villa block, drawn as an assumed three-storey body below the rooftop unit because the script only states an old villa with a rooftop room. Its mass is a plain rectangular concrete volume set behind an entry yard. The roof is flat and usable as a cement-surfaced terrace. The front facade facing the yard should show four repeated window bays per storey, matching the extracted layout’s inferred facade-window rhythm.\nTOP UNIT & DECK: The topmost enclosed unit is a small, old rooftop dwelling set on the flat terrace, drawn as a simple rectangular shell. Its boundary openings are one iron entrance door facing the stair landing, one small living-room window on a side wall, and one bedroom window on another wall. Around it, the open deck has a low concrete parapet or wall, a round water tank, a fixed laundry line, and a low platform on the cement surface.\nGROUNDS: At ground level, a street edge feeds a narrow alley along the left side, leading to a single entry gate and a small recessed yard at the villa entrance. Neighboring building masses close the rear and sides, making the approach compact. From the yard’s back corner, a later-added exterior steel stair is fixed to the outside wall, with open treads, thin stringers, support posts, and a pipe handrail, continuing up to the rooftop terrace and iron-door landing.\nTHE PLAN MUST SHOW: The finished top-down site plan should show a rectangular villa mass centered behind the yard, with its flat roof terrace visible as the primary upper surface. Place the rooftop room as a smaller rectangle on the terrace, with one door toward the stair landing and two windows on separate sides. Draw the left alley, entry gate, recessed yard, surrounding neighbor blocks, low roof wall, fixed rooftop fixtures, and the retrofitted steel stair as a separate exterior structure attached to the building wall.\n\nLAYOUT RELATIONS (approximate — honour what exists and rough relations, NOT exact geometry):\n- height layers, low to high: Ground h=0 (lightest), Stair run h=1.5 (mid 1), Roof deck h=3 (mid 2), Rooftop room h=4 (darkest). Darker fill = higher.\n- street road [road] — south-centre area; height: Ground\n- narrow alley [alley] — centre-west area; height: Ground\n- entry yard [yard] — south-centre area; height: Ground\n- villa mass [building_mass] — centre area; height: Roof deck\n- roof terrace [terrace] — centre area; height: Roof deck\n- rooftop room [upper_shell] — centre area; height: Rooftop room\n- steel retrofit stair [stair] — south-east area; height: Stair run\n- low wall [wall] — south-centre area; height: Roof deck\n- neighbor block [neighbor_mass] — north-west area; height: Roof deck\n- rear neighbor [neighbor_mass] — north-centre area; height: Roof deck\n- side neighbor [neighbor_mass] — centre-east area; height: Roof deck\n- water tank [fixture_round] — north-west area; height: Roof deck round\n- low platform [fixture_rect] — centre-west area; height: Roof deck\n- laundry line [equipment] — centre area, on the west edge of the rooftop room; height: Roof deck\n- iron door [door] — centre area, on the south edge of the rooftop room; height: Rooftop room\n- living window [window] — centre area, on the east edge of the rooftop room; height: Rooftop room\n- bedroom window [window] — north-centre area, on the north edge of the rooftop room; height: Rooftop room\n- entry gate [gate] — south-west area; height: Ground\n- facade windows [window] — south-centre area, on the north edge of the entry yard, 4 windows for the whole facade — distribute them across the building's storeys with clear wall between each (never fused edge-to-edge, never one tight row); height: Roof deck\n- any facade windows sit apart with clear wall between them, aligned to the building's real storeys — never touching.\n- CORRECTION (production owner): the exterior stair element is an ADDED-ON STEEL stair retrofitted later onto its building's outside wall — open treads, thin steel stringers and support posts, pipe handrail, visibly a separate later addition to the building. It is NOT concrete or cement; this supersedes any cement/concrete stair mention elsewhere in the data.\n\nWHAT THIS PLACE LOOKS LIKE (production data):\n- 인천 변두리 낡은 빌라 옥탑방 옥상·현관 앞 외부: 낡은 다세대 빌라 꼭대기에 위치한 야외 공간. 물탱크, 흔들리는 빨랫줄, 평상 위 약초 건조 흔적, 낡은 철문 현관이 있다. (특징: 낡은 시멘트 바닥; 물탱크; 바람에 날리는 빨랫줄; 평상과 널려 있는 말린 약초(석창포); 전단지가 끼워진 철문 현관)\n- 옥탑방 내부: 작은 창문으로 빛이 들어오는 낡은 주거 공간. 싱크대, 식탁, TV가 있는 거실과 침대, 커튼, 거울 등이 있는 방/욕실로 구성된다. 약초 끓이는 냄비 등 생활 소품이 있으며, 간헐적으로 벽면에 붉은 원 형태의 환영과 핏자국이 생겨난다. (특징: 작은 창문의 햇살; 싱크대와 약초(석창포); 가스레인지 위 끓는 냄비와 수증기; 거실 TV와 스탠드; 침대, 커튼, 거울; 벽과 거울 표면에 나타나는 붉은 원 환영; 바닥과 벽의 핏자국 (특정 시점); 어지럽혀진 가재도구 (특정 시점))\n- 옥탑방 외곽 골목·시멘트 계단: 다세대 빌라 마당의 후미진 구석과 옥탑방으로 올라가는 가파르고 낡은 시멘트 계단. (특징: 다세대 빌라 입구 마당; 후미진 구석 공간; 낡고 가파른 시멘트 계단)\n\nREAL-WORLD APPEARANCE (production owner): render the property as a REAL, EXISTING aged multi-family villa with a rooftop dwelling of the exact regional type the production data describes — the way such buildings actually look there: typical vernacular materials and construction (e.g. aged red-brick or exterior tile cladding on the body, cement mouldings and sills, weathered stucco patches, grime streaks under the parapet, a rusty steel retrofit stair), varied and lived-in. Do NOT render a uniform cement-gray mass, and NEVER copy the site plan's flat drawing colours as building materials.\n\nRender ONE PHOTOREALISTIC bird's-eye location reference of this\nproperty from a high oblique angle tilted about 30 degrees from\nvertical: real built volumes ordered by the described heights\nand storeys, real varied materials per the data.\nNo people in frame, no readable text, letters, numbers, markers\nor legend anywhere, and nothing tied to any specific story\nevent. BUT the place must clearly look LIVED-IN: the ordinary\neveryday traces that real residents of such a place naturally\nleave — you invent them freely; their kind, amount and\nplacement are your choice, true to how this regional building\ntype actually looks inhabited. Avoid a sterile, empty,\nshowroom look. Never expose interior rooms."}
{"ts": "2026-07-05 17:13:07", "kind": "img", "engine": "gpt-responses+web_search", "mode": "search+generate", "tag": "s16_photo_websearch", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/nb2_fp.png"], "web_search_invoked": true, "dur_s": 155.8, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/photo_fromfp3_gptsearch.png", "prompt": "The FIRST attached image is the property's SITE PLAN — use it\nfor STRUCTURE ONLY: what exists, counts, relative positions and\nconnections. It is a flat drawing: its colours, flat fills and\ngraphic style are NOT materials and must not appear in the\noutput. Compose the real scene freely from that structure.\n\nTHE PLACE (authored description — the content ground truth):\nBUILDING: The main building is an old multifamily villa block, drawn as an assumed three-storey body below the rooftop unit because the script only states an old villa with a rooftop room. Its mass is a plain rectangular concrete volume set behind an entry yard. The roof is flat and usable as a cement-surfaced terrace. The front facade facing the yard should show four repeated window bays per storey, matching the extracted layout’s inferred facade-window rhythm.\nTOP UNIT & DECK: The topmost enclosed unit is a small, old rooftop dwelling set on the flat terrace, drawn as a simple rectangular shell. Its boundary openings are one iron entrance door facing the stair landing, one small living-room window on a side wall, and one bedroom window on another wall. Around it, the open deck has a low concrete parapet or wall, a round water tank, a fixed laundry line, and a low platform on the cement surface.\nGROUNDS: At ground level, a street edge feeds a narrow alley along the left side, leading to a single entry gate and a small recessed yard at the villa entrance. Neighboring building masses close the rear and sides, making the approach compact. From the yard’s back corner, a later-added exterior steel stair is fixed to the outside wall, with open treads, thin stringers, support posts, and a pipe handrail, continuing up to the rooftop terrace and iron-door landing.\nTHE PLAN MUST SHOW: The finished top-down site plan should show a rectangular villa mass centered behind the yard, with its flat roof terrace visible as the primary upper surface. Place the rooftop room as a smaller rectangle on the terrace, with one door toward the stair landing and two windows on separate sides. Draw the left alley, entry gate, recessed yard, surrounding neighbor blocks, low roof wall, fixed rooftop fixtures, and the retrofitted steel stair as a separate exterior structure attached to the building wall.\n\nLAYOUT RELATIONS (approximate — honour what exists and rough relations, NOT exact geometry):\n- height layers, low to high: Ground h=0 (lightest), Stair run h=1.5 (mid 1), Roof deck h=3 (mid 2), Rooftop room h=4 (darkest). Darker fill = higher.\n- (A) street road [road] — south-centre area; height: Ground\n- (B) narrow alley [alley] — centre-west area; height: Ground\n- (C) entry yard [yard] — south-centre area; height: Ground\n- (D) villa mass [building_mass] — centre area; height: Roof deck\n- (E) roof terrace [terrace] — centre area; height: Roof deck\n- (F) rooftop room [upper_shell] — centre area; height: Rooftop room\n- (G) steel retrofit stair [stair] — south-east area; height: Stair run\n- (H) low wall [wall] — south-centre area; height: Roof deck\n- (I) neighbor block [neighbor_mass] — north-west area; height: Roof deck\n- (J) rear neighbor [neighbor_mass] — north-centre area; height: Roof deck\n- (K) side neighbor [neighbor_mass] — centre-east area; height: Roof deck\n- (1) water tank [fixture_round] — north-west area; height: Roof deck round\n- (2) low platform [fixture_rect] — centre-west area; height: Roof deck\n- (3) laundry line [equipment] — centre area, on the west edge of the rooftop room; height: Roof deck\n- (4) iron door [door] — centre area, on the south edge of the rooftop room; height: Rooftop room\n- (5) living window [window] — centre area, on the east edge of the rooftop room; height: Rooftop room\n- (6) bedroom window [window] — north-centre area, on the north edge of the rooftop room; height: Rooftop room\n- (7) entry gate [gate] — south-west area; height: Ground\n- (8) facade windows [window] — south-centre area, on the north edge of the entry yard, 4 windows for the whole facade — distribute them across the building's storeys with clear wall between each (never fused edge-to-edge, never one tight row); height: Roof deck\n- any facade windows sit apart with clear wall between them, aligned to the building's real storeys — never touching.\n- CORRECTION (production owner): the exterior stair element is an ADDED-ON STEEL stair retrofitted later onto its building's outside wall — open treads, thin steel stringers and support posts, pipe handrail, visibly a separate later addition to the building. It is NOT concrete or cement; this supersedes any cement/concrete stair mention elsewhere in the data.\n\nWHAT THIS PLACE LOOKS LIKE (production data):\n- 인천 변두리 낡은 빌라 옥탑방 옥상·현관 앞 외부: 낡은 다세대 빌라 꼭대기에 위치한 야외 공간. 물탱크, 흔들리는 빨랫줄, 평상 위 약초 건조 흔적, 낡은 철문 현관이 있다. (특징: 낡은 시멘트 바닥; 물탱크; 바람에 날리는 빨랫줄; 평상과 널려 있는 말린 약초(석창포); 전단지가 끼워진 철문 현관)\n- 옥탑방 내부: 작은 창문으로 빛이 들어오는 낡은 주거 공간. 싱크대, 식탁, TV가 있는 거실과 침대, 커튼, 거울 등이 있는 방/욕실로 구성된다. 약초 끓이는 냄비 등 생활 소품이 있으며, 간헐적으로 벽면에 붉은 원 형태의 환영과 핏자국이 생겨난다. (특징: 작은 창문의 햇살; 싱크대와 약초(석창포); 가스레인지 위 끓는 냄비와 수증기; 거실 TV와 스탠드; 침대, 커튼, 거울; 벽과 거울 표면에 나타나는 붉은 원 환영; 바닥과 벽의 핏자국 (특정 시점); 어지럽혀진 가재도구 (특정 시점))\n- 옥탑방 외곽 골목·시멘트 계단: 다세대 빌라 마당의 후미진 구석과 옥탑방으로 올라가는 가파르고 낡은 시멘트 계단. (특징: 다세대 빌라 입구 마당; 후미진 구석 공간; 낡고 가파른 시멘트 계단)\n\nREAL-WORLD APPEARANCE (production owner): render the property as a REAL, EXISTING aged multi-family villa with a rooftop dwelling of the exact regional type the production data describes — the way such buildings actually look there: typical vernacular materials and construction (e.g. aged red-brick or exterior tile cladding on the body, cement mouldings and sills, weathered stucco patches, grime streaks under the parapet, a rusty steel retrofit stair), varied and lived-in. Do NOT render a uniform cement-gray mass, and NEVER copy the site plan's flat drawing colours as building materials.\n\nRender ONE PHOTOREALISTIC bird's-eye location reference of this\nproperty from a high oblique angle tilted about 30 degrees from\nvertical: real built volumes ordered by the described heights\nand storeys, real varied materials per the data.\nNo people in frame, no readable text, letters, numbers, markers\nor legend anywhere, and nothing tied to any specific story\nevent. BUT the place must clearly look LIVED-IN: the ordinary\neveryday traces that real residents of such a place naturally\nleave — you invent them freely; their kind, amount and\nplacement are your choice, true to how this regional building\ntype actually looks inhabited. Avoid a sterile, empty,\nshowroom look. Never expose interior rooms."}
{"ts": "2026-07-05 17:13:07", "kind": "stage", "stage": "s16_nb2_chain", "done": "photos3"}
{"ts": "2026-07-05 17:39:33", "kind": "llm", "step": "forest_blocks_llm_prompt", "model": "gpt", "dur_s": 36.1, "system_prompt": "You write ONE image-generation prompt that makes an image model\ndraw a SCHEMATIC BLOCK DIAGRAM — the kind of flat figure a computer program\ndraws — of one real-world place (a building and its grounds). You receive the\nproduction data: member descriptions, the FULL original scene texts, and\nproduction-owner corrections. YOU decide, from that data, which structurally\nimportant elements exist and where they sit relative to each other.\n\nThe prompt you write MUST make the image model draw:\n- a strict TOP-DOWN flat diagram: plain solid-colour rectangles and circles on\n  a plain light background, uniform thin dark outlines — like a programmatic\n  figure, NOT a picture. No texture, no materials, no shading, no shadows, no\n  3D, no perspective, no artistic detail.\n- every structurally important element as ONE plain block, each with its shape\n  and its relative size and position stated in plain spatial words (which\n  third/edge of the canvas, beside/inside/connected-to what): the building\n  mass, any upper-level unit and its open deck, any level-connecting exterior\n  route, structurally important openings, key permanent fixtures, the ground\n  approach spaces (road/alley/yard/entrance), and neighbouring masses as plain\n  simplified blocks.\n- fill tint encoding ONLY height: state the discrete height levels low to high\n  and that darker fill = higher.\n- NO text, letters, numbers, labels, markers, legend or compass IN the image.\n- nothing story-specific, no people, no movable props, no vehicles.\n\nHonour the production-owner corrections. Write the prompt in ENGLISH,\n130-220 words, as direct drawing instructions. Also output a faithful KOREAN\ntranslation (human review only) and notes: which scene/member lines grounded\nyour layout choices.", "user_prompt": "PLACE MEMBERS:\n- (outdoor, L03) 인천 변두리 낡은 빌라 옥탑방 옥상·현관 앞 외부: 낡은 다세대 빌라 꼭대기에 위치한 야외 공간. 물탱크, 흔들리는 빨랫줄, 평상 위 약초 건조 흔적, 낡은 철문 현관이 있다. (특징: 낡은 시멘트 바닥; 물탱크; 바람에 날리는 빨랫줄; 평상과 널려 있는 말린 약초(석창포); 전단지가 끼워진 철문 현관)\n- (indoor, L04) 옥탑방 내부: 작은 창문으로 빛이 들어오는 낡은 주거 공간. 싱크대, 식탁, TV가 있는 거실과 침대, 커튼, 거울 등이 있는 방/욕실로 구성된다. 약초 끓이는 냄비 등 생활 소품이 있으며, 간헐적으로 벽면에 붉은 원 형태의 환영과 핏자국이 생겨난다. (특징: 작은 창문의 햇살; 싱크대와 약초(석창포); 가스레인지 위 끓는 냄비와 수증기; 거실 TV와 스탠드; 침대, 커튼, 거울; 벽과 거울 표면에 나타나는 붉은 원 환영; 바닥과 벽의 핏자국 (특정 시점); 어지럽혀진 가재도구 (특정 시점))\n- (outdoor, L10) 옥탑방 외곽 골목·시멘트 계단: 다세대 빌라 마당의 후미진 구석과 옥탑방으로 올라가는 가파르고 낡은 시멘트 계단. (특징: 다세대 빌라 입구 마당; 후미진 구석 공간; 낡고 가파른 시멘트 계단)\n\nFULL ORIGINAL SCENE TEXTS:\n\n=== SCENE 4 FULL TEXT ===\nS#4. 옥탑방 / D\n인천 변두리 부감, 오래된 빌라 옥탑방 전경.\n기자(E)\n지역 주민들 사이에 횡행한 소문이 돌고 있지만, 경찰은 범인의 윤곽조차 잡지 못하고 있어 지역주민들의 불안과 두려움을 더 키우는 모양새입니다.\n\n\n\n=== SCENE 5 FULL TEXT ===\nS#5. 옥탑방 안 / 실내\n거실에 난 작은 창으로 햇살에 가늘게 비친다. 싱크대 수도꼭지에 흐르는 물, 씻다 만 약초(석창포). 냄비의 물이 끓어 달그락거리는 소리… 김이 피어오르고. 앞치마를 두른 채 TV 뉴스를 뚫어지게 바라보는 민숙(수리영 엄마. 40세) 표정이 어둡다. (뉴스멘트는 작아졌다 커졌다 반복하면서 여기까지 이어진다)\n딸, 수리영(21. 애완동물미용학과 2년)이 방문을 열고 기지개를 켜며 나오자 후다닥 TV를 끄는 민숙. 다정한 말투로\n수리영\n(심드렁) 뭐~야. 사건 났어? 뭔데.\n민숙\n아냐.\n수리영\n(식탁에 앉으며) 이모 또 야근하겠네. 조그만 도시에 왠 사건이 이렇게 많아. 바다가 가까워서 그런가.\n민숙\n신경 꺼. (석창포 달인 물을 따라주면서) 마셔. 방학인데 왜 더 자지않고.\n수리영\n(마시고 나서) 아, 진짜 맛 없어...(투정) 나 알바 있어, 엄마. 원장님이 하루만 봐 달래.\n(cut to.)\n가벼운 차림새. 수리영 신발을 신으며\n수리영\n엄마는 오늘 안 나가?\n민숙\n이따가 1시 타임.\n수리영\n(엄마의 냄새를 맡으며) 아, 좋다. 끝나고 마트로 갈게. 모처럼 밖에서 저녁먹자 엄마.\n민숙\n응 (미소)\n힐끗, 민숙 손목에 보이는 작은 원(이하 표식)을 본다. 오늘따라 유난히 또렷해 보이지만 워낙 어릴 적부터 봐온 터라 개의치 않는.\n\n\n\n=== SCENE 10 FULL TEXT ===\nS#10. 옥탑방 / N\n그 시각. 옥탑방 옥상. 물탱크. 바람에 빨랫줄이 툭- 툭- 평상에 놓인 말린 석창포가 바람에 날리는데... 말린 잎이 걸어오는 낯선 남자의 신발 위를 스친다. 남자의 긴 그림자. (얼굴은 보이지 않는다)\n신발은 옥탑방 철문 현관 앞에 멈춰 선다. 문틈에 낀 광고 전단지. 전단지를 뽑아서 손가락으로 문틈에 꾹 밀어 넣는다. ‘철컥’ 하고 잠금 새가 풀리는 소리. 문이 미세하게 열리고 안으로 들어가는 남자.\n창문에 비친 그림자. 민숙을 덮쳐 어깨를 물어뜯는 듯한 모습 ‘아악-’\n\n\n\n=== SCENE 11 FULL TEXT ===\nS#11. 옥탑 방 밖 / N\n자전거를 타고 골목길을 달리는 수리영. 다세대 빌라 문을 열고 들어와 마당 후미진 곳에 자전거를 대충 세우고, 옥탑방과 연결되는 계단을 급히 오른다.\n갑자기 훅- 느껴지는 역겨운 냄새. 뭐지? 옥상에 올라와 보니 반쯤 열린 현관 철문.\n\n\n\n=== SCENE 12 FULL TEXT ===\nS#12. 옥탑방 안 / N\n/거실\n‘엄마?’를 부르며 들어오는 수리영, 끓다 식은 냄비. 켜져 있는 TV. 희미한 거실 스탠드 불빛,\n/민숙 방\n안방 문을 여는데... 없다. 거실 식탁에 놓여있는 찻잔 두 개. 하나는 엎어져있다.\n/수리영 방\n마지막으로 자기 방문을 연다 헉!- 여기저기 핏자국. 바닥에 흥건한 혈흔. 피묻은 발자국은 커튼으로 이어져 있다 호흡을 가다듬고 커튼을 젖히자 앉은 채로 고개를 떨군 채 죽어있는 엄마- 민숙!!!!\n수리영\n(달려가) 어어어어----엄마\n충격에 온 몸이 얼어붙은 수리영, 살점이 뜯긴 어깨와 쇄골, 마치 동물에게 물어뜯긴 듯한 거친 상처가 고스란히 드러나있다. 덜렁거리는 살점과 뜯겨진 부위에 흘러내리는 피.\n수리영\n(놀라 뒤로 주춤) 어-어-어- 엄마….\n부들부들 떨며 핸드폰을 누른다. 2번 혜수이모\n수리영\n받아, 이모. 받아….\n혜수(E)\n영아, 영아, 왜?\n답은 안 나오고… 엄마 손안에 구겨진 사진 한 장이 보인다. 다가가 사진을 꺼내는데 엄마 손목에 있던 문신이 붉은색으로 변한다. 헉! 호흡이 빨라지고... 침대 위 벽에 붉은 원이 생겨난다 (마치 누군가 붓으로 벽에 원으로 그리는 것처럼). 소름끼치는 으아악---!\n\n\n\n=== SCENE 13 FULL TEXT ===\nS#13. 옥탑방 외곽 / N\n비명을 지르며 옥탑방을 빠져나오는 수리영, 허겁지겁 계단을 내려간다. 동시에 사이렌이 울리고~. (포즈)\n차에서 내린 혜수(40대 중반, 여자, 경위) 초점을 잃고 멍하니 서있는 수리영의 모습을 발견하고 달려간다.\n혜수\n영아? 왜! 무슨 일이야?\n수리영\n(올라다보며) 엄마가, 엄마가... 죽어있어.\n혜수\n(놀라) 뭐?!\n옥탑 방으로 뛰어 올라가는 혜수와 후배 형사(30대 남/ 이하 김형사)\n\n\n\n=== SCENE 14 FULL TEXT ===\nS#14. 옥탑방 안 / N\n/현관\n집안 여기저기를 확인하면서 나오는 형사와 혜수\n김형사\n(허탈한 표정) 없는데.. 아무 것도.\n혜수\n(뒤따라온 수리영에게) 영아, 없어. 뭘 봤는데...?\n어? 수리영, 부리나케 방 안으로 뛰어 들어간다.\n/수리영 방 안\n지나칠 정도로 깨끗하게 정돈된 방안. 핏자국도 보이지 않고, 침대 위에 붉은 표식은 물론 커튼 뒤의 시신도 감쪽 같이 사라졌다. 얼굴이 파리해지는 수리영. ‘어----?’ ‘분명히 봤는데...’\n뛰쳐나가 식탁으로 가본다. 식탁 역시 깨끗한.\n수리영\n여기 찻잔도 두 개 있었고...\n김형사\n(답답) 허 참! 죽은 사람이 발이 달렸을 리도 없고. 쯧쯧 그러게 살인사건은 자세하게 보도하면 안 된다구요...(궁시렁) 이봐요. 학생? 장난전화 하면 안 되는 거 몰라? (짜증) 안 그래도 살인사건으로 난리도 아닌데...\n혜수\n(김형사 째리고) 김형사. 먼저 가 있어. (김형사 나가면) (수리영 어깨를 어루만지며) 영아.\n수리영\n엄마(시신), 어디갔을까? 분명히 봤는데...\n혜수\n네가 요즘 과로했잖아. 공부에다 알바까지... 악몽을 꾼 걸 수도 있으니... 바람이나 쐬러 가자.\n수리영 방안에 놓여진 백팩, 인형. 약간씩 위치가 달라진. (시신을 발견했을 때와 다른)\n\n\n\n=== SCENE 17 FULL TEXT ===\nS#17. 옥탑방 / 동틀무렵\n새벽녘, 고양이 울음소리. 검은 고양이가 불이 켜져 있는 옥탑 방을 슬쩍 보더니 담을 넘는다\n\n\n\n=== SCENE 18 FULL TEXT ===\nS#18. 안방 안 / D\n침대에 머리를 대고 앉아있는 수리영, 밤새 엄마를 기다리다 깜박 졸았다 고양이 울음소리에 번쩍 눈을 뜨고, ‘엄마? ’혹시나 해서 집안을 살피지만 아무런 인기척도 보이지 않는다\n/수리영 방안\n닫혀있는 자신의 방을 바라본다. [F.B: 1부12씬] 커튼 뒤에 죽어있던 엄마. 상처. 혈흔 크게 심호흡하고 조심스럽게 문을 연다. 지나치리만큼 깨끗하게 정돈된 방안. 창문에 다가가 커튼을 확 열어젖힌다. 시신은 없다. 한숨 후~ 다행이긴 한데. 그때, 울리는 폰 벨소리, 화들짝 놀라는 수리영. 달려가 받자마자\n수리영\n엄마?\n혜수(E)\n아직이니?\n수리영\n응. 아무래도 이상해. 이럴 리가 없잖아! 우리 엄마가. 이모, 사고 난 게 분명해\n혜수(E)\n실종신고 냈어. 이모가 엄마 폰 위치추적하고 있으니까 조금만 기다려 별일 없을 거야. 알았지?\n수리영\n응.\n무작정 기다리는게 불안한 수리영, 인형이 달린 자신의 백팩을 꺼내 나온다\n/욕실 안\n얼굴을 씻고 거울을 보며\n수리영\n엄마, 도대체 어딨는 거야...\n거울에 비친 욕실 벽에 갑자기 또 발생하는 붉은 원. 호흡이 가빠지고... 훅 고개를 돌려 벽을 보는 수리영 거짓말처럼 사라지고 없다. 거실로 튀어나와 물 한컵 마시고 식탁에 놓인 엄마와 수리영의 사진을 보는데... 환하게 웃는 엄마 얼굴이 뭉개져 흘러내린다\n수리영\n아아악~~~ (다시보니 멀쩡하다) 나 왜 이러는 거지. (자신의 뺨을 치며) 정신 차려 수리영!\n\n\n\n=== SCENE 25 FULL TEXT ===\nS#25. 옥탑방 안 / 해질 무렵\n누군가 다녀간 흔적으로 보이는 발자국들. 다시 호흡이 가빠지는 수리영. 집안에서 뭔가를 찾기 위해 가재도구를 온통 헤집은 것으로 보인다. 거실에 난 창은 열려있고, 식탁 의자들을 쓰러져있다.\n/수리영 방\n열린 자신의 방을 힐끗 보는데 벽에 또 붉은 원이 그려져있다. 그 가운데 꽂혀있는 피묻은 사진 한 장! 사진을 떼어서 자세히 본다. 어? 그 사진!!!\n[F.B: 1부 12씬] 죽은 엄마의 손에 구겨져있던 바로 그 사진이다. 7-80년대 쯤 보이는 시골 식당과 지붕위에 둥근 원이 설치된 (마치 십자가처럼) 식당 앞에는 어린 여자애 둘(12살)이 앉아있다. 그중에 한 아이는 분명히 어릴 적 엄마다.\n침대에 털썩 주저앉는 수리영. 연속해서 벌어지는 기이한 상황에 정신이 혼미한 엉망이 된 집 안을 한번 획 둘러보는 수리영, 마치 이끌리듯 백팩을 메고 밖으로 나간다. 사진을 손에 꼭 쥔 채.\n\n\n\n=== SCENE 27 FULL TEXT ===\nS#27. 옥탑방 안 / 해질 무렵\n수리영의 녹음메시지를 확인하는 혜수,\n혜수\n너 봤니..본 거니... (김형사에게) 좌표를 보지않았을까?\n김형사\n그럴리가요. (혀를 끌끌 차며) 아이구 쯧쯧. 설사 본들 망망대해에서 뭘 어쩌겠어요. 돌아오겠죠.\n덜커덩 덜커덩. 바람에 현관문 소리. 황량하다.\n\n\n\nPRODUCTION-OWNER CORRECTIONS:\n- CORRECTION (production owner): the exterior stair element is an ADDED-ON STEEL stair retrofitted later onto its building's outside wall — open treads, thin steel stringers and support posts, pipe handrail, visibly a separate later addition to the building. It is NOT concrete or cement; this supersedes any cement/concrete stair mention elsewhere in the data.\n\nWrite the block-diagram image prompt now."}
{"ts": "2026-07-05 17:39:47", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s17_blocks2_nb2", "refs": [], "ref_labels": [], "attempt": 1, "dur_s": 14.5, "bytes": 1780393, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/blocks2_nb2.png", "prompt": "Draw a strict top-down schematic block diagram on a plain light background. Use only solid-colour rectangles and circles with uniform thin dark outlines; no texture, shading, shadows, 3D, perspective, labels, letters, numbers, legend, compass, people, vehicles, bicycles, blood, photos, flyers, laundry, or loose props. Encode fill tint only by height: ground/alley/yard very pale, neighbouring low masses light, main villa body medium, rooftop deck and exterior stair darker, rooftop room and rooftop fixtures darkest; darker means higher. Place a large rectangular old multi-family villa mass in the centre-left. Inside its roof area, draw an open rooftop deck occupying most of the top surface. On the deck’s right-rear third place one compact rectangular rooftop room. Divide it into simple internal rectangles: living-kitchen nearest the entrance, two small rooms, and a bathroom; show permanent sink/stove counter blocks and small wall-window gaps. Put a dark iron entrance door opening from the deck into the rooftop room. Add a circular water tank on the open deck, two fixed clothesline posts with narrow line bars, and a low drying platform block. Along the villa’s right outside wall draw a separate later-added steel stair: narrow open-tread segments, thin stringer edges, support posts, and pipe handrail, connecting the rear yard corner to the rooftop deck landing. At ground level add an alley leading to a small entrance yard and rear corner, with simplified neighbouring building blocks around the edges."}
{"ts": "2026-07-05 17:41:14", "kind": "img", "engine": "gpt-image-2", "mode": "generate", "tag": "s17_blocks2_gpt", "refs": [], "size": "1536x864", "attempt": 1, "dur_s": 86.5, "bytes": 1398181, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/blocks2_gpt.png", "prompt": "Draw a strict top-down schematic block diagram on a plain light background. Use only solid-colour rectangles and circles with uniform thin dark outlines; no texture, shading, shadows, 3D, perspective, labels, letters, numbers, legend, compass, people, vehicles, bicycles, blood, photos, flyers, laundry, or loose props. Encode fill tint only by height: ground/alley/yard very pale, neighbouring low masses light, main villa body medium, rooftop deck and exterior stair darker, rooftop room and rooftop fixtures darkest; darker means higher. Place a large rectangular old multi-family villa mass in the centre-left. Inside its roof area, draw an open rooftop deck occupying most of the top surface. On the deck’s right-rear third place one compact rectangular rooftop room. Divide it into simple internal rectangles: living-kitchen nearest the entrance, two small rooms, and a bathroom; show permanent sink/stove counter blocks and small wall-window gaps. Put a dark iron entrance door opening from the deck into the rooftop room. Add a circular water tank on the open deck, two fixed clothesline posts with narrow line bars, and a low drying platform block. Along the villa’s right outside wall draw a separate later-added steel stair: narrow open-tread segments, thin stringer edges, support posts, and pipe handrail, connecting the rear yard corner to the rooftop deck landing. At ground level add an alley leading to a small entrance yard and rear corner, with simplified neighbouring building blocks around the edges."}
{"ts": "2026-07-05 17:41:14", "kind": "stage", "stage": "s17_blocks_llm", "done": "all"}
{"ts": "2026-07-05 17:52:10", "kind": "llm", "step": "forest_blocks_llm_prompt", "model": "gpt", "dur_s": 18.4, "system_prompt": "You write ONE SHORT image-generation prompt that makes an image\nmodel draw a BLOCK DIAGRAM of one real-world place (a building and its\ngrounds), based on the production data you receive (member descriptions, full\nscene texts, production-owner corrections).\n\nThis is the FIRST of THREE SEPARATE stages: (1) block diagram -> (2) detailed\nfloor plan -> (3) photorealistic still. Your prompt serves ONLY stage (1) — a\nflat 2D top-down figure like one a computer program draws, for structural\ncomprehension only. Later stages own drawing style and realism: do NOT include\ntheir concerns (no drafting/line/style aesthetics, no interior layout, no\nmaterials, no mood).\n\nYour prompt must demand exactly this and nothing more:\n- plain flat solid-colour blocks (rectangles/circles) on a light background;\n  strict top-down 2D; no 3D, no perspective, no shading, no texture.\n- EXTERIOR structure only: each building is ONE solid block — NEVER any\n  interior rooms, inner walls, furniture or fittings inside any building.\n  Include: building masses, any upper-level unit block on its deck, exterior\n  level-connecting routes, ground spaces (road/alley/yard/entrance), key\n  exterior permanent fixtures, neighbouring masses as plain blocks.\n- each element: ONE block with its relative size and position in plain spatial\n  words (canvas thirds/edges, beside / on top of / connected to).\n- one simple flat tint rule ONLY to tell height levels apart (list the few\n  levels low to high). No other colour or style instructions.\n- no text, letters, numbers, labels, legend or compass in the image; no\n  people, no props, no vehicles; nothing story-specific.\n\nHonour the production-owner corrections (they affect WHICH exterior elements\nexist, e.g. the exterior stair type). Write ENGLISH, 80-150 words, direct\ndrawing instructions. Output prompt_en, faithful prompt_ko (human review),\nnotes (which scene/member lines grounded the layout).", "user_prompt": "PLACE MEMBERS:\n- (outdoor, L03) 인천 변두리 낡은 빌라 옥탑방 옥상·현관 앞 외부: 낡은 다세대 빌라 꼭대기에 위치한 야외 공간. 물탱크, 흔들리는 빨랫줄, 평상 위 약초 건조 흔적, 낡은 철문 현관이 있다. (특징: 낡은 시멘트 바닥; 물탱크; 바람에 날리는 빨랫줄; 평상과 널려 있는 말린 약초(석창포); 전단지가 끼워진 철문 현관)\n- (indoor, L04) 옥탑방 내부: 작은 창문으로 빛이 들어오는 낡은 주거 공간. 싱크대, 식탁, TV가 있는 거실과 침대, 커튼, 거울 등이 있는 방/욕실로 구성된다. 약초 끓이는 냄비 등 생활 소품이 있으며, 간헐적으로 벽면에 붉은 원 형태의 환영과 핏자국이 생겨난다. (특징: 작은 창문의 햇살; 싱크대와 약초(석창포); 가스레인지 위 끓는 냄비와 수증기; 거실 TV와 스탠드; 침대, 커튼, 거울; 벽과 거울 표면에 나타나는 붉은 원 환영; 바닥과 벽의 핏자국 (특정 시점); 어지럽혀진 가재도구 (특정 시점))\n- (outdoor, L10) 옥탑방 외곽 골목·시멘트 계단: 다세대 빌라 마당의 후미진 구석과 옥탑방으로 올라가는 가파르고 낡은 시멘트 계단. (특징: 다세대 빌라 입구 마당; 후미진 구석 공간; 낡고 가파른 시멘트 계단)\n\nFULL ORIGINAL SCENE TEXTS:\n\n=== SCENE 4 FULL TEXT ===\nS#4. 옥탑방 / D\n인천 변두리 부감, 오래된 빌라 옥탑방 전경.\n기자(E)\n지역 주민들 사이에 횡행한 소문이 돌고 있지만, 경찰은 범인의 윤곽조차 잡지 못하고 있어 지역주민들의 불안과 두려움을 더 키우는 모양새입니다.\n\n\n\n=== SCENE 5 FULL TEXT ===\nS#5. 옥탑방 안 / 실내\n거실에 난 작은 창으로 햇살에 가늘게 비친다. 싱크대 수도꼭지에 흐르는 물, 씻다 만 약초(석창포). 냄비의 물이 끓어 달그락거리는 소리… 김이 피어오르고. 앞치마를 두른 채 TV 뉴스를 뚫어지게 바라보는 민숙(수리영 엄마. 40세) 표정이 어둡다. (뉴스멘트는 작아졌다 커졌다 반복하면서 여기까지 이어진다)\n딸, 수리영(21. 애완동물미용학과 2년)이 방문을 열고 기지개를 켜며 나오자 후다닥 TV를 끄는 민숙. 다정한 말투로\n수리영\n(심드렁) 뭐~야. 사건 났어? 뭔데.\n민숙\n아냐.\n수리영\n(식탁에 앉으며) 이모 또 야근하겠네. 조그만 도시에 왠 사건이 이렇게 많아. 바다가 가까워서 그런가.\n민숙\n신경 꺼. (석창포 달인 물을 따라주면서) 마셔. 방학인데 왜 더 자지않고.\n수리영\n(마시고 나서) 아, 진짜 맛 없어...(투정) 나 알바 있어, 엄마. 원장님이 하루만 봐 달래.\n(cut to.)\n가벼운 차림새. 수리영 신발을 신으며\n수리영\n엄마는 오늘 안 나가?\n민숙\n이따가 1시 타임.\n수리영\n(엄마의 냄새를 맡으며) 아, 좋다. 끝나고 마트로 갈게. 모처럼 밖에서 저녁먹자 엄마.\n민숙\n응 (미소)\n힐끗, 민숙 손목에 보이는 작은 원(이하 표식)을 본다. 오늘따라 유난히 또렷해 보이지만 워낙 어릴 적부터 봐온 터라 개의치 않는.\n\n\n\n=== SCENE 10 FULL TEXT ===\nS#10. 옥탑방 / N\n그 시각. 옥탑방 옥상. 물탱크. 바람에 빨랫줄이 툭- 툭- 평상에 놓인 말린 석창포가 바람에 날리는데... 말린 잎이 걸어오는 낯선 남자의 신발 위를 스친다. 남자의 긴 그림자. (얼굴은 보이지 않는다)\n신발은 옥탑방 철문 현관 앞에 멈춰 선다. 문틈에 낀 광고 전단지. 전단지를 뽑아서 손가락으로 문틈에 꾹 밀어 넣는다. ‘철컥’ 하고 잠금 새가 풀리는 소리. 문이 미세하게 열리고 안으로 들어가는 남자.\n창문에 비친 그림자. 민숙을 덮쳐 어깨를 물어뜯는 듯한 모습 ‘아악-’\n\n\n\n=== SCENE 11 FULL TEXT ===\nS#11. 옥탑 방 밖 / N\n자전거를 타고 골목길을 달리는 수리영. 다세대 빌라 문을 열고 들어와 마당 후미진 곳에 자전거를 대충 세우고, 옥탑방과 연결되는 계단을 급히 오른다.\n갑자기 훅- 느껴지는 역겨운 냄새. 뭐지? 옥상에 올라와 보니 반쯤 열린 현관 철문.\n\n\n\n=== SCENE 12 FULL TEXT ===\nS#12. 옥탑방 안 / N\n/거실\n‘엄마?’를 부르며 들어오는 수리영, 끓다 식은 냄비. 켜져 있는 TV. 희미한 거실 스탠드 불빛,\n/민숙 방\n안방 문을 여는데... 없다. 거실 식탁에 놓여있는 찻잔 두 개. 하나는 엎어져있다.\n/수리영 방\n마지막으로 자기 방문을 연다 헉!- 여기저기 핏자국. 바닥에 흥건한 혈흔. 피묻은 발자국은 커튼으로 이어져 있다 호흡을 가다듬고 커튼을 젖히자 앉은 채로 고개를 떨군 채 죽어있는 엄마- 민숙!!!!\n수리영\n(달려가) 어어어어----엄마\n충격에 온 몸이 얼어붙은 수리영, 살점이 뜯긴 어깨와 쇄골, 마치 동물에게 물어뜯긴 듯한 거친 상처가 고스란히 드러나있다. 덜렁거리는 살점과 뜯겨진 부위에 흘러내리는 피.\n수리영\n(놀라 뒤로 주춤) 어-어-어- 엄마….\n부들부들 떨며 핸드폰을 누른다. 2번 혜수이모\n수리영\n받아, 이모. 받아….\n혜수(E)\n영아, 영아, 왜?\n답은 안 나오고… 엄마 손안에 구겨진 사진 한 장이 보인다. 다가가 사진을 꺼내는데 엄마 손목에 있던 문신이 붉은색으로 변한다. 헉! 호흡이 빨라지고... 침대 위 벽에 붉은 원이 생겨난다 (마치 누군가 붓으로 벽에 원으로 그리는 것처럼). 소름끼치는 으아악---!\n\n\n\n=== SCENE 13 FULL TEXT ===\nS#13. 옥탑방 외곽 / N\n비명을 지르며 옥탑방을 빠져나오는 수리영, 허겁지겁 계단을 내려간다. 동시에 사이렌이 울리고~. (포즈)\n차에서 내린 혜수(40대 중반, 여자, 경위) 초점을 잃고 멍하니 서있는 수리영의 모습을 발견하고 달려간다.\n혜수\n영아? 왜! 무슨 일이야?\n수리영\n(올라다보며) 엄마가, 엄마가... 죽어있어.\n혜수\n(놀라) 뭐?!\n옥탑 방으로 뛰어 올라가는 혜수와 후배 형사(30대 남/ 이하 김형사)\n\n\n\n=== SCENE 14 FULL TEXT ===\nS#14. 옥탑방 안 / N\n/현관\n집안 여기저기를 확인하면서 나오는 형사와 혜수\n김형사\n(허탈한 표정) 없는데.. 아무 것도.\n혜수\n(뒤따라온 수리영에게) 영아, 없어. 뭘 봤는데...?\n어? 수리영, 부리나케 방 안으로 뛰어 들어간다.\n/수리영 방 안\n지나칠 정도로 깨끗하게 정돈된 방안. 핏자국도 보이지 않고, 침대 위에 붉은 표식은 물론 커튼 뒤의 시신도 감쪽 같이 사라졌다. 얼굴이 파리해지는 수리영. ‘어----?’ ‘분명히 봤는데...’\n뛰쳐나가 식탁으로 가본다. 식탁 역시 깨끗한.\n수리영\n여기 찻잔도 두 개 있었고...\n김형사\n(답답) 허 참! 죽은 사람이 발이 달렸을 리도 없고. 쯧쯧 그러게 살인사건은 자세하게 보도하면 안 된다구요...(궁시렁) 이봐요. 학생? 장난전화 하면 안 되는 거 몰라? (짜증) 안 그래도 살인사건으로 난리도 아닌데...\n혜수\n(김형사 째리고) 김형사. 먼저 가 있어. (김형사 나가면) (수리영 어깨를 어루만지며) 영아.\n수리영\n엄마(시신), 어디갔을까? 분명히 봤는데...\n혜수\n네가 요즘 과로했잖아. 공부에다 알바까지... 악몽을 꾼 걸 수도 있으니... 바람이나 쐬러 가자.\n수리영 방안에 놓여진 백팩, 인형. 약간씩 위치가 달라진. (시신을 발견했을 때와 다른)\n\n\n\n=== SCENE 17 FULL TEXT ===\nS#17. 옥탑방 / 동틀무렵\n새벽녘, 고양이 울음소리. 검은 고양이가 불이 켜져 있는 옥탑 방을 슬쩍 보더니 담을 넘는다\n\n\n\n=== SCENE 18 FULL TEXT ===\nS#18. 안방 안 / D\n침대에 머리를 대고 앉아있는 수리영, 밤새 엄마를 기다리다 깜박 졸았다 고양이 울음소리에 번쩍 눈을 뜨고, ‘엄마? ’혹시나 해서 집안을 살피지만 아무런 인기척도 보이지 않는다\n/수리영 방안\n닫혀있는 자신의 방을 바라본다. [F.B: 1부12씬] 커튼 뒤에 죽어있던 엄마. 상처. 혈흔 크게 심호흡하고 조심스럽게 문을 연다. 지나치리만큼 깨끗하게 정돈된 방안. 창문에 다가가 커튼을 확 열어젖힌다. 시신은 없다. 한숨 후~ 다행이긴 한데. 그때, 울리는 폰 벨소리, 화들짝 놀라는 수리영. 달려가 받자마자\n수리영\n엄마?\n혜수(E)\n아직이니?\n수리영\n응. 아무래도 이상해. 이럴 리가 없잖아! 우리 엄마가. 이모, 사고 난 게 분명해\n혜수(E)\n실종신고 냈어. 이모가 엄마 폰 위치추적하고 있으니까 조금만 기다려 별일 없을 거야. 알았지?\n수리영\n응.\n무작정 기다리는게 불안한 수리영, 인형이 달린 자신의 백팩을 꺼내 나온다\n/욕실 안\n얼굴을 씻고 거울을 보며\n수리영\n엄마, 도대체 어딨는 거야...\n거울에 비친 욕실 벽에 갑자기 또 발생하는 붉은 원. 호흡이 가빠지고... 훅 고개를 돌려 벽을 보는 수리영 거짓말처럼 사라지고 없다. 거실로 튀어나와 물 한컵 마시고 식탁에 놓인 엄마와 수리영의 사진을 보는데... 환하게 웃는 엄마 얼굴이 뭉개져 흘러내린다\n수리영\n아아악~~~ (다시보니 멀쩡하다) 나 왜 이러는 거지. (자신의 뺨을 치며) 정신 차려 수리영!\n\n\n\n=== SCENE 25 FULL TEXT ===\nS#25. 옥탑방 안 / 해질 무렵\n누군가 다녀간 흔적으로 보이는 발자국들. 다시 호흡이 가빠지는 수리영. 집안에서 뭔가를 찾기 위해 가재도구를 온통 헤집은 것으로 보인다. 거실에 난 창은 열려있고, 식탁 의자들을 쓰러져있다.\n/수리영 방\n열린 자신의 방을 힐끗 보는데 벽에 또 붉은 원이 그려져있다. 그 가운데 꽂혀있는 피묻은 사진 한 장! 사진을 떼어서 자세히 본다. 어? 그 사진!!!\n[F.B: 1부 12씬] 죽은 엄마의 손에 구겨져있던 바로 그 사진이다. 7-80년대 쯤 보이는 시골 식당과 지붕위에 둥근 원이 설치된 (마치 십자가처럼) 식당 앞에는 어린 여자애 둘(12살)이 앉아있다. 그중에 한 아이는 분명히 어릴 적 엄마다.\n침대에 털썩 주저앉는 수리영. 연속해서 벌어지는 기이한 상황에 정신이 혼미한 엉망이 된 집 안을 한번 획 둘러보는 수리영, 마치 이끌리듯 백팩을 메고 밖으로 나간다. 사진을 손에 꼭 쥔 채.\n\n\n\n=== SCENE 27 FULL TEXT ===\nS#27. 옥탑방 안 / 해질 무렵\n수리영의 녹음메시지를 확인하는 혜수,\n혜수\n너 봤니..본 거니... (김형사에게) 좌표를 보지않았을까?\n김형사\n그럴리가요. (혀를 끌끌 차며) 아이구 쯧쯧. 설사 본들 망망대해에서 뭘 어쩌겠어요. 돌아오겠죠.\n덜커덩 덜커덩. 바람에 현관문 소리. 황량하다.\n\n\n\nPRODUCTION-OWNER CORRECTIONS:\n- CORRECTION (production owner): the exterior stair element is an ADDED-ON STEEL stair retrofitted later onto its building's outside wall — open treads, thin steel stringers and support posts, pipe handrail, visibly a separate later addition to the building. It is NOT concrete or cement; this supersedes any cement/concrete stair mention elsewhere in the data.\n\nWrite the block-diagram image prompt now."}
{"ts": "2026-07-05 17:52:38", "kind": "img_error", "tag": "s17_blocks3_nb2", "attempt": 1, "error": "Gemini i2i API error 404: {\n  \"error\": {\n    \"code\": 404,\n    \"message\": \"Requested entity was not found.\",\n    \"status\": \"NOT_FOUND\"\n  }\n}\n"}
{"ts": "2026-07-05 17:52:55", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s17_blocks3_nb2", "refs": [], "ref_labels": [], "attempt": 2, "dur_s": 44.1, "bytes": 1787125, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/blocks3_nb2.png", "prompt": "Draw a strict top-down 2D block diagram on a light background using plain flat solid-colour rectangles/circles only; no 3D, perspective, shading, texture, text, labels, legend, compass, people, vehicles, or loose props. Show one large old multi-family villa mass filling the centre-left, with its rooftop deck as the upper surface. Place one smaller rooftop-room block on the upper-right part of that deck, with a tiny exterior entrance block on its front edge. Put a circular water-tank block near the deck’s back-left, a thin clothesline block across the deck, and a low platform block beside it. Attach a narrow separate later-added steel stair route to the villa’s right outside wall, descending to a ground entrance yard in the lower-right, beside a secluded corner and an alley along the bottom. Add neighbouring building masses as plain blocks at the left and top edges. Tint rule only: ground lowest, main roof/deck middle, rooftop room and raised fixtures highest."}
{"ts": "2026-07-05 17:54:11", "kind": "img", "engine": "gpt-image-2", "mode": "generate", "tag": "s17_blocks3_gpt", "refs": [], "size": "1536x864", "attempt": 1, "dur_s": 76.6, "bytes": 1016759, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/blocks3_gpt.png", "prompt": "Draw a strict top-down 2D block diagram on a light background using plain flat solid-colour rectangles/circles only; no 3D, perspective, shading, texture, text, labels, legend, compass, people, vehicles, or loose props. Show one large old multi-family villa mass filling the centre-left, with its rooftop deck as the upper surface. Place one smaller rooftop-room block on the upper-right part of that deck, with a tiny exterior entrance block on its front edge. Put a circular water-tank block near the deck’s back-left, a thin clothesline block across the deck, and a low platform block beside it. Attach a narrow separate later-added steel stair route to the villa’s right outside wall, descending to a ground entrance yard in the lower-right, beside a secluded corner and an alley along the bottom. Add neighbouring building masses as plain blocks at the left and top edges. Tint rule only: ground lowest, main roof/deck middle, rooftop room and raised fixtures highest."}
{"ts": "2026-07-05 17:54:11", "kind": "stage", "stage": "s17_blocks_llm", "done": "all"}
{"ts": "2026-07-05 18:20:33", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s18_blocks4_nb2", "refs": [], "ref_labels": [], "attempt": 1, "dur_s": 13.8, "bytes": 1733742, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/blocks4_nb2.png", "prompt": "Draw ONE SCHEMATIC BLOCK DIAGRAM of a real property's layout — the kind\nof flat figure a computer program draws: strict TOP-DOWN 2D, plain\nsolid-colour rectangles and circles on a plain light background, uniform\nthin dark outlines. ABSOLUTELY FLAT: no bevels, no edge highlights, no\ngradients, no shadows, no shading, no texture, no perspective, no 3D\nfeel of any kind — every block is one uniform colour region with a plain\noutline. PURPOSE: structural comprehension only. Every building is ONE\nsolid block — never any interior rooms, inner walls or furniture.\nNo text, letters, numbers, labels, markers, legend or compass anywhere.\nNo people, no props, no vehicles.\n\nSTRUCTURE (relative positions, sizes, key arrangement):\n- street road: thin strip rectangular block, south-centre area\n- narrow alley: thin strip rectangular block, centre-west area\n- entry yard: thin strip rectangular block, south-centre area\n- villa mass: large rectangular block, centre area\n- roof terrace: large rectangular block, centre area\n- rooftop room: medium rectangular block, centre area\n- concrete stair: thin strip rectangular block, south-east area, connecting the ground level up to the deck level\n- low wall: thin strip rectangular block, south-centre area\n- neighbor block: medium rectangular block, north-west area, plain simplified block\n- rear neighbor: medium rectangular block, north-centre area, plain simplified block\n- side neighbor: thin strip rectangular block, centre-east area, plain simplified block\n- water tank: tiny round block, north-west area\n- low platform: tiny rectangular block, centre-west area\n- laundry line: thin strip rectangular block, centre area, on the west edge of the rooftop room\n- iron door: tiny rectangular block, centre area, on the south edge of the rooftop room\n- living window: tiny rectangular block, centre area, on the east edge of the rooftop room\n- bedroom window: thin strip rectangular block, north-centre area, on the north edge of the rooftop room\n- entry gate: thin strip rectangular block, south-west area\n- facade windows: thin strip rectangular block, south-centre area, on the north edge of the entry yard (4 in a row)\n- one flat tint rule only, to tell height levels apart, low to high: Ground -> Stair run -> Roof deck -> Rooftop room (darker = higher)"}
{"ts": "2026-07-05 18:21:52", "kind": "img", "engine": "gpt-image-2", "mode": "generate", "tag": "s18_blocks4_gpt", "refs": [], "size": "1536x864", "attempt": 1, "dur_s": 79.0, "bytes": 993104, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/blocks4_gpt.png", "prompt": "Draw ONE SCHEMATIC BLOCK DIAGRAM of a real property's layout — the kind\nof flat figure a computer program draws: strict TOP-DOWN 2D, plain\nsolid-colour rectangles and circles on a plain light background, uniform\nthin dark outlines. ABSOLUTELY FLAT: no bevels, no edge highlights, no\ngradients, no shadows, no shading, no texture, no perspective, no 3D\nfeel of any kind — every block is one uniform colour region with a plain\noutline. PURPOSE: structural comprehension only. Every building is ONE\nsolid block — never any interior rooms, inner walls or furniture.\nNo text, letters, numbers, labels, markers, legend or compass anywhere.\nNo people, no props, no vehicles.\n\nSTRUCTURE (relative positions, sizes, key arrangement):\n- street road: thin strip rectangular block, south-centre area\n- narrow alley: thin strip rectangular block, centre-west area\n- entry yard: thin strip rectangular block, south-centre area\n- villa mass: large rectangular block, centre area\n- roof terrace: large rectangular block, centre area\n- rooftop room: medium rectangular block, centre area\n- concrete stair: thin strip rectangular block, south-east area, connecting the ground level up to the deck level\n- low wall: thin strip rectangular block, south-centre area\n- neighbor block: medium rectangular block, north-west area, plain simplified block\n- rear neighbor: medium rectangular block, north-centre area, plain simplified block\n- side neighbor: thin strip rectangular block, centre-east area, plain simplified block\n- water tank: tiny round block, north-west area\n- low platform: tiny rectangular block, centre-west area\n- laundry line: thin strip rectangular block, centre area, on the west edge of the rooftop room\n- iron door: tiny rectangular block, centre area, on the south edge of the rooftop room\n- living window: tiny rectangular block, centre area, on the east edge of the rooftop room\n- bedroom window: thin strip rectangular block, north-centre area, on the north edge of the rooftop room\n- entry gate: thin strip rectangular block, south-west area\n- facade windows: thin strip rectangular block, south-centre area, on the north edge of the entry yard (4 in a row)\n- one flat tint rule only, to tell height levels apart, low to high: Ground -> Stair run -> Roof deck -> Rooftop room (darker = higher)"}
{"ts": "2026-07-05 18:22:11", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s18_fp2_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/blocks4_nb2.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/b0ad5c18-5140-4022-a2b0-805de0e5a385/episodes/0d30302a-51c8-4ac9-98e2-6cd9180512bf/images/floor_plan/fp_l04_rooftop_room_main.png"], "ref_labels": ["BLOCK REFERENCE (what exists + approximate arrangement only) — never trace its shapes; fill colours encode height layers only.", "DRAFTING STYLE REFERENCE (an interior floor plan) — copy ONLY its drawing style: line weight, flat fills, plan symbols. Never its rooms, furniture, numbers or content."], "attempt": 1, "dur_s": 19.2, "bytes": 1502445, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/fp2_nb2.png", "prompt": "The FIRST attached image is a rough BLOCK REFERENCE of one real\nproperty: it tells you only WHAT exists and the APPROXIMATE\narrangement. Do NOT trace or copy its composition, block shapes,\nproportions or spacing — compose the site plan yourself so the\nplace reads as a real, believable property that satisfies the\nfacts below. Its fill colours encode height layers only.\n\nTHE PLACE (authored description — the content ground truth):\nBUILDING: The main building is an old multifamily villa block, drawn as an assumed three-storey body below the rooftop unit because the script only states an old villa with a rooftop room. Its mass is a plain rectangular concrete volume set behind an entry yard. The roof is flat and usable as a cement-surfaced terrace. The front facade facing the yard should show four repeated window bays per storey, matching the extracted layout’s inferred facade-window rhythm.\nTOP UNIT & DECK: The topmost enclosed unit is a small, old rooftop dwelling set on the flat terrace, drawn as a simple rectangular shell. Its boundary openings are one iron entrance door facing the stair landing, one small living-room window on a side wall, and one bedroom window on another wall. Around it, the open deck has a low concrete parapet or wall, a round water tank, a fixed laundry line, and a low platform on the cement surface.\nGROUNDS: At ground level, a street edge feeds a narrow alley along the left side, leading to a single entry gate and a small recessed yard at the villa entrance. Neighboring building masses close the rear and sides, making the approach compact. From the yard’s back corner, a later-added exterior steel stair is fixed to the outside wall, with open treads, thin stringers, support posts, and a pipe handrail, continuing up to the rooftop terrace and iron-door landing.\nTHE PLAN MUST SHOW: The finished top-down site plan should show a rectangular villa mass centered behind the yard, with its flat roof terrace visible as the primary upper surface. Place the rooftop room as a smaller rectangle on the terrace, with one door toward the stair landing and two windows on separate sides. Draw the left alley, entry gate, recessed yard, surrounding neighbor blocks, low roof wall, fixed rooftop fixtures, and the retrofitted steel stair as a separate exterior structure attached to the building wall.\n\nLAYOUT RELATIONS (approximate — honour what exists and rough relations, NOT exact geometry):\n- height layers, low to high: Ground h=0 (lightest), Stair run h=1.5 (mid 1), Roof deck h=3 (mid 2), Rooftop room h=4 (darkest). Darker fill = higher.\n- street road [road] — south-centre area; height: Ground\n- narrow alley [alley] — centre-west area; height: Ground\n- entry yard [yard] — south-centre area; height: Ground\n- villa mass [building_mass] — centre area; height: Roof deck\n- roof terrace [terrace] — centre area; height: Roof deck\n- rooftop room [upper_shell] — centre area; height: Rooftop room\n- steel retrofit stair [stair] — south-east area; height: Stair run\n- low wall [wall] — south-centre area; height: Roof deck\n- neighbor block [neighbor_mass] — north-west area; height: Roof deck\n- rear neighbor [neighbor_mass] — north-centre area; height: Roof deck\n- side neighbor [neighbor_mass] — centre-east area; height: Roof deck\n- water tank [fixture_round] — north-west area; height: Roof deck round\n- low platform [fixture_rect] — centre-west area; height: Roof deck\n- laundry line [equipment] — centre area, on the west edge of the rooftop room; height: Roof deck\n- iron door [door] — centre area, on the south edge of the rooftop room; height: Rooftop room\n- living window [window] — centre area, on the east edge of the rooftop room; height: Rooftop room\n- bedroom window [window] — north-centre area, on the north edge of the rooftop room; height: Rooftop room\n- entry gate [gate] — south-west area; height: Ground\n- facade windows [window] — south-centre area, on the north edge of the entry yard, 4 windows for the whole facade — distribute them across the building's storeys with clear wall between each (never fused edge-to-edge, never one tight row); height: Roof deck\n- any facade windows sit apart with clear wall between them, aligned to the building's real storeys — never touching.\n- CORRECTION (production owner): the exterior stair element is an ADDED-ON STEEL stair retrofitted later onto its building's outside wall — open treads, thin steel stringers and support posts, pipe handrail, visibly a separate later addition to the building. It is NOT concrete or cement; this supersedes any cement/concrete stair mention elsewhere in the data.\n\nThe LAST attached image is an interior floor plan from the same\nproduction — use it ONLY as the DRAFTING-STYLE reference (line weight,\nfill language, symbol vocabulary). Never copy its rooms or content.\n\nDraw ONE strict TOP-DOWN 2D architectural SITE PLAN in the drafting\nlanguage of a clean floor plan — thin dark outlines, flat muted colour\nfills, detailed plan symbols (double-line walls, door leaf + swing arc,\nwindow frames set in walls, stair treads with stringers and landings,\nbase rings for round fixtures, paving joints, kerb lines). Height\nlevels appear only as flat fill tints (darker = higher). Flat\northographic plan view: NO 3D, NO axonometric, NO perspective, no\nshadows. Neutral document: no people, no story props, no vehicles, no\nposted papers, no text, no letters, no numbers, no markers, no legend,\nno compass. Never expose interior rooms or furniture of any enclosed\nunit — outer shell and boundary openings only."}
{"ts": "2026-07-05 18:23:56", "kind": "img", "engine": "gpt-image-2", "mode": "edit", "tag": "s18_fp2_gpt", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/blocks4_nb2.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/b0ad5c18-5140-4022-a2b0-805de0e5a385/episodes/0d30302a-51c8-4ac9-98e2-6cd9180512bf/images/floor_plan/fp_l04_rooftop_room_main.png"], "size": "1536x864", "attempt": 1, "dur_s": 105.0, "bytes": 1946530, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/fp2_gpt.png", "prompt": "The FIRST attached image is a rough BLOCK REFERENCE of one real\nproperty: it tells you only WHAT exists and the APPROXIMATE\narrangement. Do NOT trace or copy its composition, block shapes,\nproportions or spacing — compose the site plan yourself so the\nplace reads as a real, believable property that satisfies the\nfacts below. Its fill colours encode height layers only.\n\nTHE PLACE (authored description — the content ground truth):\nBUILDING: The main building is an old multifamily villa block, drawn as an assumed three-storey body below the rooftop unit because the script only states an old villa with a rooftop room. Its mass is a plain rectangular concrete volume set behind an entry yard. The roof is flat and usable as a cement-surfaced terrace. The front facade facing the yard should show four repeated window bays per storey, matching the extracted layout’s inferred facade-window rhythm.\nTOP UNIT & DECK: The topmost enclosed unit is a small, old rooftop dwelling set on the flat terrace, drawn as a simple rectangular shell. Its boundary openings are one iron entrance door facing the stair landing, one small living-room window on a side wall, and one bedroom window on another wall. Around it, the open deck has a low concrete parapet or wall, a round water tank, a fixed laundry line, and a low platform on the cement surface.\nGROUNDS: At ground level, a street edge feeds a narrow alley along the left side, leading to a single entry gate and a small recessed yard at the villa entrance. Neighboring building masses close the rear and sides, making the approach compact. From the yard’s back corner, a later-added exterior steel stair is fixed to the outside wall, with open treads, thin stringers, support posts, and a pipe handrail, continuing up to the rooftop terrace and iron-door landing.\nTHE PLAN MUST SHOW: The finished top-down site plan should show a rectangular villa mass centered behind the yard, with its flat roof terrace visible as the primary upper surface. Place the rooftop room as a smaller rectangle on the terrace, with one door toward the stair landing and two windows on separate sides. Draw the left alley, entry gate, recessed yard, surrounding neighbor blocks, low roof wall, fixed rooftop fixtures, and the retrofitted steel stair as a separate exterior structure attached to the building wall.\n\nLAYOUT RELATIONS (approximate — honour what exists and rough relations, NOT exact geometry):\n- height layers, low to high: Ground h=0 (lightest), Stair run h=1.5 (mid 1), Roof deck h=3 (mid 2), Rooftop room h=4 (darkest). Darker fill = higher.\n- street road [road] — south-centre area; height: Ground\n- narrow alley [alley] — centre-west area; height: Ground\n- entry yard [yard] — south-centre area; height: Ground\n- villa mass [building_mass] — centre area; height: Roof deck\n- roof terrace [terrace] — centre area; height: Roof deck\n- rooftop room [upper_shell] — centre area; height: Rooftop room\n- steel retrofit stair [stair] — south-east area; height: Stair run\n- low wall [wall] — south-centre area; height: Roof deck\n- neighbor block [neighbor_mass] — north-west area; height: Roof deck\n- rear neighbor [neighbor_mass] — north-centre area; height: Roof deck\n- side neighbor [neighbor_mass] — centre-east area; height: Roof deck\n- water tank [fixture_round] — north-west area; height: Roof deck round\n- low platform [fixture_rect] — centre-west area; height: Roof deck\n- laundry line [equipment] — centre area, on the west edge of the rooftop room; height: Roof deck\n- iron door [door] — centre area, on the south edge of the rooftop room; height: Rooftop room\n- living window [window] — centre area, on the east edge of the rooftop room; height: Rooftop room\n- bedroom window [window] — north-centre area, on the north edge of the rooftop room; height: Rooftop room\n- entry gate [gate] — south-west area; height: Ground\n- facade windows [window] — south-centre area, on the north edge of the entry yard, 4 windows for the whole facade — distribute them across the building's storeys with clear wall between each (never fused edge-to-edge, never one tight row); height: Roof deck\n- any facade windows sit apart with clear wall between them, aligned to the building's real storeys — never touching.\n- CORRECTION (production owner): the exterior stair element is an ADDED-ON STEEL stair retrofitted later onto its building's outside wall — open treads, thin steel stringers and support posts, pipe handrail, visibly a separate later addition to the building. It is NOT concrete or cement; this supersedes any cement/concrete stair mention elsewhere in the data.\n\nThe LAST attached image is an interior floor plan from the same\nproduction — use it ONLY as the DRAFTING-STYLE reference (line weight,\nfill language, symbol vocabulary). Never copy its rooms or content.\n\nDraw ONE strict TOP-DOWN 2D architectural SITE PLAN in the drafting\nlanguage of a clean floor plan — thin dark outlines, flat muted colour\nfills, detailed plan symbols (double-line walls, door leaf + swing arc,\nwindow frames set in walls, stair treads with stringers and landings,\nbase rings for round fixtures, paving joints, kerb lines). Height\nlevels appear only as flat fill tints (darker = higher). Flat\northographic plan view: NO 3D, NO axonometric, NO perspective, no\nshadows. Neutral document: no people, no story props, no vehicles, no\nposted papers, no text, no letters, no numbers, no markers, no legend,\nno compass. Never expose interior rooms or furniture of any enclosed\nunit — outer shell and boundary openings only."}
{"ts": "2026-07-05 18:23:56", "kind": "stage", "stage": "s18_blocks_lean", "done": "all"}
{"ts": "2026-07-05 18:44:43", "kind": "img", "tag": "s18_blocks4_nb2", "skip": "exists", "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/blocks4_nb2.png"}
{"ts": "2026-07-05 18:44:43", "kind": "img", "tag": "s18_blocks4_gpt", "skip": "exists", "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/blocks4_gpt.png"}
{"ts": "2026-07-05 18:44:43", "kind": "img", "tag": "s18_fp2_nb2", "skip": "exists", "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/fp2_nb2.png"}
{"ts": "2026-07-05 18:44:43", "kind": "img", "tag": "s18_fp2_gpt", "skip": "exists", "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/fp2_gpt.png"}
{"ts": "2026-07-05 18:44:43", "kind": "stage", "stage": "s18_blocks_lean", "done": "all"}
{"ts": "2026-07-05 18:51:01", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s18_blocks4_nb2", "refs": [], "ref_labels": [], "attempt": 1, "dur_s": 13.2, "bytes": 1946813, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/blocks4_nb2.png", "prompt": "Draw ONE SCHEMATIC BLOCK DIAGRAM of a real property's layout — the kind\nof flat figure a computer program draws: strict TOP-DOWN 2D, plain\nsolid-colour rectangles and circles on a plain light background, uniform\nthin dark outlines. ABSOLUTELY FLAT: no bevels, no edge highlights, no\ngradients, no shadows, no shading, no texture, no perspective, no 3D\nfeel of any kind — every block is one uniform colour region with a plain\noutline. PURPOSE: structural comprehension only. Every building is ONE\nsolid block — never any interior rooms, inner walls or furniture.\nNo text, letters, numbers, labels, markers, legend or compass anywhere.\nNo people, no props, no vehicles.\n\nSTRUCTURE (relative positions, sizes, key arrangement):\n- street road: thin strip rectangular block, south-centre area\n- narrow alley: thin strip rectangular block, centre-west area\n- entry yard: thin strip rectangular block, south-centre area\n- villa mass: large rectangular block, centre area\n- roof terrace: large rectangular block, placed on the villa mass, in its centre part\n- rooftop room: medium rectangular block, placed on the roof terrace, in its centre part\n- concrete stair: thin strip rectangular block, south-east area, connecting the ground level up to the deck level\n- low wall: thin strip rectangular block, placed on the roof terrace, in its south-centre part\n- neighbor block: medium rectangular block, north-west area, plain simplified block\n- rear neighbor: medium rectangular block, north-centre area, plain simplified block\n- side neighbor: thin strip rectangular block, centre-east area, plain simplified block\n- water tank: tiny round block, placed on the roof terrace, in its north-west part\n- low platform: tiny rectangular block, placed on the roof terrace, in its south-west part\n- laundry line: thin strip rectangular block, centre area, on the west edge of the rooftop room\n- iron door: tiny rectangular block, centre area, on the south edge of the rooftop room\n- living window: tiny rectangular block, centre area, on the east edge of the rooftop room\n- bedroom window: thin strip rectangular block, north-centre area, on the north edge of the rooftop room\n- entry gate: thin strip rectangular block, placed on the entry yard, in its centre-west part\n- facade windows: thin strip rectangular block, south-centre area, on the north edge of the entry yard (4 in a row)\n- one flat tint rule only, to tell height levels apart, low to high: Ground -> Stair run -> Roof deck -> Rooftop room (darker = higher)"}
{"ts": "2026-07-05 18:52:18", "kind": "img", "engine": "gpt-image-2", "mode": "generate", "tag": "s18_blocks4_gpt", "refs": [], "size": "1536x864", "attempt": 1, "dur_s": 77.1, "bytes": 972848, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/blocks4_gpt.png", "prompt": "Draw ONE SCHEMATIC BLOCK DIAGRAM of a real property's layout — the kind\nof flat figure a computer program draws: strict TOP-DOWN 2D, plain\nsolid-colour rectangles and circles on a plain light background, uniform\nthin dark outlines. ABSOLUTELY FLAT: no bevels, no edge highlights, no\ngradients, no shadows, no shading, no texture, no perspective, no 3D\nfeel of any kind — every block is one uniform colour region with a plain\noutline. PURPOSE: structural comprehension only. Every building is ONE\nsolid block — never any interior rooms, inner walls or furniture.\nNo text, letters, numbers, labels, markers, legend or compass anywhere.\nNo people, no props, no vehicles.\n\nSTRUCTURE (relative positions, sizes, key arrangement):\n- street road: thin strip rectangular block, south-centre area\n- narrow alley: thin strip rectangular block, centre-west area\n- entry yard: thin strip rectangular block, south-centre area\n- villa mass: large rectangular block, centre area\n- roof terrace: large rectangular block, placed on the villa mass, in its centre part\n- rooftop room: medium rectangular block, placed on the roof terrace, in its centre part\n- concrete stair: thin strip rectangular block, south-east area, connecting the ground level up to the deck level\n- low wall: thin strip rectangular block, placed on the roof terrace, in its south-centre part\n- neighbor block: medium rectangular block, north-west area, plain simplified block\n- rear neighbor: medium rectangular block, north-centre area, plain simplified block\n- side neighbor: thin strip rectangular block, centre-east area, plain simplified block\n- water tank: tiny round block, placed on the roof terrace, in its north-west part\n- low platform: tiny rectangular block, placed on the roof terrace, in its south-west part\n- laundry line: thin strip rectangular block, centre area, on the west edge of the rooftop room\n- iron door: tiny rectangular block, centre area, on the south edge of the rooftop room\n- living window: tiny rectangular block, centre area, on the east edge of the rooftop room\n- bedroom window: thin strip rectangular block, north-centre area, on the north edge of the rooftop room\n- entry gate: thin strip rectangular block, placed on the entry yard, in its centre-west part\n- facade windows: thin strip rectangular block, south-centre area, on the north edge of the entry yard (4 in a row)\n- one flat tint rule only, to tell height levels apart, low to high: Ground -> Stair run -> Roof deck -> Rooftop room (darker = higher)"}
{"ts": "2026-07-05 18:52:37", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s18_fp2_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/blocks4_nb2.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/b0ad5c18-5140-4022-a2b0-805de0e5a385/episodes/0d30302a-51c8-4ac9-98e2-6cd9180512bf/images/floor_plan/fp_l04_rooftop_room_main.png"], "ref_labels": ["BLOCK REFERENCE (what exists + approximate arrangement only) — never trace its shapes; fill colours encode height layers only.", "DRAFTING STYLE REFERENCE (an interior floor plan) — copy ONLY its drawing style: line weight, flat fills, plan symbols. Never its rooms, furniture, numbers or content."], "attempt": 1, "dur_s": 19.2, "bytes": 1690210, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/fp2_nb2.png", "prompt": "The FIRST attached image is a rough BLOCK REFERENCE of one real\nproperty: it tells you only WHAT exists and the APPROXIMATE\narrangement. Do NOT trace or copy its composition, block shapes,\nproportions or spacing — compose the site plan yourself so the\nplace reads as a real, believable property that satisfies the\nfacts below. Its fill colours encode height layers only.\n\nTHE PLACE (authored description — the content ground truth):\nBUILDING: The main building is an old multifamily villa block, drawn as an assumed three-storey body below the rooftop unit because the script only states an old villa with a rooftop room. Its mass is a plain rectangular concrete volume set behind an entry yard. The roof is flat and usable as a cement-surfaced terrace. The front facade facing the yard should show four repeated window bays per storey, matching the extracted layout’s inferred facade-window rhythm.\nTOP UNIT & DECK: The topmost enclosed unit is a small, old rooftop dwelling set on the flat terrace, drawn as a simple rectangular shell. Its boundary openings are one iron entrance door facing the stair landing, one small living-room window on a side wall, and one bedroom window on another wall. Around it, the open deck has a low concrete parapet or wall, a round water tank, a fixed laundry line, and a low platform on the cement surface.\nGROUNDS: At ground level, a street edge feeds a narrow alley along the left side, leading to a single entry gate and a small recessed yard at the villa entrance. Neighboring building masses close the rear and sides, making the approach compact. From the yard’s back corner, a later-added exterior steel stair is fixed to the outside wall, with open treads, thin stringers, support posts, and a pipe handrail, continuing up to the rooftop terrace and iron-door landing.\nTHE PLAN MUST SHOW: The finished top-down site plan should show a rectangular villa mass centered behind the yard, with its flat roof terrace visible as the primary upper surface. Place the rooftop room as a smaller rectangle on the terrace, with one door toward the stair landing and two windows on separate sides. Draw the left alley, entry gate, recessed yard, surrounding neighbor blocks, low roof wall, fixed rooftop fixtures, and the retrofitted steel stair as a separate exterior structure attached to the building wall.\n\nLAYOUT RELATIONS (approximate — honour what exists and rough relations, NOT exact geometry):\n- height layers, low to high: Ground h=0 (lightest), Stair run h=1.5 (mid 1), Roof deck h=3 (mid 2), Rooftop room h=4 (darkest). Darker fill = higher.\n- street road [road] — south-centre area; height: Ground\n- narrow alley [alley] — centre-west area; height: Ground\n- entry yard [yard] — south-centre area; height: Ground\n- villa mass [building_mass] — centre area; height: Roof deck\n- roof terrace [terrace] — placed on the villa mass, in its centre part; height: Roof deck\n- rooftop room [upper_shell] — placed on the roof terrace, in its centre part; height: Rooftop room\n- steel retrofit stair [stair] — south-east area; height: Stair run\n- low wall [wall] — placed on the roof terrace, in its south-centre part; height: Roof deck\n- neighbor block [neighbor_mass] — north-west area; height: Roof deck\n- rear neighbor [neighbor_mass] — north-centre area; height: Roof deck\n- side neighbor [neighbor_mass] — centre-east area; height: Roof deck\n- water tank [fixture_round] — placed on the roof terrace, in its north-west part; height: Roof deck round\n- low platform [fixture_rect] — placed on the roof terrace, in its south-west part; height: Roof deck\n- laundry line [equipment] — centre area, on the west edge of the rooftop room; height: Roof deck\n- iron door [door] — centre area, on the south edge of the rooftop room; height: Rooftop room\n- living window [window] — centre area, on the east edge of the rooftop room; height: Rooftop room\n- bedroom window [window] — north-centre area, on the north edge of the rooftop room; height: Rooftop room\n- entry gate [gate] — placed on the entry yard, in its centre-west part; height: Ground\n- facade windows [window] — south-centre area, on the north edge of the entry yard, 4 windows for the whole facade — distribute them across the building's storeys with clear wall between each (never fused edge-to-edge, never one tight row); height: Roof deck\n- any facade windows sit apart with clear wall between them, aligned to the building's real storeys — never touching.\n- CORRECTION (production owner): the exterior stair element is an ADDED-ON STEEL stair retrofitted later onto its building's outside wall — open treads, thin steel stringers and support posts, pipe handrail, visibly a separate later addition to the building. It is NOT concrete or cement; this supersedes any cement/concrete stair mention elsewhere in the data.\n\nThe LAST attached image is an interior floor plan from the same\nproduction — use it ONLY as the DRAFTING-STYLE reference (line weight,\nfill language, symbol vocabulary). Never copy its rooms or content.\n\nDraw ONE strict TOP-DOWN 2D architectural SITE PLAN in the drafting\nlanguage of a clean floor plan — thin dark outlines, flat muted colour\nfills, detailed plan symbols (double-line walls, door leaf + swing arc,\nwindow frames set in walls, stair treads with stringers and landings,\nbase rings for round fixtures, paving joints, kerb lines). Height\nlevels appear only as flat fill tints (darker = higher). Flat\northographic plan view: NO 3D, NO axonometric, NO perspective, no\nshadows. Neutral document: no people, no story props, no vehicles, no\nposted papers, no text, no letters, no numbers, no markers, no legend,\nno compass. Never expose interior rooms or furniture of any enclosed\nunit — outer shell and boundary openings only."}
{"ts": "2026-07-05 18:54:16", "kind": "img", "engine": "gpt-image-2", "mode": "edit", "tag": "s18_fp2_gpt", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/blocks4_nb2.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/b0ad5c18-5140-4022-a2b0-805de0e5a385/episodes/0d30302a-51c8-4ac9-98e2-6cd9180512bf/images/floor_plan/fp_l04_rooftop_room_main.png"], "size": "1536x864", "attempt": 1, "dur_s": 99.0, "bytes": 1789584, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/fp2_gpt.png", "prompt": "The FIRST attached image is a rough BLOCK REFERENCE of one real\nproperty: it tells you only WHAT exists and the APPROXIMATE\narrangement. Do NOT trace or copy its composition, block shapes,\nproportions or spacing — compose the site plan yourself so the\nplace reads as a real, believable property that satisfies the\nfacts below. Its fill colours encode height layers only.\n\nTHE PLACE (authored description — the content ground truth):\nBUILDING: The main building is an old multifamily villa block, drawn as an assumed three-storey body below the rooftop unit because the script only states an old villa with a rooftop room. Its mass is a plain rectangular concrete volume set behind an entry yard. The roof is flat and usable as a cement-surfaced terrace. The front facade facing the yard should show four repeated window bays per storey, matching the extracted layout’s inferred facade-window rhythm.\nTOP UNIT & DECK: The topmost enclosed unit is a small, old rooftop dwelling set on the flat terrace, drawn as a simple rectangular shell. Its boundary openings are one iron entrance door facing the stair landing, one small living-room window on a side wall, and one bedroom window on another wall. Around it, the open deck has a low concrete parapet or wall, a round water tank, a fixed laundry line, and a low platform on the cement surface.\nGROUNDS: At ground level, a street edge feeds a narrow alley along the left side, leading to a single entry gate and a small recessed yard at the villa entrance. Neighboring building masses close the rear and sides, making the approach compact. From the yard’s back corner, a later-added exterior steel stair is fixed to the outside wall, with open treads, thin stringers, support posts, and a pipe handrail, continuing up to the rooftop terrace and iron-door landing.\nTHE PLAN MUST SHOW: The finished top-down site plan should show a rectangular villa mass centered behind the yard, with its flat roof terrace visible as the primary upper surface. Place the rooftop room as a smaller rectangle on the terrace, with one door toward the stair landing and two windows on separate sides. Draw the left alley, entry gate, recessed yard, surrounding neighbor blocks, low roof wall, fixed rooftop fixtures, and the retrofitted steel stair as a separate exterior structure attached to the building wall.\n\nLAYOUT RELATIONS (approximate — honour what exists and rough relations, NOT exact geometry):\n- height layers, low to high: Ground h=0 (lightest), Stair run h=1.5 (mid 1), Roof deck h=3 (mid 2), Rooftop room h=4 (darkest). Darker fill = higher.\n- street road [road] — south-centre area; height: Ground\n- narrow alley [alley] — centre-west area; height: Ground\n- entry yard [yard] — south-centre area; height: Ground\n- villa mass [building_mass] — centre area; height: Roof deck\n- roof terrace [terrace] — placed on the villa mass, in its centre part; height: Roof deck\n- rooftop room [upper_shell] — placed on the roof terrace, in its centre part; height: Rooftop room\n- steel retrofit stair [stair] — south-east area; height: Stair run\n- low wall [wall] — placed on the roof terrace, in its south-centre part; height: Roof deck\n- neighbor block [neighbor_mass] — north-west area; height: Roof deck\n- rear neighbor [neighbor_mass] — north-centre area; height: Roof deck\n- side neighbor [neighbor_mass] — centre-east area; height: Roof deck\n- water tank [fixture_round] — placed on the roof terrace, in its north-west part; height: Roof deck round\n- low platform [fixture_rect] — placed on the roof terrace, in its south-west part; height: Roof deck\n- laundry line [equipment] — centre area, on the west edge of the rooftop room; height: Roof deck\n- iron door [door] — centre area, on the south edge of the rooftop room; height: Rooftop room\n- living window [window] — centre area, on the east edge of the rooftop room; height: Rooftop room\n- bedroom window [window] — north-centre area, on the north edge of the rooftop room; height: Rooftop room\n- entry gate [gate] — placed on the entry yard, in its centre-west part; height: Ground\n- facade windows [window] — south-centre area, on the north edge of the entry yard, 4 windows for the whole facade — distribute them across the building's storeys with clear wall between each (never fused edge-to-edge, never one tight row); height: Roof deck\n- any facade windows sit apart with clear wall between them, aligned to the building's real storeys — never touching.\n- CORRECTION (production owner): the exterior stair element is an ADDED-ON STEEL stair retrofitted later onto its building's outside wall — open treads, thin steel stringers and support posts, pipe handrail, visibly a separate later addition to the building. It is NOT concrete or cement; this supersedes any cement/concrete stair mention elsewhere in the data.\n\nThe LAST attached image is an interior floor plan from the same\nproduction — use it ONLY as the DRAFTING-STYLE reference (line weight,\nfill language, symbol vocabulary). Never copy its rooms or content.\n\nDraw ONE strict TOP-DOWN 2D architectural SITE PLAN in the drafting\nlanguage of a clean floor plan — thin dark outlines, flat muted colour\nfills, detailed plan symbols (double-line walls, door leaf + swing arc,\nwindow frames set in walls, stair treads with stringers and landings,\nbase rings for round fixtures, paving joints, kerb lines). Height\nlevels appear only as flat fill tints (darker = higher). Flat\northographic plan view: NO 3D, NO axonometric, NO perspective, no\nshadows. Neutral document: no people, no story props, no vehicles, no\nposted papers, no text, no letters, no numbers, no markers, no legend,\nno compass. Never expose interior rooms or furniture of any enclosed\nunit — outer shell and boundary openings only."}
{"ts": "2026-07-05 18:54:16", "kind": "stage", "stage": "s18_blocks_lean", "done": "all"}
{"ts": "2026-07-05 19:15:32", "kind": "llm", "step": "s19_spatial_extract", "model": "gpt", "dur_s": 64.7, "system_prompt": "You are analysing ONE real filming location from the FULL ORIGINAL\nSCENE TEXTS and place-member data given below. Write its SPATIAL\nSTRUCTURE the way a person perceives a space — relationships, not an\ninventory of parts:\n\n- CONTAINMENT: what stands on / sits inside what (ground, building,\n  open decks, units, fixtures).\n- RELATIVE POSITION: which part of its parent each thing occupies\n  (front/back, left/right, corner/edge/centre). Pick ONE consistent\n  viewpoint for the whole property and keep it throughout.\n- RELATIVE SIZE: rough share of the parent (about a third of the deck,\n  a one-room hut, a stride wide). NO coordinates, NO metric dimensions.\n- LEVELS & HEIGHT: how many storeys the building has (estimate when the\n  text is silent — put it in the inferred notes), which level each open\n  area or unit sits on, what is higher than what.\n- SPACING: roughly how far apart neighbouring things are (steps, arm\n  spans), and what directly touches or abuts what.\n- CIRCULATION: the path a person walks through the property\n  (street -> entrance -> ... -> top), naming which side each link is on.\n\nRules:\n- One spatial fact per line, plain present tense, roughly 8-18 words.\n- Keep it LEAN: 12-22 lines covering every permanent structure the\n  scenes rely on — nothing else.\n- Never define or describe what things are: no materials, colours,\n  mood, story props, people. Names + spatial relations only.\n- Never reveal the interior room layout of any enclosed unit.\n- spatial_layout_ko: the same lines in Korean, same order.\n- evidence: for facts grounded in the texts, cite source (scene index /\n  member id) + the exact quote. Assumptions go to inferred_notes.\n- A creator-correction block, when present, overrides the scene texts.", "user_prompt": "CREATOR CORRECTIONS (override the scene texts where they conflict):\n- CORRECTION (production owner): the exterior stair element is an ADDED-ON STEEL stair retrofitted later onto its building's outside wall — open treads, thin steel stringers and support posts, pipe handrail, visibly a separate later addition to the building. It is NOT concrete or cement; this supersedes any cement/concrete stair mention elsewhere in the data.\n\nPLACE MEMBERS (production data):\n- 인천 변두리 낡은 빌라 옥탑방 옥상·현관 앞 외부: 낡은 다세대 빌라 꼭대기에 위치한 야외 공간. 물탱크, 흔들리는 빨랫줄, 평상 위 약초 건조 흔적, 낡은 철문 현관이 있다. (특징: 낡은 시멘트 바닥; 물탱크; 바람에 날리는 빨랫줄; 평상과 널려 있는 말린 약초(석창포); 전단지가 끼워진 철문 현관)\n- 옥탑방 내부: 작은 창문으로 빛이 들어오는 낡은 주거 공간. 싱크대, 식탁, TV가 있는 거실과 침대, 커튼, 거울 등이 있는 방/욕실로 구성된다. 약초 끓이는 냄비 등 생활 소품이 있으며, 간헐적으로 벽면에 붉은 원 형태의 환영과 핏자국이 생겨난다. (특징: 작은 창문의 햇살; 싱크대와 약초(석창포); 가스레인지 위 끓는 냄비와 수증기; 거실 TV와 스탠드; 침대, 커튼, 거울; 벽과 거울 표면에 나타나는 붉은 원 환영; 바닥과 벽의 핏자국 (특정 시점); 어지럽혀진 가재도구 (특정 시점))\n- 옥탑방 외곽 골목·시멘트 계단: 다세대 빌라 마당의 후미진 구석과 옥탑방으로 올라가는 가파르고 낡은 시멘트 계단. (특징: 다세대 빌라 입구 마당; 후미진 구석 공간; 낡고 가파른 시멘트 계단)\n\nFULL ORIGINAL SCENE TEXTS (every scene at this place):\n\n=== SCENE 4 FULL TEXT ===\nS#4. 옥탑방 / D\n인천 변두리 부감, 오래된 빌라 옥탑방 전경.\n기자(E)\n지역 주민들 사이에 횡행한 소문이 돌고 있지만, 경찰은 범인의 윤곽조차 잡지 못하고 있어 지역주민들의 불안과 두려움을 더 키우는 모양새입니다.\n\n\n\n=== SCENE 5 FULL TEXT ===\nS#5. 옥탑방 안 / 실내\n거실에 난 작은 창으로 햇살에 가늘게 비친다. 싱크대 수도꼭지에 흐르는 물, 씻다 만 약초(석창포). 냄비의 물이 끓어 달그락거리는 소리… 김이 피어오르고. 앞치마를 두른 채 TV 뉴스를 뚫어지게 바라보는 민숙(수리영 엄마. 40세) 표정이 어둡다. (뉴스멘트는 작아졌다 커졌다 반복하면서 여기까지 이어진다)\n딸, 수리영(21. 애완동물미용학과 2년)이 방문을 열고 기지개를 켜며 나오자 후다닥 TV를 끄는 민숙. 다정한 말투로\n수리영\n(심드렁) 뭐~야. 사건 났어? 뭔데.\n민숙\n아냐.\n수리영\n(식탁에 앉으며) 이모 또 야근하겠네. 조그만 도시에 왠 사건이 이렇게 많아. 바다가 가까워서 그런가.\n민숙\n신경 꺼. (석창포 달인 물을 따라주면서) 마셔. 방학인데 왜 더 자지않고.\n수리영\n(마시고 나서) 아, 진짜 맛 없어...(투정) 나 알바 있어, 엄마. 원장님이 하루만 봐 달래.\n(cut to.)\n가벼운 차림새. 수리영 신발을 신으며\n수리영\n엄마는 오늘 안 나가?\n민숙\n이따가 1시 타임.\n수리영\n(엄마의 냄새를 맡으며) 아, 좋다. 끝나고 마트로 갈게. 모처럼 밖에서 저녁먹자 엄마.\n민숙\n응 (미소)\n힐끗, 민숙 손목에 보이는 작은 원(이하 표식)을 본다. 오늘따라 유난히 또렷해 보이지만 워낙 어릴 적부터 봐온 터라 개의치 않는.\n\n\n\n=== SCENE 10 FULL TEXT ===\nS#10. 옥탑방 / N\n그 시각. 옥탑방 옥상. 물탱크. 바람에 빨랫줄이 툭- 툭- 평상에 놓인 말린 석창포가 바람에 날리는데... 말린 잎이 걸어오는 낯선 남자의 신발 위를 스친다. 남자의 긴 그림자. (얼굴은 보이지 않는다)\n신발은 옥탑방 철문 현관 앞에 멈춰 선다. 문틈에 낀 광고 전단지. 전단지를 뽑아서 손가락으로 문틈에 꾹 밀어 넣는다. ‘철컥’ 하고 잠금 새가 풀리는 소리. 문이 미세하게 열리고 안으로 들어가는 남자.\n창문에 비친 그림자. 민숙을 덮쳐 어깨를 물어뜯는 듯한 모습 ‘아악-’\n\n\n\n=== SCENE 11 FULL TEXT ===\nS#11. 옥탑 방 밖 / N\n자전거를 타고 골목길을 달리는 수리영. 다세대 빌라 문을 열고 들어와 마당 후미진 곳에 자전거를 대충 세우고, 옥탑방과 연결되는 계단을 급히 오른다.\n갑자기 훅- 느껴지는 역겨운 냄새. 뭐지? 옥상에 올라와 보니 반쯤 열린 현관 철문.\n\n\n\n=== SCENE 12 FULL TEXT ===\nS#12. 옥탑방 안 / N\n/거실\n‘엄마?’를 부르며 들어오는 수리영, 끓다 식은 냄비. 켜져 있는 TV. 희미한 거실 스탠드 불빛,\n/민숙 방\n안방 문을 여는데... 없다. 거실 식탁에 놓여있는 찻잔 두 개. 하나는 엎어져있다.\n/수리영 방\n마지막으로 자기 방문을 연다 헉!- 여기저기 핏자국. 바닥에 흥건한 혈흔. 피묻은 발자국은 커튼으로 이어져 있다 호흡을 가다듬고 커튼을 젖히자 앉은 채로 고개를 떨군 채 죽어있는 엄마- 민숙!!!!\n수리영\n(달려가) 어어어어----엄마\n충격에 온 몸이 얼어붙은 수리영, 살점이 뜯긴 어깨와 쇄골, 마치 동물에게 물어뜯긴 듯한 거친 상처가 고스란히 드러나있다. 덜렁거리는 살점과 뜯겨진 부위에 흘러내리는 피.\n수리영\n(놀라 뒤로 주춤) 어-어-어- 엄마….\n부들부들 떨며 핸드폰을 누른다. 2번 혜수이모\n수리영\n받아, 이모. 받아….\n혜수(E)\n영아, 영아, 왜?\n답은 안 나오고… 엄마 손안에 구겨진 사진 한 장이 보인다. 다가가 사진을 꺼내는데 엄마 손목에 있던 문신이 붉은색으로 변한다. 헉! 호흡이 빨라지고... 침대 위 벽에 붉은 원이 생겨난다 (마치 누군가 붓으로 벽에 원으로 그리는 것처럼). 소름끼치는 으아악---!\n\n\n\n=== SCENE 13 FULL TEXT ===\nS#13. 옥탑방 외곽 / N\n비명을 지르며 옥탑방을 빠져나오는 수리영, 허겁지겁 계단을 내려간다. 동시에 사이렌이 울리고~. (포즈)\n차에서 내린 혜수(40대 중반, 여자, 경위) 초점을 잃고 멍하니 서있는 수리영의 모습을 발견하고 달려간다.\n혜수\n영아? 왜! 무슨 일이야?\n수리영\n(올라다보며) 엄마가, 엄마가... 죽어있어.\n혜수\n(놀라) 뭐?!\n옥탑 방으로 뛰어 올라가는 혜수와 후배 형사(30대 남/ 이하 김형사)\n\n\n\n=== SCENE 14 FULL TEXT ===\nS#14. 옥탑방 안 / N\n/현관\n집안 여기저기를 확인하면서 나오는 형사와 혜수\n김형사\n(허탈한 표정) 없는데.. 아무 것도.\n혜수\n(뒤따라온 수리영에게) 영아, 없어. 뭘 봤는데...?\n어? 수리영, 부리나케 방 안으로 뛰어 들어간다.\n/수리영 방 안\n지나칠 정도로 깨끗하게 정돈된 방안. 핏자국도 보이지 않고, 침대 위에 붉은 표식은 물론 커튼 뒤의 시신도 감쪽 같이 사라졌다. 얼굴이 파리해지는 수리영. ‘어----?’ ‘분명히 봤는데...’\n뛰쳐나가 식탁으로 가본다. 식탁 역시 깨끗한.\n수리영\n여기 찻잔도 두 개 있었고...\n김형사\n(답답) 허 참! 죽은 사람이 발이 달렸을 리도 없고. 쯧쯧 그러게 살인사건은 자세하게 보도하면 안 된다구요...(궁시렁) 이봐요. 학생? 장난전화 하면 안 되는 거 몰라? (짜증) 안 그래도 살인사건으로 난리도 아닌데...\n혜수\n(김형사 째리고) 김형사. 먼저 가 있어. (김형사 나가면) (수리영 어깨를 어루만지며) 영아.\n수리영\n엄마(시신), 어디갔을까? 분명히 봤는데...\n혜수\n네가 요즘 과로했잖아. 공부에다 알바까지... 악몽을 꾼 걸 수도 있으니... 바람이나 쐬러 가자.\n수리영 방안에 놓여진 백팩, 인형. 약간씩 위치가 달라진. (시신을 발견했을 때와 다른)\n\n\n\n=== SCENE 17 FULL TEXT ===\nS#17. 옥탑방 / 동틀무렵\n새벽녘, 고양이 울음소리. 검은 고양이가 불이 켜져 있는 옥탑 방을 슬쩍 보더니 담을 넘는다\n\n\n\n=== SCENE 18 FULL TEXT ===\nS#18. 안방 안 / D\n침대에 머리를 대고 앉아있는 수리영, 밤새 엄마를 기다리다 깜박 졸았다 고양이 울음소리에 번쩍 눈을 뜨고, ‘엄마? ’혹시나 해서 집안을 살피지만 아무런 인기척도 보이지 않는다\n/수리영 방안\n닫혀있는 자신의 방을 바라본다. [F.B: 1부12씬] 커튼 뒤에 죽어있던 엄마. 상처. 혈흔 크게 심호흡하고 조심스럽게 문을 연다. 지나치리만큼 깨끗하게 정돈된 방안. 창문에 다가가 커튼을 확 열어젖힌다. 시신은 없다. 한숨 후~ 다행이긴 한데. 그때, 울리는 폰 벨소리, 화들짝 놀라는 수리영. 달려가 받자마자\n수리영\n엄마?\n혜수(E)\n아직이니?\n수리영\n응. 아무래도 이상해. 이럴 리가 없잖아! 우리 엄마가. 이모, 사고 난 게 분명해\n혜수(E)\n실종신고 냈어. 이모가 엄마 폰 위치추적하고 있으니까 조금만 기다려 별일 없을 거야. 알았지?\n수리영\n응.\n무작정 기다리는게 불안한 수리영, 인형이 달린 자신의 백팩을 꺼내 나온다\n/욕실 안\n얼굴을 씻고 거울을 보며\n수리영\n엄마, 도대체 어딨는 거야...\n거울에 비친 욕실 벽에 갑자기 또 발생하는 붉은 원. 호흡이 가빠지고... 훅 고개를 돌려 벽을 보는 수리영 거짓말처럼 사라지고 없다. 거실로 튀어나와 물 한컵 마시고 식탁에 놓인 엄마와 수리영의 사진을 보는데... 환하게 웃는 엄마 얼굴이 뭉개져 흘러내린다\n수리영\n아아악~~~ (다시보니 멀쩡하다) 나 왜 이러는 거지. (자신의 뺨을 치며) 정신 차려 수리영!\n\n\n\n=== SCENE 25 FULL TEXT ===\nS#25. 옥탑방 안 / 해질 무렵\n누군가 다녀간 흔적으로 보이는 발자국들. 다시 호흡이 가빠지는 수리영. 집안에서 뭔가를 찾기 위해 가재도구를 온통 헤집은 것으로 보인다. 거실에 난 창은 열려있고, 식탁 의자들을 쓰러져있다.\n/수리영 방\n열린 자신의 방을 힐끗 보는데 벽에 또 붉은 원이 그려져있다. 그 가운데 꽂혀있는 피묻은 사진 한 장! 사진을 떼어서 자세히 본다. 어? 그 사진!!!\n[F.B: 1부 12씬] 죽은 엄마의 손에 구겨져있던 바로 그 사진이다. 7-80년대 쯤 보이는 시골 식당과 지붕위에 둥근 원이 설치된 (마치 십자가처럼) 식당 앞에는 어린 여자애 둘(12살)이 앉아있다. 그중에 한 아이는 분명히 어릴 적 엄마다.\n침대에 털썩 주저앉는 수리영. 연속해서 벌어지는 기이한 상황에 정신이 혼미한 엉망이 된 집 안을 한번 획 둘러보는 수리영, 마치 이끌리듯 백팩을 메고 밖으로 나간다. 사진을 손에 꼭 쥔 채.\n\n\n\n=== SCENE 27 FULL TEXT ===\nS#27. 옥탑방 안 / 해질 무렵\n수리영의 녹음메시지를 확인하는 혜수,\n혜수\n너 봤니..본 거니... (김형사에게) 좌표를 보지않았을까?\n김형사\n그럴리가요. (혀를 끌끌 차며) 아이구 쯧쯧. 설사 본들 망망대해에서 뭘 어쩌겠어요. 돌아오겠죠.\n덜커덩 덜커덩. 바람에 현관문 소리. 황량하다.\n\n"}
{"ts": "2026-07-05 19:15:32", "kind": "stage", "stage": "s19_spatial", "done": "llm"}
{"ts": "2026-07-05 19:16:03", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s19_spatial_bd_nb2", "refs": [], "ref_labels": [], "attempt": 1, "dur_s": 13.9, "bytes": 1725671, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/spatial_bd_nb2.png", "prompt": "Draw ONE SCHEMATIC BLOCK DIAGRAM of a real property's layout — the kind\nof flat figure a computer program draws: strict TOP-DOWN 2D, plain\nsolid-colour rectangles and circles on a plain light background, uniform\nthin dark outlines. ABSOLUTELY FLAT: no bevels, no edge highlights, no\ngradients, no shadows, no shading, no texture, no perspective, no 3D\nfeel of any kind — every block is one uniform colour region with a plain\noutline. PURPOSE: structural comprehension only. Every building is ONE\nsolid block — never any interior rooms, inner walls or furniture.\nNo text, letters, numbers, labels, markers, legend or compass anywhere.\nNo people, no props, no vehicles.\n\nSPATIAL LAYOUT — what is where (containment, relative position & size, levels, spacing). Draw exactly these relations as blocks:\n- The villa stands behind the alley gate, with its entrance yard at ground level.\n- The main villa rises about three or four storeys below the rooftop level.\n- The yard fills the front ground approach, and its rear corner stays tucked away.\n- The added-on exterior stair begins at that rear corner against an outside wall.\n- The stair climbs the wall from ground level to the rooftop in a narrow run.\n- The stair top meets the rooftop open deck beside the rooftop room.\n- The rooftop open deck sits on the villa roof, outside the rooftop room.\n- The rooftop room occupies a small share of the roof as one enclosed unit.\n- The entry door is on the unit wall facing the open deck.\n- The door stands a few steps from the stair top across the deck.\n- A small window opens from the unit wall above the rooftop level.\n- The water tank sits on one side of the rooftop open deck.\n- The clothesline stretches across an open part of the deck near the tank.\n- The drying platform sits low on the deck near the clothesline.\n- The stair-to-door path crosses the deck past these rooftop fixtures.\n- From the alley, movement goes through gate, yard, rear stair, deck, then door."}
{"ts": "2026-07-05 19:17:21", "kind": "img", "engine": "gpt-image-2", "mode": "generate", "tag": "s19_spatial_bd_gpt", "refs": [], "size": "1536x864", "attempt": 1, "dur_s": 78.1, "bytes": 1037732, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/spatial_bd_gpt.png", "prompt": "Draw ONE SCHEMATIC BLOCK DIAGRAM of a real property's layout — the kind\nof flat figure a computer program draws: strict TOP-DOWN 2D, plain\nsolid-colour rectangles and circles on a plain light background, uniform\nthin dark outlines. ABSOLUTELY FLAT: no bevels, no edge highlights, no\ngradients, no shadows, no shading, no texture, no perspective, no 3D\nfeel of any kind — every block is one uniform colour region with a plain\noutline. PURPOSE: structural comprehension only. Every building is ONE\nsolid block — never any interior rooms, inner walls or furniture.\nNo text, letters, numbers, labels, markers, legend or compass anywhere.\nNo people, no props, no vehicles.\n\nSPATIAL LAYOUT — what is where (containment, relative position & size, levels, spacing). Draw exactly these relations as blocks:\n- The villa stands behind the alley gate, with its entrance yard at ground level.\n- The main villa rises about three or four storeys below the rooftop level.\n- The yard fills the front ground approach, and its rear corner stays tucked away.\n- The added-on exterior stair begins at that rear corner against an outside wall.\n- The stair climbs the wall from ground level to the rooftop in a narrow run.\n- The stair top meets the rooftop open deck beside the rooftop room.\n- The rooftop open deck sits on the villa roof, outside the rooftop room.\n- The rooftop room occupies a small share of the roof as one enclosed unit.\n- The entry door is on the unit wall facing the open deck.\n- The door stands a few steps from the stair top across the deck.\n- A small window opens from the unit wall above the rooftop level.\n- The water tank sits on one side of the rooftop open deck.\n- The clothesline stretches across an open part of the deck near the tank.\n- The drying platform sits low on the deck near the clothesline.\n- The stair-to-door path crosses the deck past these rooftop fixtures.\n- From the alley, movement goes through gate, yard, rear stair, deck, then door."}
{"ts": "2026-07-05 19:17:41", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s19_spatial_fp_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/projects/b0ad5c18-5140-4022-a2b0-805de0e5a385/episodes/0d30302a-51c8-4ac9-98e2-6cd9180512bf/images/floor_plan/fp_l04_rooftop_room_main.png"], "ref_labels": ["DRAFTING STYLE REFERENCE (an interior floor plan) — copy ONLY its drawing style: line weight, flat fills, plan symbols. Never its rooms, furniture, numbers or content."], "attempt": 1, "dur_s": 19.5, "bytes": 1525221, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/spatial_fp_nb2.png", "prompt": "SPATIAL LAYOUT — what is where (containment, relative position & size, levels, spacing). Honour every relation below; compose the exact plan geometry yourself:\n- The villa stands behind the alley gate, with its entrance yard at ground level.\n- The main villa rises about three or four storeys below the rooftop level.\n- The yard fills the front ground approach, and its rear corner stays tucked away.\n- The added-on exterior stair begins at that rear corner against an outside wall.\n- The stair climbs the wall from ground level to the rooftop in a narrow run.\n- The stair top meets the rooftop open deck beside the rooftop room.\n- The rooftop open deck sits on the villa roof, outside the rooftop room.\n- The rooftop room occupies a small share of the roof as one enclosed unit.\n- The entry door is on the unit wall facing the open deck.\n- The door stands a few steps from the stair top across the deck.\n- A small window opens from the unit wall above the rooftop level.\n- The water tank sits on one side of the rooftop open deck.\n- The clothesline stretches across an open part of the deck near the tank.\n- The drying platform sits low on the deck near the clothesline.\n- The stair-to-door path crosses the deck past these rooftop fixtures.\n- From the alley, movement goes through gate, yard, rear stair, deck, then door.\n\nThe LAST attached image is an interior floor plan from the same\nproduction — use it ONLY as the DRAFTING-STYLE reference (line weight,\nfill language, symbol vocabulary). Never copy its rooms or content.\n\nDraw ONE strict TOP-DOWN 2D architectural SITE PLAN in the drafting\nlanguage of a clean floor plan — thin dark outlines, flat muted colour\nfills, detailed plan symbols (double-line walls, door leaf + swing arc,\nwindow frames set in walls, stair treads with stringers and landings,\nbase rings for round fixtures, paving joints, kerb lines). Height\nlevels appear only as flat fill tints (darker = higher). Flat\northographic plan view: NO 3D, NO axonometric, NO perspective, no\nshadows. Neutral document: no people, no story props, no vehicles, no\nposted papers, no text, no letters, no numbers, no markers, no legend,\nno compass. Never expose interior rooms or furniture of any enclosed\nunit — outer shell and boundary openings only."}
{"ts": "2026-07-05 19:19:31", "kind": "img", "engine": "gpt-image-2", "mode": "edit", "tag": "s19_spatial_fp_gpt", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/projects/b0ad5c18-5140-4022-a2b0-805de0e5a385/episodes/0d30302a-51c8-4ac9-98e2-6cd9180512bf/images/floor_plan/fp_l04_rooftop_room_main.png"], "size": "1536x864", "attempt": 1, "dur_s": 110.6, "bytes": 1816729, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/spatial_fp_gpt.png", "prompt": "SPATIAL LAYOUT — what is where (containment, relative position & size, levels, spacing). Honour every relation below; compose the exact plan geometry yourself:\n- The villa stands behind the alley gate, with its entrance yard at ground level.\n- The main villa rises about three or four storeys below the rooftop level.\n- The yard fills the front ground approach, and its rear corner stays tucked away.\n- The added-on exterior stair begins at that rear corner against an outside wall.\n- The stair climbs the wall from ground level to the rooftop in a narrow run.\n- The stair top meets the rooftop open deck beside the rooftop room.\n- The rooftop open deck sits on the villa roof, outside the rooftop room.\n- The rooftop room occupies a small share of the roof as one enclosed unit.\n- The entry door is on the unit wall facing the open deck.\n- The door stands a few steps from the stair top across the deck.\n- A small window opens from the unit wall above the rooftop level.\n- The water tank sits on one side of the rooftop open deck.\n- The clothesline stretches across an open part of the deck near the tank.\n- The drying platform sits low on the deck near the clothesline.\n- The stair-to-door path crosses the deck past these rooftop fixtures.\n- From the alley, movement goes through gate, yard, rear stair, deck, then door.\n\nThe LAST attached image is an interior floor plan from the same\nproduction — use it ONLY as the DRAFTING-STYLE reference (line weight,\nfill language, symbol vocabulary). Never copy its rooms or content.\n\nDraw ONE strict TOP-DOWN 2D architectural SITE PLAN in the drafting\nlanguage of a clean floor plan — thin dark outlines, flat muted colour\nfills, detailed plan symbols (double-line walls, door leaf + swing arc,\nwindow frames set in walls, stair treads with stringers and landings,\nbase rings for round fixtures, paving joints, kerb lines). Height\nlevels appear only as flat fill tints (darker = higher). Flat\northographic plan view: NO 3D, NO axonometric, NO perspective, no\nshadows. Neutral document: no people, no story props, no vehicles, no\nposted papers, no text, no letters, no numbers, no markers, no legend,\nno compass. Never expose interior rooms or furniture of any enclosed\nunit — outer shell and boundary openings only."}
{"ts": "2026-07-05 19:19:31", "kind": "stage", "stage": "s19_spatial", "done": "images"}
{"ts": "2026-07-05 19:30:38", "kind": "stage", "stage": "s19_spatial", "done": "html"}
{"ts": "2026-07-05 20:02:50", "kind": "llm", "step": "s20_number_assign", "model": "gpt", "dur_s": 22.2, "system_prompt": "You are given the STRUCTURE lines of an image-generation prompt for a\nflat schematic block diagram — one element per line, each line naming\nthe element and its spatial relations.\n\nTask: assign a number (1..N) to every element line, in a sensible\nstructural order (large ground/container blocks first, then what sits\non them, then attached openings and small fixtures). Rewrite every\nline so that:\n- the line STARTS with its number,\n- element NAMES never appear — when a line refers to another element\n  (placed on X / on the north edge of X), refer to it by that\n  element's number instead (e.g. 'placed on block 4, in its centre\n  part').\n- every spatial relation, size word, shape word and count stays\n  EXACTLY as given — change nothing but names -> numbers.\nAlso output a legend mapping each number to the original element name\n(exactly as written in its line).", "user_prompt": "STRUCTURE lines:\n- street road: thin strip rectangular block, south-centre area\n- narrow alley: thin strip rectangular block, centre-west area\n- entry yard: thin strip rectangular block, south-centre area\n- villa mass: large rectangular block, centre area\n- roof terrace: large rectangular block, placed on the villa mass, in its centre part\n- rooftop room: medium rectangular block, placed on the roof terrace, in its centre part\n- concrete stair: thin strip rectangular block, south-east area, connecting the ground level up to the deck level\n- low wall: thin strip rectangular block, placed on the roof terrace, in its south-centre part\n- neighbor block: medium rectangular block, north-west area, plain simplified block\n- rear neighbor: medium rectangular block, north-centre area, plain simplified block\n- side neighbor: thin strip rectangular block, centre-east area, plain simplified block\n- water tank: tiny round block, placed on the roof terrace, in its north-west part\n- low platform: tiny rectangular block, placed on the roof terrace, in its south-west part\n- laundry line: thin strip rectangular block, centre area, on the west edge of the rooftop room\n- iron door: tiny rectangular block, centre area, on the south edge of the rooftop room\n- living window: tiny rectangular block, centre area, on the east edge of the rooftop room\n- bedroom window: thin strip rectangular block, north-centre area, on the north edge of the rooftop room\n- entry gate: thin strip rectangular block, placed on the entry yard, in its centre-west part\n- facade windows: thin strip rectangular block, south-centre area, on the north edge of the entry yard (4 in a row)\n- one flat tint rule only, to tell height levels apart, low to high: Ground -> Stair run -> Roof deck -> Rooftop room (darker = higher)"}
{"ts": "2026-07-05 20:02:50", "kind": "stage", "stage": "s20_numbered_bd", "done": "llm"}
{"ts": "2026-07-05 20:03:22", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s20_numbered_bd_nb2", "refs": [], "ref_labels": [], "attempt": 1, "dur_s": 14.2, "bytes": 1820001, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/numbered_bd_nb2.png", "prompt": "Draw ONE SCHEMATIC BLOCK DIAGRAM of a real property's layout — the kind\nof flat figure a computer program draws: strict TOP-DOWN 2D, plain\nsolid-colour rectangles and circles on a plain light background, uniform\nthin dark outlines. ABSOLUTELY FLAT: no bevels, no edge highlights, no\ngradients, no shadows, no shading, no texture, no perspective, no 3D\nfeel of any kind — every block is one uniform colour region with a plain\noutline. PURPOSE: structural comprehension only. Every building is ONE\nsolid block — never any interior rooms, inner walls or furniture.\nEach block shows ONLY its assigned number, drawn once as a small plain dark numeral on (or beside) that block; apart from these numerals there is no other text: no letters, no words, no names, no labels, no legend, no compass anywhere.\nNo people, no props, no vehicles.\n\nSTRUCTURE (relative positions, sizes, key arrangement):\n1 thin strip rectangular block, south-centre area\n2 thin strip rectangular block, centre-west area\n3 thin strip rectangular block, south-centre area\n4 large rectangular block, centre area\n5 medium rectangular block, north-west area, plain simplified block\n6 medium rectangular block, north-centre area, plain simplified block\n7 thin strip rectangular block, centre-east area, plain simplified block\n8 thin strip rectangular block, south-east area, connecting the ground level up to the deck level\n9 large rectangular block, placed on block 4, in its centre part\n10 medium rectangular block, placed on block 9, in its centre part\n11 thin strip rectangular block, placed on block 9, in its south-centre part\n12 tiny round block, placed on block 9, in its north-west part\n13 tiny rectangular block, placed on block 9, in its south-west part\n14 thin strip rectangular block, placed on block 3, in its centre-west part\n15 thin strip rectangular block, south-centre area, on the north edge of block 3 (4 in a row)\n16 thin strip rectangular block, centre area, on the west edge of block 10\n17 tiny rectangular block, centre area, on the south edge of block 10\n18 tiny rectangular block, centre area, on the east edge of block 10\n19 thin strip rectangular block, north-centre area, on the north edge of block 10\n20 Ground -> block 8 -> block 9 -> block 10 (darker = higher)"}
{"ts": "2026-07-05 20:03:22", "kind": "stage", "stage": "s20_numbered_bd", "done": "image"}
{"ts": "2026-07-05 20:10:29", "kind": "llm", "step": "s20_number_assign", "model": "gpt", "dur_s": 18.0, "system_prompt": "You are given the STRUCTURE lines of an image-generation prompt for a\nflat schematic block diagram — one element per line, each line naming\nthe element and its spatial relations.\n\nTask: assign a number (1..N) to every element line, in a sensible\nstructural order (large ground/container blocks first, then what sits\non them, then attached openings and small fixtures). Rewrite every\nline so that:\n- the line STARTS with its number,\n- element NAMES never appear — when a line refers to another element\n  (placed on X / on the north edge of X), refer to it by that\n  element's number instead (e.g. 'placed on block 4, in its centre\n  part').\n- every spatial relation, size word, shape word and count stays\n  EXACTLY as given — change nothing but names -> numbers.\nAlso output a legend mapping each number to the original element name\n(exactly as written in its line).", "user_prompt": "STRUCTURE lines:\n- street road: thin strip rectangular block, south-centre area\n- narrow alley: thin strip rectangular block, centre-west area\n- entry yard: thin strip rectangular block, south-centre area\n- villa mass: large rectangular block, centre area\n- roof terrace: large rectangular block, placed on the villa mass, in its centre part\n- rooftop room: medium rectangular block, placed on the roof terrace, in its centre part\n- stair: thin strip rectangular block, south-east area, connecting the ground level up to the deck level\n- low wall: thin strip rectangular block, placed on the roof terrace, in its south-centre part\n- neighbor block: medium rectangular block, north-west area, plain simplified block\n- rear neighbor: medium rectangular block, north-centre area, plain simplified block\n- side neighbor: thin strip rectangular block, centre-east area, plain simplified block\n- water tank: tiny round block, placed on the roof terrace, in its north-west part\n- low platform: tiny rectangular block, placed on the roof terrace, in its south-west part\n- laundry line: thin strip rectangular block, centre area, on the west edge of the rooftop room\n- iron door: tiny rectangular block, centre area, on the south edge of the rooftop room\n- living window: tiny rectangular block, centre area, on the east edge of the rooftop room\n- bedroom window: thin strip rectangular block, north-centre area, on the north edge of the rooftop room\n- entry gate: thin strip rectangular block, placed on the entry yard, in its centre-west part\n- facade windows: thin strip rectangular block, south-centre area, on the north edge of the entry yard (4 in a row)\n- one flat tint rule only, to tell height levels apart, low to high: Ground -> Stair run -> Roof deck -> Rooftop room (darker = higher)"}
{"ts": "2026-07-05 20:10:44", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s20_numbered_bd_nb2", "refs": [], "ref_labels": [], "attempt": 1, "dur_s": 14.8, "bytes": 1926703, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/numbered_bd_nb2.png", "prompt": "Draw ONE SCHEMATIC BLOCK DIAGRAM of a real property's layout — the kind\nof flat figure a computer program draws: strict TOP-DOWN 2D, plain\nsolid-colour rectangles and circles on a plain light background, uniform\nthin dark outlines. ABSOLUTELY FLAT: no bevels, no edge highlights, no\ngradients, no shadows, no shading, no texture, no perspective, no 3D\nfeel of any kind — every block is one uniform colour region with a plain\noutline. PURPOSE: structural comprehension only. Every building is ONE\nsolid block — never any interior rooms, inner walls or furniture.\nEach block shows ONLY its assigned number, drawn once as a small plain dark numeral on (or beside) that block; apart from these numerals there is no other text: no letters, no words, no names, no labels, no legend, no compass anywhere.\nNo people, no props, no vehicles.\n\nSTRUCTURE (relative positions, sizes, key arrangement):\n1 thin strip rectangular block, south-centre area\n2 thin strip rectangular block, centre-west area\n3 thin strip rectangular block, south-centre area\n4 large rectangular block, centre area\n5 medium rectangular block, north-west area, plain simplified block\n6 medium rectangular block, north-centre area, plain simplified block\n7 thin strip rectangular block, centre-east area, plain simplified block\n8 large rectangular block, placed on block 4, in its centre part\n9 thin strip rectangular block, south-east area, connecting the ground level up to the deck level\n10 medium rectangular block, placed on block 8, in its centre part\n11 thin strip rectangular block, placed on block 8, in its south-centre part\n12 tiny round block, placed on block 8, in its north-west part\n13 tiny rectangular block, placed on block 8, in its south-west part\n14 thin strip rectangular block, placed on block 3, in its centre-west part\n15 thin strip rectangular block, south-centre area, on the north edge of block 3 (4 in a row)\n16 thin strip rectangular block, centre area, on the west edge of block 10\n17 tiny rectangular block, centre area, on the south edge of block 10\n18 tiny rectangular block, centre area, on the east edge of block 10\n19 thin strip rectangular block, north-centre area, on the north edge of block 10\n20 Ground -> block 9 run -> block 8 -> block 10 (darker = higher)"}
{"ts": "2026-07-05 20:10:44", "kind": "stage", "stage": "s20_numbered_bd", "done": "all"}
{"ts": "2026-07-05 20:19:04", "kind": "llm", "step": "s20_number_assign", "model": "gpt", "dur_s": 12.3, "system_prompt": "You are given the STRUCTURE lines of an image-generation prompt for a\nflat schematic block diagram — one element per line, each line naming\nthe element and its spatial relations.\n\nTask: assign a number (1..N) to every element line, in a sensible\nstructural order (large ground/container blocks first, then what sits\non them, then attached openings and small fixtures). Rewrite every\nline so that:\n- the line STARTS with its number,\n- element NAMES never appear — when a line refers to another element\n  (placed on X / on the north edge of X), refer to it by that\n  element's number instead (e.g. 'placed on block 4, in its centre\n  part').\n- every spatial relation, size word, shape word and count stays\n  EXACTLY as given — change nothing but names -> numbers.\nAlso output a legend mapping each number to the original element name\n(exactly as written in its line).", "user_prompt": "STRUCTURE lines:\n- street road: thin strip rectangular block, south-centre area\n- narrow alley: thin strip rectangular block, centre-west area\n- entry yard: thin strip rectangular block, south-centre area\n- villa mass: large rectangular block, centre area\n- roof terrace: large rectangular block, placed on the villa mass, in its centre part\n- rooftop room: medium rectangular block, placed on the roof terrace, in its centre part\n- concrete stair: thin strip rectangular block, south-east area, connecting the ground level up to the deck level\n- low wall: thin strip rectangular block, placed on the roof terrace, in its south-centre part\n- neighbor block: medium rectangular block, north-west area, plain simplified block\n- rear neighbor: medium rectangular block, north-centre area, plain simplified block\n- side neighbor: thin strip rectangular block, centre-east area, plain simplified block\n- water tank: tiny round block, placed on the roof terrace, in its north-west part\n- low platform: tiny rectangular block, placed on the roof terrace, in its south-west part\n- laundry line: thin strip rectangular block, centre area, on the west edge of the rooftop room\n- iron door: tiny rectangular block, centre area, on the south edge of the rooftop room\n- living window: tiny rectangular block, centre area, on the east edge of the rooftop room\n- bedroom window: thin strip rectangular block, north-centre area, on the north edge of the rooftop room\n- entry gate: thin strip rectangular block, placed on the entry yard, in its centre-west part\n- facade windows: thin strip rectangular block, south-centre area, on the north edge of the entry yard (4 in a row)\n- one flat tint rule only, to tell height levels apart, low to high: Ground -> Stair run -> Roof deck -> Rooftop room (darker = higher)"}
{"ts": "2026-07-05 20:19:19", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s20_numbered_bd_nb2", "refs": [], "ref_labels": [], "attempt": 1, "dur_s": 15.4, "bytes": 1849231, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/numbered_bd_nb2.png", "prompt": "Draw ONE SCHEMATIC BLOCK DIAGRAM of a real property's layout — the kind\nof flat figure a computer program draws: strict TOP-DOWN 2D, plain\nsolid-colour rectangles and circles on a plain light background, uniform\nthin dark outlines. ABSOLUTELY FLAT: no bevels, no edge highlights, no\ngradients, no shadows, no shading, no texture, no perspective, no 3D\nfeel of any kind — every block is one uniform colour region with a plain\noutline. PURPOSE: structural comprehension only. Every building is ONE\nsolid block — never any interior rooms, inner walls or furniture.\nEach block shows ONLY its assigned number, drawn once as a small plain dark numeral on (or beside) that block; apart from these numerals there is no other text: no letters, no words, no names, no labels, no legend, no compass anywhere.\nNo people, no props, no vehicles.\n\nSTRUCTURE (relative positions, sizes, key arrangement):\n1 thin strip rectangular block, south-centre area\n2 thin strip rectangular block, centre-west area\n3 thin strip rectangular block, south-centre area\n4 large rectangular block, centre area\n5 medium rectangular block, north-west area, plain simplified block\n6 medium rectangular block, north-centre area, plain simplified block\n7 thin strip rectangular block, centre-east area, plain simplified block\n8 large rectangular block, placed on block 4, in its centre part\n9 medium rectangular block, placed on block 8, in its centre part\n10 thin strip rectangular block, south-east area, connecting the ground level up to the deck level\n11 thin strip rectangular block, placed on block 8, in its south-centre part\n12 tiny round block, placed on block 8, in its north-west part\n13 tiny rectangular block, placed on block 8, in its south-west part\n14 thin strip rectangular block, placed on block 3, in its centre-west part\n15 thin strip rectangular block, south-centre area, on the north edge of block 3 (4 in a row)\n16 thin strip rectangular block, centre area, on the west edge of block 9\n17 tiny rectangular block, centre area, on the south edge of block 9\n18 tiny rectangular block, centre area, on the east edge of block 9\n19 thin strip rectangular block, north-centre area, on the north edge of block 9\n20 Ground -> Stair run -> Roof deck -> block 9 (darker = higher)"}
{"ts": "2026-07-05 20:20:10", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s20_numbered_fp_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/numbered_bd_nb2.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/b0ad5c18-5140-4022-a2b0-805de0e5a385/episodes/0d30302a-51c8-4ac9-98e2-6cd9180512bf/images/floor_plan/fp_l04_rooftop_room_main.png"], "ref_labels": ["BLOCK REFERENCE (what exists + approximate arrangement only) — never trace its shapes; fill colours encode height layers only.", "DRAFTING STYLE REFERENCE (an interior floor plan) — copy ONLY its drawing style: line weight, flat fills, plan symbols. Never its rooms, furniture, numbers or content."], "attempt": 1, "dur_s": 50.8, "bytes": 1620493, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/numbered_fp_nb2.png", "prompt": "The FIRST attached image is a rough BLOCK REFERENCE of one real\nproperty: it tells you only WHAT exists and the APPROXIMATE\narrangement. Do NOT trace or copy its composition, block shapes,\nproportions or spacing — compose the site plan yourself so the\nplace reads as a real, believable property that satisfies the\nfacts below. Its fill colours encode height layers only.\n\nTHE PLACE (authored description — the content ground truth):\nBUILDING: The main building is an old multifamily villa block, drawn as an assumed three-storey body below the rooftop unit because the script only states an old villa with a rooftop room. Its mass is a plain rectangular concrete volume set behind an entry yard. The roof is flat and usable as a cement-surfaced terrace. The front facade facing the yard should show four repeated window bays per storey, matching the extracted layout’s inferred facade-window rhythm.\nTOP UNIT & DECK: The topmost enclosed unit is a small, old rooftop dwelling set on the flat terrace, drawn as a simple rectangular shell. Its boundary openings are one iron entrance door facing the stair landing, one small living-room window on a side wall, and one bedroom window on another wall. Around it, the open deck has a low concrete parapet or wall, a round water tank, a fixed laundry line, and a low platform on the cement surface.\nGROUNDS: At ground level, a street edge feeds a narrow alley along the left side, leading to a single entry gate and a small recessed yard at the villa entrance. Neighboring building masses close the rear and sides, making the approach compact. From the yard’s back corner, a later-added exterior steel stair is fixed to the outside wall, with open treads, thin stringers, support posts, and a pipe handrail, continuing up to the rooftop terrace and iron-door landing.\nTHE PLAN MUST SHOW: The finished top-down site plan should show a rectangular villa mass centered behind the yard, with its flat roof terrace visible as the primary upper surface. Place the rooftop room as a smaller rectangle on the terrace, with one door toward the stair landing and two windows on separate sides. Draw the left alley, entry gate, recessed yard, surrounding neighbor blocks, low roof wall, fixed rooftop fixtures, and the retrofitted steel stair as a separate exterior structure attached to the building wall.\n\nLAYOUT RELATIONS (approximate — honour what exists and rough relations, NOT exact geometry):\n- height layers, low to high: Ground h=0 (lightest), Stair run h=1.5 (mid 1), Roof deck h=3 (mid 2), Rooftop room h=4 (darkest). Darker fill = higher.\n- street road [road] — south-centre area; height: Ground\n- narrow alley [alley] — centre-west area; height: Ground\n- entry yard [yard] — south-centre area; height: Ground\n- villa mass [building_mass] — centre area; height: Roof deck\n- roof terrace [terrace] — placed on the villa mass, in its centre part; height: Roof deck\n- rooftop room [upper_shell] — placed on the roof terrace, in its centre part; height: Rooftop room\n- steel retrofit stair [stair] — south-east area; height: Stair run\n- low wall [wall] — placed on the roof terrace, in its south-centre part; height: Roof deck\n- neighbor block [neighbor_mass] — north-west area; height: Roof deck\n- rear neighbor [neighbor_mass] — north-centre area; height: Roof deck\n- side neighbor [neighbor_mass] — centre-east area; height: Roof deck\n- water tank [fixture_round] — placed on the roof terrace, in its north-west part; height: Roof deck round\n- low platform [fixture_rect] — placed on the roof terrace, in its south-west part; height: Roof deck\n- laundry line [equipment] — centre area, on the west edge of the rooftop room; height: Roof deck\n- iron door [door] — centre area, on the south edge of the rooftop room; height: Rooftop room\n- living window [window] — centre area, on the east edge of the rooftop room; height: Rooftop room\n- bedroom window [window] — north-centre area, on the north edge of the rooftop room; height: Rooftop room\n- entry gate [gate] — placed on the entry yard, in its centre-west part; height: Ground\n- facade windows [window] — south-centre area, on the north edge of the entry yard, 4 windows for the whole facade — distribute them across the building's storeys with clear wall between each (never fused edge-to-edge, never one tight row); height: Roof deck\n- any facade windows sit apart with clear wall between them, aligned to the building's real storeys — never touching.\n- CORRECTION (production owner): the exterior stair element is an ADDED-ON STEEL stair retrofitted later onto its building's outside wall — open treads, thin steel stringers and support posts, pipe handrail, visibly a separate later addition to the building. It is NOT concrete or cement; this supersedes any cement/concrete stair mention elsewhere in the data.\n\nThe LAST attached image is an interior floor plan from the same\nproduction — use it ONLY as the DRAFTING-STYLE reference (line weight,\nfill language, symbol vocabulary). Never copy its rooms or content.\n\nDraw ONE strict TOP-DOWN 2D architectural SITE PLAN in the drafting\nlanguage of a clean floor plan — thin dark outlines, flat muted colour\nfills, detailed plan symbols (double-line walls, door leaf + swing arc,\nwindow frames set in walls, stair treads with stringers and landings,\nbase rings for round fixtures, paving joints, kerb lines). Height\nlevels appear only as flat fill tints (darker = higher). Flat\northographic plan view: NO 3D, NO axonometric, NO perspective, no\nshadows. Neutral document: no people, no story props, no vehicles, no\nposted papers, no text, no letters, no numbers, no markers, no legend,\nno compass. Never expose interior rooms or furniture of any enclosed\nunit — outer shell and boundary openings only."}
{"ts": "2026-07-05 20:22:54", "kind": "img", "engine": "gpt-image-2", "mode": "edit", "tag": "s20_numbered_fp_gpt", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/numbered_bd_nb2.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/b0ad5c18-5140-4022-a2b0-805de0e5a385/episodes/0d30302a-51c8-4ac9-98e2-6cd9180512bf/images/floor_plan/fp_l04_rooftop_room_main.png"], "size": "1536x864", "attempt": 1, "dur_s": 164.6, "bytes": 2000435, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/numbered_fp_gpt.png", "prompt": "The FIRST attached image is a rough BLOCK REFERENCE of one real\nproperty: it tells you only WHAT exists and the APPROXIMATE\narrangement. Do NOT trace or copy its composition, block shapes,\nproportions or spacing — compose the site plan yourself so the\nplace reads as a real, believable property that satisfies the\nfacts below. Its fill colours encode height layers only.\n\nTHE PLACE (authored description — the content ground truth):\nBUILDING: The main building is an old multifamily villa block, drawn as an assumed three-storey body below the rooftop unit because the script only states an old villa with a rooftop room. Its mass is a plain rectangular concrete volume set behind an entry yard. The roof is flat and usable as a cement-surfaced terrace. The front facade facing the yard should show four repeated window bays per storey, matching the extracted layout’s inferred facade-window rhythm.\nTOP UNIT & DECK: The topmost enclosed unit is a small, old rooftop dwelling set on the flat terrace, drawn as a simple rectangular shell. Its boundary openings are one iron entrance door facing the stair landing, one small living-room window on a side wall, and one bedroom window on another wall. Around it, the open deck has a low concrete parapet or wall, a round water tank, a fixed laundry line, and a low platform on the cement surface.\nGROUNDS: At ground level, a street edge feeds a narrow alley along the left side, leading to a single entry gate and a small recessed yard at the villa entrance. Neighboring building masses close the rear and sides, making the approach compact. From the yard’s back corner, a later-added exterior steel stair is fixed to the outside wall, with open treads, thin stringers, support posts, and a pipe handrail, continuing up to the rooftop terrace and iron-door landing.\nTHE PLAN MUST SHOW: The finished top-down site plan should show a rectangular villa mass centered behind the yard, with its flat roof terrace visible as the primary upper surface. Place the rooftop room as a smaller rectangle on the terrace, with one door toward the stair landing and two windows on separate sides. Draw the left alley, entry gate, recessed yard, surrounding neighbor blocks, low roof wall, fixed rooftop fixtures, and the retrofitted steel stair as a separate exterior structure attached to the building wall.\n\nLAYOUT RELATIONS (approximate — honour what exists and rough relations, NOT exact geometry):\n- height layers, low to high: Ground h=0 (lightest), Stair run h=1.5 (mid 1), Roof deck h=3 (mid 2), Rooftop room h=4 (darkest). Darker fill = higher.\n- street road [road] — south-centre area; height: Ground\n- narrow alley [alley] — centre-west area; height: Ground\n- entry yard [yard] — south-centre area; height: Ground\n- villa mass [building_mass] — centre area; height: Roof deck\n- roof terrace [terrace] — placed on the villa mass, in its centre part; height: Roof deck\n- rooftop room [upper_shell] — placed on the roof terrace, in its centre part; height: Rooftop room\n- steel retrofit stair [stair] — south-east area; height: Stair run\n- low wall [wall] — placed on the roof terrace, in its south-centre part; height: Roof deck\n- neighbor block [neighbor_mass] — north-west area; height: Roof deck\n- rear neighbor [neighbor_mass] — north-centre area; height: Roof deck\n- side neighbor [neighbor_mass] — centre-east area; height: Roof deck\n- water tank [fixture_round] — placed on the roof terrace, in its north-west part; height: Roof deck round\n- low platform [fixture_rect] — placed on the roof terrace, in its south-west part; height: Roof deck\n- laundry line [equipment] — centre area, on the west edge of the rooftop room; height: Roof deck\n- iron door [door] — centre area, on the south edge of the rooftop room; height: Rooftop room\n- living window [window] — centre area, on the east edge of the rooftop room; height: Rooftop room\n- bedroom window [window] — north-centre area, on the north edge of the rooftop room; height: Rooftop room\n- entry gate [gate] — placed on the entry yard, in its centre-west part; height: Ground\n- facade windows [window] — south-centre area, on the north edge of the entry yard, 4 windows for the whole facade — distribute them across the building's storeys with clear wall between each (never fused edge-to-edge, never one tight row); height: Roof deck\n- any facade windows sit apart with clear wall between them, aligned to the building's real storeys — never touching.\n- CORRECTION (production owner): the exterior stair element is an ADDED-ON STEEL stair retrofitted later onto its building's outside wall — open treads, thin steel stringers and support posts, pipe handrail, visibly a separate later addition to the building. It is NOT concrete or cement; this supersedes any cement/concrete stair mention elsewhere in the data.\n\nThe LAST attached image is an interior floor plan from the same\nproduction — use it ONLY as the DRAFTING-STYLE reference (line weight,\nfill language, symbol vocabulary). Never copy its rooms or content.\n\nDraw ONE strict TOP-DOWN 2D architectural SITE PLAN in the drafting\nlanguage of a clean floor plan — thin dark outlines, flat muted colour\nfills, detailed plan symbols (double-line walls, door leaf + swing arc,\nwindow frames set in walls, stair treads with stringers and landings,\nbase rings for round fixtures, paving joints, kerb lines). Height\nlevels appear only as flat fill tints (darker = higher). Flat\northographic plan view: NO 3D, NO axonometric, NO perspective, no\nshadows. Neutral document: no people, no story props, no vehicles, no\nposted papers, no text, no letters, no numbers, no markers, no legend,\nno compass. Never expose interior rooms or furniture of any enclosed\nunit — outer shell and boundary openings only."}
{"ts": "2026-07-05 20:22:54", "kind": "stage", "stage": "s20_numbered_bd", "done": "all"}
{"ts": "2026-07-05 20:30:29", "kind": "img", "engine": "gpt-image-2", "mode": "edit", "tag": "s20_numbered_photo_gpt", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/numbered_fp_gpt.png"], "size": "1536x864", "attempt": 1, "dur_s": 112.0, "bytes": 2678688, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/numbered_photo_gpt.png", "prompt": "The FIRST attached image is the property's SITE PLAN — use it\nfor STRUCTURE ONLY: what exists, counts, relative positions and\nconnections. It is a flat drawing: its colours, flat fills and\ngraphic style are NOT materials and must not appear in the\noutput. Compose the real scene freely from that structure.\n\nTHE PLACE (authored description — the content ground truth):\nBUILDING: The main building is an old multifamily villa block, drawn as an assumed three-storey body below the rooftop unit because the script only states an old villa with a rooftop room. Its mass is a plain rectangular concrete volume set behind an entry yard. The roof is flat and usable as a cement-surfaced terrace. The front facade facing the yard should show four repeated window bays per storey, matching the extracted layout’s inferred facade-window rhythm.\nTOP UNIT & DECK: The topmost enclosed unit is a small, old rooftop dwelling set on the flat terrace, drawn as a simple rectangular shell. Its boundary openings are one iron entrance door facing the stair landing, one small living-room window on a side wall, and one bedroom window on another wall. Around it, the open deck has a low concrete parapet or wall, a round water tank, a fixed laundry line, and a low platform on the cement surface.\nGROUNDS: At ground level, a street edge feeds a narrow alley along the left side, leading to a single entry gate and a small recessed yard at the villa entrance. Neighboring building masses close the rear and sides, making the approach compact. From the yard’s back corner, a later-added exterior steel stair is fixed to the outside wall, with open treads, thin stringers, support posts, and a pipe handrail, continuing up to the rooftop terrace and iron-door landing.\nTHE PLAN MUST SHOW: The finished top-down site plan should show a rectangular villa mass centered behind the yard, with its flat roof terrace visible as the primary upper surface. Place the rooftop room as a smaller rectangle on the terrace, with one door toward the stair landing and two windows on separate sides. Draw the left alley, entry gate, recessed yard, surrounding neighbor blocks, low roof wall, fixed rooftop fixtures, and the retrofitted steel stair as a separate exterior structure attached to the building wall.\n\nLAYOUT RELATIONS (approximate — honour what exists and rough relations, NOT exact geometry):\n- height layers, low to high: Ground h=0 (lightest), Stair run h=1.5 (mid 1), Roof deck h=3 (mid 2), Rooftop room h=4 (darkest). Darker fill = higher.\n- (A) street road [road] — south-centre area; height: Ground\n- (B) narrow alley [alley] — centre-west area; height: Ground\n- (C) entry yard [yard] — south-centre area; height: Ground\n- (D) villa mass [building_mass] — centre area; height: Roof deck\n- (E) roof terrace [terrace] — placed on the villa mass, in its centre part; height: Roof deck\n- (F) rooftop room [upper_shell] — placed on the roof terrace, in its centre part; height: Rooftop room\n- (G) steel retrofit stair [stair] — south-east area; height: Stair run\n- (H) low wall [wall] — placed on the roof terrace, in its south-centre part; height: Roof deck\n- (I) neighbor block [neighbor_mass] — north-west area; height: Roof deck\n- (J) rear neighbor [neighbor_mass] — north-centre area; height: Roof deck\n- (K) side neighbor [neighbor_mass] — centre-east area; height: Roof deck\n- (1) water tank [fixture_round] — placed on the roof terrace, in its north-west part; height: Roof deck round\n- (2) low platform [fixture_rect] — placed on the roof terrace, in its south-west part; height: Roof deck\n- (3) laundry line [equipment] — centre area, on the west edge of the rooftop room; height: Roof deck\n- (4) iron door [door] — centre area, on the south edge of the rooftop room; height: Rooftop room\n- (5) living window [window] — centre area, on the east edge of the rooftop room; height: Rooftop room\n- (6) bedroom window [window] — north-centre area, on the north edge of the rooftop room; height: Rooftop room\n- (7) entry gate [gate] — placed on the entry yard, in its centre-west part; height: Ground\n- (8) facade windows [window] — south-centre area, on the north edge of the entry yard, 4 windows for the whole facade — distribute them across the building's storeys with clear wall between each (never fused edge-to-edge, never one tight row); height: Roof deck\n- any facade windows sit apart with clear wall between them, aligned to the building's real storeys — never touching.\n- CORRECTION (production owner): the exterior stair element is an ADDED-ON STEEL stair retrofitted later onto its building's outside wall — open treads, thin steel stringers and support posts, pipe handrail, visibly a separate later addition to the building. It is NOT concrete or cement; this supersedes any cement/concrete stair mention elsewhere in the data.\n\nWHAT THIS PLACE LOOKS LIKE (production data):\n- 인천 변두리 낡은 빌라 옥탑방 옥상·현관 앞 외부: 낡은 다세대 빌라 꼭대기에 위치한 야외 공간. 물탱크, 흔들리는 빨랫줄, 평상 위 약초 건조 흔적, 낡은 철문 현관이 있다. (특징: 낡은 시멘트 바닥; 물탱크; 바람에 날리는 빨랫줄; 평상과 널려 있는 말린 약초(석창포); 전단지가 끼워진 철문 현관)\n- 옥탑방 내부: 작은 창문으로 빛이 들어오는 낡은 주거 공간. 싱크대, 식탁, TV가 있는 거실과 침대, 커튼, 거울 등이 있는 방/욕실로 구성된다. 약초 끓이는 냄비 등 생활 소품이 있으며, 간헐적으로 벽면에 붉은 원 형태의 환영과 핏자국이 생겨난다. (특징: 작은 창문의 햇살; 싱크대와 약초(석창포); 가스레인지 위 끓는 냄비와 수증기; 거실 TV와 스탠드; 침대, 커튼, 거울; 벽과 거울 표면에 나타나는 붉은 원 환영; 바닥과 벽의 핏자국 (특정 시점); 어지럽혀진 가재도구 (특정 시점))\n- 옥탑방 외곽 골목·시멘트 계단: 다세대 빌라 마당의 후미진 구석과 옥탑방으로 올라가는 가파르고 낡은 시멘트 계단. (특징: 다세대 빌라 입구 마당; 후미진 구석 공간; 낡고 가파른 시멘트 계단)\n\nREAL-WORLD APPEARANCE (production owner): render the property as a REAL, EXISTING aged multi-family villa with a rooftop dwelling of the exact regional type the production data describes — the way such buildings actually look there: typical vernacular materials and construction (e.g. aged red-brick or exterior tile cladding on the body, cement mouldings and sills, weathered stucco patches, grime streaks under the parapet, a rusty steel retrofit stair), varied and lived-in. Do NOT render a uniform cement-gray mass, and NEVER copy the site plan's flat drawing colours as building materials.\n\nRender ONE PHOTOREALISTIC bird's-eye location reference of this\nproperty from a high oblique angle tilted about 30 degrees from\nvertical: real built volumes ordered by the described heights\nand storeys, real varied materials per the data.\nNo people in frame, no readable text, letters, numbers, markers\nor legend anywhere, and nothing tied to any specific story\nevent. BUT the place must clearly look LIVED-IN: the ordinary\neveryday traces that real residents of such a place naturally\nleave — you invent them freely; their kind, amount and\nplacement are your choice, true to how this regional building\ntype actually looks inhabited. Avoid a sterile, empty,\nshowroom look. Never expose interior rooms."}
{"ts": "2026-07-05 20:30:47", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s20_numbered_photo_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/numbered_fp_gpt.png"], "ref_labels": ["SITE PLAN (spatial ground truth) — translate to real photographic volumes; never copy its drawing style; no text anywhere."], "attempt": 1, "dur_s": 18.1, "bytes": 3707588, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/numbered_photo_nb2.png", "prompt": "The FIRST attached image is the property's SITE PLAN — use it\nfor STRUCTURE ONLY: what exists, counts, relative positions and\nconnections. It is a flat drawing: its colours, flat fills and\ngraphic style are NOT materials and must not appear in the\noutput. Compose the real scene freely from that structure.\n\nTHE PLACE (authored description — the content ground truth):\nBUILDING: The main building is an old multifamily villa block, drawn as an assumed three-storey body below the rooftop unit because the script only states an old villa with a rooftop room. Its mass is a plain rectangular concrete volume set behind an entry yard. The roof is flat and usable as a cement-surfaced terrace. The front facade facing the yard should show four repeated window bays per storey, matching the extracted layout’s inferred facade-window rhythm.\nTOP UNIT & DECK: The topmost enclosed unit is a small, old rooftop dwelling set on the flat terrace, drawn as a simple rectangular shell. Its boundary openings are one iron entrance door facing the stair landing, one small living-room window on a side wall, and one bedroom window on another wall. Around it, the open deck has a low concrete parapet or wall, a round water tank, a fixed laundry line, and a low platform on the cement surface.\nGROUNDS: At ground level, a street edge feeds a narrow alley along the left side, leading to a single entry gate and a small recessed yard at the villa entrance. Neighboring building masses close the rear and sides, making the approach compact. From the yard’s back corner, a later-added exterior steel stair is fixed to the outside wall, with open treads, thin stringers, support posts, and a pipe handrail, continuing up to the rooftop terrace and iron-door landing.\nTHE PLAN MUST SHOW: The finished top-down site plan should show a rectangular villa mass centered behind the yard, with its flat roof terrace visible as the primary upper surface. Place the rooftop room as a smaller rectangle on the terrace, with one door toward the stair landing and two windows on separate sides. Draw the left alley, entry gate, recessed yard, surrounding neighbor blocks, low roof wall, fixed rooftop fixtures, and the retrofitted steel stair as a separate exterior structure attached to the building wall.\n\nLAYOUT RELATIONS (approximate — honour what exists and rough relations, NOT exact geometry):\n- height layers, low to high: Ground h=0 (lightest), Stair run h=1.5 (mid 1), Roof deck h=3 (mid 2), Rooftop room h=4 (darkest). Darker fill = higher.\n- street road [road] — south-centre area; height: Ground\n- narrow alley [alley] — centre-west area; height: Ground\n- entry yard [yard] — south-centre area; height: Ground\n- villa mass [building_mass] — centre area; height: Roof deck\n- roof terrace [terrace] — placed on the villa mass, in its centre part; height: Roof deck\n- rooftop room [upper_shell] — placed on the roof terrace, in its centre part; height: Rooftop room\n- steel retrofit stair [stair] — south-east area; height: Stair run\n- low wall [wall] — placed on the roof terrace, in its south-centre part; height: Roof deck\n- neighbor block [neighbor_mass] — north-west area; height: Roof deck\n- rear neighbor [neighbor_mass] — north-centre area; height: Roof deck\n- side neighbor [neighbor_mass] — centre-east area; height: Roof deck\n- water tank [fixture_round] — placed on the roof terrace, in its north-west part; height: Roof deck round\n- low platform [fixture_rect] — placed on the roof terrace, in its south-west part; height: Roof deck\n- laundry line [equipment] — centre area, on the west edge of the rooftop room; height: Roof deck\n- iron door [door] — centre area, on the south edge of the rooftop room; height: Rooftop room\n- living window [window] — centre area, on the east edge of the rooftop room; height: Rooftop room\n- bedroom window [window] — north-centre area, on the north edge of the rooftop room; height: Rooftop room\n- entry gate [gate] — placed on the entry yard, in its centre-west part; height: Ground\n- facade windows [window] — south-centre area, on the north edge of the entry yard, 4 windows for the whole facade — distribute them across the building's storeys with clear wall between each (never fused edge-to-edge, never one tight row); height: Roof deck\n- any facade windows sit apart with clear wall between them, aligned to the building's real storeys — never touching.\n- CORRECTION (production owner): the exterior stair element is an ADDED-ON STEEL stair retrofitted later onto its building's outside wall — open treads, thin steel stringers and support posts, pipe handrail, visibly a separate later addition to the building. It is NOT concrete or cement; this supersedes any cement/concrete stair mention elsewhere in the data.\n\nWHAT THIS PLACE LOOKS LIKE (production data):\n- 인천 변두리 낡은 빌라 옥탑방 옥상·현관 앞 외부: 낡은 다세대 빌라 꼭대기에 위치한 야외 공간. 물탱크, 흔들리는 빨랫줄, 평상 위 약초 건조 흔적, 낡은 철문 현관이 있다. (특징: 낡은 시멘트 바닥; 물탱크; 바람에 날리는 빨랫줄; 평상과 널려 있는 말린 약초(석창포); 전단지가 끼워진 철문 현관)\n- 옥탑방 내부: 작은 창문으로 빛이 들어오는 낡은 주거 공간. 싱크대, 식탁, TV가 있는 거실과 침대, 커튼, 거울 등이 있는 방/욕실로 구성된다. 약초 끓이는 냄비 등 생활 소품이 있으며, 간헐적으로 벽면에 붉은 원 형태의 환영과 핏자국이 생겨난다. (특징: 작은 창문의 햇살; 싱크대와 약초(석창포); 가스레인지 위 끓는 냄비와 수증기; 거실 TV와 스탠드; 침대, 커튼, 거울; 벽과 거울 표면에 나타나는 붉은 원 환영; 바닥과 벽의 핏자국 (특정 시점); 어지럽혀진 가재도구 (특정 시점))\n- 옥탑방 외곽 골목·시멘트 계단: 다세대 빌라 마당의 후미진 구석과 옥탑방으로 올라가는 가파르고 낡은 시멘트 계단. (특징: 다세대 빌라 입구 마당; 후미진 구석 공간; 낡고 가파른 시멘트 계단)\n\nREAL-WORLD APPEARANCE (production owner): render the property as a REAL, EXISTING aged multi-family villa with a rooftop dwelling of the exact regional type the production data describes — the way such buildings actually look there: typical vernacular materials and construction (e.g. aged red-brick or exterior tile cladding on the body, cement mouldings and sills, weathered stucco patches, grime streaks under the parapet, a rusty steel retrofit stair), varied and lived-in. Do NOT render a uniform cement-gray mass, and NEVER copy the site plan's flat drawing colours as building materials.\n\nRender ONE PHOTOREALISTIC bird's-eye location reference of this\nproperty from a high oblique angle tilted about 30 degrees from\nvertical: real built volumes ordered by the described heights\nand storeys, real varied materials per the data.\nNo people in frame, no readable text, letters, numbers, markers\nor legend anywhere, and nothing tied to any specific story\nevent. BUT the place must clearly look LIVED-IN: the ordinary\neveryday traces that real residents of such a place naturally\nleave — you invent them freely; their kind, amount and\nplacement are your choice, true to how this regional building\ntype actually looks inhabited. Avoid a sterile, empty,\nshowroom look. Never expose interior rooms."}
{"ts": "2026-07-05 20:30:47", "kind": "stage", "stage": "s20_numbered_bd", "done": "photo"}
{"ts": "2026-07-05 20:40:56", "kind": "llm", "step": "s20_photo_author", "model": "gpt", "dur_s": 18.4, "system_prompt": "You write ONE image-generation prompt (English) for the final\nphotorealistic stage of a location pipeline. The image model will\nreceive your prompt plus ONE attached SITE PLAN drawing (floor-plan\nstyle) of a real property.\n\nThe plan is the single source of truth for WHAT exists and WHERE.\nTherefore your prompt must NOT re-describe, list or count the layout,\nits elements or their positions, and must NOT mention any of the\nplan's annotations, numbers or markers — beyond telling the model the\nattached drawing is a plan to be translated into real built volumes,\nnever copied as flat graphics, colours or text.\n\nYour prompt covers only what the plan cannot say:\n- the place must read as a REAL, LIVED-IN property — inhabited by\n  ordinary residents (weathering, everyday traces; decide the feel,\n  let the model improvise the specifics — do NOT enumerate a fixed\n  list of objects),\n- unpeopled; no readable text or signage anywhere in the image,\n- nothing story-specific — only what any such real place would show,\n- true materials of the regional building type per the production\n  data below (the plan's flat drawing colours are NOT materials),\n- one believable camera (your choice) and ordinary neutral daylight,\n  documentary tone.\nWrite 90-160 words of direct imperative prose.\nphoto_prompt_ko: the same prompt in Korean (for the human reviewer).", "user_prompt": "PLACE DATA (production members):\n- 인천 변두리 낡은 빌라 옥탑방 옥상·현관 앞 외부: 낡은 다세대 빌라 꼭대기에 위치한 야외 공간. 물탱크, 흔들리는 빨랫줄, 평상 위 약초 건조 흔적, 낡은 철문 현관이 있다. (특징: 낡은 시멘트 바닥; 물탱크; 바람에 날리는 빨랫줄; 평상과 널려 있는 말린 약초(석창포); 전단지가 끼워진 철문 현관)\n- 옥탑방 내부: 작은 창문으로 빛이 들어오는 낡은 주거 공간. 싱크대, 식탁, TV가 있는 거실과 침대, 커튼, 거울 등이 있는 방/욕실로 구성된다. 약초 끓이는 냄비 등 생활 소품이 있으며, 간헐적으로 벽면에 붉은 원 형태의 환영과 핏자국이 생겨난다. (특징: 작은 창문의 햇살; 싱크대와 약초(석창포); 가스레인지 위 끓는 냄비와 수증기; 거실 TV와 스탠드; 침대, 커튼, 거울; 벽과 거울 표면에 나타나는 붉은 원 환영; 바닥과 벽의 핏자국 (특정 시점); 어지럽혀진 가재도구 (특정 시점))\n- 옥탑방 외곽 골목·시멘트 계단: 다세대 빌라 마당의 후미진 구석과 옥탑방으로 올라가는 가파르고 낡은 시멘트 계단. (특징: 다세대 빌라 입구 마당; 후미진 구석 공간; 낡고 가파른 시멘트 계단)\n\nREAL-WORLD APPEARANCE (production owner):\nREAL-WORLD APPEARANCE (production owner): render the property as a REAL, EXISTING aged multi-family villa with a rooftop dwelling of the exact regional type the production data describes — the way such buildings actually look there: typical vernacular materials and construction (e.g. aged red-brick or exterior tile cladding on the body, cement mouldings and sills, weathered stucco patches, grime streaks under the parapet, a rusty steel retrofit stair), varied and lived-in. Do NOT render a uniform cement-gray mass, and NEVER copy the site plan's flat drawing colours as building materials."}
{"ts": "2026-07-05 20:43:55", "kind": "img", "engine": "gpt-image-2", "mode": "edit", "tag": "s20_numbered_photo_gpt", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/numbered_fp_gpt.png"], "size": "1536x864", "attempt": 1, "dur_s": 179.0, "bytes": 2523358, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/numbered_photo_gpt.png", "prompt": "Use the attached site plan as the only guide to the property's geometry, scale, openings, access, and fixed features; translate it into real three-dimensional construction, never as flat plan graphics, colours, or text. Render an unpeopled, photorealistic documentary view of an aged rooftop dwelling on an old multi-family villa in the outskirts of Incheon. Make it feel genuinely inhabited by ordinary residents through subtle weathering, repairs, and unscripted everyday traces, without staging a story or adding readable writing. Use authentic local materials: aged red brick or small exterior tile cladding on the main building, cement mouldings and sills, patched stucco, stained concrete floor surfaces, grime below parapets, oxidized metalwork, and practical retrofit construction. Avoid a uniform grey concrete block. Shoot from one believable human-height camera position, natural 35mm lens, neutral overcast daylight, true shadows, modest contrast, realistic textures, no people, no signage, no text."}
{"ts": "2026-07-05 20:44:15", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s20_numbered_photo_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/numbered_fp_gpt.png"], "ref_labels": ["SITE PLAN (spatial ground truth) — translate to real photographic volumes; never copy its drawing style; no text anywhere."], "attempt": 1, "dur_s": 19.7, "bytes": 3557548, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/numbered_photo_nb2.png", "prompt": "Use the attached site plan as the only guide to the property's geometry, scale, openings, access, and fixed features; translate it into real three-dimensional construction, never as flat plan graphics, colours, or text. Render an unpeopled, photorealistic documentary view of an aged rooftop dwelling on an old multi-family villa in the outskirts of Incheon. Make it feel genuinely inhabited by ordinary residents through subtle weathering, repairs, and unscripted everyday traces, without staging a story or adding readable writing. Use authentic local materials: aged red brick or small exterior tile cladding on the main building, cement mouldings and sills, patched stucco, stained concrete floor surfaces, grime below parapets, oxidized metalwork, and practical retrofit construction. Avoid a uniform grey concrete block. Shoot from one believable human-height camera position, natural 35mm lens, neutral overcast daylight, true shadows, modest contrast, realistic textures, no people, no signage, no text."}
{"ts": "2026-07-05 20:44:15", "kind": "stage", "stage": "s20_numbered_bd", "done": "photo"}
{"ts": "2026-07-05 21:19:00", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s20_numbered_fp_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/numbered_bd_nb2.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/b0ad5c18-5140-4022-a2b0-805de0e5a385/episodes/0d30302a-51c8-4ac9-98e2-6cd9180512bf/images/floor_plan/fp_l04_rooftop_room_main.png"], "ref_labels": ["BLOCK REFERENCE (what exists + approximate arrangement; its numerals identify the elements) — never copy its shapes, proportions or spacing; carry the SAME number over to the SAME element as a small plain marker.", "DRAFTING STYLE REFERENCE (an interior floor plan) — copy ONLY its drawing style: line weight, flat fills, plan symbols. Never its rooms, furniture, numbers or content."], "attempt": 1, "dur_s": 23.9, "bytes": 1709779, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/numbered_fp_nb2.png", "prompt": "The FIRST attached image is a rough BLOCK REFERENCE of one real\nproperty: it tells you only WHAT exists, each element's NUMBER\nidentity and the APPROXIMATE arrangement. Do NOT trace or copy its\ncomposition, block shapes, proportions or spacing — compose the site\nplan yourself so the place reads as a real, believable property that\nsatisfies the numbered structure below. Its fill colours encode\nheight layers only. Keep the SAME numbers on the SAME elements.\n\nTHE PLACE (authored description — the content ground truth):\nBUILDING: The main building is an old multifamily villa block, drawn as an assumed three-storey body below the rooftop unit because the script only states an old villa with a rooftop room. Its mass is a plain rectangular concrete volume set behind an entry yard. The roof is flat and usable as a cement-surfaced terrace. The front facade facing the yard should show four repeated window bays per storey, matching the extracted layout’s inferred facade-window rhythm.\nTOP UNIT & DECK: The topmost enclosed unit is a small, old rooftop dwelling set on the flat terrace, drawn as a simple rectangular shell. Its boundary openings are one iron entrance door facing the stair landing, one small living-room window on a side wall, and one bedroom window on another wall. Around it, the open deck has a low concrete parapet or wall, a round water tank, a fixed laundry line, and a low platform on the cement surface.\nGROUNDS: At ground level, a street edge feeds a narrow alley along the left side, leading to a single entry gate and a small recessed yard at the villa entrance. Neighboring building masses close the rear and sides, making the approach compact. From the yard’s back corner, a later-added exterior steel stair is fixed to the outside wall, with open treads, thin stringers, support posts, and a pipe handrail, continuing up to the rooftop terrace and iron-door landing.\nTHE PLAN MUST SHOW: The finished top-down site plan should show a rectangular villa mass centered behind the yard, with its flat roof terrace visible as the primary upper surface. Place the rooftop room as a smaller rectangle on the terrace, with one door toward the stair landing and two windows on separate sides. Draw the left alley, entry gate, recessed yard, surrounding neighbor blocks, low roof wall, fixed rooftop fixtures, and the retrofitted steel stair as a separate exterior structure attached to the building wall.\n\nNUMBERED SPATIAL STRUCTURE (same numbers as the block reference; draw each element's number as a small marker on it):\n1 thin strip rectangular block, south-centre area\n2 thin strip rectangular block, centre-west area\n3 thin strip rectangular block, south-centre area\n4 large rectangular block, centre area\n5 medium rectangular block, north-west area, plain simplified block\n6 medium rectangular block, north-centre area, plain simplified block\n7 thin strip rectangular block, centre-east area, plain simplified block\n8 large rectangular block, placed on block 4, in its centre part\n9 medium rectangular block, placed on block 8, in its centre part\n10 thin strip rectangular block, south-east area, connecting the ground level up to the deck level\n11 thin strip rectangular block, placed on block 8, in its south-centre part\n12 tiny round block, placed on block 8, in its north-west part\n13 tiny rectangular block, placed on block 8, in its south-west part\n14 thin strip rectangular block, placed on block 3, in its centre-west part\n15 thin strip rectangular block, south-centre area, on the north edge of block 3 (4 in a row)\n16 thin strip rectangular block, centre area, on the west edge of block 9\n17 tiny rectangular block, centre area, on the south edge of block 9\n18 tiny rectangular block, centre area, on the east edge of block 9\n19 thin strip rectangular block, north-centre area, on the north edge of block 9\n20 Ground -> Stair run -> Roof deck -> block 9 (darker = higher)\n\nThe LAST attached image is an interior floor plan from the same\nproduction — use it ONLY as the DRAFTING-STYLE reference (line weight,\nfill language, symbol vocabulary). Never copy its rooms or content.\n\nDraw ONE strict TOP-DOWN 2D architectural SITE PLAN in the drafting\nlanguage of a clean floor plan — thin dark outlines, flat muted colour\nfills, detailed plan symbols (double-line walls, door leaf + swing arc,\nwindow frames set in walls, stair treads with stringers and landings,\nbase rings for round fixtures, paving joints, kerb lines). Height\nlevels appear only as flat fill tints (darker = higher). Flat\northographic plan view: NO 3D, NO axonometric, NO perspective, no\nshadows. Neutral document: no people, no story props, no vehicles, no\nposted papers, each element carries ONLY its assigned number, drawn once as a small\nplain dark numeral on (or beside) it; apart from these numerals no text,\nno letters, no words, no other markers, no legend, no compass. Never expose interior rooms or furniture of any enclosed\nunit — outer shell and boundary openings only."}
{"ts": "2026-07-05 21:20:49", "kind": "img", "engine": "gpt-image-2", "mode": "edit", "tag": "s20_numbered_fp_gpt", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/numbered_bd_nb2.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/b0ad5c18-5140-4022-a2b0-805de0e5a385/episodes/0d30302a-51c8-4ac9-98e2-6cd9180512bf/images/floor_plan/fp_l04_rooftop_room_main.png"], "size": "1536x864", "attempt": 1, "dur_s": 108.9, "bytes": 1839360, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/numbered_fp_gpt.png", "prompt": "The FIRST attached image is a rough BLOCK REFERENCE of one real\nproperty: it tells you only WHAT exists, each element's NUMBER\nidentity and the APPROXIMATE arrangement. Do NOT trace or copy its\ncomposition, block shapes, proportions or spacing — compose the site\nplan yourself so the place reads as a real, believable property that\nsatisfies the numbered structure below. Its fill colours encode\nheight layers only. Keep the SAME numbers on the SAME elements.\n\nTHE PLACE (authored description — the content ground truth):\nBUILDING: The main building is an old multifamily villa block, drawn as an assumed three-storey body below the rooftop unit because the script only states an old villa with a rooftop room. Its mass is a plain rectangular concrete volume set behind an entry yard. The roof is flat and usable as a cement-surfaced terrace. The front facade facing the yard should show four repeated window bays per storey, matching the extracted layout’s inferred facade-window rhythm.\nTOP UNIT & DECK: The topmost enclosed unit is a small, old rooftop dwelling set on the flat terrace, drawn as a simple rectangular shell. Its boundary openings are one iron entrance door facing the stair landing, one small living-room window on a side wall, and one bedroom window on another wall. Around it, the open deck has a low concrete parapet or wall, a round water tank, a fixed laundry line, and a low platform on the cement surface.\nGROUNDS: At ground level, a street edge feeds a narrow alley along the left side, leading to a single entry gate and a small recessed yard at the villa entrance. Neighboring building masses close the rear and sides, making the approach compact. From the yard’s back corner, a later-added exterior steel stair is fixed to the outside wall, with open treads, thin stringers, support posts, and a pipe handrail, continuing up to the rooftop terrace and iron-door landing.\nTHE PLAN MUST SHOW: The finished top-down site plan should show a rectangular villa mass centered behind the yard, with its flat roof terrace visible as the primary upper surface. Place the rooftop room as a smaller rectangle on the terrace, with one door toward the stair landing and two windows on separate sides. Draw the left alley, entry gate, recessed yard, surrounding neighbor blocks, low roof wall, fixed rooftop fixtures, and the retrofitted steel stair as a separate exterior structure attached to the building wall.\n\nNUMBERED SPATIAL STRUCTURE (same numbers as the block reference; draw each element's number as a small marker on it):\n1 thin strip rectangular block, south-centre area\n2 thin strip rectangular block, centre-west area\n3 thin strip rectangular block, south-centre area\n4 large rectangular block, centre area\n5 medium rectangular block, north-west area, plain simplified block\n6 medium rectangular block, north-centre area, plain simplified block\n7 thin strip rectangular block, centre-east area, plain simplified block\n8 large rectangular block, placed on block 4, in its centre part\n9 medium rectangular block, placed on block 8, in its centre part\n10 thin strip rectangular block, south-east area, connecting the ground level up to the deck level\n11 thin strip rectangular block, placed on block 8, in its south-centre part\n12 tiny round block, placed on block 8, in its north-west part\n13 tiny rectangular block, placed on block 8, in its south-west part\n14 thin strip rectangular block, placed on block 3, in its centre-west part\n15 thin strip rectangular block, south-centre area, on the north edge of block 3 (4 in a row)\n16 thin strip rectangular block, centre area, on the west edge of block 9\n17 tiny rectangular block, centre area, on the south edge of block 9\n18 tiny rectangular block, centre area, on the east edge of block 9\n19 thin strip rectangular block, north-centre area, on the north edge of block 9\n20 Ground -> Stair run -> Roof deck -> block 9 (darker = higher)\n\nThe LAST attached image is an interior floor plan from the same\nproduction — use it ONLY as the DRAFTING-STYLE reference (line weight,\nfill language, symbol vocabulary). Never copy its rooms or content.\n\nDraw ONE strict TOP-DOWN 2D architectural SITE PLAN in the drafting\nlanguage of a clean floor plan — thin dark outlines, flat muted colour\nfills, detailed plan symbols (double-line walls, door leaf + swing arc,\nwindow frames set in walls, stair treads with stringers and landings,\nbase rings for round fixtures, paving joints, kerb lines). Height\nlevels appear only as flat fill tints (darker = higher). Flat\northographic plan view: NO 3D, NO axonometric, NO perspective, no\nshadows. Neutral document: no people, no story props, no vehicles, no\nposted papers, each element carries ONLY its assigned number, drawn once as a small\nplain dark numeral on (or beside) it; apart from these numerals no text,\nno letters, no words, no other markers, no legend, no compass. Never expose interior rooms or furniture of any enclosed\nunit — outer shell and boundary openings only."}
{"ts": "2026-07-05 21:20:49", "kind": "stage", "stage": "s20_numbered_bd", "done": "fp"}
{"ts": "2026-07-05 21:21:12", "kind": "llm", "step": "s20_photo_author", "model": "gpt", "dur_s": 21.4, "system_prompt": "You write ONE image-generation prompt (English) for the final\nphotorealistic stage of a location pipeline. The image model will\nreceive your prompt plus ONE attached SITE PLAN drawing (floor-plan\nstyle) of a real property. The plan carries small NUMBERED markers\nidentifying its elements.\n\nThe plan is the single source of truth for WHERE everything is and\nhow big it is. Therefore your prompt must NOT re-describe positions,\nsizes or arrangement. What the plan CANNOT say is what each numbered\nshape IS in reality — so from the NUMBER LEGEND data below, include\nin your prompt a short identification list: one short clause per\nnumber saying what real-world thing that numbered shape is (kind of\nobject only — never its position or size; the plan already shows\nthose). The final image must NOT show any numerals, markers,\nannotations or text — the numbers exist only so the model knows what\neach drawn shape means.\n\nBeyond that list, your prompt covers only what the plan cannot say:\n- the place must read as a REAL, LIVED-IN property — inhabited by\n  ordinary residents (weathering, everyday traces; decide the feel,\n  let the model improvise the specifics — do NOT enumerate a fixed\n  list of objects),\n- unpeopled; no readable text or signage anywhere in the image,\n- nothing story-specific — only what any such real place would show,\n- true materials of the regional building type per the production\n  data below (the plan's flat drawing colours are NOT materials),\n- one believable camera (your choice) and ordinary neutral daylight,\n  documentary tone.\nWrite 120-220 words of direct imperative prose (the identification\nlist counts toward this).\nphoto_prompt_ko: the same prompt in Korean (for the human reviewer).", "user_prompt": "NUMBER LEGEND (plan marker -> element; Korean = extracted meaning):\n- 1: street road — 하단의 큰 도로는 골목과 차량 접근이 만나는 거리로 배치했다.\n- 2: narrow alley — 왼쪽 세로 골목은 도로에서 빌라 입구로 이어지는 좁은 진입로이다.\n- 3: entry yard — 빌라 앞마당은 골목에서 들어와 계단을 타기 전 머무는 후미진 공간이다.\n- 4: villa mass — 중앙의 낡은 빌라 본체는 옥탑방이 올라앉은 다세대 건물 매스이다.\n- 5: neighbor block — 왼쪽 이웃 건물은 부감에서 옥탑방을 둘러싸는 낡은 빌라 지붕 중 하나이다.\n- 6: rear neighbor — 상단 이웃 건물은 옥탑방 뒤쪽을 막는 낡은 지붕 매스이다.\n- 7: side neighbor — 오른쪽 이웃 건물은 계단 바깥쪽 골목을 좁게 만드는 주변 매스이다.\n- 8: roof terrace — 옥상 테라스는 본관 지붕 위에서 옥탑방 현관과 물탱크가 함께 놓이는 시멘트 바닥이다.\n- 9: rooftop room — 옥탑 주거 셸은 옥상 중앙에 놓인 작은 실내 공간의 외곽선이다.\n- 10: concrete stair — 오른쪽 외부 계단은 마당 후미진 곳에서 옥상 현관 앞까지 이어진다.\n- 11: low wall — 낮은 옥상 담은 테라스 가장자리를 따라 둘러져 있고 고양이가 넘는 경계이다.\n- 12: water tank — 물탱크는 옥상 왼쪽 뒤편에 둔 원형 설비이다.\n- 13: low platform — 낮은 평상은 옥상 앞쪽에 놓여 말린 약초가 바람에 날리던 자리이다.\n- 14: entry gate — 빌라 입구문은 골목에서 앞마당으로 들어가는 단일 출입 게이트이다.\n- 15: facade windows — 본관 전면 창들은 다세대 빌라의 정면을 읽히게 하도록 앞마당 쪽 벽에 네 칸 반복으로 배치했다.\n- 16: laundry line — 빨랫줄은 물탱크와 옥탑방 사이를 가로질러 바람에 흔들리는 얇은 고정 설비이다.\n- 17: iron door — 철문 현관은 옥탑 셸의 아래쪽 가장자리에 두어 계단 상부 랜딩과 마주 보게 했다.\n- 18: living window — 거실의 작은 창은 옥탑방 오른쪽 외벽에 둔 첫 번째 창이다.\n- 19: bedroom window — 침실의 커튼 달린 창은 옥탑방 위쪽 외벽에 둔 두 번째 창이다.\n- 20: one flat tint rule only, to tell height levels apart, low to high — (tint 규칙/기타)\n\nPLACE DATA (production members):\n- 인천 변두리 낡은 빌라 옥탑방 옥상·현관 앞 외부: 낡은 다세대 빌라 꼭대기에 위치한 야외 공간. 물탱크, 흔들리는 빨랫줄, 평상 위 약초 건조 흔적, 낡은 철문 현관이 있다. (특징: 낡은 시멘트 바닥; 물탱크; 바람에 날리는 빨랫줄; 평상과 널려 있는 말린 약초(석창포); 전단지가 끼워진 철문 현관)\n- 옥탑방 내부: 작은 창문으로 빛이 들어오는 낡은 주거 공간. 싱크대, 식탁, TV가 있는 거실과 침대, 커튼, 거울 등이 있는 방/욕실로 구성된다. 약초 끓이는 냄비 등 생활 소품이 있으며, 간헐적으로 벽면에 붉은 원 형태의 환영과 핏자국이 생겨난다. (특징: 작은 창문의 햇살; 싱크대와 약초(석창포); 가스레인지 위 끓는 냄비와 수증기; 거실 TV와 스탠드; 침대, 커튼, 거울; 벽과 거울 표면에 나타나는 붉은 원 환영; 바닥과 벽의 핏자국 (특정 시점); 어지럽혀진 가재도구 (특정 시점))\n- 옥탑방 외곽 골목·시멘트 계단: 다세대 빌라 마당의 후미진 구석과 옥탑방으로 올라가는 가파르고 낡은 시멘트 계단. (특징: 다세대 빌라 입구 마당; 후미진 구석 공간; 낡고 가파른 시멘트 계단)\n\nREAL-WORLD APPEARANCE (production owner):\nREAL-WORLD APPEARANCE (production owner): render the property as a REAL, EXISTING aged multi-family villa with a rooftop dwelling of the exact regional type the production data describes — the way such buildings actually look there: typical vernacular materials and construction (e.g. aged red-brick or exterior tile cladding on the body, cement mouldings and sills, weathered stucco patches, grime streaks under the parapet, a rusty steel retrofit stair), varied and lived-in. Do NOT render a uniform cement-gray mass, and NEVER copy the site plan's flat drawing colours as building materials."}
{"ts": "2026-07-05 21:23:36", "kind": "img", "engine": "gpt-image-2", "mode": "edit", "tag": "s20_numbered_photo_gpt", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/numbered_fp_gpt.png"], "size": "1536x864", "attempt": 1, "dur_s": 144.0, "bytes": 2533960, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/numbered_photo_gpt.png", "prompt": "Use the attached site plan as the sole authority for geometry, scale, adjacency, and height cues; never reproduce its numerals, markers, annotations, colors, or any readable text. Identify the markers only as: 1 street road; 2 narrow alley; 3 entry yard; 4 aged multi-family villa body; 5 adjacent villa block; 6 rear neighboring roof mass; 7 side neighboring building mass; 8 cement rooftop terrace; 9 rooftop dwelling room; 10 exterior concrete stair; 11 rooftop parapet wall; 12 round water tank; 13 low wooden platform; 14 entry gate; 15 villa facade windows; 16 laundry line; 17 metal entrance door; 18 small living-room window; 19 curtained bedroom window; 20 plan height-tint guide, not a physical object. Render a real, inhabited but unpeopled outskirts-Incheon rooftop villa property in neutral daylight, documentary photorealism. Use regional materials: aged red brick or exterior tile cladding, cement mouldings and sills, patched stucco, stained concrete, grime under parapets, rusty retrofit steelwork, worn metal doors. Let ordinary weathering and everyday resident traces appear naturally without staged drama, signage, or story-specific effects. Use one believable slightly elevated oblique camera view."}
{"ts": "2026-07-05 21:23:55", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s20_numbered_photo_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/numbered_fp_gpt.png"], "ref_labels": ["SITE PLAN (spatial ground truth) — translate to real photographic volumes; never copy its drawing style; no text anywhere."], "attempt": 1, "dur_s": 18.9, "bytes": 3374638, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/numbered_photo_nb2.png", "prompt": "Use the attached site plan as the sole authority for geometry, scale, adjacency, and height cues; never reproduce its numerals, markers, annotations, colors, or any readable text. Identify the markers only as: 1 street road; 2 narrow alley; 3 entry yard; 4 aged multi-family villa body; 5 adjacent villa block; 6 rear neighboring roof mass; 7 side neighboring building mass; 8 cement rooftop terrace; 9 rooftop dwelling room; 10 exterior concrete stair; 11 rooftop parapet wall; 12 round water tank; 13 low wooden platform; 14 entry gate; 15 villa facade windows; 16 laundry line; 17 metal entrance door; 18 small living-room window; 19 curtained bedroom window; 20 plan height-tint guide, not a physical object. Render a real, inhabited but unpeopled outskirts-Incheon rooftop villa property in neutral daylight, documentary photorealism. Use regional materials: aged red brick or exterior tile cladding, cement mouldings and sills, patched stucco, stained concrete, grime under parapets, rusty retrofit steelwork, worn metal doors. Let ordinary weathering and everyday resident traces appear naturally without staged drama, signage, or story-specific effects. Use one believable slightly elevated oblique camera view."}
{"ts": "2026-07-05 21:23:55", "kind": "stage", "stage": "s20_numbered_bd", "done": "photo"}
{"ts": "2026-07-05 21:43:00", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s20_numbered_fp_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/numbered_bd_nb2.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/b0ad5c18-5140-4022-a2b0-805de0e5a385/episodes/0d30302a-51c8-4ac9-98e2-6cd9180512bf/images/floor_plan/fp_l04_rooftop_room_main.png"], "ref_labels": ["BLOCK REFERENCE (what exists + approximate arrangement only) — never trace its shapes; fill colours encode height layers only.", "DRAFTING STYLE REFERENCE (an interior floor plan) — copy ONLY its drawing style: line weight, flat fills, plan symbols. Never its rooms, furniture, numbers or content."], "attempt": 1, "dur_s": 28.6, "bytes": 1681765, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/numbered_fp_nb2.png", "prompt": "The FIRST attached image is a rough BLOCK REFERENCE of one real\nproperty: it tells you only WHAT exists and the APPROXIMATE\narrangement. Do NOT trace or copy its composition, block shapes,\nproportions or spacing — compose the site plan yourself so the\nplace reads as a real, believable property that satisfies the facts\nbelow. Its fill colours encode height layers only.\n\nTHE PLACE (authored description — the content ground truth):\nBUILDING: The main building is an old multifamily villa block, drawn as an assumed three-storey body below the rooftop unit because the script only states an old villa with a rooftop room. Its mass is a plain rectangular concrete volume set behind an entry yard. The roof is flat and usable as a cement-surfaced terrace. The front facade facing the yard should show four repeated window bays per storey, matching the extracted layout’s inferred facade-window rhythm.\nTOP UNIT & DECK: The topmost enclosed unit is a small, old rooftop dwelling set on the flat terrace, drawn as a simple rectangular shell. Its boundary openings are one iron entrance door facing the stair landing, one small living-room window on a side wall, and one bedroom window on another wall. Around it, the open deck has a low concrete parapet or wall, a round water tank, a fixed laundry line, and a low platform on the cement surface.\nGROUNDS: At ground level, a street edge feeds a narrow alley along the left side, leading to a single entry gate and a small recessed yard at the villa entrance. Neighboring building masses close the rear and sides, making the approach compact. From the yard’s back corner, a later-added exterior steel stair is fixed to the outside wall, with open treads, thin stringers, support posts, and a pipe handrail, continuing up to the rooftop terrace and iron-door landing.\nTHE PLAN MUST SHOW: The finished top-down site plan should show a rectangular villa mass centered behind the yard, with its flat roof terrace visible as the primary upper surface. Place the rooftop room as a smaller rectangle on the terrace, with one door toward the stair landing and two windows on separate sides. Draw the left alley, entry gate, recessed yard, surrounding neighbor blocks, low roof wall, fixed rooftop fixtures, and the retrofitted steel stair as a separate exterior structure attached to the building wall.\n\nLAYOUT RELATIONS (approximate — honour what exists and rough relations, NOT exact geometry):\n- height layers, low to high: Ground h=0 (lightest), Stair run h=1.5 (mid 1), Roof deck h=3 (mid 2), Rooftop room h=4 (darkest). Darker fill = higher.\n- street road [road] — south-centre area; height: Ground\n- narrow alley [alley] — centre-west area; height: Ground\n- entry yard [yard] — south-centre area; height: Ground\n- villa mass [building_mass] — centre area; height: Roof deck\n- roof terrace [terrace] — placed on the villa mass, in its centre part; height: Roof deck\n- rooftop room [upper_shell] — placed on the roof terrace, in its centre part; height: Rooftop room\n- steel retrofit stair [stair] — south-east area; height: Stair run\n- low wall [wall] — placed on the roof terrace, in its south-centre part; height: Roof deck\n- neighbor block [neighbor_mass] — north-west area; height: Roof deck\n- rear neighbor [neighbor_mass] — north-centre area; height: Roof deck\n- side neighbor [neighbor_mass] — centre-east area; height: Roof deck\n- water tank [fixture_round] — placed on the roof terrace, in its north-west part; height: Roof deck round\n- low platform [fixture_rect] — placed on the roof terrace, in its south-west part; height: Roof deck\n- laundry line [equipment] — centre area, on the west edge of the rooftop room; height: Roof deck\n- iron door [door] — centre area, on the south edge of the rooftop room; height: Rooftop room\n- living window [window] — centre area, on the east edge of the rooftop room; height: Rooftop room\n- bedroom window [window] — north-centre area, on the north edge of the rooftop room; height: Rooftop room\n- entry gate [gate] — placed on the entry yard, in its centre-west part; height: Ground\n- facade windows [window] — south-centre area, on the north edge of the entry yard, 4 windows for the whole facade — distribute them across the building's storeys with clear wall between each (never fused edge-to-edge, never one tight row); height: Roof deck\n- any facade windows sit apart with clear wall between them, aligned to the building's real storeys — never touching.\n- CORRECTION (production owner): the exterior stair element is an ADDED-ON STEEL stair retrofitted later onto its building's outside wall — open treads, thin steel stringers and support posts, pipe handrail, visibly a separate later addition to the building. It is NOT concrete or cement; this supersedes any cement/concrete stair mention elsewhere in the data.\n\nDraw the plan VERY DETAILED — real working-drawing density, so that\nevery element visually reads as WHAT IT IS from its plan symbols\nalone (there are no labels or numbers to help). Use the standard\nplan vocabulary per element type:\n- roads: kerb lines\n- alleys: paving joints\n- yards: paving joints\n- building masses: walls as double lines with real thickness, roof edges with parapet coping lines\n- open decks: edge/parapet lines and a flat surface tone\n- enclosed upper-shell units: thick-walled outline with boundary openings only — never interior rooms\n- stairs: individual treads, stringer/railing lines, top and bottom landings\n- boundary walls: double lines\n- neighbouring buildings: simplified roof outlines only (secondary)\n- round free-standing fixtures: circle with its base ring\n- low rectangular fixtures: outline with slat/edge lines\n- small equipment units: simple outlined box with support/mount lines\n- doors: leaf + swing arc set in a wall opening\n- windows: frame lines set INTO the wall\n- gates: leaf/swing symbol set in the boundary wall\n\nThe LAST attached image is an interior floor plan from the same\nproduction — use it ONLY as the DRAFTING-STYLE reference (line weight,\nfill language, symbol vocabulary). Never copy its rooms or content.\n\nDraw ONE strict TOP-DOWN 2D architectural SITE PLAN in the drafting\nlanguage of a clean floor plan — thin dark outlines, flat muted colour\nfills, detailed plan symbols (double-line walls, door leaf + swing arc,\nwindow frames set in walls, stair treads with stringers and landings,\nbase rings for round fixtures, paving joints, kerb lines). Height\nlevels appear only as flat fill tints (darker = higher). Flat\northographic plan view: NO 3D, NO axonometric, NO perspective, no\nshadows. Neutral document: no people, no story props, no vehicles, no\nposted papers, no text, no letters, no numbers, no markers, no legend,\nno compass. Never expose interior rooms or furniture of any enclosed\nunit — outer shell and boundary openings only."}
{"ts": "2026-07-05 21:44:45", "kind": "img", "engine": "gpt-image-2", "mode": "edit", "tag": "s20_numbered_fp_gpt", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/numbered_bd_nb2.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/b0ad5c18-5140-4022-a2b0-805de0e5a385/episodes/0d30302a-51c8-4ac9-98e2-6cd9180512bf/images/floor_plan/fp_l04_rooftop_room_main.png"], "size": "1536x864", "attempt": 1, "dur_s": 105.1, "bytes": 2007177, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/numbered_fp_gpt.png", "prompt": "The FIRST attached image is a rough BLOCK REFERENCE of one real\nproperty: it tells you only WHAT exists and the APPROXIMATE\narrangement. Do NOT trace or copy its composition, block shapes,\nproportions or spacing — compose the site plan yourself so the\nplace reads as a real, believable property that satisfies the facts\nbelow. Its fill colours encode height layers only.\n\nTHE PLACE (authored description — the content ground truth):\nBUILDING: The main building is an old multifamily villa block, drawn as an assumed three-storey body below the rooftop unit because the script only states an old villa with a rooftop room. Its mass is a plain rectangular concrete volume set behind an entry yard. The roof is flat and usable as a cement-surfaced terrace. The front facade facing the yard should show four repeated window bays per storey, matching the extracted layout’s inferred facade-window rhythm.\nTOP UNIT & DECK: The topmost enclosed unit is a small, old rooftop dwelling set on the flat terrace, drawn as a simple rectangular shell. Its boundary openings are one iron entrance door facing the stair landing, one small living-room window on a side wall, and one bedroom window on another wall. Around it, the open deck has a low concrete parapet or wall, a round water tank, a fixed laundry line, and a low platform on the cement surface.\nGROUNDS: At ground level, a street edge feeds a narrow alley along the left side, leading to a single entry gate and a small recessed yard at the villa entrance. Neighboring building masses close the rear and sides, making the approach compact. From the yard’s back corner, a later-added exterior steel stair is fixed to the outside wall, with open treads, thin stringers, support posts, and a pipe handrail, continuing up to the rooftop terrace and iron-door landing.\nTHE PLAN MUST SHOW: The finished top-down site plan should show a rectangular villa mass centered behind the yard, with its flat roof terrace visible as the primary upper surface. Place the rooftop room as a smaller rectangle on the terrace, with one door toward the stair landing and two windows on separate sides. Draw the left alley, entry gate, recessed yard, surrounding neighbor blocks, low roof wall, fixed rooftop fixtures, and the retrofitted steel stair as a separate exterior structure attached to the building wall.\n\nLAYOUT RELATIONS (approximate — honour what exists and rough relations, NOT exact geometry):\n- height layers, low to high: Ground h=0 (lightest), Stair run h=1.5 (mid 1), Roof deck h=3 (mid 2), Rooftop room h=4 (darkest). Darker fill = higher.\n- street road [road] — south-centre area; height: Ground\n- narrow alley [alley] — centre-west area; height: Ground\n- entry yard [yard] — south-centre area; height: Ground\n- villa mass [building_mass] — centre area; height: Roof deck\n- roof terrace [terrace] — placed on the villa mass, in its centre part; height: Roof deck\n- rooftop room [upper_shell] — placed on the roof terrace, in its centre part; height: Rooftop room\n- steel retrofit stair [stair] — south-east area; height: Stair run\n- low wall [wall] — placed on the roof terrace, in its south-centre part; height: Roof deck\n- neighbor block [neighbor_mass] — north-west area; height: Roof deck\n- rear neighbor [neighbor_mass] — north-centre area; height: Roof deck\n- side neighbor [neighbor_mass] — centre-east area; height: Roof deck\n- water tank [fixture_round] — placed on the roof terrace, in its north-west part; height: Roof deck round\n- low platform [fixture_rect] — placed on the roof terrace, in its south-west part; height: Roof deck\n- laundry line [equipment] — centre area, on the west edge of the rooftop room; height: Roof deck\n- iron door [door] — centre area, on the south edge of the rooftop room; height: Rooftop room\n- living window [window] — centre area, on the east edge of the rooftop room; height: Rooftop room\n- bedroom window [window] — north-centre area, on the north edge of the rooftop room; height: Rooftop room\n- entry gate [gate] — placed on the entry yard, in its centre-west part; height: Ground\n- facade windows [window] — south-centre area, on the north edge of the entry yard, 4 windows for the whole facade — distribute them across the building's storeys with clear wall between each (never fused edge-to-edge, never one tight row); height: Roof deck\n- any facade windows sit apart with clear wall between them, aligned to the building's real storeys — never touching.\n- CORRECTION (production owner): the exterior stair element is an ADDED-ON STEEL stair retrofitted later onto its building's outside wall — open treads, thin steel stringers and support posts, pipe handrail, visibly a separate later addition to the building. It is NOT concrete or cement; this supersedes any cement/concrete stair mention elsewhere in the data.\n\nDraw the plan VERY DETAILED — real working-drawing density, so that\nevery element visually reads as WHAT IT IS from its plan symbols\nalone (there are no labels or numbers to help). Use the standard\nplan vocabulary per element type:\n- roads: kerb lines\n- alleys: paving joints\n- yards: paving joints\n- building masses: walls as double lines with real thickness, roof edges with parapet coping lines\n- open decks: edge/parapet lines and a flat surface tone\n- enclosed upper-shell units: thick-walled outline with boundary openings only — never interior rooms\n- stairs: individual treads, stringer/railing lines, top and bottom landings\n- boundary walls: double lines\n- neighbouring buildings: simplified roof outlines only (secondary)\n- round free-standing fixtures: circle with its base ring\n- low rectangular fixtures: outline with slat/edge lines\n- small equipment units: simple outlined box with support/mount lines\n- doors: leaf + swing arc set in a wall opening\n- windows: frame lines set INTO the wall\n- gates: leaf/swing symbol set in the boundary wall\n\nThe LAST attached image is an interior floor plan from the same\nproduction — use it ONLY as the DRAFTING-STYLE reference (line weight,\nfill language, symbol vocabulary). Never copy its rooms or content.\n\nDraw ONE strict TOP-DOWN 2D architectural SITE PLAN in the drafting\nlanguage of a clean floor plan — thin dark outlines, flat muted colour\nfills, detailed plan symbols (double-line walls, door leaf + swing arc,\nwindow frames set in walls, stair treads with stringers and landings,\nbase rings for round fixtures, paving joints, kerb lines). Height\nlevels appear only as flat fill tints (darker = higher). Flat\northographic plan view: NO 3D, NO axonometric, NO perspective, no\nshadows. Neutral document: no people, no story props, no vehicles, no\nposted papers, no text, no letters, no numbers, no markers, no legend,\nno compass. Never expose interior rooms or furniture of any enclosed\nunit — outer shell and boundary openings only."}
{"ts": "2026-07-05 21:44:45", "kind": "stage", "stage": "s20_numbered_bd", "done": "fp"}
{"ts": "2026-07-05 21:45:04", "kind": "llm", "step": "s20_photo_author", "model": "gpt", "dur_s": 16.3, "system_prompt": "You write ONE image-generation prompt (English) for the final\nphotorealistic stage of a location pipeline. The image model will\nreceive your prompt plus ONE attached SITE PLAN drawing (a very\ndetailed floor-plan-style site plan) of a real property.\n\nThe plan is the single source of truth for WHAT exists and WHERE.\nTherefore your prompt must NOT re-describe, list or count the layout,\nits elements or their positions, and must NOT mention any of the\nplan's annotations or markers — beyond telling the model the\nattached drawing is a plan to be translated into real built volumes,\nnever copied as flat graphics, colours or text.\n\nYour prompt covers only what the plan cannot say:\n- the place must read as a REAL, LIVED-IN property — inhabited by\n  ordinary residents (weathering, everyday traces; decide the feel,\n  let the model improvise the specifics — do NOT enumerate a fixed\n  list of objects),\n- unpeopled; no readable text or signage anywhere in the image,\n- nothing story-specific — only what any such real place would show,\n- true materials of the regional building type per the production\n  data below (the plan's flat drawing colours are NOT materials),\n- one believable camera (your choice) and ordinary neutral daylight,\n  documentary tone.\nWrite 90-160 words of direct imperative prose.\nA creator-correction block, when present, overrides any conflicting\nplace data.\nphoto_prompt_ko: the same prompt in Korean (for the human reviewer).", "user_prompt": "PLACE DATA (production members):\n- 인천 변두리 낡은 빌라 옥탑방 옥상·현관 앞 외부: 낡은 다세대 빌라 꼭대기에 위치한 야외 공간. 물탱크, 흔들리는 빨랫줄, 평상 위 약초 건조 흔적, 낡은 철문 현관이 있다. (특징: 낡은 시멘트 바닥; 물탱크; 바람에 날리는 빨랫줄; 평상과 널려 있는 말린 약초(석창포); 전단지가 끼워진 철문 현관)\n- 옥탑방 내부: 작은 창문으로 빛이 들어오는 낡은 주거 공간. 싱크대, 식탁, TV가 있는 거실과 침대, 커튼, 거울 등이 있는 방/욕실로 구성된다. 약초 끓이는 냄비 등 생활 소품이 있으며, 간헐적으로 벽면에 붉은 원 형태의 환영과 핏자국이 생겨난다. (특징: 작은 창문의 햇살; 싱크대와 약초(석창포); 가스레인지 위 끓는 냄비와 수증기; 거실 TV와 스탠드; 침대, 커튼, 거울; 벽과 거울 표면에 나타나는 붉은 원 환영; 바닥과 벽의 핏자국 (특정 시점); 어지럽혀진 가재도구 (특정 시점))\n- 옥탑방 외곽 골목·시멘트 계단: 다세대 빌라 마당의 후미진 구석과 옥탑방으로 올라가는 가파르고 낡은 시멘트 계단. (특징: 다세대 빌라 입구 마당; 후미진 구석 공간; 낡고 가파른 시멘트 계단)\n\nCREATOR CORRECTIONS (override any conflicting place data):\n- CORRECTION (production owner): the exterior stair element is an ADDED-ON STEEL stair retrofitted later onto its building's outside wall — open treads, thin steel stringers and support posts, pipe handrail, visibly a separate later addition to the building. It is NOT concrete or cement; this supersedes any cement/concrete stair mention elsewhere in the data.\n\nREAL-WORLD APPEARANCE (production owner):\nREAL-WORLD APPEARANCE (production owner): render the property as a REAL, EXISTING aged multi-family villa with a rooftop dwelling of the exact regional type the production data describes — the way such buildings actually look there: typical vernacular materials and construction (e.g. aged red-brick or exterior tile cladding on the body, cement mouldings and sills, weathered stucco patches, grime streaks under the parapet, a rusty steel retrofit stair), varied and lived-in. Do NOT render a uniform cement-gray mass, and NEVER copy the site plan's flat drawing colours as building materials."}
{"ts": "2026-07-05 21:46:55", "kind": "img", "engine": "gpt-image-2", "mode": "edit", "tag": "s20_numbered_photo_gpt", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/numbered_fp_gpt.png"], "size": "1536x864", "attempt": 1, "dur_s": 111.3, "bytes": 2809906, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/numbered_photo_gpt.png", "prompt": "Use the attached site plan as the exact source of truth for what exists and where, translating every indicated built feature into real three-dimensional architecture; never reproduce the plan as flat graphics, colors, labels, symbols, or text. Render a photorealistic, unpeopled documentary view of an aged rooftop dwelling on an old multi-family villa in the outskirts of Incheon, inhabited by ordinary residents and showing natural weathering and casual everyday traces without inventing story drama. Keep the regional construction believable: aged red brick or small exterior tile cladding, cement moldings and sills, patched stucco, grimy parapet runoff, worn roofing surfaces, utilitarian metalwork. Any exterior stair shown must be a later-added rusty steel retrofit with open treads, thin stringers, support posts, and pipe handrails, visibly separate from the building wall. Use a single eye-level 28mm camera in neutral overcast daylight, natural color, no readable signage, no people, no blood or supernatural effects."}
{"ts": "2026-07-05 21:47:16", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s20_numbered_photo_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/numbered_fp_gpt.png"], "ref_labels": ["SITE PLAN (spatial ground truth) — translate to real photographic volumes; never copy its drawing style; no text anywhere."], "attempt": 1, "dur_s": 20.9, "bytes": 3809953, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/numbered_photo_nb2.png", "prompt": "Use the attached site plan as the exact source of truth for what exists and where, translating every indicated built feature into real three-dimensional architecture; never reproduce the plan as flat graphics, colors, labels, symbols, or text. Render a photorealistic, unpeopled documentary view of an aged rooftop dwelling on an old multi-family villa in the outskirts of Incheon, inhabited by ordinary residents and showing natural weathering and casual everyday traces without inventing story drama. Keep the regional construction believable: aged red brick or small exterior tile cladding, cement moldings and sills, patched stucco, grimy parapet runoff, worn roofing surfaces, utilitarian metalwork. Any exterior stair shown must be a later-added rusty steel retrofit with open treads, thin stringers, support posts, and pipe handrails, visibly separate from the building wall. Use a single eye-level 28mm camera in neutral overcast daylight, natural color, no readable signage, no people, no blood or supernatural effects."}
{"ts": "2026-07-05 21:47:16", "kind": "stage", "stage": "s20_numbered_bd", "done": "photo"}
{"ts": "2026-07-05 22:07:35", "kind": "llm", "step": "s20_number_assign", "model": "gpt", "dur_s": 35.9, "system_prompt": "You are given the STRUCTURE lines of an image-generation prompt for a\nflat schematic block diagram — one element per line, each line naming\nthe element and its spatial relations — plus ELEMENT DATA grounding\neach element.\n\nTask: assign a number (1..N) to every element line, in a sensible\nstructural order (large ground/container blocks first, then what sits\non them, then attached openings and small fixtures). Rewrite every\nline so that:\n- the line STARTS with its number,\n- element NAMES never appear — when a line refers to another element\n  (placed on X / on the north edge of X), refer to it by that\n  element's number instead (e.g. 'placed on block 4, in its centre\n  part').\n- every spatial relation, size word and count stays EXACTLY as given.\n- APPEND to each line a short clause describing that element's\n  characteristic TOP-DOWN footprint/silhouette, grounded in its\n  ELEMENT DATA — just enough that the drawn shape itself reveals what\n  the element is (a run of parallel treads, a circle, a slatted low\n  rectangle, a thin line between two posts...). SHAPE ONLY — never\n  materials, colours, condition or story; never invent what the data\n  does not support.\nAlso output a legend mapping each number to the original element name\n(exactly as written in its line).", "user_prompt": "STRUCTURE lines:\n- street road: thin strip rectangular block, south-centre area\n- narrow alley: thin strip rectangular block, centre-west area\n- entry yard: thin strip rectangular block, south-centre area\n- villa mass: large rectangular block, centre area\n- roof terrace: large rectangular block, placed on the villa mass, in its centre part\n- rooftop room: medium rectangular block, placed on the roof terrace, in its centre part\n- concrete stair: thin strip rectangular block, south-east area, connecting the ground level up to the deck level\n- low wall: thin strip rectangular block, placed on the roof terrace, in its south-centre part\n- neighbor block: medium rectangular block, north-west area, plain simplified block\n- rear neighbor: medium rectangular block, north-centre area, plain simplified block\n- side neighbor: thin strip rectangular block, centre-east area, plain simplified block\n- water tank: tiny round block, placed on the roof terrace, in its north-west part\n- low platform: tiny rectangular block, placed on the roof terrace, in its south-west part\n- laundry line: thin strip rectangular block, centre area, on the west edge of the rooftop room\n- iron door: tiny rectangular block, centre area, on the south edge of the rooftop room\n- living window: tiny rectangular block, centre area, on the east edge of the rooftop room\n- bedroom window: thin strip rectangular block, north-centre area, on the north edge of the rooftop room\n- entry gate: thin strip rectangular block, placed on the entry yard, in its centre-west part\n- facade windows: thin strip rectangular block, south-centre area, on the north edge of the entry yard (4 in a row)\n- one flat tint rule only, to tell height levels apart, low to high: Ground -> Stair run -> Roof deck -> Rooftop room (darker = higher)\n\nELEMENT DATA (name [kind]: extracted description — ground each shape clause here):\n- street road [kind road]: 하단의 큰 도로는 골목과 차량 접근이 만나는 거리로 배치했다.\n- narrow alley [kind alley]: 왼쪽 세로 골목은 도로에서 빌라 입구로 이어지는 좁은 진입로이다.\n- entry yard [kind yard]: 빌라 앞마당은 골목에서 들어와 계단을 타기 전 머무는 후미진 공간이다.\n- villa mass [kind building_mass]: 중앙의 낡은 빌라 본체는 옥탑방이 올라앉은 다세대 건물 매스이다.\n- roof terrace [kind terrace]: 옥상 테라스는 본관 지붕 위에서 옥탑방 현관과 물탱크가 함께 놓이는 시멘트 바닥이다.\n- rooftop room [kind upper_shell]: 옥탑 주거 셸은 옥상 중앙에 놓인 작은 실내 공간의 외곽선이다.\n- concrete stair [kind stair]: 오른쪽 외부 계단은 마당 후미진 곳에서 옥상 현관 앞까지 이어진다.\n- low wall [kind wall]: 낮은 옥상 담은 테라스 가장자리를 따라 둘러져 있고 고양이가 넘는 경계이다.\n- neighbor block [kind neighbor_mass]: 왼쪽 이웃 건물은 부감에서 옥탑방을 둘러싸는 낡은 빌라 지붕 중 하나이다.\n- rear neighbor [kind neighbor_mass]: 상단 이웃 건물은 옥탑방 뒤쪽을 막는 낡은 지붕 매스이다.\n- side neighbor [kind neighbor_mass]: 오른쪽 이웃 건물은 계단 바깥쪽 골목을 좁게 만드는 주변 매스이다.\n- water tank [kind fixture_round]: 물탱크는 옥상 왼쪽 뒤편에 둔 원형 설비이다.\n- low platform [kind fixture_rect]: 낮은 평상은 옥상 앞쪽에 놓여 말린 약초가 바람에 날리던 자리이다.\n- laundry line [kind equipment]: 빨랫줄은 물탱크와 옥탑방 사이를 가로질러 바람에 흔들리는 얇은 고정 설비이다.\n- iron door [kind door]: 철문 현관은 옥탑 셸의 아래쪽 가장자리에 두어 계단 상부 랜딩과 마주 보게 했다.\n- living window [kind window]: 거실의 작은 창은 옥탑방 오른쪽 외벽에 둔 첫 번째 창이다.\n- bedroom window [kind window]: 침실의 커튼 달린 창은 옥탑방 위쪽 외벽에 둔 두 번째 창이다.\n- entry gate [kind gate]: 빌라 입구문은 골목에서 앞마당으로 들어가는 단일 출입 게이트이다.\n- facade windows [kind window]: 본관 전면 창들은 다세대 빌라의 정면을 읽히게 하도록 앞마당 쪽 벽에 네 칸 반복으로 배치했다."}
{"ts": "2026-07-05 22:07:35", "kind": "stage", "stage": "s20_numbered_bd", "done": "llm"}
{"ts": "2026-07-05 22:07:55", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s20_numbered_bd_nb2", "refs": [], "ref_labels": [], "attempt": 1, "dur_s": 17.2, "bytes": 1794228, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/numbered_bd_nb2.png", "prompt": "Draw ONE SCHEMATIC BLOCK DIAGRAM of a real property's layout — the\nkind of flat figure a computer program draws: strict TOP-DOWN 2D,\nplain solid-colour shapes on a plain light background, uniform thin\ndark outlines. ABSOLUTELY FLAT: no bevels, no edge highlights, no\ngradients, no shadows, no shading, no texture, no perspective, no 3D\nfeel of any kind.\nSTRUCTURAL SILHOUETTES: draw every element as the characteristic\ntop-down footprint its line describes — a flat structural outline\njust detailed enough that the SHAPE ITSELF reveals what the element\nis; never flatten it to a generic featureless rectangle when its\nline says otherwise, and never add fine drafting detail (no\ndouble-line walls, no hatching, no fixtures inside buildings).\nPURPOSE: structural comprehension only. Every building is ONE solid\nblock — never any interior rooms, inner walls or furniture.\nEach block shows ONLY its assigned number, drawn once as a small plain dark numeral on (or beside) that block; apart from these numerals there is no other text: no letters, no words, no names, no labels, no legend, no compass anywhere.\nNo people, no props, no vehicles.\n\nSTRUCTURE (relative positions, sizes, footprint shapes):\n1 thin strip rectangular block, south-centre area, with a long straight carriageway-band footprint\n2 thin strip rectangular block, centre-west area, with a narrow straight passage-strip footprint\n3 thin strip rectangular block, south-centre area, with a shallow elongated forecourt-rectangle footprint\n4 large rectangular block, centre area, with a single broad building-mass rectangle footprint\n5 medium rectangular block, north-west area, plain simplified block, with a simple rectangular roof-mass footprint\n6 medium rectangular block, north-centre area, plain simplified block, with a simple rectangular roof-mass footprint\n7 thin strip rectangular block, centre-east area, plain simplified block, with a slim rectangular side-mass footprint\n8 thin strip rectangular block, south-east area, connecting the ground level up to the deck level, with a linear run of parallel tread rectangles footprint\n9 large rectangular block, placed on block 4, in its centre part, with a broad open roof-deck rectangle footprint\n10 medium rectangular block, placed on block 9, in its centre part, with a compact enclosed rectangular shell footprint\n11 thin strip rectangular block, placed on block 9, in its south-centre part, with a narrow wall-line rectangular strip silhouette\n12 tiny round block, placed on block 9, in its north-west part, with a circular footprint\n13 tiny rectangular block, placed on block 9, in its south-west part, with a small plain rectangular slab footprint\n14 thin strip rectangular block, centre area, on the west edge of block 10, with a single taut straight-line silhouette\n15 tiny rectangular block, centre area, on the south edge of block 10, with a small door-leaf rectangle footprint\n16 tiny rectangular block, centre area, on the east edge of block 10, with a small window-slot rectangle footprint\n17 thin strip rectangular block, north-centre area, on the north edge of block 10, with a narrow horizontal window-slot silhouette\n18 thin strip rectangular block, placed on block 3, in its centre-west part, with a single gate-bar strip footprint\n19 thin strip rectangular block, south-centre area, on the north edge of block 3 (4 in a row), with four repeated narrow window-slot rectangles in a row"}
{"ts": "2026-07-05 22:07:55", "kind": "stage", "stage": "s20_numbered_bd", "done": "image"}
{"ts": "2026-07-05 22:08:22", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s20_numbered_fp_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/numbered_bd_nb2.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/b0ad5c18-5140-4022-a2b0-805de0e5a385/episodes/0d30302a-51c8-4ac9-98e2-6cd9180512bf/images/floor_plan/fp_l04_rooftop_room_main.png"], "ref_labels": ["BLOCK REFERENCE (what exists + approximate arrangement only) — never trace its shapes; fill colours encode height layers only.", "DRAFTING STYLE REFERENCE (an interior floor plan) — copy ONLY its drawing style: line weight, flat fills, plan symbols. Never its rooms, furniture, numbers or content."], "attempt": 1, "dur_s": 25.1, "bytes": 1607440, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/numbered_fp_nb2.png", "prompt": "The FIRST attached image is a rough BLOCK REFERENCE of one real\nproperty: it tells you only WHAT exists and the APPROXIMATE\narrangement. Do NOT trace or copy its composition, block shapes,\nproportions or spacing — compose the site plan yourself so the\nplace reads as a real, believable property that satisfies the facts\nbelow. Its fill colours encode height layers only.\n\nTHE PLACE (authored description — the content ground truth):\nBUILDING: The main building is an old multifamily villa block, drawn as an assumed three-storey body below the rooftop unit because the script only states an old villa with a rooftop room. Its mass is a plain rectangular concrete volume set behind an entry yard. The roof is flat and usable as a cement-surfaced terrace. The front facade facing the yard should show four repeated window bays per storey, matching the extracted layout’s inferred facade-window rhythm.\nTOP UNIT & DECK: The topmost enclosed unit is a small, old rooftop dwelling set on the flat terrace, drawn as a simple rectangular shell. Its boundary openings are one iron entrance door facing the stair landing, one small living-room window on a side wall, and one bedroom window on another wall. Around it, the open deck has a low concrete parapet or wall, a round water tank, a fixed laundry line, and a low platform on the cement surface.\nGROUNDS: At ground level, a street edge feeds a narrow alley along the left side, leading to a single entry gate and a small recessed yard at the villa entrance. Neighboring building masses close the rear and sides, making the approach compact. From the yard’s back corner, a later-added exterior steel stair is fixed to the outside wall, with open treads, thin stringers, support posts, and a pipe handrail, continuing up to the rooftop terrace and iron-door landing.\nTHE PLAN MUST SHOW: The finished top-down site plan should show a rectangular villa mass centered behind the yard, with its flat roof terrace visible as the primary upper surface. Place the rooftop room as a smaller rectangle on the terrace, with one door toward the stair landing and two windows on separate sides. Draw the left alley, entry gate, recessed yard, surrounding neighbor blocks, low roof wall, fixed rooftop fixtures, and the retrofitted steel stair as a separate exterior structure attached to the building wall.\n\nLAYOUT RELATIONS (approximate — honour what exists and rough relations, NOT exact geometry):\n- height layers, low to high: Ground h=0 (lightest), Stair run h=1.5 (mid 1), Roof deck h=3 (mid 2), Rooftop room h=4 (darkest). Darker fill = higher.\n- street road [road] — south-centre area; height: Ground\n- narrow alley [alley] — centre-west area; height: Ground\n- entry yard [yard] — south-centre area; height: Ground\n- villa mass [building_mass] — centre area; height: Roof deck\n- roof terrace [terrace] — placed on the villa mass, in its centre part; height: Roof deck\n- rooftop room [upper_shell] — placed on the roof terrace, in its centre part; height: Rooftop room\n- steel retrofit stair [stair] — south-east area; height: Stair run\n- low wall [wall] — placed on the roof terrace, in its south-centre part; height: Roof deck\n- neighbor block [neighbor_mass] — north-west area; height: Roof deck\n- rear neighbor [neighbor_mass] — north-centre area; height: Roof deck\n- side neighbor [neighbor_mass] — centre-east area; height: Roof deck\n- water tank [fixture_round] — placed on the roof terrace, in its north-west part; height: Roof deck round\n- low platform [fixture_rect] — placed on the roof terrace, in its south-west part; height: Roof deck\n- laundry line [equipment] — centre area, on the west edge of the rooftop room; height: Roof deck\n- iron door [door] — centre area, on the south edge of the rooftop room; height: Rooftop room\n- living window [window] — centre area, on the east edge of the rooftop room; height: Rooftop room\n- bedroom window [window] — north-centre area, on the north edge of the rooftop room; height: Rooftop room\n- entry gate [gate] — placed on the entry yard, in its centre-west part; height: Ground\n- facade windows [window] — south-centre area, on the north edge of the entry yard, 4 windows for the whole facade — distribute them across the building's storeys with clear wall between each (never fused edge-to-edge, never one tight row); height: Roof deck\n- any facade windows sit apart with clear wall between them, aligned to the building's real storeys — never touching.\n- CORRECTION (production owner): the exterior stair element is an ADDED-ON STEEL stair retrofitted later onto its building's outside wall — open treads, thin steel stringers and support posts, pipe handrail, visibly a separate later addition to the building. It is NOT concrete or cement; this supersedes any cement/concrete stair mention elsewhere in the data.\n\nDraw the plan VERY DETAILED — real working-drawing density, so that\nevery element visually reads as WHAT IT IS from its plan symbols\nalone (there are no labels or numbers to help). Use the standard\nplan vocabulary per element type:\n- roads: kerb lines\n- alleys: paving joints\n- yards: paving joints\n- building masses: walls as double lines with real thickness, roof edges with parapet coping lines\n- open decks: edge/parapet lines and a flat surface tone\n- enclosed upper-shell units: thick-walled outline with boundary openings only — never interior rooms\n- stairs: individual treads, stringer/railing lines, top and bottom landings\n- boundary walls: double lines\n- neighbouring buildings: simplified roof outlines only (secondary)\n- round free-standing fixtures: circle with its base ring\n- low rectangular fixtures: outline with slat/edge lines\n- small equipment units: simple outlined box with support/mount lines\n- doors: leaf + swing arc set in a wall opening\n- windows: frame lines set INTO the wall\n- gates: leaf/swing symbol set in the boundary wall\n\nThe LAST attached image is an interior floor plan from the same\nproduction — use it ONLY as the DRAFTING-STYLE reference (line weight,\nfill language, symbol vocabulary). Never copy its rooms or content.\n\nDraw ONE strict TOP-DOWN 2D architectural SITE PLAN in the drafting\nlanguage of a clean floor plan — thin dark outlines, flat muted colour\nfills, detailed plan symbols (double-line walls, door leaf + swing arc,\nwindow frames set in walls, stair treads with stringers and landings,\nbase rings for round fixtures, paving joints, kerb lines). Height\nlevels appear only as flat fill tints (darker = higher). Flat\northographic plan view: NO 3D, NO axonometric, NO perspective, no\nshadows. Neutral document: no people, no story props, no vehicles, no\nposted papers, no text, no letters, no numbers, no markers, no legend,\nno compass. Never expose interior rooms or furniture of any enclosed\nunit — outer shell and boundary openings only."}
{"ts": "2026-07-05 22:10:12", "kind": "img", "engine": "gpt-image-2", "mode": "edit", "tag": "s20_numbered_fp_gpt", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/numbered_bd_nb2.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/b0ad5c18-5140-4022-a2b0-805de0e5a385/episodes/0d30302a-51c8-4ac9-98e2-6cd9180512bf/images/floor_plan/fp_l04_rooftop_room_main.png"], "size": "1536x864", "attempt": 1, "dur_s": 109.7, "bytes": 1964295, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/numbered_fp_gpt.png", "prompt": "The FIRST attached image is a rough BLOCK REFERENCE of one real\nproperty: it tells you only WHAT exists and the APPROXIMATE\narrangement. Do NOT trace or copy its composition, block shapes,\nproportions or spacing — compose the site plan yourself so the\nplace reads as a real, believable property that satisfies the facts\nbelow. Its fill colours encode height layers only.\n\nTHE PLACE (authored description — the content ground truth):\nBUILDING: The main building is an old multifamily villa block, drawn as an assumed three-storey body below the rooftop unit because the script only states an old villa with a rooftop room. Its mass is a plain rectangular concrete volume set behind an entry yard. The roof is flat and usable as a cement-surfaced terrace. The front facade facing the yard should show four repeated window bays per storey, matching the extracted layout’s inferred facade-window rhythm.\nTOP UNIT & DECK: The topmost enclosed unit is a small, old rooftop dwelling set on the flat terrace, drawn as a simple rectangular shell. Its boundary openings are one iron entrance door facing the stair landing, one small living-room window on a side wall, and one bedroom window on another wall. Around it, the open deck has a low concrete parapet or wall, a round water tank, a fixed laundry line, and a low platform on the cement surface.\nGROUNDS: At ground level, a street edge feeds a narrow alley along the left side, leading to a single entry gate and a small recessed yard at the villa entrance. Neighboring building masses close the rear and sides, making the approach compact. From the yard’s back corner, a later-added exterior steel stair is fixed to the outside wall, with open treads, thin stringers, support posts, and a pipe handrail, continuing up to the rooftop terrace and iron-door landing.\nTHE PLAN MUST SHOW: The finished top-down site plan should show a rectangular villa mass centered behind the yard, with its flat roof terrace visible as the primary upper surface. Place the rooftop room as a smaller rectangle on the terrace, with one door toward the stair landing and two windows on separate sides. Draw the left alley, entry gate, recessed yard, surrounding neighbor blocks, low roof wall, fixed rooftop fixtures, and the retrofitted steel stair as a separate exterior structure attached to the building wall.\n\nLAYOUT RELATIONS (approximate — honour what exists and rough relations, NOT exact geometry):\n- height layers, low to high: Ground h=0 (lightest), Stair run h=1.5 (mid 1), Roof deck h=3 (mid 2), Rooftop room h=4 (darkest). Darker fill = higher.\n- street road [road] — south-centre area; height: Ground\n- narrow alley [alley] — centre-west area; height: Ground\n- entry yard [yard] — south-centre area; height: Ground\n- villa mass [building_mass] — centre area; height: Roof deck\n- roof terrace [terrace] — placed on the villa mass, in its centre part; height: Roof deck\n- rooftop room [upper_shell] — placed on the roof terrace, in its centre part; height: Rooftop room\n- steel retrofit stair [stair] — south-east area; height: Stair run\n- low wall [wall] — placed on the roof terrace, in its south-centre part; height: Roof deck\n- neighbor block [neighbor_mass] — north-west area; height: Roof deck\n- rear neighbor [neighbor_mass] — north-centre area; height: Roof deck\n- side neighbor [neighbor_mass] — centre-east area; height: Roof deck\n- water tank [fixture_round] — placed on the roof terrace, in its north-west part; height: Roof deck round\n- low platform [fixture_rect] — placed on the roof terrace, in its south-west part; height: Roof deck\n- laundry line [equipment] — centre area, on the west edge of the rooftop room; height: Roof deck\n- iron door [door] — centre area, on the south edge of the rooftop room; height: Rooftop room\n- living window [window] — centre area, on the east edge of the rooftop room; height: Rooftop room\n- bedroom window [window] — north-centre area, on the north edge of the rooftop room; height: Rooftop room\n- entry gate [gate] — placed on the entry yard, in its centre-west part; height: Ground\n- facade windows [window] — south-centre area, on the north edge of the entry yard, 4 windows for the whole facade — distribute them across the building's storeys with clear wall between each (never fused edge-to-edge, never one tight row); height: Roof deck\n- any facade windows sit apart with clear wall between them, aligned to the building's real storeys — never touching.\n- CORRECTION (production owner): the exterior stair element is an ADDED-ON STEEL stair retrofitted later onto its building's outside wall — open treads, thin steel stringers and support posts, pipe handrail, visibly a separate later addition to the building. It is NOT concrete or cement; this supersedes any cement/concrete stair mention elsewhere in the data.\n\nDraw the plan VERY DETAILED — real working-drawing density, so that\nevery element visually reads as WHAT IT IS from its plan symbols\nalone (there are no labels or numbers to help). Use the standard\nplan vocabulary per element type:\n- roads: kerb lines\n- alleys: paving joints\n- yards: paving joints\n- building masses: walls as double lines with real thickness, roof edges with parapet coping lines\n- open decks: edge/parapet lines and a flat surface tone\n- enclosed upper-shell units: thick-walled outline with boundary openings only — never interior rooms\n- stairs: individual treads, stringer/railing lines, top and bottom landings\n- boundary walls: double lines\n- neighbouring buildings: simplified roof outlines only (secondary)\n- round free-standing fixtures: circle with its base ring\n- low rectangular fixtures: outline with slat/edge lines\n- small equipment units: simple outlined box with support/mount lines\n- doors: leaf + swing arc set in a wall opening\n- windows: frame lines set INTO the wall\n- gates: leaf/swing symbol set in the boundary wall\n\nThe LAST attached image is an interior floor plan from the same\nproduction — use it ONLY as the DRAFTING-STYLE reference (line weight,\nfill language, symbol vocabulary). Never copy its rooms or content.\n\nDraw ONE strict TOP-DOWN 2D architectural SITE PLAN in the drafting\nlanguage of a clean floor plan — thin dark outlines, flat muted colour\nfills, detailed plan symbols (double-line walls, door leaf + swing arc,\nwindow frames set in walls, stair treads with stringers and landings,\nbase rings for round fixtures, paving joints, kerb lines). Height\nlevels appear only as flat fill tints (darker = higher). Flat\northographic plan view: NO 3D, NO axonometric, NO perspective, no\nshadows. Neutral document: no people, no story props, no vehicles, no\nposted papers, no text, no letters, no numbers, no markers, no legend,\nno compass. Never expose interior rooms or furniture of any enclosed\nunit — outer shell and boundary openings only."}
{"ts": "2026-07-05 22:10:12", "kind": "stage", "stage": "s20_numbered_bd", "done": "fp"}
{"ts": "2026-07-05 22:10:36", "kind": "llm", "step": "s20_photo_author", "model": "gpt", "dur_s": 22.3, "system_prompt": "You write ONE image-generation prompt (English) for the final\nphotorealistic stage of a location pipeline. The image model will\nreceive your prompt plus ONE attached SITE PLAN drawing (a very\ndetailed floor-plan-style site plan) of a real property.\n\nThe plan is the single source of truth for WHAT exists and WHERE.\nTherefore your prompt must NOT re-describe, list or count the layout,\nits elements or their positions, and must NOT mention any of the\nplan's annotations or markers — beyond telling the model the\nattached drawing is a plan to be translated into real built volumes,\nnever copied as flat graphics, colours or text.\n\nYour prompt covers only what the plan cannot say:\n- the place must read as a REAL, LIVED-IN property — inhabited by\n  ordinary residents (weathering, everyday traces; decide the feel,\n  let the model improvise the specifics — do NOT enumerate a fixed\n  list of objects),\n- unpeopled; no readable text or signage anywhere in the image,\n- nothing story-specific — only what any such real place would show,\n- true materials of the regional building type per the production\n  data below (the plan's flat drawing colours are NOT materials),\n- one believable camera (your choice) and ordinary neutral daylight,\n  documentary tone.\nWrite 90-160 words of direct imperative prose.\nA creator-correction block, when present, overrides any conflicting\nplace data.\nphoto_prompt_ko: the same prompt in Korean (for the human reviewer).", "user_prompt": "PLACE DATA (production members):\n- 인천 변두리 낡은 빌라 옥탑방 옥상·현관 앞 외부: 낡은 다세대 빌라 꼭대기에 위치한 야외 공간. 물탱크, 흔들리는 빨랫줄, 평상 위 약초 건조 흔적, 낡은 철문 현관이 있다. (특징: 낡은 시멘트 바닥; 물탱크; 바람에 날리는 빨랫줄; 평상과 널려 있는 말린 약초(석창포); 전단지가 끼워진 철문 현관)\n- 옥탑방 내부: 작은 창문으로 빛이 들어오는 낡은 주거 공간. 싱크대, 식탁, TV가 있는 거실과 침대, 커튼, 거울 등이 있는 방/욕실로 구성된다. 약초 끓이는 냄비 등 생활 소품이 있으며, 간헐적으로 벽면에 붉은 원 형태의 환영과 핏자국이 생겨난다. (특징: 작은 창문의 햇살; 싱크대와 약초(석창포); 가스레인지 위 끓는 냄비와 수증기; 거실 TV와 스탠드; 침대, 커튼, 거울; 벽과 거울 표면에 나타나는 붉은 원 환영; 바닥과 벽의 핏자국 (특정 시점); 어지럽혀진 가재도구 (특정 시점))\n- 옥탑방 외곽 골목·시멘트 계단: 다세대 빌라 마당의 후미진 구석과 옥탑방으로 올라가는 가파르고 낡은 시멘트 계단. (특징: 다세대 빌라 입구 마당; 후미진 구석 공간; 낡고 가파른 시멘트 계단)\n\nCREATOR CORRECTIONS (override any conflicting place data):\n- CORRECTION (production owner): the exterior stair element is an ADDED-ON STEEL stair retrofitted later onto its building's outside wall — open treads, thin steel stringers and support posts, pipe handrail, visibly a separate later addition to the building. It is NOT concrete or cement; this supersedes any cement/concrete stair mention elsewhere in the data.\n\nREAL-WORLD APPEARANCE (production owner):\nREAL-WORLD APPEARANCE (production owner): render the property as a REAL, EXISTING aged multi-family villa with a rooftop dwelling of the exact regional type the production data describes — the way such buildings actually look there: typical vernacular materials and construction (e.g. aged red-brick or exterior tile cladding on the body, cement mouldings and sills, weathered stucco patches, grime streaks under the parapet, a rusty steel retrofit stair), varied and lived-in. Do NOT render a uniform cement-gray mass, and NEVER copy the site plan's flat drawing colours as building materials."}
{"ts": "2026-07-05 22:12:20", "kind": "img", "engine": "gpt-image-2", "mode": "edit", "tag": "s20_numbered_photo_gpt", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/numbered_fp_gpt.png"], "size": "1536x864", "attempt": 1, "dur_s": 103.4, "bytes": 2567084, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/numbered_photo_gpt.png", "prompt": "Use the attached site plan as the sole source for geometry, scale, adjacencies, and all existing features; translate it into real three-dimensional built space, never as flat graphics, plan colours, labels, or symbols. Render a photorealistic, unpeopled documentary view of an aged Incheon outskirts multi-family villa rooftop dwelling and its exterior approach, seen from one plausible eye-level 35mm camera position in neutral daylight. Make it feel genuinely inhabited by ordinary residents through natural wear, improvised maintenance, grime, fading, patched surfaces, and subtle everyday traces, without staged storytelling. Use regional vernacular materials: aged red brick or exterior tile cladding, cement mouldings and sills, weathered stucco repairs, stained parapets, and a rusty later-added steel stair visibly separate from the building, with open treads, thin stringers, posts, and pipe handrail. No readable text, signage, people, gore, or supernatural effects."}
{"ts": "2026-07-05 22:12:41", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s20_numbered_photo_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/numbered_fp_gpt.png"], "ref_labels": ["SITE PLAN (spatial ground truth) — translate to real photographic volumes; never copy its drawing style; no text anywhere."], "attempt": 1, "dur_s": 21.3, "bytes": 3145404, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/numbered_photo_nb2.png", "prompt": "Use the attached site plan as the sole source for geometry, scale, adjacencies, and all existing features; translate it into real three-dimensional built space, never as flat graphics, plan colours, labels, or symbols. Render a photorealistic, unpeopled documentary view of an aged Incheon outskirts multi-family villa rooftop dwelling and its exterior approach, seen from one plausible eye-level 35mm camera position in neutral daylight. Make it feel genuinely inhabited by ordinary residents through natural wear, improvised maintenance, grime, fading, patched surfaces, and subtle everyday traces, without staged storytelling. Use regional vernacular materials: aged red brick or exterior tile cladding, cement mouldings and sills, weathered stucco repairs, stained parapets, and a rusty later-added steel stair visibly separate from the building, with open treads, thin stringers, posts, and pipe handrail. No readable text, signage, people, gore, or supernatural effects."}
{"ts": "2026-07-05 22:12:41", "kind": "stage", "stage": "s20_numbered_bd", "done": "photo"}
{"ts": "2026-07-06 00:40:35", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s20_numbered_sketch_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/numbered_bd_nb2.png"], "ref_labels": ["TOP-DOWN BLOCK REFERENCE (what exists + plan arrangement; numerals are annotations — draw none of them; flat colours encode height layers only)."], "attempt": 1, "dur_s": 19.1, "bytes": 1711572, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/numbered_sketch_nb2.png", "prompt": "The FIRST attached image is a flat TOP-DOWN BLOCK REFERENCE of the\nsame property: use it only for WHAT exists and WHERE things sit in\nplan. Its numerals are annotations — never draw them. Its flat\ncolours encode height layers only; the layer order is given below —\ntranslate those layers into clearly visible built heights.\n\nTHE PLACE (authored description — the content ground truth):\nBUILDING: The main building is an old multifamily villa block, drawn as an assumed three-storey body below the rooftop unit because the script only states an old villa with a rooftop room. Its mass is a plain rectangular concrete volume set behind an entry yard. The roof is flat and usable as a cement-surfaced terrace. The front facade facing the yard should show four repeated window bays per storey, matching the extracted layout’s inferred facade-window rhythm.\nTOP UNIT & DECK: The topmost enclosed unit is a small, old rooftop dwelling set on the flat terrace, drawn as a simple rectangular shell. Its boundary openings are one iron entrance door facing the stair landing, one small living-room window on a side wall, and one bedroom window on another wall. Around it, the open deck has a low concrete parapet or wall, a round water tank, a fixed laundry line, and a low platform on the cement surface.\nGROUNDS: At ground level, a street edge feeds a narrow alley along the left side, leading to a single entry gate and a small recessed yard at the villa entrance. Neighboring building masses close the rear and sides, making the approach compact. From the yard’s back corner, a later-added exterior steel stair is fixed to the outside wall, with open treads, thin stringers, support posts, and a pipe handrail, continuing up to the rooftop terrace and iron-door landing.\nTHE PLAN MUST SHOW: The finished top-down site plan should show a rectangular villa mass centered behind the yard, with its flat roof terrace visible as the primary upper surface. Place the rooftop room as a smaller rectangle on the terrace, with one door toward the stair landing and two windows on separate sides. Draw the left alley, entry gate, recessed yard, surrounding neighbor blocks, low roof wall, fixed rooftop fixtures, and the retrofitted steel stair as a separate exterior structure attached to the building wall.\n\nHEIGHT LAYERS (low to high): Ground (h=0) -> Stair run (h=1.5) -> Roof deck (h=3) -> Rooftop room (h=4)\n\nDraw ONE SIMPLE LINE SKETCH of the property's structure — clean thin\ndark lines on plain white, like a quick architect's massing sketch.\nViewpoint: slightly elevated three-quarter oblique view (tilted about\n30 degrees down from vertical) so RELATIVE HEIGHTS read clearly —\nwhich volume rises above which, how many storeys the building has,\nwhat sits on top of what, and how the stair climbs between levels.\nLINES ONLY: no colours, no fills, no shading, no materials, no\ntexture, no photorealism.\nSIMPLE: massing outlines, level edges and openings only — no\ndrafting detail, no double-line walls, no furniture, never any\ninterior of enclosed units.\nNo text, letters, numbers, labels, markers, legend or compass.\nNo people, no props, no vehicles."}
{"ts": "2026-07-06 00:42:18", "kind": "img", "engine": "gpt-image-2", "mode": "edit", "tag": "s20_numbered_sketch_gpt", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/numbered_bd_nb2.png"], "size": "1536x864", "attempt": 1, "dur_s": 103.7, "bytes": 1323035, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/numbered_sketch_gpt.png", "prompt": "The FIRST attached image is a flat TOP-DOWN BLOCK REFERENCE of the\nsame property: use it only for WHAT exists and WHERE things sit in\nplan. Its numerals are annotations — never draw them. Its flat\ncolours encode height layers only; the layer order is given below —\ntranslate those layers into clearly visible built heights.\n\nTHE PLACE (authored description — the content ground truth):\nBUILDING: The main building is an old multifamily villa block, drawn as an assumed three-storey body below the rooftop unit because the script only states an old villa with a rooftop room. Its mass is a plain rectangular concrete volume set behind an entry yard. The roof is flat and usable as a cement-surfaced terrace. The front facade facing the yard should show four repeated window bays per storey, matching the extracted layout’s inferred facade-window rhythm.\nTOP UNIT & DECK: The topmost enclosed unit is a small, old rooftop dwelling set on the flat terrace, drawn as a simple rectangular shell. Its boundary openings are one iron entrance door facing the stair landing, one small living-room window on a side wall, and one bedroom window on another wall. Around it, the open deck has a low concrete parapet or wall, a round water tank, a fixed laundry line, and a low platform on the cement surface.\nGROUNDS: At ground level, a street edge feeds a narrow alley along the left side, leading to a single entry gate and a small recessed yard at the villa entrance. Neighboring building masses close the rear and sides, making the approach compact. From the yard’s back corner, a later-added exterior steel stair is fixed to the outside wall, with open treads, thin stringers, support posts, and a pipe handrail, continuing up to the rooftop terrace and iron-door landing.\nTHE PLAN MUST SHOW: The finished top-down site plan should show a rectangular villa mass centered behind the yard, with its flat roof terrace visible as the primary upper surface. Place the rooftop room as a smaller rectangle on the terrace, with one door toward the stair landing and two windows on separate sides. Draw the left alley, entry gate, recessed yard, surrounding neighbor blocks, low roof wall, fixed rooftop fixtures, and the retrofitted steel stair as a separate exterior structure attached to the building wall.\n\nHEIGHT LAYERS (low to high): Ground (h=0) -> Stair run (h=1.5) -> Roof deck (h=3) -> Rooftop room (h=4)\n\nDraw ONE SIMPLE LINE SKETCH of the property's structure — clean thin\ndark lines on plain white, like a quick architect's massing sketch.\nViewpoint: slightly elevated three-quarter oblique view (tilted about\n30 degrees down from vertical) so RELATIVE HEIGHTS read clearly —\nwhich volume rises above which, how many storeys the building has,\nwhat sits on top of what, and how the stair climbs between levels.\nLINES ONLY: no colours, no fills, no shading, no materials, no\ntexture, no photorealism.\nSIMPLE: massing outlines, level edges and openings only — no\ndrafting detail, no double-line walls, no furniture, never any\ninterior of enclosed units.\nNo text, letters, numbers, labels, markers, legend or compass.\nNo people, no props, no vehicles."}
{"ts": "2026-07-06 00:42:18", "kind": "stage", "stage": "s20_numbered_bd", "done": "sketch"}
{"ts": "2026-07-06 00:42:38", "kind": "llm", "step": "s20_photo_author", "model": "gpt", "dur_s": 16.8, "system_prompt": "You write ONE image-generation prompt (English) for the final\nphotorealistic stage of a location pipeline. The image model will\nreceive your prompt plus ONE attached simple line-art STRUCTURE\nSKETCH of a real property, drawn from a slightly elevated oblique\nview so relative heights, storeys and levels read clearly.\n\nThe sketch is the single source of truth for WHAT exists, WHERE it\nsits and HOW HIGH everything is. Therefore your prompt must NOT\nre-describe, list or count the layout, its elements, positions or\nheights — beyond telling the model the attached drawing is a\nstructure sketch to be translated into real built volumes, never\ncopied as line graphics or drawing style.\n\nYour prompt covers only what the sketch cannot say:\n- the place must read as a REAL, LIVED-IN property — inhabited by\n  ordinary residents (weathering, everyday traces; decide the feel,\n  let the model improvise the specifics — do NOT enumerate a fixed\n  list of objects),\n- unpeopled; no readable text or signage anywhere in the image,\n- nothing story-specific — only what any such real place would show,\n- true materials of the regional building type per the production\n  data below (the sketch's bare lines carry NO material information),\n- one believable camera (your choice) and ordinary neutral daylight,\n  documentary tone.\nWrite 90-160 words of direct imperative prose.\nA creator-correction block, when present, overrides any conflicting\nplace data.\nphoto_prompt_ko: the same prompt in Korean (for the human reviewer).", "user_prompt": "PLACE DATA (production members):\n- 인천 변두리 낡은 빌라 옥탑방 옥상·현관 앞 외부: 낡은 다세대 빌라 꼭대기에 위치한 야외 공간. 물탱크, 흔들리는 빨랫줄, 평상 위 약초 건조 흔적, 낡은 철문 현관이 있다. (특징: 낡은 시멘트 바닥; 물탱크; 바람에 날리는 빨랫줄; 평상과 널려 있는 말린 약초(석창포); 전단지가 끼워진 철문 현관)\n- 옥탑방 내부: 작은 창문으로 빛이 들어오는 낡은 주거 공간. 싱크대, 식탁, TV가 있는 거실과 침대, 커튼, 거울 등이 있는 방/욕실로 구성된다. 약초 끓이는 냄비 등 생활 소품이 있으며, 간헐적으로 벽면에 붉은 원 형태의 환영과 핏자국이 생겨난다. (특징: 작은 창문의 햇살; 싱크대와 약초(석창포); 가스레인지 위 끓는 냄비와 수증기; 거실 TV와 스탠드; 침대, 커튼, 거울; 벽과 거울 표면에 나타나는 붉은 원 환영; 바닥과 벽의 핏자국 (특정 시점); 어지럽혀진 가재도구 (특정 시점))\n- 옥탑방 외곽 골목·시멘트 계단: 다세대 빌라 마당의 후미진 구석과 옥탑방으로 올라가는 가파르고 낡은 시멘트 계단. (특징: 다세대 빌라 입구 마당; 후미진 구석 공간; 낡고 가파른 시멘트 계단)\n\nCREATOR CORRECTIONS (override any conflicting place data):\n- CORRECTION (production owner): the exterior stair element is an ADDED-ON STEEL stair retrofitted later onto its building's outside wall — open treads, thin steel stringers and support posts, pipe handrail, visibly a separate later addition to the building. It is NOT concrete or cement; this supersedes any cement/concrete stair mention elsewhere in the data.\n\nREAL-WORLD APPEARANCE (production owner):\nREAL-WORLD APPEARANCE (production owner): render the property as a REAL, EXISTING aged multi-family villa with a rooftop dwelling of the exact regional type the production data describes — the way such buildings actually look there: typical vernacular materials and construction (e.g. aged red-brick or exterior tile cladding on the body, cement mouldings and sills, weathered stucco patches, grime streaks under the parapet, a rusty steel retrofit stair), varied and lived-in. Do NOT render a uniform cement-gray mass, and NEVER copy the site plan's flat drawing colours as building materials."}
{"ts": "2026-07-06 00:44:27", "kind": "img", "engine": "gpt-image-2", "mode": "edit", "tag": "s20_numbered_photo_gpt", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/numbered_sketch_gpt.png"], "size": "1536x864", "attempt": 1, "dur_s": 109.4, "bytes": 2614606, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/numbered_photo_gpt.png", "prompt": "Use the attached line-art only as a structural guide: translate its exact volumes, openings, levels and attached parts into real built architecture, never into line graphics or plan colors. Render a real aged multi-family villa rooftop dwelling in an outer Incheon neighborhood, with typical local vernacular materials: weathered red brick or exterior tile cladding, cement mouldings and sills, patched stucco, grime streaks below parapets, worn metalwork and faded paint. Any exterior stair shown must read as a later retrofitted steel addition, with open treads, thin stringers, support posts, pipe handrail and rust. Make the place visibly inhabited by ordinary residents through natural weathering and improvised everyday traces, but keep it unpeopled, with no readable text or signage anywhere. Avoid story-specific marks or horror details. Shoot as a photorealistic documentary location photo from a believable slightly elevated oblique camera, neutral daylight, natural color, realistic lens perspective."}
{"ts": "2026-07-06 00:44:47", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s20_numbered_photo_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/numbered_sketch_gpt.png"], "ref_labels": ["STRUCTURE SKETCH (spatial + height ground truth) — translate its volumes, levels and storeys into real photographic construction; never copy its line style; no text anywhere."], "attempt": 1, "dur_s": 20.3, "bytes": 3900992, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/numbered_photo_nb2.png", "prompt": "Use the attached line-art only as a structural guide: translate its exact volumes, openings, levels and attached parts into real built architecture, never into line graphics or plan colors. Render a real aged multi-family villa rooftop dwelling in an outer Incheon neighborhood, with typical local vernacular materials: weathered red brick or exterior tile cladding, cement mouldings and sills, patched stucco, grime streaks below parapets, worn metalwork and faded paint. Any exterior stair shown must read as a later retrofitted steel addition, with open treads, thin stringers, support posts, pipe handrail and rust. Make the place visibly inhabited by ordinary residents through natural weathering and improvised everyday traces, but keep it unpeopled, with no readable text or signage anywhere. Avoid story-specific marks or horror details. Shoot as a photorealistic documentary location photo from a believable slightly elevated oblique camera, neutral daylight, natural color, realistic lens perspective."}
{"ts": "2026-07-06 00:44:47", "kind": "stage", "stage": "s20_numbered_bd", "done": "photo"}
{"ts": "2026-07-06 01:32:41", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s20_numbered_plan_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/projects/b0ad5c18-5140-4022-a2b0-805de0e5a385/episodes/0d30302a-51c8-4ac9-98e2-6cd9180512bf/images/floor_plan/fp_l04_rooftop_room_main.png"], "ref_labels": ["DRAFTING STYLE REFERENCE (an interior floor plan) — copy ONLY its drawing style: line weight, flat fills, plan symbols. Never its rooms, furniture, numbers or content."], "attempt": 1, "dur_s": 18.7, "bytes": 1487496, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/numbered_plan_nb2.png", "prompt": "Draw ONE strict TOP-DOWN 2D architectural SITE PLAN in the drafting\nlanguage of a clean floor plan — thin dark outlines, flat muted colour\nfills, detailed plan symbols (double-line walls, door leaf + swing arc,\nwindow frames set in walls, stair treads with stringers and landings,\nbase rings for round fixtures, paving joints, kerb lines). Height\nlevels appear only as flat fill tints (darker = higher). Flat\northographic plan view: NO 3D, NO axonometric, NO perspective, no\nshadows. Neutral document: no people, no story props, no vehicles, no\nposted papers, each element carries ONLY its assigned number, drawn once as a small\nplain dark numeral on (or beside) it; apart from these numerals no text,\nno letters, no words, no other markers, no legend, no compass. Never expose interior rooms or furniture of any enclosed\nunit — outer shell and boundary openings only.\n\nEXTERIOR ONLY: this is an OUTDOOR site plan seen from above — show\nonly the exterior: ground areas, building outer shells, roof-level\nsurfaces and outdoor fixtures. NEVER draw any interior room, inner\nwall, partition or furniture of any enclosed unit — every enclosed\nvolume stays sealed (outer walls and boundary openings only).\n\nDraw it in real site-plan drawing density, so every element reads as\nwhat it is from its plan symbols. Use the standard plan vocabulary\nper element type:\n- roads: kerb lines\n- alleys: paving joints\n- yards: paving joints\n- building masses: walls as double lines with real thickness, roof edges with parapet coping lines\n- open decks: edge/parapet lines and a flat surface tone\n- enclosed upper-shell units: thick-walled outline with boundary openings only — never interior rooms\n- stairs: individual treads, stringer/railing lines, top and bottom landings\n- boundary walls: double lines\n- neighbouring buildings: simplified roof outlines only (secondary)\n- round free-standing fixtures: circle with its base ring\n- low rectangular fixtures: outline with slat/edge lines\n- small equipment units: simple outlined box with support/mount lines\n- doors: leaf + swing arc set in a wall opening\n- windows: frame lines set INTO the wall\n- gates: leaf/swing symbol set in the boundary wall\n\nNUMBERED STRUCTURE (relative positions, sizes, footprint shapes; draw each element's number as a small plain marker on it):\n1 thin strip rectangular block, south-centre area, with a long straight carriageway-band footprint\n2 thin strip rectangular block, centre-west area, with a narrow straight passage-strip footprint\n3 thin strip rectangular block, south-centre area, with a shallow elongated forecourt-rectangle footprint\n4 large rectangular block, centre area, with a single broad building-mass rectangle footprint\n5 medium rectangular block, north-west area, plain simplified block, with a simple rectangular roof-mass footprint\n6 medium rectangular block, north-centre area, plain simplified block, with a simple rectangular roof-mass footprint\n7 thin strip rectangular block, centre-east area, plain simplified block, with a slim rectangular side-mass footprint\n8 thin strip rectangular block, south-east area, connecting the ground level up to the deck level, with a linear run of parallel tread rectangles footprint\n9 large rectangular block, placed on block 4, in its centre part, with a broad open roof-deck rectangle footprint\n10 medium rectangular block, placed on block 9, in its centre part, with a compact enclosed rectangular shell footprint\n11 thin strip rectangular block, placed on block 9, in its south-centre part, with a narrow wall-line rectangular strip silhouette\n12 tiny round block, placed on block 9, in its north-west part, with a circular footprint\n13 tiny rectangular block, placed on block 9, in its south-west part, with a small plain rectangular slab footprint\n14 thin strip rectangular block, centre area, on the west edge of block 10, with a single taut straight-line silhouette\n15 tiny rectangular block, centre area, on the south edge of block 10, with a small door-leaf rectangle footprint\n16 tiny rectangular block, centre area, on the east edge of block 10, with a small window-slot rectangle footprint\n17 thin strip rectangular block, north-centre area, on the north edge of block 10, with a narrow horizontal window-slot silhouette\n18 thin strip rectangular block, placed on block 3, in its centre-west part, with a single gate-bar strip footprint\n19 thin strip rectangular block, south-centre area, on the north edge of block 3 (4 in a row), with four repeated narrow window-slot rectangles in a row"}
{"ts": "2026-07-06 01:34:57", "kind": "img", "engine": "gpt-image-2", "mode": "edit", "tag": "s20_numbered_plan_gpt", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/projects/b0ad5c18-5140-4022-a2b0-805de0e5a385/episodes/0d30302a-51c8-4ac9-98e2-6cd9180512bf/images/floor_plan/fp_l04_rooftop_room_main.png"], "size": "1536x864", "attempt": 1, "dur_s": 136.1, "bytes": 2203174, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/numbered_plan_gpt.png", "prompt": "Draw ONE strict TOP-DOWN 2D architectural SITE PLAN in the drafting\nlanguage of a clean floor plan — thin dark outlines, flat muted colour\nfills, detailed plan symbols (double-line walls, door leaf + swing arc,\nwindow frames set in walls, stair treads with stringers and landings,\nbase rings for round fixtures, paving joints, kerb lines). Height\nlevels appear only as flat fill tints (darker = higher). Flat\northographic plan view: NO 3D, NO axonometric, NO perspective, no\nshadows. Neutral document: no people, no story props, no vehicles, no\nposted papers, each element carries ONLY its assigned number, drawn once as a small\nplain dark numeral on (or beside) it; apart from these numerals no text,\nno letters, no words, no other markers, no legend, no compass. Never expose interior rooms or furniture of any enclosed\nunit — outer shell and boundary openings only.\n\nEXTERIOR ONLY: this is an OUTDOOR site plan seen from above — show\nonly the exterior: ground areas, building outer shells, roof-level\nsurfaces and outdoor fixtures. NEVER draw any interior room, inner\nwall, partition or furniture of any enclosed unit — every enclosed\nvolume stays sealed (outer walls and boundary openings only).\n\nDraw it in real site-plan drawing density, so every element reads as\nwhat it is from its plan symbols. Use the standard plan vocabulary\nper element type:\n- roads: kerb lines\n- alleys: paving joints\n- yards: paving joints\n- building masses: walls as double lines with real thickness, roof edges with parapet coping lines\n- open decks: edge/parapet lines and a flat surface tone\n- enclosed upper-shell units: thick-walled outline with boundary openings only — never interior rooms\n- stairs: individual treads, stringer/railing lines, top and bottom landings\n- boundary walls: double lines\n- neighbouring buildings: simplified roof outlines only (secondary)\n- round free-standing fixtures: circle with its base ring\n- low rectangular fixtures: outline with slat/edge lines\n- small equipment units: simple outlined box with support/mount lines\n- doors: leaf + swing arc set in a wall opening\n- windows: frame lines set INTO the wall\n- gates: leaf/swing symbol set in the boundary wall\n\nNUMBERED STRUCTURE (relative positions, sizes, footprint shapes; draw each element's number as a small plain marker on it):\n1 thin strip rectangular block, south-centre area, with a long straight carriageway-band footprint\n2 thin strip rectangular block, centre-west area, with a narrow straight passage-strip footprint\n3 thin strip rectangular block, south-centre area, with a shallow elongated forecourt-rectangle footprint\n4 large rectangular block, centre area, with a single broad building-mass rectangle footprint\n5 medium rectangular block, north-west area, plain simplified block, with a simple rectangular roof-mass footprint\n6 medium rectangular block, north-centre area, plain simplified block, with a simple rectangular roof-mass footprint\n7 thin strip rectangular block, centre-east area, plain simplified block, with a slim rectangular side-mass footprint\n8 thin strip rectangular block, south-east area, connecting the ground level up to the deck level, with a linear run of parallel tread rectangles footprint\n9 large rectangular block, placed on block 4, in its centre part, with a broad open roof-deck rectangle footprint\n10 medium rectangular block, placed on block 9, in its centre part, with a compact enclosed rectangular shell footprint\n11 thin strip rectangular block, placed on block 9, in its south-centre part, with a narrow wall-line rectangular strip silhouette\n12 tiny round block, placed on block 9, in its north-west part, with a circular footprint\n13 tiny rectangular block, placed on block 9, in its south-west part, with a small plain rectangular slab footprint\n14 thin strip rectangular block, centre area, on the west edge of block 10, with a single taut straight-line silhouette\n15 tiny rectangular block, centre area, on the south edge of block 10, with a small door-leaf rectangle footprint\n16 tiny rectangular block, centre area, on the east edge of block 10, with a small window-slot rectangle footprint\n17 thin strip rectangular block, north-centre area, on the north edge of block 10, with a narrow horizontal window-slot silhouette\n18 thin strip rectangular block, placed on block 3, in its centre-west part, with a single gate-bar strip footprint\n19 thin strip rectangular block, south-centre area, on the north edge of block 3 (4 in a row), with four repeated narrow window-slot rectangles in a row"}
{"ts": "2026-07-06 01:34:57", "kind": "stage", "stage": "s20_numbered_bd", "done": "plan"}
{"ts": "2026-07-06 01:40:15", "kind": "llm", "step": "s20_plan_rewrite", "model": "gpt", "dur_s": 20.8, "system_prompt": "You are given NUMBERED STRUCTURE lines written for a flat block\ndiagram (block-language shape clauses), plus ELEMENT DATA grounding\neach element.\n\nRewrite the SAME lines for a REAL top-down architectural SITE PLAN:\n- keep every number, spatial relation, size relation and count\n  EXACTLY as given (same numbering, same cross-references like\n  'placed on block 4'),\n- replace each block-language shape clause with what that element\n  actually looks like in a roof-plan view seen straight from above\n  (true footprint outline, roof edges/parapet lines, tread runs,\n  base rings, leaf-and-swing openings...) — grounded in its ELEMENT\n  DATA; never invent beyond it,\n- NO simplification anywhere: neighbouring buildings get their real\n  roof-plan appearance at the SAME fidelity as the main property —\n  never 'a plain simplified block',\n- drawing shapes only — never materials, colours, condition, story.\nOutput the rewritten lines in the same order.", "user_prompt": "NUMBERED STRUCTURE lines:\n1 thin strip rectangular block, south-centre area, with a long straight carriageway-band footprint\n2 thin strip rectangular block, centre-west area, with a narrow straight passage-strip footprint\n3 thin strip rectangular block, south-centre area, with a shallow elongated forecourt-rectangle footprint\n4 large rectangular block, centre area, with a single broad building-mass rectangle footprint\n5 medium rectangular block, north-west area, plain simplified block, with a simple rectangular roof-mass footprint\n6 medium rectangular block, north-centre area, plain simplified block, with a simple rectangular roof-mass footprint\n7 thin strip rectangular block, centre-east area, plain simplified block, with a slim rectangular side-mass footprint\n8 thin strip rectangular block, south-east area, connecting the ground level up to the deck level, with a linear run of parallel tread rectangles footprint\n9 large rectangular block, placed on block 4, in its centre part, with a broad open roof-deck rectangle footprint\n10 medium rectangular block, placed on block 9, in its centre part, with a compact enclosed rectangular shell footprint\n11 thin strip rectangular block, placed on block 9, in its south-centre part, with a narrow wall-line rectangular strip silhouette\n12 tiny round block, placed on block 9, in its north-west part, with a circular footprint\n13 tiny rectangular block, placed on block 9, in its south-west part, with a small plain rectangular slab footprint\n14 thin strip rectangular block, centre area, on the west edge of block 10, with a single taut straight-line silhouette\n15 tiny rectangular block, centre area, on the south edge of block 10, with a small door-leaf rectangle footprint\n16 tiny rectangular block, centre area, on the east edge of block 10, with a small window-slot rectangle footprint\n17 thin strip rectangular block, north-centre area, on the north edge of block 10, with a narrow horizontal window-slot silhouette\n18 thin strip rectangular block, placed on block 3, in its centre-west part, with a single gate-bar strip footprint\n19 thin strip rectangular block, south-centre area, on the north edge of block 3 (4 in a row), with four repeated narrow window-slot rectangles in a row\n\nELEMENT DATA (name [kind]: extracted description):\n- street road [kind road]: 하단의 큰 도로는 골목과 차량 접근이 만나는 거리로 배치했다.\n- narrow alley [kind alley]: 왼쪽 세로 골목은 도로에서 빌라 입구로 이어지는 좁은 진입로이다.\n- entry yard [kind yard]: 빌라 앞마당은 골목에서 들어와 계단을 타기 전 머무는 후미진 공간이다.\n- villa mass [kind building_mass]: 중앙의 낡은 빌라 본체는 옥탑방이 올라앉은 다세대 건물 매스이다.\n- roof terrace [kind terrace]: 옥상 테라스는 본관 지붕 위에서 옥탑방 현관과 물탱크가 함께 놓이는 시멘트 바닥이다.\n- rooftop room [kind upper_shell]: 옥탑 주거 셸은 옥상 중앙에 놓인 작은 실내 공간의 외곽선이다.\n- concrete stair [kind stair]: 오른쪽 외부 계단은 마당 후미진 곳에서 옥상 현관 앞까지 이어진다.\n- low wall [kind wall]: 낮은 옥상 담은 테라스 가장자리를 따라 둘러져 있고 고양이가 넘는 경계이다.\n- neighbor block [kind neighbor_mass]: 왼쪽 이웃 건물은 부감에서 옥탑방을 둘러싸는 낡은 빌라 지붕 중 하나이다.\n- rear neighbor [kind neighbor_mass]: 상단 이웃 건물은 옥탑방 뒤쪽을 막는 낡은 지붕 매스이다.\n- side neighbor [kind neighbor_mass]: 오른쪽 이웃 건물은 계단 바깥쪽 골목을 좁게 만드는 주변 매스이다.\n- water tank [kind fixture_round]: 물탱크는 옥상 왼쪽 뒤편에 둔 원형 설비이다.\n- low platform [kind fixture_rect]: 낮은 평상은 옥상 앞쪽에 놓여 말린 약초가 바람에 날리던 자리이다.\n- laundry line [kind equipment]: 빨랫줄은 물탱크와 옥탑방 사이를 가로질러 바람에 흔들리는 얇은 고정 설비이다.\n- iron door [kind door]: 철문 현관은 옥탑 셸의 아래쪽 가장자리에 두어 계단 상부 랜딩과 마주 보게 했다.\n- living window [kind window]: 거실의 작은 창은 옥탑방 오른쪽 외벽에 둔 첫 번째 창이다.\n- bedroom window [kind window]: 침실의 커튼 달린 창은 옥탑방 위쪽 외벽에 둔 두 번째 창이다.\n- entry gate [kind gate]: 빌라 입구문은 골목에서 앞마당으로 들어가는 단일 출입 게이트이다.\n- facade windows [kind window]: 본관 전면 창들은 다세대 빌라의 정면을 읽히게 하도록 앞마당 쪽 벽에 네 칸 반복으로 배치했다."}
{"ts": "2026-07-06 01:40:33", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s20_numbered_plan_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/projects/b0ad5c18-5140-4022-a2b0-805de0e5a385/episodes/0d30302a-51c8-4ac9-98e2-6cd9180512bf/images/floor_plan/fp_l04_rooftop_room_main.png"], "ref_labels": ["DRAFTING STYLE REFERENCE (an interior floor plan) — copy ONLY its drawing style: line weight, flat fills, plan symbols. Never its rooms, furniture, numbers or content."], "attempt": 1, "dur_s": 17.9, "bytes": 1601144, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/numbered_plan_nb2.png", "prompt": "Draw ONE strict TOP-DOWN 2D architectural SITE PLAN in the drafting\nlanguage of a clean floor plan — thin dark outlines, flat muted colour\nfills, detailed plan symbols (double-line walls, door leaf + swing arc,\nwindow frames set in walls, stair treads with stringers and landings,\nbase rings for round fixtures, paving joints, kerb lines). Height\nlevels appear only as flat fill tints (darker = higher). Flat\northographic plan view: NO 3D, NO axonometric, NO perspective, no\nshadows. Neutral document: no people, no story props, no vehicles, no\nposted papers, each element carries ONLY its assigned number, drawn once as a small\nplain dark numeral on (or beside) it; apart from these numerals no text,\nno letters, no words, no other markers, no legend, no compass. Never expose interior rooms or furniture of any enclosed\nunit — outer shell and boundary openings only.\n\nEXTERIOR ONLY: this is an OUTDOOR site plan seen from above — show\nonly the exterior: ground areas, building outer shells, roof-level\nsurfaces and outdoor fixtures. NEVER draw any interior room, inner\nwall, partition or furniture of any enclosed unit — every enclosed\nvolume stays sealed (outer walls and boundary openings only).\n\nFULL FIDELITY EVERYWHERE: draw every element, including every\nneighbouring building, at the same real site-plan drawing density —\nactual roof-plan outlines, roof edges and parapets, rooftop features\nas described below. Nothing is a simplified placeholder block.\n\nNUMBERED SITE-PLAN STRUCTURE (positions, sizes, roof-plan shapes; draw each element's number as a small plain marker on it):\n1 thin strip rectangular roadway footprint, south-centre area, with a long straight carriageway-band outline\n2 thin strip rectangular alley footprint, centre-west area, with a narrow straight passage-strip outline\n3 thin strip rectangular yard footprint, south-centre area, with a shallow elongated forecourt-rectangle outline\n4 large rectangular building roof footprint, centre area, with a single broad roof-edge rectangle outline\n5 medium rectangular neighbouring building roof footprint, north-west area, with a rectangular roof-mass outline and roof-edge perimeter\n6 medium rectangular rear neighbouring building roof footprint, north-centre area, with a rectangular roof-mass outline and roof-edge perimeter\n7 thin strip rectangular side neighbouring building footprint, centre-east area, with a slim rectangular side roof-mass outline and roof-edge perimeter\n8 thin strip rectangular exterior stair footprint, south-east area, connecting the ground level up to the deck level, with a linear run of parallel tread rectangles outline\n9 large rectangular roof terrace footprint, placed on block 4, in its centre part, with a broad open roof-deck rectangle outline and perimeter edge line\n10 medium rectangular rooftop room shell footprint, placed on block 9, in its centre part, with a compact enclosed rectangular wall-outline footprint\n11 thin strip rectangular low roof-wall footprint, placed on block 9, in its south-centre part, with a narrow straight parapet/wall-line rectangular strip outline\n12 tiny round water-tank footprint, placed on block 9, in its north-west part, with a circular base outline\n13 tiny rectangular low platform footprint, placed on block 9, in its south-west part, with a small rectangular slab outline\n14 thin strip linear laundry-line footprint, centre area, on the west edge of block 10, with a single taut straight-line outline\n15 tiny rectangular roof-entry door opening, centre area, on the south edge of block 10, with a small rectangular door-leaf footprint and swing opening arc\n16 tiny rectangular living-window opening, centre area, on the east edge of block 10, with a small rectangular window-slot outline\n17 thin strip rectangular bedroom-window opening, north-centre area, on the north edge of block 10, with a narrow horizontal window-slot outline\n18 thin strip rectangular entry-gate opening, placed on block 3, in its centre-west part, with a single gate-leaf/bar strip footprint and swing opening arc\n19 thin strip rectangular facade-window openings, south-centre area, on the north edge of block 3 (4 in a row), with four repeated narrow window-slot rectangles in a row"}
{"ts": "2026-07-06 01:42:27", "kind": "img", "engine": "gpt-image-2", "mode": "edit", "tag": "s20_numbered_plan_gpt", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/projects/b0ad5c18-5140-4022-a2b0-805de0e5a385/episodes/0d30302a-51c8-4ac9-98e2-6cd9180512bf/images/floor_plan/fp_l04_rooftop_room_main.png"], "size": "1536x864", "attempt": 1, "dur_s": 114.2, "bytes": 2087521, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/numbered_plan_gpt.png", "prompt": "Draw ONE strict TOP-DOWN 2D architectural SITE PLAN in the drafting\nlanguage of a clean floor plan — thin dark outlines, flat muted colour\nfills, detailed plan symbols (double-line walls, door leaf + swing arc,\nwindow frames set in walls, stair treads with stringers and landings,\nbase rings for round fixtures, paving joints, kerb lines). Height\nlevels appear only as flat fill tints (darker = higher). Flat\northographic plan view: NO 3D, NO axonometric, NO perspective, no\nshadows. Neutral document: no people, no story props, no vehicles, no\nposted papers, each element carries ONLY its assigned number, drawn once as a small\nplain dark numeral on (or beside) it; apart from these numerals no text,\nno letters, no words, no other markers, no legend, no compass. Never expose interior rooms or furniture of any enclosed\nunit — outer shell and boundary openings only.\n\nEXTERIOR ONLY: this is an OUTDOOR site plan seen from above — show\nonly the exterior: ground areas, building outer shells, roof-level\nsurfaces and outdoor fixtures. NEVER draw any interior room, inner\nwall, partition or furniture of any enclosed unit — every enclosed\nvolume stays sealed (outer walls and boundary openings only).\n\nFULL FIDELITY EVERYWHERE: draw every element, including every\nneighbouring building, at the same real site-plan drawing density —\nactual roof-plan outlines, roof edges and parapets, rooftop features\nas described below. Nothing is a simplified placeholder block.\n\nNUMBERED SITE-PLAN STRUCTURE (positions, sizes, roof-plan shapes; draw each element's number as a small plain marker on it):\n1 thin strip rectangular roadway footprint, south-centre area, with a long straight carriageway-band outline\n2 thin strip rectangular alley footprint, centre-west area, with a narrow straight passage-strip outline\n3 thin strip rectangular yard footprint, south-centre area, with a shallow elongated forecourt-rectangle outline\n4 large rectangular building roof footprint, centre area, with a single broad roof-edge rectangle outline\n5 medium rectangular neighbouring building roof footprint, north-west area, with a rectangular roof-mass outline and roof-edge perimeter\n6 medium rectangular rear neighbouring building roof footprint, north-centre area, with a rectangular roof-mass outline and roof-edge perimeter\n7 thin strip rectangular side neighbouring building footprint, centre-east area, with a slim rectangular side roof-mass outline and roof-edge perimeter\n8 thin strip rectangular exterior stair footprint, south-east area, connecting the ground level up to the deck level, with a linear run of parallel tread rectangles outline\n9 large rectangular roof terrace footprint, placed on block 4, in its centre part, with a broad open roof-deck rectangle outline and perimeter edge line\n10 medium rectangular rooftop room shell footprint, placed on block 9, in its centre part, with a compact enclosed rectangular wall-outline footprint\n11 thin strip rectangular low roof-wall footprint, placed on block 9, in its south-centre part, with a narrow straight parapet/wall-line rectangular strip outline\n12 tiny round water-tank footprint, placed on block 9, in its north-west part, with a circular base outline\n13 tiny rectangular low platform footprint, placed on block 9, in its south-west part, with a small rectangular slab outline\n14 thin strip linear laundry-line footprint, centre area, on the west edge of block 10, with a single taut straight-line outline\n15 tiny rectangular roof-entry door opening, centre area, on the south edge of block 10, with a small rectangular door-leaf footprint and swing opening arc\n16 tiny rectangular living-window opening, centre area, on the east edge of block 10, with a small rectangular window-slot outline\n17 thin strip rectangular bedroom-window opening, north-centre area, on the north edge of block 10, with a narrow horizontal window-slot outline\n18 thin strip rectangular entry-gate opening, placed on block 3, in its centre-west part, with a single gate-leaf/bar strip footprint and swing opening arc\n19 thin strip rectangular facade-window openings, south-centre area, on the north edge of block 3 (4 in a row), with four repeated narrow window-slot rectangles in a row"}
{"ts": "2026-07-06 01:42:27", "kind": "stage", "stage": "s20_numbered_bd", "done": "plan"}
{"ts": "2026-07-06 01:48:18", "kind": "llm", "step": "s20_plan_rewrite", "model": "gpt", "dur_s": 12.6, "system_prompt": "You are given NUMBERED STRUCTURE lines written for a flat block\ndiagram (block-language shape clauses), plus ELEMENT DATA grounding\neach element.\n\nRewrite the SAME lines for a REAL top-down architectural SITE PLAN:\n- keep every number, spatial relation, size relation and count\n  EXACTLY as given (same numbering, same cross-references like\n  'placed on block 4'),\n- replace each block-language shape clause with how that element\n  should appear in a roof-plan view seen straight from above,\n  grounded in its ELEMENT DATA — never invent beyond it,\n- JUDGE the right drawing weight for each element by its role, the\n  way a real site plan does: the property's own elements read at\n  site-plan density (true footprint outline, roof edges/parapets,\n  tread runs, base rings, leaf-and-swing openings...), while\n  surrounding context like neighbouring buildings stays the way a\n  real site plan shows neighbours — simple, brief and subdued.\n  Word that judgement yourself.\n- refer to elements by their numbers only — do not reintroduce\n  element names into the lines,\n- drawing shapes only — never materials, colours, condition, story.\nOutput the rewritten lines in the same order.", "user_prompt": "NUMBERED STRUCTURE lines:\n1 thin strip rectangular block, south-centre area, with a long straight carriageway-band footprint\n2 thin strip rectangular block, centre-west area, with a narrow straight passage-strip footprint\n3 thin strip rectangular block, south-centre area, with a shallow elongated forecourt-rectangle footprint\n4 large rectangular block, centre area, with a single broad building-mass rectangle footprint\n5 medium rectangular block, north-west area, plain simplified block, with a simple rectangular roof-mass footprint\n6 medium rectangular block, north-centre area, plain simplified block, with a simple rectangular roof-mass footprint\n7 thin strip rectangular block, centre-east area, plain simplified block, with a slim rectangular side-mass footprint\n8 thin strip rectangular block, south-east area, connecting the ground level up to the deck level, with a linear run of parallel tread rectangles footprint\n9 large rectangular block, placed on block 4, in its centre part, with a broad open roof-deck rectangle footprint\n10 medium rectangular block, placed on block 9, in its centre part, with a compact enclosed rectangular shell footprint\n11 thin strip rectangular block, placed on block 9, in its south-centre part, with a narrow wall-line rectangular strip silhouette\n12 tiny round block, placed on block 9, in its north-west part, with a circular footprint\n13 tiny rectangular block, placed on block 9, in its south-west part, with a small plain rectangular slab footprint\n14 thin strip rectangular block, centre area, on the west edge of block 10, with a single taut straight-line silhouette\n15 tiny rectangular block, centre area, on the south edge of block 10, with a small door-leaf rectangle footprint\n16 tiny rectangular block, centre area, on the east edge of block 10, with a small window-slot rectangle footprint\n17 thin strip rectangular block, north-centre area, on the north edge of block 10, with a narrow horizontal window-slot silhouette\n18 thin strip rectangular block, placed on block 3, in its centre-west part, with a single gate-bar strip footprint\n19 thin strip rectangular block, south-centre area, on the north edge of block 3 (4 in a row), with four repeated narrow window-slot rectangles in a row\n\nELEMENT DATA (name [kind]: extracted description):\n- street road [kind road]: 하단의 큰 도로는 골목과 차량 접근이 만나는 거리로 배치했다.\n- narrow alley [kind alley]: 왼쪽 세로 골목은 도로에서 빌라 입구로 이어지는 좁은 진입로이다.\n- entry yard [kind yard]: 빌라 앞마당은 골목에서 들어와 계단을 타기 전 머무는 후미진 공간이다.\n- villa mass [kind building_mass]: 중앙의 낡은 빌라 본체는 옥탑방이 올라앉은 다세대 건물 매스이다.\n- roof terrace [kind terrace]: 옥상 테라스는 본관 지붕 위에서 옥탑방 현관과 물탱크가 함께 놓이는 시멘트 바닥이다.\n- rooftop room [kind upper_shell]: 옥탑 주거 셸은 옥상 중앙에 놓인 작은 실내 공간의 외곽선이다.\n- concrete stair [kind stair]: 오른쪽 외부 계단은 마당 후미진 곳에서 옥상 현관 앞까지 이어진다.\n- low wall [kind wall]: 낮은 옥상 담은 테라스 가장자리를 따라 둘러져 있고 고양이가 넘는 경계이다.\n- neighbor block [kind neighbor_mass]: 왼쪽 이웃 건물은 부감에서 옥탑방을 둘러싸는 낡은 빌라 지붕 중 하나이다.\n- rear neighbor [kind neighbor_mass]: 상단 이웃 건물은 옥탑방 뒤쪽을 막는 낡은 지붕 매스이다.\n- side neighbor [kind neighbor_mass]: 오른쪽 이웃 건물은 계단 바깥쪽 골목을 좁게 만드는 주변 매스이다.\n- water tank [kind fixture_round]: 물탱크는 옥상 왼쪽 뒤편에 둔 원형 설비이다.\n- low platform [kind fixture_rect]: 낮은 평상은 옥상 앞쪽에 놓여 말린 약초가 바람에 날리던 자리이다.\n- laundry line [kind equipment]: 빨랫줄은 물탱크와 옥탑방 사이를 가로질러 바람에 흔들리는 얇은 고정 설비이다.\n- iron door [kind door]: 철문 현관은 옥탑 셸의 아래쪽 가장자리에 두어 계단 상부 랜딩과 마주 보게 했다.\n- living window [kind window]: 거실의 작은 창은 옥탑방 오른쪽 외벽에 둔 첫 번째 창이다.\n- bedroom window [kind window]: 침실의 커튼 달린 창은 옥탑방 위쪽 외벽에 둔 두 번째 창이다.\n- entry gate [kind gate]: 빌라 입구문은 골목에서 앞마당으로 들어가는 단일 출입 게이트이다.\n- facade windows [kind window]: 본관 전면 창들은 다세대 빌라의 정면을 읽히게 하도록 앞마당 쪽 벽에 네 칸 반복으로 배치했다."}
{"ts": "2026-07-06 01:48:35", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s20_numbered_plan_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/projects/b0ad5c18-5140-4022-a2b0-805de0e5a385/episodes/0d30302a-51c8-4ac9-98e2-6cd9180512bf/images/floor_plan/fp_l04_rooftop_room_main.png"], "ref_labels": ["DRAFTING STYLE REFERENCE (an interior floor plan) — copy ONLY its drawing style: line weight, flat fills, plan symbols. Never its rooms, furniture, numbers or content."], "attempt": 1, "dur_s": 16.7, "bytes": 1424634, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/numbered_plan_nb2.png", "prompt": "Draw ONE strict TOP-DOWN 2D architectural SITE PLAN in the drafting\nlanguage of a clean floor plan — thin dark outlines, flat muted colour\nfills, detailed plan symbols (double-line walls, door leaf + swing arc,\nwindow frames set in walls, stair treads with stringers and landings,\nbase rings for round fixtures, paving joints, kerb lines). Height\nlevels appear only as flat fill tints (darker = higher). Flat\northographic plan view: NO 3D, NO axonometric, NO perspective, no\nshadows. Neutral document: no people, no story props, no vehicles, no\nposted papers, each element carries ONLY its assigned number, drawn once as a small\nplain dark numeral on (or beside) it; apart from these numerals no text,\nno letters, no words, no other markers, no legend, no compass. Never expose interior rooms or furniture of any enclosed\nunit — outer shell and boundary openings only.\n\nEXTERIOR ONLY: this is an OUTDOOR site plan seen from above — show\nonly the exterior: ground areas, building outer shells, roof-level\nsurfaces and outdoor fixtures. NEVER draw any interior room, inner\nwall, partition or furniture of any enclosed unit — every enclosed\nvolume stays sealed (outer walls and boundary openings only).\n\nNUMBERED SITE-PLAN STRUCTURE (positions, sizes, roof-plan shapes; draw each element's number as a small plain marker on it):\n1 thin elongated carriageway footprint, south-centre area, drawn as a long straight site-plan band\n2 narrow elongated passage footprint, centre-west area, drawn as a slim straight access strip\n3 shallow elongated open footprint, south-centre area, drawn as a forecourt rectangle at site-plan weight\n4 large true building footprint, centre area, drawn as a broad rectangular roof/perimeter outline\n5 medium surrounding-context footprint, north-west area, drawn as a simple subdued rectangular roof outline\n6 medium surrounding-context footprint, north-centre area, drawn as a simple subdued rectangular roof outline\n7 thin surrounding-context footprint, centre-east area, drawn as a slim subdued rectangular side outline\n8 thin stair footprint, south-east area, connecting the ground level up to the deck level, drawn as a linear run of parallel tread rectangles\n9 large terrace footprint, placed on block 4, in its centre part, drawn as a broad open roof-deck rectangle within the roof outline\n10 medium enclosed upper footprint, placed on block 9, in its centre part, drawn as a compact rectangular shell outline\n11 thin parapet/wall footprint, placed on block 9, in its south-centre part, drawn as a narrow rectangular wall-line strip\n12 tiny round fixture footprint, placed on block 9, in its north-west part, drawn as a circular outline\n13 tiny rectangular fixture footprint, placed on block 9, in its south-west part, drawn as a small plain rectangle\n14 thin fixed-line equipment trace, centre area, on the west edge of block 10, drawn as a single taut straight line\n15 tiny opening footprint, centre area, on the south edge of block 10, drawn as a small door-leaf rectangle with swing/leaf read\n16 tiny opening footprint, centre area, on the east edge of block 10, drawn as a small window-slot rectangle\n17 thin opening footprint, north-centre area, on the north edge of block 10, drawn as a narrow horizontal window-slot\n18 thin gate footprint, placed on block 3, in its centre-west part, drawn as a single gate-bar strip\n19 thin repeated opening footprints, south-centre area, on the north edge of block 3 (4 in a row), drawn as four repeated narrow window-slot rectangles in a row"}
{"ts": "2026-07-06 01:50:43", "kind": "img", "engine": "gpt-image-2", "mode": "edit", "tag": "s20_numbered_plan_gpt", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/projects/b0ad5c18-5140-4022-a2b0-805de0e5a385/episodes/0d30302a-51c8-4ac9-98e2-6cd9180512bf/images/floor_plan/fp_l04_rooftop_room_main.png"], "size": "1536x864", "attempt": 1, "dur_s": 127.6, "bytes": 2028365, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/numbered_plan_gpt.png", "prompt": "Draw ONE strict TOP-DOWN 2D architectural SITE PLAN in the drafting\nlanguage of a clean floor plan — thin dark outlines, flat muted colour\nfills, detailed plan symbols (double-line walls, door leaf + swing arc,\nwindow frames set in walls, stair treads with stringers and landings,\nbase rings for round fixtures, paving joints, kerb lines). Height\nlevels appear only as flat fill tints (darker = higher). Flat\northographic plan view: NO 3D, NO axonometric, NO perspective, no\nshadows. Neutral document: no people, no story props, no vehicles, no\nposted papers, each element carries ONLY its assigned number, drawn once as a small\nplain dark numeral on (or beside) it; apart from these numerals no text,\nno letters, no words, no other markers, no legend, no compass. Never expose interior rooms or furniture of any enclosed\nunit — outer shell and boundary openings only.\n\nEXTERIOR ONLY: this is an OUTDOOR site plan seen from above — show\nonly the exterior: ground areas, building outer shells, roof-level\nsurfaces and outdoor fixtures. NEVER draw any interior room, inner\nwall, partition or furniture of any enclosed unit — every enclosed\nvolume stays sealed (outer walls and boundary openings only).\n\nNUMBERED SITE-PLAN STRUCTURE (positions, sizes, roof-plan shapes; draw each element's number as a small plain marker on it):\n1 thin elongated carriageway footprint, south-centre area, drawn as a long straight site-plan band\n2 narrow elongated passage footprint, centre-west area, drawn as a slim straight access strip\n3 shallow elongated open footprint, south-centre area, drawn as a forecourt rectangle at site-plan weight\n4 large true building footprint, centre area, drawn as a broad rectangular roof/perimeter outline\n5 medium surrounding-context footprint, north-west area, drawn as a simple subdued rectangular roof outline\n6 medium surrounding-context footprint, north-centre area, drawn as a simple subdued rectangular roof outline\n7 thin surrounding-context footprint, centre-east area, drawn as a slim subdued rectangular side outline\n8 thin stair footprint, south-east area, connecting the ground level up to the deck level, drawn as a linear run of parallel tread rectangles\n9 large terrace footprint, placed on block 4, in its centre part, drawn as a broad open roof-deck rectangle within the roof outline\n10 medium enclosed upper footprint, placed on block 9, in its centre part, drawn as a compact rectangular shell outline\n11 thin parapet/wall footprint, placed on block 9, in its south-centre part, drawn as a narrow rectangular wall-line strip\n12 tiny round fixture footprint, placed on block 9, in its north-west part, drawn as a circular outline\n13 tiny rectangular fixture footprint, placed on block 9, in its south-west part, drawn as a small plain rectangle\n14 thin fixed-line equipment trace, centre area, on the west edge of block 10, drawn as a single taut straight line\n15 tiny opening footprint, centre area, on the south edge of block 10, drawn as a small door-leaf rectangle with swing/leaf read\n16 tiny opening footprint, centre area, on the east edge of block 10, drawn as a small window-slot rectangle\n17 thin opening footprint, north-centre area, on the north edge of block 10, drawn as a narrow horizontal window-slot\n18 thin gate footprint, placed on block 3, in its centre-west part, drawn as a single gate-bar strip\n19 thin repeated opening footprints, south-centre area, on the north edge of block 3 (4 in a row), drawn as four repeated narrow window-slot rectangles in a row"}
{"ts": "2026-07-06 01:50:43", "kind": "stage", "stage": "s20_numbered_bd", "done": "plan"}
{"ts": "2026-07-06 01:54:03", "kind": "llm", "step": "s20_plan_rewrite", "model": "gpt", "dur_s": 13.0, "system_prompt": "You are given NUMBERED STRUCTURE lines written for a flat block\ndiagram (block-language shape clauses), plus ELEMENT DATA grounding\neach element.\n\nRewrite the SAME lines for a REAL top-down architectural SITE PLAN:\n- keep every number, spatial relation, size relation and count\n  EXACTLY as given (same numbering, same cross-references like\n  'placed on block 4'),\n- replace each block-language shape clause with how that element\n  should appear in a roof-plan view seen straight from above,\n  grounded in its ELEMENT DATA — never invent beyond it,\n- JUDGE the right drawing weight for each element by its role, the\n  way a real site plan does: the property's own elements read at\n  site-plan density (true footprint outline, roof edges/parapets,\n  tread runs, base rings, leaf-and-swing openings...), while\n  surrounding context like neighbouring buildings stays the way a\n  real site plan shows neighbours — simple, brief and subdued.\n  Word that judgement yourself.\n- size words in the given lines measure only what is VISIBLE inside\n  the drawing frame. Surrounding context sitting at the frame edge\n  (per its position) is in reality a FULL-SCALE building whose mass\n  continues beyond the frame and is CUT OFF by the drawing edge —\n  rewrite it that way; it must never read as a small free-standing\n  shed inside the site.\n- refer to elements by their numbers only — do not reintroduce\n  element names into the lines,\n- drawing shapes only — never materials, colours, condition, story.\nOutput the rewritten lines in the same order.", "user_prompt": "NUMBERED STRUCTURE lines:\n1 thin strip rectangular block, south-centre area, with a long straight carriageway-band footprint\n2 thin strip rectangular block, centre-west area, with a narrow straight passage-strip footprint\n3 thin strip rectangular block, south-centre area, with a shallow elongated forecourt-rectangle footprint\n4 large rectangular block, centre area, with a single broad building-mass rectangle footprint\n5 medium rectangular block, north-west area, plain simplified block, with a simple rectangular roof-mass footprint\n6 medium rectangular block, north-centre area, plain simplified block, with a simple rectangular roof-mass footprint\n7 thin strip rectangular block, centre-east area, plain simplified block, with a slim rectangular side-mass footprint\n8 thin strip rectangular block, south-east area, connecting the ground level up to the deck level, with a linear run of parallel tread rectangles footprint\n9 large rectangular block, placed on block 4, in its centre part, with a broad open roof-deck rectangle footprint\n10 medium rectangular block, placed on block 9, in its centre part, with a compact enclosed rectangular shell footprint\n11 thin strip rectangular block, placed on block 9, in its south-centre part, with a narrow wall-line rectangular strip silhouette\n12 tiny round block, placed on block 9, in its north-west part, with a circular footprint\n13 tiny rectangular block, placed on block 9, in its south-west part, with a small plain rectangular slab footprint\n14 thin strip rectangular block, centre area, on the west edge of block 10, with a single taut straight-line silhouette\n15 tiny rectangular block, centre area, on the south edge of block 10, with a small door-leaf rectangle footprint\n16 tiny rectangular block, centre area, on the east edge of block 10, with a small window-slot rectangle footprint\n17 thin strip rectangular block, north-centre area, on the north edge of block 10, with a narrow horizontal window-slot silhouette\n18 thin strip rectangular block, placed on block 3, in its centre-west part, with a single gate-bar strip footprint\n19 thin strip rectangular block, south-centre area, on the north edge of block 3 (4 in a row), with four repeated narrow window-slot rectangles in a row\n\nELEMENT DATA (name [kind]: extracted description):\n- street road [kind road]: 하단의 큰 도로는 골목과 차량 접근이 만나는 거리로 배치했다.\n- narrow alley [kind alley]: 왼쪽 세로 골목은 도로에서 빌라 입구로 이어지는 좁은 진입로이다.\n- entry yard [kind yard]: 빌라 앞마당은 골목에서 들어와 계단을 타기 전 머무는 후미진 공간이다.\n- villa mass [kind building_mass]: 중앙의 낡은 빌라 본체는 옥탑방이 올라앉은 다세대 건물 매스이다.\n- roof terrace [kind terrace]: 옥상 테라스는 본관 지붕 위에서 옥탑방 현관과 물탱크가 함께 놓이는 시멘트 바닥이다.\n- rooftop room [kind upper_shell]: 옥탑 주거 셸은 옥상 중앙에 놓인 작은 실내 공간의 외곽선이다.\n- concrete stair [kind stair]: 오른쪽 외부 계단은 마당 후미진 곳에서 옥상 현관 앞까지 이어진다.\n- low wall [kind wall]: 낮은 옥상 담은 테라스 가장자리를 따라 둘러져 있고 고양이가 넘는 경계이다.\n- neighbor block [kind neighbor_mass]: 왼쪽 이웃 건물은 부감에서 옥탑방을 둘러싸는 낡은 빌라 지붕 중 하나이다.\n- rear neighbor [kind neighbor_mass]: 상단 이웃 건물은 옥탑방 뒤쪽을 막는 낡은 지붕 매스이다.\n- side neighbor [kind neighbor_mass]: 오른쪽 이웃 건물은 계단 바깥쪽 골목을 좁게 만드는 주변 매스이다.\n- water tank [kind fixture_round]: 물탱크는 옥상 왼쪽 뒤편에 둔 원형 설비이다.\n- low platform [kind fixture_rect]: 낮은 평상은 옥상 앞쪽에 놓여 말린 약초가 바람에 날리던 자리이다.\n- laundry line [kind equipment]: 빨랫줄은 물탱크와 옥탑방 사이를 가로질러 바람에 흔들리는 얇은 고정 설비이다.\n- iron door [kind door]: 철문 현관은 옥탑 셸의 아래쪽 가장자리에 두어 계단 상부 랜딩과 마주 보게 했다.\n- living window [kind window]: 거실의 작은 창은 옥탑방 오른쪽 외벽에 둔 첫 번째 창이다.\n- bedroom window [kind window]: 침실의 커튼 달린 창은 옥탑방 위쪽 외벽에 둔 두 번째 창이다.\n- entry gate [kind gate]: 빌라 입구문은 골목에서 앞마당으로 들어가는 단일 출입 게이트이다.\n- facade windows [kind window]: 본관 전면 창들은 다세대 빌라의 정면을 읽히게 하도록 앞마당 쪽 벽에 네 칸 반복으로 배치했다."}
{"ts": "2026-07-06 01:54:20", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s20_numbered_plan_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/projects/b0ad5c18-5140-4022-a2b0-805de0e5a385/episodes/0d30302a-51c8-4ac9-98e2-6cd9180512bf/images/floor_plan/fp_l04_rooftop_room_main.png"], "ref_labels": ["DRAFTING STYLE REFERENCE (an interior floor plan) — copy ONLY its drawing style: line weight, flat fills, plan symbols. Never its rooms, furniture, numbers or content."], "attempt": 1, "dur_s": 17.3, "bytes": 1541644, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/numbered_plan_nb2.png", "prompt": "Draw ONE strict TOP-DOWN 2D architectural SITE PLAN in the drafting\nlanguage of a clean floor plan — thin dark outlines, flat muted colour\nfills, detailed plan symbols (double-line walls, door leaf + swing arc,\nwindow frames set in walls, stair treads with stringers and landings,\nbase rings for round fixtures, paving joints, kerb lines). Height\nlevels appear only as flat fill tints (darker = higher). Flat\northographic plan view: NO 3D, NO axonometric, NO perspective, no\nshadows. Neutral document: no people, no story props, no vehicles, no\nposted papers, each element carries ONLY its assigned number, drawn once as a small\nplain dark numeral on (or beside) it; apart from these numerals no text,\nno letters, no words, no other markers, no legend, no compass. Never expose interior rooms or furniture of any enclosed\nunit — outer shell and boundary openings only.\n\nEXTERIOR ONLY: this is an OUTDOOR site plan seen from above — show\nonly the exterior: ground areas, building outer shells, roof-level\nsurfaces and outdoor fixtures. NEVER draw any interior room, inner\nwall, partition or furniture of any enclosed unit — every enclosed\nvolume stays sealed (outer walls and boundary openings only).\n\nNUMBERED SITE-PLAN STRUCTURE (positions, sizes, roof-plan shapes; draw each element's number as a small plain marker on it):\n1 thin visible band, south-centre area, drawn in site-plan weight as a long straight carriageway strip continuing beyond and cut by the drawing frame\n2 thin visible strip, centre-west area, drawn as a narrow straight access passage strip leading inward from 1\n3 thin visible open rectangle, south-centre area, drawn as a shallow elongated forecourt outline at site-plan density\n4 large footprint outline, centre area, drawn as the main broad rectangular roof/building perimeter with clear roof-edge reading\n5 medium visible portion, north-west area, drawn as subdued surrounding context: a simple rectangular roof mass continuing beyond and cut by the drawing frame\n6 medium visible portion, north-centre area, drawn as subdued surrounding context: a simple rectangular roof mass continuing beyond and cut by the drawing frame\n7 thin visible portion, centre-east area, drawn as subdued surrounding context: a slim rectangular side mass continuing beyond and cut by the drawing frame\n8 thin stair run, south-east area, connecting the ground level up to the deck level, drawn as a linear run of parallel tread rectangles\n9 large roof-deck outline, placed on block 4, in its centre part, drawn as a broad open rectangular deck area within the roof plan\n10 medium enclosed footprint, placed on block 9, in its centre part, drawn as a compact rectangular rooftop shell outline\n11 thin wall-line strip, placed on block 9, in its south-centre part, drawn as a narrow rectangular boundary strip\n12 tiny circular fixture outline, placed on block 9, in its north-west part, drawn as a circular plan footprint\n13 tiny rectangular fixture outline, placed on block 9, in its south-west part, drawn as a small plain rectangular slab footprint\n14 thin equipment line, centre area, on the west edge of block 10, drawn as a single taut straight line\n15 tiny opening mark, centre area, on the south edge of block 10, drawn as a small rectangular door leaf with swing/opening indication\n16 tiny opening mark, centre area, on the east edge of block 10, drawn as a small rectangular window slot in the wall edge\n17 thin opening mark, north-centre area, on the north edge of block 10, drawn as a narrow horizontal window slot\n18 thin gate mark, placed on block 3, in its centre-west part, drawn as a single bar-like gate strip across the entry line\n19 thin repeated opening marks, south-centre area, on the north edge of block 3 (4 in a row), drawn as four narrow window-slot rectangles in a row"}
{"ts": "2026-07-06 01:56:18", "kind": "img", "engine": "gpt-image-2", "mode": "edit", "tag": "s20_numbered_plan_gpt", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/projects/b0ad5c18-5140-4022-a2b0-805de0e5a385/episodes/0d30302a-51c8-4ac9-98e2-6cd9180512bf/images/floor_plan/fp_l04_rooftop_room_main.png"], "size": "1536x864", "attempt": 1, "dur_s": 117.6, "bytes": 2071475, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/numbered_plan_gpt.png", "prompt": "Draw ONE strict TOP-DOWN 2D architectural SITE PLAN in the drafting\nlanguage of a clean floor plan — thin dark outlines, flat muted colour\nfills, detailed plan symbols (double-line walls, door leaf + swing arc,\nwindow frames set in walls, stair treads with stringers and landings,\nbase rings for round fixtures, paving joints, kerb lines). Height\nlevels appear only as flat fill tints (darker = higher). Flat\northographic plan view: NO 3D, NO axonometric, NO perspective, no\nshadows. Neutral document: no people, no story props, no vehicles, no\nposted papers, each element carries ONLY its assigned number, drawn once as a small\nplain dark numeral on (or beside) it; apart from these numerals no text,\nno letters, no words, no other markers, no legend, no compass. Never expose interior rooms or furniture of any enclosed\nunit — outer shell and boundary openings only.\n\nEXTERIOR ONLY: this is an OUTDOOR site plan seen from above — show\nonly the exterior: ground areas, building outer shells, roof-level\nsurfaces and outdoor fixtures. NEVER draw any interior room, inner\nwall, partition or furniture of any enclosed unit — every enclosed\nvolume stays sealed (outer walls and boundary openings only).\n\nNUMBERED SITE-PLAN STRUCTURE (positions, sizes, roof-plan shapes; draw each element's number as a small plain marker on it):\n1 thin visible band, south-centre area, drawn in site-plan weight as a long straight carriageway strip continuing beyond and cut by the drawing frame\n2 thin visible strip, centre-west area, drawn as a narrow straight access passage strip leading inward from 1\n3 thin visible open rectangle, south-centre area, drawn as a shallow elongated forecourt outline at site-plan density\n4 large footprint outline, centre area, drawn as the main broad rectangular roof/building perimeter with clear roof-edge reading\n5 medium visible portion, north-west area, drawn as subdued surrounding context: a simple rectangular roof mass continuing beyond and cut by the drawing frame\n6 medium visible portion, north-centre area, drawn as subdued surrounding context: a simple rectangular roof mass continuing beyond and cut by the drawing frame\n7 thin visible portion, centre-east area, drawn as subdued surrounding context: a slim rectangular side mass continuing beyond and cut by the drawing frame\n8 thin stair run, south-east area, connecting the ground level up to the deck level, drawn as a linear run of parallel tread rectangles\n9 large roof-deck outline, placed on block 4, in its centre part, drawn as a broad open rectangular deck area within the roof plan\n10 medium enclosed footprint, placed on block 9, in its centre part, drawn as a compact rectangular rooftop shell outline\n11 thin wall-line strip, placed on block 9, in its south-centre part, drawn as a narrow rectangular boundary strip\n12 tiny circular fixture outline, placed on block 9, in its north-west part, drawn as a circular plan footprint\n13 tiny rectangular fixture outline, placed on block 9, in its south-west part, drawn as a small plain rectangular slab footprint\n14 thin equipment line, centre area, on the west edge of block 10, drawn as a single taut straight line\n15 tiny opening mark, centre area, on the south edge of block 10, drawn as a small rectangular door leaf with swing/opening indication\n16 tiny opening mark, centre area, on the east edge of block 10, drawn as a small rectangular window slot in the wall edge\n17 thin opening mark, north-centre area, on the north edge of block 10, drawn as a narrow horizontal window slot\n18 thin gate mark, placed on block 3, in its centre-west part, drawn as a single bar-like gate strip across the entry line\n19 thin repeated opening marks, south-centre area, on the north edge of block 3 (4 in a row), drawn as four narrow window-slot rectangles in a row"}
{"ts": "2026-07-06 01:56:18", "kind": "stage", "stage": "s20_numbered_bd", "done": "plan"}
{"ts": "2026-07-06 08:39:28", "kind": "llm", "step": "s20_number_assign", "model": "gpt", "dur_s": 68.0, "system_prompt": "You are given the STRUCTURE lines of an image-generation prompt for a\nflat schematic block diagram — one element per line, each line naming\nthe element and its spatial relations — plus ELEMENT DATA grounding\neach element.\n\nTask: assign a number (1..N) to every element line, in a sensible\nstructural order (large ground/container blocks first, then what sits\non them, then attached openings and small fixtures). Rewrite every\nline so that:\n- the line STARTS with its number,\n- element NAMES never appear — when a line refers to another element\n  (placed on X / on the north edge of X), refer to it by that\n  element's number instead (e.g. 'placed on block 4, in its centre\n  part').\n- every spatial relation, size word and count stays EXACTLY as given\n  (one exception: frame-edge context, below).\n- APPEND to each line a short clause describing that element's\n  characteristic TOP-DOWN footprint/silhouette, grounded in its\n  ELEMENT DATA — just enough that the drawn shape itself reveals what\n  the element is (a run of parallel treads, a circle, a slatted low\n  rectangle, a thin line between two posts...). SHAPE ONLY — never\n  materials, colours, condition or story; never invent what the data\n  does not support.\n- FRAME-EDGE EXCEPTION: when an element is surrounding context\n  sitting at the drawing frame's edge (per its position), its given\n  size words measure only the visible sliver — do NOT keep them;\n  describe instead a full-scale neighbouring mass that continues\n  beyond the frame and is cut off by the drawing edge. It must never\n  read as a small or thin free-standing block inside the site.\nAlso output a legend mapping each number to the original element name\n(exactly as written in its line).", "user_prompt": "STRUCTURE lines:\n- street road: thin strip rectangular block, south-centre area\n- narrow alley: thin strip rectangular block, centre-west area\n- entry yard: thin strip rectangular block, south-centre area\n- villa mass: large rectangular block, centre area\n- roof terrace: large rectangular block, placed on the villa mass, in its centre part\n- rooftop room: medium rectangular block, placed on the roof terrace, in its centre part\n- concrete stair: thin strip rectangular block, south-east area, connecting the ground level up to the deck level\n- low wall: thin strip rectangular block, placed on the roof terrace, in its south-centre part\n- neighbor block: medium rectangular block, north-west area, plain simplified block\n- rear neighbor: medium rectangular block, north-centre area, plain simplified block\n- side neighbor: thin strip rectangular block, centre-east area, plain simplified block\n- water tank: tiny round block, placed on the roof terrace, in its north-west part\n- low platform: tiny rectangular block, placed on the roof terrace, in its south-west part\n- laundry line: thin strip rectangular block, centre area, on the west edge of the rooftop room\n- iron door: tiny rectangular block, centre area, on the south edge of the rooftop room\n- living window: tiny rectangular block, centre area, on the east edge of the rooftop room\n- bedroom window: thin strip rectangular block, north-centre area, on the north edge of the rooftop room\n- entry gate: thin strip rectangular block, placed on the entry yard, in its centre-west part\n- facade windows: thin strip rectangular block, south-centre area, on the north edge of the entry yard (4 in a row)\n- one flat tint rule only, to tell height levels apart, low to high: Ground -> Stair run -> Roof deck -> Rooftop room (darker = higher)\n\nELEMENT DATA (name [kind]: extracted description — ground each shape clause here):\n- street road [kind road]: 하단의 큰 도로는 골목과 차량 접근이 만나는 거리로 배치했다.\n- narrow alley [kind alley]: 왼쪽 세로 골목은 도로에서 빌라 입구로 이어지는 좁은 진입로이다.\n- entry yard [kind yard]: 빌라 앞마당은 골목에서 들어와 계단을 타기 전 머무는 후미진 공간이다.\n- villa mass [kind building_mass]: 중앙의 낡은 빌라 본체는 옥탑방이 올라앉은 다세대 건물 매스이다.\n- roof terrace [kind terrace]: 옥상 테라스는 본관 지붕 위에서 옥탑방 현관과 물탱크가 함께 놓이는 시멘트 바닥이다.\n- rooftop room [kind upper_shell]: 옥탑 주거 셸은 옥상 중앙에 놓인 작은 실내 공간의 외곽선이다.\n- concrete stair [kind stair]: 오른쪽 외부 계단은 마당 후미진 곳에서 옥상 현관 앞까지 이어진다.\n- low wall [kind wall]: 낮은 옥상 담은 테라스 가장자리를 따라 둘러져 있고 고양이가 넘는 경계이다.\n- neighbor block [kind neighbor_mass]: 왼쪽 이웃 건물은 부감에서 옥탑방을 둘러싸는 낡은 빌라 지붕 중 하나이다.\n- rear neighbor [kind neighbor_mass]: 상단 이웃 건물은 옥탑방 뒤쪽을 막는 낡은 지붕 매스이다.\n- side neighbor [kind neighbor_mass]: 오른쪽 이웃 건물은 계단 바깥쪽 골목을 좁게 만드는 주변 매스이다.\n- water tank [kind fixture_round]: 물탱크는 옥상 왼쪽 뒤편에 둔 원형 설비이다.\n- low platform [kind fixture_rect]: 낮은 평상은 옥상 앞쪽에 놓여 말린 약초가 바람에 날리던 자리이다.\n- laundry line [kind equipment]: 빨랫줄은 물탱크와 옥탑방 사이를 가로질러 바람에 흔들리는 얇은 고정 설비이다.\n- iron door [kind door]: 철문 현관은 옥탑 셸의 아래쪽 가장자리에 두어 계단 상부 랜딩과 마주 보게 했다.\n- living window [kind window]: 거실의 작은 창은 옥탑방 오른쪽 외벽에 둔 첫 번째 창이다.\n- bedroom window [kind window]: 침실의 커튼 달린 창은 옥탑방 위쪽 외벽에 둔 두 번째 창이다.\n- entry gate [kind gate]: 빌라 입구문은 골목에서 앞마당으로 들어가는 단일 출입 게이트이다.\n- facade windows [kind window]: 본관 전면 창들은 다세대 빌라의 정면을 읽히게 하도록 앞마당 쪽 벽에 네 칸 반복으로 배치했다."}
{"ts": "2026-07-06 08:39:28", "kind": "stage", "stage": "s20_numbered_bd", "done": "llm"}
{"ts": "2026-07-06 08:39:48", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s20_numbered_bd_nb2", "refs": [], "ref_labels": [], "attempt": 1, "dur_s": 16.9, "bytes": 1648036, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/numbered_bd_nb2.png", "prompt": "Draw ONE SCHEMATIC BLOCK DIAGRAM of a real property's layout — the\nkind of flat figure a computer program draws: strict TOP-DOWN 2D,\nplain solid-colour shapes on a plain light background, uniform thin\ndark outlines. ABSOLUTELY FLAT: no bevels, no edge highlights, no\ngradients, no shadows, no shading, no texture, no perspective, no 3D\nfeel of any kind.\nSTRUCTURAL SILHOUETTES: draw every element as the characteristic\ntop-down footprint its line describes — a flat structural outline\njust detailed enough that the SHAPE ITSELF reveals what the element\nis; never flatten it to a generic featureless rectangle when its\nline says otherwise, and never add fine drafting detail (no\ndouble-line walls, no hatching, no fixtures inside buildings).\nPURPOSE: structural comprehension only. Every building is ONE solid\nblock — never any interior rooms, inner walls or furniture.\nEach block shows ONLY its assigned number, drawn once as a small plain dark numeral on (or beside) that block; apart from these numerals there is no other text: no letters, no words, no names, no labels, no legend, no compass anywhere.\nNo people, no props, no vehicles.\n\nSTRUCTURE (relative positions, sizes, footprint shapes):\n1 full-scale carriageway surface, south-centre area, continuing beyond the south edge of the drawing and cut off by the frame, with a broad rectangular traffic-surface footprint.\n2 full-scale access-lane surface, centre-west area, continuing beyond the west edge of the drawing and cut off by the frame, with an elongated corridor-like footprint.\n3 full-scale surrounding building mass, north-west area, plain simplified block, continuing beyond the north-west edge of the drawing and cut off by the frame, with a plain rectangular roof-mass footprint.\n4 full-scale surrounding building mass, north-centre area, plain simplified block, continuing beyond the north edge of the drawing and cut off by the frame, with a plain rectangular roof-mass footprint.\n5 full-scale surrounding building mass, centre-east area, plain simplified block, continuing beyond the east edge of the drawing and cut off by the frame, with a plain rectangular roof-mass footprint.\n6 thin strip rectangular block, south-centre area, with a recessed forecourt-like rectangular footprint.\n7 large rectangular block, centre area, with a simple multi-unit building footprint.\n8 large rectangular block, placed on block 7, in its centre part, with a flat deck-like rectangular footprint.\n9 thin strip rectangular block, south-east area, connecting the ground level up to the deck level, with a run of parallel tread marks inside the strip.\n10 medium rectangular block, placed on block 8, in its centre part, with a compact enclosed-room rectangular outline.\n11 thin strip rectangular block, placed on block 8, in its south-centre part, with a short parapet-band footprint.\n12 tiny round block, placed on block 8, in its north-west part, with a circular service-fixture footprint.\n13 tiny rectangular block, placed on block 8, in its south-west part, with a simple rectangular raised-pad footprint.\n14 thin strip rectangular block, centre area, on the west edge of block 10, with a single taut line segment between two fixing points.\n15 tiny rectangular block, centre area, on the south edge of block 10, with a single narrow doorway rectangle footprint.\n16 tiny rectangular block, centre area, on the east edge of block 10, with a small inset rectangular opening footprint.\n17 thin strip rectangular block, north-centre area, on the north edge of block 10, with a longer inset rectangular opening footprint.\n18 thin strip rectangular block, placed on block 6, in its centre-west part, with a single straight gate-bar footprint across an entry gap.\n19 thin strip rectangular block, south-centre area, on the north edge of block 6 (4 in a row), with a repeated row of small rectangular opening footprints.\n20 use one flat tint rule only, to tell height levels apart, low to high: Ground -> block 9 -> block 8 -> block 10 (darker = higher), as a flat fill hierarchy following the existing footprints only."}
{"ts": "2026-07-06 08:39:48", "kind": "stage", "stage": "s20_numbered_bd", "done": "image"}
{"ts": "2026-07-06 08:40:07", "kind": "llm", "step": "s20_plan_rewrite", "model": "gpt", "dur_s": 16.6, "system_prompt": "You are given NUMBERED STRUCTURE lines written for a flat block\ndiagram (block-language shape clauses), plus ELEMENT DATA grounding\neach element.\n\nRewrite the SAME lines for a REAL top-down architectural SITE PLAN:\n- keep every number, spatial relation, size relation and count\n  EXACTLY as given (same numbering, same cross-references like\n  'placed on block 4') — with one exception: the frame-edge size\n  rule below,\n- replace each block-language shape clause with how that element\n  should appear in a roof-plan view seen straight from above,\n  grounded in its ELEMENT DATA — never invent beyond it,\n- JUDGE the right drawing weight for each element by its role, the\n  way a real site plan does: the property's own elements read at\n  site-plan density (true footprint outline, roof edges/parapets,\n  tread runs, base rings, leaf-and-swing openings...), while\n  surrounding context like neighbouring buildings stays the way a\n  real site plan shows neighbours — simple, brief and subdued.\n  Word that judgement yourself.\n- FRAME-EDGE SIZE RULE: size words in the given lines measure only\n  what is VISIBLE inside the drawing frame. Surrounding context\n  sitting at the frame edge (per its position) is in reality a\n  FULL-SCALE building whose mass continues beyond the frame and is\n  CUT OFF by the drawing edge — DROP its given size words (thin/\n  small/medium) and rewrite it that way; it must never read as a\n  small or thin free-standing block inside the site.\n- refer to elements by their numbers only — do not reintroduce\n  element names into the lines,\n- drawing shapes only — never materials, colours, condition, story.\nOutput the rewritten lines in the same order.", "user_prompt": "NUMBERED STRUCTURE lines:\n1 full-scale carriageway surface, south-centre area, continuing beyond the south edge of the drawing and cut off by the frame, with a broad rectangular traffic-surface footprint.\n2 full-scale access-lane surface, centre-west area, continuing beyond the west edge of the drawing and cut off by the frame, with an elongated corridor-like footprint.\n3 full-scale surrounding building mass, north-west area, plain simplified block, continuing beyond the north-west edge of the drawing and cut off by the frame, with a plain rectangular roof-mass footprint.\n4 full-scale surrounding building mass, north-centre area, plain simplified block, continuing beyond the north edge of the drawing and cut off by the frame, with a plain rectangular roof-mass footprint.\n5 full-scale surrounding building mass, centre-east area, plain simplified block, continuing beyond the east edge of the drawing and cut off by the frame, with a plain rectangular roof-mass footprint.\n6 thin strip rectangular block, south-centre area, with a recessed forecourt-like rectangular footprint.\n7 large rectangular block, centre area, with a simple multi-unit building footprint.\n8 large rectangular block, placed on block 7, in its centre part, with a flat deck-like rectangular footprint.\n9 thin strip rectangular block, south-east area, connecting the ground level up to the deck level, with a run of parallel tread marks inside the strip.\n10 medium rectangular block, placed on block 8, in its centre part, with a compact enclosed-room rectangular outline.\n11 thin strip rectangular block, placed on block 8, in its south-centre part, with a short parapet-band footprint.\n12 tiny round block, placed on block 8, in its north-west part, with a circular service-fixture footprint.\n13 tiny rectangular block, placed on block 8, in its south-west part, with a simple rectangular raised-pad footprint.\n14 thin strip rectangular block, centre area, on the west edge of block 10, with a single taut line segment between two fixing points.\n15 tiny rectangular block, centre area, on the south edge of block 10, with a single narrow doorway rectangle footprint.\n16 tiny rectangular block, centre area, on the east edge of block 10, with a small inset rectangular opening footprint.\n17 thin strip rectangular block, north-centre area, on the north edge of block 10, with a longer inset rectangular opening footprint.\n18 thin strip rectangular block, placed on block 6, in its centre-west part, with a single straight gate-bar footprint across an entry gap.\n19 thin strip rectangular block, south-centre area, on the north edge of block 6 (4 in a row), with a repeated row of small rectangular opening footprints.\n20 use one flat tint rule only, to tell height levels apart, low to high: Ground -> block 9 -> block 8 -> block 10 (darker = higher), as a flat fill hierarchy following the existing footprints only.\n\nELEMENT DATA (name [kind]: extracted description):\n- street road [kind road]: 하단의 큰 도로는 골목과 차량 접근이 만나는 거리로 배치했다.\n- narrow alley [kind alley]: 왼쪽 세로 골목은 도로에서 빌라 입구로 이어지는 좁은 진입로이다.\n- entry yard [kind yard]: 빌라 앞마당은 골목에서 들어와 계단을 타기 전 머무는 후미진 공간이다.\n- villa mass [kind building_mass]: 중앙의 낡은 빌라 본체는 옥탑방이 올라앉은 다세대 건물 매스이다.\n- roof terrace [kind terrace]: 옥상 테라스는 본관 지붕 위에서 옥탑방 현관과 물탱크가 함께 놓이는 시멘트 바닥이다.\n- rooftop room [kind upper_shell]: 옥탑 주거 셸은 옥상 중앙에 놓인 작은 실내 공간의 외곽선이다.\n- concrete stair [kind stair]: 오른쪽 외부 계단은 마당 후미진 곳에서 옥상 현관 앞까지 이어진다.\n- low wall [kind wall]: 낮은 옥상 담은 테라스 가장자리를 따라 둘러져 있고 고양이가 넘는 경계이다.\n- neighbor block [kind neighbor_mass]: 왼쪽 이웃 건물은 부감에서 옥탑방을 둘러싸는 낡은 빌라 지붕 중 하나이다.\n- rear neighbor [kind neighbor_mass]: 상단 이웃 건물은 옥탑방 뒤쪽을 막는 낡은 지붕 매스이다.\n- side neighbor [kind neighbor_mass]: 오른쪽 이웃 건물은 계단 바깥쪽 골목을 좁게 만드는 주변 매스이다.\n- water tank [kind fixture_round]: 물탱크는 옥상 왼쪽 뒤편에 둔 원형 설비이다.\n- low platform [kind fixture_rect]: 낮은 평상은 옥상 앞쪽에 놓여 말린 약초가 바람에 날리던 자리이다.\n- laundry line [kind equipment]: 빨랫줄은 물탱크와 옥탑방 사이를 가로질러 바람에 흔들리는 얇은 고정 설비이다.\n- iron door [kind door]: 철문 현관은 옥탑 셸의 아래쪽 가장자리에 두어 계단 상부 랜딩과 마주 보게 했다.\n- living window [kind window]: 거실의 작은 창은 옥탑방 오른쪽 외벽에 둔 첫 번째 창이다.\n- bedroom window [kind window]: 침실의 커튼 달린 창은 옥탑방 위쪽 외벽에 둔 두 번째 창이다.\n- entry gate [kind gate]: 빌라 입구문은 골목에서 앞마당으로 들어가는 단일 출입 게이트이다.\n- facade windows [kind window]: 본관 전면 창들은 다세대 빌라의 정면을 읽히게 하도록 앞마당 쪽 벽에 네 칸 반복으로 배치했다."}
{"ts": "2026-07-06 08:40:23", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s20_numbered_plan_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/projects/b0ad5c18-5140-4022-a2b0-805de0e5a385/episodes/0d30302a-51c8-4ac9-98e2-6cd9180512bf/images/floor_plan/fp_l04_rooftop_room_main.png"], "ref_labels": ["DRAFTING STYLE REFERENCE (an interior floor plan) — copy ONLY its drawing style: line weight, flat fills, plan symbols. Never its rooms, furniture, numbers or content."], "attempt": 1, "dur_s": 16.1, "bytes": 1640065, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/numbered_plan_nb2.png", "prompt": "Draw ONE strict TOP-DOWN 2D architectural SITE PLAN in the drafting\nlanguage of a clean floor plan — thin dark outlines, flat muted colour\nfills, detailed plan symbols (double-line walls, door leaf + swing arc,\nwindow frames set in walls, stair treads with stringers and landings,\nbase rings for round fixtures, paving joints, kerb lines). Height\nlevels appear only as flat fill tints (darker = higher). Flat\northographic plan view: NO 3D, NO axonometric, NO perspective, no\nshadows. Neutral document: no people, no story props, no vehicles, no\nposted papers, each element carries ONLY its assigned number, drawn once as a small\nplain dark numeral on (or beside) it; apart from these numerals no text,\nno letters, no words, no other markers, no legend, no compass. Never expose interior rooms or furniture of any enclosed\nunit — outer shell and boundary openings only.\n\nEXTERIOR ONLY: this is an OUTDOOR site plan seen from above — show\nonly the exterior: ground areas, building outer shells, roof-level\nsurfaces and outdoor fixtures. NEVER draw any interior room, inner\nwall, partition or furniture of any enclosed unit — every enclosed\nvolume stays sealed (outer walls and boundary openings only).\n\nNUMBERED SITE-PLAN STRUCTURE (positions, sizes, roof-plan shapes; draw each element's number as a small plain marker on it):\n1 full-scale traffic-surface footprint, south-centre area, continuing beyond the south edge of the drawing and cut off by the frame, drawn as a broad rectangular paved-plane outline in plan.\n2 full-scale access-surface footprint, centre-west area, continuing beyond the west edge of the drawing and cut off by the frame, drawn as an elongated corridor-like paved-plane outline in plan.\n3 full-scale surrounding context mass, north-west area, shown as a simple subdued roof-plan footprint, continuing beyond the north-west edge of the drawing and cut off by the frame, with only a plain rectangular roof outline visible inside the frame.\n4 full-scale surrounding context mass, north-centre area, shown as a simple subdued roof-plan footprint, continuing beyond the north edge of the drawing and cut off by the frame, with only a plain rectangular roof outline visible inside the frame.\n5 full-scale surrounding context mass, centre-east area, shown as a simple subdued roof-plan footprint, continuing beyond the east edge of the drawing and cut off by the frame, with only a plain rectangular roof outline visible inside the frame.\n6 thin strip recessed forecourt footprint, south-centre area, drawn as a rectangular open ground-plane outline.\n7 large rectangular multi-unit footprint, centre area, drawn with the site-plan weight of the property’s main roof/building outline rather than as a plain block.\n8 large rectangular terrace footprint, placed on block 7, in its centre part, drawn as a flat roof-deck outline within the footprint of 7.\n9 thin strip stair footprint, south-east area, connecting the ground level up to the deck level, drawn as a stair run with parallel tread marks inside the strip.\n10 medium rectangular enclosed-room footprint, placed on block 8, in its centre part, drawn as a compact roof-plan shell outline.\n11 thin strip parapet-band footprint, placed on block 8, in its south-centre part, drawn as a short low edge band on the terrace outline.\n12 tiny circular service-fixture footprint, placed on block 8, in its north-west part, drawn as a round base ring in roof plan.\n13 tiny rectangular raised-pad footprint, placed on block 8, in its south-west part, drawn as a simple rectangular pad outline.\n14 thin strip equipment footprint, centre area, on the west edge of block 10, drawn as a single taut line segment between two fixing points.\n15 tiny rectangular doorway footprint, centre area, on the south edge of block 10, drawn as a narrow door opening rectangle in the shell edge.\n16 tiny rectangular opening footprint, centre area, on the east edge of block 10, drawn as a small inset rectangular window opening in the shell edge.\n17 thin strip opening footprint, north-centre area, on the north edge of block 10, drawn as a longer inset rectangular window opening in the shell edge.\n18 thin strip gate footprint, placed on block 6, in its centre-west part, drawn as a single straight gate bar across an entry gap.\n19 thin strip opening footprints, south-centre area, on the north edge of block 6 (4 in a row), drawn as a repeated row of small rectangular window openings.\n20 use one flat tint rule only, to tell height levels apart, low to high: Ground -> block 9 -> block 8 -> block 10 (darker = higher), as a flat fill hierarchy following the existing footprints only."}
{"ts": "2026-07-06 08:42:35", "kind": "img", "engine": "gpt-image-2", "mode": "edit", "tag": "s20_numbered_plan_gpt", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/projects/b0ad5c18-5140-4022-a2b0-805de0e5a385/episodes/0d30302a-51c8-4ac9-98e2-6cd9180512bf/images/floor_plan/fp_l04_rooftop_room_main.png"], "size": "1536x864", "attempt": 1, "dur_s": 132.7, "bytes": 1890993, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/numbered_plan_gpt.png", "prompt": "Draw ONE strict TOP-DOWN 2D architectural SITE PLAN in the drafting\nlanguage of a clean floor plan — thin dark outlines, flat muted colour\nfills, detailed plan symbols (double-line walls, door leaf + swing arc,\nwindow frames set in walls, stair treads with stringers and landings,\nbase rings for round fixtures, paving joints, kerb lines). Height\nlevels appear only as flat fill tints (darker = higher). Flat\northographic plan view: NO 3D, NO axonometric, NO perspective, no\nshadows. Neutral document: no people, no story props, no vehicles, no\nposted papers, each element carries ONLY its assigned number, drawn once as a small\nplain dark numeral on (or beside) it; apart from these numerals no text,\nno letters, no words, no other markers, no legend, no compass. Never expose interior rooms or furniture of any enclosed\nunit — outer shell and boundary openings only.\n\nEXTERIOR ONLY: this is an OUTDOOR site plan seen from above — show\nonly the exterior: ground areas, building outer shells, roof-level\nsurfaces and outdoor fixtures. NEVER draw any interior room, inner\nwall, partition or furniture of any enclosed unit — every enclosed\nvolume stays sealed (outer walls and boundary openings only).\n\nNUMBERED SITE-PLAN STRUCTURE (positions, sizes, roof-plan shapes; draw each element's number as a small plain marker on it):\n1 full-scale traffic-surface footprint, south-centre area, continuing beyond the south edge of the drawing and cut off by the frame, drawn as a broad rectangular paved-plane outline in plan.\n2 full-scale access-surface footprint, centre-west area, continuing beyond the west edge of the drawing and cut off by the frame, drawn as an elongated corridor-like paved-plane outline in plan.\n3 full-scale surrounding context mass, north-west area, shown as a simple subdued roof-plan footprint, continuing beyond the north-west edge of the drawing and cut off by the frame, with only a plain rectangular roof outline visible inside the frame.\n4 full-scale surrounding context mass, north-centre area, shown as a simple subdued roof-plan footprint, continuing beyond the north edge of the drawing and cut off by the frame, with only a plain rectangular roof outline visible inside the frame.\n5 full-scale surrounding context mass, centre-east area, shown as a simple subdued roof-plan footprint, continuing beyond the east edge of the drawing and cut off by the frame, with only a plain rectangular roof outline visible inside the frame.\n6 thin strip recessed forecourt footprint, south-centre area, drawn as a rectangular open ground-plane outline.\n7 large rectangular multi-unit footprint, centre area, drawn with the site-plan weight of the property’s main roof/building outline rather than as a plain block.\n8 large rectangular terrace footprint, placed on block 7, in its centre part, drawn as a flat roof-deck outline within the footprint of 7.\n9 thin strip stair footprint, south-east area, connecting the ground level up to the deck level, drawn as a stair run with parallel tread marks inside the strip.\n10 medium rectangular enclosed-room footprint, placed on block 8, in its centre part, drawn as a compact roof-plan shell outline.\n11 thin strip parapet-band footprint, placed on block 8, in its south-centre part, drawn as a short low edge band on the terrace outline.\n12 tiny circular service-fixture footprint, placed on block 8, in its north-west part, drawn as a round base ring in roof plan.\n13 tiny rectangular raised-pad footprint, placed on block 8, in its south-west part, drawn as a simple rectangular pad outline.\n14 thin strip equipment footprint, centre area, on the west edge of block 10, drawn as a single taut line segment between two fixing points.\n15 tiny rectangular doorway footprint, centre area, on the south edge of block 10, drawn as a narrow door opening rectangle in the shell edge.\n16 tiny rectangular opening footprint, centre area, on the east edge of block 10, drawn as a small inset rectangular window opening in the shell edge.\n17 thin strip opening footprint, north-centre area, on the north edge of block 10, drawn as a longer inset rectangular window opening in the shell edge.\n18 thin strip gate footprint, placed on block 6, in its centre-west part, drawn as a single straight gate bar across an entry gap.\n19 thin strip opening footprints, south-centre area, on the north edge of block 6 (4 in a row), drawn as a repeated row of small rectangular window openings.\n20 use one flat tint rule only, to tell height levels apart, low to high: Ground -> block 9 -> block 8 -> block 10 (darker = higher), as a flat fill hierarchy following the existing footprints only."}
{"ts": "2026-07-06 08:42:35", "kind": "stage", "stage": "s20_numbered_bd", "done": "plan"}
{"ts": "2026-07-06 08:42:56", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s20_numbered_fp_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/projects/b0ad5c18-5140-4022-a2b0-805de0e5a385/episodes/0d30302a-51c8-4ac9-98e2-6cd9180512bf/images/floor_plan/fp_l04_rooftop_room_main.png"], "ref_labels": ["DRAFTING STYLE REFERENCE (an interior floor plan) — copy ONLY its drawing style: line weight, flat fills, plan symbols. Never its rooms, furniture, numbers or content."], "attempt": 1, "dur_s": 16.9, "bytes": 1532599, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/numbered_fp_nb2.png", "prompt": "THE PLACE (authored description — the content ground truth):\nBUILDING: The main building is an old multifamily villa block, drawn as an assumed three-storey body below the rooftop unit because the script only states an old villa with a rooftop room. Its mass is a plain rectangular concrete volume set behind an entry yard. The roof is flat and usable as a cement-surfaced terrace. The front facade facing the yard should show four repeated window bays per storey, matching the extracted layout’s inferred facade-window rhythm.\nTOP UNIT & DECK: The topmost enclosed unit is a small, old rooftop dwelling set on the flat terrace, drawn as a simple rectangular shell. Its boundary openings are one iron entrance door facing the stair landing, one small living-room window on a side wall, and one bedroom window on another wall. Around it, the open deck has a low concrete parapet or wall, a round water tank, a fixed laundry line, and a low platform on the cement surface.\nGROUNDS: At ground level, a street edge feeds a narrow alley along the left side, leading to a single entry gate and a small recessed yard at the villa entrance. Neighboring building masses close the rear and sides, making the approach compact. From the yard’s back corner, a later-added exterior steel stair is fixed to the outside wall, with open treads, thin stringers, support posts, and a pipe handrail, continuing up to the rooftop terrace and iron-door landing.\nTHE PLAN MUST SHOW: The finished top-down site plan should show a rectangular villa mass centered behind the yard, with its flat roof terrace visible as the primary upper surface. Place the rooftop room as a smaller rectangle on the terrace, with one door toward the stair landing and two windows on separate sides. Draw the left alley, entry gate, recessed yard, surrounding neighbor blocks, low roof wall, fixed rooftop fixtures, and the retrofitted steel stair as a separate exterior structure attached to the building wall.\n\nLAYOUT RELATIONS (approximate — honour what exists and rough relations, NOT exact geometry):\n- height layers, low to high: Ground h=0 (lightest), Stair run h=1.5 (mid 1), Roof deck h=3 (mid 2), Rooftop room h=4 (darkest). Darker fill = higher.\n- street road [road] — south-centre area; height: Ground\n- narrow alley [alley] — centre-west area; height: Ground\n- entry yard [yard] — south-centre area; height: Ground\n- villa mass [building_mass] — centre area; height: Roof deck\n- roof terrace [terrace] — placed on the villa mass, in its centre part; height: Roof deck\n- rooftop room [upper_shell] — placed on the roof terrace, in its centre part; height: Rooftop room\n- steel retrofit stair [stair] — south-east area; height: Stair run\n- low wall [wall] — placed on the roof terrace, in its south-centre part; height: Roof deck\n- neighbor block [neighbor_mass] — north-west area; height: Roof deck\n- rear neighbor [neighbor_mass] — north-centre area; height: Roof deck\n- side neighbor [neighbor_mass] — centre-east area; height: Roof deck\n- water tank [fixture_round] — placed on the roof terrace, in its north-west part; height: Roof deck round\n- low platform [fixture_rect] — placed on the roof terrace, in its south-west part; height: Roof deck\n- laundry line [equipment] — centre area, on the west edge of the rooftop room; height: Roof deck\n- iron door [door] — centre area, on the south edge of the rooftop room; height: Rooftop room\n- living window [window] — centre area, on the east edge of the rooftop room; height: Rooftop room\n- bedroom window [window] — north-centre area, on the north edge of the rooftop room; height: Rooftop room\n- entry gate [gate] — placed on the entry yard, in its centre-west part; height: Ground\n- facade windows [window] — south-centre area, on the north edge of the entry yard, 4 windows for the whole facade — distribute them across the building's storeys with clear wall between each (never fused edge-to-edge, never one tight row); height: Roof deck\n- any facade windows sit apart with clear wall between them, aligned to the building's real storeys — never touching.\n- CORRECTION (production owner): the exterior stair element is an ADDED-ON STEEL stair retrofitted later onto its building's outside wall — open treads, thin steel stringers and support posts, pipe handrail, visibly a separate later addition to the building. It is NOT concrete or cement; this supersedes any cement/concrete stair mention elsewhere in the data.\n\nDraw the plan VERY DETAILED — real working-drawing density, so that\nevery element visually reads as WHAT IT IS from its plan symbols\nalone (there are no labels or numbers to help). Use the standard\nplan vocabulary per element type:\n- roads: kerb lines\n- alleys: paving joints\n- yards: paving joints\n- building masses: walls as double lines with real thickness, roof edges with parapet coping lines\n- open decks: edge/parapet lines and a flat surface tone\n- enclosed upper-shell units: thick-walled outline with boundary openings only — never interior rooms\n- stairs: individual treads, stringer/railing lines, top and bottom landings\n- boundary walls: double lines\n- neighbouring buildings: simplified roof outlines only (secondary)\n- round free-standing fixtures: circle with its base ring\n- low rectangular fixtures: outline with slat/edge lines\n- small equipment units: simple outlined box with support/mount lines\n- doors: leaf + swing arc set in a wall opening\n- windows: frame lines set INTO the wall\n- gates: leaf/swing symbol set in the boundary wall\n\nThe LAST attached image is an interior floor plan from the same\nproduction — use it ONLY as the DRAFTING-STYLE reference (line weight,\nfill language, symbol vocabulary). Never copy its rooms or content.\n\nDraw ONE strict TOP-DOWN 2D architectural SITE PLAN in the drafting\nlanguage of a clean floor plan — thin dark outlines, flat muted colour\nfills, detailed plan symbols (double-line walls, door leaf + swing arc,\nwindow frames set in walls, stair treads with stringers and landings,\nbase rings for round fixtures, paving joints, kerb lines). Height\nlevels appear only as flat fill tints (darker = higher). Flat\northographic plan view: NO 3D, NO axonometric, NO perspective, no\nshadows. Neutral document: no people, no story props, no vehicles, no\nposted papers, no text, no letters, no numbers, no markers, no legend,\nno compass. Never expose interior rooms or furniture of any enclosed\nunit — outer shell and boundary openings only."}
{"ts": "2026-07-06 08:44:29", "kind": "img", "engine": "gpt-image-2", "mode": "edit", "tag": "s20_numbered_fp_gpt", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/projects/b0ad5c18-5140-4022-a2b0-805de0e5a385/episodes/0d30302a-51c8-4ac9-98e2-6cd9180512bf/images/floor_plan/fp_l04_rooftop_room_main.png"], "size": "1536x864", "attempt": 1, "dur_s": 92.8, "bytes": 2002585, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/numbered_fp_gpt.png", "prompt": "THE PLACE (authored description — the content ground truth):\nBUILDING: The main building is an old multifamily villa block, drawn as an assumed three-storey body below the rooftop unit because the script only states an old villa with a rooftop room. Its mass is a plain rectangular concrete volume set behind an entry yard. The roof is flat and usable as a cement-surfaced terrace. The front facade facing the yard should show four repeated window bays per storey, matching the extracted layout’s inferred facade-window rhythm.\nTOP UNIT & DECK: The topmost enclosed unit is a small, old rooftop dwelling set on the flat terrace, drawn as a simple rectangular shell. Its boundary openings are one iron entrance door facing the stair landing, one small living-room window on a side wall, and one bedroom window on another wall. Around it, the open deck has a low concrete parapet or wall, a round water tank, a fixed laundry line, and a low platform on the cement surface.\nGROUNDS: At ground level, a street edge feeds a narrow alley along the left side, leading to a single entry gate and a small recessed yard at the villa entrance. Neighboring building masses close the rear and sides, making the approach compact. From the yard’s back corner, a later-added exterior steel stair is fixed to the outside wall, with open treads, thin stringers, support posts, and a pipe handrail, continuing up to the rooftop terrace and iron-door landing.\nTHE PLAN MUST SHOW: The finished top-down site plan should show a rectangular villa mass centered behind the yard, with its flat roof terrace visible as the primary upper surface. Place the rooftop room as a smaller rectangle on the terrace, with one door toward the stair landing and two windows on separate sides. Draw the left alley, entry gate, recessed yard, surrounding neighbor blocks, low roof wall, fixed rooftop fixtures, and the retrofitted steel stair as a separate exterior structure attached to the building wall.\n\nLAYOUT RELATIONS (approximate — honour what exists and rough relations, NOT exact geometry):\n- height layers, low to high: Ground h=0 (lightest), Stair run h=1.5 (mid 1), Roof deck h=3 (mid 2), Rooftop room h=4 (darkest). Darker fill = higher.\n- street road [road] — south-centre area; height: Ground\n- narrow alley [alley] — centre-west area; height: Ground\n- entry yard [yard] — south-centre area; height: Ground\n- villa mass [building_mass] — centre area; height: Roof deck\n- roof terrace [terrace] — placed on the villa mass, in its centre part; height: Roof deck\n- rooftop room [upper_shell] — placed on the roof terrace, in its centre part; height: Rooftop room\n- steel retrofit stair [stair] — south-east area; height: Stair run\n- low wall [wall] — placed on the roof terrace, in its south-centre part; height: Roof deck\n- neighbor block [neighbor_mass] — north-west area; height: Roof deck\n- rear neighbor [neighbor_mass] — north-centre area; height: Roof deck\n- side neighbor [neighbor_mass] — centre-east area; height: Roof deck\n- water tank [fixture_round] — placed on the roof terrace, in its north-west part; height: Roof deck round\n- low platform [fixture_rect] — placed on the roof terrace, in its south-west part; height: Roof deck\n- laundry line [equipment] — centre area, on the west edge of the rooftop room; height: Roof deck\n- iron door [door] — centre area, on the south edge of the rooftop room; height: Rooftop room\n- living window [window] — centre area, on the east edge of the rooftop room; height: Rooftop room\n- bedroom window [window] — north-centre area, on the north edge of the rooftop room; height: Rooftop room\n- entry gate [gate] — placed on the entry yard, in its centre-west part; height: Ground\n- facade windows [window] — south-centre area, on the north edge of the entry yard, 4 windows for the whole facade — distribute them across the building's storeys with clear wall between each (never fused edge-to-edge, never one tight row); height: Roof deck\n- any facade windows sit apart with clear wall between them, aligned to the building's real storeys — never touching.\n- CORRECTION (production owner): the exterior stair element is an ADDED-ON STEEL stair retrofitted later onto its building's outside wall — open treads, thin steel stringers and support posts, pipe handrail, visibly a separate later addition to the building. It is NOT concrete or cement; this supersedes any cement/concrete stair mention elsewhere in the data.\n\nDraw the plan VERY DETAILED — real working-drawing density, so that\nevery element visually reads as WHAT IT IS from its plan symbols\nalone (there are no labels or numbers to help). Use the standard\nplan vocabulary per element type:\n- roads: kerb lines\n- alleys: paving joints\n- yards: paving joints\n- building masses: walls as double lines with real thickness, roof edges with parapet coping lines\n- open decks: edge/parapet lines and a flat surface tone\n- enclosed upper-shell units: thick-walled outline with boundary openings only — never interior rooms\n- stairs: individual treads, stringer/railing lines, top and bottom landings\n- boundary walls: double lines\n- neighbouring buildings: simplified roof outlines only (secondary)\n- round free-standing fixtures: circle with its base ring\n- low rectangular fixtures: outline with slat/edge lines\n- small equipment units: simple outlined box with support/mount lines\n- doors: leaf + swing arc set in a wall opening\n- windows: frame lines set INTO the wall\n- gates: leaf/swing symbol set in the boundary wall\n\nThe LAST attached image is an interior floor plan from the same\nproduction — use it ONLY as the DRAFTING-STYLE reference (line weight,\nfill language, symbol vocabulary). Never copy its rooms or content.\n\nDraw ONE strict TOP-DOWN 2D architectural SITE PLAN in the drafting\nlanguage of a clean floor plan — thin dark outlines, flat muted colour\nfills, detailed plan symbols (double-line walls, door leaf + swing arc,\nwindow frames set in walls, stair treads with stringers and landings,\nbase rings for round fixtures, paving joints, kerb lines). Height\nlevels appear only as flat fill tints (darker = higher). Flat\northographic plan view: NO 3D, NO axonometric, NO perspective, no\nshadows. Neutral document: no people, no story props, no vehicles, no\nposted papers, no text, no letters, no numbers, no markers, no legend,\nno compass. Never expose interior rooms or furniture of any enclosed\nunit — outer shell and boundary openings only."}
{"ts": "2026-07-06 08:44:29", "kind": "stage", "stage": "s20_numbered_bd", "done": "fp"}
{"ts": "2026-07-06 08:57:24", "kind": "llm", "step": "s20_plan_photo_author", "model": "gpt", "dur_s": 20.3, "system_prompt": "You write ONE image-generation prompt (English) for the final\nphotorealistic stage of a location pipeline. The image model will\nreceive your prompt plus ONE attached top-down architectural SITE\nPLAN drawing of a real property. Small numeral markers on it are\nannotations only.\n\nThe plan is the single source of truth for WHAT exists and WHERE.\nTherefore your prompt must NOT re-describe, list or count the\nlayout, its elements or their positions — beyond telling the model\nthe attached drawing is a plan to be translated into real built\nvolumes, and that its numerals, annotations, flat colours and\ngraphics must NEVER be reproduced in the image.\n\nYour prompt covers only what the plan cannot say:\n- the place must read as a REAL, LIVED-IN property — inhabited by\n  ordinary residents (weathering, everyday traces; decide the feel,\n  let the model improvise the specifics — do NOT enumerate a fixed\n  list of objects),\n- unpeopled; no readable text or signage anywhere in the image,\n- nothing story-specific — only what any such real place would show,\n- true materials of the regional building type per the production\n  data below (the plan's flat drawing colours are NOT materials),\n- one believable camera (your choice) and ordinary neutral daylight,\n  documentary tone.\nWrite 90-160 words of direct imperative prose.\nA creator-correction block, when present, overrides any conflicting\nplace data.\nphoto_prompt_ko: the same prompt in Korean (for the human reviewer).", "user_prompt": "PLACE DATA (production members):\n- 인천 변두리 낡은 빌라 옥탑방 옥상·현관 앞 외부: 낡은 다세대 빌라 꼭대기에 위치한 야외 공간. 물탱크, 흔들리는 빨랫줄, 평상 위 약초 건조 흔적, 낡은 철문 현관이 있다. (특징: 낡은 시멘트 바닥; 물탱크; 바람에 날리는 빨랫줄; 평상과 널려 있는 말린 약초(석창포); 전단지가 끼워진 철문 현관)\n- 옥탑방 내부: 작은 창문으로 빛이 들어오는 낡은 주거 공간. 싱크대, 식탁, TV가 있는 거실과 침대, 커튼, 거울 등이 있는 방/욕실로 구성된다. 약초 끓이는 냄비 등 생활 소품이 있으며, 간헐적으로 벽면에 붉은 원 형태의 환영과 핏자국이 생겨난다. (특징: 작은 창문의 햇살; 싱크대와 약초(석창포); 가스레인지 위 끓는 냄비와 수증기; 거실 TV와 스탠드; 침대, 커튼, 거울; 벽과 거울 표면에 나타나는 붉은 원 환영; 바닥과 벽의 핏자국 (특정 시점); 어지럽혀진 가재도구 (특정 시점))\n- 옥탑방 외곽 골목·시멘트 계단: 다세대 빌라 마당의 후미진 구석과 옥탑방으로 올라가는 가파르고 낡은 시멘트 계단. (특징: 다세대 빌라 입구 마당; 후미진 구석 공간; 낡고 가파른 시멘트 계단)\n\nCREATOR CORRECTIONS (override any conflicting place data):\n- CORRECTION (production owner): the exterior stair element is an ADDED-ON STEEL stair retrofitted later onto its building's outside wall — open treads, thin steel stringers and support posts, pipe handrail, visibly a separate later addition to the building. It is NOT concrete or cement; this supersedes any cement/concrete stair mention elsewhere in the data.\n\nREAL-WORLD APPEARANCE (production owner):\nREAL-WORLD APPEARANCE (production owner): render the property as a REAL, EXISTING aged multi-family villa with a rooftop dwelling of the exact regional type the production data describes — the way such buildings actually look there: typical vernacular materials and construction (e.g. aged red-brick or exterior tile cladding on the body, cement mouldings and sills, weathered stucco patches, grime streaks under the parapet, a rusty steel retrofit stair), varied and lived-in. Do NOT render a uniform cement-gray mass, and NEVER copy the site plan's flat drawing colours as building materials."}
{"ts": "2026-07-06 08:59:34", "kind": "img", "engine": "gpt-image-2", "mode": "edit", "tag": "s20_plan_photo_gpt", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/numbered_plan_gpt.png"], "size": "1536x864", "attempt": 1, "dur_s": 129.2, "bytes": 2299926, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/plan_photo_gpt.png", "prompt": "Translate the attached top-down architectural site plan into a photorealistic, real built property, using the plan only for what exists and where. Do not reproduce any plan numerals, annotations, outlines, symbols, labels, flat colours, or graphic styling. Render an aged multi-family villa rooftop dwelling in the outskirts of Incheon with authentic local construction: varied red-brick or exterior tile cladding, cement mouldings and sills, patched weathered stucco, grime below parapets, stained old concrete roof surfaces. If the plan includes an exterior stair, make it a later-added rusty steel retrofit with open treads, thin stringers and posts, and pipe handrail, visibly separate from the building, not concrete. Make the place feel genuinely inhabited by ordinary residents through natural wear, improvised maintenance, and everyday traces, without staging a story. Keep it unpeopled, with no readable text or signage. Use one documentary eye-level camera view, neutral overcast daylight, realistic lens perspective, no cinematic effects."}
{"ts": "2026-07-06 08:59:54", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s20_plan_photo_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/numbered_plan_gpt.png"], "ref_labels": ["SITE PLAN (spatial ground truth) — translate to real photographic volumes; its numerals are annotations, never draw them; never copy its drawing style or flat colours; no text anywhere."], "attempt": 1, "dur_s": 20.3, "bytes": 3825379, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/plan_photo_nb2.png", "prompt": "Translate the attached top-down architectural site plan into a photorealistic, real built property, using the plan only for what exists and where. Do not reproduce any plan numerals, annotations, outlines, symbols, labels, flat colours, or graphic styling. Render an aged multi-family villa rooftop dwelling in the outskirts of Incheon with authentic local construction: varied red-brick or exterior tile cladding, cement mouldings and sills, patched weathered stucco, grime below parapets, stained old concrete roof surfaces. If the plan includes an exterior stair, make it a later-added rusty steel retrofit with open treads, thin stringers and posts, and pipe handrail, visibly separate from the building, not concrete. Make the place feel genuinely inhabited by ordinary residents through natural wear, improvised maintenance, and everyday traces, without staging a story. Keep it unpeopled, with no readable text or signage. Use one documentary eye-level camera view, neutral overcast daylight, realistic lens perspective, no cinematic effects."}
{"ts": "2026-07-06 08:59:54", "kind": "stage", "stage": "s20_numbered_bd", "done": "planphoto"}
{"ts": "2026-07-06 09:00:13", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s20_plan_sketch_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/numbered_plan_gpt.png"], "ref_labels": ["TOP-DOWN BLOCK REFERENCE (what exists + plan arrangement; numerals are annotations — draw none of them; flat colours encode height layers only)."], "attempt": 1, "dur_s": 16.2, "bytes": 1784524, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/plan_sketch_nb2.png", "prompt": "The FIRST attached image is a top-down SITE-PLAN REFERENCE of the\nsame property: use it only for WHAT exists and WHERE things sit in\nplan. Its numerals are annotations — never draw them. The height\nlayer order is given below — translate those levels into clearly\nvisible built heights.\n\nTHE PLACE (authored description — the content ground truth):\nBUILDING: The main building is an old multifamily villa block, drawn as an assumed three-storey body below the rooftop unit because the script only states an old villa with a rooftop room. Its mass is a plain rectangular concrete volume set behind an entry yard. The roof is flat and usable as a cement-surfaced terrace. The front facade facing the yard should show four repeated window bays per storey, matching the extracted layout’s inferred facade-window rhythm.\nTOP UNIT & DECK: The topmost enclosed unit is a small, old rooftop dwelling set on the flat terrace, drawn as a simple rectangular shell. Its boundary openings are one iron entrance door facing the stair landing, one small living-room window on a side wall, and one bedroom window on another wall. Around it, the open deck has a low concrete parapet or wall, a round water tank, a fixed laundry line, and a low platform on the cement surface.\nGROUNDS: At ground level, a street edge feeds a narrow alley along the left side, leading to a single entry gate and a small recessed yard at the villa entrance. Neighboring building masses close the rear and sides, making the approach compact. From the yard’s back corner, a later-added exterior steel stair is fixed to the outside wall, with open treads, thin stringers, support posts, and a pipe handrail, continuing up to the rooftop terrace and iron-door landing.\nTHE PLAN MUST SHOW: The finished top-down site plan should show a rectangular villa mass centered behind the yard, with its flat roof terrace visible as the primary upper surface. Place the rooftop room as a smaller rectangle on the terrace, with one door toward the stair landing and two windows on separate sides. Draw the left alley, entry gate, recessed yard, surrounding neighbor blocks, low roof wall, fixed rooftop fixtures, and the retrofitted steel stair as a separate exterior structure attached to the building wall.\n\nHEIGHT LAYERS (low to high): Ground (h=0) -> Stair run (h=1.5) -> Roof deck (h=3) -> Rooftop room (h=4)\n\nDraw ONE SIMPLE LINE SKETCH of the property's structure — clean thin\ndark lines on plain white, like a quick architect's massing sketch.\nViewpoint: slightly elevated three-quarter oblique view (tilted about\n30 degrees down from vertical) so RELATIVE HEIGHTS read clearly —\nwhich volume rises above which, how many storeys the building has,\nwhat sits on top of what, and how the stair climbs between levels.\nLINES ONLY: no colours, no fills, no shading, no materials, no\ntexture, no photorealism.\nSIMPLE: massing outlines, level edges and openings only — no\ndrafting detail, no double-line walls, no furniture, never any\ninterior of enclosed units.\nNo text, letters, numbers, labels, markers, legend or compass.\nNo people, no props, no vehicles."}
{"ts": "2026-07-06 09:01:46", "kind": "img", "engine": "gpt-image-2", "mode": "edit", "tag": "s20_plan_sketch_gpt", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/numbered_plan_gpt.png"], "size": "1536x864", "attempt": 1, "dur_s": 93.8, "bytes": 1271265, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/plan_sketch_gpt.png", "prompt": "The FIRST attached image is a top-down SITE-PLAN REFERENCE of the\nsame property: use it only for WHAT exists and WHERE things sit in\nplan. Its numerals are annotations — never draw them. The height\nlayer order is given below — translate those levels into clearly\nvisible built heights.\n\nTHE PLACE (authored description — the content ground truth):\nBUILDING: The main building is an old multifamily villa block, drawn as an assumed three-storey body below the rooftop unit because the script only states an old villa with a rooftop room. Its mass is a plain rectangular concrete volume set behind an entry yard. The roof is flat and usable as a cement-surfaced terrace. The front facade facing the yard should show four repeated window bays per storey, matching the extracted layout’s inferred facade-window rhythm.\nTOP UNIT & DECK: The topmost enclosed unit is a small, old rooftop dwelling set on the flat terrace, drawn as a simple rectangular shell. Its boundary openings are one iron entrance door facing the stair landing, one small living-room window on a side wall, and one bedroom window on another wall. Around it, the open deck has a low concrete parapet or wall, a round water tank, a fixed laundry line, and a low platform on the cement surface.\nGROUNDS: At ground level, a street edge feeds a narrow alley along the left side, leading to a single entry gate and a small recessed yard at the villa entrance. Neighboring building masses close the rear and sides, making the approach compact. From the yard’s back corner, a later-added exterior steel stair is fixed to the outside wall, with open treads, thin stringers, support posts, and a pipe handrail, continuing up to the rooftop terrace and iron-door landing.\nTHE PLAN MUST SHOW: The finished top-down site plan should show a rectangular villa mass centered behind the yard, with its flat roof terrace visible as the primary upper surface. Place the rooftop room as a smaller rectangle on the terrace, with one door toward the stair landing and two windows on separate sides. Draw the left alley, entry gate, recessed yard, surrounding neighbor blocks, low roof wall, fixed rooftop fixtures, and the retrofitted steel stair as a separate exterior structure attached to the building wall.\n\nHEIGHT LAYERS (low to high): Ground (h=0) -> Stair run (h=1.5) -> Roof deck (h=3) -> Rooftop room (h=4)\n\nDraw ONE SIMPLE LINE SKETCH of the property's structure — clean thin\ndark lines on plain white, like a quick architect's massing sketch.\nViewpoint: slightly elevated three-quarter oblique view (tilted about\n30 degrees down from vertical) so RELATIVE HEIGHTS read clearly —\nwhich volume rises above which, how many storeys the building has,\nwhat sits on top of what, and how the stair climbs between levels.\nLINES ONLY: no colours, no fills, no shading, no materials, no\ntexture, no photorealism.\nSIMPLE: massing outlines, level edges and openings only — no\ndrafting detail, no double-line walls, no furniture, never any\ninterior of enclosed units.\nNo text, letters, numbers, labels, markers, legend or compass.\nNo people, no props, no vehicles."}
{"ts": "2026-07-06 09:01:46", "kind": "stage", "stage": "s20_numbered_bd", "done": "plansketch"}
{"ts": "2026-07-06 09:03:31", "kind": "img", "engine": "gpt-image-2", "mode": "edit", "tag": "s20_plansketch_photo_gpt", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/plan_sketch_gpt.png"], "size": "1536x864", "attempt": 1, "dur_s": 102.4, "bytes": 2573343, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/plansketch_photo_gpt.png", "prompt": "Use the attached line-art only as a structural guide: translate its exact volumes, openings, levels and attached parts into real built architecture, never into line graphics or plan colors. Render a real aged multi-family villa rooftop dwelling in an outer Incheon neighborhood, with typical local vernacular materials: weathered red brick or exterior tile cladding, cement mouldings and sills, patched stucco, grime streaks below parapets, worn metalwork and faded paint. Any exterior stair shown must read as a later retrofitted steel addition, with open treads, thin stringers, support posts, pipe handrail and rust. Make the place visibly inhabited by ordinary residents through natural weathering and improvised everyday traces, but keep it unpeopled, with no readable text or signage anywhere. Avoid story-specific marks or horror details. Shoot as a photorealistic documentary location photo from a believable slightly elevated oblique camera, neutral daylight, natural color, realistic lens perspective."}
{"ts": "2026-07-06 09:03:47", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s20_plansketch_photo_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/plan_sketch_gpt.png"], "ref_labels": ["STRUCTURE SKETCH (spatial + height ground truth) — translate its volumes, levels and storeys into real photographic construction; never copy its line style; no text anywhere."], "attempt": 1, "dur_s": 16.0, "bytes": 3768448, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/plansketch_photo_nb2.png", "prompt": "Use the attached line-art only as a structural guide: translate its exact volumes, openings, levels and attached parts into real built architecture, never into line graphics or plan colors. Render a real aged multi-family villa rooftop dwelling in an outer Incheon neighborhood, with typical local vernacular materials: weathered red brick or exterior tile cladding, cement mouldings and sills, patched stucco, grime streaks below parapets, worn metalwork and faded paint. Any exterior stair shown must read as a later retrofitted steel addition, with open treads, thin stringers, support posts, pipe handrail and rust. Make the place visibly inhabited by ordinary residents through natural weathering and improvised everyday traces, but keep it unpeopled, with no readable text or signage anywhere. Avoid story-specific marks or horror details. Shoot as a photorealistic documentary location photo from a believable slightly elevated oblique camera, neutral daylight, natural color, realistic lens perspective."}
{"ts": "2026-07-06 09:03:47", "kind": "stage", "stage": "s20_numbered_bd", "done": "plansketchphoto"}
{"ts": "2026-07-06 10:20:04", "kind": "llm", "step": "s20_plansketch_photo_author", "model": "gpt", "dur_s": 37.2, "system_prompt": "You write ONE image-generation prompt (English) for the final\nphotorealistic stage of a location pipeline. The image model will\nreceive your prompt plus ONE attached simple line-art STRUCTURE\nSKETCH of a real property, drawn from a slightly elevated oblique\nview so relative heights, storeys and levels read clearly.\n\nThe sketch is the single source of truth for WHAT is built, WHERE it\nsits and HOW HIGH everything is — never re-describe, list or count\nthat. But the final image must NOT look like the sketch merely\nphotographed: it is a standing FILM LOCATION — a complete, real,\ninhabited place between scenes.\n\nStudy the FULL ORIGINAL SCENE TEXTS below to understand who lives\nhere and how they live. From that understanding, ADD to your prompt\nthe incidental, everyday side-elements such a life would leave\naround this place — your own judgement, grounded in the scenes; we\ngive you no fixed list. Exclude anything that belongs to a specific\nscene's one-off events: no characters, no dramatic or horror props,\nno story moments — only the everyday standing state of the place.\n\nAlso cover:\n- unpeopled; no readable text or signage anywhere in the image,\n- true materials of the regional building type per the production\n  data (the sketch's bare lines carry NO material information),\n- one believable camera (your choice) and ordinary neutral daylight,\n  documentary tone.\nWrite 120-220 words of direct imperative prose.\nA creator-correction block, when present, overrides any conflicting\nplace data.\nphoto_prompt_ko: the same prompt in Korean (for the human reviewer).", "user_prompt": "PLACE DATA (production members):\n- 인천 변두리 낡은 빌라 옥탑방 옥상·현관 앞 외부: 낡은 다세대 빌라 꼭대기에 위치한 야외 공간. 물탱크, 흔들리는 빨랫줄, 평상 위 약초 건조 흔적, 낡은 철문 현관이 있다. (특징: 낡은 시멘트 바닥; 물탱크; 바람에 날리는 빨랫줄; 평상과 널려 있는 말린 약초(석창포); 전단지가 끼워진 철문 현관)\n- 옥탑방 내부: 작은 창문으로 빛이 들어오는 낡은 주거 공간. 싱크대, 식탁, TV가 있는 거실과 침대, 커튼, 거울 등이 있는 방/욕실로 구성된다. 약초 끓이는 냄비 등 생활 소품이 있으며, 간헐적으로 벽면에 붉은 원 형태의 환영과 핏자국이 생겨난다. (특징: 작은 창문의 햇살; 싱크대와 약초(석창포); 가스레인지 위 끓는 냄비와 수증기; 거실 TV와 스탠드; 침대, 커튼, 거울; 벽과 거울 표면에 나타나는 붉은 원 환영; 바닥과 벽의 핏자국 (특정 시점); 어지럽혀진 가재도구 (특정 시점))\n- 옥탑방 외곽 골목·시멘트 계단: 다세대 빌라 마당의 후미진 구석과 옥탑방으로 올라가는 가파르고 낡은 시멘트 계단. (특징: 다세대 빌라 입구 마당; 후미진 구석 공간; 낡고 가파른 시멘트 계단)\n\nCREATOR CORRECTIONS (override any conflicting place data):\n- CORRECTION (production owner): the exterior stair element is an ADDED-ON STEEL stair retrofitted later onto its building's outside wall — open treads, thin steel stringers and support posts, pipe handrail, visibly a separate later addition to the building. It is NOT concrete or cement; this supersedes any cement/concrete stair mention elsewhere in the data.\n\nREAL-WORLD APPEARANCE (production owner):\nREAL-WORLD APPEARANCE (production owner): render the property as a REAL, EXISTING aged multi-family villa with a rooftop dwelling of the exact regional type the production data describes — the way such buildings actually look there: typical vernacular materials and construction (e.g. aged red-brick or exterior tile cladding on the body, cement mouldings and sills, weathered stucco patches, grime streaks under the parapet, a rusty steel retrofit stair), varied and lived-in. Do NOT render a uniform cement-gray mass, and NEVER copy the site plan's flat drawing colours as building materials.\n\nFULL ORIGINAL SCENE TEXTS (every scene at this place):\n\n=== SCENE 4 FULL TEXT ===\nS#4. 옥탑방 / D\n인천 변두리 부감, 오래된 빌라 옥탑방 전경.\n기자(E)\n지역 주민들 사이에 횡행한 소문이 돌고 있지만, 경찰은 범인의 윤곽조차 잡지 못하고 있어 지역주민들의 불안과 두려움을 더 키우는 모양새입니다.\n\n\n\n=== SCENE 5 FULL TEXT ===\nS#5. 옥탑방 안 / 실내\n거실에 난 작은 창으로 햇살에 가늘게 비친다. 싱크대 수도꼭지에 흐르는 물, 씻다 만 약초(석창포). 냄비의 물이 끓어 달그락거리는 소리… 김이 피어오르고. 앞치마를 두른 채 TV 뉴스를 뚫어지게 바라보는 민숙(수리영 엄마. 40세) 표정이 어둡다. (뉴스멘트는 작아졌다 커졌다 반복하면서 여기까지 이어진다)\n딸, 수리영(21. 애완동물미용학과 2년)이 방문을 열고 기지개를 켜며 나오자 후다닥 TV를 끄는 민숙. 다정한 말투로\n수리영\n(심드렁) 뭐~야. 사건 났어? 뭔데.\n민숙\n아냐.\n수리영\n(식탁에 앉으며) 이모 또 야근하겠네. 조그만 도시에 왠 사건이 이렇게 많아. 바다가 가까워서 그런가.\n민숙\n신경 꺼. (석창포 달인 물을 따라주면서) 마셔. 방학인데 왜 더 자지않고.\n수리영\n(마시고 나서) 아, 진짜 맛 없어...(투정) 나 알바 있어, 엄마. 원장님이 하루만 봐 달래.\n(cut to.)\n가벼운 차림새. 수리영 신발을 신으며\n수리영\n엄마는 오늘 안 나가?\n민숙\n이따가 1시 타임.\n수리영\n(엄마의 냄새를 맡으며) 아, 좋다. 끝나고 마트로 갈게. 모처럼 밖에서 저녁먹자 엄마.\n민숙\n응 (미소)\n힐끗, 민숙 손목에 보이는 작은 원(이하 표식)을 본다. 오늘따라 유난히 또렷해 보이지만 워낙 어릴 적부터 봐온 터라 개의치 않는.\n\n\n\n=== SCENE 10 FULL TEXT ===\nS#10. 옥탑방 / N\n그 시각. 옥탑방 옥상. 물탱크. 바람에 빨랫줄이 툭- 툭- 평상에 놓인 말린 석창포가 바람에 날리는데... 말린 잎이 걸어오는 낯선 남자의 신발 위를 스친다. 남자의 긴 그림자. (얼굴은 보이지 않는다)\n신발은 옥탑방 철문 현관 앞에 멈춰 선다. 문틈에 낀 광고 전단지. 전단지를 뽑아서 손가락으로 문틈에 꾹 밀어 넣는다. ‘철컥’ 하고 잠금 새가 풀리는 소리. 문이 미세하게 열리고 안으로 들어가는 남자.\n창문에 비친 그림자. 민숙을 덮쳐 어깨를 물어뜯는 듯한 모습 ‘아악-’\n\n\n\n=== SCENE 11 FULL TEXT ===\nS#11. 옥탑 방 밖 / N\n자전거를 타고 골목길을 달리는 수리영. 다세대 빌라 문을 열고 들어와 마당 후미진 곳에 자전거를 대충 세우고, 옥탑방과 연결되는 계단을 급히 오른다.\n갑자기 훅- 느껴지는 역겨운 냄새. 뭐지? 옥상에 올라와 보니 반쯤 열린 현관 철문.\n\n\n\n=== SCENE 12 FULL TEXT ===\nS#12. 옥탑방 안 / N\n/거실\n‘엄마?’를 부르며 들어오는 수리영, 끓다 식은 냄비. 켜져 있는 TV. 희미한 거실 스탠드 불빛,\n/민숙 방\n안방 문을 여는데... 없다. 거실 식탁에 놓여있는 찻잔 두 개. 하나는 엎어져있다.\n/수리영 방\n마지막으로 자기 방문을 연다 헉!- 여기저기 핏자국. 바닥에 흥건한 혈흔. 피묻은 발자국은 커튼으로 이어져 있다 호흡을 가다듬고 커튼을 젖히자 앉은 채로 고개를 떨군 채 죽어있는 엄마- 민숙!!!!\n수리영\n(달려가) 어어어어----엄마\n충격에 온 몸이 얼어붙은 수리영, 살점이 뜯긴 어깨와 쇄골, 마치 동물에게 물어뜯긴 듯한 거친 상처가 고스란히 드러나있다. 덜렁거리는 살점과 뜯겨진 부위에 흘러내리는 피.\n수리영\n(놀라 뒤로 주춤) 어-어-어- 엄마….\n부들부들 떨며 핸드폰을 누른다. 2번 혜수이모\n수리영\n받아, 이모. 받아….\n혜수(E)\n영아, 영아, 왜?\n답은 안 나오고… 엄마 손안에 구겨진 사진 한 장이 보인다. 다가가 사진을 꺼내는데 엄마 손목에 있던 문신이 붉은색으로 변한다. 헉! 호흡이 빨라지고... 침대 위 벽에 붉은 원이 생겨난다 (마치 누군가 붓으로 벽에 원으로 그리는 것처럼). 소름끼치는 으아악---!\n\n\n\n=== SCENE 13 FULL TEXT ===\nS#13. 옥탑방 외곽 / N\n비명을 지르며 옥탑방을 빠져나오는 수리영, 허겁지겁 계단을 내려간다. 동시에 사이렌이 울리고~. (포즈)\n차에서 내린 혜수(40대 중반, 여자, 경위) 초점을 잃고 멍하니 서있는 수리영의 모습을 발견하고 달려간다.\n혜수\n영아? 왜! 무슨 일이야?\n수리영\n(올라다보며) 엄마가, 엄마가... 죽어있어.\n혜수\n(놀라) 뭐?!\n옥탑 방으로 뛰어 올라가는 혜수와 후배 형사(30대 남/ 이하 김형사)\n\n\n\n=== SCENE 14 FULL TEXT ===\nS#14. 옥탑방 안 / N\n/현관\n집안 여기저기를 확인하면서 나오는 형사와 혜수\n김형사\n(허탈한 표정) 없는데.. 아무 것도.\n혜수\n(뒤따라온 수리영에게) 영아, 없어. 뭘 봤는데...?\n어? 수리영, 부리나케 방 안으로 뛰어 들어간다.\n/수리영 방 안\n지나칠 정도로 깨끗하게 정돈된 방안. 핏자국도 보이지 않고, 침대 위에 붉은 표식은 물론 커튼 뒤의 시신도 감쪽 같이 사라졌다. 얼굴이 파리해지는 수리영. ‘어----?’ ‘분명히 봤는데...’\n뛰쳐나가 식탁으로 가본다. 식탁 역시 깨끗한.\n수리영\n여기 찻잔도 두 개 있었고...\n김형사\n(답답) 허 참! 죽은 사람이 발이 달렸을 리도 없고. 쯧쯧 그러게 살인사건은 자세하게 보도하면 안 된다구요...(궁시렁) 이봐요. 학생? 장난전화 하면 안 되는 거 몰라? (짜증) 안 그래도 살인사건으로 난리도 아닌데...\n혜수\n(김형사 째리고) 김형사. 먼저 가 있어. (김형사 나가면) (수리영 어깨를 어루만지며) 영아.\n수리영\n엄마(시신), 어디갔을까? 분명히 봤는데...\n혜수\n네가 요즘 과로했잖아. 공부에다 알바까지... 악몽을 꾼 걸 수도 있으니... 바람이나 쐬러 가자.\n수리영 방안에 놓여진 백팩, 인형. 약간씩 위치가 달라진. (시신을 발견했을 때와 다른)\n\n\n\n=== SCENE 17 FULL TEXT ===\nS#17. 옥탑방 / 동틀무렵\n새벽녘, 고양이 울음소리. 검은 고양이가 불이 켜져 있는 옥탑 방을 슬쩍 보더니 담을 넘는다\n\n\n\n=== SCENE 18 FULL TEXT ===\nS#18. 안방 안 / D\n침대에 머리를 대고 앉아있는 수리영, 밤새 엄마를 기다리다 깜박 졸았다 고양이 울음소리에 번쩍 눈을 뜨고, ‘엄마? ’혹시나 해서 집안을 살피지만 아무런 인기척도 보이지 않는다\n/수리영 방안\n닫혀있는 자신의 방을 바라본다. [F.B: 1부12씬] 커튼 뒤에 죽어있던 엄마. 상처. 혈흔 크게 심호흡하고 조심스럽게 문을 연다. 지나치리만큼 깨끗하게 정돈된 방안. 창문에 다가가 커튼을 확 열어젖힌다. 시신은 없다. 한숨 후~ 다행이긴 한데. 그때, 울리는 폰 벨소리, 화들짝 놀라는 수리영. 달려가 받자마자\n수리영\n엄마?\n혜수(E)\n아직이니?\n수리영\n응. 아무래도 이상해. 이럴 리가 없잖아! 우리 엄마가. 이모, 사고 난 게 분명해\n혜수(E)\n실종신고 냈어. 이모가 엄마 폰 위치추적하고 있으니까 조금만 기다려 별일 없을 거야. 알았지?\n수리영\n응.\n무작정 기다리는게 불안한 수리영, 인형이 달린 자신의 백팩을 꺼내 나온다\n/욕실 안\n얼굴을 씻고 거울을 보며\n수리영\n엄마, 도대체 어딨는 거야...\n거울에 비친 욕실 벽에 갑자기 또 발생하는 붉은 원. 호흡이 가빠지고... 훅 고개를 돌려 벽을 보는 수리영 거짓말처럼 사라지고 없다. 거실로 튀어나와 물 한컵 마시고 식탁에 놓인 엄마와 수리영의 사진을 보는데... 환하게 웃는 엄마 얼굴이 뭉개져 흘러내린다\n수리영\n아아악~~~ (다시보니 멀쩡하다) 나 왜 이러는 거지. (자신의 뺨을 치며) 정신 차려 수리영!\n\n\n\n=== SCENE 25 FULL TEXT ===\nS#25. 옥탑방 안 / 해질 무렵\n누군가 다녀간 흔적으로 보이는 발자국들. 다시 호흡이 가빠지는 수리영. 집안에서 뭔가를 찾기 위해 가재도구를 온통 헤집은 것으로 보인다. 거실에 난 창은 열려있고, 식탁 의자들을 쓰러져있다.\n/수리영 방\n열린 자신의 방을 힐끗 보는데 벽에 또 붉은 원이 그려져있다. 그 가운데 꽂혀있는 피묻은 사진 한 장! 사진을 떼어서 자세히 본다. 어? 그 사진!!!\n[F.B: 1부 12씬] 죽은 엄마의 손에 구겨져있던 바로 그 사진이다. 7-80년대 쯤 보이는 시골 식당과 지붕위에 둥근 원이 설치된 (마치 십자가처럼) 식당 앞에는 어린 여자애 둘(12살)이 앉아있다. 그중에 한 아이는 분명히 어릴 적 엄마다.\n침대에 털썩 주저앉는 수리영. 연속해서 벌어지는 기이한 상황에 정신이 혼미한 엉망이 된 집 안을 한번 획 둘러보는 수리영, 마치 이끌리듯 백팩을 메고 밖으로 나간다. 사진을 손에 꼭 쥔 채.\n\n\n\n=== SCENE 27 FULL TEXT ===\nS#27. 옥탑방 안 / 해질 무렵\n수리영의 녹음메시지를 확인하는 혜수,\n혜수\n너 봤니..본 거니... (김형사에게) 좌표를 보지않았을까?\n김형사\n그럴리가요. (혀를 끌끌 차며) 아이구 쯧쯧. 설사 본들 망망대해에서 뭘 어쩌겠어요. 돌아오겠죠.\n덜커덩 덜커덩. 바람에 현관문 소리. 황량하다.\n\n"}
{"ts": "2026-07-06 10:22:13", "kind": "img", "engine": "gpt-image-2", "mode": "edit", "tag": "s20_plansketch_photo_gpt", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/plan_sketch_gpt.png"], "size": "1536x864", "attempt": 1, "dur_s": 128.5, "bytes": 2648507, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/plansketch_photo_gpt.png", "prompt": "Use the attached line-art structure sketch as the exact source for all architecture, placement, levels, proportions, and sightlines; do not invent, remove, relocate, or resize any built element. Render it as a real aged multi-family villa rooftop dwelling on the outskirts of Incheon, not as a clean model or cement-gray mass. Apply typical local materials: weathered red brick or exterior tile cladding, cement mouldings and window sills, patched stucco repairs, stained parapets, peeling waterproof roof coating, rust marks, grime streaks, and a visibly later-added rusty steel exterior stair with open treads, thin stringers, support posts, and pipe handrail. Dress the place as quietly inhabited between scenes: rooftop water tank, sagging laundry lines with faded everyday wash, low platform or mats with dried medicinal herbs and trays, plastic basins, broom, mop bucket, coiled hose, old shoes by the iron entrance door, blank wedged flyers with no legible print, clothespins, cracked planters, small pots of greens, cheap curtains behind windows, and a bicycle only if it fits naturally in the visible yard. Keep it unpeopled, no animals, no horror traces, no readable text or signage. Shoot photorealistically with a 35mm documentary camera from a slightly elevated oblique view matching the sketch, in ordinary neutral daylight."}
{"ts": "2026-07-06 10:22:29", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s20_plansketch_photo_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/plan_sketch_gpt.png"], "ref_labels": ["STRUCTURE SKETCH (spatial + height ground truth) — translate its volumes, levels and storeys into real photographic construction; never copy its line style; no text anywhere."], "attempt": 1, "dur_s": 16.1, "bytes": 3361343, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/plansketch_photo_nb2.png", "prompt": "Use the attached line-art structure sketch as the exact source for all architecture, placement, levels, proportions, and sightlines; do not invent, remove, relocate, or resize any built element. Render it as a real aged multi-family villa rooftop dwelling on the outskirts of Incheon, not as a clean model or cement-gray mass. Apply typical local materials: weathered red brick or exterior tile cladding, cement mouldings and window sills, patched stucco repairs, stained parapets, peeling waterproof roof coating, rust marks, grime streaks, and a visibly later-added rusty steel exterior stair with open treads, thin stringers, support posts, and pipe handrail. Dress the place as quietly inhabited between scenes: rooftop water tank, sagging laundry lines with faded everyday wash, low platform or mats with dried medicinal herbs and trays, plastic basins, broom, mop bucket, coiled hose, old shoes by the iron entrance door, blank wedged flyers with no legible print, clothespins, cracked planters, small pots of greens, cheap curtains behind windows, and a bicycle only if it fits naturally in the visible yard. Keep it unpeopled, no animals, no horror traces, no readable text or signage. Shoot photorealistically with a 35mm documentary camera from a slightly elevated oblique view matching the sketch, in ordinary neutral daylight."}
{"ts": "2026-07-06 10:22:29", "kind": "stage", "stage": "s20_numbered_bd", "done": "plansketchphoto"}
{"ts": "2026-07-06 10:29:47", "kind": "llm", "step": "s20_number_assign", "model": "gpt", "dur_s": 108.9, "system_prompt": "You are given the STRUCTURE lines of an image-generation prompt for a\nflat schematic block diagram — one element per line, each line naming\nthe element and its spatial relations — plus ELEMENT DATA grounding\neach element.\n\nTask: assign a number (1..N) to every element line, in a sensible\nstructural order (large ground/container blocks first, then what sits\non them, then attached openings and small fixtures). Rewrite every\nline so that:\n- the line STARTS with its number,\n- element NAMES never appear — when a line refers to another element\n  (placed on X / on the north edge of X), refer to it by that\n  element's number instead (e.g. 'placed on block 4, in its centre\n  part').\n- every spatial relation, size word and count stays EXACTLY as given\n  (one exception: frame-edge context, below).\n- APPEND to each line a short clause describing that element's\n  characteristic TOP-DOWN footprint/silhouette, grounded in its\n  ELEMENT DATA — just enough that the drawn shape itself reveals what\n  the element is (a run of parallel treads, a circle, a slatted low\n  rectangle, a thin line between two posts...). SHAPE ONLY — never\n  materials, colours, condition or story; never invent what the data\n  does not support.\n- FRAME-EDGE EXCEPTION: when an element is surrounding context\n  sitting at the drawing frame's edge (per its position), its given\n  size words measure only the visible sliver — do NOT keep them;\n  describe instead a full-scale neighbouring mass that continues\n  beyond the frame and is cut off by the drawing edge. It must never\n  read as a small or thin free-standing block inside the site.\n- PHYSICAL / LOGICAL SANITY: the result must read as a physically\n  plausible real property — every enclosed building needs its entry\n  opening, and circulation must connect all the way (approach ->\n  entrance -> grounds -> building entry / stairs -> upper levels);\n  nothing floats and nothing is sealed off. If the given lines are\n  missing a connection that common sense makes physically necessary\n  (for example a building with no way in), ADD one minimal line for\n  it — continue the numbering, place it sensibly relative to the\n  existing elements, and add it to the legend with ' (assumed)'\n  after its name. Smallest sensible addition only; never redesign\n  what is given.\nAlso output a legend mapping each number to the original element name\n(exactly as written in its line).", "user_prompt": "STRUCTURE lines:\n- street road: thin strip rectangular block, south-centre area\n- narrow alley: thin strip rectangular block, centre-west area\n- entry yard: thin strip rectangular block, south-centre area\n- villa mass: large rectangular block, centre area\n- roof terrace: large rectangular block, placed on the villa mass, in its centre part\n- rooftop room: medium rectangular block, placed on the roof terrace, in its centre part\n- concrete stair: thin strip rectangular block, south-east area, connecting the ground level up to the deck level\n- low wall: thin strip rectangular block, placed on the roof terrace, in its south-centre part\n- neighbor block: medium rectangular block, north-west area, plain simplified block\n- rear neighbor: medium rectangular block, north-centre area, plain simplified block\n- side neighbor: thin strip rectangular block, centre-east area, plain simplified block\n- water tank: tiny round block, placed on the roof terrace, in its north-west part\n- low platform: tiny rectangular block, placed on the roof terrace, in its south-west part\n- laundry line: thin strip rectangular block, centre area, on the west edge of the rooftop room\n- iron door: tiny rectangular block, centre area, on the south edge of the rooftop room\n- living window: tiny rectangular block, centre area, on the east edge of the rooftop room\n- bedroom window: thin strip rectangular block, north-centre area, on the north edge of the rooftop room\n- entry gate: thin strip rectangular block, placed on the entry yard, in its centre-west part\n- facade windows: thin strip rectangular block, south-centre area, on the north edge of the entry yard (4 in a row)\n- one flat tint rule only, to tell height levels apart, low to high: Ground -> Stair run -> Roof deck -> Rooftop room (darker = higher)\n\nELEMENT DATA (name [kind]: extracted description — ground each shape clause here):\n- street road [kind road]: 하단의 큰 도로는 골목과 차량 접근이 만나는 거리로 배치했다.\n- narrow alley [kind alley]: 왼쪽 세로 골목은 도로에서 빌라 입구로 이어지는 좁은 진입로이다.\n- entry yard [kind yard]: 빌라 앞마당은 골목에서 들어와 계단을 타기 전 머무는 후미진 공간이다.\n- villa mass [kind building_mass]: 중앙의 낡은 빌라 본체는 옥탑방이 올라앉은 다세대 건물 매스이다.\n- roof terrace [kind terrace]: 옥상 테라스는 본관 지붕 위에서 옥탑방 현관과 물탱크가 함께 놓이는 시멘트 바닥이다.\n- rooftop room [kind upper_shell]: 옥탑 주거 셸은 옥상 중앙에 놓인 작은 실내 공간의 외곽선이다.\n- concrete stair [kind stair]: 오른쪽 외부 계단은 마당 후미진 곳에서 옥상 현관 앞까지 이어진다.\n- low wall [kind wall]: 낮은 옥상 담은 테라스 가장자리를 따라 둘러져 있고 고양이가 넘는 경계이다.\n- neighbor block [kind neighbor_mass]: 왼쪽 이웃 건물은 부감에서 옥탑방을 둘러싸는 낡은 빌라 지붕 중 하나이다.\n- rear neighbor [kind neighbor_mass]: 상단 이웃 건물은 옥탑방 뒤쪽을 막는 낡은 지붕 매스이다.\n- side neighbor [kind neighbor_mass]: 오른쪽 이웃 건물은 계단 바깥쪽 골목을 좁게 만드는 주변 매스이다.\n- water tank [kind fixture_round]: 물탱크는 옥상 왼쪽 뒤편에 둔 원형 설비이다.\n- low platform [kind fixture_rect]: 낮은 평상은 옥상 앞쪽에 놓여 말린 약초가 바람에 날리던 자리이다.\n- laundry line [kind equipment]: 빨랫줄은 물탱크와 옥탑방 사이를 가로질러 바람에 흔들리는 얇은 고정 설비이다.\n- iron door [kind door]: 철문 현관은 옥탑 셸의 아래쪽 가장자리에 두어 계단 상부 랜딩과 마주 보게 했다.\n- living window [kind window]: 거실의 작은 창은 옥탑방 오른쪽 외벽에 둔 첫 번째 창이다.\n- bedroom window [kind window]: 침실의 커튼 달린 창은 옥탑방 위쪽 외벽에 둔 두 번째 창이다.\n- entry gate [kind gate]: 빌라 입구문은 골목에서 앞마당으로 들어가는 단일 출입 게이트이다.\n- facade windows [kind window]: 본관 전면 창들은 다세대 빌라의 정면을 읽히게 하도록 앞마당 쪽 벽에 네 칸 반복으로 배치했다."}
{"ts": "2026-07-06 10:29:47", "kind": "stage", "stage": "s20_numbered_bd", "done": "llm"}
{"ts": "2026-07-06 10:30:06", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s20_numbered_bd_nb2", "refs": [], "ref_labels": [], "attempt": 1, "dur_s": 16.6, "bytes": 1796325, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/numbered_bd_nb2.png", "prompt": "Draw ONE SCHEMATIC BLOCK DIAGRAM of a real property's layout — the\nkind of flat figure a computer program draws: strict TOP-DOWN 2D,\nplain solid-colour shapes on a plain light background, uniform thin\ndark outlines. ABSOLUTELY FLAT: no bevels, no edge highlights, no\ngradients, no shadows, no shading, no texture, no perspective, no 3D\nfeel of any kind.\nSTRUCTURAL SILHOUETTES: draw every element as the characteristic\ntop-down footprint its line describes — a flat structural outline\njust detailed enough that the SHAPE ITSELF reveals what the element\nis; never flatten it to a generic featureless rectangle when its\nline says otherwise, and never add fine drafting detail (no\ndouble-line walls, no hatching, no fixtures inside buildings).\nPURPOSE: structural comprehension only. Every building is ONE solid\nblock — never any interior rooms, inner walls or furniture.\nThe arrangement must read as a physically coherent real property:\nentries, connections and levels all working the way the lines below\ndescribe.\nEach block shows ONLY its assigned number, drawn once as a small plain dark numeral on (or beside) that block; apart from these numerals there is no other text: no letters, no words, no names, no labels, no legend, no compass anywhere.\nNo people, no props, no vehicles.\n\nSTRUCTURE (relative positions, sizes, footprint shapes):\n1 full-scale rectangular carriageway mass, south-centre area, continuing beyond and cut off by the south drawing edge, with a broad continuous traffic-band footprint.\n2 thin strip rectangular block, centre-west area, with a long narrow access-corridor footprint.\n3 full-scale rectangular neighbouring mass, north-west area, plain simplified block, continuing beyond and cut off by the north-west drawing edges, with a simple roof-mass rectangle footprint.\n4 full-scale rectangular neighbouring mass, north-centre area, plain simplified block, continuing beyond and cut off by the north drawing edge, with a simple roof-mass rectangle footprint.\n5 full-scale rectangular neighbouring mass, centre-east area, plain simplified block, continuing beyond and cut off by the east drawing edge, with a simple elongated roof-mass footprint.\n6 large rectangular block, centre area, with a simple main enclosed-building rectangle footprint.\n7 thin strip rectangular block, south-centre area, with a recessed forecourt-like rectangular footprint.\n8 large rectangular block, placed on block 6, in its centre part, with an open rectangular deck footprint.\n9 medium rectangular block, placed on block 8, in its centre part, with a smaller enclosed room-shell rectangle footprint.\n10 thin strip rectangular block, south-east area, connecting the ground level up to the deck level, with a narrow stair-run footprint shown as a run of parallel treads.\n11 thin strip rectangular block, placed on block 7, in its centre-west part, with a single narrow pass-through bar rectangle across the access point.\n12 tiny rectangular block, south-centre area, on the north edge of block 7, connecting block 7 into block 6, with a narrow entry-opening rectangle interrupting that frontage edge.\n13 thin strip rectangular block, south-centre area, on the north edge of block 7 (4 in a row), with four repeated narrow opening-slot rectangles in a straight row.\n14 thin strip rectangular block, placed on block 8, in its south-centre part, with a narrow boundary-strip footprint along the deck edge.\n15 tiny round block, placed on block 8, in its north-west part, with a circular fixture footprint.\n16 tiny rectangular block, placed on block 8, in its south-west part, with a small plain rectangular slab footprint.\n17 thin strip rectangular block, centre area, on the west edge of block 9, with a very thin straight-line footprint anchored along that edge.\n18 tiny rectangular block, centre area, on the south edge of block 9, with a narrow entry-opening rectangle set into that edge.\n19 tiny rectangular block, centre area, on the east edge of block 9, with a small rectangular opening-slot footprint on the wall edge.\n20 thin strip rectangular block, north-centre area, on the north edge of block 9, with a longer narrow rectangular opening-slot footprint on the wall edge.\n21 one flat tint rule only, to tell height levels apart, low to high: Ground -> run of block 10 -> deck of block 8 -> block 9 (darker = higher), as a flat four-level tint key rather than a separate footprint."}
{"ts": "2026-07-06 10:31:30", "kind": "img", "engine": "gpt-image-2", "mode": "generate", "tag": "s20_numbered_bd_gpt", "refs": [], "size": "1536x864", "attempt": 1, "dur_s": 83.7, "bytes": 1030751, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/numbered_bd_gpt.png", "prompt": "Draw ONE SCHEMATIC BLOCK DIAGRAM of a real property's layout — the\nkind of flat figure a computer program draws: strict TOP-DOWN 2D,\nplain solid-colour shapes on a plain light background, uniform thin\ndark outlines. ABSOLUTELY FLAT: no bevels, no edge highlights, no\ngradients, no shadows, no shading, no texture, no perspective, no 3D\nfeel of any kind.\nSTRUCTURAL SILHOUETTES: draw every element as the characteristic\ntop-down footprint its line describes — a flat structural outline\njust detailed enough that the SHAPE ITSELF reveals what the element\nis; never flatten it to a generic featureless rectangle when its\nline says otherwise, and never add fine drafting detail (no\ndouble-line walls, no hatching, no fixtures inside buildings).\nPURPOSE: structural comprehension only. Every building is ONE solid\nblock — never any interior rooms, inner walls or furniture.\nThe arrangement must read as a physically coherent real property:\nentries, connections and levels all working the way the lines below\ndescribe.\nEach block shows ONLY its assigned number, drawn once as a small plain dark numeral on (or beside) that block; apart from these numerals there is no other text: no letters, no words, no names, no labels, no legend, no compass anywhere.\nNo people, no props, no vehicles.\n\nSTRUCTURE (relative positions, sizes, footprint shapes):\n1 full-scale rectangular carriageway mass, south-centre area, continuing beyond and cut off by the south drawing edge, with a broad continuous traffic-band footprint.\n2 thin strip rectangular block, centre-west area, with a long narrow access-corridor footprint.\n3 full-scale rectangular neighbouring mass, north-west area, plain simplified block, continuing beyond and cut off by the north-west drawing edges, with a simple roof-mass rectangle footprint.\n4 full-scale rectangular neighbouring mass, north-centre area, plain simplified block, continuing beyond and cut off by the north drawing edge, with a simple roof-mass rectangle footprint.\n5 full-scale rectangular neighbouring mass, centre-east area, plain simplified block, continuing beyond and cut off by the east drawing edge, with a simple elongated roof-mass footprint.\n6 large rectangular block, centre area, with a simple main enclosed-building rectangle footprint.\n7 thin strip rectangular block, south-centre area, with a recessed forecourt-like rectangular footprint.\n8 large rectangular block, placed on block 6, in its centre part, with an open rectangular deck footprint.\n9 medium rectangular block, placed on block 8, in its centre part, with a smaller enclosed room-shell rectangle footprint.\n10 thin strip rectangular block, south-east area, connecting the ground level up to the deck level, with a narrow stair-run footprint shown as a run of parallel treads.\n11 thin strip rectangular block, placed on block 7, in its centre-west part, with a single narrow pass-through bar rectangle across the access point.\n12 tiny rectangular block, south-centre area, on the north edge of block 7, connecting block 7 into block 6, with a narrow entry-opening rectangle interrupting that frontage edge.\n13 thin strip rectangular block, south-centre area, on the north edge of block 7 (4 in a row), with four repeated narrow opening-slot rectangles in a straight row.\n14 thin strip rectangular block, placed on block 8, in its south-centre part, with a narrow boundary-strip footprint along the deck edge.\n15 tiny round block, placed on block 8, in its north-west part, with a circular fixture footprint.\n16 tiny rectangular block, placed on block 8, in its south-west part, with a small plain rectangular slab footprint.\n17 thin strip rectangular block, centre area, on the west edge of block 9, with a very thin straight-line footprint anchored along that edge.\n18 tiny rectangular block, centre area, on the south edge of block 9, with a narrow entry-opening rectangle set into that edge.\n19 tiny rectangular block, centre area, on the east edge of block 9, with a small rectangular opening-slot footprint on the wall edge.\n20 thin strip rectangular block, north-centre area, on the north edge of block 9, with a longer narrow rectangular opening-slot footprint on the wall edge.\n21 one flat tint rule only, to tell height levels apart, low to high: Ground -> run of block 10 -> deck of block 8 -> block 9 (darker = higher), as a flat four-level tint key rather than a separate footprint."}
{"ts": "2026-07-06 10:31:30", "kind": "stage", "stage": "s20_numbered_bd", "done": "image"}
{"ts": "2026-07-06 10:33:57", "kind": "llm", "step": "s20_plan_rewrite", "model": "gpt", "dur_s": 35.8, "system_prompt": "You are given NUMBERED STRUCTURE lines written for a flat block\ndiagram (block-language shape clauses), plus ELEMENT DATA grounding\neach element.\n\nRewrite the SAME lines for a REAL top-down architectural SITE PLAN:\n- keep every number, spatial relation, size relation and count\n  EXACTLY as given (same numbering, same cross-references like\n  'placed on block 4') — with one exception: the frame-edge size\n  rule below,\n- replace each block-language shape clause with how that element\n  should appear in a roof-plan view seen straight from above,\n  grounded in its ELEMENT DATA — never invent beyond it,\n- JUDGE the right drawing weight for each element by its role, the\n  way a real site plan does: the property's own elements read at\n  site-plan density (true footprint outline, roof edges/parapets,\n  tread runs, base rings, leaf-and-swing openings...), while\n  surrounding context like neighbouring buildings stays the way a\n  real site plan shows neighbours — simple, brief and subdued.\n  Word that judgement yourself.\n- FRAME-EDGE SIZE RULE: size words in the given lines measure only\n  what is VISIBLE inside the drawing frame. Surrounding context\n  sitting at the frame edge (per its position) is in reality a\n  FULL-SCALE building whose mass continues beyond the frame and is\n  CUT OFF by the drawing edge — DROP its given size words (thin/\n  small/medium) and rewrite it that way; it must never read as a\n  small or thin free-standing block inside the site.\n- refer to elements by their numbers only — do not reintroduce\n  element names into the lines,\n- drawing shapes only — never materials, colours, condition, story.\nOutput the rewritten lines in the same order.", "user_prompt": "NUMBERED STRUCTURE lines:\n1 full-scale rectangular carriageway mass, south-centre area, continuing beyond and cut off by the south drawing edge, with a broad continuous traffic-band footprint.\n2 thin strip rectangular block, centre-west area, with a long narrow access-corridor footprint.\n3 full-scale rectangular neighbouring mass, north-west area, plain simplified block, continuing beyond and cut off by the north-west drawing edges, with a simple roof-mass rectangle footprint.\n4 full-scale rectangular neighbouring mass, north-centre area, plain simplified block, continuing beyond and cut off by the north drawing edge, with a simple roof-mass rectangle footprint.\n5 full-scale rectangular neighbouring mass, centre-east area, plain simplified block, continuing beyond and cut off by the east drawing edge, with a simple elongated roof-mass footprint.\n6 large rectangular block, centre area, with a simple main enclosed-building rectangle footprint.\n7 thin strip rectangular block, south-centre area, with a recessed forecourt-like rectangular footprint.\n8 large rectangular block, placed on block 6, in its centre part, with an open rectangular deck footprint.\n9 medium rectangular block, placed on block 8, in its centre part, with a smaller enclosed room-shell rectangle footprint.\n10 thin strip rectangular block, south-east area, connecting the ground level up to the deck level, with a narrow stair-run footprint shown as a run of parallel treads.\n11 thin strip rectangular block, placed on block 7, in its centre-west part, with a single narrow pass-through bar rectangle across the access point.\n12 tiny rectangular block, south-centre area, on the north edge of block 7, connecting block 7 into block 6, with a narrow entry-opening rectangle interrupting that frontage edge.\n13 thin strip rectangular block, south-centre area, on the north edge of block 7 (4 in a row), with four repeated narrow opening-slot rectangles in a straight row.\n14 thin strip rectangular block, placed on block 8, in its south-centre part, with a narrow boundary-strip footprint along the deck edge.\n15 tiny round block, placed on block 8, in its north-west part, with a circular fixture footprint.\n16 tiny rectangular block, placed on block 8, in its south-west part, with a small plain rectangular slab footprint.\n17 thin strip rectangular block, centre area, on the west edge of block 9, with a very thin straight-line footprint anchored along that edge.\n18 tiny rectangular block, centre area, on the south edge of block 9, with a narrow entry-opening rectangle set into that edge.\n19 tiny rectangular block, centre area, on the east edge of block 9, with a small rectangular opening-slot footprint on the wall edge.\n20 thin strip rectangular block, north-centre area, on the north edge of block 9, with a longer narrow rectangular opening-slot footprint on the wall edge.\n21 one flat tint rule only, to tell height levels apart, low to high: Ground -> run of block 10 -> deck of block 8 -> block 9 (darker = higher), as a flat four-level tint key rather than a separate footprint.\n\nELEMENT DATA (name [kind]: extracted description):\n- street road [kind road]: 하단의 큰 도로는 골목과 차량 접근이 만나는 거리로 배치했다.\n- narrow alley [kind alley]: 왼쪽 세로 골목은 도로에서 빌라 입구로 이어지는 좁은 진입로이다.\n- entry yard [kind yard]: 빌라 앞마당은 골목에서 들어와 계단을 타기 전 머무는 후미진 공간이다.\n- villa mass [kind building_mass]: 중앙의 낡은 빌라 본체는 옥탑방이 올라앉은 다세대 건물 매스이다.\n- roof terrace [kind terrace]: 옥상 테라스는 본관 지붕 위에서 옥탑방 현관과 물탱크가 함께 놓이는 시멘트 바닥이다.\n- rooftop room [kind upper_shell]: 옥탑 주거 셸은 옥상 중앙에 놓인 작은 실내 공간의 외곽선이다.\n- concrete stair [kind stair]: 오른쪽 외부 계단은 마당 후미진 곳에서 옥상 현관 앞까지 이어진다.\n- low wall [kind wall]: 낮은 옥상 담은 테라스 가장자리를 따라 둘러져 있고 고양이가 넘는 경계이다.\n- neighbor block [kind neighbor_mass]: 왼쪽 이웃 건물은 부감에서 옥탑방을 둘러싸는 낡은 빌라 지붕 중 하나이다.\n- rear neighbor [kind neighbor_mass]: 상단 이웃 건물은 옥탑방 뒤쪽을 막는 낡은 지붕 매스이다.\n- side neighbor [kind neighbor_mass]: 오른쪽 이웃 건물은 계단 바깥쪽 골목을 좁게 만드는 주변 매스이다.\n- water tank [kind fixture_round]: 물탱크는 옥상 왼쪽 뒤편에 둔 원형 설비이다.\n- low platform [kind fixture_rect]: 낮은 평상은 옥상 앞쪽에 놓여 말린 약초가 바람에 날리던 자리이다.\n- laundry line [kind equipment]: 빨랫줄은 물탱크와 옥탑방 사이를 가로질러 바람에 흔들리는 얇은 고정 설비이다.\n- iron door [kind door]: 철문 현관은 옥탑 셸의 아래쪽 가장자리에 두어 계단 상부 랜딩과 마주 보게 했다.\n- living window [kind window]: 거실의 작은 창은 옥탑방 오른쪽 외벽에 둔 첫 번째 창이다.\n- bedroom window [kind window]: 침실의 커튼 달린 창은 옥탑방 위쪽 외벽에 둔 두 번째 창이다.\n- entry gate [kind gate]: 빌라 입구문은 골목에서 앞마당으로 들어가는 단일 출입 게이트이다.\n- facade windows [kind window]: 본관 전면 창들은 다세대 빌라의 정면을 읽히게 하도록 앞마당 쪽 벽에 네 칸 반복으로 배치했다."}
{"ts": "2026-07-06 10:34:15", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s20_numbered_plan_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/projects/b0ad5c18-5140-4022-a2b0-805de0e5a385/episodes/0d30302a-51c8-4ac9-98e2-6cd9180512bf/images/floor_plan/fp_l04_rooftop_room_main.png"], "ref_labels": ["DRAFTING STYLE REFERENCE (an interior floor plan) — copy ONLY its drawing style: line weight, flat fills, plan symbols. Never its rooms, furniture, numbers or content."], "attempt": 1, "dur_s": 17.5, "bytes": 1443732, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/numbered_plan_nb2.png", "prompt": "Draw ONE strict TOP-DOWN 2D architectural SITE PLAN in the drafting\nlanguage of a clean floor plan — thin dark outlines, flat muted colour\nfills, detailed plan symbols (double-line walls, door leaf + swing arc,\nwindow frames set in walls, stair treads with stringers and landings,\nbase rings for round fixtures, paving joints, kerb lines). Height\nlevels appear only as flat fill tints (darker = higher). Flat\northographic plan view: NO 3D, NO axonometric, NO perspective, no\nshadows. Neutral document: no people, no story props, no vehicles, no\nposted papers, each element carries ONLY its assigned number, drawn once as a small\nplain dark numeral on (or beside) it; apart from these numerals no text,\nno letters, no words, no other markers, no legend, no compass. Never expose interior rooms or furniture of any enclosed\nunit — outer shell and boundary openings only.\n\nEXTERIOR ONLY: this is an OUTDOOR site plan seen from above — show\nonly the exterior: ground areas, building outer shells, roof-level\nsurfaces and outdoor fixtures. NEVER draw any interior room, inner\nwall, partition or furniture of any enclosed unit — every enclosed\nvolume stays sealed (outer walls and boundary openings only).\n\nNUMBERED SITE-PLAN STRUCTURE (positions, sizes, roof-plan shapes; draw each element's number as a small plain marker on it):\n1 full-scale rectangular carriageway footprint, south-centre area, continuing beyond and cut off by the south drawing edge, with a broad continuous traffic-band footprint.\n2 thin strip rectangular access-way footprint, centre-west area, with a long narrow access-corridor footprint.\n3 full-scale rectangular neighbouring roof mass, north-west area, drawn as a plain simplified subdued context outline, continuing beyond and cut off by the north-west drawing edges, with a simple roof-mass rectangle footprint.\n4 full-scale rectangular neighbouring roof mass, north-centre area, drawn as a plain simplified subdued context outline, continuing beyond and cut off by the north drawing edge, with a simple roof-mass rectangle footprint.\n5 full-scale rectangular neighbouring roof mass, centre-east area, drawn as a plain simplified subdued context outline, continuing beyond and cut off by the east drawing edge, with a simple elongated roof-mass footprint.\n6 large rectangular primary site-plan building footprint, centre area, with a simple main enclosed-building rectangle footprint shown by its roof-edge outline.\n7 thin strip rectangular recessed open forecourt footprint, south-centre area, with a recessed forecourt-like rectangular footprint.\n8 large rectangular roof-level open deck outline, placed on block 6, in its centre part, with an open rectangular deck footprint.\n9 medium rectangular upper enclosed shell outline, placed on block 8, in its centre part, with a smaller enclosed room-shell rectangle footprint.\n10 thin strip rectangular stair-run footprint, south-east area, connecting the ground level up to the deck level, with a narrow stair-run footprint shown as a run of parallel treads.\n11 thin strip rectangular gate-leaf linework, placed on block 7, in its centre-west part, with a single narrow pass-through bar rectangle across the access point.\n12 tiny rectangular entry-opening linework, south-centre area, on the north edge of block 7, connecting block 7 into block 6, with a narrow entry-opening rectangle interrupting that frontage edge.\n13 thin strip rectangular opening-slot linework, south-centre area, on the north edge of block 7 (4 in a row), with four repeated narrow opening-slot rectangles in a straight row.\n14 thin strip rectangular low boundary outline, placed on block 8, in its south-centre part, with a narrow boundary-strip footprint along the deck edge.\n15 tiny round fixture outline, placed on block 8, in its north-west part, with a circular fixture footprint.\n16 tiny rectangular fixture outline, placed on block 8, in its south-west part, with a small plain rectangular slab footprint.\n17 thin strip straight equipment line, centre area, on the west edge of block 9, with a very thin straight-line footprint anchored along that edge.\n18 tiny rectangular door-opening linework, centre area, on the south edge of block 9, with a narrow entry-opening rectangle set into that edge.\n19 tiny rectangular window-opening linework, centre area, on the east edge of block 9, with a small rectangular opening-slot footprint on the wall edge.\n20 thin strip rectangular window-opening linework, north-centre area, on the north edge of block 9, with a longer narrow rectangular opening-slot footprint on the wall edge.\n21 one flat tint rule only, to tell height levels apart, low to high: Ground -> run of block 10 -> deck of block 8 -> block 9 (darker = higher), as a flat four-level tint key rather than a separate footprint."}
{"ts": "2026-07-06 10:36:29", "kind": "img", "engine": "gpt-image-2", "mode": "edit", "tag": "s20_numbered_plan_gpt", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/projects/b0ad5c18-5140-4022-a2b0-805de0e5a385/episodes/0d30302a-51c8-4ac9-98e2-6cd9180512bf/images/floor_plan/fp_l04_rooftop_room_main.png"], "size": "1536x864", "attempt": 1, "dur_s": 133.7, "bytes": 1870187, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/numbered_plan_gpt.png", "prompt": "Draw ONE strict TOP-DOWN 2D architectural SITE PLAN in the drafting\nlanguage of a clean floor plan — thin dark outlines, flat muted colour\nfills, detailed plan symbols (double-line walls, door leaf + swing arc,\nwindow frames set in walls, stair treads with stringers and landings,\nbase rings for round fixtures, paving joints, kerb lines). Height\nlevels appear only as flat fill tints (darker = higher). Flat\northographic plan view: NO 3D, NO axonometric, NO perspective, no\nshadows. Neutral document: no people, no story props, no vehicles, no\nposted papers, each element carries ONLY its assigned number, drawn once as a small\nplain dark numeral on (or beside) it; apart from these numerals no text,\nno letters, no words, no other markers, no legend, no compass. Never expose interior rooms or furniture of any enclosed\nunit — outer shell and boundary openings only.\n\nEXTERIOR ONLY: this is an OUTDOOR site plan seen from above — show\nonly the exterior: ground areas, building outer shells, roof-level\nsurfaces and outdoor fixtures. NEVER draw any interior room, inner\nwall, partition or furniture of any enclosed unit — every enclosed\nvolume stays sealed (outer walls and boundary openings only).\n\nNUMBERED SITE-PLAN STRUCTURE (positions, sizes, roof-plan shapes; draw each element's number as a small plain marker on it):\n1 full-scale rectangular carriageway footprint, south-centre area, continuing beyond and cut off by the south drawing edge, with a broad continuous traffic-band footprint.\n2 thin strip rectangular access-way footprint, centre-west area, with a long narrow access-corridor footprint.\n3 full-scale rectangular neighbouring roof mass, north-west area, drawn as a plain simplified subdued context outline, continuing beyond and cut off by the north-west drawing edges, with a simple roof-mass rectangle footprint.\n4 full-scale rectangular neighbouring roof mass, north-centre area, drawn as a plain simplified subdued context outline, continuing beyond and cut off by the north drawing edge, with a simple roof-mass rectangle footprint.\n5 full-scale rectangular neighbouring roof mass, centre-east area, drawn as a plain simplified subdued context outline, continuing beyond and cut off by the east drawing edge, with a simple elongated roof-mass footprint.\n6 large rectangular primary site-plan building footprint, centre area, with a simple main enclosed-building rectangle footprint shown by its roof-edge outline.\n7 thin strip rectangular recessed open forecourt footprint, south-centre area, with a recessed forecourt-like rectangular footprint.\n8 large rectangular roof-level open deck outline, placed on block 6, in its centre part, with an open rectangular deck footprint.\n9 medium rectangular upper enclosed shell outline, placed on block 8, in its centre part, with a smaller enclosed room-shell rectangle footprint.\n10 thin strip rectangular stair-run footprint, south-east area, connecting the ground level up to the deck level, with a narrow stair-run footprint shown as a run of parallel treads.\n11 thin strip rectangular gate-leaf linework, placed on block 7, in its centre-west part, with a single narrow pass-through bar rectangle across the access point.\n12 tiny rectangular entry-opening linework, south-centre area, on the north edge of block 7, connecting block 7 into block 6, with a narrow entry-opening rectangle interrupting that frontage edge.\n13 thin strip rectangular opening-slot linework, south-centre area, on the north edge of block 7 (4 in a row), with four repeated narrow opening-slot rectangles in a straight row.\n14 thin strip rectangular low boundary outline, placed on block 8, in its south-centre part, with a narrow boundary-strip footprint along the deck edge.\n15 tiny round fixture outline, placed on block 8, in its north-west part, with a circular fixture footprint.\n16 tiny rectangular fixture outline, placed on block 8, in its south-west part, with a small plain rectangular slab footprint.\n17 thin strip straight equipment line, centre area, on the west edge of block 9, with a very thin straight-line footprint anchored along that edge.\n18 tiny rectangular door-opening linework, centre area, on the south edge of block 9, with a narrow entry-opening rectangle set into that edge.\n19 tiny rectangular window-opening linework, centre area, on the east edge of block 9, with a small rectangular opening-slot footprint on the wall edge.\n20 thin strip rectangular window-opening linework, north-centre area, on the north edge of block 9, with a longer narrow rectangular opening-slot footprint on the wall edge.\n21 one flat tint rule only, to tell height levels apart, low to high: Ground -> run of block 10 -> deck of block 8 -> block 9 (darker = higher), as a flat four-level tint key rather than a separate footprint."}
{"ts": "2026-07-06 10:36:29", "kind": "stage", "stage": "s20_numbered_bd", "done": "plan"}
{"ts": "2026-07-06 10:39:28", "kind": "llm", "step": "s20_plan_rewrite", "model": "gpt", "dur_s": 19.4, "system_prompt": "You are given NUMBERED STRUCTURE lines written for a flat block\ndiagram (block-language shape clauses), plus ELEMENT DATA grounding\neach element.\n\nRewrite the SAME lines for a REAL top-down architectural SITE PLAN:\n- keep every number, spatial relation, size relation and count\n  EXACTLY as given (same numbering, same cross-references like\n  'placed on block 4') — with one exception: the frame-edge size\n  rule below,\n- replace each block-language shape clause with how that element\n  should appear in a roof-plan view seen straight from above,\n  grounded in its ELEMENT DATA — never invent beyond it,\n- JUDGE the right drawing weight for each element by its role, the\n  way a real site plan does: the property's own elements read at\n  site-plan density (true footprint outline, roof edges/parapets,\n  tread runs, base rings, leaf-and-swing openings...), while\n  surrounding context like neighbouring buildings stays the way a\n  real site plan shows neighbours — simple, brief and subdued.\n  Word that judgement yourself.\n- FRAME-EDGE SIZE RULE: size words in the given lines measure only\n  what is VISIBLE inside the drawing frame. Surrounding context\n  sitting at the frame edge (per its position) is in reality a\n  FULL-SCALE building whose mass continues beyond the frame and is\n  CUT OFF by the drawing edge — DROP its given size words (thin/\n  small/medium) and rewrite it that way; it must never read as a\n  small or thin free-standing block inside the site.\n- refer to elements by their numbers only — do not reintroduce\n  element names into the lines,\n- drawing shapes only — never materials, colours, condition, story.\nOutput the rewritten lines in the same order.", "user_prompt": "NUMBERED STRUCTURE lines:\n1 full-scale rectangular carriageway mass, south-centre area, continuing beyond and cut off by the south drawing edge, with a broad continuous traffic-band footprint.\n2 thin strip rectangular block, centre-west area, with a long narrow access-corridor footprint.\n3 full-scale rectangular neighbouring mass, north-west area, plain simplified block, continuing beyond and cut off by the north-west drawing edges, with a simple roof-mass rectangle footprint.\n4 full-scale rectangular neighbouring mass, north-centre area, plain simplified block, continuing beyond and cut off by the north drawing edge, with a simple roof-mass rectangle footprint.\n5 full-scale rectangular neighbouring mass, centre-east area, plain simplified block, continuing beyond and cut off by the east drawing edge, with a simple elongated roof-mass footprint.\n6 large rectangular block, centre area, with a simple main enclosed-building rectangle footprint.\n7 thin strip rectangular block, south-centre area, with a recessed forecourt-like rectangular footprint.\n8 large rectangular block, placed on block 6, in its centre part, with an open rectangular deck footprint.\n9 medium rectangular block, placed on block 8, in its centre part, with a smaller enclosed room-shell rectangle footprint.\n10 thin strip rectangular block, south-east area, connecting the ground level up to the deck level, with a narrow stair-run footprint shown as a run of parallel treads.\n11 thin strip rectangular block, placed on block 7, in its centre-west part, with a single narrow pass-through bar rectangle across the access point.\n12 tiny rectangular block, south-centre area, on the north edge of block 7, connecting block 7 into block 6, with a narrow entry-opening rectangle interrupting that frontage edge.\n13 thin strip rectangular block, south-centre area, on the north edge of block 7 (4 in a row), with four repeated narrow opening-slot rectangles in a straight row.\n14 thin strip rectangular block, placed on block 8, in its south-centre part, with a narrow boundary-strip footprint along the deck edge.\n15 tiny round block, placed on block 8, in its north-west part, with a circular fixture footprint.\n16 tiny rectangular block, placed on block 8, in its south-west part, with a small plain rectangular slab footprint.\n17 thin strip rectangular block, centre area, on the west edge of block 9, with a very thin straight-line footprint anchored along that edge.\n18 tiny rectangular block, centre area, on the south edge of block 9, with a narrow entry-opening rectangle set into that edge.\n19 tiny rectangular block, centre area, on the east edge of block 9, with a small rectangular opening-slot footprint on the wall edge.\n20 thin strip rectangular block, north-centre area, on the north edge of block 9, with a longer narrow rectangular opening-slot footprint on the wall edge.\n21 one flat tint rule only, to tell height levels apart, low to high: Ground -> run of block 10 -> deck of block 8 -> block 9 (darker = higher), as a flat four-level tint key rather than a separate footprint.\n\nELEMENT DATA (name [kind]: extracted description):\n- street road [kind road]: 하단의 큰 도로는 골목과 차량 접근이 만나는 거리로 배치했다.\n- narrow alley [kind alley]: 왼쪽 세로 골목은 도로에서 빌라 입구로 이어지는 좁은 진입로이다.\n- entry yard [kind yard]: 빌라 앞마당은 골목에서 들어와 계단을 타기 전 머무는 후미진 공간이다.\n- villa mass [kind building_mass]: 중앙의 낡은 빌라 본체는 옥탑방이 올라앉은 다세대 건물 매스이다.\n- roof terrace [kind terrace]: 옥상 테라스는 본관 지붕 위에서 옥탑방 현관과 물탱크가 함께 놓이는 시멘트 바닥이다.\n- rooftop room [kind upper_shell]: 옥탑 주거 셸은 옥상 중앙에 놓인 작은 실내 공간의 외곽선이다.\n- concrete stair [kind stair]: 오른쪽 외부 계단은 마당 후미진 곳에서 옥상 현관 앞까지 이어진다.\n- low wall [kind wall]: 낮은 옥상 담은 테라스 가장자리를 따라 둘러져 있고 고양이가 넘는 경계이다.\n- neighbor block [kind neighbor_mass]: 왼쪽 이웃 건물은 부감에서 옥탑방을 둘러싸는 낡은 빌라 지붕 중 하나이다.\n- rear neighbor [kind neighbor_mass]: 상단 이웃 건물은 옥탑방 뒤쪽을 막는 낡은 지붕 매스이다.\n- side neighbor [kind neighbor_mass]: 오른쪽 이웃 건물은 계단 바깥쪽 골목을 좁게 만드는 주변 매스이다.\n- water tank [kind fixture_round]: 물탱크는 옥상 왼쪽 뒤편에 둔 원형 설비이다.\n- low platform [kind fixture_rect]: 낮은 평상은 옥상 앞쪽에 놓여 말린 약초가 바람에 날리던 자리이다.\n- laundry line [kind equipment]: 빨랫줄은 물탱크와 옥탑방 사이를 가로질러 바람에 흔들리는 얇은 고정 설비이다.\n- iron door [kind door]: 철문 현관은 옥탑 셸의 아래쪽 가장자리에 두어 계단 상부 랜딩과 마주 보게 했다.\n- living window [kind window]: 거실의 작은 창은 옥탑방 오른쪽 외벽에 둔 첫 번째 창이다.\n- bedroom window [kind window]: 침실의 커튼 달린 창은 옥탑방 위쪽 외벽에 둔 두 번째 창이다.\n- entry gate [kind gate]: 빌라 입구문은 골목에서 앞마당으로 들어가는 단일 출입 게이트이다.\n- facade windows [kind window]: 본관 전면 창들은 다세대 빌라의 정면을 읽히게 하도록 앞마당 쪽 벽에 네 칸 반복으로 배치했다."}
{"ts": "2026-07-06 10:40:03", "kind": "img_error", "tag": "s20_numbered_plan_nb2", "attempt": 1, "error": "Gemini i2i API error 404: {\n  \"error\": {\n    \"code\": 404,\n    \"message\": \"Requested entity was not found.\",\n    \"status\": \"NOT_FOUND\"\n  }\n}\n"}
{"ts": "2026-07-06 10:40:28", "kind": "img_error", "tag": "s20_numbered_plan_nb2", "attempt": 2, "error": "Gemini i2i API error 404: {\n  \"error\": {\n    \"code\": 404,\n    \"message\": \"Requested entity was not found.\",\n    \"status\": \"NOT_FOUND\"\n  }\n}\n"}
{"ts": "2026-07-06 10:41:40", "kind": "stage", "stage": "s20_numbered_bd", "done": "html"}
{"ts": "2026-07-06 10:42:46", "kind": "llm", "step": "s20_plan_rewrite", "model": "gpt", "dur_s": 50.6, "system_prompt": "You are given NUMBERED STRUCTURE lines written for a flat block\ndiagram (block-language shape clauses), plus ELEMENT DATA grounding\neach element.\n\nRewrite the SAME lines for a REAL top-down architectural SITE PLAN:\n- keep every number, spatial relation, size relation and count\n  EXACTLY as given (same numbering, same cross-references like\n  'placed on block 4') — with one exception: the frame-edge size\n  rule below,\n- replace each block-language shape clause with how that element\n  should appear in a roof-plan view seen straight from above,\n  grounded in its ELEMENT DATA — never invent beyond it,\n- JUDGE the right drawing weight for each element by its role, the\n  way a real site plan does: the property's own elements read at\n  site-plan density (true footprint outline, roof edges/parapets,\n  tread runs, base rings, leaf-and-swing openings...), while\n  surrounding context like neighbouring buildings stays the way a\n  real site plan shows neighbours — simple, brief and subdued.\n  Word that judgement yourself.\n- FRAME-EDGE SIZE RULE: size words in the given lines measure only\n  what is VISIBLE inside the drawing frame. Surrounding context\n  sitting at the frame edge (per its position) is in reality a\n  FULL-SCALE building whose mass continues beyond the frame and is\n  CUT OFF by the drawing edge — DROP its given size words (thin/\n  small/medium) and rewrite it that way; it must never read as a\n  small or thin free-standing block inside the site.\n- refer to elements by their numbers only — do not reintroduce\n  element names into the lines,\n- drawing shapes only — never materials, colours, condition, story.\nOutput the rewritten lines in the same order.", "user_prompt": "NUMBERED STRUCTURE lines:\n1 full-scale rectangular carriageway mass, south-centre area, continuing beyond and cut off by the south drawing edge, with a broad continuous traffic-band footprint.\n2 thin strip rectangular block, centre-west area, with a long narrow access-corridor footprint.\n3 full-scale rectangular neighbouring mass, north-west area, plain simplified block, continuing beyond and cut off by the north-west drawing edges, with a simple roof-mass rectangle footprint.\n4 full-scale rectangular neighbouring mass, north-centre area, plain simplified block, continuing beyond and cut off by the north drawing edge, with a simple roof-mass rectangle footprint.\n5 full-scale rectangular neighbouring mass, centre-east area, plain simplified block, continuing beyond and cut off by the east drawing edge, with a simple elongated roof-mass footprint.\n6 large rectangular block, centre area, with a simple main enclosed-building rectangle footprint.\n7 thin strip rectangular block, south-centre area, with a recessed forecourt-like rectangular footprint.\n8 large rectangular block, placed on block 6, in its centre part, with an open rectangular deck footprint.\n9 medium rectangular block, placed on block 8, in its centre part, with a smaller enclosed room-shell rectangle footprint.\n10 thin strip rectangular block, south-east area, connecting the ground level up to the deck level, with a narrow stair-run footprint shown as a run of parallel treads.\n11 thin strip rectangular block, placed on block 7, in its centre-west part, with a single narrow pass-through bar rectangle across the access point.\n12 tiny rectangular block, south-centre area, on the north edge of block 7, connecting block 7 into block 6, with a narrow entry-opening rectangle interrupting that frontage edge.\n13 thin strip rectangular block, south-centre area, on the north edge of block 7 (4 in a row), with four repeated narrow opening-slot rectangles in a straight row.\n14 thin strip rectangular block, placed on block 8, in its south-centre part, with a narrow boundary-strip footprint along the deck edge.\n15 tiny round block, placed on block 8, in its north-west part, with a circular fixture footprint.\n16 tiny rectangular block, placed on block 8, in its south-west part, with a small plain rectangular slab footprint.\n17 thin strip rectangular block, centre area, on the west edge of block 9, with a very thin straight-line footprint anchored along that edge.\n18 tiny rectangular block, centre area, on the south edge of block 9, with a narrow entry-opening rectangle set into that edge.\n19 tiny rectangular block, centre area, on the east edge of block 9, with a small rectangular opening-slot footprint on the wall edge.\n20 thin strip rectangular block, north-centre area, on the north edge of block 9, with a longer narrow rectangular opening-slot footprint on the wall edge.\n21 one flat tint rule only, to tell height levels apart, low to high: Ground -> run of block 10 -> deck of block 8 -> block 9 (darker = higher), as a flat four-level tint key rather than a separate footprint.\n\nELEMENT DATA (name [kind]: extracted description):\n- street road [kind road]: 하단의 큰 도로는 골목과 차량 접근이 만나는 거리로 배치했다.\n- narrow alley [kind alley]: 왼쪽 세로 골목은 도로에서 빌라 입구로 이어지는 좁은 진입로이다.\n- entry yard [kind yard]: 빌라 앞마당은 골목에서 들어와 계단을 타기 전 머무는 후미진 공간이다.\n- villa mass [kind building_mass]: 중앙의 낡은 빌라 본체는 옥탑방이 올라앉은 다세대 건물 매스이다.\n- roof terrace [kind terrace]: 옥상 테라스는 본관 지붕 위에서 옥탑방 현관과 물탱크가 함께 놓이는 시멘트 바닥이다.\n- rooftop room [kind upper_shell]: 옥탑 주거 셸은 옥상 중앙에 놓인 작은 실내 공간의 외곽선이다.\n- concrete stair [kind stair]: 오른쪽 외부 계단은 마당 후미진 곳에서 옥상 현관 앞까지 이어진다.\n- low wall [kind wall]: 낮은 옥상 담은 테라스 가장자리를 따라 둘러져 있고 고양이가 넘는 경계이다.\n- neighbor block [kind neighbor_mass]: 왼쪽 이웃 건물은 부감에서 옥탑방을 둘러싸는 낡은 빌라 지붕 중 하나이다.\n- rear neighbor [kind neighbor_mass]: 상단 이웃 건물은 옥탑방 뒤쪽을 막는 낡은 지붕 매스이다.\n- side neighbor [kind neighbor_mass]: 오른쪽 이웃 건물은 계단 바깥쪽 골목을 좁게 만드는 주변 매스이다.\n- water tank [kind fixture_round]: 물탱크는 옥상 왼쪽 뒤편에 둔 원형 설비이다.\n- low platform [kind fixture_rect]: 낮은 평상은 옥상 앞쪽에 놓여 말린 약초가 바람에 날리던 자리이다.\n- laundry line [kind equipment]: 빨랫줄은 물탱크와 옥탑방 사이를 가로질러 바람에 흔들리는 얇은 고정 설비이다.\n- iron door [kind door]: 철문 현관은 옥탑 셸의 아래쪽 가장자리에 두어 계단 상부 랜딩과 마주 보게 했다.\n- living window [kind window]: 거실의 작은 창은 옥탑방 오른쪽 외벽에 둔 첫 번째 창이다.\n- bedroom window [kind window]: 침실의 커튼 달린 창은 옥탑방 위쪽 외벽에 둔 두 번째 창이다.\n- entry gate [kind gate]: 빌라 입구문은 골목에서 앞마당으로 들어가는 단일 출입 게이트이다.\n- facade windows [kind window]: 본관 전면 창들은 다세대 빌라의 정면을 읽히게 하도록 앞마당 쪽 벽에 네 칸 반복으로 배치했다."}
{"ts": "2026-07-06 10:43:05", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s20_numbered_plan_nb2", "refs": [], "ref_labels": [], "attempt": 1, "dur_s": 19.2, "bytes": 1833775, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/numbered_plan_nb2.png", "prompt": "Draw ONE strict TOP-DOWN 2D architectural SITE PLAN in the drafting\nlanguage of a clean floor plan — thin dark outlines, flat muted colour\nfills, detailed plan symbols (double-line walls, door leaf + swing arc,\nwindow frames set in walls, stair treads with stringers and landings,\nbase rings for round fixtures, paving joints, kerb lines). Height\nlevels appear only as flat fill tints (darker = higher). Flat\northographic plan view: NO 3D, NO axonometric, NO perspective, no\nshadows. Neutral document: no people, no story props, no vehicles, no\nposted papers, each element carries ONLY its assigned number, drawn once as a small\nplain dark numeral on (or beside) it; apart from these numerals no text,\nno letters, no words, no other markers, no legend, no compass. Never expose interior rooms or furniture of any enclosed\nunit — outer shell and boundary openings only.\n\nEXTERIOR ONLY: this is an OUTDOOR site plan seen from above — show\nonly the exterior: ground areas, building outer shells, roof-level\nsurfaces and outdoor fixtures. NEVER draw any interior room, inner\nwall, partition or furniture of any enclosed unit — every enclosed\nvolume stays sealed (outer walls and boundary openings only).\n\nNUMBERED SITE-PLAN STRUCTURE (positions, sizes, roof-plan shapes; draw each element's number as a small plain marker on it):\n1 full-scale rectangular carriageway footprint, south-centre area, continuing beyond and cut off by the south drawing edge, with a broad continuous traffic-band footprint.\n2 thin strip rectangular access-corridor footprint, centre-west area, with a long narrow access-corridor footprint.\n3 rectangular surrounding-context roof mass, north-west area, subdued plain simplified outline, continuing beyond and cut off by the north-west drawing edges, with a simple roof-mass rectangle footprint.\n4 rectangular surrounding-context roof mass, north-centre area, subdued plain simplified outline, continuing beyond and cut off by the north drawing edge, with a simple roof-mass rectangle footprint.\n5 rectangular surrounding-context roof mass, centre-east area, subdued plain simplified outline, continuing beyond and cut off by the east drawing edge, with a simple elongated roof-mass footprint.\n6 large rectangular main building footprint, centre area, with a true enclosed-building outline and roof-edge perimeter read at site-plan density.\n7 thin strip rectangular recessed forecourt footprint, south-centre area, with a recessed forecourt-like rectangular footprint.\n8 large rectangular open deck footprint, placed on block 6, in its centre part, with an open rectangular deck footprint and clear edge outline.\n9 medium rectangular enclosed shell outline, placed on block 8, in its centre part, with a smaller enclosed room-shell rectangle footprint.\n10 thin strip rectangular stair-run footprint, south-east area, connecting the ground level up to the deck level, with a narrow stair-run footprint shown as a run of parallel treads.\n11 thin strip rectangular gate footprint, placed on block 7, in its centre-west part, with a single narrow pass-through bar rectangle across the access point, drawn with a simple opening read.\n12 tiny rectangular entry-opening footprint, south-centre area, on the north edge of block 7, connecting block 7 into block 6, with a narrow entry-opening rectangle interrupting that frontage edge.\n13 thin strip rectangular opening-slot footprints, south-centre area, on the north edge of block 7 (4 in a row), with four repeated narrow opening-slot rectangles in a straight row.\n14 thin strip rectangular low boundary footprint, placed on block 8, in its south-centre part, with a narrow boundary-strip footprint along the deck edge.\n15 tiny round fixture footprint, placed on block 8, in its north-west part, with a circular fixture footprint and base-ring read.\n16 tiny rectangular fixture footprint, placed on block 8, in its south-west part, with a small plain rectangular slab footprint.\n17 thin strip straight equipment footprint, centre area, on the west edge of block 9, with a very thin straight-line footprint anchored along that edge.\n18 tiny rectangular entry-opening footprint, centre area, on the south edge of block 9, with a narrow entry-opening rectangle set into that edge and a leaf-and-swing opening read.\n19 tiny rectangular opening-slot footprint, centre area, on the east edge of block 9, with a small rectangular opening-slot footprint on the wall edge.\n20 thin strip rectangular opening-slot footprint, north-centre area, on the north edge of block 9, with a longer narrow rectangular opening-slot footprint on the wall edge.\n21 one flat tint rule only, to tell height levels apart, low to high: Ground -> run of block 10 -> deck of block 8 -> block 9 (darker = higher), as a flat four-level tint key rather than a separate footprint."}
{"ts": "2026-07-06 10:44:35", "kind": "img", "engine": "gpt-image-2", "mode": "generate", "tag": "s20_numbered_plan_gpt", "refs": [], "size": "1536x864", "attempt": 1, "dur_s": 90.1, "bytes": 1804702, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/numbered_plan_gpt.png", "prompt": "Draw ONE strict TOP-DOWN 2D architectural SITE PLAN in the drafting\nlanguage of a clean floor plan — thin dark outlines, flat muted colour\nfills, detailed plan symbols (double-line walls, door leaf + swing arc,\nwindow frames set in walls, stair treads with stringers and landings,\nbase rings for round fixtures, paving joints, kerb lines). Height\nlevels appear only as flat fill tints (darker = higher). Flat\northographic plan view: NO 3D, NO axonometric, NO perspective, no\nshadows. Neutral document: no people, no story props, no vehicles, no\nposted papers, each element carries ONLY its assigned number, drawn once as a small\nplain dark numeral on (or beside) it; apart from these numerals no text,\nno letters, no words, no other markers, no legend, no compass. Never expose interior rooms or furniture of any enclosed\nunit — outer shell and boundary openings only.\n\nEXTERIOR ONLY: this is an OUTDOOR site plan seen from above — show\nonly the exterior: ground areas, building outer shells, roof-level\nsurfaces and outdoor fixtures. NEVER draw any interior room, inner\nwall, partition or furniture of any enclosed unit — every enclosed\nvolume stays sealed (outer walls and boundary openings only).\n\nNUMBERED SITE-PLAN STRUCTURE (positions, sizes, roof-plan shapes; draw each element's number as a small plain marker on it):\n1 full-scale rectangular carriageway footprint, south-centre area, continuing beyond and cut off by the south drawing edge, with a broad continuous traffic-band footprint.\n2 thin strip rectangular access-corridor footprint, centre-west area, with a long narrow access-corridor footprint.\n3 rectangular surrounding-context roof mass, north-west area, subdued plain simplified outline, continuing beyond and cut off by the north-west drawing edges, with a simple roof-mass rectangle footprint.\n4 rectangular surrounding-context roof mass, north-centre area, subdued plain simplified outline, continuing beyond and cut off by the north drawing edge, with a simple roof-mass rectangle footprint.\n5 rectangular surrounding-context roof mass, centre-east area, subdued plain simplified outline, continuing beyond and cut off by the east drawing edge, with a simple elongated roof-mass footprint.\n6 large rectangular main building footprint, centre area, with a true enclosed-building outline and roof-edge perimeter read at site-plan density.\n7 thin strip rectangular recessed forecourt footprint, south-centre area, with a recessed forecourt-like rectangular footprint.\n8 large rectangular open deck footprint, placed on block 6, in its centre part, with an open rectangular deck footprint and clear edge outline.\n9 medium rectangular enclosed shell outline, placed on block 8, in its centre part, with a smaller enclosed room-shell rectangle footprint.\n10 thin strip rectangular stair-run footprint, south-east area, connecting the ground level up to the deck level, with a narrow stair-run footprint shown as a run of parallel treads.\n11 thin strip rectangular gate footprint, placed on block 7, in its centre-west part, with a single narrow pass-through bar rectangle across the access point, drawn with a simple opening read.\n12 tiny rectangular entry-opening footprint, south-centre area, on the north edge of block 7, connecting block 7 into block 6, with a narrow entry-opening rectangle interrupting that frontage edge.\n13 thin strip rectangular opening-slot footprints, south-centre area, on the north edge of block 7 (4 in a row), with four repeated narrow opening-slot rectangles in a straight row.\n14 thin strip rectangular low boundary footprint, placed on block 8, in its south-centre part, with a narrow boundary-strip footprint along the deck edge.\n15 tiny round fixture footprint, placed on block 8, in its north-west part, with a circular fixture footprint and base-ring read.\n16 tiny rectangular fixture footprint, placed on block 8, in its south-west part, with a small plain rectangular slab footprint.\n17 thin strip straight equipment footprint, centre area, on the west edge of block 9, with a very thin straight-line footprint anchored along that edge.\n18 tiny rectangular entry-opening footprint, centre area, on the south edge of block 9, with a narrow entry-opening rectangle set into that edge and a leaf-and-swing opening read.\n19 tiny rectangular opening-slot footprint, centre area, on the east edge of block 9, with a small rectangular opening-slot footprint on the wall edge.\n20 thin strip rectangular opening-slot footprint, north-centre area, on the north edge of block 9, with a longer narrow rectangular opening-slot footprint on the wall edge.\n21 one flat tint rule only, to tell height levels apart, low to high: Ground -> run of block 10 -> deck of block 8 -> block 9 (darker = higher), as a flat four-level tint key rather than a separate footprint."}
{"ts": "2026-07-06 10:44:35", "kind": "stage", "stage": "s20_numbered_bd", "done": "plan"}
{"ts": "2026-07-06 10:57:15", "kind": "llm", "step": "s20_number_assign", "model": "gpt", "dur_s": 91.9, "system_prompt": "You are given the STRUCTURE lines of an image-generation prompt for a\nflat schematic block diagram — one element per line, each line naming\nthe element and its spatial relations — plus ELEMENT DATA grounding\neach element.\n\nTask: assign a number (1..N) to every element line, in a sensible\nstructural order (large ground/container blocks first, then what sits\non them, then attached openings and small fixtures). Rewrite every\nline so that:\n- the line STARTS with its number,\n- element NAMES never appear — when a line refers to another element\n  (placed on X / on the north edge of X), refer to it by that\n  element's number instead (e.g. 'placed on block 4, in its centre\n  part').\n- every spatial relation, size word and count stays EXACTLY as given\n  (one exception: frame-edge context, below).\n- APPEND to each line a short clause describing that element's\n  characteristic TOP-DOWN footprint/silhouette, grounded in its\n  ELEMENT DATA — just enough that the drawn shape itself reveals what\n  the element is (a run of parallel treads, a circle, a slatted low\n  rectangle, a thin line between two posts...). SHAPE ONLY — never\n  materials, colours, condition or story; never invent what the data\n  does not support.\n- FRAME-EDGE EXCEPTION: when an element is surrounding context\n  sitting at the drawing frame's edge (per its position), its given\n  size words measure only the visible sliver — do NOT keep them;\n  describe instead a full-scale neighbouring mass that continues\n  beyond the frame and is cut off by the drawing edge. It must never\n  read as a small or thin free-standing block inside the site.\n- A CREATOR CORRECTIONS block may follow the ELEMENT DATA. Apply the\n  SPATIAL facts it states (what attaches to what, where something\n  stands, that it is a separate added-on structure...) to the\n  relevant lines — but keep materials/finishes out of the lines:\n  this diagram is structure only.\n- PHYSICAL / LOGICAL SANITY: the result must read as a physically\n  plausible real property — every enclosed building needs its entry\n  opening, and circulation must connect all the way (approach ->\n  entrance -> grounds -> building entry / stairs -> upper levels);\n  nothing floats and nothing is sealed off. If the given lines are\n  missing a connection that common sense makes physically necessary\n  (for example a building with no way in), ADD one minimal line for\n  it — continue the numbering, place it sensibly relative to the\n  existing elements, and add it to the legend with ' (assumed)'\n  after its name. Smallest sensible addition only; never redesign\n  what is given.\nAlso output a legend mapping each number to the original element name\n(exactly as written in its line).", "user_prompt": "STRUCTURE lines:\n- street road: thin strip rectangular block, south-centre area\n- narrow alley: thin strip rectangular block, centre-west area\n- entry yard: thin strip rectangular block, south-centre area\n- villa mass: large rectangular block, centre area\n- roof terrace: large rectangular block, placed on the villa mass, in its centre part\n- rooftop room: medium rectangular block, placed on the roof terrace, in its centre part\n- concrete stair: thin strip rectangular block, south-east area, connecting the ground level up to the deck level\n- low wall: thin strip rectangular block, placed on the roof terrace, in its south-centre part\n- neighbor block: medium rectangular block, north-west area, plain simplified block\n- rear neighbor: medium rectangular block, north-centre area, plain simplified block\n- side neighbor: thin strip rectangular block, centre-east area, plain simplified block\n- water tank: tiny round block, placed on the roof terrace, in its north-west part\n- low platform: tiny rectangular block, placed on the roof terrace, in its south-west part\n- laundry line: thin strip rectangular block, centre area, on the west edge of the rooftop room\n- iron door: tiny rectangular block, centre area, on the south edge of the rooftop room\n- living window: tiny rectangular block, centre area, on the east edge of the rooftop room\n- bedroom window: thin strip rectangular block, north-centre area, on the north edge of the rooftop room\n- entry gate: thin strip rectangular block, placed on the entry yard, in its centre-west part\n- facade windows: thin strip rectangular block, south-centre area, on the north edge of the entry yard (4 in a row)\n- one flat tint rule only, to tell height levels apart, low to high: Ground -> Stair run -> Roof deck -> Rooftop room (darker = higher)\n\nELEMENT DATA (name [kind]: extracted description — ground each shape clause here):\n- street road [kind road]: 하단의 큰 도로는 골목과 차량 접근이 만나는 거리로 배치했다.\n- narrow alley [kind alley]: 왼쪽 세로 골목은 도로에서 빌라 입구로 이어지는 좁은 진입로이다.\n- entry yard [kind yard]: 빌라 앞마당은 골목에서 들어와 계단을 타기 전 머무는 후미진 공간이다.\n- villa mass [kind building_mass]: 중앙의 낡은 빌라 본체는 옥탑방이 올라앉은 다세대 건물 매스이다.\n- roof terrace [kind terrace]: 옥상 테라스는 본관 지붕 위에서 옥탑방 현관과 물탱크가 함께 놓이는 시멘트 바닥이다.\n- rooftop room [kind upper_shell]: 옥탑 주거 셸은 옥상 중앙에 놓인 작은 실내 공간의 외곽선이다.\n- concrete stair [kind stair]: 오른쪽 외부 계단은 마당 후미진 곳에서 옥상 현관 앞까지 이어진다.\n- low wall [kind wall]: 낮은 옥상 담은 테라스 가장자리를 따라 둘러져 있고 고양이가 넘는 경계이다.\n- neighbor block [kind neighbor_mass]: 왼쪽 이웃 건물은 부감에서 옥탑방을 둘러싸는 낡은 빌라 지붕 중 하나이다.\n- rear neighbor [kind neighbor_mass]: 상단 이웃 건물은 옥탑방 뒤쪽을 막는 낡은 지붕 매스이다.\n- side neighbor [kind neighbor_mass]: 오른쪽 이웃 건물은 계단 바깥쪽 골목을 좁게 만드는 주변 매스이다.\n- water tank [kind fixture_round]: 물탱크는 옥상 왼쪽 뒤편에 둔 원형 설비이다.\n- low platform [kind fixture_rect]: 낮은 평상은 옥상 앞쪽에 놓여 말린 약초가 바람에 날리던 자리이다.\n- laundry line [kind equipment]: 빨랫줄은 물탱크와 옥탑방 사이를 가로질러 바람에 흔들리는 얇은 고정 설비이다.\n- iron door [kind door]: 철문 현관은 옥탑 셸의 아래쪽 가장자리에 두어 계단 상부 랜딩과 마주 보게 했다.\n- living window [kind window]: 거실의 작은 창은 옥탑방 오른쪽 외벽에 둔 첫 번째 창이다.\n- bedroom window [kind window]: 침실의 커튼 달린 창은 옥탑방 위쪽 외벽에 둔 두 번째 창이다.\n- entry gate [kind gate]: 빌라 입구문은 골목에서 앞마당으로 들어가는 단일 출입 게이트이다.\n- facade windows [kind window]: 본관 전면 창들은 다세대 빌라의 정면을 읽히게 하도록 앞마당 쪽 벽에 네 칸 반복으로 배치했다.\n\nCREATOR CORRECTIONS (apply their SPATIAL facts to the lines; materials do not belong in this diagram):\n- CORRECTION (production owner): the exterior stair element is an ADDED-ON STEEL stair retrofitted later onto its building's outside wall — open treads, thin steel stringers and support posts, pipe handrail, visibly a separate later addition to the building. It is NOT concrete or cement; this supersedes any cement/concrete stair mention elsewhere in the data."}
{"ts": "2026-07-06 10:57:15", "kind": "stage", "stage": "s20_numbered_bd", "done": "llm"}
{"ts": "2026-07-06 10:57:34", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s20_numbered_bd_nb2", "refs": [], "ref_labels": [], "attempt": 1, "dur_s": 16.5, "bytes": 1807454, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/numbered_bd_nb2.png", "prompt": "Draw ONE SCHEMATIC BLOCK DIAGRAM of a real property's layout — the\nkind of flat figure a computer program draws: strict TOP-DOWN 2D,\nplain solid-colour shapes on a plain light background, uniform thin\ndark outlines. ABSOLUTELY FLAT: no bevels, no edge highlights, no\ngradients, no shadows, no shading, no texture, no perspective, no 3D\nfeel of any kind.\nSTRUCTURAL SILHOUETTES: draw every element as the characteristic\ntop-down footprint its line describes — a flat structural outline\njust detailed enough that the SHAPE ITSELF reveals what the element\nis; never flatten it to a generic featureless rectangle when its\nline says otherwise, and never add fine drafting detail (no\ndouble-line walls, no hatching, no fixtures inside buildings).\nPURPOSE: structural comprehension only. Every building is ONE solid\nblock — never any interior rooms, inner walls or furniture.\nThe arrangement must read as a physically coherent real property:\nentries, connections and levels all working the way the lines below\ndescribe.\nEach block shows ONLY its assigned number, drawn once as a small plain dark numeral on (or beside) that block; apart from these numerals there is no other text: no letters, no words, no names, no labels, no legend, no compass anywhere.\nNo people, no props, no vehicles.\n\nSTRUCTURE (relative positions, sizes, footprint shapes):\n1. full-scale carriageway mass, south-centre area, continuing beyond the drawing and cut off by the south frame edge, with a broad straight traffic-band footprint cropped by the frame.\n2. thin strip rectangular block, centre-west area, connecting block 1 to block 3, with a narrow straight rectangular passage footprint.\n3. thin strip rectangular block, south-centre area, with a recessed rectangular forecourt footprint.\n4. large rectangular block, centre area, with a solid enclosed rectangular building-mass footprint.\n5. full-scale neighbouring building mass, north-west area, plain simplified block, continuing beyond the drawing and cut off by the north and west frame edges, with a cropped rectangular roof-mass footprint.\n6. full-scale neighbouring building mass, north-centre area, plain simplified block, continuing beyond the drawing and cut off by the north frame edge, with a cropped rectangular roof-mass footprint.\n7. full-scale neighbouring building mass, centre-east area, plain simplified block, continuing beyond the drawing and cut off by the east frame edge, with a cropped rectangular roof-mass footprint.\n8. large rectangular block, placed on block 4, in its centre part, with a broad flat rectangular deck footprint.\n9. medium rectangular block, placed on block 8, in its centre part, with a compact enclosed rectangular upper-shell footprint.\n10. thin strip rectangular block, south-east area, connecting the ground level up to the deck level, placed as a separate added-on run on the outside wall of block 4, with a narrow run of parallel open treads between two thin side lines, small support-post dots, and a handrail line.\n11. thin strip rectangular block, placed on block 8, in its south-centre part, with a continuous narrow parapet-boundary rim segment footprint.\n12. thin strip rectangular block, placed on block 3, in its centre-west part, with a single narrow threshold-bar footprint marking the passage from block 2.\n13. thin strip rectangular block, south-centre area, on the north edge of block 3 (4 in a row), with four equal short slot rectangles in a straight repeated row.\n14. tiny round block, placed on block 8, in its north-west part, with a simple circular footprint.\n15. tiny rectangular block, placed on block 8, in its south-west part, with a small low rectangular platform footprint.\n16. thin strip rectangular block, centre area, on the west edge of block 9, extending toward block 14, with a very thin straight line footprint between small end anchor marks.\n17. tiny rectangular block, centre area, on the south edge of block 9, facing the upper end of block 10, with a small rectangular threshold-opening footprint.\n18. tiny rectangular block, centre area, on the east edge of block 9, with a small slot-like rectangular opening footprint.\n19. thin strip rectangular block, north-centre area, on the north edge of block 9, with a long narrow slot-like rectangular opening footprint.\n20. tiny rectangular block, south-centre area, on the south edge of block 4 adjoining block 3, with a single small rectangular threshold-opening footprint.\n21. one flat tint rule only, to tell height levels apart, low to high: ground surfaces -> block 10 run -> block 8 deck -> block 9 enclosure (darker = higher), with no separate footprint; it is a flat fill applied to existing shapes."}
{"ts": "2026-07-06 10:59:01", "kind": "img", "engine": "gpt-image-2", "mode": "generate", "tag": "s20_numbered_bd_gpt", "refs": [], "size": "1536x864", "attempt": 1, "dur_s": 86.7, "bytes": 1014545, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/numbered_bd_gpt.png", "prompt": "Draw ONE SCHEMATIC BLOCK DIAGRAM of a real property's layout — the\nkind of flat figure a computer program draws: strict TOP-DOWN 2D,\nplain solid-colour shapes on a plain light background, uniform thin\ndark outlines. ABSOLUTELY FLAT: no bevels, no edge highlights, no\ngradients, no shadows, no shading, no texture, no perspective, no 3D\nfeel of any kind.\nSTRUCTURAL SILHOUETTES: draw every element as the characteristic\ntop-down footprint its line describes — a flat structural outline\njust detailed enough that the SHAPE ITSELF reveals what the element\nis; never flatten it to a generic featureless rectangle when its\nline says otherwise, and never add fine drafting detail (no\ndouble-line walls, no hatching, no fixtures inside buildings).\nPURPOSE: structural comprehension only. Every building is ONE solid\nblock — never any interior rooms, inner walls or furniture.\nThe arrangement must read as a physically coherent real property:\nentries, connections and levels all working the way the lines below\ndescribe.\nEach block shows ONLY its assigned number, drawn once as a small plain dark numeral on (or beside) that block; apart from these numerals there is no other text: no letters, no words, no names, no labels, no legend, no compass anywhere.\nNo people, no props, no vehicles.\n\nSTRUCTURE (relative positions, sizes, footprint shapes):\n1. full-scale carriageway mass, south-centre area, continuing beyond the drawing and cut off by the south frame edge, with a broad straight traffic-band footprint cropped by the frame.\n2. thin strip rectangular block, centre-west area, connecting block 1 to block 3, with a narrow straight rectangular passage footprint.\n3. thin strip rectangular block, south-centre area, with a recessed rectangular forecourt footprint.\n4. large rectangular block, centre area, with a solid enclosed rectangular building-mass footprint.\n5. full-scale neighbouring building mass, north-west area, plain simplified block, continuing beyond the drawing and cut off by the north and west frame edges, with a cropped rectangular roof-mass footprint.\n6. full-scale neighbouring building mass, north-centre area, plain simplified block, continuing beyond the drawing and cut off by the north frame edge, with a cropped rectangular roof-mass footprint.\n7. full-scale neighbouring building mass, centre-east area, plain simplified block, continuing beyond the drawing and cut off by the east frame edge, with a cropped rectangular roof-mass footprint.\n8. large rectangular block, placed on block 4, in its centre part, with a broad flat rectangular deck footprint.\n9. medium rectangular block, placed on block 8, in its centre part, with a compact enclosed rectangular upper-shell footprint.\n10. thin strip rectangular block, south-east area, connecting the ground level up to the deck level, placed as a separate added-on run on the outside wall of block 4, with a narrow run of parallel open treads between two thin side lines, small support-post dots, and a handrail line.\n11. thin strip rectangular block, placed on block 8, in its south-centre part, with a continuous narrow parapet-boundary rim segment footprint.\n12. thin strip rectangular block, placed on block 3, in its centre-west part, with a single narrow threshold-bar footprint marking the passage from block 2.\n13. thin strip rectangular block, south-centre area, on the north edge of block 3 (4 in a row), with four equal short slot rectangles in a straight repeated row.\n14. tiny round block, placed on block 8, in its north-west part, with a simple circular footprint.\n15. tiny rectangular block, placed on block 8, in its south-west part, with a small low rectangular platform footprint.\n16. thin strip rectangular block, centre area, on the west edge of block 9, extending toward block 14, with a very thin straight line footprint between small end anchor marks.\n17. tiny rectangular block, centre area, on the south edge of block 9, facing the upper end of block 10, with a small rectangular threshold-opening footprint.\n18. tiny rectangular block, centre area, on the east edge of block 9, with a small slot-like rectangular opening footprint.\n19. thin strip rectangular block, north-centre area, on the north edge of block 9, with a long narrow slot-like rectangular opening footprint.\n20. tiny rectangular block, south-centre area, on the south edge of block 4 adjoining block 3, with a single small rectangular threshold-opening footprint.\n21. one flat tint rule only, to tell height levels apart, low to high: ground surfaces -> block 10 run -> block 8 deck -> block 9 enclosure (darker = higher), with no separate footprint; it is a flat fill applied to existing shapes."}
{"ts": "2026-07-06 10:59:01", "kind": "stage", "stage": "s20_numbered_bd", "done": "image"}
{"ts": "2026-07-06 10:59:51", "kind": "llm", "step": "s20_plan_rewrite", "model": "gpt", "dur_s": 47.5, "system_prompt": "You are given NUMBERED STRUCTURE lines written for a flat block\ndiagram (block-language shape clauses), plus ELEMENT DATA grounding\neach element.\n\nRewrite the SAME lines for a REAL top-down architectural SITE PLAN:\n- keep every number, spatial relation, size relation and count\n  EXACTLY as given (same numbering, same cross-references like\n  'placed on block 4') — with one exception: the frame-edge size\n  rule below,\n- replace each block-language shape clause with how that element\n  should appear in a roof-plan view seen straight from above,\n  grounded in its ELEMENT DATA — never invent beyond it,\n- JUDGE the right drawing weight for each element by its role, the\n  way a real site plan does: the property's own elements read at\n  site-plan density (true footprint outline, roof edges/parapets,\n  tread runs, base rings, leaf-and-swing openings...), while\n  surrounding context like neighbouring buildings stays the way a\n  real site plan shows neighbours — simple, brief and subdued.\n  Word that judgement yourself.\n- FRAME-EDGE SIZE RULE: size words in the given lines measure only\n  what is VISIBLE inside the drawing frame. Surrounding context\n  sitting at the frame edge (per its position) is in reality a\n  FULL-SCALE building whose mass continues beyond the frame and is\n  CUT OFF by the drawing edge — DROP its given size words (thin/\n  small/medium) and rewrite it that way; it must never read as a\n  small or thin free-standing block inside the site.\n- refer to elements by their numbers only — do not reintroduce\n  element names into the lines,\n- drawing shapes only — never materials, colours, condition, story.\nOutput the rewritten lines in the same order.", "user_prompt": "NUMBERED STRUCTURE lines:\n1. full-scale carriageway mass, south-centre area, continuing beyond the drawing and cut off by the south frame edge, with a broad straight traffic-band footprint cropped by the frame.\n2. thin strip rectangular block, centre-west area, connecting block 1 to block 3, with a narrow straight rectangular passage footprint.\n3. thin strip rectangular block, south-centre area, with a recessed rectangular forecourt footprint.\n4. large rectangular block, centre area, with a solid enclosed rectangular building-mass footprint.\n5. full-scale neighbouring building mass, north-west area, plain simplified block, continuing beyond the drawing and cut off by the north and west frame edges, with a cropped rectangular roof-mass footprint.\n6. full-scale neighbouring building mass, north-centre area, plain simplified block, continuing beyond the drawing and cut off by the north frame edge, with a cropped rectangular roof-mass footprint.\n7. full-scale neighbouring building mass, centre-east area, plain simplified block, continuing beyond the drawing and cut off by the east frame edge, with a cropped rectangular roof-mass footprint.\n8. large rectangular block, placed on block 4, in its centre part, with a broad flat rectangular deck footprint.\n9. medium rectangular block, placed on block 8, in its centre part, with a compact enclosed rectangular upper-shell footprint.\n10. thin strip rectangular block, south-east area, connecting the ground level up to the deck level, placed as a separate added-on run on the outside wall of block 4, with a narrow run of parallel open treads between two thin side lines, small support-post dots, and a handrail line.\n11. thin strip rectangular block, placed on block 8, in its south-centre part, with a continuous narrow parapet-boundary rim segment footprint.\n12. thin strip rectangular block, placed on block 3, in its centre-west part, with a single narrow threshold-bar footprint marking the passage from block 2.\n13. thin strip rectangular block, south-centre area, on the north edge of block 3 (4 in a row), with four equal short slot rectangles in a straight repeated row.\n14. tiny round block, placed on block 8, in its north-west part, with a simple circular footprint.\n15. tiny rectangular block, placed on block 8, in its south-west part, with a small low rectangular platform footprint.\n16. thin strip rectangular block, centre area, on the west edge of block 9, extending toward block 14, with a very thin straight line footprint between small end anchor marks.\n17. tiny rectangular block, centre area, on the south edge of block 9, facing the upper end of block 10, with a small rectangular threshold-opening footprint.\n18. tiny rectangular block, centre area, on the east edge of block 9, with a small slot-like rectangular opening footprint.\n19. thin strip rectangular block, north-centre area, on the north edge of block 9, with a long narrow slot-like rectangular opening footprint.\n20. tiny rectangular block, south-centre area, on the south edge of block 4 adjoining block 3, with a single small rectangular threshold-opening footprint.\n21. one flat tint rule only, to tell height levels apart, low to high: ground surfaces -> block 10 run -> block 8 deck -> block 9 enclosure (darker = higher), with no separate footprint; it is a flat fill applied to existing shapes.\n\nELEMENT DATA (name [kind]: extracted description):\n- street road [kind road]: 하단의 큰 도로는 골목과 차량 접근이 만나는 거리로 배치했다.\n- narrow alley [kind alley]: 왼쪽 세로 골목은 도로에서 빌라 입구로 이어지는 좁은 진입로이다.\n- entry yard [kind yard]: 빌라 앞마당은 골목에서 들어와 계단을 타기 전 머무는 후미진 공간이다.\n- villa mass [kind building_mass]: 중앙의 낡은 빌라 본체는 옥탑방이 올라앉은 다세대 건물 매스이다.\n- roof terrace [kind terrace]: 옥상 테라스는 본관 지붕 위에서 옥탑방 현관과 물탱크가 함께 놓이는 시멘트 바닥이다.\n- rooftop room [kind upper_shell]: 옥탑 주거 셸은 옥상 중앙에 놓인 작은 실내 공간의 외곽선이다.\n- concrete stair [kind stair]: 오른쪽 외부 계단은 마당 후미진 곳에서 옥상 현관 앞까지 이어진다.\n- low wall [kind wall]: 낮은 옥상 담은 테라스 가장자리를 따라 둘러져 있고 고양이가 넘는 경계이다.\n- neighbor block [kind neighbor_mass]: 왼쪽 이웃 건물은 부감에서 옥탑방을 둘러싸는 낡은 빌라 지붕 중 하나이다.\n- rear neighbor [kind neighbor_mass]: 상단 이웃 건물은 옥탑방 뒤쪽을 막는 낡은 지붕 매스이다.\n- side neighbor [kind neighbor_mass]: 오른쪽 이웃 건물은 계단 바깥쪽 골목을 좁게 만드는 주변 매스이다.\n- water tank [kind fixture_round]: 물탱크는 옥상 왼쪽 뒤편에 둔 원형 설비이다.\n- low platform [kind fixture_rect]: 낮은 평상은 옥상 앞쪽에 놓여 말린 약초가 바람에 날리던 자리이다.\n- laundry line [kind equipment]: 빨랫줄은 물탱크와 옥탑방 사이를 가로질러 바람에 흔들리는 얇은 고정 설비이다.\n- iron door [kind door]: 철문 현관은 옥탑 셸의 아래쪽 가장자리에 두어 계단 상부 랜딩과 마주 보게 했다.\n- living window [kind window]: 거실의 작은 창은 옥탑방 오른쪽 외벽에 둔 첫 번째 창이다.\n- bedroom window [kind window]: 침실의 커튼 달린 창은 옥탑방 위쪽 외벽에 둔 두 번째 창이다.\n- entry gate [kind gate]: 빌라 입구문은 골목에서 앞마당으로 들어가는 단일 출입 게이트이다.\n- facade windows [kind window]: 본관 전면 창들은 다세대 빌라의 정면을 읽히게 하도록 앞마당 쪽 벽에 네 칸 반복으로 배치했다."}
{"ts": "2026-07-06 11:00:05", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s20_numbered_plan_nb2", "refs": [], "ref_labels": [], "attempt": 1, "dur_s": 14.7, "bytes": 1812837, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/numbered_plan_nb2.png", "prompt": "Draw ONE strict TOP-DOWN 2D architectural SITE PLAN in the drafting\nlanguage of a clean floor plan — thin dark outlines, flat muted colour\nfills, detailed plan symbols (double-line walls, door leaf + swing arc,\nwindow frames set in walls, stair treads with stringers and landings,\nbase rings for round fixtures, paving joints, kerb lines). Height\nlevels appear only as flat fill tints (darker = higher). Flat\northographic plan view: NO 3D, NO axonometric, NO perspective, no\nshadows. Neutral document: no people, no story props, no vehicles, no\nposted papers, each element carries ONLY its assigned number, drawn once as a small\nplain dark numeral on (or beside) it; apart from these numerals no text,\nno letters, no words, no other markers, no legend, no compass. Never expose interior rooms or furniture of any enclosed\nunit — outer shell and boundary openings only.\n\nEXTERIOR ONLY: this is an OUTDOOR site plan seen from above — show\nonly the exterior: ground areas, building outer shells, roof-level\nsurfaces and outdoor fixtures. NEVER draw any interior room, inner\nwall, partition or furniture of any enclosed unit — every enclosed\nvolume stays sealed (outer walls and boundary openings only).\n\nNUMBERED SITE-PLAN STRUCTURE (positions, sizes, roof-plan shapes; draw each element's number as a small plain marker on it):\n1. full-scale circulation surface, south-centre area, continuing beyond the drawing and cut off by the south frame edge, drawn as a broad straight traffic-band footprint cropped by the frame.\n2. thin strip rectangular circulation surface, centre-west area, connecting 1 to 3, drawn at site-plan weight as a narrow straight rectangular passage footprint.\n3. thin strip rectangular open forecourt surface, south-centre area, drawn at site-plan weight as a recessed rectangular forecourt footprint.\n4. large rectangular building footprint, centre area, drawn as the property's main true roof-plan perimeter with a solid enclosed rectangular building-mass footprint.\n5. full-scale neighbouring building mass, north-west area, shown as subdued surrounding context, plain simplified, continuing beyond the drawing and cut off by the north and west frame edges, with a cropped rectangular roof-mass footprint.\n6. full-scale neighbouring building mass, north-centre area, shown as subdued surrounding context, plain simplified, continuing beyond the drawing and cut off by the north frame edge, with a cropped rectangular roof-mass footprint.\n7. full-scale neighbouring building mass, centre-east area, shown as subdued surrounding context, plain simplified, continuing beyond the drawing and cut off by the east frame edge, with a cropped rectangular roof-mass footprint.\n8. large rectangular roof-level plane, placed on 4, in its centre part, drawn at site-plan weight with a broad flat rectangular deck footprint.\n9. medium rectangular enclosed roof-level shell, placed on 8, in its centre part, drawn as a compact enclosed rectangular upper-shell footprint.\n10. thin strip rectangular stair run, south-east area, connecting the ground level up to the deck level, placed as a separate added-on run on the outside wall of 4, drawn with a narrow run of parallel open treads between two thin side lines, small support-post dots, and a handrail line.\n11. thin strip rectangular boundary element, placed on 8, in its south-centre part, drawn as a continuous narrow parapet-boundary rim segment footprint.\n12. thin strip rectangular opening marker, placed on 3, in its centre-west part, drawn as a single narrow threshold-bar footprint with a simple gate-leaf indication marking the passage from 2.\n13. thin strip rectangular openings, south-centre area, on the north edge of 3 (4 in a row), drawn as four equal short slot rectangles in a straight repeated row.\n14. tiny round rooftop fixture, placed on 8, in its north-west part, drawn as a simple circular footprint.\n15. tiny rectangular rooftop fixture, placed on 8, in its south-west part, drawn as a small low rectangular platform footprint.\n16. thin strip linear equipment, centre area, on the west edge of 9, extending toward 14, drawn as a very thin straight line footprint between small end anchor marks.\n17. tiny rectangular doorway, centre area, on the south edge of 9, facing the upper end of 10, drawn as a small rectangular threshold-opening footprint with a leaf-and-swing indication.\n18. tiny rectangular wall opening, centre area, on the east edge of 9, drawn as a small slot-like rectangular opening footprint.\n19. thin strip rectangular wall opening, north-centre area, on the north edge of 9, drawn as a long narrow slot-like rectangular opening footprint.\n20. tiny rectangular threshold opening, south-centre area, on the south edge of 4 adjoining 3, drawn as a single small rectangular threshold-opening footprint.\n21. one flat value-fill rule only, to tell height levels apart, low to high: ground surfaces -> 10 run -> 8 deck -> 9 enclosure (darker = higher), with no separate footprint; it is a flat fill applied to existing shapes."}
{"ts": "2026-07-06 11:01:39", "kind": "img", "engine": "gpt-image-2", "mode": "generate", "tag": "s20_numbered_plan_gpt", "refs": [], "size": "1536x864", "attempt": 1, "dur_s": 93.6, "bytes": 1635522, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/numbered_plan_gpt.png", "prompt": "Draw ONE strict TOP-DOWN 2D architectural SITE PLAN in the drafting\nlanguage of a clean floor plan — thin dark outlines, flat muted colour\nfills, detailed plan symbols (double-line walls, door leaf + swing arc,\nwindow frames set in walls, stair treads with stringers and landings,\nbase rings for round fixtures, paving joints, kerb lines). Height\nlevels appear only as flat fill tints (darker = higher). Flat\northographic plan view: NO 3D, NO axonometric, NO perspective, no\nshadows. Neutral document: no people, no story props, no vehicles, no\nposted papers, each element carries ONLY its assigned number, drawn once as a small\nplain dark numeral on (or beside) it; apart from these numerals no text,\nno letters, no words, no other markers, no legend, no compass. Never expose interior rooms or furniture of any enclosed\nunit — outer shell and boundary openings only.\n\nEXTERIOR ONLY: this is an OUTDOOR site plan seen from above — show\nonly the exterior: ground areas, building outer shells, roof-level\nsurfaces and outdoor fixtures. NEVER draw any interior room, inner\nwall, partition or furniture of any enclosed unit — every enclosed\nvolume stays sealed (outer walls and boundary openings only).\n\nNUMBERED SITE-PLAN STRUCTURE (positions, sizes, roof-plan shapes; draw each element's number as a small plain marker on it):\n1. full-scale circulation surface, south-centre area, continuing beyond the drawing and cut off by the south frame edge, drawn as a broad straight traffic-band footprint cropped by the frame.\n2. thin strip rectangular circulation surface, centre-west area, connecting 1 to 3, drawn at site-plan weight as a narrow straight rectangular passage footprint.\n3. thin strip rectangular open forecourt surface, south-centre area, drawn at site-plan weight as a recessed rectangular forecourt footprint.\n4. large rectangular building footprint, centre area, drawn as the property's main true roof-plan perimeter with a solid enclosed rectangular building-mass footprint.\n5. full-scale neighbouring building mass, north-west area, shown as subdued surrounding context, plain simplified, continuing beyond the drawing and cut off by the north and west frame edges, with a cropped rectangular roof-mass footprint.\n6. full-scale neighbouring building mass, north-centre area, shown as subdued surrounding context, plain simplified, continuing beyond the drawing and cut off by the north frame edge, with a cropped rectangular roof-mass footprint.\n7. full-scale neighbouring building mass, centre-east area, shown as subdued surrounding context, plain simplified, continuing beyond the drawing and cut off by the east frame edge, with a cropped rectangular roof-mass footprint.\n8. large rectangular roof-level plane, placed on 4, in its centre part, drawn at site-plan weight with a broad flat rectangular deck footprint.\n9. medium rectangular enclosed roof-level shell, placed on 8, in its centre part, drawn as a compact enclosed rectangular upper-shell footprint.\n10. thin strip rectangular stair run, south-east area, connecting the ground level up to the deck level, placed as a separate added-on run on the outside wall of 4, drawn with a narrow run of parallel open treads between two thin side lines, small support-post dots, and a handrail line.\n11. thin strip rectangular boundary element, placed on 8, in its south-centre part, drawn as a continuous narrow parapet-boundary rim segment footprint.\n12. thin strip rectangular opening marker, placed on 3, in its centre-west part, drawn as a single narrow threshold-bar footprint with a simple gate-leaf indication marking the passage from 2.\n13. thin strip rectangular openings, south-centre area, on the north edge of 3 (4 in a row), drawn as four equal short slot rectangles in a straight repeated row.\n14. tiny round rooftop fixture, placed on 8, in its north-west part, drawn as a simple circular footprint.\n15. tiny rectangular rooftop fixture, placed on 8, in its south-west part, drawn as a small low rectangular platform footprint.\n16. thin strip linear equipment, centre area, on the west edge of 9, extending toward 14, drawn as a very thin straight line footprint between small end anchor marks.\n17. tiny rectangular doorway, centre area, on the south edge of 9, facing the upper end of 10, drawn as a small rectangular threshold-opening footprint with a leaf-and-swing indication.\n18. tiny rectangular wall opening, centre area, on the east edge of 9, drawn as a small slot-like rectangular opening footprint.\n19. thin strip rectangular wall opening, north-centre area, on the north edge of 9, drawn as a long narrow slot-like rectangular opening footprint.\n20. tiny rectangular threshold opening, south-centre area, on the south edge of 4 adjoining 3, drawn as a single small rectangular threshold-opening footprint.\n21. one flat value-fill rule only, to tell height levels apart, low to high: ground surfaces -> 10 run -> 8 deck -> 9 enclosure (darker = higher), with no separate footprint; it is a flat fill applied to existing shapes."}
{"ts": "2026-07-06 11:01:39", "kind": "stage", "stage": "s20_numbered_bd", "done": "plan"}
{"ts": "2026-07-06 11:01:58", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s20_numbered_fp_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/projects/b0ad5c18-5140-4022-a2b0-805de0e5a385/episodes/0d30302a-51c8-4ac9-98e2-6cd9180512bf/images/floor_plan/fp_l04_rooftop_room_main.png"], "ref_labels": ["DRAFTING STYLE REFERENCE (an interior floor plan) — copy ONLY its drawing style: line weight, flat fills, plan symbols. Never its rooms, furniture, numbers or content."], "attempt": 1, "dur_s": 16.7, "bytes": 1646374, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/numbered_fp_nb2.png", "prompt": "THE PLACE (authored description — the content ground truth):\nBUILDING: The main building is an old multifamily villa block, drawn as an assumed three-storey body below the rooftop unit because the script only states an old villa with a rooftop room. Its mass is a plain rectangular concrete volume set behind an entry yard. The roof is flat and usable as a cement-surfaced terrace. The front facade facing the yard should show four repeated window bays per storey, matching the extracted layout’s inferred facade-window rhythm.\nTOP UNIT & DECK: The topmost enclosed unit is a small, old rooftop dwelling set on the flat terrace, drawn as a simple rectangular shell. Its boundary openings are one iron entrance door facing the stair landing, one small living-room window on a side wall, and one bedroom window on another wall. Around it, the open deck has a low concrete parapet or wall, a round water tank, a fixed laundry line, and a low platform on the cement surface.\nGROUNDS: At ground level, a street edge feeds a narrow alley along the left side, leading to a single entry gate and a small recessed yard at the villa entrance. Neighboring building masses close the rear and sides, making the approach compact. From the yard’s back corner, a later-added exterior steel stair is fixed to the outside wall, with open treads, thin stringers, support posts, and a pipe handrail, continuing up to the rooftop terrace and iron-door landing.\nTHE PLAN MUST SHOW: The finished top-down site plan should show a rectangular villa mass centered behind the yard, with its flat roof terrace visible as the primary upper surface. Place the rooftop room as a smaller rectangle on the terrace, with one door toward the stair landing and two windows on separate sides. Draw the left alley, entry gate, recessed yard, surrounding neighbor blocks, low roof wall, fixed rooftop fixtures, and the retrofitted steel stair as a separate exterior structure attached to the building wall.\n\nLAYOUT RELATIONS (approximate — honour what exists and rough relations, NOT exact geometry):\n- height layers, low to high: Ground h=0 (lightest), Stair run h=1.5 (mid 1), Roof deck h=3 (mid 2), Rooftop room h=4 (darkest). Darker fill = higher.\n- street road [road] — south-centre area; height: Ground\n- narrow alley [alley] — centre-west area; height: Ground\n- entry yard [yard] — south-centre area; height: Ground\n- villa mass [building_mass] — centre area; height: Roof deck\n- roof terrace [terrace] — placed on the villa mass, in its centre part; height: Roof deck\n- rooftop room [upper_shell] — placed on the roof terrace, in its centre part; height: Rooftop room\n- steel retrofit stair [stair] — south-east area; height: Stair run\n- low wall [wall] — placed on the roof terrace, in its south-centre part; height: Roof deck\n- neighbor block [neighbor_mass] — north-west area; height: Roof deck\n- rear neighbor [neighbor_mass] — north-centre area; height: Roof deck\n- side neighbor [neighbor_mass] — centre-east area; height: Roof deck\n- water tank [fixture_round] — placed on the roof terrace, in its north-west part; height: Roof deck round\n- low platform [fixture_rect] — placed on the roof terrace, in its south-west part; height: Roof deck\n- laundry line [equipment] — centre area, on the west edge of the rooftop room; height: Roof deck\n- iron door [door] — centre area, on the south edge of the rooftop room; height: Rooftop room\n- living window [window] — centre area, on the east edge of the rooftop room; height: Rooftop room\n- bedroom window [window] — north-centre area, on the north edge of the rooftop room; height: Rooftop room\n- entry gate [gate] — placed on the entry yard, in its centre-west part; height: Ground\n- facade windows [window] — south-centre area, on the north edge of the entry yard, 4 windows for the whole facade — distribute them across the building's storeys with clear wall between each (never fused edge-to-edge, never one tight row); height: Roof deck\n- any facade windows sit apart with clear wall between them, aligned to the building's real storeys — never touching.\n- CORRECTION (production owner): the exterior stair element is an ADDED-ON STEEL stair retrofitted later onto its building's outside wall — open treads, thin steel stringers and support posts, pipe handrail, visibly a separate later addition to the building. It is NOT concrete or cement; this supersedes any cement/concrete stair mention elsewhere in the data.\n\nDraw the plan VERY DETAILED — real working-drawing density, so that\nevery element visually reads as WHAT IT IS from its plan symbols\nalone (there are no labels or numbers to help). Use the standard\nplan vocabulary per element type:\n- roads: kerb lines\n- alleys: paving joints\n- yards: paving joints\n- building masses: walls as double lines with real thickness, roof edges with parapet coping lines\n- open decks: edge/parapet lines and a flat surface tone\n- enclosed upper-shell units: thick-walled outline with boundary openings only — never interior rooms\n- stairs: individual treads, stringer/railing lines, top and bottom landings\n- boundary walls: double lines\n- neighbouring buildings: simplified roof outlines only (secondary)\n- round free-standing fixtures: circle with its base ring\n- low rectangular fixtures: outline with slat/edge lines\n- small equipment units: simple outlined box with support/mount lines\n- doors: leaf + swing arc set in a wall opening\n- windows: frame lines set INTO the wall\n- gates: leaf/swing symbol set in the boundary wall\n\nThe LAST attached image is an interior floor plan from the same\nproduction — use it ONLY as the DRAFTING-STYLE reference (line weight,\nfill language, symbol vocabulary). Never copy its rooms or content.\n\nDraw ONE strict TOP-DOWN 2D architectural SITE PLAN in the drafting\nlanguage of a clean floor plan — thin dark outlines, flat muted colour\nfills, detailed plan symbols (double-line walls, door leaf + swing arc,\nwindow frames set in walls, stair treads with stringers and landings,\nbase rings for round fixtures, paving joints, kerb lines). Height\nlevels appear only as flat fill tints (darker = higher). Flat\northographic plan view: NO 3D, NO axonometric, NO perspective, no\nshadows. Neutral document: no people, no story props, no vehicles, no\nposted papers, no text, no letters, no numbers, no markers, no legend,\nno compass. Never expose interior rooms or furniture of any enclosed\nunit — outer shell and boundary openings only."}
{"ts": "2026-07-06 11:04:10", "kind": "img", "engine": "gpt-image-2", "mode": "edit", "tag": "s20_numbered_fp_gpt", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/projects/b0ad5c18-5140-4022-a2b0-805de0e5a385/episodes/0d30302a-51c8-4ac9-98e2-6cd9180512bf/images/floor_plan/fp_l04_rooftop_room_main.png"], "size": "1536x864", "attempt": 1, "dur_s": 131.8, "bytes": 2132037, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/numbered_fp_gpt.png", "prompt": "THE PLACE (authored description — the content ground truth):\nBUILDING: The main building is an old multifamily villa block, drawn as an assumed three-storey body below the rooftop unit because the script only states an old villa with a rooftop room. Its mass is a plain rectangular concrete volume set behind an entry yard. The roof is flat and usable as a cement-surfaced terrace. The front facade facing the yard should show four repeated window bays per storey, matching the extracted layout’s inferred facade-window rhythm.\nTOP UNIT & DECK: The topmost enclosed unit is a small, old rooftop dwelling set on the flat terrace, drawn as a simple rectangular shell. Its boundary openings are one iron entrance door facing the stair landing, one small living-room window on a side wall, and one bedroom window on another wall. Around it, the open deck has a low concrete parapet or wall, a round water tank, a fixed laundry line, and a low platform on the cement surface.\nGROUNDS: At ground level, a street edge feeds a narrow alley along the left side, leading to a single entry gate and a small recessed yard at the villa entrance. Neighboring building masses close the rear and sides, making the approach compact. From the yard’s back corner, a later-added exterior steel stair is fixed to the outside wall, with open treads, thin stringers, support posts, and a pipe handrail, continuing up to the rooftop terrace and iron-door landing.\nTHE PLAN MUST SHOW: The finished top-down site plan should show a rectangular villa mass centered behind the yard, with its flat roof terrace visible as the primary upper surface. Place the rooftop room as a smaller rectangle on the terrace, with one door toward the stair landing and two windows on separate sides. Draw the left alley, entry gate, recessed yard, surrounding neighbor blocks, low roof wall, fixed rooftop fixtures, and the retrofitted steel stair as a separate exterior structure attached to the building wall.\n\nLAYOUT RELATIONS (approximate — honour what exists and rough relations, NOT exact geometry):\n- height layers, low to high: Ground h=0 (lightest), Stair run h=1.5 (mid 1), Roof deck h=3 (mid 2), Rooftop room h=4 (darkest). Darker fill = higher.\n- street road [road] — south-centre area; height: Ground\n- narrow alley [alley] — centre-west area; height: Ground\n- entry yard [yard] — south-centre area; height: Ground\n- villa mass [building_mass] — centre area; height: Roof deck\n- roof terrace [terrace] — placed on the villa mass, in its centre part; height: Roof deck\n- rooftop room [upper_shell] — placed on the roof terrace, in its centre part; height: Rooftop room\n- steel retrofit stair [stair] — south-east area; height: Stair run\n- low wall [wall] — placed on the roof terrace, in its south-centre part; height: Roof deck\n- neighbor block [neighbor_mass] — north-west area; height: Roof deck\n- rear neighbor [neighbor_mass] — north-centre area; height: Roof deck\n- side neighbor [neighbor_mass] — centre-east area; height: Roof deck\n- water tank [fixture_round] — placed on the roof terrace, in its north-west part; height: Roof deck round\n- low platform [fixture_rect] — placed on the roof terrace, in its south-west part; height: Roof deck\n- laundry line [equipment] — centre area, on the west edge of the rooftop room; height: Roof deck\n- iron door [door] — centre area, on the south edge of the rooftop room; height: Rooftop room\n- living window [window] — centre area, on the east edge of the rooftop room; height: Rooftop room\n- bedroom window [window] — north-centre area, on the north edge of the rooftop room; height: Rooftop room\n- entry gate [gate] — placed on the entry yard, in its centre-west part; height: Ground\n- facade windows [window] — south-centre area, on the north edge of the entry yard, 4 windows for the whole facade — distribute them across the building's storeys with clear wall between each (never fused edge-to-edge, never one tight row); height: Roof deck\n- any facade windows sit apart with clear wall between them, aligned to the building's real storeys — never touching.\n- CORRECTION (production owner): the exterior stair element is an ADDED-ON STEEL stair retrofitted later onto its building's outside wall — open treads, thin steel stringers and support posts, pipe handrail, visibly a separate later addition to the building. It is NOT concrete or cement; this supersedes any cement/concrete stair mention elsewhere in the data.\n\nDraw the plan VERY DETAILED — real working-drawing density, so that\nevery element visually reads as WHAT IT IS from its plan symbols\nalone (there are no labels or numbers to help). Use the standard\nplan vocabulary per element type:\n- roads: kerb lines\n- alleys: paving joints\n- yards: paving joints\n- building masses: walls as double lines with real thickness, roof edges with parapet coping lines\n- open decks: edge/parapet lines and a flat surface tone\n- enclosed upper-shell units: thick-walled outline with boundary openings only — never interior rooms\n- stairs: individual treads, stringer/railing lines, top and bottom landings\n- boundary walls: double lines\n- neighbouring buildings: simplified roof outlines only (secondary)\n- round free-standing fixtures: circle with its base ring\n- low rectangular fixtures: outline with slat/edge lines\n- small equipment units: simple outlined box with support/mount lines\n- doors: leaf + swing arc set in a wall opening\n- windows: frame lines set INTO the wall\n- gates: leaf/swing symbol set in the boundary wall\n\nThe LAST attached image is an interior floor plan from the same\nproduction — use it ONLY as the DRAFTING-STYLE reference (line weight,\nfill language, symbol vocabulary). Never copy its rooms or content.\n\nDraw ONE strict TOP-DOWN 2D architectural SITE PLAN in the drafting\nlanguage of a clean floor plan — thin dark outlines, flat muted colour\nfills, detailed plan symbols (double-line walls, door leaf + swing arc,\nwindow frames set in walls, stair treads with stringers and landings,\nbase rings for round fixtures, paving joints, kerb lines). Height\nlevels appear only as flat fill tints (darker = higher). Flat\northographic plan view: NO 3D, NO axonometric, NO perspective, no\nshadows. Neutral document: no people, no story props, no vehicles, no\nposted papers, no text, no letters, no numbers, no markers, no legend,\nno compass. Never expose interior rooms or furniture of any enclosed\nunit — outer shell and boundary openings only."}
{"ts": "2026-07-06 11:04:10", "kind": "stage", "stage": "s20_numbered_bd", "done": "fp"}
{"ts": "2026-07-06 11:04:37", "kind": "llm", "step": "s20_plan_photo_author", "model": "gpt", "dur_s": 25.2, "system_prompt": "You write ONE image-generation prompt (English) for the final\nphotorealistic stage of a location pipeline. The image model will\nreceive your prompt plus ONE attached top-down architectural SITE\nPLAN drawing of a real property. Small numeral markers on it are\nannotations only.\n\nThe plan is the single source of truth for WHAT exists and WHERE.\nTherefore your prompt must NOT re-describe, list or count the\nlayout, its elements or their positions — beyond telling the model\nthe attached drawing is a plan to be translated into real built\nvolumes, and that its numerals, annotations, flat colours and\ngraphics must NEVER be reproduced in the image.\n\nYour prompt covers only what the plan cannot say:\n- the place must read as a REAL, LIVED-IN property — inhabited by\n  ordinary residents (weathering, everyday traces; decide the feel,\n  let the model improvise the specifics — do NOT enumerate a fixed\n  list of objects),\n- unpeopled; no readable text or signage anywhere in the image,\n- nothing story-specific — only what any such real place would show,\n- true materials of the regional building type per the production\n  data below (the plan's flat drawing colours are NOT materials),\n- one believable camera (your choice) and ordinary neutral daylight,\n  documentary tone.\nWrite 90-160 words of direct imperative prose.\nA creator-correction block, when present, overrides any conflicting\nplace data.\nphoto_prompt_ko: the same prompt in Korean (for the human reviewer).", "user_prompt": "PLACE DATA (production members):\n- 인천 변두리 낡은 빌라 옥탑방 옥상·현관 앞 외부: 낡은 다세대 빌라 꼭대기에 위치한 야외 공간. 물탱크, 흔들리는 빨랫줄, 평상 위 약초 건조 흔적, 낡은 철문 현관이 있다. (특징: 낡은 시멘트 바닥; 물탱크; 바람에 날리는 빨랫줄; 평상과 널려 있는 말린 약초(석창포); 전단지가 끼워진 철문 현관)\n- 옥탑방 내부: 작은 창문으로 빛이 들어오는 낡은 주거 공간. 싱크대, 식탁, TV가 있는 거실과 침대, 커튼, 거울 등이 있는 방/욕실로 구성된다. 약초 끓이는 냄비 등 생활 소품이 있으며, 간헐적으로 벽면에 붉은 원 형태의 환영과 핏자국이 생겨난다. (특징: 작은 창문의 햇살; 싱크대와 약초(석창포); 가스레인지 위 끓는 냄비와 수증기; 거실 TV와 스탠드; 침대, 커튼, 거울; 벽과 거울 표면에 나타나는 붉은 원 환영; 바닥과 벽의 핏자국 (특정 시점); 어지럽혀진 가재도구 (특정 시점))\n- 옥탑방 외곽 골목·시멘트 계단: 다세대 빌라 마당의 후미진 구석과 옥탑방으로 올라가는 가파르고 낡은 시멘트 계단. (특징: 다세대 빌라 입구 마당; 후미진 구석 공간; 낡고 가파른 시멘트 계단)\n\nCREATOR CORRECTIONS (override any conflicting place data):\n- CORRECTION (production owner): the exterior stair element is an ADDED-ON STEEL stair retrofitted later onto its building's outside wall — open treads, thin steel stringers and support posts, pipe handrail, visibly a separate later addition to the building. It is NOT concrete or cement; this supersedes any cement/concrete stair mention elsewhere in the data.\n\nREAL-WORLD APPEARANCE (production owner):\nREAL-WORLD APPEARANCE (production owner): render the property as a REAL, EXISTING aged multi-family villa with a rooftop dwelling of the exact regional type the production data describes — the way such buildings actually look there: typical vernacular materials and construction (e.g. aged red-brick or exterior tile cladding on the body, cement mouldings and sills, weathered stucco patches, grime streaks under the parapet, a rusty steel retrofit stair), varied and lived-in. Do NOT render a uniform cement-gray mass, and NEVER copy the site plan's flat drawing colours as building materials."}
{"ts": "2026-07-06 11:06:34", "kind": "img", "engine": "gpt-image-2", "mode": "edit", "tag": "s20_plan_photo_gpt", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/numbered_plan_gpt.png"], "size": "1536x864", "attempt": 1, "dur_s": 117.5, "bytes": 2451902, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/plan_photo_gpt.png", "prompt": "Use the attached top-down architectural site plan as the sole source for footprint, scale, adjacencies and all object placement; translate it into real built volumes without copying any numerals, labels, annotation marks, graphic outlines or flat plan colours. Render an unpeopled, photorealistic, lived-in Incheon outskirts rooftop villa property, ordinary and weathered rather than cinematic. Use authentic regional materials: aged red-brick or exterior tile cladding, cement mouldings and sills, patched stucco, grime under parapets, rust and peeling paint. Treat any exterior stair shown as a later-added steel retrofit with open treads, thin stringers and posts, pipe handrails, visibly separate from the building, never concrete. Let natural everyday traces of residents appear subtly, improvised, with no readable text or signage. Shoot from one plausible slightly elevated eye-level documentary camera in neutral overcast daylight."}
{"ts": "2026-07-06 11:06:51", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s20_plan_photo_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/numbered_plan_gpt.png"], "ref_labels": ["SITE PLAN (spatial ground truth) — translate to real photographic volumes; its numerals are annotations, never draw them; never copy its drawing style or flat colours; no text anywhere."], "attempt": 1, "dur_s": 16.8, "bytes": 3548933, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/plan_photo_nb2.png", "prompt": "Use the attached top-down architectural site plan as the sole source for footprint, scale, adjacencies and all object placement; translate it into real built volumes without copying any numerals, labels, annotation marks, graphic outlines or flat plan colours. Render an unpeopled, photorealistic, lived-in Incheon outskirts rooftop villa property, ordinary and weathered rather than cinematic. Use authentic regional materials: aged red-brick or exterior tile cladding, cement mouldings and sills, patched stucco, grime under parapets, rust and peeling paint. Treat any exterior stair shown as a later-added steel retrofit with open treads, thin stringers and posts, pipe handrails, visibly separate from the building, never concrete. Let natural everyday traces of residents appear subtly, improvised, with no readable text or signage. Shoot from one plausible slightly elevated eye-level documentary camera in neutral overcast daylight."}
{"ts": "2026-07-06 11:06:51", "kind": "stage", "stage": "s20_numbered_bd", "done": "planphoto"}
{"ts": "2026-07-06 11:07:10", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s20_plan_sketch_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/numbered_plan_gpt.png"], "ref_labels": ["TOP-DOWN BLOCK REFERENCE (what exists + plan arrangement; numerals are annotations — draw none of them; flat colours encode height layers only)."], "attempt": 1, "dur_s": 16.6, "bytes": 2136930, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/plan_sketch_nb2.png", "prompt": "The FIRST attached image is a top-down SITE-PLAN REFERENCE of the\nsame property: use it only for WHAT exists and WHERE things sit in\nplan. Its numerals are annotations — never draw them. The height\nlayer order is given below — translate those levels into clearly\nvisible built heights.\n\nTHE PLACE (authored description — the content ground truth):\nBUILDING: The main building is an old multifamily villa block, drawn as an assumed three-storey body below the rooftop unit because the script only states an old villa with a rooftop room. Its mass is a plain rectangular concrete volume set behind an entry yard. The roof is flat and usable as a cement-surfaced terrace. The front facade facing the yard should show four repeated window bays per storey, matching the extracted layout’s inferred facade-window rhythm.\nTOP UNIT & DECK: The topmost enclosed unit is a small, old rooftop dwelling set on the flat terrace, drawn as a simple rectangular shell. Its boundary openings are one iron entrance door facing the stair landing, one small living-room window on a side wall, and one bedroom window on another wall. Around it, the open deck has a low concrete parapet or wall, a round water tank, a fixed laundry line, and a low platform on the cement surface.\nGROUNDS: At ground level, a street edge feeds a narrow alley along the left side, leading to a single entry gate and a small recessed yard at the villa entrance. Neighboring building masses close the rear and sides, making the approach compact. From the yard’s back corner, a later-added exterior steel stair is fixed to the outside wall, with open treads, thin stringers, support posts, and a pipe handrail, continuing up to the rooftop terrace and iron-door landing.\nTHE PLAN MUST SHOW: The finished top-down site plan should show a rectangular villa mass centered behind the yard, with its flat roof terrace visible as the primary upper surface. Place the rooftop room as a smaller rectangle on the terrace, with one door toward the stair landing and two windows on separate sides. Draw the left alley, entry gate, recessed yard, surrounding neighbor blocks, low roof wall, fixed rooftop fixtures, and the retrofitted steel stair as a separate exterior structure attached to the building wall.\n\nHEIGHT LAYERS (low to high): Ground (h=0) -> Stair run (h=1.5) -> Roof deck (h=3) -> Rooftop room (h=4)\n\nDraw ONE SIMPLE LINE SKETCH of the property's structure — clean thin\ndark lines on plain white, like a quick architect's massing sketch.\nViewpoint: slightly elevated three-quarter oblique view (tilted about\n30 degrees down from vertical) so RELATIVE HEIGHTS read clearly —\nwhich volume rises above which, how many storeys the building has,\nwhat sits on top of what, and how the stair climbs between levels.\nLINES ONLY: no colours, no fills, no shading, no materials, no\ntexture, no photorealism.\nSIMPLE: massing outlines, level edges and openings only — no\ndrafting detail, no double-line walls, no furniture, never any\ninterior of enclosed units.\nNo text, letters, numbers, labels, markers, legend or compass.\nNo people, no props, no vehicles."}
{"ts": "2026-07-06 11:08:52", "kind": "img", "engine": "gpt-image-2", "mode": "edit", "tag": "s20_plan_sketch_gpt", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/numbered_plan_gpt.png"], "size": "1536x864", "attempt": 1, "dur_s": 102.0, "bytes": 1248617, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/plan_sketch_gpt.png", "prompt": "The FIRST attached image is a top-down SITE-PLAN REFERENCE of the\nsame property: use it only for WHAT exists and WHERE things sit in\nplan. Its numerals are annotations — never draw them. The height\nlayer order is given below — translate those levels into clearly\nvisible built heights.\n\nTHE PLACE (authored description — the content ground truth):\nBUILDING: The main building is an old multifamily villa block, drawn as an assumed three-storey body below the rooftop unit because the script only states an old villa with a rooftop room. Its mass is a plain rectangular concrete volume set behind an entry yard. The roof is flat and usable as a cement-surfaced terrace. The front facade facing the yard should show four repeated window bays per storey, matching the extracted layout’s inferred facade-window rhythm.\nTOP UNIT & DECK: The topmost enclosed unit is a small, old rooftop dwelling set on the flat terrace, drawn as a simple rectangular shell. Its boundary openings are one iron entrance door facing the stair landing, one small living-room window on a side wall, and one bedroom window on another wall. Around it, the open deck has a low concrete parapet or wall, a round water tank, a fixed laundry line, and a low platform on the cement surface.\nGROUNDS: At ground level, a street edge feeds a narrow alley along the left side, leading to a single entry gate and a small recessed yard at the villa entrance. Neighboring building masses close the rear and sides, making the approach compact. From the yard’s back corner, a later-added exterior steel stair is fixed to the outside wall, with open treads, thin stringers, support posts, and a pipe handrail, continuing up to the rooftop terrace and iron-door landing.\nTHE PLAN MUST SHOW: The finished top-down site plan should show a rectangular villa mass centered behind the yard, with its flat roof terrace visible as the primary upper surface. Place the rooftop room as a smaller rectangle on the terrace, with one door toward the stair landing and two windows on separate sides. Draw the left alley, entry gate, recessed yard, surrounding neighbor blocks, low roof wall, fixed rooftop fixtures, and the retrofitted steel stair as a separate exterior structure attached to the building wall.\n\nHEIGHT LAYERS (low to high): Ground (h=0) -> Stair run (h=1.5) -> Roof deck (h=3) -> Rooftop room (h=4)\n\nDraw ONE SIMPLE LINE SKETCH of the property's structure — clean thin\ndark lines on plain white, like a quick architect's massing sketch.\nViewpoint: slightly elevated three-quarter oblique view (tilted about\n30 degrees down from vertical) so RELATIVE HEIGHTS read clearly —\nwhich volume rises above which, how many storeys the building has,\nwhat sits on top of what, and how the stair climbs between levels.\nLINES ONLY: no colours, no fills, no shading, no materials, no\ntexture, no photorealism.\nSIMPLE: massing outlines, level edges and openings only — no\ndrafting detail, no double-line walls, no furniture, never any\ninterior of enclosed units.\nNo text, letters, numbers, labels, markers, legend or compass.\nNo people, no props, no vehicles."}
{"ts": "2026-07-06 11:08:52", "kind": "stage", "stage": "s20_numbered_bd", "done": "plansketch"}
{"ts": "2026-07-06 11:09:21", "kind": "llm", "step": "s20_plansketch_photo_author", "model": "gpt", "dur_s": 27.6, "system_prompt": "You write ONE image-generation prompt (English) for the final\nphotorealistic stage of a location pipeline. The image model will\nreceive your prompt plus ONE attached simple line-art STRUCTURE\nSKETCH of a real property, drawn from a slightly elevated oblique\nview so relative heights, storeys and levels read clearly.\n\nThe sketch is the single source of truth for WHAT is built, WHERE it\nsits and HOW HIGH everything is — never re-describe, list or count\nthat. But the final image must NOT look like the sketch merely\nphotographed: it is a standing FILM LOCATION — a complete, real,\ninhabited place between scenes.\n\nStudy the FULL ORIGINAL SCENE TEXTS below to understand who lives\nhere and how they live. From that understanding, ADD to your prompt\nthe incidental, everyday side-elements such a life would leave\naround this place — your own judgement, grounded in the scenes; we\ngive you no fixed list. Exclude anything that belongs to a specific\nscene's one-off events: no characters, no dramatic or horror props,\nno story moments — only the everyday standing state of the place.\n\nAlso cover:\n- unpeopled; no readable text or signage anywhere in the image,\n- true materials of the regional building type per the production\n  data (the sketch's bare lines carry NO material information),\n- one believable camera (your choice) and ordinary neutral daylight,\n  documentary tone.\nWrite 120-220 words of direct imperative prose.\nA creator-correction block, when present, overrides any conflicting\nplace data.\nphoto_prompt_ko: the same prompt in Korean (for the human reviewer).", "user_prompt": "PLACE DATA (production members):\n- 인천 변두리 낡은 빌라 옥탑방 옥상·현관 앞 외부: 낡은 다세대 빌라 꼭대기에 위치한 야외 공간. 물탱크, 흔들리는 빨랫줄, 평상 위 약초 건조 흔적, 낡은 철문 현관이 있다. (특징: 낡은 시멘트 바닥; 물탱크; 바람에 날리는 빨랫줄; 평상과 널려 있는 말린 약초(석창포); 전단지가 끼워진 철문 현관)\n- 옥탑방 내부: 작은 창문으로 빛이 들어오는 낡은 주거 공간. 싱크대, 식탁, TV가 있는 거실과 침대, 커튼, 거울 등이 있는 방/욕실로 구성된다. 약초 끓이는 냄비 등 생활 소품이 있으며, 간헐적으로 벽면에 붉은 원 형태의 환영과 핏자국이 생겨난다. (특징: 작은 창문의 햇살; 싱크대와 약초(석창포); 가스레인지 위 끓는 냄비와 수증기; 거실 TV와 스탠드; 침대, 커튼, 거울; 벽과 거울 표면에 나타나는 붉은 원 환영; 바닥과 벽의 핏자국 (특정 시점); 어지럽혀진 가재도구 (특정 시점))\n- 옥탑방 외곽 골목·시멘트 계단: 다세대 빌라 마당의 후미진 구석과 옥탑방으로 올라가는 가파르고 낡은 시멘트 계단. (특징: 다세대 빌라 입구 마당; 후미진 구석 공간; 낡고 가파른 시멘트 계단)\n\nCREATOR CORRECTIONS (override any conflicting place data):\n- CORRECTION (production owner): the exterior stair element is an ADDED-ON STEEL stair retrofitted later onto its building's outside wall — open treads, thin steel stringers and support posts, pipe handrail, visibly a separate later addition to the building. It is NOT concrete or cement; this supersedes any cement/concrete stair mention elsewhere in the data.\n\nREAL-WORLD APPEARANCE (production owner):\nREAL-WORLD APPEARANCE (production owner): render the property as a REAL, EXISTING aged multi-family villa with a rooftop dwelling of the exact regional type the production data describes — the way such buildings actually look there: typical vernacular materials and construction (e.g. aged red-brick or exterior tile cladding on the body, cement mouldings and sills, weathered stucco patches, grime streaks under the parapet, a rusty steel retrofit stair), varied and lived-in. Do NOT render a uniform cement-gray mass, and NEVER copy the site plan's flat drawing colours as building materials.\n\nFULL ORIGINAL SCENE TEXTS (every scene at this place):\n\n=== SCENE 4 FULL TEXT ===\nS#4. 옥탑방 / D\n인천 변두리 부감, 오래된 빌라 옥탑방 전경.\n기자(E)\n지역 주민들 사이에 횡행한 소문이 돌고 있지만, 경찰은 범인의 윤곽조차 잡지 못하고 있어 지역주민들의 불안과 두려움을 더 키우는 모양새입니다.\n\n\n\n=== SCENE 5 FULL TEXT ===\nS#5. 옥탑방 안 / 실내\n거실에 난 작은 창으로 햇살에 가늘게 비친다. 싱크대 수도꼭지에 흐르는 물, 씻다 만 약초(석창포). 냄비의 물이 끓어 달그락거리는 소리… 김이 피어오르고. 앞치마를 두른 채 TV 뉴스를 뚫어지게 바라보는 민숙(수리영 엄마. 40세) 표정이 어둡다. (뉴스멘트는 작아졌다 커졌다 반복하면서 여기까지 이어진다)\n딸, 수리영(21. 애완동물미용학과 2년)이 방문을 열고 기지개를 켜며 나오자 후다닥 TV를 끄는 민숙. 다정한 말투로\n수리영\n(심드렁) 뭐~야. 사건 났어? 뭔데.\n민숙\n아냐.\n수리영\n(식탁에 앉으며) 이모 또 야근하겠네. 조그만 도시에 왠 사건이 이렇게 많아. 바다가 가까워서 그런가.\n민숙\n신경 꺼. (석창포 달인 물을 따라주면서) 마셔. 방학인데 왜 더 자지않고.\n수리영\n(마시고 나서) 아, 진짜 맛 없어...(투정) 나 알바 있어, 엄마. 원장님이 하루만 봐 달래.\n(cut to.)\n가벼운 차림새. 수리영 신발을 신으며\n수리영\n엄마는 오늘 안 나가?\n민숙\n이따가 1시 타임.\n수리영\n(엄마의 냄새를 맡으며) 아, 좋다. 끝나고 마트로 갈게. 모처럼 밖에서 저녁먹자 엄마.\n민숙\n응 (미소)\n힐끗, 민숙 손목에 보이는 작은 원(이하 표식)을 본다. 오늘따라 유난히 또렷해 보이지만 워낙 어릴 적부터 봐온 터라 개의치 않는.\n\n\n\n=== SCENE 10 FULL TEXT ===\nS#10. 옥탑방 / N\n그 시각. 옥탑방 옥상. 물탱크. 바람에 빨랫줄이 툭- 툭- 평상에 놓인 말린 석창포가 바람에 날리는데... 말린 잎이 걸어오는 낯선 남자의 신발 위를 스친다. 남자의 긴 그림자. (얼굴은 보이지 않는다)\n신발은 옥탑방 철문 현관 앞에 멈춰 선다. 문틈에 낀 광고 전단지. 전단지를 뽑아서 손가락으로 문틈에 꾹 밀어 넣는다. ‘철컥’ 하고 잠금 새가 풀리는 소리. 문이 미세하게 열리고 안으로 들어가는 남자.\n창문에 비친 그림자. 민숙을 덮쳐 어깨를 물어뜯는 듯한 모습 ‘아악-’\n\n\n\n=== SCENE 11 FULL TEXT ===\nS#11. 옥탑 방 밖 / N\n자전거를 타고 골목길을 달리는 수리영. 다세대 빌라 문을 열고 들어와 마당 후미진 곳에 자전거를 대충 세우고, 옥탑방과 연결되는 계단을 급히 오른다.\n갑자기 훅- 느껴지는 역겨운 냄새. 뭐지? 옥상에 올라와 보니 반쯤 열린 현관 철문.\n\n\n\n=== SCENE 12 FULL TEXT ===\nS#12. 옥탑방 안 / N\n/거실\n‘엄마?’를 부르며 들어오는 수리영, 끓다 식은 냄비. 켜져 있는 TV. 희미한 거실 스탠드 불빛,\n/민숙 방\n안방 문을 여는데... 없다. 거실 식탁에 놓여있는 찻잔 두 개. 하나는 엎어져있다.\n/수리영 방\n마지막으로 자기 방문을 연다 헉!- 여기저기 핏자국. 바닥에 흥건한 혈흔. 피묻은 발자국은 커튼으로 이어져 있다 호흡을 가다듬고 커튼을 젖히자 앉은 채로 고개를 떨군 채 죽어있는 엄마- 민숙!!!!\n수리영\n(달려가) 어어어어----엄마\n충격에 온 몸이 얼어붙은 수리영, 살점이 뜯긴 어깨와 쇄골, 마치 동물에게 물어뜯긴 듯한 거친 상처가 고스란히 드러나있다. 덜렁거리는 살점과 뜯겨진 부위에 흘러내리는 피.\n수리영\n(놀라 뒤로 주춤) 어-어-어- 엄마….\n부들부들 떨며 핸드폰을 누른다. 2번 혜수이모\n수리영\n받아, 이모. 받아….\n혜수(E)\n영아, 영아, 왜?\n답은 안 나오고… 엄마 손안에 구겨진 사진 한 장이 보인다. 다가가 사진을 꺼내는데 엄마 손목에 있던 문신이 붉은색으로 변한다. 헉! 호흡이 빨라지고... 침대 위 벽에 붉은 원이 생겨난다 (마치 누군가 붓으로 벽에 원으로 그리는 것처럼). 소름끼치는 으아악---!\n\n\n\n=== SCENE 13 FULL TEXT ===\nS#13. 옥탑방 외곽 / N\n비명을 지르며 옥탑방을 빠져나오는 수리영, 허겁지겁 계단을 내려간다. 동시에 사이렌이 울리고~. (포즈)\n차에서 내린 혜수(40대 중반, 여자, 경위) 초점을 잃고 멍하니 서있는 수리영의 모습을 발견하고 달려간다.\n혜수\n영아? 왜! 무슨 일이야?\n수리영\n(올라다보며) 엄마가, 엄마가... 죽어있어.\n혜수\n(놀라) 뭐?!\n옥탑 방으로 뛰어 올라가는 혜수와 후배 형사(30대 남/ 이하 김형사)\n\n\n\n=== SCENE 14 FULL TEXT ===\nS#14. 옥탑방 안 / N\n/현관\n집안 여기저기를 확인하면서 나오는 형사와 혜수\n김형사\n(허탈한 표정) 없는데.. 아무 것도.\n혜수\n(뒤따라온 수리영에게) 영아, 없어. 뭘 봤는데...?\n어? 수리영, 부리나케 방 안으로 뛰어 들어간다.\n/수리영 방 안\n지나칠 정도로 깨끗하게 정돈된 방안. 핏자국도 보이지 않고, 침대 위에 붉은 표식은 물론 커튼 뒤의 시신도 감쪽 같이 사라졌다. 얼굴이 파리해지는 수리영. ‘어----?’ ‘분명히 봤는데...’\n뛰쳐나가 식탁으로 가본다. 식탁 역시 깨끗한.\n수리영\n여기 찻잔도 두 개 있었고...\n김형사\n(답답) 허 참! 죽은 사람이 발이 달렸을 리도 없고. 쯧쯧 그러게 살인사건은 자세하게 보도하면 안 된다구요...(궁시렁) 이봐요. 학생? 장난전화 하면 안 되는 거 몰라? (짜증) 안 그래도 살인사건으로 난리도 아닌데...\n혜수\n(김형사 째리고) 김형사. 먼저 가 있어. (김형사 나가면) (수리영 어깨를 어루만지며) 영아.\n수리영\n엄마(시신), 어디갔을까? 분명히 봤는데...\n혜수\n네가 요즘 과로했잖아. 공부에다 알바까지... 악몽을 꾼 걸 수도 있으니... 바람이나 쐬러 가자.\n수리영 방안에 놓여진 백팩, 인형. 약간씩 위치가 달라진. (시신을 발견했을 때와 다른)\n\n\n\n=== SCENE 17 FULL TEXT ===\nS#17. 옥탑방 / 동틀무렵\n새벽녘, 고양이 울음소리. 검은 고양이가 불이 켜져 있는 옥탑 방을 슬쩍 보더니 담을 넘는다\n\n\n\n=== SCENE 18 FULL TEXT ===\nS#18. 안방 안 / D\n침대에 머리를 대고 앉아있는 수리영, 밤새 엄마를 기다리다 깜박 졸았다 고양이 울음소리에 번쩍 눈을 뜨고, ‘엄마? ’혹시나 해서 집안을 살피지만 아무런 인기척도 보이지 않는다\n/수리영 방안\n닫혀있는 자신의 방을 바라본다. [F.B: 1부12씬] 커튼 뒤에 죽어있던 엄마. 상처. 혈흔 크게 심호흡하고 조심스럽게 문을 연다. 지나치리만큼 깨끗하게 정돈된 방안. 창문에 다가가 커튼을 확 열어젖힌다. 시신은 없다. 한숨 후~ 다행이긴 한데. 그때, 울리는 폰 벨소리, 화들짝 놀라는 수리영. 달려가 받자마자\n수리영\n엄마?\n혜수(E)\n아직이니?\n수리영\n응. 아무래도 이상해. 이럴 리가 없잖아! 우리 엄마가. 이모, 사고 난 게 분명해\n혜수(E)\n실종신고 냈어. 이모가 엄마 폰 위치추적하고 있으니까 조금만 기다려 별일 없을 거야. 알았지?\n수리영\n응.\n무작정 기다리는게 불안한 수리영, 인형이 달린 자신의 백팩을 꺼내 나온다\n/욕실 안\n얼굴을 씻고 거울을 보며\n수리영\n엄마, 도대체 어딨는 거야...\n거울에 비친 욕실 벽에 갑자기 또 발생하는 붉은 원. 호흡이 가빠지고... 훅 고개를 돌려 벽을 보는 수리영 거짓말처럼 사라지고 없다. 거실로 튀어나와 물 한컵 마시고 식탁에 놓인 엄마와 수리영의 사진을 보는데... 환하게 웃는 엄마 얼굴이 뭉개져 흘러내린다\n수리영\n아아악~~~ (다시보니 멀쩡하다) 나 왜 이러는 거지. (자신의 뺨을 치며) 정신 차려 수리영!\n\n\n\n=== SCENE 25 FULL TEXT ===\nS#25. 옥탑방 안 / 해질 무렵\n누군가 다녀간 흔적으로 보이는 발자국들. 다시 호흡이 가빠지는 수리영. 집안에서 뭔가를 찾기 위해 가재도구를 온통 헤집은 것으로 보인다. 거실에 난 창은 열려있고, 식탁 의자들을 쓰러져있다.\n/수리영 방\n열린 자신의 방을 힐끗 보는데 벽에 또 붉은 원이 그려져있다. 그 가운데 꽂혀있는 피묻은 사진 한 장! 사진을 떼어서 자세히 본다. 어? 그 사진!!!\n[F.B: 1부 12씬] 죽은 엄마의 손에 구겨져있던 바로 그 사진이다. 7-80년대 쯤 보이는 시골 식당과 지붕위에 둥근 원이 설치된 (마치 십자가처럼) 식당 앞에는 어린 여자애 둘(12살)이 앉아있다. 그중에 한 아이는 분명히 어릴 적 엄마다.\n침대에 털썩 주저앉는 수리영. 연속해서 벌어지는 기이한 상황에 정신이 혼미한 엉망이 된 집 안을 한번 획 둘러보는 수리영, 마치 이끌리듯 백팩을 메고 밖으로 나간다. 사진을 손에 꼭 쥔 채.\n\n\n\n=== SCENE 27 FULL TEXT ===\nS#27. 옥탑방 안 / 해질 무렵\n수리영의 녹음메시지를 확인하는 혜수,\n혜수\n너 봤니..본 거니... (김형사에게) 좌표를 보지않았을까?\n김형사\n그럴리가요. (혀를 끌끌 차며) 아이구 쯧쯧. 설사 본들 망망대해에서 뭘 어쩌겠어요. 돌아오겠죠.\n덜커덩 덜커덩. 바람에 현관문 소리. 황량하다.\n\n"}
{"ts": "2026-07-06 11:11:30", "kind": "img", "engine": "gpt-image-2", "mode": "edit", "tag": "s20_plansketch_photo_gpt", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/plan_sketch_gpt.png"], "size": "1536x864", "attempt": 1, "dur_s": 128.4, "bytes": 2932898, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/plansketch_photo_gpt.png", "prompt": "Create a photorealistic film-location exterior from the attached structure sketch, using the sketch as the exact authority for all built shapes, positions, levels, and relative heights. Transform it into a real aged Incheon outskirts multi-family villa rooftop dwelling, not a drawn model: varied red brick and old exterior tile cladding, cement sills and mouldings, patched stucco, grime below parapets, rain streaks, flaking paint, exposed conduits and utility pipes. Render the later-added outside stair as a visibly separate rusty steel retrofit with open treads, thin stringers, support posts, and pipe handrail. Add quiet everyday life traces: wind-tugged laundry lines with clothespins, dried seokchangpo herbs scattered on a wooden platform and trays, plastic basins, buckets, a coiled hose, worn slippers, small pots, crates, detergent bottles, a tired bicycle left in a rear yard corner, and blank unreadable flyers wedged at the old iron entrance door. Keep everything unpeopled, with no readable text, signage, blood, symbols, police, or dramatic props. Shoot in neutral ordinary daylight, documentary tone, 35mm lens, slightly elevated oblique camera, natural color, realistic weathering and clutter."}
{"ts": "2026-07-06 11:11:49", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s20_plansketch_photo_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/plan_sketch_gpt.png"], "ref_labels": ["STRUCTURE SKETCH (spatial + height ground truth) — translate its volumes, levels and storeys into real photographic construction; never copy its line style; no text anywhere."], "attempt": 1, "dur_s": 18.8, "bytes": 3939974, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/plansketch_photo_nb2.png", "prompt": "Create a photorealistic film-location exterior from the attached structure sketch, using the sketch as the exact authority for all built shapes, positions, levels, and relative heights. Transform it into a real aged Incheon outskirts multi-family villa rooftop dwelling, not a drawn model: varied red brick and old exterior tile cladding, cement sills and mouldings, patched stucco, grime below parapets, rain streaks, flaking paint, exposed conduits and utility pipes. Render the later-added outside stair as a visibly separate rusty steel retrofit with open treads, thin stringers, support posts, and pipe handrail. Add quiet everyday life traces: wind-tugged laundry lines with clothespins, dried seokchangpo herbs scattered on a wooden platform and trays, plastic basins, buckets, a coiled hose, worn slippers, small pots, crates, detergent bottles, a tired bicycle left in a rear yard corner, and blank unreadable flyers wedged at the old iron entrance door. Keep everything unpeopled, with no readable text, signage, blood, symbols, police, or dramatic props. Shoot in neutral ordinary daylight, documentary tone, 35mm lens, slightly elevated oblique camera, natural color, realistic weathering and clutter."}
{"ts": "2026-07-06 11:11:49", "kind": "stage", "stage": "s20_numbered_bd", "done": "plansketchphoto"}
{"ts": "2026-07-06 13:36:39", "kind": "llm", "step": "s20_plan_rewrite", "model": "gpt", "dur_s": 39.7, "system_prompt": "You are given NUMBERED STRUCTURE lines written for a flat block\ndiagram (block-language shape clauses), ELEMENT DATA grounding each\nelement, and a PLACE DESCRIPTION (storeys / composition ground\ntruth).\n\nReorganise and rewrite them as a SPATIALLY STRUCTURED description\nfor a REAL top-down architectural SITE PLAN — NOT a flat list. The\nreader must see the containment structure at a glance, like an\noutline:\n\n- FIRST line: the overall vertical build in one sentence — state\n  the building's storey count explicitly (from the PLACE\n  DESCRIPTION; estimate only if unstated), then what open level\n  sits on top of it, and what stands on that.\n- THEN one short section header line per space, ordered from the\n  ground up (ground level around the building -> the building mass\n  and its facade -> the open roof level -> what stands on that\n  roof -> the top unit and its openings -> surrounding context),\n  each followed by indented '- ' lines for the numbered elements\n  that belong INSIDE that space. Every element appears exactly\n  once, under the space that contains it.\n- every element line keeps its NUMBER and its spatial relations,\n  and carries a roof-plan shape clause (true footprint outline,\n  roof edges/parapets, tread runs, base rings, leaf-and-swing\n  openings...) grounded in its ELEMENT DATA — never invent beyond\n  it.\n- JUDGE the right drawing weight for each element by its role, the\n  way a real site plan does: the property's own elements read at\n  site-plan density, while surrounding context like neighbouring\n  buildings stays simple, brief and subdued.\n- FRAME-EDGE SIZE RULE: size words in the given lines measure only\n  what is VISIBLE inside the drawing frame. Surrounding context\n  sitting at the frame edge (per its position) is in reality a\n  FULL-SCALE building whose mass continues beyond the frame and is\n  CUT OFF by the drawing edge — DROP its given size words (thin/\n  small/medium) and rewrite it that way; it must never read as a\n  small or thin free-standing block inside the site.\n- apply the SPATIAL facts of any creator corrections present in the\n  data (attachments, added-on structures); keep materials out.\n- refer to elements by their numbers only — do not reintroduce\n  element names into the lines,\n- drawing shapes only — never materials, colours, condition, story.\nOutput: plan_structure_en = the structured text as an array of\nlines (header lines + indented element lines, in reading order).", "user_prompt": "NUMBERED STRUCTURE lines:\n1. full-scale carriageway mass, south-centre area, continuing beyond the drawing and cut off by the south frame edge, with a broad straight traffic-band footprint cropped by the frame.\n2. thin strip rectangular block, centre-west area, connecting block 1 to block 3, with a narrow straight rectangular passage footprint.\n3. thin strip rectangular block, south-centre area, with a recessed rectangular forecourt footprint.\n4. large rectangular block, centre area, with a solid enclosed rectangular building-mass footprint.\n5. full-scale neighbouring building mass, north-west area, plain simplified block, continuing beyond the drawing and cut off by the north and west frame edges, with a cropped rectangular roof-mass footprint.\n6. full-scale neighbouring building mass, north-centre area, plain simplified block, continuing beyond the drawing and cut off by the north frame edge, with a cropped rectangular roof-mass footprint.\n7. full-scale neighbouring building mass, centre-east area, plain simplified block, continuing beyond the drawing and cut off by the east frame edge, with a cropped rectangular roof-mass footprint.\n8. large rectangular block, placed on block 4, in its centre part, with a broad flat rectangular deck footprint.\n9. medium rectangular block, placed on block 8, in its centre part, with a compact enclosed rectangular upper-shell footprint.\n10. thin strip rectangular block, south-east area, connecting the ground level up to the deck level, placed as a separate added-on run on the outside wall of block 4, with a narrow run of parallel open treads between two thin side lines, small support-post dots, and a handrail line.\n11. thin strip rectangular block, placed on block 8, in its south-centre part, with a continuous narrow parapet-boundary rim segment footprint.\n12. thin strip rectangular block, placed on block 3, in its centre-west part, with a single narrow threshold-bar footprint marking the passage from block 2.\n13. thin strip rectangular block, south-centre area, on the north edge of block 3 (4 in a row), with four equal short slot rectangles in a straight repeated row.\n14. tiny round block, placed on block 8, in its north-west part, with a simple circular footprint.\n15. tiny rectangular block, placed on block 8, in its south-west part, with a small low rectangular platform footprint.\n16. thin strip rectangular block, centre area, on the west edge of block 9, extending toward block 14, with a very thin straight line footprint between small end anchor marks.\n17. tiny rectangular block, centre area, on the south edge of block 9, facing the upper end of block 10, with a small rectangular threshold-opening footprint.\n18. tiny rectangular block, centre area, on the east edge of block 9, with a small slot-like rectangular opening footprint.\n19. thin strip rectangular block, north-centre area, on the north edge of block 9, with a long narrow slot-like rectangular opening footprint.\n20. tiny rectangular block, south-centre area, on the south edge of block 4 adjoining block 3, with a single small rectangular threshold-opening footprint.\n21. one flat tint rule only, to tell height levels apart, low to high: ground surfaces -> block 10 run -> block 8 deck -> block 9 enclosure (darker = higher), with no separate footprint; it is a flat fill applied to existing shapes.\n\nELEMENT DATA (name [kind]: extracted description):\n- street road [kind road]: 하단의 큰 도로는 골목과 차량 접근이 만나는 거리로 배치했다.\n- narrow alley [kind alley]: 왼쪽 세로 골목은 도로에서 빌라 입구로 이어지는 좁은 진입로이다.\n- entry yard [kind yard]: 빌라 앞마당은 골목에서 들어와 계단을 타기 전 머무는 후미진 공간이다.\n- villa mass [kind building_mass]: 중앙의 낡은 빌라 본체는 옥탑방이 올라앉은 다세대 건물 매스이다.\n- roof terrace [kind terrace]: 옥상 테라스는 본관 지붕 위에서 옥탑방 현관과 물탱크가 함께 놓이는 시멘트 바닥이다.\n- rooftop room [kind upper_shell]: 옥탑 주거 셸은 옥상 중앙에 놓인 작은 실내 공간의 외곽선이다.\n- concrete stair [kind stair]: 오른쪽 외부 계단은 마당 후미진 곳에서 옥상 현관 앞까지 이어진다.\n- low wall [kind wall]: 낮은 옥상 담은 테라스 가장자리를 따라 둘러져 있고 고양이가 넘는 경계이다.\n- neighbor block [kind neighbor_mass]: 왼쪽 이웃 건물은 부감에서 옥탑방을 둘러싸는 낡은 빌라 지붕 중 하나이다.\n- rear neighbor [kind neighbor_mass]: 상단 이웃 건물은 옥탑방 뒤쪽을 막는 낡은 지붕 매스이다.\n- side neighbor [kind neighbor_mass]: 오른쪽 이웃 건물은 계단 바깥쪽 골목을 좁게 만드는 주변 매스이다.\n- water tank [kind fixture_round]: 물탱크는 옥상 왼쪽 뒤편에 둔 원형 설비이다.\n- low platform [kind fixture_rect]: 낮은 평상은 옥상 앞쪽에 놓여 말린 약초가 바람에 날리던 자리이다.\n- laundry line [kind equipment]: 빨랫줄은 물탱크와 옥탑방 사이를 가로질러 바람에 흔들리는 얇은 고정 설비이다.\n- iron door [kind door]: 철문 현관은 옥탑 셸의 아래쪽 가장자리에 두어 계단 상부 랜딩과 마주 보게 했다.\n- living window [kind window]: 거실의 작은 창은 옥탑방 오른쪽 외벽에 둔 첫 번째 창이다.\n- bedroom window [kind window]: 침실의 커튼 달린 창은 옥탑방 위쪽 외벽에 둔 두 번째 창이다.\n- entry gate [kind gate]: 빌라 입구문은 골목에서 앞마당으로 들어가는 단일 출입 게이트이다.\n- facade windows [kind window]: 본관 전면 창들은 다세대 빌라의 정면을 읽히게 하도록 앞마당 쪽 벽에 네 칸 반복으로 배치했다.\n\nPLACE DESCRIPTION (storeys / composition ground truth):\nTHE PLACE (authored description — the content ground truth):\nBUILDING: The main building is an old multifamily villa block, drawn as an assumed three-storey body below the rooftop unit because the script only states an old villa with a rooftop room. Its mass is a plain rectangular concrete volume set behind an entry yard. The roof is flat and usable as a cement-surfaced terrace. The front facade facing the yard should show four repeated window bays per storey, matching the extracted layout’s inferred facade-window rhythm.\nTOP UNIT & DECK: The topmost enclosed unit is a small, old rooftop dwelling set on the flat terrace, drawn as a simple rectangular shell. Its boundary openings are one iron entrance door facing the stair landing, one small living-room window on a side wall, and one bedroom window on another wall. Around it, the open deck has a low concrete parapet or wall, a round water tank, a fixed laundry line, and a low platform on the cement surface.\nGROUNDS: At ground level, a street edge feeds a narrow alley along the left side, leading to a single entry gate and a small recessed yard at the villa entrance. Neighboring building masses close the rear and sides, making the approach compact. From the yard’s back corner, a later-added exterior steel stair is fixed to the outside wall, with open treads, thin stringers, support posts, and a pipe handrail, continuing up to the rooftop terrace and iron-door landing.\nTHE PLAN MUST SHOW: The finished top-down site plan should show a rectangular villa mass centered behind the yard, with its flat roof terrace visible as the primary upper surface. Place the rooftop room as a smaller rectangle on the terrace, with one door toward the stair landing and two windows on separate sides. Draw the left alley, entry gate, recessed yard, surrounding neighbor blocks, low roof wall, fixed rooftop fixtures, and the retrofitted steel stair as a separate exterior structure attached to the building wall.\n\nCREATOR CORRECTIONS:\n- CORRECTION (production owner): the exterior stair element is an ADDED-ON STEEL stair retrofitted later onto its building's outside wall — open treads, thin steel stringers and support posts, pipe handrail, visibly a separate later addition to the building. It is NOT concrete or cement; this supersedes any cement/concrete stair mention elsewhere in the data."}
{"ts": "2026-07-06 13:37:12", "kind": "img_error", "tag": "s20_numbered_plan_nb2", "attempt": 1, "error": "Gemini i2i API error 404: {\n  \"error\": {\n    \"code\": 404,\n    \"message\": \"Requested entity was not found.\",\n    \"status\": \"NOT_FOUND\"\n  }\n}\n"}
{"ts": "2026-07-06 13:37:43", "kind": "img_error", "tag": "s20_numbered_plan_nb2", "attempt": 2, "error": "Gemini i2i API error 404: {\n  \"error\": {\n    \"code\": 404,\n    \"message\": \"Requested entity was not found.\",\n    \"status\": \"NOT_FOUND\"\n  }\n}\n"}
{"ts": "2026-07-06 13:39:43", "kind": "llm", "step": "s20_plan_rewrite", "model": "gpt", "dur_s": 50.7, "system_prompt": "You are given NUMBERED STRUCTURE lines written for a flat block\ndiagram (block-language shape clauses), ELEMENT DATA grounding each\nelement, and a PLACE DESCRIPTION (storeys / composition ground\ntruth).\n\nReorganise and rewrite them as a SPATIALLY STRUCTURED description\nfor a REAL top-down architectural SITE PLAN — NOT a flat list. The\nreader must see the containment structure at a glance, like an\noutline:\n\n- FIRST line: the overall vertical build in one sentence — state\n  the building's storey count explicitly (from the PLACE\n  DESCRIPTION; estimate only if unstated), then what open level\n  sits on top of it, and what stands on that.\n- THEN one short section header line per space, ordered from the\n  ground up (ground level around the building -> the building mass\n  and its facade -> the open roof level -> what stands on that\n  roof -> the top unit and its openings -> surrounding context),\n  each followed by indented '- ' lines for the numbered elements\n  that belong INSIDE that space. Every element appears exactly\n  once, under the space that contains it.\n- every element line keeps its NUMBER and its spatial relations,\n  and carries a roof-plan shape clause (true footprint outline,\n  roof edges/parapets, tread runs, base rings, leaf-and-swing\n  openings...) grounded in its ELEMENT DATA — never invent beyond\n  it.\n- JUDGE the right drawing weight for each element by its role, the\n  way a real site plan does: the property's own elements read at\n  site-plan density, while surrounding context like neighbouring\n  buildings stays simple, brief and subdued.\n- FRAME-EDGE SIZE RULE: size words in the given lines measure only\n  what is VISIBLE inside the drawing frame. Surrounding context\n  sitting at the frame edge (per its position) is in reality a\n  FULL-SCALE building whose mass continues beyond the frame and is\n  CUT OFF by the drawing edge — DROP its given size words (thin/\n  small/medium) and rewrite it that way; it must never read as a\n  small or thin free-standing block inside the site.\n- apply the SPATIAL facts of any creator corrections present in the\n  data (attachments, added-on structures); keep materials out.\n- refer to elements by their numbers only — do not reintroduce\n  element names into the lines,\n- drawing shapes only — never materials, colours, condition, story.\nOutput: plan_structure_en = the structured text as an array of\nlines (header lines + indented element lines, in reading order).", "user_prompt": "NUMBERED STRUCTURE lines:\n1. full-scale carriageway mass, south-centre area, continuing beyond the drawing and cut off by the south frame edge, with a broad straight traffic-band footprint cropped by the frame.\n2. thin strip rectangular block, centre-west area, connecting block 1 to block 3, with a narrow straight rectangular passage footprint.\n3. thin strip rectangular block, south-centre area, with a recessed rectangular forecourt footprint.\n4. large rectangular block, centre area, with a solid enclosed rectangular building-mass footprint.\n5. full-scale neighbouring building mass, north-west area, plain simplified block, continuing beyond the drawing and cut off by the north and west frame edges, with a cropped rectangular roof-mass footprint.\n6. full-scale neighbouring building mass, north-centre area, plain simplified block, continuing beyond the drawing and cut off by the north frame edge, with a cropped rectangular roof-mass footprint.\n7. full-scale neighbouring building mass, centre-east area, plain simplified block, continuing beyond the drawing and cut off by the east frame edge, with a cropped rectangular roof-mass footprint.\n8. large rectangular block, placed on block 4, in its centre part, with a broad flat rectangular deck footprint.\n9. medium rectangular block, placed on block 8, in its centre part, with a compact enclosed rectangular upper-shell footprint.\n10. thin strip rectangular block, south-east area, connecting the ground level up to the deck level, placed as a separate added-on run on the outside wall of block 4, with a narrow run of parallel open treads between two thin side lines, small support-post dots, and a handrail line.\n11. thin strip rectangular block, placed on block 8, in its south-centre part, with a continuous narrow parapet-boundary rim segment footprint.\n12. thin strip rectangular block, placed on block 3, in its centre-west part, with a single narrow threshold-bar footprint marking the passage from block 2.\n13. thin strip rectangular block, south-centre area, on the north edge of block 3 (4 in a row), with four equal short slot rectangles in a straight repeated row.\n14. tiny round block, placed on block 8, in its north-west part, with a simple circular footprint.\n15. tiny rectangular block, placed on block 8, in its south-west part, with a small low rectangular platform footprint.\n16. thin strip rectangular block, centre area, on the west edge of block 9, extending toward block 14, with a very thin straight line footprint between small end anchor marks.\n17. tiny rectangular block, centre area, on the south edge of block 9, facing the upper end of block 10, with a small rectangular threshold-opening footprint.\n18. tiny rectangular block, centre area, on the east edge of block 9, with a small slot-like rectangular opening footprint.\n19. thin strip rectangular block, north-centre area, on the north edge of block 9, with a long narrow slot-like rectangular opening footprint.\n20. tiny rectangular block, south-centre area, on the south edge of block 4 adjoining block 3, with a single small rectangular threshold-opening footprint.\n21. one flat tint rule only, to tell height levels apart, low to high: ground surfaces -> block 10 run -> block 8 deck -> block 9 enclosure (darker = higher), with no separate footprint; it is a flat fill applied to existing shapes.\n\nELEMENT DATA (name [kind]: extracted description):\n- street road [kind road]: 하단의 큰 도로는 골목과 차량 접근이 만나는 거리로 배치했다.\n- narrow alley [kind alley]: 왼쪽 세로 골목은 도로에서 빌라 입구로 이어지는 좁은 진입로이다.\n- entry yard [kind yard]: 빌라 앞마당은 골목에서 들어와 계단을 타기 전 머무는 후미진 공간이다.\n- villa mass [kind building_mass]: 중앙의 낡은 빌라 본체는 옥탑방이 올라앉은 다세대 건물 매스이다.\n- roof terrace [kind terrace]: 옥상 테라스는 본관 지붕 위에서 옥탑방 현관과 물탱크가 함께 놓이는 시멘트 바닥이다.\n- rooftop room [kind upper_shell]: 옥탑 주거 셸은 옥상 중앙에 놓인 작은 실내 공간의 외곽선이다.\n- concrete stair [kind stair]: 오른쪽 외부 계단은 마당 후미진 곳에서 옥상 현관 앞까지 이어진다.\n- low wall [kind wall]: 낮은 옥상 담은 테라스 가장자리를 따라 둘러져 있고 고양이가 넘는 경계이다.\n- neighbor block [kind neighbor_mass]: 왼쪽 이웃 건물은 부감에서 옥탑방을 둘러싸는 낡은 빌라 지붕 중 하나이다.\n- rear neighbor [kind neighbor_mass]: 상단 이웃 건물은 옥탑방 뒤쪽을 막는 낡은 지붕 매스이다.\n- side neighbor [kind neighbor_mass]: 오른쪽 이웃 건물은 계단 바깥쪽 골목을 좁게 만드는 주변 매스이다.\n- water tank [kind fixture_round]: 물탱크는 옥상 왼쪽 뒤편에 둔 원형 설비이다.\n- low platform [kind fixture_rect]: 낮은 평상은 옥상 앞쪽에 놓여 말린 약초가 바람에 날리던 자리이다.\n- laundry line [kind equipment]: 빨랫줄은 물탱크와 옥탑방 사이를 가로질러 바람에 흔들리는 얇은 고정 설비이다.\n- iron door [kind door]: 철문 현관은 옥탑 셸의 아래쪽 가장자리에 두어 계단 상부 랜딩과 마주 보게 했다.\n- living window [kind window]: 거실의 작은 창은 옥탑방 오른쪽 외벽에 둔 첫 번째 창이다.\n- bedroom window [kind window]: 침실의 커튼 달린 창은 옥탑방 위쪽 외벽에 둔 두 번째 창이다.\n- entry gate [kind gate]: 빌라 입구문은 골목에서 앞마당으로 들어가는 단일 출입 게이트이다.\n- facade windows [kind window]: 본관 전면 창들은 다세대 빌라의 정면을 읽히게 하도록 앞마당 쪽 벽에 네 칸 반복으로 배치했다.\n\nPLACE DESCRIPTION (storeys / composition ground truth):\nTHE PLACE (authored description — the content ground truth):\nBUILDING: The main building is an old multifamily villa block, drawn as an assumed three-storey body below the rooftop unit because the script only states an old villa with a rooftop room. Its mass is a plain rectangular concrete volume set behind an entry yard. The roof is flat and usable as a cement-surfaced terrace. The front facade facing the yard should show four repeated window bays per storey, matching the extracted layout’s inferred facade-window rhythm.\nTOP UNIT & DECK: The topmost enclosed unit is a small, old rooftop dwelling set on the flat terrace, drawn as a simple rectangular shell. Its boundary openings are one iron entrance door facing the stair landing, one small living-room window on a side wall, and one bedroom window on another wall. Around it, the open deck has a low concrete parapet or wall, a round water tank, a fixed laundry line, and a low platform on the cement surface.\nGROUNDS: At ground level, a street edge feeds a narrow alley along the left side, leading to a single entry gate and a small recessed yard at the villa entrance. Neighboring building masses close the rear and sides, making the approach compact. From the yard’s back corner, a later-added exterior steel stair is fixed to the outside wall, with open treads, thin stringers, support posts, and a pipe handrail, continuing up to the rooftop terrace and iron-door landing.\nTHE PLAN MUST SHOW: The finished top-down site plan should show a rectangular villa mass centered behind the yard, with its flat roof terrace visible as the primary upper surface. Place the rooftop room as a smaller rectangle on the terrace, with one door toward the stair landing and two windows on separate sides. Draw the left alley, entry gate, recessed yard, surrounding neighbor blocks, low roof wall, fixed rooftop fixtures, and the retrofitted steel stair as a separate exterior structure attached to the building wall.\n\nCREATOR CORRECTIONS:\n- CORRECTION (production owner): the exterior stair element is an ADDED-ON STEEL stair retrofitted later onto its building's outside wall — open treads, thin steel stringers and support posts, pipe handrail, visibly a separate later addition to the building. It is NOT concrete or cement; this supersedes any cement/concrete stair mention elsewhere in the data."}
{"ts": "2026-07-06 13:39:58", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s20_numbered_plan_nb2", "refs": [], "ref_labels": [], "attempt": 1, "dur_s": 15.5, "bytes": 1846713, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/numbered_plan_nb2.png", "prompt": "Draw ONE strict TOP-DOWN 2D architectural SITE PLAN in the drafting\nlanguage of a clean floor plan — thin dark outlines, flat muted colour\nfills, detailed plan symbols (double-line walls, door leaf + swing arc,\nwindow frames set in walls, stair treads with stringers and landings,\nbase rings for round fixtures, paving joints, kerb lines). Height\nlevels appear only as flat fill tints (darker = higher). Flat\northographic plan view: NO 3D, NO axonometric, NO perspective, no\nshadows. Neutral document: no people, no story props, no vehicles, no\nposted papers, each element carries ONLY its assigned number, drawn once as a small\nplain dark numeral on (or beside) it; apart from these numerals no text,\nno letters, no words, no other markers, no legend, no compass. Never expose interior rooms or furniture of any enclosed\nunit — outer shell and boundary openings only.\n\nEXTERIOR ONLY: this is an OUTDOOR site plan seen from above — show\nonly the exterior: ground areas, building outer shells, roof-level\nsurfaces and outdoor fixtures. NEVER draw any interior room, inner\nwall, partition or furniture of any enclosed unit — every enclosed\nvolume stays sealed (outer walls and boundary openings only).\n\nSPATIALLY STRUCTURED SITE-PLAN CONTENT — vertical build first, then each space with the numbered elements it contains (draw each element's number as a small plain marker on it):\nThe main building is a three-storey rectangular mass; an open flat roof terrace level sits on top of it, and a compact enclosed rooftop unit stands on that terrace.\nGround-level access surfaces:\n  - 1. South-centre area, continuing beyond the drawing and cut off by the south frame edge, with a broad straight traffic-band footprint cropped by the frame.\n  - 2. Centre-west area, connecting 1 to 3, with a narrow straight rectangular passage footprint.\n  - 3. South-centre area, set in front of 4, with a recessed rectangular forecourt footprint.\n  - 12. Placed on 3 in its centre-west part at the passage from 2, with a single narrow threshold-bar footprint.\n  - 10. South-east area, a separate later-added exterior run fixed to the outside wall of 4 and connecting ground level to 8, with a narrow run of parallel open-tread marks between two thin side lines, small support-post dots, and a handrail line.\nMain three-storey mass and yard-facing facade:\n  - 4. Centre area, behind 3, with a solid enclosed rectangular three-storey building-mass footprint.\n  - 20. South-centre area, on the south edge of 4 adjoining 3, with a single small rectangular threshold-opening footprint.\n  - 13. South-centre area, on the north edge of 3 against the yard-facing edge of 4, with four equal short slot rectangles in a straight repeated row.\nOpen roof terrace level:\n  - 8. Placed on 4 in its centre part, with a broad flat rectangular deck footprint.\n  - 11. Placed on 8 in its south-centre part, with a continuous narrow parapet-boundary rim segment footprint.\nObjects standing on the roof terrace:\n  - 14. Placed on 8 in its north-west part, with a simple circular footprint.\n  - 15. Placed on 8 in its south-west part, with a small low rectangular platform footprint.\n  - 16. Centre area, on the west edge of 9 and extending toward 14, with a very thin straight line footprint between small end anchor marks.\nTop enclosed unit and its openings:\n  - 9. Placed on 8 in its centre part, with a compact enclosed rectangular upper-shell footprint.\n  - 17. Centre area, on the south edge of 9 and facing the upper end of 10, with a small rectangular threshold-opening footprint.\n  - 18. Centre area, on the east edge of 9, with a small slot-like rectangular opening footprint.\n  - 19. North-centre area, on the north edge of 9, with a long narrow slot-like rectangular opening footprint.\nWhole-plan height-level coding:\n  - 21. One flat fill hierarchy applied only to existing shapes, with no separate footprint: ground surfaces -> 10 run -> 8 deck -> 9 enclosure, increasing in level from low to high.\nSurrounding context masses:\n  - 5. North-west area, a plain subdued surrounding mass continuing beyond the north and west frame edges and cut off by them, with a cropped rectangular roof-mass footprint.\n  - 6. North-centre area, a plain subdued surrounding mass continuing beyond the north frame edge and cut off by it, with a cropped rectangular roof-mass footprint.\n  - 7. Centre-east area, a plain subdued surrounding mass continuing beyond the east frame edge and cut off by it, with a cropped rectangular roof-mass footprint."}
{"ts": "2026-07-06 13:41:32", "kind": "img", "engine": "gpt-image-2", "mode": "generate", "tag": "s20_numbered_plan_gpt", "refs": [], "size": "1536x864", "attempt": 1, "dur_s": 93.9, "bytes": 1779248, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/numbered_plan_gpt.png", "prompt": "Draw ONE strict TOP-DOWN 2D architectural SITE PLAN in the drafting\nlanguage of a clean floor plan — thin dark outlines, flat muted colour\nfills, detailed plan symbols (double-line walls, door leaf + swing arc,\nwindow frames set in walls, stair treads with stringers and landings,\nbase rings for round fixtures, paving joints, kerb lines). Height\nlevels appear only as flat fill tints (darker = higher). Flat\northographic plan view: NO 3D, NO axonometric, NO perspective, no\nshadows. Neutral document: no people, no story props, no vehicles, no\nposted papers, each element carries ONLY its assigned number, drawn once as a small\nplain dark numeral on (or beside) it; apart from these numerals no text,\nno letters, no words, no other markers, no legend, no compass. Never expose interior rooms or furniture of any enclosed\nunit — outer shell and boundary openings only.\n\nEXTERIOR ONLY: this is an OUTDOOR site plan seen from above — show\nonly the exterior: ground areas, building outer shells, roof-level\nsurfaces and outdoor fixtures. NEVER draw any interior room, inner\nwall, partition or furniture of any enclosed unit — every enclosed\nvolume stays sealed (outer walls and boundary openings only).\n\nSPATIALLY STRUCTURED SITE-PLAN CONTENT — vertical build first, then each space with the numbered elements it contains (draw each element's number as a small plain marker on it):\nThe main building is a three-storey rectangular mass; an open flat roof terrace level sits on top of it, and a compact enclosed rooftop unit stands on that terrace.\nGround-level access surfaces:\n  - 1. South-centre area, continuing beyond the drawing and cut off by the south frame edge, with a broad straight traffic-band footprint cropped by the frame.\n  - 2. Centre-west area, connecting 1 to 3, with a narrow straight rectangular passage footprint.\n  - 3. South-centre area, set in front of 4, with a recessed rectangular forecourt footprint.\n  - 12. Placed on 3 in its centre-west part at the passage from 2, with a single narrow threshold-bar footprint.\n  - 10. South-east area, a separate later-added exterior run fixed to the outside wall of 4 and connecting ground level to 8, with a narrow run of parallel open-tread marks between two thin side lines, small support-post dots, and a handrail line.\nMain three-storey mass and yard-facing facade:\n  - 4. Centre area, behind 3, with a solid enclosed rectangular three-storey building-mass footprint.\n  - 20. South-centre area, on the south edge of 4 adjoining 3, with a single small rectangular threshold-opening footprint.\n  - 13. South-centre area, on the north edge of 3 against the yard-facing edge of 4, with four equal short slot rectangles in a straight repeated row.\nOpen roof terrace level:\n  - 8. Placed on 4 in its centre part, with a broad flat rectangular deck footprint.\n  - 11. Placed on 8 in its south-centre part, with a continuous narrow parapet-boundary rim segment footprint.\nObjects standing on the roof terrace:\n  - 14. Placed on 8 in its north-west part, with a simple circular footprint.\n  - 15. Placed on 8 in its south-west part, with a small low rectangular platform footprint.\n  - 16. Centre area, on the west edge of 9 and extending toward 14, with a very thin straight line footprint between small end anchor marks.\nTop enclosed unit and its openings:\n  - 9. Placed on 8 in its centre part, with a compact enclosed rectangular upper-shell footprint.\n  - 17. Centre area, on the south edge of 9 and facing the upper end of 10, with a small rectangular threshold-opening footprint.\n  - 18. Centre area, on the east edge of 9, with a small slot-like rectangular opening footprint.\n  - 19. North-centre area, on the north edge of 9, with a long narrow slot-like rectangular opening footprint.\nWhole-plan height-level coding:\n  - 21. One flat fill hierarchy applied only to existing shapes, with no separate footprint: ground surfaces -> 10 run -> 8 deck -> 9 enclosure, increasing in level from low to high.\nSurrounding context masses:\n  - 5. North-west area, a plain subdued surrounding mass continuing beyond the north and west frame edges and cut off by them, with a cropped rectangular roof-mass footprint.\n  - 6. North-centre area, a plain subdued surrounding mass continuing beyond the north frame edge and cut off by it, with a cropped rectangular roof-mass footprint.\n  - 7. Centre-east area, a plain subdued surrounding mass continuing beyond the east frame edge and cut off by it, with a cropped rectangular roof-mass footprint."}
{"ts": "2026-07-06 13:41:32", "kind": "stage", "stage": "s20_numbered_bd", "done": "plan"}
{"ts": "2026-07-06 13:42:24", "kind": "img", "tag": "s20_numbered_plan_gpt", "skip": "exists", "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/numbered_plan_gpt.png"}
{"ts": "2026-07-06 13:42:24", "kind": "img", "tag": "s20_numbered_plan_nb2", "skip": "exists", "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/numbered_plan_nb2.png"}
{"ts": "2026-07-06 14:16:16", "kind": "llm", "step": "s20_desc_visual", "model": "gpt", "dur_s": 13.3, "system_prompt": "You rewrite element descriptions for an architectural drawing\npipeline. You get one real property's elements (name, kind, current\none-sentence Korean description, and the source quotes that grounded\nthem), plus optional creator corrections.\n\nThe current descriptions were written from scene texts and may carry\nNARRATIVE: past or one-off events, actions by people or animals,\nusage stories, moments of motion, view/camera wording, or authorial\nphrasing ('~하게 배치했다'). None of that belongs in a drawing\npipeline — it makes image models hallucinate.\n\nRewrite EVERY element's description as ONE short Korean sentence in\npresent tense stating only PHYSICAL, VISIBLE facts: what it is, its\nphysical form, and its key spatial relation (무엇이 어디에 어떻게\n붙어/놓여 있는지).\n- When a quote describes an event or action, keep only the physical\n  object or state that exists now because of it; drop the event.\n- No proper names, no story wording, no motion, no time references,\n  no camera/view words, no authorial intent phrasing.\n- Apply the spatial facts of creator corrections where relevant.\nOutput every element with its exact given name_en, in the given\norder.", "user_prompt": "ELEMENTS:\n- street road [kind road]: 하단의 큰 도로는 골목과 차량 접근이 만나는 거리로 배치했다.\n  quotes: [S#13] 차에서 내린 혜수; [S13_Shot3] Beside the police car\n- narrow alley [kind alley]: 왼쪽 세로 골목은 도로에서 빌라 입구로 이어지는 좁은 진입로이다.\n  quotes: [S#11] 골목길을 달리는 수리영; [S13_Shot3] narrow alley\n- entry yard [kind yard]: 빌라 앞마당은 골목에서 들어와 계단을 타기 전 머무는 후미진 공간이다.\n  quotes: [PLACE MEMBERS L10] 다세대 빌라 입구 마당; [S#11] 마당 후미진 곳에 자전거를 대충 세우고\n- villa mass [kind building_mass]: 중앙의 낡은 빌라 본체는 옥탑방이 올라앉은 다세대 건물 매스이다.\n  quotes: [S#4] 오래된 빌라 옥탑방 전경; [PLACE MEMBERS L03] 낡은 다세대 빌라 꼭대기에 위치한 야외 공간\n- roof terrace [kind terrace]: 옥상 테라스는 본관 지붕 위에서 옥탑방 현관과 물탱크가 함께 놓이는 시멘트 바닥이다.\n  quotes: [S#10] 옥탑방 옥상. 물탱크.; [PLACE MEMBERS L03] 낡은 시멘트 바닥\n- rooftop room [kind upper_shell]: 옥탑 주거 셸은 옥상 중앙에 놓인 작은 실내 공간의 외곽선이다.\n  quotes: [S4_Shot1] old rooftop room exterior; [PLACE MEMBERS L04] 작은 창문으로 빛이 들어오는 낡은 주거 공간\n- concrete stair [kind stair]: 오른쪽 외부 계단은 마당 후미진 곳에서 옥상 현관 앞까지 이어진다.\n  quotes: [S#11] 옥탑방과 연결되는 계단을 급히 오른다; [PLACE MEMBERS L10] 낡고 가파른 시멘트 계단\n- low wall [kind wall]: 낮은 옥상 담은 테라스 가장자리를 따라 둘러져 있고 고양이가 넘는 경계이다.\n  quotes: [S#17] 검은 고양이가 불이 켜져 있는 옥탑 방을 슬쩍 보더니 담을 넘는다; [S17_Shot1] low concrete rooftop wall\n- neighbor block [kind neighbor_mass]: 왼쪽 이웃 건물은 부감에서 옥탑방을 둘러싸는 낡은 빌라 지붕 중 하나이다.\n  quotes: [S4_Shot1] neighboring old villa rooftops; [S4_Shot1] surrounding neighborhood readable\n- rear neighbor [kind neighbor_mass]: 상단 이웃 건물은 옥탑방 뒤쪽을 막는 낡은 지붕 매스이다.\n  quotes: [S4_Shot1] neighboring old villa rooftops; [S4_Shot1] boxed in by worn roofs\n- side neighbor [kind neighbor_mass]: 오른쪽 이웃 건물은 계단 바깥쪽 골목을 좁게 만드는 주변 매스이다.\n  quotes: [S4_Shot1] neighboring old villa rooftops; [S4_Shot1] narrow alleys, and faded concrete blocks\n- water tank [kind fixture_round]: 물탱크는 옥상 왼쪽 뒤편에 둔 원형 설비이다.\n  quotes: [S#10] 옥탑방 옥상. 물탱크.; [PLACE MEMBERS L03] 물탱크\n- low platform [kind fixture_rect]: 낮은 평상은 옥상 앞쪽에 놓여 말린 약초가 바람에 날리던 자리이다.\n  quotes: [S#10] 평상에 놓인 말린 석창포가 바람에 날리는데; [PLACE MEMBERS L03] 평상과 널려 있는 말린 약초\n- laundry line [kind equipment]: 빨랫줄은 물탱크와 옥탑방 사이를 가로질러 바람에 흔들리는 얇은 고정 설비이다.\n  quotes: [S#10] 바람에 빨랫줄이 툭- 툭-; [PLACE MEMBERS L03] 바람에 날리는 빨랫줄\n- iron door [kind door]: 철문 현관은 옥탑 셸의 아래쪽 가장자리에 두어 계단 상부 랜딩과 마주 보게 했다.\n  quotes: [S#10] 신발은 옥탑방 철문 현관 앞에 멈춰 선다; [S#11] 옥탑방과 연결되는 계단을 급히 오른다\n- living window [kind window]: 거실의 작은 창은 옥탑방 오른쪽 외벽에 둔 첫 번째 창이다.\n  quotes: [S#5] 거실에 난 작은 창으로 햇살에 가늘게 비친다; [S#25] 거실에 난 창은 열려있고\n- bedroom window [kind window]: 침실의 커튼 달린 창은 옥탑방 위쪽 외벽에 둔 두 번째 창이다.\n  quotes: [S#18] 창문에 다가가 커튼을 확 열어젖힌다; [S18_Shot6] bedroom window with curtains\n- entry gate [kind gate]: 빌라 입구문은 골목에서 앞마당으로 들어가는 단일 출입 게이트이다.\n  quotes: [S#11] 다세대 빌라 문을 열고 들어와; [PLACE MEMBERS L10] 다세대 빌라 입구 마당\n- facade windows [kind window]: 본관 전면 창들은 다세대 빌라의 정면을 읽히게 하도록 앞마당 쪽 벽에 네 칸 반복으로 배치했다.\n  quotes: [S#4] 오래된 빌라 옥탑방 전경; [S4_Shot1] old villa\n\nCREATOR CORRECTIONS:\n- CORRECTION (production owner): the exterior stair element is an ADDED-ON STEEL stair retrofitted later onto its building's outside wall — open treads, thin steel stringers and support posts, pipe handrail, visibly a separate later addition to the building. It is NOT concrete or cement; this supersedes any cement/concrete stair mention elsewhere in the data."}
{"ts": "2026-07-06 14:17:58", "kind": "llm", "step": "s20_number_assign", "model": "gpt", "dur_s": 102.7, "system_prompt": "You are given the STRUCTURE lines of an image-generation prompt for a\nflat schematic block diagram — one element per line, each line naming\nthe element and its spatial relations — plus ELEMENT DATA grounding\neach element.\nELEMENT DATA is physical-form grounding ONLY; if any of its lines\nstill carry narrative residue (events, actions, usage stories, story\nwording), ignore those parts entirely — this diagram concerns spatial\narrangement and structure, nothing else.\n\nTask: assign a number (1..N) to every element line, in a sensible\nstructural order (large ground/container blocks first, then what sits\non them, then attached openings and small fixtures). Rewrite every\nline so that:\n- the line STARTS with its number,\n- element NAMES never appear — when a line refers to another element\n  (placed on X / on the north edge of X), refer to it by that\n  element's number instead (e.g. 'placed on block 4, in its centre\n  part').\n- every spatial relation, size word and count stays EXACTLY as given\n  (one exception: frame-edge context, below).\n- APPEND to each line a short clause describing that element's\n  characteristic TOP-DOWN footprint/silhouette, grounded in its\n  ELEMENT DATA — just enough that the drawn shape itself reveals what\n  the element is (a run of parallel treads, a circle, a slatted low\n  rectangle, a thin line between two posts...). SHAPE ONLY — never\n  materials, colours, condition or story; never invent what the data\n  does not support.\n- FRAME-EDGE EXCEPTION: when an element is surrounding context\n  sitting at the drawing frame's edge (per its position), its given\n  size words measure only the visible sliver — do NOT keep them;\n  describe instead a full-scale neighbouring mass that continues\n  beyond the frame and is cut off by the drawing edge. It must never\n  read as a small or thin free-standing block inside the site.\n- A CREATOR CORRECTIONS block may follow the ELEMENT DATA. Apply the\n  SPATIAL facts it states (what attaches to what, where something\n  stands, that it is a separate added-on structure...) to the\n  relevant lines — but keep materials/finishes out of the lines:\n  this diagram is structure only.\n- PHYSICAL / LOGICAL SANITY: the result must read as a physically\n  plausible real property — every enclosed building needs its entry\n  opening, and circulation must connect all the way (approach ->\n  entrance -> grounds -> building entry / stairs -> upper levels);\n  nothing floats and nothing is sealed off. If the given lines are\n  missing a connection that common sense makes physically necessary\n  (for example a building with no way in), ADD one minimal line for\n  it — continue the numbering, place it sensibly relative to the\n  existing elements, and add it to the legend with ' (assumed)'\n  after its name. Smallest sensible addition only; never redesign\n  what is given.\nAlso output a legend mapping each number to the original element name\n(exactly as written in its line).", "user_prompt": "STRUCTURE lines:\n- street road: thin strip rectangular block, south-centre area\n- narrow alley: thin strip rectangular block, centre-west area\n- entry yard: thin strip rectangular block, south-centre area\n- villa mass: large rectangular block, centre area\n- roof terrace: large rectangular block, placed on the villa mass, in its centre part\n- rooftop room: medium rectangular block, placed on the roof terrace, in its centre part\n- concrete stair: thin strip rectangular block, south-east area, connecting the ground level up to the deck level\n- low wall: thin strip rectangular block, placed on the roof terrace, in its south-centre part\n- neighbor block: medium rectangular block, north-west area, plain simplified block\n- rear neighbor: medium rectangular block, north-centre area, plain simplified block\n- side neighbor: thin strip rectangular block, centre-east area, plain simplified block\n- water tank: tiny round block, placed on the roof terrace, in its north-west part\n- low platform: tiny rectangular block, placed on the roof terrace, in its south-west part\n- laundry line: thin strip rectangular block, centre area, on the west edge of the rooftop room\n- iron door: tiny rectangular block, centre area, on the south edge of the rooftop room\n- living window: tiny rectangular block, centre area, on the east edge of the rooftop room\n- bedroom window: thin strip rectangular block, north-centre area, on the north edge of the rooftop room\n- entry gate: thin strip rectangular block, placed on the entry yard, in its centre-west part\n- facade windows: thin strip rectangular block, south-centre area, on the north edge of the entry yard (4 in a row)\n- one flat tint rule only, to tell height levels apart, low to high: Ground -> Stair run -> Roof deck -> Rooftop room (darker = higher)\n\nELEMENT DATA (name [kind]: physical form facts — ground each shape clause here):\n- street road [kind road]: 하단에는 골목과 맞닿은 넓은 차량 도로가 놓여 있다.\n- narrow alley [kind alley]: 왼쪽에는 도로에서 빌라 입구까지 이어지는 좁은 세로 골목이 있다.\n- entry yard [kind yard]: 빌라 앞에는 골목과 계단 사이에 작은 마당이 있다.\n- villa mass [kind building_mass]: 중앙에는 옥탑방을 올린 낡은 다세대 빌라 매스가 있다.\n- roof terrace [kind terrace]: 본관 지붕 위에는 옥탑방과 물탱크가 놓인 시멘트 바닥의 옥상 테라스가 있다.\n- rooftop room [kind upper_shell]: 옥상 중앙에는 작은 옥탑 주거 공간의 외곽 매스가 놓여 있다.\n- concrete stair [kind stair]: 오른쪽 외벽에는 마당에서 옥상 현관 앞까지 이어지는 덧댄 철제 외부계단이 붙어 있다.\n- low wall [kind wall]: 옥상 테라스 가장자리에는 낮은 콘크리트 담이 둘러져 있다.\n- neighbor block [kind neighbor_mass]: 왼쪽에는 옥탑방 옆을 둘러싸는 낡은 이웃 건물 매스가 있다.\n- rear neighbor [kind neighbor_mass]: 상단에는 옥탑방 뒤쪽에 맞닿은 낡은 이웃 건물 매스가 있다.\n- side neighbor [kind neighbor_mass]: 오른쪽에는 계단 바깥쪽 골목을 좁히는 이웃 건물 매스가 있다.\n- water tank [kind fixture_round]: 옥상 왼쪽 뒤편에는 원형 물탱크가 놓여 있다.\n- low platform [kind fixture_rect]: 옥상 앞쪽에는 낮은 직사각형 평상이 놓여 있다.\n- laundry line [kind equipment]: 물탱크와 옥탑방 사이에는 얇은 빨랫줄이 가로질러 걸려 있다.\n- iron door [kind door]: 옥탑방 아래쪽 가장자리에는 계단 상부 랜딩을 향한 철문 현관이 있다.\n- living window [kind window]: 옥탑방 오른쪽 외벽에는 작은 거실 창이 있다.\n- bedroom window [kind window]: 옥탑방 위쪽 외벽에는 커튼이 달린 침실 창이 있다.\n- entry gate [kind gate]: 골목과 앞마당 사이에는 단일 빌라 입구 게이트가 있다.\n- facade windows [kind window]: 본관 앞마당 쪽 벽에는 전면 창 네 칸이 반복되어 있다.\n\nCREATOR CORRECTIONS (apply their SPATIAL facts to the lines; materials do not belong in this diagram):\n- CORRECTION (production owner): the exterior stair element is an ADDED-ON STEEL stair retrofitted later onto its building's outside wall — open treads, thin steel stringers and support posts, pipe handrail, visibly a separate later addition to the building. It is NOT concrete or cement; this supersedes any cement/concrete stair mention elsewhere in the data."}
{"ts": "2026-07-06 14:17:58", "kind": "stage", "stage": "s20_numbered_bd", "done": "llm"}
{"ts": "2026-07-06 14:18:47", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s20_numbered_bd_nb2", "refs": [], "ref_labels": [], "attempt": 1, "dur_s": 17.7, "bytes": 1921689, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/numbered_bd_nb2.png", "prompt": "Draw ONE SCHEMATIC BLOCK DIAGRAM of a real property's layout — the\nkind of flat figure a computer program draws: strict TOP-DOWN 2D,\nplain solid-colour shapes on a plain light background, uniform thin\ndark outlines. ABSOLUTELY FLAT: no bevels, no edge highlights, no\ngradients, no shadows, no shading, no texture, no perspective, no 3D\nfeel of any kind.\nSTRUCTURAL SILHOUETTES: draw every element as the characteristic\ntop-down footprint its line describes — a flat structural outline\njust detailed enough that the SHAPE ITSELF reveals what the element\nis; never flatten it to a generic featureless rectangle when its\nline says otherwise, and never add fine drafting detail (no\ndouble-line walls, no hatching, no fixtures inside buildings).\nPURPOSE: structural comprehension only. Every building is ONE solid\nblock — never any interior rooms, inner walls or furniture.\nThe arrangement must read as a physically coherent real property:\nentries, connections and levels all working the way the lines below\ndescribe.\nEach block shows ONLY its assigned number, drawn once as a small plain dark numeral on (or beside) that block; apart from these numerals there is no other text: no letters, no words, no names, no labels, no legend, no compass anywhere.\nNo people, no props, no vehicles.\n\nSTRUCTURE (relative positions, sizes, footprint shapes):\n1 south-centre area, full-scale broad linear surface continuing beyond the south drawing edge and cut off by the frame; top-down footprint: a wide uninterrupted horizontal band clipped by the bottom edge.\n2 thin strip rectangular block, centre-west area; top-down footprint: a long narrow vertical corridor strip linking block 1 toward block 7.\n3 full-scale rectangular plain simplified block, north-west area, continuing beyond the north and west drawing edges and cut off by the frame; top-down footprint: a simple neighbouring mass clipped at the frame edges.\n4 full-scale rectangular plain simplified block, north-centre area, continuing beyond the north drawing edge and cut off by the frame; top-down footprint: a broad neighbouring mass clipped by the top edge.\n5 full-scale rectangular plain simplified block, centre-east area, continuing beyond the east drawing edge and cut off by the frame; top-down footprint: a neighbouring side mass clipped by the right edge.\n6 large rectangular block, centre area; top-down footprint: a main enclosed rectangular building mass.\n7 thin strip rectangular block, south-centre area; top-down footprint: a small open rectangular forecourt strip between block 2, block 6, and block 10.\n8 large rectangular block, placed on block 6, in its centre part; top-down footprint: a flat rectangular deck outline occupying the roof plane.\n9 medium rectangular block, placed on block 8, in its centre part; top-down footprint: a smaller enclosed rectangular upper shell centred on the deck.\n10 thin strip rectangular block, south-east area, attached to the outside wall of block 6 as a separate added-on structure, connecting the ground level up to the deck level; top-down footprint: a narrow run of repeated open treads between two thin side lines with support-post dots and a rail line.\n11 thin strip rectangular block, placed on block 8, in its south-centre part; top-down footprint: a low straight parapet-like strip along the deck edge.\n12 tiny round block, placed on block 8, in its north-west part; top-down footprint: a small circle.\n13 tiny rectangular block, placed on block 8, in its south-west part; top-down footprint: a low simple rectangle.\n14 thin strip rectangular block, centre area, on the west edge of block 9; top-down footprint: a single taut line segment spanning beside the upper shell toward block 12.\n15 tiny rectangular block, centre area, on the south edge of block 9; top-down footprint: a small doorway rectangle cut into the south wall line.\n16 tiny rectangular block, centre area, on the east edge of block 9; top-down footprint: a small window slot on the east wall line.\n17 thin strip rectangular block, north-centre area, on the north edge of block 9; top-down footprint: a longer narrow window slot on the north wall line.\n18 thin strip rectangular block, placed on block 7, in its centre-west part, between block 2 and the rest of block 7; top-down footprint: a single narrow gate bar across the approach opening.\n19 thin strip rectangular block, south-centre area, on the north edge of block 7 (4 in a row); top-down footprint: four repeated small rectangular window slots in a straight row.\n20 tiny rectangular block, south-centre area, on the south edge of block 6 and opening to block 7; top-down footprint: a small doorway gap with a rectangular threshold.\n21 one flat tint rule only, to tell height levels apart, low to high: Ground -> block 10 run -> block 8 deck -> block 9 (darker = higher); non-structural rendering rule, no footprint."}
{"ts": "2026-07-06 14:20:11", "kind": "img", "engine": "gpt-image-2", "mode": "generate", "tag": "s20_numbered_bd_gpt", "refs": [], "size": "1536x864", "attempt": 1, "dur_s": 83.9, "bytes": 1003995, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/numbered_bd_gpt.png", "prompt": "Draw ONE SCHEMATIC BLOCK DIAGRAM of a real property's layout — the\nkind of flat figure a computer program draws: strict TOP-DOWN 2D,\nplain solid-colour shapes on a plain light background, uniform thin\ndark outlines. ABSOLUTELY FLAT: no bevels, no edge highlights, no\ngradients, no shadows, no shading, no texture, no perspective, no 3D\nfeel of any kind.\nSTRUCTURAL SILHOUETTES: draw every element as the characteristic\ntop-down footprint its line describes — a flat structural outline\njust detailed enough that the SHAPE ITSELF reveals what the element\nis; never flatten it to a generic featureless rectangle when its\nline says otherwise, and never add fine drafting detail (no\ndouble-line walls, no hatching, no fixtures inside buildings).\nPURPOSE: structural comprehension only. Every building is ONE solid\nblock — never any interior rooms, inner walls or furniture.\nThe arrangement must read as a physically coherent real property:\nentries, connections and levels all working the way the lines below\ndescribe.\nEach block shows ONLY its assigned number, drawn once as a small plain dark numeral on (or beside) that block; apart from these numerals there is no other text: no letters, no words, no names, no labels, no legend, no compass anywhere.\nNo people, no props, no vehicles.\n\nSTRUCTURE (relative positions, sizes, footprint shapes):\n1 south-centre area, full-scale broad linear surface continuing beyond the south drawing edge and cut off by the frame; top-down footprint: a wide uninterrupted horizontal band clipped by the bottom edge.\n2 thin strip rectangular block, centre-west area; top-down footprint: a long narrow vertical corridor strip linking block 1 toward block 7.\n3 full-scale rectangular plain simplified block, north-west area, continuing beyond the north and west drawing edges and cut off by the frame; top-down footprint: a simple neighbouring mass clipped at the frame edges.\n4 full-scale rectangular plain simplified block, north-centre area, continuing beyond the north drawing edge and cut off by the frame; top-down footprint: a broad neighbouring mass clipped by the top edge.\n5 full-scale rectangular plain simplified block, centre-east area, continuing beyond the east drawing edge and cut off by the frame; top-down footprint: a neighbouring side mass clipped by the right edge.\n6 large rectangular block, centre area; top-down footprint: a main enclosed rectangular building mass.\n7 thin strip rectangular block, south-centre area; top-down footprint: a small open rectangular forecourt strip between block 2, block 6, and block 10.\n8 large rectangular block, placed on block 6, in its centre part; top-down footprint: a flat rectangular deck outline occupying the roof plane.\n9 medium rectangular block, placed on block 8, in its centre part; top-down footprint: a smaller enclosed rectangular upper shell centred on the deck.\n10 thin strip rectangular block, south-east area, attached to the outside wall of block 6 as a separate added-on structure, connecting the ground level up to the deck level; top-down footprint: a narrow run of repeated open treads between two thin side lines with support-post dots and a rail line.\n11 thin strip rectangular block, placed on block 8, in its south-centre part; top-down footprint: a low straight parapet-like strip along the deck edge.\n12 tiny round block, placed on block 8, in its north-west part; top-down footprint: a small circle.\n13 tiny rectangular block, placed on block 8, in its south-west part; top-down footprint: a low simple rectangle.\n14 thin strip rectangular block, centre area, on the west edge of block 9; top-down footprint: a single taut line segment spanning beside the upper shell toward block 12.\n15 tiny rectangular block, centre area, on the south edge of block 9; top-down footprint: a small doorway rectangle cut into the south wall line.\n16 tiny rectangular block, centre area, on the east edge of block 9; top-down footprint: a small window slot on the east wall line.\n17 thin strip rectangular block, north-centre area, on the north edge of block 9; top-down footprint: a longer narrow window slot on the north wall line.\n18 thin strip rectangular block, placed on block 7, in its centre-west part, between block 2 and the rest of block 7; top-down footprint: a single narrow gate bar across the approach opening.\n19 thin strip rectangular block, south-centre area, on the north edge of block 7 (4 in a row); top-down footprint: four repeated small rectangular window slots in a straight row.\n20 tiny rectangular block, south-centre area, on the south edge of block 6 and opening to block 7; top-down footprint: a small doorway gap with a rectangular threshold.\n21 one flat tint rule only, to tell height levels apart, low to high: Ground -> block 10 run -> block 8 deck -> block 9 (darker = higher); non-structural rendering rule, no footprint."}
{"ts": "2026-07-06 14:20:11", "kind": "stage", "stage": "s20_numbered_bd", "done": "image"}
{"ts": "2026-07-06 14:21:26", "kind": "llm", "step": "s20_plan_rewrite", "model": "gpt", "dur_s": 73.2, "system_prompt": "You are given NUMBERED STRUCTURE lines written for a flat block\ndiagram (block-language shape clauses), ELEMENT DATA grounding each\nelement, and a PLACE DESCRIPTION (storeys / composition ground\ntruth).\nELEMENT DATA is physical-form grounding ONLY; if any of its lines\nstill carry narrative residue (events, actions, usage stories, story\nwording), ignore those parts entirely — a site plan concerns spatial\narrangement and structure, nothing else.\n\nReorganise and rewrite them as a SPATIALLY STRUCTURED description\nfor a REAL top-down architectural SITE PLAN — NOT a flat list. The\nreader must see the containment structure at a glance, like an\noutline:\n\n- FIRST line: the overall vertical build in one sentence — state\n  the building's storey count explicitly (from the PLACE\n  DESCRIPTION; estimate only if unstated), then what open level\n  sits on top of it, and what stands on that.\n- THEN one short section header line per space, ordered from the\n  ground up (ground level around the building -> the building mass\n  and its facade -> the open roof level -> what stands on that\n  roof -> the top unit and its openings -> surrounding context),\n  each followed by indented '- ' lines for the numbered elements\n  that belong INSIDE that space. Every element appears exactly\n  once, under the space that contains it.\n- every element line keeps its NUMBER and its spatial relations,\n  and carries a roof-plan shape clause (true footprint outline,\n  roof edges/parapets, tread runs, base rings, leaf-and-swing\n  openings...) grounded in its ELEMENT DATA — never invent beyond\n  it.\n- JUDGE the right drawing weight for each element by its role, the\n  way a real site plan does: the property's own elements read at\n  site-plan density, while surrounding context like neighbouring\n  buildings stays simple, brief and subdued.\n- FRAME-EDGE SIZE RULE: size words in the given lines measure only\n  what is VISIBLE inside the drawing frame. Surrounding context\n  sitting at the frame edge (per its position) is in reality a\n  FULL-SCALE building whose mass continues beyond the frame and is\n  CUT OFF by the drawing edge — DROP its given size words (thin/\n  small/medium) and rewrite it that way; it must never read as a\n  small or thin free-standing block inside the site.\n- apply the SPATIAL facts of any creator corrections present in the\n  data (attachments, added-on structures); keep materials out.\n- refer to elements by their numbers only — do not reintroduce\n  element names into the lines,\n- drawing shapes only — never materials, colours, condition, story.\nOutput: plan_structure_en = the structured text as an array of\nlines (header lines + indented element lines, in reading order).", "user_prompt": "NUMBERED STRUCTURE lines:\n1 south-centre area, full-scale broad linear surface continuing beyond the south drawing edge and cut off by the frame; top-down footprint: a wide uninterrupted horizontal band clipped by the bottom edge.\n2 thin strip rectangular block, centre-west area; top-down footprint: a long narrow vertical corridor strip linking block 1 toward block 7.\n3 full-scale rectangular plain simplified block, north-west area, continuing beyond the north and west drawing edges and cut off by the frame; top-down footprint: a simple neighbouring mass clipped at the frame edges.\n4 full-scale rectangular plain simplified block, north-centre area, continuing beyond the north drawing edge and cut off by the frame; top-down footprint: a broad neighbouring mass clipped by the top edge.\n5 full-scale rectangular plain simplified block, centre-east area, continuing beyond the east drawing edge and cut off by the frame; top-down footprint: a neighbouring side mass clipped by the right edge.\n6 large rectangular block, centre area; top-down footprint: a main enclosed rectangular building mass.\n7 thin strip rectangular block, south-centre area; top-down footprint: a small open rectangular forecourt strip between block 2, block 6, and block 10.\n8 large rectangular block, placed on block 6, in its centre part; top-down footprint: a flat rectangular deck outline occupying the roof plane.\n9 medium rectangular block, placed on block 8, in its centre part; top-down footprint: a smaller enclosed rectangular upper shell centred on the deck.\n10 thin strip rectangular block, south-east area, attached to the outside wall of block 6 as a separate added-on structure, connecting the ground level up to the deck level; top-down footprint: a narrow run of repeated open treads between two thin side lines with support-post dots and a rail line.\n11 thin strip rectangular block, placed on block 8, in its south-centre part; top-down footprint: a low straight parapet-like strip along the deck edge.\n12 tiny round block, placed on block 8, in its north-west part; top-down footprint: a small circle.\n13 tiny rectangular block, placed on block 8, in its south-west part; top-down footprint: a low simple rectangle.\n14 thin strip rectangular block, centre area, on the west edge of block 9; top-down footprint: a single taut line segment spanning beside the upper shell toward block 12.\n15 tiny rectangular block, centre area, on the south edge of block 9; top-down footprint: a small doorway rectangle cut into the south wall line.\n16 tiny rectangular block, centre area, on the east edge of block 9; top-down footprint: a small window slot on the east wall line.\n17 thin strip rectangular block, north-centre area, on the north edge of block 9; top-down footprint: a longer narrow window slot on the north wall line.\n18 thin strip rectangular block, placed on block 7, in its centre-west part, between block 2 and the rest of block 7; top-down footprint: a single narrow gate bar across the approach opening.\n19 thin strip rectangular block, south-centre area, on the north edge of block 7 (4 in a row); top-down footprint: four repeated small rectangular window slots in a straight row.\n20 tiny rectangular block, south-centre area, on the south edge of block 6 and opening to block 7; top-down footprint: a small doorway gap with a rectangular threshold.\n21 one flat tint rule only, to tell height levels apart, low to high: Ground -> block 10 run -> block 8 deck -> block 9 (darker = higher); non-structural rendering rule, no footprint.\n\nELEMENT DATA (name [kind]: physical form facts):\n- street road [kind road]: 하단에는 골목과 맞닿은 넓은 차량 도로가 놓여 있다.\n- narrow alley [kind alley]: 왼쪽에는 도로에서 빌라 입구까지 이어지는 좁은 세로 골목이 있다.\n- entry yard [kind yard]: 빌라 앞에는 골목과 계단 사이에 작은 마당이 있다.\n- villa mass [kind building_mass]: 중앙에는 옥탑방을 올린 낡은 다세대 빌라 매스가 있다.\n- roof terrace [kind terrace]: 본관 지붕 위에는 옥탑방과 물탱크가 놓인 시멘트 바닥의 옥상 테라스가 있다.\n- rooftop room [kind upper_shell]: 옥상 중앙에는 작은 옥탑 주거 공간의 외곽 매스가 놓여 있다.\n- concrete stair [kind stair]: 오른쪽 외벽에는 마당에서 옥상 현관 앞까지 이어지는 덧댄 철제 외부계단이 붙어 있다.\n- low wall [kind wall]: 옥상 테라스 가장자리에는 낮은 콘크리트 담이 둘러져 있다.\n- neighbor block [kind neighbor_mass]: 왼쪽에는 옥탑방 옆을 둘러싸는 낡은 이웃 건물 매스가 있다.\n- rear neighbor [kind neighbor_mass]: 상단에는 옥탑방 뒤쪽에 맞닿은 낡은 이웃 건물 매스가 있다.\n- side neighbor [kind neighbor_mass]: 오른쪽에는 계단 바깥쪽 골목을 좁히는 이웃 건물 매스가 있다.\n- water tank [kind fixture_round]: 옥상 왼쪽 뒤편에는 원형 물탱크가 놓여 있다.\n- low platform [kind fixture_rect]: 옥상 앞쪽에는 낮은 직사각형 평상이 놓여 있다.\n- laundry line [kind equipment]: 물탱크와 옥탑방 사이에는 얇은 빨랫줄이 가로질러 걸려 있다.\n- iron door [kind door]: 옥탑방 아래쪽 가장자리에는 계단 상부 랜딩을 향한 철문 현관이 있다.\n- living window [kind window]: 옥탑방 오른쪽 외벽에는 작은 거실 창이 있다.\n- bedroom window [kind window]: 옥탑방 위쪽 외벽에는 커튼이 달린 침실 창이 있다.\n- entry gate [kind gate]: 골목과 앞마당 사이에는 단일 빌라 입구 게이트가 있다.\n- facade windows [kind window]: 본관 앞마당 쪽 벽에는 전면 창 네 칸이 반복되어 있다.\n\nPLACE DESCRIPTION (storeys / composition ground truth):\nTHE PLACE (authored description — the content ground truth):\nBUILDING: The main building is an old multifamily villa block, drawn as an assumed three-storey body below the rooftop unit because the script only states an old villa with a rooftop room. Its mass is a plain rectangular concrete volume set behind an entry yard. The roof is flat and usable as a cement-surfaced terrace. The front facade facing the yard should show four repeated window bays per storey, matching the extracted layout’s inferred facade-window rhythm.\nTOP UNIT & DECK: The topmost enclosed unit is a small, old rooftop dwelling set on the flat terrace, drawn as a simple rectangular shell. Its boundary openings are one iron entrance door facing the stair landing, one small living-room window on a side wall, and one bedroom window on another wall. Around it, the open deck has a low concrete parapet or wall, a round water tank, a fixed laundry line, and a low platform on the cement surface.\nGROUNDS: At ground level, a street edge feeds a narrow alley along the left side, leading to a single entry gate and a small recessed yard at the villa entrance. Neighboring building masses close the rear and sides, making the approach compact. From the yard’s back corner, a later-added exterior steel stair is fixed to the outside wall, with open treads, thin stringers, support posts, and a pipe handrail, continuing up to the rooftop terrace and iron-door landing.\nTHE PLAN MUST SHOW: The finished top-down site plan should show a rectangular villa mass centered behind the yard, with its flat roof terrace visible as the primary upper surface. Place the rooftop room as a smaller rectangle on the terrace, with one door toward the stair landing and two windows on separate sides. Draw the left alley, entry gate, recessed yard, surrounding neighbor blocks, low roof wall, fixed rooftop fixtures, and the retrofitted steel stair as a separate exterior structure attached to the building wall.\n\nCREATOR CORRECTIONS:\n- CORRECTION (production owner): the exterior stair element is an ADDED-ON STEEL stair retrofitted later onto its building's outside wall — open treads, thin steel stringers and support posts, pipe handrail, visibly a separate later addition to the building. It is NOT concrete or cement; this supersedes any cement/concrete stair mention elsewhere in the data."}
{"ts": "2026-07-06 14:21:55", "kind": "img_error", "tag": "s20_numbered_plan_nb2", "attempt": 1, "error": "Gemini i2i API error 404: {\n  \"error\": {\n    \"code\": 404,\n    \"message\": \"Requested entity was not found.\",\n    \"status\": \"NOT_FOUND\"\n  }\n}\n"}
{"ts": "2026-07-06 14:22:24", "kind": "img_error", "tag": "s20_numbered_plan_nb2", "attempt": 2, "error": "Gemini i2i API error 404: {\n  \"error\": {\n    \"code\": 404,\n    \"message\": \"Requested entity was not found.\",\n    \"status\": \"NOT_FOUND\"\n  }\n}\n"}
{"ts": "2026-07-06 15:05:44", "kind": "llm", "step": "s20_plan_rewrite", "model": "gpt", "dur_s": 37.1, "system_prompt": "You are given NUMBERED STRUCTURE lines written for a flat block\ndiagram (block-language shape clauses), ELEMENT DATA grounding each\nelement, and a PLACE DESCRIPTION (storeys / composition ground\ntruth).\nELEMENT DATA is physical-form grounding ONLY; if any of its lines\nstill carry narrative residue (events, actions, usage stories, story\nwording), ignore those parts entirely — a site plan concerns spatial\narrangement and structure, nothing else.\n\nReorganise and rewrite them as a SPATIALLY STRUCTURED description\nfor a REAL top-down architectural SITE PLAN — NOT a flat list. The\nreader must see the containment structure at a glance, like an\noutline:\n\n- FIRST line: the overall vertical build in one sentence — state\n  the building's storey count explicitly (from the PLACE\n  DESCRIPTION; estimate only if unstated), then what open level\n  sits on top of it, and what stands on that.\n- THEN one short section header line per space, ordered from the\n  ground up (ground level around the building -> the building mass\n  and its facade -> the open roof level -> what stands on that\n  roof -> the top unit and its openings -> surrounding context),\n  each followed by indented '- ' lines for the numbered elements\n  that belong INSIDE that space. Every element appears exactly\n  once, under the space that contains it.\n- every element line keeps its NUMBER and its spatial relations,\n  and carries a roof-plan shape clause (true footprint outline,\n  roof edges/parapets, tread runs, base rings, leaf-and-swing\n  openings...) grounded in its ELEMENT DATA — never invent beyond\n  it.\n- JUDGE the right drawing weight for each element by its role, the\n  way a real site plan does: the property's own elements read at\n  site-plan density, while surrounding context like neighbouring\n  buildings stays simple, brief and subdued.\n- FRAME-EDGE SIZE RULE: size words in the given lines measure only\n  what is VISIBLE inside the drawing frame. Surrounding context\n  sitting at the frame edge (per its position) is in reality a\n  FULL-SCALE building whose mass continues beyond the frame and is\n  CUT OFF by the drawing edge — DROP its given size words (thin/\n  small/medium) and rewrite it that way; it must never read as a\n  small or thin free-standing block inside the site.\n- apply the SPATIAL facts of any creator corrections present in the\n  data (attachments, added-on structures); keep materials out.\n- refer to elements by their numbers only — do not reintroduce\n  element names into the lines,\n- drawing shapes only — never materials, colours, condition, story.\nOutput: plan_structure_en = the structured text as an array of\nlines (header lines + indented element lines, in reading order).", "user_prompt": "NUMBERED STRUCTURE lines:\n1 south-centre area, full-scale broad linear surface continuing beyond the south drawing edge and cut off by the frame; top-down footprint: a wide uninterrupted horizontal band clipped by the bottom edge.\n2 thin strip rectangular block, centre-west area; top-down footprint: a long narrow vertical corridor strip linking block 1 toward block 7.\n3 full-scale rectangular plain simplified block, north-west area, continuing beyond the north and west drawing edges and cut off by the frame; top-down footprint: a simple neighbouring mass clipped at the frame edges.\n4 full-scale rectangular plain simplified block, north-centre area, continuing beyond the north drawing edge and cut off by the frame; top-down footprint: a broad neighbouring mass clipped by the top edge.\n5 full-scale rectangular plain simplified block, centre-east area, continuing beyond the east drawing edge and cut off by the frame; top-down footprint: a neighbouring side mass clipped by the right edge.\n6 large rectangular block, centre area; top-down footprint: a main enclosed rectangular building mass.\n7 thin strip rectangular block, south-centre area; top-down footprint: a small open rectangular forecourt strip between block 2, block 6, and block 10.\n8 large rectangular block, placed on block 6, in its centre part; top-down footprint: a flat rectangular deck outline occupying the roof plane.\n9 medium rectangular block, placed on block 8, in its centre part; top-down footprint: a smaller enclosed rectangular upper shell centred on the deck.\n10 thin strip rectangular block, south-east area, attached to the outside wall of block 6 as a separate added-on structure, connecting the ground level up to the deck level; top-down footprint: a narrow run of repeated open treads between two thin side lines with support-post dots and a rail line.\n11 thin strip rectangular block, placed on block 8, in its south-centre part; top-down footprint: a low straight parapet-like strip along the deck edge.\n12 tiny round block, placed on block 8, in its north-west part; top-down footprint: a small circle.\n13 tiny rectangular block, placed on block 8, in its south-west part; top-down footprint: a low simple rectangle.\n14 thin strip rectangular block, centre area, on the west edge of block 9; top-down footprint: a single taut line segment spanning beside the upper shell toward block 12.\n15 tiny rectangular block, centre area, on the south edge of block 9; top-down footprint: a small doorway rectangle cut into the south wall line.\n16 tiny rectangular block, centre area, on the east edge of block 9; top-down footprint: a small window slot on the east wall line.\n17 thin strip rectangular block, north-centre area, on the north edge of block 9; top-down footprint: a longer narrow window slot on the north wall line.\n18 thin strip rectangular block, placed on block 7, in its centre-west part, between block 2 and the rest of block 7; top-down footprint: a single narrow gate bar across the approach opening.\n19 thin strip rectangular block, south-centre area, on the north edge of block 7 (4 in a row); top-down footprint: four repeated small rectangular window slots in a straight row.\n20 tiny rectangular block, south-centre area, on the south edge of block 6 and opening to block 7; top-down footprint: a small doorway gap with a rectangular threshold.\n21 one flat tint rule only, to tell height levels apart, low to high: Ground -> block 10 run -> block 8 deck -> block 9 (darker = higher); non-structural rendering rule, no footprint.\n\nELEMENT DATA (name [kind]: physical form facts):\n- street road [kind road]: 하단에는 골목과 맞닿은 넓은 차량 도로가 놓여 있다.\n- narrow alley [kind alley]: 왼쪽에는 도로에서 빌라 입구까지 이어지는 좁은 세로 골목이 있다.\n- entry yard [kind yard]: 빌라 앞에는 골목과 계단 사이에 작은 마당이 있다.\n- villa mass [kind building_mass]: 중앙에는 옥탑방을 올린 낡은 다세대 빌라 매스가 있다.\n- roof terrace [kind terrace]: 본관 지붕 위에는 옥탑방과 물탱크가 놓인 시멘트 바닥의 옥상 테라스가 있다.\n- rooftop room [kind upper_shell]: 옥상 중앙에는 작은 옥탑 주거 공간의 외곽 매스가 놓여 있다.\n- concrete stair [kind stair]: 오른쪽 외벽에는 마당에서 옥상 현관 앞까지 이어지는 덧댄 철제 외부계단이 붙어 있다.\n- low wall [kind wall]: 옥상 테라스 가장자리에는 낮은 콘크리트 담이 둘러져 있다.\n- neighbor block [kind neighbor_mass]: 왼쪽에는 옥탑방 옆을 둘러싸는 낡은 이웃 건물 매스가 있다.\n- rear neighbor [kind neighbor_mass]: 상단에는 옥탑방 뒤쪽에 맞닿은 낡은 이웃 건물 매스가 있다.\n- side neighbor [kind neighbor_mass]: 오른쪽에는 계단 바깥쪽 골목을 좁히는 이웃 건물 매스가 있다.\n- water tank [kind fixture_round]: 옥상 왼쪽 뒤편에는 원형 물탱크가 놓여 있다.\n- low platform [kind fixture_rect]: 옥상 앞쪽에는 낮은 직사각형 평상이 놓여 있다.\n- laundry line [kind equipment]: 물탱크와 옥탑방 사이에는 얇은 빨랫줄이 가로질러 걸려 있다.\n- iron door [kind door]: 옥탑방 아래쪽 가장자리에는 계단 상부 랜딩을 향한 철문 현관이 있다.\n- living window [kind window]: 옥탑방 오른쪽 외벽에는 작은 거실 창이 있다.\n- bedroom window [kind window]: 옥탑방 위쪽 외벽에는 커튼이 달린 침실 창이 있다.\n- entry gate [kind gate]: 골목과 앞마당 사이에는 단일 빌라 입구 게이트가 있다.\n- facade windows [kind window]: 본관 앞마당 쪽 벽에는 전면 창 네 칸이 반복되어 있다.\n\nPLACE DESCRIPTION (storeys / composition ground truth):\nTHE PLACE (authored description — the content ground truth):\nBUILDING: The main building is an old multifamily villa block, drawn as an assumed three-storey body below the rooftop unit because the script only states an old villa with a rooftop room. Its mass is a plain rectangular concrete volume set behind an entry yard. The roof is flat and usable as a cement-surfaced terrace. The front facade facing the yard should show four repeated window bays per storey, matching the extracted layout’s inferred facade-window rhythm.\nTOP UNIT & DECK: The topmost enclosed unit is a small, old rooftop dwelling set on the flat terrace, drawn as a simple rectangular shell. Its boundary openings are one iron entrance door facing the stair landing, one small living-room window on a side wall, and one bedroom window on another wall. Around it, the open deck has a low concrete parapet or wall, a round water tank, a fixed laundry line, and a low platform on the cement surface.\nGROUNDS: At ground level, a street edge feeds a narrow alley along the left side, leading to a single entry gate and a small recessed yard at the villa entrance. Neighboring building masses close the rear and sides, making the approach compact. From the yard’s back corner, a later-added exterior steel stair is fixed to the outside wall, with open treads, thin stringers, support posts, and a pipe handrail, continuing up to the rooftop terrace and iron-door landing.\nTHE PLAN MUST SHOW: The finished top-down site plan should show a rectangular villa mass centered behind the yard, with its flat roof terrace visible as the primary upper surface. Place the rooftop room as a smaller rectangle on the terrace, with one door toward the stair landing and two windows on separate sides. Draw the left alley, entry gate, recessed yard, surrounding neighbor blocks, low roof wall, fixed rooftop fixtures, and the retrofitted steel stair as a separate exterior structure attached to the building wall.\n\nCREATOR CORRECTIONS:\n- CORRECTION (production owner): the exterior stair element is an ADDED-ON STEEL stair retrofitted later onto its building's outside wall — open treads, thin steel stringers and support posts, pipe handrail, visibly a separate later addition to the building. It is NOT concrete or cement; this supersedes any cement/concrete stair mention elsewhere in the data."}
{"ts": "2026-07-06 15:06:02", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s20_numbered_plan_nb2", "refs": [], "ref_labels": [], "attempt": 1, "dur_s": 17.4, "bytes": 1929221, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/numbered_plan_nb2.png", "prompt": "Draw ONE strict TOP-DOWN 2D architectural SITE PLAN in the drafting\nlanguage of a clean floor plan — thin dark outlines, flat muted colour\nfills, detailed plan symbols (double-line walls, door leaf + swing arc,\nwindow frames set in walls, stair treads with stringers and landings,\nbase rings for round fixtures, paving joints, kerb lines). Height\nlevels appear only as flat fill tints (darker = higher). Flat\northographic plan view: NO 3D, NO axonometric, NO perspective, no\nshadows. Neutral document: no people, no story props, no vehicles, no\nposted papers, each element carries ONLY its assigned number, drawn once as a small\nplain dark numeral on (or beside) it; apart from these numerals no text,\nno letters, no words, no other markers, no legend, no compass. Never expose interior rooms or furniture of any enclosed\nunit — outer shell and boundary openings only.\n\nEXTERIOR ONLY: this is an OUTDOOR site plan seen from above — show\nonly the exterior: ground areas, building outer shells, roof-level\nsurfaces and outdoor fixtures. NEVER draw any interior room, inner\nwall, partition or furniture of any enclosed unit — every enclosed\nvolume stays sealed (outer walls and boundary openings only).\n\nSPATIALLY STRUCTURED SITE-PLAN CONTENT — vertical build first, then each space with the numbered elements it contains (draw each element's number as a small plain marker on it):\nOverall: a three-storey main building mass carries an open flat roof terrace, and a smaller enclosed rooftop unit stands on that terrace.\nGround level around the building\n- 1 south-centre ground edge: full-scale broad linear surface continuing beyond the south drawing edge and cut off by the frame; top-down footprint is a wide uninterrupted horizontal band clipped by the bottom edge.\n- 2 centre-west approach strip: long narrow vertical rectangular strip linking 1 toward 7; top-down footprint is a slim corridor-like run.\n- 7 south-centre recessed open strip between 2, 6, and 10; top-down footprint is a small open rectangle held in front of 6.\n- 18 centre-west on 7, between 2 and the rest of 7; top-down footprint is a single narrow gate bar crossing the approach opening.\n- 10 south-east exterior access attached to the outside wall of 6 as a separate added-on structure, connecting ground level at 7 up to deck level at 8; top-down footprint is a narrow run of repeated open treads between two thin side lines, with support-post dots and a rail line.\nMain building mass and front facade\n- 6 centre area: main enclosed rectangular building mass; top-down footprint is a large plain rectangle set behind 7.\n- 19 south-centre, on the north edge of 7 and aligned with the front wall of 6; top-down footprint is four repeated small rectangular window slots in a straight row.\n- 20 south-centre, on the south edge of 6 opening to 7; top-down footprint is a small doorway gap with a rectangular threshold.\nOpen roof level on the main mass\n- 8 placed on 6 in its centre part; top-down footprint is a flat rectangular deck outline occupying the roof plane of 6.\n- 11 placed on 8 in its south-centre part; top-down footprint is a low straight parapet-like strip along the deck edge.\n- 21 non-footprint level convention: distinguish the plan heights in order from ground, to 10, to 8, to 9; no footprint outline is drawn for this item.\nObjects standing on the open roof level\n- 12 placed on 8 in its north-west part; top-down footprint is a small circle.\n- 13 placed on 8 in its south-west part; top-down footprint is a low simple rectangle.\n- 14 centre area on the west edge of 9, spanning toward 12; top-down footprint is a single taut line segment beside the upper shell.\nTop enclosed unit and its openings\n- 9 placed on 8 in its centre part; top-down footprint is a smaller enclosed rectangular shell centred on the deck.\n- 15 centre area on the south edge of 9; top-down footprint is a small doorway rectangle cut into the south wall line, facing the landing from 10.\n- 16 centre area on the east edge of 9; top-down footprint is a small window slot on the east wall line.\n- 17 north-centre area on the north edge of 9; top-down footprint is a longer narrow window slot on the north wall line.\nSurrounding context at the drawing frame\n- 3 north-west context mass continuing beyond the north and west drawing edges and cut off by the frame; top-down footprint is a simple neighbouring rectangle clipped at the frame edges.\n- 4 north-centre context mass continuing beyond the north drawing edge and cut off by the frame; top-down footprint is a broad neighbouring rectangle clipped by the top edge.\n- 5 centre-east context mass continuing beyond the east drawing edge and cut off by the frame; top-down footprint is a neighbouring side rectangle clipped by the right edge."}
{"ts": "2026-07-06 15:07:51", "kind": "img", "engine": "gpt-image-2", "mode": "generate", "tag": "s20_numbered_plan_gpt", "refs": [], "size": "1536x864", "attempt": 1, "dur_s": 109.3, "bytes": 2315308, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/numbered_plan_gpt.png", "prompt": "Draw ONE strict TOP-DOWN 2D architectural SITE PLAN in the drafting\nlanguage of a clean floor plan — thin dark outlines, flat muted colour\nfills, detailed plan symbols (double-line walls, door leaf + swing arc,\nwindow frames set in walls, stair treads with stringers and landings,\nbase rings for round fixtures, paving joints, kerb lines). Height\nlevels appear only as flat fill tints (darker = higher). Flat\northographic plan view: NO 3D, NO axonometric, NO perspective, no\nshadows. Neutral document: no people, no story props, no vehicles, no\nposted papers, each element carries ONLY its assigned number, drawn once as a small\nplain dark numeral on (or beside) it; apart from these numerals no text,\nno letters, no words, no other markers, no legend, no compass. Never expose interior rooms or furniture of any enclosed\nunit — outer shell and boundary openings only.\n\nEXTERIOR ONLY: this is an OUTDOOR site plan seen from above — show\nonly the exterior: ground areas, building outer shells, roof-level\nsurfaces and outdoor fixtures. NEVER draw any interior room, inner\nwall, partition or furniture of any enclosed unit — every enclosed\nvolume stays sealed (outer walls and boundary openings only).\n\nSPATIALLY STRUCTURED SITE-PLAN CONTENT — vertical build first, then each space with the numbered elements it contains (draw each element's number as a small plain marker on it):\nOverall: a three-storey main building mass carries an open flat roof terrace, and a smaller enclosed rooftop unit stands on that terrace.\nGround level around the building\n- 1 south-centre ground edge: full-scale broad linear surface continuing beyond the south drawing edge and cut off by the frame; top-down footprint is a wide uninterrupted horizontal band clipped by the bottom edge.\n- 2 centre-west approach strip: long narrow vertical rectangular strip linking 1 toward 7; top-down footprint is a slim corridor-like run.\n- 7 south-centre recessed open strip between 2, 6, and 10; top-down footprint is a small open rectangle held in front of 6.\n- 18 centre-west on 7, between 2 and the rest of 7; top-down footprint is a single narrow gate bar crossing the approach opening.\n- 10 south-east exterior access attached to the outside wall of 6 as a separate added-on structure, connecting ground level at 7 up to deck level at 8; top-down footprint is a narrow run of repeated open treads between two thin side lines, with support-post dots and a rail line.\nMain building mass and front facade\n- 6 centre area: main enclosed rectangular building mass; top-down footprint is a large plain rectangle set behind 7.\n- 19 south-centre, on the north edge of 7 and aligned with the front wall of 6; top-down footprint is four repeated small rectangular window slots in a straight row.\n- 20 south-centre, on the south edge of 6 opening to 7; top-down footprint is a small doorway gap with a rectangular threshold.\nOpen roof level on the main mass\n- 8 placed on 6 in its centre part; top-down footprint is a flat rectangular deck outline occupying the roof plane of 6.\n- 11 placed on 8 in its south-centre part; top-down footprint is a low straight parapet-like strip along the deck edge.\n- 21 non-footprint level convention: distinguish the plan heights in order from ground, to 10, to 8, to 9; no footprint outline is drawn for this item.\nObjects standing on the open roof level\n- 12 placed on 8 in its north-west part; top-down footprint is a small circle.\n- 13 placed on 8 in its south-west part; top-down footprint is a low simple rectangle.\n- 14 centre area on the west edge of 9, spanning toward 12; top-down footprint is a single taut line segment beside the upper shell.\nTop enclosed unit and its openings\n- 9 placed on 8 in its centre part; top-down footprint is a smaller enclosed rectangular shell centred on the deck.\n- 15 centre area on the south edge of 9; top-down footprint is a small doorway rectangle cut into the south wall line, facing the landing from 10.\n- 16 centre area on the east edge of 9; top-down footprint is a small window slot on the east wall line.\n- 17 north-centre area on the north edge of 9; top-down footprint is a longer narrow window slot on the north wall line.\nSurrounding context at the drawing frame\n- 3 north-west context mass continuing beyond the north and west drawing edges and cut off by the frame; top-down footprint is a simple neighbouring rectangle clipped at the frame edges.\n- 4 north-centre context mass continuing beyond the north drawing edge and cut off by the frame; top-down footprint is a broad neighbouring rectangle clipped by the top edge.\n- 5 centre-east context mass continuing beyond the east drawing edge and cut off by the frame; top-down footprint is a neighbouring side rectangle clipped by the right edge."}
{"ts": "2026-07-06 15:07:51", "kind": "stage", "stage": "s20_numbered_bd", "done": "plan"}
{"ts": "2026-07-06 15:08:08", "kind": "llm", "step": "s20_plan_photo_author", "model": "gpt", "dur_s": 14.5, "system_prompt": "You write ONE image-generation prompt (English) for the final\nphotorealistic stage of a location pipeline. The image model will\nreceive your prompt plus ONE attached top-down architectural SITE\nPLAN drawing of a real property. Small numeral markers on it are\nannotations only.\n\nThe plan is the single source of truth for WHAT exists and WHERE.\nTherefore your prompt must NOT re-describe, list or count the\nlayout, its elements or their positions — beyond telling the model\nthe attached drawing is a plan to be translated into real built\nvolumes, and that its numerals, annotations, flat colours and\ngraphics must NEVER be reproduced in the image.\n\nYour prompt covers only what the plan cannot say:\n- the place must read as a REAL, LIVED-IN property — inhabited by\n  ordinary residents (weathering, everyday traces; decide the feel,\n  let the model improvise the specifics — do NOT enumerate a fixed\n  list of objects),\n- PRESENT VISUAL STATE ONLY: everything you write must be what a\n  camera would see standing there right now — colours, materials,\n  age, weathering, look-and-feel; you may add modest realistic\n  detail of that visual kind. NEVER narrate past or one-off events,\n  actions, apparitions or story moments the production data\n  mentions; keep only the ordinary visible present state such a\n  fact implies, or drop it,\n- unpeopled; no readable text or signage anywhere in the image,\n- nothing story-specific — only what any such real place would show,\n- true materials of the regional building type per the production\n  data below (the plan's flat drawing colours are NOT materials),\n- one believable camera (your choice) and ordinary neutral daylight,\n  documentary tone.\nWrite 90-160 words of direct imperative prose.\nA creator-correction block, when present, overrides any conflicting\nplace data.\nphoto_prompt_ko: the same prompt in Korean (for the human reviewer).", "user_prompt": "PLACE DATA (production members):\n- 인천 변두리 낡은 빌라 옥탑방 옥상·현관 앞 외부: 낡은 다세대 빌라 꼭대기에 위치한 야외 공간. 물탱크, 흔들리는 빨랫줄, 평상 위 약초 건조 흔적, 낡은 철문 현관이 있다. (특징: 낡은 시멘트 바닥; 물탱크; 바람에 날리는 빨랫줄; 평상과 널려 있는 말린 약초(석창포); 전단지가 끼워진 철문 현관)\n- 옥탑방 내부: 작은 창문으로 빛이 들어오는 낡은 주거 공간. 싱크대, 식탁, TV가 있는 거실과 침대, 커튼, 거울 등이 있는 방/욕실로 구성된다. 약초 끓이는 냄비 등 생활 소품이 있으며, 간헐적으로 벽면에 붉은 원 형태의 환영과 핏자국이 생겨난다. (특징: 작은 창문의 햇살; 싱크대와 약초(석창포); 가스레인지 위 끓는 냄비와 수증기; 거실 TV와 스탠드; 침대, 커튼, 거울; 벽과 거울 표면에 나타나는 붉은 원 환영; 바닥과 벽의 핏자국 (특정 시점); 어지럽혀진 가재도구 (특정 시점))\n- 옥탑방 외곽 골목·시멘트 계단: 다세대 빌라 마당의 후미진 구석과 옥탑방으로 올라가는 가파르고 낡은 시멘트 계단. (특징: 다세대 빌라 입구 마당; 후미진 구석 공간; 낡고 가파른 시멘트 계단)\n\nCREATOR CORRECTIONS (override any conflicting place data):\n- CORRECTION (production owner): the exterior stair element is an ADDED-ON STEEL stair retrofitted later onto its building's outside wall — open treads, thin steel stringers and support posts, pipe handrail, visibly a separate later addition to the building. It is NOT concrete or cement; this supersedes any cement/concrete stair mention elsewhere in the data.\n\nREAL-WORLD APPEARANCE (production owner):\nREAL-WORLD APPEARANCE (production owner): render the property as a REAL, EXISTING aged multi-family villa with a rooftop dwelling of the exact regional type the production data describes — the way such buildings actually look there: typical vernacular materials and construction (e.g. aged red-brick or exterior tile cladding on the body, cement mouldings and sills, weathered stucco patches, grime streaks under the parapet, a rusty steel retrofit stair), varied and lived-in. Do NOT render a uniform cement-gray mass, and NEVER copy the site plan's flat drawing colours as building materials."}
{"ts": "2026-07-06 15:10:57", "kind": "img", "engine": "gpt-image-2", "mode": "edit", "tag": "s20_plan_photo_gpt", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/numbered_plan_gpt.png"], "size": "1536x864", "attempt": 1, "dur_s": 169.4, "bytes": 2428537, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/plan_photo_gpt.png", "prompt": "Use the attached top-down architectural site plan as the sole source for footprints, proportions, placement, circulation, and relationships; translate it into real built volumes without copying any numerals, annotations, flat colours, symbols, or graphic linework. Render a real, lived-in aged multi-family villa rooftop dwelling on the outskirts of Incheon, with regionally typical red brick or exterior tile cladding, cement trim and sills, patched stucco, grime below parapets, worn waterproofed roof surfaces, rust, peeling paint, and ordinary resident wear. If an exterior stair is shown, make it a later-added steel retrofit: open treads, thin steel stringers and posts, pipe handrail, visibly separate from the building, not concrete. Let modest everyday traces appear naturally, but no people, readable text, signage, blood, apparitions, or staged story details. Use a single eye-level documentary camera in neutral daylight, photorealistic, unglamorous, believable."}
{"ts": "2026-07-06 15:11:18", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s20_plan_photo_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/numbered_plan_gpt.png"], "ref_labels": ["SITE PLAN (spatial ground truth) — translate to real photographic volumes; its numerals are annotations, never draw them; never copy its drawing style or flat colours; no text anywhere."], "attempt": 1, "dur_s": 20.6, "bytes": 3540060, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/plan_photo_nb2.png", "prompt": "Use the attached top-down architectural site plan as the sole source for footprints, proportions, placement, circulation, and relationships; translate it into real built volumes without copying any numerals, annotations, flat colours, symbols, or graphic linework. Render a real, lived-in aged multi-family villa rooftop dwelling on the outskirts of Incheon, with regionally typical red brick or exterior tile cladding, cement trim and sills, patched stucco, grime below parapets, worn waterproofed roof surfaces, rust, peeling paint, and ordinary resident wear. If an exterior stair is shown, make it a later-added steel retrofit: open treads, thin steel stringers and posts, pipe handrail, visibly separate from the building, not concrete. Let modest everyday traces appear naturally, but no people, readable text, signage, blood, apparitions, or staged story details. Use a single eye-level documentary camera in neutral daylight, photorealistic, unglamorous, believable."}
{"ts": "2026-07-06 15:11:18", "kind": "stage", "stage": "s20_numbered_bd", "done": "planphoto"}
{"ts": "2026-07-06 15:11:43", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s20_plan_sketch_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/numbered_plan_gpt.png"], "ref_labels": ["TOP-DOWN BLOCK REFERENCE (what exists + plan arrangement; numerals are annotations — draw none of them; flat colours encode height layers only)."], "attempt": 1, "dur_s": 23.1, "bytes": 1375694, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/plan_sketch_nb2.png", "prompt": "The FIRST attached image is a top-down SITE-PLAN REFERENCE of the\nsame property: use it only for WHAT exists and WHERE things sit in\nplan. Its numerals are annotations — never draw them. The height\nlayer order is given below — translate those levels into clearly\nvisible built heights.\n\nTHE PLACE (authored description — the content ground truth):\nBUILDING: The main building is an old multifamily villa block, drawn as an assumed three-storey body below the rooftop unit because the script only states an old villa with a rooftop room. Its mass is a plain rectangular concrete volume set behind an entry yard. The roof is flat and usable as a cement-surfaced terrace. The front facade facing the yard should show four repeated window bays per storey, matching the extracted layout’s inferred facade-window rhythm.\nTOP UNIT & DECK: The topmost enclosed unit is a small, old rooftop dwelling set on the flat terrace, drawn as a simple rectangular shell. Its boundary openings are one iron entrance door facing the stair landing, one small living-room window on a side wall, and one bedroom window on another wall. Around it, the open deck has a low concrete parapet or wall, a round water tank, a fixed laundry line, and a low platform on the cement surface.\nGROUNDS: At ground level, a street edge feeds a narrow alley along the left side, leading to a single entry gate and a small recessed yard at the villa entrance. Neighboring building masses close the rear and sides, making the approach compact. From the yard’s back corner, a later-added exterior steel stair is fixed to the outside wall, with open treads, thin stringers, support posts, and a pipe handrail, continuing up to the rooftop terrace and iron-door landing.\nTHE PLAN MUST SHOW: The finished top-down site plan should show a rectangular villa mass centered behind the yard, with its flat roof terrace visible as the primary upper surface. Place the rooftop room as a smaller rectangle on the terrace, with one door toward the stair landing and two windows on separate sides. Draw the left alley, entry gate, recessed yard, surrounding neighbor blocks, low roof wall, fixed rooftop fixtures, and the retrofitted steel stair as a separate exterior structure attached to the building wall.\n\nHEIGHT LAYERS (low to high): Ground (h=0) -> Stair run (h=1.5) -> Roof deck (h=3) -> Rooftop room (h=4)\n\nDraw ONE SIMPLE LINE SKETCH of the property's structure — clean thin\ndark lines on plain white, like a quick architect's massing sketch.\nViewpoint: slightly elevated three-quarter oblique view (tilted about\n30 degrees down from vertical) so RELATIVE HEIGHTS read clearly —\nwhich volume rises above which, how many storeys the building has,\nwhat sits on top of what, and how the stair climbs between levels.\nLINES ONLY: no colours, no fills, no shading, no materials, no\ntexture, no photorealism.\nSIMPLE: massing outlines, level edges and openings only — no\ndrafting detail, no double-line walls, no furniture, never any\ninterior of enclosed units.\nNo text, letters, numbers, labels, markers, legend or compass.\nNo people, no props, no vehicles."}
{"ts": "2026-07-06 15:13:26", "kind": "img", "engine": "gpt-image-2", "mode": "edit", "tag": "s20_plan_sketch_gpt", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/numbered_plan_gpt.png"], "size": "1536x864", "attempt": 1, "dur_s": 103.4, "bytes": 1247512, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/plan_sketch_gpt.png", "prompt": "The FIRST attached image is a top-down SITE-PLAN REFERENCE of the\nsame property: use it only for WHAT exists and WHERE things sit in\nplan. Its numerals are annotations — never draw them. The height\nlayer order is given below — translate those levels into clearly\nvisible built heights.\n\nTHE PLACE (authored description — the content ground truth):\nBUILDING: The main building is an old multifamily villa block, drawn as an assumed three-storey body below the rooftop unit because the script only states an old villa with a rooftop room. Its mass is a plain rectangular concrete volume set behind an entry yard. The roof is flat and usable as a cement-surfaced terrace. The front facade facing the yard should show four repeated window bays per storey, matching the extracted layout’s inferred facade-window rhythm.\nTOP UNIT & DECK: The topmost enclosed unit is a small, old rooftop dwelling set on the flat terrace, drawn as a simple rectangular shell. Its boundary openings are one iron entrance door facing the stair landing, one small living-room window on a side wall, and one bedroom window on another wall. Around it, the open deck has a low concrete parapet or wall, a round water tank, a fixed laundry line, and a low platform on the cement surface.\nGROUNDS: At ground level, a street edge feeds a narrow alley along the left side, leading to a single entry gate and a small recessed yard at the villa entrance. Neighboring building masses close the rear and sides, making the approach compact. From the yard’s back corner, a later-added exterior steel stair is fixed to the outside wall, with open treads, thin stringers, support posts, and a pipe handrail, continuing up to the rooftop terrace and iron-door landing.\nTHE PLAN MUST SHOW: The finished top-down site plan should show a rectangular villa mass centered behind the yard, with its flat roof terrace visible as the primary upper surface. Place the rooftop room as a smaller rectangle on the terrace, with one door toward the stair landing and two windows on separate sides. Draw the left alley, entry gate, recessed yard, surrounding neighbor blocks, low roof wall, fixed rooftop fixtures, and the retrofitted steel stair as a separate exterior structure attached to the building wall.\n\nHEIGHT LAYERS (low to high): Ground (h=0) -> Stair run (h=1.5) -> Roof deck (h=3) -> Rooftop room (h=4)\n\nDraw ONE SIMPLE LINE SKETCH of the property's structure — clean thin\ndark lines on plain white, like a quick architect's massing sketch.\nViewpoint: slightly elevated three-quarter oblique view (tilted about\n30 degrees down from vertical) so RELATIVE HEIGHTS read clearly —\nwhich volume rises above which, how many storeys the building has,\nwhat sits on top of what, and how the stair climbs between levels.\nLINES ONLY: no colours, no fills, no shading, no materials, no\ntexture, no photorealism.\nSIMPLE: massing outlines, level edges and openings only — no\ndrafting detail, no double-line walls, no furniture, never any\ninterior of enclosed units.\nNo text, letters, numbers, labels, markers, legend or compass.\nNo people, no props, no vehicles."}
{"ts": "2026-07-06 15:13:26", "kind": "stage", "stage": "s20_numbered_bd", "done": "plansketch"}
{"ts": "2026-07-06 15:14:00", "kind": "llm", "step": "s20_plansketch_photo_author", "model": "gpt", "dur_s": 31.2, "system_prompt": "You write ONE image-generation prompt (English) for the final\nphotorealistic stage of a location pipeline. The image model will\nreceive your prompt plus ONE attached simple line-art STRUCTURE\nSKETCH of a real property, drawn from a slightly elevated oblique\nview so relative heights, storeys and levels read clearly.\n\nThe sketch is the single source of truth for WHAT is built, WHERE it\nsits and HOW HIGH everything is — never re-describe, list or count\nthat. But the final image must NOT look like the sketch merely\nphotographed: it is a standing FILM LOCATION — a complete, real,\ninhabited place between scenes.\n\nStudy the FULL ORIGINAL SCENE TEXTS below to understand who lives\nhere and how they live. From that understanding, ADD to your prompt\nthe incidental, everyday side-elements such a life would leave\naround this place — your own judgement, grounded in the scenes; we\ngive you no fixed list. Exclude anything that belongs to a specific\nscene's one-off events: no characters, no dramatic or horror props,\nno story moments — only the everyday standing state of the place.\n\nAlso cover:\n- PRESENT VISUAL STATE ONLY: everything you write must be what a\n  camera would see standing there right now — colours, materials,\n  age, weathering, look-and-feel; you may add modest realistic\n  detail of that visual kind. NEVER narrate past or one-off events,\n  actions, apparitions or story moments the production data\n  mentions; keep only the ordinary visible present state such a\n  fact implies, or drop it,\n- unpeopled; no readable text or signage anywhere in the image,\n- true materials of the regional building type per the production\n  data (the sketch's bare lines carry NO material information),\n- one believable camera (your choice) and ordinary neutral daylight,\n  documentary tone.\nWrite 120-220 words of direct imperative prose.\nA creator-correction block, when present, overrides any conflicting\nplace data.\nphoto_prompt_ko: the same prompt in Korean (for the human reviewer).", "user_prompt": "PLACE DATA (production members):\n- 인천 변두리 낡은 빌라 옥탑방 옥상·현관 앞 외부: 낡은 다세대 빌라 꼭대기에 위치한 야외 공간. 물탱크, 흔들리는 빨랫줄, 평상 위 약초 건조 흔적, 낡은 철문 현관이 있다. (특징: 낡은 시멘트 바닥; 물탱크; 바람에 날리는 빨랫줄; 평상과 널려 있는 말린 약초(석창포); 전단지가 끼워진 철문 현관)\n- 옥탑방 내부: 작은 창문으로 빛이 들어오는 낡은 주거 공간. 싱크대, 식탁, TV가 있는 거실과 침대, 커튼, 거울 등이 있는 방/욕실로 구성된다. 약초 끓이는 냄비 등 생활 소품이 있으며, 간헐적으로 벽면에 붉은 원 형태의 환영과 핏자국이 생겨난다. (특징: 작은 창문의 햇살; 싱크대와 약초(석창포); 가스레인지 위 끓는 냄비와 수증기; 거실 TV와 스탠드; 침대, 커튼, 거울; 벽과 거울 표면에 나타나는 붉은 원 환영; 바닥과 벽의 핏자국 (특정 시점); 어지럽혀진 가재도구 (특정 시점))\n- 옥탑방 외곽 골목·시멘트 계단: 다세대 빌라 마당의 후미진 구석과 옥탑방으로 올라가는 가파르고 낡은 시멘트 계단. (특징: 다세대 빌라 입구 마당; 후미진 구석 공간; 낡고 가파른 시멘트 계단)\n\nCREATOR CORRECTIONS (override any conflicting place data):\n- CORRECTION (production owner): the exterior stair element is an ADDED-ON STEEL stair retrofitted later onto its building's outside wall — open treads, thin steel stringers and support posts, pipe handrail, visibly a separate later addition to the building. It is NOT concrete or cement; this supersedes any cement/concrete stair mention elsewhere in the data.\n\nREAL-WORLD APPEARANCE (production owner):\nREAL-WORLD APPEARANCE (production owner): render the property as a REAL, EXISTING aged multi-family villa with a rooftop dwelling of the exact regional type the production data describes — the way such buildings actually look there: typical vernacular materials and construction (e.g. aged red-brick or exterior tile cladding on the body, cement mouldings and sills, weathered stucco patches, grime streaks under the parapet, a rusty steel retrofit stair), varied and lived-in. Do NOT render a uniform cement-gray mass, and NEVER copy the site plan's flat drawing colours as building materials.\n\nFULL ORIGINAL SCENE TEXTS (every scene at this place):\n\n=== SCENE 4 FULL TEXT ===\nS#4. 옥탑방 / D\n인천 변두리 부감, 오래된 빌라 옥탑방 전경.\n기자(E)\n지역 주민들 사이에 횡행한 소문이 돌고 있지만, 경찰은 범인의 윤곽조차 잡지 못하고 있어 지역주민들의 불안과 두려움을 더 키우는 모양새입니다.\n\n\n\n=== SCENE 5 FULL TEXT ===\nS#5. 옥탑방 안 / 실내\n거실에 난 작은 창으로 햇살에 가늘게 비친다. 싱크대 수도꼭지에 흐르는 물, 씻다 만 약초(석창포). 냄비의 물이 끓어 달그락거리는 소리… 김이 피어오르고. 앞치마를 두른 채 TV 뉴스를 뚫어지게 바라보는 민숙(수리영 엄마. 40세) 표정이 어둡다. (뉴스멘트는 작아졌다 커졌다 반복하면서 여기까지 이어진다)\n딸, 수리영(21. 애완동물미용학과 2년)이 방문을 열고 기지개를 켜며 나오자 후다닥 TV를 끄는 민숙. 다정한 말투로\n수리영\n(심드렁) 뭐~야. 사건 났어? 뭔데.\n민숙\n아냐.\n수리영\n(식탁에 앉으며) 이모 또 야근하겠네. 조그만 도시에 왠 사건이 이렇게 많아. 바다가 가까워서 그런가.\n민숙\n신경 꺼. (석창포 달인 물을 따라주면서) 마셔. 방학인데 왜 더 자지않고.\n수리영\n(마시고 나서) 아, 진짜 맛 없어...(투정) 나 알바 있어, 엄마. 원장님이 하루만 봐 달래.\n(cut to.)\n가벼운 차림새. 수리영 신발을 신으며\n수리영\n엄마는 오늘 안 나가?\n민숙\n이따가 1시 타임.\n수리영\n(엄마의 냄새를 맡으며) 아, 좋다. 끝나고 마트로 갈게. 모처럼 밖에서 저녁먹자 엄마.\n민숙\n응 (미소)\n힐끗, 민숙 손목에 보이는 작은 원(이하 표식)을 본다. 오늘따라 유난히 또렷해 보이지만 워낙 어릴 적부터 봐온 터라 개의치 않는.\n\n\n\n=== SCENE 10 FULL TEXT ===\nS#10. 옥탑방 / N\n그 시각. 옥탑방 옥상. 물탱크. 바람에 빨랫줄이 툭- 툭- 평상에 놓인 말린 석창포가 바람에 날리는데... 말린 잎이 걸어오는 낯선 남자의 신발 위를 스친다. 남자의 긴 그림자. (얼굴은 보이지 않는다)\n신발은 옥탑방 철문 현관 앞에 멈춰 선다. 문틈에 낀 광고 전단지. 전단지를 뽑아서 손가락으로 문틈에 꾹 밀어 넣는다. ‘철컥’ 하고 잠금 새가 풀리는 소리. 문이 미세하게 열리고 안으로 들어가는 남자.\n창문에 비친 그림자. 민숙을 덮쳐 어깨를 물어뜯는 듯한 모습 ‘아악-’\n\n\n\n=== SCENE 11 FULL TEXT ===\nS#11. 옥탑 방 밖 / N\n자전거를 타고 골목길을 달리는 수리영. 다세대 빌라 문을 열고 들어와 마당 후미진 곳에 자전거를 대충 세우고, 옥탑방과 연결되는 계단을 급히 오른다.\n갑자기 훅- 느껴지는 역겨운 냄새. 뭐지? 옥상에 올라와 보니 반쯤 열린 현관 철문.\n\n\n\n=== SCENE 12 FULL TEXT ===\nS#12. 옥탑방 안 / N\n/거실\n‘엄마?’를 부르며 들어오는 수리영, 끓다 식은 냄비. 켜져 있는 TV. 희미한 거실 스탠드 불빛,\n/민숙 방\n안방 문을 여는데... 없다. 거실 식탁에 놓여있는 찻잔 두 개. 하나는 엎어져있다.\n/수리영 방\n마지막으로 자기 방문을 연다 헉!- 여기저기 핏자국. 바닥에 흥건한 혈흔. 피묻은 발자국은 커튼으로 이어져 있다 호흡을 가다듬고 커튼을 젖히자 앉은 채로 고개를 떨군 채 죽어있는 엄마- 민숙!!!!\n수리영\n(달려가) 어어어어----엄마\n충격에 온 몸이 얼어붙은 수리영, 살점이 뜯긴 어깨와 쇄골, 마치 동물에게 물어뜯긴 듯한 거친 상처가 고스란히 드러나있다. 덜렁거리는 살점과 뜯겨진 부위에 흘러내리는 피.\n수리영\n(놀라 뒤로 주춤) 어-어-어- 엄마….\n부들부들 떨며 핸드폰을 누른다. 2번 혜수이모\n수리영\n받아, 이모. 받아….\n혜수(E)\n영아, 영아, 왜?\n답은 안 나오고… 엄마 손안에 구겨진 사진 한 장이 보인다. 다가가 사진을 꺼내는데 엄마 손목에 있던 문신이 붉은색으로 변한다. 헉! 호흡이 빨라지고... 침대 위 벽에 붉은 원이 생겨난다 (마치 누군가 붓으로 벽에 원으로 그리는 것처럼). 소름끼치는 으아악---!\n\n\n\n=== SCENE 13 FULL TEXT ===\nS#13. 옥탑방 외곽 / N\n비명을 지르며 옥탑방을 빠져나오는 수리영, 허겁지겁 계단을 내려간다. 동시에 사이렌이 울리고~. (포즈)\n차에서 내린 혜수(40대 중반, 여자, 경위) 초점을 잃고 멍하니 서있는 수리영의 모습을 발견하고 달려간다.\n혜수\n영아? 왜! 무슨 일이야?\n수리영\n(올라다보며) 엄마가, 엄마가... 죽어있어.\n혜수\n(놀라) 뭐?!\n옥탑 방으로 뛰어 올라가는 혜수와 후배 형사(30대 남/ 이하 김형사)\n\n\n\n=== SCENE 14 FULL TEXT ===\nS#14. 옥탑방 안 / N\n/현관\n집안 여기저기를 확인하면서 나오는 형사와 혜수\n김형사\n(허탈한 표정) 없는데.. 아무 것도.\n혜수\n(뒤따라온 수리영에게) 영아, 없어. 뭘 봤는데...?\n어? 수리영, 부리나케 방 안으로 뛰어 들어간다.\n/수리영 방 안\n지나칠 정도로 깨끗하게 정돈된 방안. 핏자국도 보이지 않고, 침대 위에 붉은 표식은 물론 커튼 뒤의 시신도 감쪽 같이 사라졌다. 얼굴이 파리해지는 수리영. ‘어----?’ ‘분명히 봤는데...’\n뛰쳐나가 식탁으로 가본다. 식탁 역시 깨끗한.\n수리영\n여기 찻잔도 두 개 있었고...\n김형사\n(답답) 허 참! 죽은 사람이 발이 달렸을 리도 없고. 쯧쯧 그러게 살인사건은 자세하게 보도하면 안 된다구요...(궁시렁) 이봐요. 학생? 장난전화 하면 안 되는 거 몰라? (짜증) 안 그래도 살인사건으로 난리도 아닌데...\n혜수\n(김형사 째리고) 김형사. 먼저 가 있어. (김형사 나가면) (수리영 어깨를 어루만지며) 영아.\n수리영\n엄마(시신), 어디갔을까? 분명히 봤는데...\n혜수\n네가 요즘 과로했잖아. 공부에다 알바까지... 악몽을 꾼 걸 수도 있으니... 바람이나 쐬러 가자.\n수리영 방안에 놓여진 백팩, 인형. 약간씩 위치가 달라진. (시신을 발견했을 때와 다른)\n\n\n\n=== SCENE 17 FULL TEXT ===\nS#17. 옥탑방 / 동틀무렵\n새벽녘, 고양이 울음소리. 검은 고양이가 불이 켜져 있는 옥탑 방을 슬쩍 보더니 담을 넘는다\n\n\n\n=== SCENE 18 FULL TEXT ===\nS#18. 안방 안 / D\n침대에 머리를 대고 앉아있는 수리영, 밤새 엄마를 기다리다 깜박 졸았다 고양이 울음소리에 번쩍 눈을 뜨고, ‘엄마? ’혹시나 해서 집안을 살피지만 아무런 인기척도 보이지 않는다\n/수리영 방안\n닫혀있는 자신의 방을 바라본다. [F.B: 1부12씬] 커튼 뒤에 죽어있던 엄마. 상처. 혈흔 크게 심호흡하고 조심스럽게 문을 연다. 지나치리만큼 깨끗하게 정돈된 방안. 창문에 다가가 커튼을 확 열어젖힌다. 시신은 없다. 한숨 후~ 다행이긴 한데. 그때, 울리는 폰 벨소리, 화들짝 놀라는 수리영. 달려가 받자마자\n수리영\n엄마?\n혜수(E)\n아직이니?\n수리영\n응. 아무래도 이상해. 이럴 리가 없잖아! 우리 엄마가. 이모, 사고 난 게 분명해\n혜수(E)\n실종신고 냈어. 이모가 엄마 폰 위치추적하고 있으니까 조금만 기다려 별일 없을 거야. 알았지?\n수리영\n응.\n무작정 기다리는게 불안한 수리영, 인형이 달린 자신의 백팩을 꺼내 나온다\n/욕실 안\n얼굴을 씻고 거울을 보며\n수리영\n엄마, 도대체 어딨는 거야...\n거울에 비친 욕실 벽에 갑자기 또 발생하는 붉은 원. 호흡이 가빠지고... 훅 고개를 돌려 벽을 보는 수리영 거짓말처럼 사라지고 없다. 거실로 튀어나와 물 한컵 마시고 식탁에 놓인 엄마와 수리영의 사진을 보는데... 환하게 웃는 엄마 얼굴이 뭉개져 흘러내린다\n수리영\n아아악~~~ (다시보니 멀쩡하다) 나 왜 이러는 거지. (자신의 뺨을 치며) 정신 차려 수리영!\n\n\n\n=== SCENE 25 FULL TEXT ===\nS#25. 옥탑방 안 / 해질 무렵\n누군가 다녀간 흔적으로 보이는 발자국들. 다시 호흡이 가빠지는 수리영. 집안에서 뭔가를 찾기 위해 가재도구를 온통 헤집은 것으로 보인다. 거실에 난 창은 열려있고, 식탁 의자들을 쓰러져있다.\n/수리영 방\n열린 자신의 방을 힐끗 보는데 벽에 또 붉은 원이 그려져있다. 그 가운데 꽂혀있는 피묻은 사진 한 장! 사진을 떼어서 자세히 본다. 어? 그 사진!!!\n[F.B: 1부 12씬] 죽은 엄마의 손에 구겨져있던 바로 그 사진이다. 7-80년대 쯤 보이는 시골 식당과 지붕위에 둥근 원이 설치된 (마치 십자가처럼) 식당 앞에는 어린 여자애 둘(12살)이 앉아있다. 그중에 한 아이는 분명히 어릴 적 엄마다.\n침대에 털썩 주저앉는 수리영. 연속해서 벌어지는 기이한 상황에 정신이 혼미한 엉망이 된 집 안을 한번 획 둘러보는 수리영, 마치 이끌리듯 백팩을 메고 밖으로 나간다. 사진을 손에 꼭 쥔 채.\n\n\n\n=== SCENE 27 FULL TEXT ===\nS#27. 옥탑방 안 / 해질 무렵\n수리영의 녹음메시지를 확인하는 혜수,\n혜수\n너 봤니..본 거니... (김형사에게) 좌표를 보지않았을까?\n김형사\n그럴리가요. (혀를 끌끌 차며) 아이구 쯧쯧. 설사 본들 망망대해에서 뭘 어쩌겠어요. 돌아오겠죠.\n덜커덩 덜커덩. 바람에 현관문 소리. 황량하다.\n\n"}
{"ts": "2026-07-06 15:15:54", "kind": "img", "engine": "gpt-image-2", "mode": "edit", "tag": "s20_plansketch_photo_gpt", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/plan_sketch_gpt.png"], "size": "1536x864", "attempt": 1, "dur_s": 114.6, "bytes": 2825120, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/plansketch_photo_gpt.png", "prompt": "Use the attached line-art structure sketch as the exact source of truth for the property’s layout, elevations, roof levels, stair placement and all built volumes; do not invent or remove architecture. Render it as a real aged multi-family villa on the outskirts of Incheon, not a grey model: weathered red brick and small exterior tile cladding, patched stucco, cement sills and mouldings, dark grime streaks below parapets, rust stains, peeling paint and damp discoloration. Make the added exterior stair a visibly later retrofit in rusty steel, with open treads, thin stringers, support posts and a pipe handrail. Dress the rooftop dwelling as lived-in between scenes: black plastic water tank, sagging clotheslines with clips and a few plain garments, worn wooden drying platform with scattered dried seokchangpo herbs, plastic basins, buckets, coiled hose, cheap planters, old slippers, taped utility cables, a small gas cylinder, and an aged iron entrance door with blank unreadable flyers wedged at the seam. Include a neglected ground-level corner with a parked bicycle and household clutter if visible in the sketch. Keep it unpeopled, no readable text, no blood, no supernatural marks. Shoot documentary photorealism from a slightly elevated oblique camera in neutral daylight, natural colors, 35mm lens, deep focus."}
{"ts": "2026-07-06 15:16:14", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s20_plansketch_photo_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/plan_sketch_gpt.png"], "ref_labels": ["STRUCTURE SKETCH (spatial + height ground truth) — translate its volumes, levels and storeys into real photographic construction; never copy its line style; no text anywhere."], "attempt": 1, "dur_s": 19.8, "bytes": 3914930, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/plansketch_photo_nb2.png", "prompt": "Use the attached line-art structure sketch as the exact source of truth for the property’s layout, elevations, roof levels, stair placement and all built volumes; do not invent or remove architecture. Render it as a real aged multi-family villa on the outskirts of Incheon, not a grey model: weathered red brick and small exterior tile cladding, patched stucco, cement sills and mouldings, dark grime streaks below parapets, rust stains, peeling paint and damp discoloration. Make the added exterior stair a visibly later retrofit in rusty steel, with open treads, thin stringers, support posts and a pipe handrail. Dress the rooftop dwelling as lived-in between scenes: black plastic water tank, sagging clotheslines with clips and a few plain garments, worn wooden drying platform with scattered dried seokchangpo herbs, plastic basins, buckets, coiled hose, cheap planters, old slippers, taped utility cables, a small gas cylinder, and an aged iron entrance door with blank unreadable flyers wedged at the seam. Include a neglected ground-level corner with a parked bicycle and household clutter if visible in the sketch. Keep it unpeopled, no readable text, no blood, no supernatural marks. Shoot documentary photorealism from a slightly elevated oblique camera in neutral daylight, natural colors, 35mm lens, deep focus."}
{"ts": "2026-07-06 15:16:14", "kind": "stage", "stage": "s20_numbered_bd", "done": "plansketchphoto"}
{"ts": "2026-07-06 16:13:48", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s20_plan_sketch_nb2src_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/numbered_plan_nb2.png"], "ref_labels": ["TOP-DOWN BLOCK REFERENCE (what exists + plan arrangement; numerals are annotations — draw none of them; flat colours encode height layers only)."], "attempt": 1, "dur_s": 19.4, "bytes": 1562528, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/plan_sketch_nb2src_nb2.png", "prompt": "The FIRST attached image is a top-down SITE-PLAN REFERENCE of the\nsame property: use it only for WHAT exists and WHERE things sit in\nplan. Its numerals are annotations — never draw them. The height\nlayer order is given below — translate those levels into clearly\nvisible built heights.\n\nTHE PLACE (authored description — the content ground truth):\nBUILDING: The main building is an old multifamily villa block, drawn as an assumed three-storey body below the rooftop unit because the script only states an old villa with a rooftop room. Its mass is a plain rectangular concrete volume set behind an entry yard. The roof is flat and usable as a cement-surfaced terrace. The front facade facing the yard should show four repeated window bays per storey, matching the extracted layout’s inferred facade-window rhythm.\nTOP UNIT & DECK: The topmost enclosed unit is a small, old rooftop dwelling set on the flat terrace, drawn as a simple rectangular shell. Its boundary openings are one iron entrance door facing the stair landing, one small living-room window on a side wall, and one bedroom window on another wall. Around it, the open deck has a low concrete parapet or wall, a round water tank, a fixed laundry line, and a low platform on the cement surface.\nGROUNDS: At ground level, a street edge feeds a narrow alley along the left side, leading to a single entry gate and a small recessed yard at the villa entrance. Neighboring building masses close the rear and sides, making the approach compact. From the yard’s back corner, a later-added exterior steel stair is fixed to the outside wall, with open treads, thin stringers, support posts, and a pipe handrail, continuing up to the rooftop terrace and iron-door landing.\nTHE PLAN MUST SHOW: The finished top-down site plan should show a rectangular villa mass centered behind the yard, with its flat roof terrace visible as the primary upper surface. Place the rooftop room as a smaller rectangle on the terrace, with one door toward the stair landing and two windows on separate sides. Draw the left alley, entry gate, recessed yard, surrounding neighbor blocks, low roof wall, fixed rooftop fixtures, and the retrofitted steel stair as a separate exterior structure attached to the building wall.\n\nHEIGHT LAYERS (low to high): Ground (h=0) -> Stair run (h=1.5) -> Roof deck (h=3) -> Rooftop room (h=4)\n\nDraw ONE SIMPLE LINE SKETCH of the property's structure — clean thin\ndark lines on plain white, like a quick architect's massing sketch.\nViewpoint: slightly elevated three-quarter oblique view (tilted about\n30 degrees down from vertical) so RELATIVE HEIGHTS read clearly —\nwhich volume rises above which, how many storeys the building has,\nwhat sits on top of what, and how the stair climbs between levels.\nLINES ONLY: no colours, no fills, no shading, no materials, no\ntexture, no photorealism.\nSIMPLE: massing outlines, level edges and openings only — no\ndrafting detail, no double-line walls, no furniture, never any\ninterior of enclosed units.\nNo text, letters, numbers, labels, markers, legend or compass.\nNo people, no props, no vehicles."}
{"ts": "2026-07-06 16:15:42", "kind": "img", "engine": "gpt-image-2", "mode": "edit", "tag": "s20_plan_sketch_nb2src_gpt", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/numbered_plan_nb2.png"], "size": "1536x864", "attempt": 1, "dur_s": 113.9, "bytes": 1289926, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/plan_sketch_nb2src_gpt.png", "prompt": "The FIRST attached image is a top-down SITE-PLAN REFERENCE of the\nsame property: use it only for WHAT exists and WHERE things sit in\nplan. Its numerals are annotations — never draw them. The height\nlayer order is given below — translate those levels into clearly\nvisible built heights.\n\nTHE PLACE (authored description — the content ground truth):\nBUILDING: The main building is an old multifamily villa block, drawn as an assumed three-storey body below the rooftop unit because the script only states an old villa with a rooftop room. Its mass is a plain rectangular concrete volume set behind an entry yard. The roof is flat and usable as a cement-surfaced terrace. The front facade facing the yard should show four repeated window bays per storey, matching the extracted layout’s inferred facade-window rhythm.\nTOP UNIT & DECK: The topmost enclosed unit is a small, old rooftop dwelling set on the flat terrace, drawn as a simple rectangular shell. Its boundary openings are one iron entrance door facing the stair landing, one small living-room window on a side wall, and one bedroom window on another wall. Around it, the open deck has a low concrete parapet or wall, a round water tank, a fixed laundry line, and a low platform on the cement surface.\nGROUNDS: At ground level, a street edge feeds a narrow alley along the left side, leading to a single entry gate and a small recessed yard at the villa entrance. Neighboring building masses close the rear and sides, making the approach compact. From the yard’s back corner, a later-added exterior steel stair is fixed to the outside wall, with open treads, thin stringers, support posts, and a pipe handrail, continuing up to the rooftop terrace and iron-door landing.\nTHE PLAN MUST SHOW: The finished top-down site plan should show a rectangular villa mass centered behind the yard, with its flat roof terrace visible as the primary upper surface. Place the rooftop room as a smaller rectangle on the terrace, with one door toward the stair landing and two windows on separate sides. Draw the left alley, entry gate, recessed yard, surrounding neighbor blocks, low roof wall, fixed rooftop fixtures, and the retrofitted steel stair as a separate exterior structure attached to the building wall.\n\nHEIGHT LAYERS (low to high): Ground (h=0) -> Stair run (h=1.5) -> Roof deck (h=3) -> Rooftop room (h=4)\n\nDraw ONE SIMPLE LINE SKETCH of the property's structure — clean thin\ndark lines on plain white, like a quick architect's massing sketch.\nViewpoint: slightly elevated three-quarter oblique view (tilted about\n30 degrees down from vertical) so RELATIVE HEIGHTS read clearly —\nwhich volume rises above which, how many storeys the building has,\nwhat sits on top of what, and how the stair climbs between levels.\nLINES ONLY: no colours, no fills, no shading, no materials, no\ntexture, no photorealism.\nSIMPLE: massing outlines, level edges and openings only — no\ndrafting detail, no double-line walls, no furniture, never any\ninterior of enclosed units.\nNo text, letters, numbers, labels, markers, legend or compass.\nNo people, no props, no vehicles."}
{"ts": "2026-07-06 16:15:42", "kind": "stage", "stage": "s20_numbered_bd", "done": "plansketch_nb2src"}
{"ts": "2026-07-06 16:27:30", "kind": "img", "engine": "gpt-image-2", "mode": "edit", "tag": "s20_plansketch_photo_nb2src_gpt", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/plan_sketch_nb2src_gpt.png"], "size": "1536x864", "attempt": 1, "dur_s": 123.9, "bytes": 2573595, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/plansketch_photo_nb2src_gpt.png", "prompt": "Use the attached line-art structure sketch as the exact source of truth for the property’s layout, elevations, roof levels, stair placement and all built volumes; do not invent or remove architecture. Render it as a real aged multi-family villa on the outskirts of Incheon, not a grey model: weathered red brick and small exterior tile cladding, patched stucco, cement sills and mouldings, dark grime streaks below parapets, rust stains, peeling paint and damp discoloration. Make the added exterior stair a visibly later retrofit in rusty steel, with open treads, thin stringers, support posts and a pipe handrail. Dress the rooftop dwelling as lived-in between scenes: black plastic water tank, sagging clotheslines with clips and a few plain garments, worn wooden drying platform with scattered dried seokchangpo herbs, plastic basins, buckets, coiled hose, cheap planters, old slippers, taped utility cables, a small gas cylinder, and an aged iron entrance door with blank unreadable flyers wedged at the seam. Include a neglected ground-level corner with a parked bicycle and household clutter if visible in the sketch. Keep it unpeopled, no readable text, no blood, no supernatural marks. Shoot documentary photorealism from a slightly elevated oblique camera in neutral daylight, natural colors, 35mm lens, deep focus."}
{"ts": "2026-07-06 16:27:49", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s20_plansketch_photo_nb2src_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/plan_sketch_nb2src_gpt.png"], "ref_labels": ["STRUCTURE SKETCH (spatial + height ground truth) — translate its volumes, levels and storeys into real photographic construction; never copy its line style; no text anywhere."], "attempt": 1, "dur_s": 18.9, "bytes": 3751238, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/plansketch_photo_nb2src_nb2.png", "prompt": "Use the attached line-art structure sketch as the exact source of truth for the property’s layout, elevations, roof levels, stair placement and all built volumes; do not invent or remove architecture. Render it as a real aged multi-family villa on the outskirts of Incheon, not a grey model: weathered red brick and small exterior tile cladding, patched stucco, cement sills and mouldings, dark grime streaks below parapets, rust stains, peeling paint and damp discoloration. Make the added exterior stair a visibly later retrofit in rusty steel, with open treads, thin stringers, support posts and a pipe handrail. Dress the rooftop dwelling as lived-in between scenes: black plastic water tank, sagging clotheslines with clips and a few plain garments, worn wooden drying platform with scattered dried seokchangpo herbs, plastic basins, buckets, coiled hose, cheap planters, old slippers, taped utility cables, a small gas cylinder, and an aged iron entrance door with blank unreadable flyers wedged at the seam. Include a neglected ground-level corner with a parked bicycle and household clutter if visible in the sketch. Keep it unpeopled, no readable text, no blood, no supernatural marks. Shoot documentary photorealism from a slightly elevated oblique camera in neutral daylight, natural colors, 35mm lens, deep focus."}
{"ts": "2026-07-06 16:27:49", "kind": "stage", "stage": "s20_numbered_bd", "done": "plansketchphoto_nb2src"}
{"ts": "2026-07-06 18:36:09", "kind": "llm", "step": "s20_minimal_struct", "model": "gpt", "dur_s": 30.0, "system_prompt": "You are given structural data of one real property: STRUCTURE lines\n(machine-derived, verbose), ELEMENT DATA (physical facts per\nelement), a PLACE DESCRIPTION (storey / vertical composition ground\ntruth) and optional CREATOR CORRECTIONS.\n\nThe verbose lines OVER-SPECIFY: size words, fine compass positions,\nfootprint-shape clauses. Over-specification breeds contradictions\nbetween clauses, and contradictions make image models hallucinate.\nYour job is the opposite: write the MINIMUM a drawing model needs to\nunderstand this structure. What you leave unsaid, the model invents\nnaturally — that is intended.\n\nRules:\n- FIRST line: the vertical build in one short sentence — the\n  building's storey count (from the PLACE DESCRIPTION), what open\n  level sits on top of it, what stands on that.\n- Then ONE SHORT line per structurally important element: its\n  number, what it is, and ONLY its containment / support /\n  connection relation (what it is in or on, what it attaches to,\n  what it connects). Nothing else.\n- YOU choose which elements matter: keep what the structure needs\n  (main masses, levels, the vertical circulation route, the\n  boundary openings that anchor it); merge or drop peripheral ones\n  — surrounding context may share one single unnumbered line.\n- NO size words, NO footprint or shape clauses, NO frame-edge\n  phrasing, NO fine compass positions. A coarse side is allowed\n  only where structure demands it (e.g. which wall something\n  attaches to, what something faces).\n- PHYSICAL COHERENCE: every enclosed building keeps an entry\n  opening and the circulation connects all the way (approach ->\n  entrance -> grounds -> stairs -> upper levels). If a physically\n  necessary connection is missing, add one minimal numbered line\n  and mark its legend name with ' (assumed)'.\n- Apply the spatial facts of CREATOR CORRECTIONS; keep materials\n  out.\n- Number the kept elements 1..K in a sensible structural order.\nlegend: every number you kept, with that element's name_en exactly\nas given in ELEMENT DATA (or the assumed element's short name).", "user_prompt": "STRUCTURE lines (verbose, machine-derived — source data, do not copy their level of detail):\n- street road: thin strip rectangular block, south-centre area\n- narrow alley: thin strip rectangular block, centre-west area\n- entry yard: thin strip rectangular block, south-centre area\n- villa mass: large rectangular block, centre area\n- roof terrace: large rectangular block, placed on the villa mass, in its centre part\n- rooftop room: medium rectangular block, placed on the roof terrace, in its centre part\n- concrete stair: thin strip rectangular block, south-east area, connecting the ground level up to the deck level\n- low wall: thin strip rectangular block, placed on the roof terrace, in its south-centre part\n- neighbor block: medium rectangular block, north-west area, plain simplified block\n- rear neighbor: medium rectangular block, north-centre area, plain simplified block\n- side neighbor: thin strip rectangular block, centre-east area, plain simplified block\n- water tank: tiny round block, placed on the roof terrace, in its north-west part\n- low platform: tiny rectangular block, placed on the roof terrace, in its south-west part\n- laundry line: thin strip rectangular block, centre area, on the west edge of the rooftop room\n- iron door: tiny rectangular block, centre area, on the south edge of the rooftop room\n- living window: tiny rectangular block, centre area, on the east edge of the rooftop room\n- bedroom window: thin strip rectangular block, north-centre area, on the north edge of the rooftop room\n- entry gate: thin strip rectangular block, placed on the entry yard, in its centre-west part\n- facade windows: thin strip rectangular block, south-centre area, on the north edge of the entry yard (4 in a row)\n- one flat tint rule only, to tell height levels apart, low to high: Ground -> Stair run -> Roof deck -> Rooftop room (darker = higher)\n\nELEMENT DATA (name [kind]: physical form facts):\n- street road [kind road]: 하단에는 골목과 맞닿은 넓은 차량 도로가 놓여 있다.\n- narrow alley [kind alley]: 왼쪽에는 도로에서 빌라 입구까지 이어지는 좁은 세로 골목이 있다.\n- entry yard [kind yard]: 빌라 앞에는 골목과 계단 사이에 작은 마당이 있다.\n- villa mass [kind building_mass]: 중앙에는 옥탑방을 올린 낡은 다세대 빌라 매스가 있다.\n- roof terrace [kind terrace]: 본관 지붕 위에는 옥탑방과 물탱크가 놓인 시멘트 바닥의 옥상 테라스가 있다.\n- rooftop room [kind upper_shell]: 옥상 중앙에는 작은 옥탑 주거 공간의 외곽 매스가 놓여 있다.\n- concrete stair [kind stair]: 오른쪽 외벽에는 마당에서 옥상 현관 앞까지 이어지는 덧댄 철제 외부계단이 붙어 있다.\n- low wall [kind wall]: 옥상 테라스 가장자리에는 낮은 콘크리트 담이 둘러져 있다.\n- neighbor block [kind neighbor_mass]: 왼쪽에는 옥탑방 옆을 둘러싸는 낡은 이웃 건물 매스가 있다.\n- rear neighbor [kind neighbor_mass]: 상단에는 옥탑방 뒤쪽에 맞닿은 낡은 이웃 건물 매스가 있다.\n- side neighbor [kind neighbor_mass]: 오른쪽에는 계단 바깥쪽 골목을 좁히는 이웃 건물 매스가 있다.\n- water tank [kind fixture_round]: 옥상 왼쪽 뒤편에는 원형 물탱크가 놓여 있다.\n- low platform [kind fixture_rect]: 옥상 앞쪽에는 낮은 직사각형 평상이 놓여 있다.\n- laundry line [kind equipment]: 물탱크와 옥탑방 사이에는 얇은 빨랫줄이 가로질러 걸려 있다.\n- iron door [kind door]: 옥탑방 아래쪽 가장자리에는 계단 상부 랜딩을 향한 철문 현관이 있다.\n- living window [kind window]: 옥탑방 오른쪽 외벽에는 작은 거실 창이 있다.\n- bedroom window [kind window]: 옥탑방 위쪽 외벽에는 커튼이 달린 침실 창이 있다.\n- entry gate [kind gate]: 골목과 앞마당 사이에는 단일 빌라 입구 게이트가 있다.\n- facade windows [kind window]: 본관 앞마당 쪽 벽에는 전면 창 네 칸이 반복되어 있다.\n\nPLACE DESCRIPTION (storeys / composition ground truth):\nTHE PLACE (authored description — the content ground truth):\nBUILDING: The main building is an old multifamily villa block, drawn as an assumed three-storey body below the rooftop unit because the script only states an old villa with a rooftop room. Its mass is a plain rectangular concrete volume set behind an entry yard. The roof is flat and usable as a cement-surfaced terrace. The front facade facing the yard should show four repeated window bays per storey, matching the extracted layout’s inferred facade-window rhythm.\nTOP UNIT & DECK: The topmost enclosed unit is a small, old rooftop dwelling set on the flat terrace, drawn as a simple rectangular shell. Its boundary openings are one iron entrance door facing the stair landing, one small living-room window on a side wall, and one bedroom window on another wall. Around it, the open deck has a low concrete parapet or wall, a round water tank, a fixed laundry line, and a low platform on the cement surface.\nGROUNDS: At ground level, a street edge feeds a narrow alley along the left side, leading to a single entry gate and a small recessed yard at the villa entrance. Neighboring building masses close the rear and sides, making the approach compact. From the yard’s back corner, a later-added exterior steel stair is fixed to the outside wall, with open treads, thin stringers, support posts, and a pipe handrail, continuing up to the rooftop terrace and iron-door landing.\nTHE PLAN MUST SHOW: The finished top-down site plan should show a rectangular villa mass centered behind the yard, with its flat roof terrace visible as the primary upper surface. Place the rooftop room as a smaller rectangle on the terrace, with one door toward the stair landing and two windows on separate sides. Draw the left alley, entry gate, recessed yard, surrounding neighbor blocks, low roof wall, fixed rooftop fixtures, and the retrofitted steel stair as a separate exterior structure attached to the building wall.\n\nCREATOR CORRECTIONS:\n- CORRECTION (production owner): the exterior stair element is an ADDED-ON STEEL stair retrofitted later onto its building's outside wall — open treads, thin steel stringers and support posts, pipe handrail, visibly a separate later addition to the building. It is NOT concrete or cement; this supersedes any cement/concrete stair mention elsewhere in the data."}
{"ts": "2026-07-06 18:36:23", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s20_numbered_bd_nb2", "refs": [], "ref_labels": [], "attempt": 1, "dur_s": 14.3, "bytes": 1884526, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/numbered_bd_nb2.png", "prompt": "Draw ONE SCHEMATIC BLOCK DIAGRAM of a real property's layout — the\nkind of flat figure a computer program draws: strict TOP-DOWN 2D,\nplain solid-colour shapes on a plain light background, uniform thin\ndark outlines. ABSOLUTELY FLAT: no bevels, no edge highlights, no\ngradients, no shadows, no shading, no texture, no perspective, no 3D\nfeel of any kind.\nThe lines below give ONLY the containment / support / connection\nstructure. Everything they leave unsaid — exact shapes, sizes,\nproportions, spacing — YOU decide, so the property reads plausibly;\nkeep every stated relation true.\nEvery building is ONE solid block — never any interior rooms, inner\nwalls or furniture.\nEach block shows ONLY its assigned number, drawn once as a small plain dark numeral on (or beside) that block; apart from these numerals there is no other text: no letters, no words, no names, no labels, no legend, no compass anywhere.\nNo people, no props, no vehicles.\n\nSTRUCTURE (containment / support / connection only):\nA three-storey villa has a roof terrace on top, with a rooftop room standing on it.\n1. street road connects to the narrow alley.\n2. narrow alley leads from the street road to the entry gate.\n3. entry gate connects the narrow alley to the entry yard.\n4. entry yard sits before the villa mass and the stair base.\n5. villa mass supports the roof terrace.\n6. villa entrance (assumed) opens from the entry yard into the villa mass.\n7. facade windows are on the villa mass facing the entry yard.\n8. roof terrace sits on the villa mass.\n9. low wall surrounds the roof terrace.\n10. concrete stair is a separate exterior stair attached to the villa mass, connecting the entry yard to the roof terrace.\n11. rooftop room stands on the roof terrace.\n12. iron door opens from the rooftop room toward the stair landing.\n13. living window is on a side wall of the rooftop room.\n14. bedroom window is on another wall of the rooftop room.\nNeighboring building masses enclose the rear and sides."}
{"ts": "2026-07-06 18:37:56", "kind": "img", "engine": "gpt-image-2", "mode": "generate", "tag": "s20_numbered_bd_gpt", "refs": [], "size": "1536x864", "attempt": 1, "dur_s": 92.7, "bytes": 1020415, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/numbered_bd_gpt.png", "prompt": "Draw ONE SCHEMATIC BLOCK DIAGRAM of a real property's layout — the\nkind of flat figure a computer program draws: strict TOP-DOWN 2D,\nplain solid-colour shapes on a plain light background, uniform thin\ndark outlines. ABSOLUTELY FLAT: no bevels, no edge highlights, no\ngradients, no shadows, no shading, no texture, no perspective, no 3D\nfeel of any kind.\nThe lines below give ONLY the containment / support / connection\nstructure. Everything they leave unsaid — exact shapes, sizes,\nproportions, spacing — YOU decide, so the property reads plausibly;\nkeep every stated relation true.\nEvery building is ONE solid block — never any interior rooms, inner\nwalls or furniture.\nEach block shows ONLY its assigned number, drawn once as a small plain dark numeral on (or beside) that block; apart from these numerals there is no other text: no letters, no words, no names, no labels, no legend, no compass anywhere.\nNo people, no props, no vehicles.\n\nSTRUCTURE (containment / support / connection only):\nA three-storey villa has a roof terrace on top, with a rooftop room standing on it.\n1. street road connects to the narrow alley.\n2. narrow alley leads from the street road to the entry gate.\n3. entry gate connects the narrow alley to the entry yard.\n4. entry yard sits before the villa mass and the stair base.\n5. villa mass supports the roof terrace.\n6. villa entrance (assumed) opens from the entry yard into the villa mass.\n7. facade windows are on the villa mass facing the entry yard.\n8. roof terrace sits on the villa mass.\n9. low wall surrounds the roof terrace.\n10. concrete stair is a separate exterior stair attached to the villa mass, connecting the entry yard to the roof terrace.\n11. rooftop room stands on the roof terrace.\n12. iron door opens from the rooftop room toward the stair landing.\n13. living window is on a side wall of the rooftop room.\n14. bedroom window is on another wall of the rooftop room.\nNeighboring building masses enclose the rear and sides."}
{"ts": "2026-07-06 18:38:15", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s20_numbered_plan_nb2", "refs": [], "ref_labels": [], "attempt": 1, "dur_s": 19.8, "bytes": 2243303, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/numbered_plan_nb2.png", "prompt": "Draw ONE strict TOP-DOWN 2D architectural SITE PLAN in the drafting\nlanguage of a clean floor plan — thin dark outlines, flat muted colour\nfills, detailed plan symbols (double-line walls, door leaf + swing arc,\nwindow frames set in walls, stair treads with stringers and landings,\nbase rings for round fixtures, paving joints, kerb lines). Height\nlevels appear only as flat fill tints (darker = higher). Flat\northographic plan view: NO 3D, NO axonometric, NO perspective, no\nshadows. Neutral document: no people, no story props, no vehicles, no\nposted papers, each element carries ONLY its assigned number, drawn once as a small\nplain dark numeral on (or beside) it; apart from these numerals no text,\nno letters, no words, no other markers, no legend, no compass. Never expose interior rooms or furniture of any enclosed\nunit — outer shell and boundary openings only.\n\nEXTERIOR ONLY: this is an OUTDOOR site plan seen from above — show\nonly the exterior: ground areas, building outer shells, roof-level\nsurfaces and outdoor fixtures. NEVER draw any interior room, inner\nwall, partition or furniture of any enclosed unit — every enclosed\nvolume stays sealed (outer walls and boundary openings only).\n\nMINIMAL SPATIAL STRUCTURE — containment / support / connection\nonly. Draw each numbered element with its number as a small plain\nmarker. Everything unspecified (exact shapes, sizes, proportions,\nspacing, drawing detail) YOU compose yourself as a believable real\nsite plan; keep every stated relation true:\nA three-storey villa has a roof terrace on top, with a rooftop room standing on it.\n1. street road connects to the narrow alley.\n2. narrow alley leads from the street road to the entry gate.\n3. entry gate connects the narrow alley to the entry yard.\n4. entry yard sits before the villa mass and the stair base.\n5. villa mass supports the roof terrace.\n6. villa entrance (assumed) opens from the entry yard into the villa mass.\n7. facade windows are on the villa mass facing the entry yard.\n8. roof terrace sits on the villa mass.\n9. low wall surrounds the roof terrace.\n10. concrete stair is a separate exterior stair attached to the villa mass, connecting the entry yard to the roof terrace.\n11. rooftop room stands on the roof terrace.\n12. iron door opens from the rooftop room toward the stair landing.\n13. living window is on a side wall of the rooftop room.\n14. bedroom window is on another wall of the rooftop room.\nNeighboring building masses enclose the rear and sides."}
{"ts": "2026-07-06 18:40:19", "kind": "img", "engine": "gpt-image-2", "mode": "generate", "tag": "s20_numbered_plan_gpt", "refs": [], "size": "1536x864", "attempt": 1, "dur_s": 123.4, "bytes": 1949513, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/numbered_plan_gpt.png", "prompt": "Draw ONE strict TOP-DOWN 2D architectural SITE PLAN in the drafting\nlanguage of a clean floor plan — thin dark outlines, flat muted colour\nfills, detailed plan symbols (double-line walls, door leaf + swing arc,\nwindow frames set in walls, stair treads with stringers and landings,\nbase rings for round fixtures, paving joints, kerb lines). Height\nlevels appear only as flat fill tints (darker = higher). Flat\northographic plan view: NO 3D, NO axonometric, NO perspective, no\nshadows. Neutral document: no people, no story props, no vehicles, no\nposted papers, each element carries ONLY its assigned number, drawn once as a small\nplain dark numeral on (or beside) it; apart from these numerals no text,\nno letters, no words, no other markers, no legend, no compass. Never expose interior rooms or furniture of any enclosed\nunit — outer shell and boundary openings only.\n\nEXTERIOR ONLY: this is an OUTDOOR site plan seen from above — show\nonly the exterior: ground areas, building outer shells, roof-level\nsurfaces and outdoor fixtures. NEVER draw any interior room, inner\nwall, partition or furniture of any enclosed unit — every enclosed\nvolume stays sealed (outer walls and boundary openings only).\n\nMINIMAL SPATIAL STRUCTURE — containment / support / connection\nonly. Draw each numbered element with its number as a small plain\nmarker. Everything unspecified (exact shapes, sizes, proportions,\nspacing, drawing detail) YOU compose yourself as a believable real\nsite plan; keep every stated relation true:\nA three-storey villa has a roof terrace on top, with a rooftop room standing on it.\n1. street road connects to the narrow alley.\n2. narrow alley leads from the street road to the entry gate.\n3. entry gate connects the narrow alley to the entry yard.\n4. entry yard sits before the villa mass and the stair base.\n5. villa mass supports the roof terrace.\n6. villa entrance (assumed) opens from the entry yard into the villa mass.\n7. facade windows are on the villa mass facing the entry yard.\n8. roof terrace sits on the villa mass.\n9. low wall surrounds the roof terrace.\n10. concrete stair is a separate exterior stair attached to the villa mass, connecting the entry yard to the roof terrace.\n11. rooftop room stands on the roof terrace.\n12. iron door opens from the rooftop room toward the stair landing.\n13. living window is on a side wall of the rooftop room.\n14. bedroom window is on another wall of the rooftop room.\nNeighboring building masses enclose the rear and sides."}
{"ts": "2026-07-06 18:40:19", "kind": "stage", "stage": "s20_numbered_bd", "done": "minimal"}
{"ts": "2026-07-06 18:43:46", "kind": "llm", "step": "s20_minimal_struct", "model": "gpt", "dur_s": 56.6, "system_prompt": "You are given structural data of one real property: STRUCTURE lines\n(machine-derived, verbose), ELEMENT DATA (physical facts per\nelement), a PLACE DESCRIPTION (storey / vertical composition ground\ntruth) and optional CREATOR CORRECTIONS.\n\nThe verbose lines OVER-SPECIFY: size words, fine compass positions,\nfootprint-shape clauses. Over-specification breeds contradictions\nbetween clauses, and contradictions make image models hallucinate.\nYour job is the opposite: write the MINIMUM a drawing model needs to\nunderstand this structure. What you leave unsaid, the model invents\nnaturally — that is intended.\n\nRules:\n- FIRST line: 'LEVELS (placement logic only — the drawing stays a\n  flat top-down plan): ground -> <building, N storeys> roof\n  terrace -> <what is on it>' — state the storey count from the\n  PLACE DESCRIPTION. This is level LOGIC for a flat drawing, never\n  an instruction to draw height or elevation.\n- Then ONE SHORT line per element: its number, what it is, what it\n  is ON or IN (its host), plus AT MOST one coarse position on that\n  host ('on the roof terrace, west side' / 'attached to the rear\n  wall of the building'). Nothing else.\n- KEEP EVERY element that belongs to the property itself —\n  including its roof-level and ground-level fixtures; never drop\n  them. Only surrounding context (neighbouring masses, the public\n  road edge) may merge into one single unnumbered line.\n- Phrase every relation as FLAT PLAN-VIEW placement (A is on B /\n  at B's west side / attached to B's rear wall) — never elevation\n  storytelling: no 'rises', 'stands above', 'supports', 'on top'.\n- NO size words, NO footprint or shape clauses, NO frame-edge\n  phrasing, NO fine compass positions beyond the one coarse\n  position per line.\n- PHYSICAL COHERENCE: every enclosed building keeps an entry\n  opening and the circulation connects all the way (approach ->\n  entrance -> grounds -> stairs -> upper levels). If a physically\n  necessary connection is missing, add one minimal numbered line\n  and mark its legend name with ' (assumed)'.\n- Apply the spatial facts of CREATOR CORRECTIONS; keep materials\n  out.\n- Number the kept elements 1..K in a sensible structural order.\nlegend: every number you kept, with that element's name_en exactly\nas given in ELEMENT DATA (or the assumed element's short name).", "user_prompt": "STRUCTURE lines (verbose, machine-derived — source data, do not copy their level of detail):\n- street road: thin strip rectangular block, south-centre area\n- narrow alley: thin strip rectangular block, centre-west area\n- entry yard: thin strip rectangular block, south-centre area\n- villa mass: large rectangular block, centre area\n- roof terrace: large rectangular block, placed on the villa mass, in its centre part\n- rooftop room: medium rectangular block, placed on the roof terrace, in its centre part\n- concrete stair: thin strip rectangular block, south-east area, connecting the ground level up to the deck level\n- low wall: thin strip rectangular block, placed on the roof terrace, in its south-centre part\n- neighbor block: medium rectangular block, north-west area, plain simplified block\n- rear neighbor: medium rectangular block, north-centre area, plain simplified block\n- side neighbor: thin strip rectangular block, centre-east area, plain simplified block\n- water tank: tiny round block, placed on the roof terrace, in its north-west part\n- low platform: tiny rectangular block, placed on the roof terrace, in its south-west part\n- laundry line: thin strip rectangular block, centre area, on the west edge of the rooftop room\n- iron door: tiny rectangular block, centre area, on the south edge of the rooftop room\n- living window: tiny rectangular block, centre area, on the east edge of the rooftop room\n- bedroom window: thin strip rectangular block, north-centre area, on the north edge of the rooftop room\n- entry gate: thin strip rectangular block, placed on the entry yard, in its centre-west part\n- facade windows: thin strip rectangular block, south-centre area, on the north edge of the entry yard (4 in a row)\n- one flat tint rule only, to tell height levels apart, low to high: Ground -> Stair run -> Roof deck -> Rooftop room (darker = higher)\n\nELEMENT DATA (name [kind]: physical form facts):\n- street road [kind road]: 하단에는 골목과 맞닿은 넓은 차량 도로가 놓여 있다.\n- narrow alley [kind alley]: 왼쪽에는 도로에서 빌라 입구까지 이어지는 좁은 세로 골목이 있다.\n- entry yard [kind yard]: 빌라 앞에는 골목과 계단 사이에 작은 마당이 있다.\n- villa mass [kind building_mass]: 중앙에는 옥탑방을 올린 낡은 다세대 빌라 매스가 있다.\n- roof terrace [kind terrace]: 본관 지붕 위에는 옥탑방과 물탱크가 놓인 시멘트 바닥의 옥상 테라스가 있다.\n- rooftop room [kind upper_shell]: 옥상 중앙에는 작은 옥탑 주거 공간의 외곽 매스가 놓여 있다.\n- concrete stair [kind stair]: 오른쪽 외벽에는 마당에서 옥상 현관 앞까지 이어지는 덧댄 철제 외부계단이 붙어 있다.\n- low wall [kind wall]: 옥상 테라스 가장자리에는 낮은 콘크리트 담이 둘러져 있다.\n- neighbor block [kind neighbor_mass]: 왼쪽에는 옥탑방 옆을 둘러싸는 낡은 이웃 건물 매스가 있다.\n- rear neighbor [kind neighbor_mass]: 상단에는 옥탑방 뒤쪽에 맞닿은 낡은 이웃 건물 매스가 있다.\n- side neighbor [kind neighbor_mass]: 오른쪽에는 계단 바깥쪽 골목을 좁히는 이웃 건물 매스가 있다.\n- water tank [kind fixture_round]: 옥상 왼쪽 뒤편에는 원형 물탱크가 놓여 있다.\n- low platform [kind fixture_rect]: 옥상 앞쪽에는 낮은 직사각형 평상이 놓여 있다.\n- laundry line [kind equipment]: 물탱크와 옥탑방 사이에는 얇은 빨랫줄이 가로질러 걸려 있다.\n- iron door [kind door]: 옥탑방 아래쪽 가장자리에는 계단 상부 랜딩을 향한 철문 현관이 있다.\n- living window [kind window]: 옥탑방 오른쪽 외벽에는 작은 거실 창이 있다.\n- bedroom window [kind window]: 옥탑방 위쪽 외벽에는 커튼이 달린 침실 창이 있다.\n- entry gate [kind gate]: 골목과 앞마당 사이에는 단일 빌라 입구 게이트가 있다.\n- facade windows [kind window]: 본관 앞마당 쪽 벽에는 전면 창 네 칸이 반복되어 있다.\n\nPLACE DESCRIPTION (storeys / composition ground truth):\nTHE PLACE (authored description — the content ground truth):\nBUILDING: The main building is an old multifamily villa block, drawn as an assumed three-storey body below the rooftop unit because the script only states an old villa with a rooftop room. Its mass is a plain rectangular concrete volume set behind an entry yard. The roof is flat and usable as a cement-surfaced terrace. The front facade facing the yard should show four repeated window bays per storey, matching the extracted layout’s inferred facade-window rhythm.\nTOP UNIT & DECK: The topmost enclosed unit is a small, old rooftop dwelling set on the flat terrace, drawn as a simple rectangular shell. Its boundary openings are one iron entrance door facing the stair landing, one small living-room window on a side wall, and one bedroom window on another wall. Around it, the open deck has a low concrete parapet or wall, a round water tank, a fixed laundry line, and a low platform on the cement surface.\nGROUNDS: At ground level, a street edge feeds a narrow alley along the left side, leading to a single entry gate and a small recessed yard at the villa entrance. Neighboring building masses close the rear and sides, making the approach compact. From the yard’s back corner, a later-added exterior steel stair is fixed to the outside wall, with open treads, thin stringers, support posts, and a pipe handrail, continuing up to the rooftop terrace and iron-door landing.\nTHE PLAN MUST SHOW: The finished top-down site plan should show a rectangular villa mass centered behind the yard, with its flat roof terrace visible as the primary upper surface. Place the rooftop room as a smaller rectangle on the terrace, with one door toward the stair landing and two windows on separate sides. Draw the left alley, entry gate, recessed yard, surrounding neighbor blocks, low roof wall, fixed rooftop fixtures, and the retrofitted steel stair as a separate exterior structure attached to the building wall.\n\nCREATOR CORRECTIONS:\n- CORRECTION (production owner): the exterior stair element is an ADDED-ON STEEL stair retrofitted later onto its building's outside wall — open treads, thin steel stringers and support posts, pipe handrail, visibly a separate later addition to the building. It is NOT concrete or cement; this supersedes any cement/concrete stair mention elsewhere in the data."}
{"ts": "2026-07-06 18:44:03", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s20_numbered_bd_nb2", "refs": [], "ref_labels": [], "attempt": 1, "dur_s": 17.0, "bytes": 1892252, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/numbered_bd_nb2.png", "prompt": "Draw ONE SCHEMATIC BLOCK DIAGRAM of a real property's layout — the\nkind of flat figure a computer program draws: strict TOP-DOWN 2D,\nplain solid-colour shapes on a plain light background, uniform thin\ndark outlines. ABSOLUTELY FLAT: no bevels, no edge highlights, no\ngradients, no shadows, no shading, no texture, no perspective, no 3D\nfeel of any kind.\nSTRICT TOP-DOWN means looking straight down: only roof planes and\nground areas are visible — never a facade, never a wall face, never\nan oblique or axonometric angle. Any level wording in the lines\nbelow is placement logic only; show level differences as flat tint\ndifferences at most, never as drawn height.\nThe lines below give ONLY the placement structure (what is on/in\nwhat, roughly where). Everything they leave unsaid — exact shapes,\nsizes, proportions, spacing — YOU decide, so the property reads\nplausibly; keep every stated relation true.\nEvery building is ONE solid block — never any interior rooms, inner\nwalls or furniture.\nEach block shows ONLY its assigned number, drawn once as a small plain dark numeral on (or beside) that block; apart from these numerals there is no other text: no letters, no words, no names, no labels, no legend, no compass anywhere.\nNo people, no props, no vehicles.\n\nSTRUCTURE (containment / support / connection only):\nLEVELS (placement logic only — the drawing stays a flat top-down plan): ground -> villa mass, 3 storeys roof terrace -> rooftop room, parapet wall, water tank, platform, laundry line\nContext: street road and neighboring building masses around the site.\n1. alley at the west side of the villa mass.\n2. entry yard at the front of the villa mass.\n3. entry gate in the entry yard, west side.\n4. building entrance (assumed) on the front wall of the villa mass.\n5. villa mass at the rear of the entry yard.\n6. facade windows on the front wall of the villa mass.\n7. added-on exterior stair attached to the villa mass, east side, linking the entry yard and roof terrace.\n8. roof terrace on the villa mass.\n9. rooftop room on the roof terrace.\n10. entrance door on the rooftop room, south side.\n11. living window on the rooftop room, east side.\n12. bedroom window on the rooftop room, north side.\n13. parapet wall on the roof terrace perimeter.\n14. water tank on the roof terrace, west side.\n15. platform on the roof terrace, south side.\n16. laundry line on the roof terrace, west side."}
{"ts": "2026-07-06 18:45:52", "kind": "img", "engine": "gpt-image-2", "mode": "generate", "tag": "s20_numbered_bd_gpt", "refs": [], "size": "1536x864", "attempt": 1, "dur_s": 108.5, "bytes": 1072982, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/numbered_bd_gpt.png", "prompt": "Draw ONE SCHEMATIC BLOCK DIAGRAM of a real property's layout — the\nkind of flat figure a computer program draws: strict TOP-DOWN 2D,\nplain solid-colour shapes on a plain light background, uniform thin\ndark outlines. ABSOLUTELY FLAT: no bevels, no edge highlights, no\ngradients, no shadows, no shading, no texture, no perspective, no 3D\nfeel of any kind.\nSTRICT TOP-DOWN means looking straight down: only roof planes and\nground areas are visible — never a facade, never a wall face, never\nan oblique or axonometric angle. Any level wording in the lines\nbelow is placement logic only; show level differences as flat tint\ndifferences at most, never as drawn height.\nThe lines below give ONLY the placement structure (what is on/in\nwhat, roughly where). Everything they leave unsaid — exact shapes,\nsizes, proportions, spacing — YOU decide, so the property reads\nplausibly; keep every stated relation true.\nEvery building is ONE solid block — never any interior rooms, inner\nwalls or furniture.\nEach block shows ONLY its assigned number, drawn once as a small plain dark numeral on (or beside) that block; apart from these numerals there is no other text: no letters, no words, no names, no labels, no legend, no compass anywhere.\nNo people, no props, no vehicles.\n\nSTRUCTURE (containment / support / connection only):\nLEVELS (placement logic only — the drawing stays a flat top-down plan): ground -> villa mass, 3 storeys roof terrace -> rooftop room, parapet wall, water tank, platform, laundry line\nContext: street road and neighboring building masses around the site.\n1. alley at the west side of the villa mass.\n2. entry yard at the front of the villa mass.\n3. entry gate in the entry yard, west side.\n4. building entrance (assumed) on the front wall of the villa mass.\n5. villa mass at the rear of the entry yard.\n6. facade windows on the front wall of the villa mass.\n7. added-on exterior stair attached to the villa mass, east side, linking the entry yard and roof terrace.\n8. roof terrace on the villa mass.\n9. rooftop room on the roof terrace.\n10. entrance door on the rooftop room, south side.\n11. living window on the rooftop room, east side.\n12. bedroom window on the rooftop room, north side.\n13. parapet wall on the roof terrace perimeter.\n14. water tank on the roof terrace, west side.\n15. platform on the roof terrace, south side.\n16. laundry line on the roof terrace, west side."}
{"ts": "2026-07-06 18:46:09", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s20_numbered_plan_nb2", "refs": [], "ref_labels": [], "attempt": 1, "dur_s": 17.1, "bytes": 1949461, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/numbered_plan_nb2.png", "prompt": "Draw ONE strict TOP-DOWN 2D architectural SITE PLAN in the drafting\nlanguage of a clean floor plan — thin dark outlines, flat muted colour\nfills, detailed plan symbols (double-line walls, door leaf + swing arc,\nwindow frames set in walls, stair treads with stringers and landings,\nbase rings for round fixtures, paving joints, kerb lines). Height\nlevels appear only as flat fill tints (darker = higher). Flat\northographic plan view: NO 3D, NO axonometric, NO perspective, no\nshadows. Neutral document: no people, no story props, no vehicles, no\nposted papers, each element carries ONLY its assigned number, drawn once as a small\nplain dark numeral on (or beside) it; apart from these numerals no text,\nno letters, no words, no other markers, no legend, no compass. Never expose interior rooms or furniture of any enclosed\nunit — outer shell and boundary openings only.\n\nEXTERIOR ONLY: this is an OUTDOOR site plan seen from above — show\nonly the exterior: ground areas, building outer shells, roof-level\nsurfaces and outdoor fixtures. NEVER draw any interior room, inner\nwall, partition or furniture of any enclosed unit — every enclosed\nvolume stays sealed (outer walls and boundary openings only).\n\nMINIMAL SPATIAL STRUCTURE — what is on/in what and roughly where,\nnothing more. All level wording is placement logic only: the\ndrawing stays a strict flat top-down plan (levels = flat fill\ntints at most, never drawn height, never any facade or oblique\nview). Draw each numbered element with its number as a small plain\nmarker. Everything unspecified (exact shapes, sizes, proportions,\nspacing, drawing detail) YOU compose yourself as a believable real\nsite plan; keep every stated relation true:\nLEVELS (placement logic only — the drawing stays a flat top-down plan): ground -> villa mass, 3 storeys roof terrace -> rooftop room, parapet wall, water tank, platform, laundry line\nContext: street road and neighboring building masses around the site.\n1. alley at the west side of the villa mass.\n2. entry yard at the front of the villa mass.\n3. entry gate in the entry yard, west side.\n4. building entrance (assumed) on the front wall of the villa mass.\n5. villa mass at the rear of the entry yard.\n6. facade windows on the front wall of the villa mass.\n7. added-on exterior stair attached to the villa mass, east side, linking the entry yard and roof terrace.\n8. roof terrace on the villa mass.\n9. rooftop room on the roof terrace.\n10. entrance door on the rooftop room, south side.\n11. living window on the rooftop room, east side.\n12. bedroom window on the rooftop room, north side.\n13. parapet wall on the roof terrace perimeter.\n14. water tank on the roof terrace, west side.\n15. platform on the roof terrace, south side.\n16. laundry line on the roof terrace, west side."}
{"ts": "2026-07-06 18:47:57", "kind": "img", "engine": "gpt-image-2", "mode": "generate", "tag": "s20_numbered_plan_gpt", "refs": [], "size": "1536x864", "attempt": 1, "dur_s": 108.0, "bytes": 1894629, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/numbered_plan_gpt.png", "prompt": "Draw ONE strict TOP-DOWN 2D architectural SITE PLAN in the drafting\nlanguage of a clean floor plan — thin dark outlines, flat muted colour\nfills, detailed plan symbols (double-line walls, door leaf + swing arc,\nwindow frames set in walls, stair treads with stringers and landings,\nbase rings for round fixtures, paving joints, kerb lines). Height\nlevels appear only as flat fill tints (darker = higher). Flat\northographic plan view: NO 3D, NO axonometric, NO perspective, no\nshadows. Neutral document: no people, no story props, no vehicles, no\nposted papers, each element carries ONLY its assigned number, drawn once as a small\nplain dark numeral on (or beside) it; apart from these numerals no text,\nno letters, no words, no other markers, no legend, no compass. Never expose interior rooms or furniture of any enclosed\nunit — outer shell and boundary openings only.\n\nEXTERIOR ONLY: this is an OUTDOOR site plan seen from above — show\nonly the exterior: ground areas, building outer shells, roof-level\nsurfaces and outdoor fixtures. NEVER draw any interior room, inner\nwall, partition or furniture of any enclosed unit — every enclosed\nvolume stays sealed (outer walls and boundary openings only).\n\nMINIMAL SPATIAL STRUCTURE — what is on/in what and roughly where,\nnothing more. All level wording is placement logic only: the\ndrawing stays a strict flat top-down plan (levels = flat fill\ntints at most, never drawn height, never any facade or oblique\nview). Draw each numbered element with its number as a small plain\nmarker. Everything unspecified (exact shapes, sizes, proportions,\nspacing, drawing detail) YOU compose yourself as a believable real\nsite plan; keep every stated relation true:\nLEVELS (placement logic only — the drawing stays a flat top-down plan): ground -> villa mass, 3 storeys roof terrace -> rooftop room, parapet wall, water tank, platform, laundry line\nContext: street road and neighboring building masses around the site.\n1. alley at the west side of the villa mass.\n2. entry yard at the front of the villa mass.\n3. entry gate in the entry yard, west side.\n4. building entrance (assumed) on the front wall of the villa mass.\n5. villa mass at the rear of the entry yard.\n6. facade windows on the front wall of the villa mass.\n7. added-on exterior stair attached to the villa mass, east side, linking the entry yard and roof terrace.\n8. roof terrace on the villa mass.\n9. rooftop room on the roof terrace.\n10. entrance door on the rooftop room, south side.\n11. living window on the rooftop room, east side.\n12. bedroom window on the rooftop room, north side.\n13. parapet wall on the roof terrace perimeter.\n14. water tank on the roof terrace, west side.\n15. platform on the roof terrace, south side.\n16. laundry line on the roof terrace, west side."}
{"ts": "2026-07-06 18:47:57", "kind": "stage", "stage": "s20_numbered_bd", "done": "minimal"}
{"ts": "2026-07-06 19:06:08", "kind": "llm", "step": "s20_scene_critical", "model": "gpt", "dur_s": 73.9, "system_prompt": "You analyse the scenes and shots that play at one real property,\nto protect the SPATIAL TRUTH of the elements the camera depends\non.\n\nFrom the FULL SCENE TEXTS and ALL SHOTS below, identify the\nspatial elements that matter to the shots — the routes people\ntake, the places the camera frames, the thresholds crossed —\nespecially CONNECTING structures (stairs, entrances, gates,\npassages between levels). For each one state its spatial facts\nexactly as the scenes use them: what it connects (from where to\nwhere), what it attaches to, which side, what faces it.\nPresent-tense physical facts only — no events, no story wording.\nQuote the supporting phrase (exact, original language) for each\nfact.\n\nMatch element names to the given ELEMENT NAMES where possible;\na critical spatial fact with no matching element may use its own\nshort generic name.\nCREATOR CORRECTIONS, when present, override conflicting text.\nOutput per element: name_en, why_critical_ko (one short Korean\nsentence: which shots/actions depend on it), spatial_facts_en\n(1-3 short lines), evidence (source + quote). Order by importance\nto the shots. 5-12 elements.", "user_prompt": "ELEMENT NAMES (match these where possible): street road, narrow alley, entry yard, villa mass, roof terrace, rooftop room, concrete stair, low wall, neighbor block, rear neighbor, side neighbor, water tank, low platform, laundry line, iron door, living window, bedroom window, entry gate, facade windows\n\nFULL ORIGINAL SCENE TEXTS (every scene at this place):\n\n=== SCENE 4 FULL TEXT ===\nS#4. 옥탑방 / D\n인천 변두리 부감, 오래된 빌라 옥탑방 전경.\n기자(E)\n지역 주민들 사이에 횡행한 소문이 돌고 있지만, 경찰은 범인의 윤곽조차 잡지 못하고 있어 지역주민들의 불안과 두려움을 더 키우는 모양새입니다.\n\n\n\n=== SCENE 5 FULL TEXT ===\nS#5. 옥탑방 안 / 실내\n거실에 난 작은 창으로 햇살에 가늘게 비친다. 싱크대 수도꼭지에 흐르는 물, 씻다 만 약초(석창포). 냄비의 물이 끓어 달그락거리는 소리… 김이 피어오르고. 앞치마를 두른 채 TV 뉴스를 뚫어지게 바라보는 민숙(수리영 엄마. 40세) 표정이 어둡다. (뉴스멘트는 작아졌다 커졌다 반복하면서 여기까지 이어진다)\n딸, 수리영(21. 애완동물미용학과 2년)이 방문을 열고 기지개를 켜며 나오자 후다닥 TV를 끄는 민숙. 다정한 말투로\n수리영\n(심드렁) 뭐~야. 사건 났어? 뭔데.\n민숙\n아냐.\n수리영\n(식탁에 앉으며) 이모 또 야근하겠네. 조그만 도시에 왠 사건이 이렇게 많아. 바다가 가까워서 그런가.\n민숙\n신경 꺼. (석창포 달인 물을 따라주면서) 마셔. 방학인데 왜 더 자지않고.\n수리영\n(마시고 나서) 아, 진짜 맛 없어...(투정) 나 알바 있어, 엄마. 원장님이 하루만 봐 달래.\n(cut to.)\n가벼운 차림새. 수리영 신발을 신으며\n수리영\n엄마는 오늘 안 나가?\n민숙\n이따가 1시 타임.\n수리영\n(엄마의 냄새를 맡으며) 아, 좋다. 끝나고 마트로 갈게. 모처럼 밖에서 저녁먹자 엄마.\n민숙\n응 (미소)\n힐끗, 민숙 손목에 보이는 작은 원(이하 표식)을 본다. 오늘따라 유난히 또렷해 보이지만 워낙 어릴 적부터 봐온 터라 개의치 않는.\n\n\n\n=== SCENE 10 FULL TEXT ===\nS#10. 옥탑방 / N\n그 시각. 옥탑방 옥상. 물탱크. 바람에 빨랫줄이 툭- 툭- 평상에 놓인 말린 석창포가 바람에 날리는데... 말린 잎이 걸어오는 낯선 남자의 신발 위를 스친다. 남자의 긴 그림자. (얼굴은 보이지 않는다)\n신발은 옥탑방 철문 현관 앞에 멈춰 선다. 문틈에 낀 광고 전단지. 전단지를 뽑아서 손가락으로 문틈에 꾹 밀어 넣는다. ‘철컥’ 하고 잠금 새가 풀리는 소리. 문이 미세하게 열리고 안으로 들어가는 남자.\n창문에 비친 그림자. 민숙을 덮쳐 어깨를 물어뜯는 듯한 모습 ‘아악-’\n\n\n\n=== SCENE 11 FULL TEXT ===\nS#11. 옥탑 방 밖 / N\n자전거를 타고 골목길을 달리는 수리영. 다세대 빌라 문을 열고 들어와 마당 후미진 곳에 자전거를 대충 세우고, 옥탑방과 연결되는 계단을 급히 오른다.\n갑자기 훅- 느껴지는 역겨운 냄새. 뭐지? 옥상에 올라와 보니 반쯤 열린 현관 철문.\n\n\n\n=== SCENE 12 FULL TEXT ===\nS#12. 옥탑방 안 / N\n/거실\n‘엄마?’를 부르며 들어오는 수리영, 끓다 식은 냄비. 켜져 있는 TV. 희미한 거실 스탠드 불빛,\n/민숙 방\n안방 문을 여는데... 없다. 거실 식탁에 놓여있는 찻잔 두 개. 하나는 엎어져있다.\n/수리영 방\n마지막으로 자기 방문을 연다 헉!- 여기저기 핏자국. 바닥에 흥건한 혈흔. 피묻은 발자국은 커튼으로 이어져 있다 호흡을 가다듬고 커튼을 젖히자 앉은 채로 고개를 떨군 채 죽어있는 엄마- 민숙!!!!\n수리영\n(달려가) 어어어어----엄마\n충격에 온 몸이 얼어붙은 수리영, 살점이 뜯긴 어깨와 쇄골, 마치 동물에게 물어뜯긴 듯한 거친 상처가 고스란히 드러나있다. 덜렁거리는 살점과 뜯겨진 부위에 흘러내리는 피.\n수리영\n(놀라 뒤로 주춤) 어-어-어- 엄마….\n부들부들 떨며 핸드폰을 누른다. 2번 혜수이모\n수리영\n받아, 이모. 받아….\n혜수(E)\n영아, 영아, 왜?\n답은 안 나오고… 엄마 손안에 구겨진 사진 한 장이 보인다. 다가가 사진을 꺼내는데 엄마 손목에 있던 문신이 붉은색으로 변한다. 헉! 호흡이 빨라지고... 침대 위 벽에 붉은 원이 생겨난다 (마치 누군가 붓으로 벽에 원으로 그리는 것처럼). 소름끼치는 으아악---!\n\n\n\n=== SCENE 13 FULL TEXT ===\nS#13. 옥탑방 외곽 / N\n비명을 지르며 옥탑방을 빠져나오는 수리영, 허겁지겁 계단을 내려간다. 동시에 사이렌이 울리고~. (포즈)\n차에서 내린 혜수(40대 중반, 여자, 경위) 초점을 잃고 멍하니 서있는 수리영의 모습을 발견하고 달려간다.\n혜수\n영아? 왜! 무슨 일이야?\n수리영\n(올라다보며) 엄마가, 엄마가... 죽어있어.\n혜수\n(놀라) 뭐?!\n옥탑 방으로 뛰어 올라가는 혜수와 후배 형사(30대 남/ 이하 김형사)\n\n\n\n=== SCENE 14 FULL TEXT ===\nS#14. 옥탑방 안 / N\n/현관\n집안 여기저기를 확인하면서 나오는 형사와 혜수\n김형사\n(허탈한 표정) 없는데.. 아무 것도.\n혜수\n(뒤따라온 수리영에게) 영아, 없어. 뭘 봤는데...?\n어? 수리영, 부리나케 방 안으로 뛰어 들어간다.\n/수리영 방 안\n지나칠 정도로 깨끗하게 정돈된 방안. 핏자국도 보이지 않고, 침대 위에 붉은 표식은 물론 커튼 뒤의 시신도 감쪽 같이 사라졌다. 얼굴이 파리해지는 수리영. ‘어----?’ ‘분명히 봤는데...’\n뛰쳐나가 식탁으로 가본다. 식탁 역시 깨끗한.\n수리영\n여기 찻잔도 두 개 있었고...\n김형사\n(답답) 허 참! 죽은 사람이 발이 달렸을 리도 없고. 쯧쯧 그러게 살인사건은 자세하게 보도하면 안 된다구요...(궁시렁) 이봐요. 학생? 장난전화 하면 안 되는 거 몰라? (짜증) 안 그래도 살인사건으로 난리도 아닌데...\n혜수\n(김형사 째리고) 김형사. 먼저 가 있어. (김형사 나가면) (수리영 어깨를 어루만지며) 영아.\n수리영\n엄마(시신), 어디갔을까? 분명히 봤는데...\n혜수\n네가 요즘 과로했잖아. 공부에다 알바까지... 악몽을 꾼 걸 수도 있으니... 바람이나 쐬러 가자.\n수리영 방안에 놓여진 백팩, 인형. 약간씩 위치가 달라진. (시신을 발견했을 때와 다른)\n\n\n\n=== SCENE 17 FULL TEXT ===\nS#17. 옥탑방 / 동틀무렵\n새벽녘, 고양이 울음소리. 검은 고양이가 불이 켜져 있는 옥탑 방을 슬쩍 보더니 담을 넘는다\n\n\n\n=== SCENE 18 FULL TEXT ===\nS#18. 안방 안 / D\n침대에 머리를 대고 앉아있는 수리영, 밤새 엄마를 기다리다 깜박 졸았다 고양이 울음소리에 번쩍 눈을 뜨고, ‘엄마? ’혹시나 해서 집안을 살피지만 아무런 인기척도 보이지 않는다\n/수리영 방안\n닫혀있는 자신의 방을 바라본다. [F.B: 1부12씬] 커튼 뒤에 죽어있던 엄마. 상처. 혈흔 크게 심호흡하고 조심스럽게 문을 연다. 지나치리만큼 깨끗하게 정돈된 방안. 창문에 다가가 커튼을 확 열어젖힌다. 시신은 없다. 한숨 후~ 다행이긴 한데. 그때, 울리는 폰 벨소리, 화들짝 놀라는 수리영. 달려가 받자마자\n수리영\n엄마?\n혜수(E)\n아직이니?\n수리영\n응. 아무래도 이상해. 이럴 리가 없잖아! 우리 엄마가. 이모, 사고 난 게 분명해\n혜수(E)\n실종신고 냈어. 이모가 엄마 폰 위치추적하고 있으니까 조금만 기다려 별일 없을 거야. 알았지?\n수리영\n응.\n무작정 기다리는게 불안한 수리영, 인형이 달린 자신의 백팩을 꺼내 나온다\n/욕실 안\n얼굴을 씻고 거울을 보며\n수리영\n엄마, 도대체 어딨는 거야...\n거울에 비친 욕실 벽에 갑자기 또 발생하는 붉은 원. 호흡이 가빠지고... 훅 고개를 돌려 벽을 보는 수리영 거짓말처럼 사라지고 없다. 거실로 튀어나와 물 한컵 마시고 식탁에 놓인 엄마와 수리영의 사진을 보는데... 환하게 웃는 엄마 얼굴이 뭉개져 흘러내린다\n수리영\n아아악~~~ (다시보니 멀쩡하다) 나 왜 이러는 거지. (자신의 뺨을 치며) 정신 차려 수리영!\n\n\n\n=== SCENE 25 FULL TEXT ===\nS#25. 옥탑방 안 / 해질 무렵\n누군가 다녀간 흔적으로 보이는 발자국들. 다시 호흡이 가빠지는 수리영. 집안에서 뭔가를 찾기 위해 가재도구를 온통 헤집은 것으로 보인다. 거실에 난 창은 열려있고, 식탁 의자들을 쓰러져있다.\n/수리영 방\n열린 자신의 방을 힐끗 보는데 벽에 또 붉은 원이 그려져있다. 그 가운데 꽂혀있는 피묻은 사진 한 장! 사진을 떼어서 자세히 본다. 어? 그 사진!!!\n[F.B: 1부 12씬] 죽은 엄마의 손에 구겨져있던 바로 그 사진이다. 7-80년대 쯤 보이는 시골 식당과 지붕위에 둥근 원이 설치된 (마치 십자가처럼) 식당 앞에는 어린 여자애 둘(12살)이 앉아있다. 그중에 한 아이는 분명히 어릴 적 엄마다.\n침대에 털썩 주저앉는 수리영. 연속해서 벌어지는 기이한 상황에 정신이 혼미한 엉망이 된 집 안을 한번 획 둘러보는 수리영, 마치 이끌리듯 백팩을 메고 밖으로 나간다. 사진을 손에 꼭 쥔 채.\n\n\n\n=== SCENE 27 FULL TEXT ===\nS#27. 옥탑방 안 / 해질 무렵\n수리영의 녹음메시지를 확인하는 혜수,\n혜수\n너 봤니..본 거니... (김형사에게) 좌표를 보지않았을까?\n김형사\n그럴리가요. (혀를 끌끌 차며) 아이구 쯧쯧. 설사 본들 망망대해에서 뭘 어쩌겠어요. 돌아오겠죠.\n덜커덩 덜커덩. 바람에 현관문 소리. 황량하다.\n\n\n\nALL SHOTS AT THIS PLACE (full content):\n\n[S10_Shot5] (outdoor; loc=L03; scene_heading=S#10. 옥탑방 / N)\ndescription: 철문이 미세하게 열린 틈 사이로 어두운 내부가 보이는 구도.\nframing_scale: insert\ncamera_direction: At the end of the flow’s dolly-in, the lens freezes just outside the iron door at handle height, only inches from the seam, staring directly into the thin opening. The dark crack sits in the center like a vertical wound, with rough iron surfaces on both sides occupying the foreground while the interior beyond remains unreadable and almost lightless.\nkey_bg_elements: [{\"camera_use\": \"Primary focal aperture; turns the entry into a threatening slit rather than a normal doorway.\", \"directionality_class\": \"directional_3d\", \"element\": \"iron front door\", \"orientation\": \"The two heavy door edges face camera at close range, separated by a narrow central crack leading into darkness.\", \"state\": \"slightly open, scratched, cold metal\"}, {\"camera_use\": \"Hides what is inside and makes the gap feel predatory.\", \"directionality_class\": \"non_directional\", \"element\": \"dark interior beyond the crack\", \"orientation\": \"\", \"state\": \"unlit, opaque, silent\"}, {\"camera_use\": \"Adds tactile evidence of forced entry near the seam.\", \"directionality_class\": \"content_surface\", \"element\": \"creased advertisement flyer edge\", \"orientation\": \"Only the printed edge of the paper face is visible near the door seam, with partial color blocks and unreadable text.\", \"state\": \"bent, partly displaced, dirty\"}]\nframe_spatial_contract: {\"constraints\": [{\"depth_plane\": \"foreground\", \"gesture_action\": \"none\", \"gesture_target_label\": \"\", \"label\": \"narrow iron door seam\", \"screen_zone\": \"middle_center\", \"target_id\": \"\", \"target_kind\": \"background\"}], \"reason\": \"required_background_position\"}\n\n[S10_Shot6] (outdoor; loc=L03; scene_heading=S#10. 옥탑방 / N)\ndescription: 방 안 창문에 비친 그림자, 굽은 형태의 인영이 다른 사람 형상 위에 포개져 멈춘 찰나의 실루엣.\nframing_scale: medium\ncamera_direction: Inside the room, the camera holds static near the side wall at shoulder height, angled so only the window glass carries the action as a reflection and the direct attack is never seen. The reflected silhouettes sit within the window frame: a bent 인영 in the upper-middle area lowers its head toward the shoulder of 사람, whose body buckles beneath it in a distorted, wavering mid-action shape.\nkey_bg_elements: [{\"camera_use\": \"Serves as the only visible surface for the attack, keeping violence indirect and distorted.\", \"directionality_class\": \"reflective_surface\", \"element\": \"room window glass\", \"orientation\": \"The glass reflects the bent 인영 and 사람 as warped dark silhouettes, with faint interior light streaks trembling across them.\", \"state\": \"closed, grimy, reflective in darkness\"}, {\"camera_use\": \"Frames the reflection and prevents the viewer from seeing the real bodies directly.\", \"directionality_class\": \"directional_3d\", \"element\": \"window frame\", \"orientation\": \"The frame’s inner edges face camera and box the reflected action into a rigid rectangle.\", \"state\": \"old, chipped, motionless\"}, {\"camera_use\": \"Adds low, diseased color to the reflected silhouettes.\", \"directionality_class\": \"directional_3d\", \"element\": \"dim interior practical light\", \"orientation\": \"The lamp’s shaded side is off-frame but its amber spill grazes the wall and window reflection.\", \"state\": \"on, weak, sickly amber\"}, {\"camera_use\": \"Keeps the room claustrophobic around the window surface.\", \"directionality_class\": \"non_directional\", \"element\": \"dark side wall\", \"orientation\": \"\", \"state\": \"rough, stained, blue-gray shadowed\"}]\nframe_spatial_contract: {\"constraints\": [{\"depth_plane\": \"midground\", \"gesture_action\": \"none\", \"gesture_target_label\": \"\", \"label\": \"window reflection containing silhouettes\", \"screen_zone\": \"middle_center\", \"target_id\": \"\", \"target_kind\": \"background\"}], \"reason\": \"required_background_position\"}\n\n[S11_Shot3] (outdoor; loc=L10; scene_heading=S#11. 옥탑 방 밖 / N)\ndescription: 계단 중간에 서서 심하게 코를 찡그린 수리영의 얼굴 클로즈업.\ncharacters: 수리영\nframing_scale: close\ncamera_direction: Midway up the narrow concrete staircase, the camera holds static very close to 수리영 from the front-left at face height, tightening into an intense close-up that leaves only a sliver of stair texture behind her. Her nose wrinkles hard at the sudden smell, eyes lifting toward the unseen rooftop landing while her halted climb compresses her shoulders into the frame.\nkey_bg_elements: [{\"camera_use\": \"Minimal background texture that preserves the stair location without diluting the reaction.\", \"directionality_class\": \"directional_3d\", \"element\": \"narrow concrete staircase\", \"orientation\": \"Only the side edge and riser texture angle behind her cheek, indicating the upward path to the rooftop.\", \"state\": \"dark, damp, rough\"}, {\"camera_use\": \"Creates a suffocating side boundary close to her face.\", \"directionality_class\": \"non_directional\", \"element\": \"stairwell wall\", \"orientation\": \"\", \"state\": \"stained, cold, blue-gray\"}, {\"camera_use\": \"Suggests the unseen source direction through faint light above.\", \"directionality_class\": \"non_directional\", \"element\": \"rooftop darkness above the stairs\", \"orientation\": \"\", \"state\": \"unseen, heavy, foul implied\"}]\n\n[S11_Shot4] (outdoor; loc=L10; scene_heading=S#11. 옥탑 방 밖 / N)\ndescription: 옥상 위, 어둠 속에 반쯤 열려 멈춰 있는 옥탑방 현관 철문의 정적 구도.\nframing_scale: wide\ncamera_direction: After the hard eyeline cut, the camera adopts 수리영’s direct viewpoint from the rooftop landing, several meters from the entrance and at human eye level, facing the iron front door squarely. The half-open door is held in rigid symmetry at the center of the frame, surrounded by still rooftop darkness, with no figure entering to relieve the threat.\nkey_bg_elements: [{\"camera_use\": \"Central reveal and source of unease, held motionless after her smell reaction.\", \"directionality_class\": \"directional_3d\", \"element\": \"rooftop room iron front door\", \"orientation\": \"The door faces camera squarely but hangs half-open, exposing a narrow black interior gap along one side.\", \"state\": \"half-open, frozen, scratched\"}, {\"camera_use\": \"Frames the doorway in isolated negative space.\", \"directionality_class\": \"non_directional\", \"element\": \"rooftop landing darkness\", \"orientation\": \"\", \"state\": \"still, damp, blue-black\"}, {\"camera_use\": \"Adds rough domestic rooftop texture without drawing attention from the door.\", \"directionality_class\": \"directional_3d\", \"element\": \"low rooftop wall\", \"orientation\": \"Its top edge runs horizontally across the lower background, barely lit against the night.\", \"state\": \"wet-stained, concrete, motionless\"}]\nframe_spatial_contract: {\"constraints\": [{\"depth_plane\": \"background\", \"gesture_action\": \"none\", \"gesture_target_label\": \"\", \"label\": \"half-open rooftop iron door\", \"screen_zone\": \"middle_center\", \"target_id\": \"\", \"target_kind\": \"background\"}], \"reason\": \"required_background_position\"}\n\n[S12_Shot15] (indoor; loc=L04; scene_heading=S#12. 옥탑방 안 / N)\ndescription: 침대 위 어두운 벽면에 피가 번지듯 선명한 붉은색 원형 표식이 그려진 상태의 정지 구도.\nframing_scale: medium\ncamera_direction: From low bedside height near the mattress edge, the camera completes its upward tilt and locks off on the dark wall above the bed, where a completed red circular mark sits in the upper middle of frame. The bed edge remains only as a thin lower strip for scale, while the wall becomes an oppressive flat plane; this is aligned with 수리영’s panicked perception, the image subtly treated as an occult hallucination rather than stable reality.\nkey_bg_elements: [{\"camera_use\": \"Primary occult surface holding the completed mark.\", \"directionality_class\": \"content_surface\", \"element\": \"dark wall above the bed\", \"orientation\": \"The camera-facing wall face is visible, carrying a vivid red circular mark at its center.\", \"state\": \"dark, stained-looking, marked\"}, {\"camera_use\": \"Lower frame scale reference beneath the wall.\", \"directionality_class\": \"directional_3d\", \"element\": \"bed edge\", \"orientation\": \"The side edge of the mattress faces the camera from below, cropped into a narrow horizontal band.\", \"state\": \"dim, still, partly obscured\"}, {\"camera_use\": \"Symbolic focal mark on the wall.\", \"directionality_class\": \"content_surface\", \"element\": \"red circular mark\", \"orientation\": \"The painted-looking face of the circle is fully visible to the camera, as if freshly drawn into the wall surface.\", \"state\": \"bright red, wet-looking, completed\"}]\n\n[S12_Shot4] (indoor; loc=L04; scene_heading=S#12. 옥탑방 안 / N)\ndescription: 열린 방문 틈으로 보이는 방바닥에 검붉은 핏자국이 흥건하게 고여 있는 정지 구도.\nframing_scale: close\ncamera_direction: From the low waist-height position outside the bedroom doorway, the camera holds completely still about three feet back, peering through the opened door gap toward the dark red blood pooled on the floor just beyond the threshold. The door edges form a narrow vertical frame on both sides, with the blood occupying the lower middle of the image and the dim bedroom receding into blue-gray darkness behind it; this is a neutral observer’s direct view, not a character POV.\nkey_bg_elements: [{\"camera_use\": \"Foreground framing device that restricts the view into the room.\", \"directionality_class\": \"directional_3d\", \"element\": \"opened bedroom door\", \"orientation\": \"The inner edge of the door faces the camera at an oblique angle, creating a narrow gap into the room.\", \"state\": \"open, still, shadowed\"}, {\"camera_use\": \"Primary visual focus on the floor just inside the doorway.\", \"directionality_class\": \"non_directional\", \"element\": \"dark red blood pool\", \"orientation\": \"\", \"state\": \"wet, thick, spread across the floor\"}, {\"camera_use\": \"Texture under the blood and scale reference for the room.\", \"directionality_class\": \"non_directional\", \"element\": \"bedroom floor\", \"orientation\": \"\", \"state\": \"dirty, damp-looking, partially covered by blood\"}]\n\n[S12_Shot8] (indoor; loc=L04; scene_heading=S#12. 옥탑방 안 / N)\ndescription: 두 눈을 크게 뜨고 입을 벌린 채 굳어버린 수리영의 창백한 얼굴 클로즈업.\ncharacters: 수리영\nframing_scale: close\ncamera_direction: At eye level directly in front of 수리영, the handheld camera compresses tighter than the stage distance until her pale face nearly fills the frame, backing away only a fraction as her shock freezes mid-recoil. The background is almost lost in darkness, with only a faint suggestion of the room’s black edges behind her; the view remains a direct observer angle, but the proximity feels invasive and breathless.\nkey_bg_elements: [{\"camera_use\": \"Nearly swallowed background plane behind her face.\", \"directionality_class\": \"non_directional\", \"element\": \"dark bedroom recess\", \"orientation\": \"\", \"state\": \"unlit, indistinct\"}, {\"camera_use\": \"Soft edge shadow that isolates her head from the room.\", \"directionality_class\": \"directional_3d\", \"element\": \"bedroom doorway edge\", \"orientation\": \"A narrow side edge catches minimal spill light behind her shoulder.\", \"state\": \"partially visible, shadowed\"}]\nframe_spatial_contract: {\"constraints\": [{\"depth_plane\": \"foreground\", \"gesture_action\": \"none\", \"gesture_target_label\": \"\", \"label\": \"수리영 terrified face\", \"screen_zone\": \"middle_center\", \"target_id\": \"C01\", \"target_kind\": \"character\"}], \"reason\": \"primary_subject_isolation\"}\n\n[S13_Shot3] (outdoor; loc=L03; scene_heading=S#13. 옥탑방 외곽 / N)\ndescription: 차에서 내린 혜수가 초점 없는 눈으로 멍하게 서 있는 수리영을 향해 시선을 고정한 찰나의 상체.\ncharacters: 혜수, 수리영\nframing_scale: medium\ncamera_direction: Beside the police car at chest height, the tracking move slows into a held upper-body frame on 혜수 as she has just stepped out, her body paused between the car and the alley. 수리영 appears farther down the alley in soft background focus, small and blank beneath flashing siren wash, while 혜수 occupies the left foreground in a tense three-quarter view; this is a direct observer view moving parallel with her discovery.\nkey_bg_elements: [{\"camera_use\": \"Foreground context and flashing light source beside 혜수.\", \"directionality_class\": \"directional_3d\", \"element\": \"police car\", \"orientation\": \"The side of the car and open door angle toward the camera, framing 혜수’s exit.\", \"state\": \"parked, door open, siren lights active\"}, {\"camera_use\": \"Depth corridor between 혜수 and 수리영.\", \"directionality_class\": \"directional_3d\", \"element\": \"narrow alley\", \"orientation\": \"The alley recedes diagonally from the police car toward 수리영 in the background.\", \"state\": \"wet, dark, foggy\"}, {\"camera_use\": \"Intermittent color wash across faces and walls.\", \"directionality_class\": \"non_directional\", \"element\": \"siren light spill\", \"orientation\": \"\", \"state\": \"flashing red-blue across damp surfaces\"}]\nframe_spatial_contract: {\"constraints\": [{\"depth_plane\": \"foreground\", \"gesture_action\": \"looks_toward\", \"gesture_target_label\": \"수리영 down the alley\", \"label\": \"혜수 by police car\", \"screen_zone\": \"middle_left\", \"target_id\": \"C02\", \"target_kind\": \"character\"}, {\"depth_plane\": \"background\", \"gesture_action\": \"none\", \"gesture_target_label\": \"\", \"label\": \"수리영 in alley\", \"screen_zone\": \"middle_right\", \"target_id\": \"C01\", \"target_kind\": \"character\"}], \"reason\": \"shared_space_relation\"}\n\n[S13_Shot5] (outdoor; loc=L03; scene_heading=S#13. 옥탑방 외곽 / N)\ndescription: 수리영이 고개를 들어 혜수의 얼굴을 올려다보는 정적 구도.\ncharacters: 수리영, 혜수\nframing_scale: close\ncamera_direction: The camera sits low near 수리영’s eye level, about one meter away, tightened into a still close composition as she lifts her face toward 혜수 just above the frame. 수리영 holds the lower center of the image, her upward eyeline creating the unseen presence of 혜수, while the wet alley background blurs into dark blue-gray; this is a direct observer angle from the space between them.\nkey_bg_elements: [{\"camera_use\": \"Soft, dark background texture behind 수리영’s head.\", \"directionality_class\": \"non_directional\", \"element\": \"wet alley wall\", \"orientation\": \"\", \"state\": \"damp, shadowed, out of focus\"}, {\"camera_use\": \"Atmospheric layer around her face.\", \"directionality_class\": \"non_directional\", \"element\": \"night fog\", \"orientation\": \"\", \"state\": \"thin, drifting, blue-gray\"}, {\"camera_use\": \"Off-screen motivated color pulse on her skin.\", \"directionality_class\": \"non_directional\", \"element\": \"police siren spill\", \"orientation\": \"\", \"state\": \"intermittent, faint\"}]\nframe_spatial_contract: {\"constraints\": [{\"depth_plane\": \"foreground\", \"gesture_action\": \"looks_toward\", \"gesture_target_label\": \"혜수 just above frame\", \"label\": \"수리영 close low frame\", \"screen_zone\": \"middle_center\", \"target_id\": \"C01\", \"target_kind\": \"character\"}], \"reason\": \"primary_subject_isolation\"}\n\n[S14_Shot4] (indoor; loc=L04; scene_heading=S#14. 옥탑방 안 / N)\ndescription: 핏자국 하나 없이 깨끗하게 정돈된 수리영의 방 내부 정지 구도.\nframing_scale: wide\ncamera_direction: Just inside 수리영’s bedroom doorway at eye level, the camera holds a wide, unmoving view inward toward the bed, bare wall, curtain, and spotless floor. The room is framed as evidence: the clean floor stretches across the lower half, the curtain line sits to one side where the body should have been, and the wall above the bed remains blank; this is a direct neutral observation of absence.\nkey_bg_elements: [{\"camera_use\": \"Primary proof of erased violence across the lower frame.\", \"directionality_class\": \"non_directional\", \"element\": \"spotless bedroom floor\", \"orientation\": \"\", \"state\": \"clean, dry, no blood marks\"}, {\"camera_use\": \"Central room anchor and comparison point for the missing wall mark.\", \"directionality_class\": \"directional_3d\", \"element\": \"bed\", \"orientation\": \"The side and top plane of the bed face the camera from mid-frame.\", \"state\": \"neatly made, undisturbed\"}, {\"camera_use\": \"Surface where the red circle should have been absent.\", \"directionality_class\": \"content_surface\", \"element\": \"wall above the bed\", \"orientation\": \"The camera-facing wall face is visible and completely bare, carrying no red circular mark.\", \"state\": \"clean, dark, unmarked\"}, {\"camera_use\": \"Empty area where the hidden body had been discovered earlier.\", \"directionality_class\": \"directional_3d\", \"element\": \"curtain line\", \"orientation\": \"The front folds face the camera from the side of the room, concealing only darkness and empty space behind.\", \"state\": \"hanging still, clean, no body visible\"}]\n\n[S14_Shot6] (indoor; loc=L04; scene_heading=S#14. 옥탑방 안 / N)\ndescription: 수리영이 핏기가 가신 창백한 얼굴로 멍하니 빈 커튼 쪽을 응시하는 정면.\ncharacters: 수리영\nframing_scale: close\ncamera_direction: Inside the bedroom near the bed and curtain side, the dolly-in ends in a frontal upper-body emphasis on 수리영, close enough that her pale face and rigid shoulders take most of the frame. She looks past the camera toward the empty curtain area, which is kept implied rather than shown, turning the direct observer view into a psychological confrontation with the missing evidence.\nkey_bg_elements: [{\"camera_use\": \"Blurred side texture suggesting where the corpse should have been.\", \"directionality_class\": \"directional_3d\", \"element\": \"curtain edge\", \"orientation\": \"Only a soft side fold is visible near the frame edge, with the empty area kept off-camera.\", \"state\": \"still, clean, partially out of focus\"}, {\"camera_use\": \"Low background shape behind her shoulder.\", \"directionality_class\": \"directional_3d\", \"element\": \"bed corner\", \"orientation\": \"The near corner angles away behind 수리영, cropped and subdued.\", \"state\": \"neat, undisturbed\"}, {\"camera_use\": \"Absence marker behind her expression.\", \"directionality_class\": \"content_surface\", \"element\": \"blank wall\", \"orientation\": \"The visible wall face behind her is bare and carries no red mark.\", \"state\": \"unmarked, dim\"}]\nframe_spatial_contract: {\"constraints\": [{\"depth_plane\": \"foreground\", \"gesture_action\": \"looks_toward\", \"gesture_target_label\": \"empty curtain area behind camera\", \"label\": \"수리영 frontal close frame\", \"screen_zone\": \"middle_center\", \"target_id\": \"C01\", \"target_kind\": \"character\"}], \"reason\": \"primary_subject_isolation\"}\n\n[S14_Shot8] (indoor; loc=L04; scene_heading=S#14. 옥탑방 안 / N)\ndescription: 식탁 앞에 선 수리영이 빈 식탁을 손가락으로 가리킨 채 멈춘 측면 상체.\ncharacters: 수리영\nframing_scale: medium\ncamera_direction: At chest height beside the dining table, the camera settles from the track into a brief still side composition perpendicular to 수리영’s body line. Her profile holds the left half of frame while her pointing hand cuts toward the bare tabletop on the right, keeping both the gesture and the missing teacups in one direct observational image.\nkey_bg_elements: [{\"camera_use\": \"Gesture target proving the vanished cups.\", \"directionality_class\": \"directional_3d\", \"element\": \"bare dining table\", \"orientation\": \"The clean top plane faces the camera at a shallow angle, with no cups where her finger indicates.\", \"state\": \"clean, empty, dry\"}, {\"camera_use\": \"Dim living-room depth behind the table.\", \"directionality_class\": \"directional_3d\", \"element\": \"living room wall and doorway\", \"orientation\": \"The wall and doorway recede behind 수리영 in side view.\", \"state\": \"shadowed, quiet\"}, {\"camera_use\": \"Soft ambient source in the room.\", \"directionality_class\": \"directional_3d\", \"element\": \"living room stand lamp\", \"orientation\": \"The lamp shade is seen from the side, its warm face turned slightly away from camera.\", \"state\": \"on, weak amber\"}]\nframe_spatial_contract: {\"constraints\": [{\"depth_plane\": \"foreground\", \"gesture_action\": \"points_to\", \"gesture_target_label\": \"bare dining tabletop\", \"label\": \"수리영 pointing beside table\", \"screen_zone\": \"middle_left\", \"target_id\": \"C01\", \"target_kind\": \"character\"}, {\"depth_plane\": \"midground\", \"gesture_action\": \"none\", \"gesture_target_label\": \"\", \"label\": \"bare dining tabletop\", \"screen_zone\": \"middle_right\", \"target_id\": \"\", \"target_kind\": \"background\"}], \"reason\": \"points_to_anchor\"}\n\n[S17_Shot1] (outdoor; loc=L03; scene_heading=S#17. 옥탑방 / 동틀무렵)\ndescription: 짙고 푸른 안개가 깔린 새벽녘, 희미한 노란 불빛이 켜진 옥탑방 창문을 향해 검은 고양이 한 마리가 고개를 돌린 찰나의 측면.\nframing_scale: medium\ncamera_direction: Low at the 검은 고양이’s shoulder height, roughly one meter away, the camera tracks parallel along the rooftop wall and then holds a brief side profile as the cat turns its head toward the lit rooftop-room window. The cat occupies the lower left-to-center band of the frame, while the faint yellow window hangs in the misty background line of sight above the wall.\nkey_bg_elements: [{\"camera_use\": \"distant visual lure for the cat’s head turn\", \"directionality_class\": \"transparent_surface\", \"element\": \"rooftop-room window\", \"orientation\": \"fogged glass shows a weak yellow interior glow beyond it\", \"state\": \"closed, lit from inside\"}, {\"camera_use\": \"tracking guide and jump setup\", \"directionality_class\": \"directional_3d\", \"element\": \"low concrete rooftop wall\", \"orientation\": \"the long side face runs parallel to the camera movement, with its top edge rising toward the next action\", \"state\": \"damp, stained\"}, {\"camera_use\": \"atmospheric veil separating cat and room\", \"directionality_class\": \"non_directional\", \"element\": \"blue dawn fog\", \"orientation\": \"\", \"state\": \"thick, cold, slowly moving\"}]\nframe_spatial_contract: {\"constraints\": [{\"depth_plane\": \"foreground\", \"gesture_action\": \"looks_toward\", \"gesture_target_label\": \"lit rooftop window\", \"label\": \"black cat\", \"screen_zone\": \"lower_left\", \"target_id\": \"C11\", \"target_kind\": \"character\"}, {\"depth_plane\": \"background\", \"gesture_action\": \"none\", \"gesture_target_label\": \"\", \"label\": \"lit rooftop window\", \"screen_zone\": \"upper_right\", \"target_id\": \"\", \"target_kind\": \"background\"}], \"reason\": \"looks_to_anchor\"}\n\n[S18_Shot15] (indoor; loc=L04; scene_heading=S#18. 안방 안 / D)\ndescription: 거울 속 욕실 벽면에 선명한 붉은색 원형 표식이 맺혀 있는 정지 구도.\nframing_scale: insert\ncamera_direction: Inside the bathroom, the camera is fixed at eye level about three feet from the mirror, tightened so the mirror reflection becomes the frame and the reflected rear wall sits centered. The red circular mark is isolated near the middle of the reflected wall, with only a sliver of mirror edge and damp tile context allowed to remain, making the apparition feel graphic and unavoidable.\nkey_bg_elements: [{\"camera_use\": \"the shot’s perceptual surface and compositional border\", \"directionality_class\": \"reflective_surface\", \"element\": \"bathroom mirror\", \"orientation\": \"the mirror reflects the rear bathroom wall and the impossible red circular mark; a narrow mirror edge confirms this is a reflected view\", \"state\": \"slightly misted, cold\"}, {\"camera_use\": \"surface on which the occult symbol appears within reflection\", \"directionality_class\": \"content_surface\", \"element\": \"reflected bathroom wall\", \"orientation\": \"the wall face visible in the mirror carries a sharp crimson circular mark at its center\", \"state\": \"pale tile surface, otherwise clean\"}, {\"camera_use\": \"claustrophobic bathroom texture\", \"directionality_class\": \"non_directional\", \"element\": \"damp tile grout\", \"orientation\": \"\", \"state\": \"wet-looking, gray, stained\"}]\nframe_spatial_contract: {\"constraints\": [{\"depth_plane\": \"midground\", \"gesture_action\": \"none\", \"gesture_target_label\": \"\", \"label\": \"red circular mark in mirror reflection\", \"screen_zone\": \"middle_center\", \"target_id\": \"\", \"target_kind\": \"background\"}], \"reason\": \"required_background_position\"}\n\n[S18_Shot20] (indoor; loc=L04; scene_heading=S#18. 안방 안 / D)\ndescription: 식탁 위에 놓인 사진 속, 살점이 뭉개진 채 기괴하게 흘러내린 (변형된 민숙)의 모습 클로즈업.\ncharacters: 민숙\nframing_scale: insert\ncamera_direction: At tabletop height beside the dining table, the push-in finishes at an extreme close angle on the framed photograph, stripping away nearly all surrounding table context. The mother’s photographed face, now perceived as 민숙 (변형된), occupies the central close field in a grotesque melted distortion, while the photo frame edge remains barely visible to prove this horror is trapped inside the image surface.\nkey_bg_elements: [{\"camera_use\": \"primary hallucinated image surface\", \"directionality_class\": \"content_surface\", \"element\": \"framed family photograph\", \"orientation\": \"the front image face is angled slightly upward to camera, showing the mother’s face grotesquely distorted within the printed photo\", \"state\": \"upright on table, visually corrupted by hallucination\"}, {\"camera_use\": \"thin physical proof that this is still a household object\", \"directionality_class\": \"reflective_surface\", \"element\": \"photo frame glass\", \"orientation\": \"the glass reflects a dim streak of room light across the distorted face without hiding it\", \"state\": \"clean but unnervingly glossy\"}, {\"camera_use\": \"minimal scale reference around the frame\", \"directionality_class\": \"directional_3d\", \"element\": \"dining table edge\", \"orientation\": \"only a narrow tabletop plane and edge remain at the lower frame margin\", \"state\": \"still, ordinary, dim\"}]\nframe_spatial_contract: {\"constraints\": [{\"depth_plane\": \"foreground\", \"gesture_action\": \"none\", \"gesture_target_label\": \"\", \"label\": \"distorted mother’s face inside framed photograph\", \"screen_zone\": \"middle_center\", \"target_id\": \"C12\", \"target_kind\": \"character\"}], \"reason\": \"primary_subject_isolation\"}\n\n[S18_Shot6] (indoor; loc=L04; scene_heading=S#18. 안방 안 / D)\ndescription: 열린 방문 너머, 핏자국 하나 없이 말끔하게 정돈된 방안 정경.\nframing_scale: wide\ncamera_direction: Just outside 수리영’s room, the camera stays eye-level and static about five feet from the threshold, looking straight through the opened door into a room that appears too clean. The doorway forms a dark rectangular frame around the orderly bed, smooth floor, and untouched curtains, with no body, no stain, and no trace where memory said there should be horror.\nkey_bg_elements: [{\"camera_use\": \"primary frame-within-frame revealing the room\", \"directionality_class\": \"directional_3d\", \"element\": \"opened bedroom door\", \"orientation\": \"the door slab is swung aside so the camera sees through the threshold into the room\", \"state\": \"open, still\"}, {\"camera_use\": \"visual proof of unnatural order\", \"directionality_class\": \"directional_3d\", \"element\": \"neatly arranged bed\", \"orientation\": \"the bed’s side and top plane face camera beyond the doorway\", \"state\": \"made, undisturbed\"}, {\"camera_use\": \"absence marker where the earlier horror is expected\", \"directionality_class\": \"transparent_surface\", \"element\": \"bedroom window with curtains\", \"orientation\": \"the window is partly obscured by clean curtains, with pale daylight diffused beyond\", \"state\": \"closed, curtains hanging evenly\"}, {\"camera_use\": \"negative evidence emphasized by stillness\", \"directionality_class\": \"non_directional\", \"element\": \"spotless bedroom floor\", \"orientation\": \"\", \"state\": \"clean, dry, no blood visible\"}]\n\n[S25_Shot4] (indoor; loc=L04; scene_heading=S#25. 옥탑방 안 / 해질 무렵)\ndescription: 붉은 원 한가운데에 피가 묻은 낡은 흑백 사진이 꽂혀 있는 클로즈업.\nframing_scale: close\ncamera_direction: Inside the bedroom at eye level, the dolly-in ends locked nearly perpendicular to the torn wall, holding a close composition where the blood-stained black-and-white photograph sits pinned at the exact center of a crimson circle. The photo and red mark take up the central mass of the frame, while the rough wall texture remains visible around them like scraped skin.\nkey_bg_elements: [{\"camera_use\": \"central occult symbol and compositional target\", \"directionality_class\": \"content_surface\", \"element\": \"red circular wall mark\", \"orientation\": \"the painted wall face is directly visible to camera, showing a rough crimson circle surrounding the pinned photograph\", \"state\": \"fresh-looking, uneven, ominous\"}, {\"camera_use\": \"primary revealed clue\", \"directionality_class\": \"content_surface\", \"element\": \"old black-and-white photograph\", \"orientation\": \"the front image face is visible, showing an aged rural restaurant scene partially obscured by blood stains\", \"state\": \"pinned to wall, creased, blood-stained\"}, {\"camera_use\": \"macabre texture around the clue\", \"directionality_class\": \"non_directional\", \"element\": \"torn bedroom wall texture\", \"orientation\": \"\", \"state\": \"scraped, dirty, disturbed\"}]\n\n[S25_Shot8] (indoor; loc=L04; scene_heading=S#25. 옥탑방 안 / 해질 무렵)\ndescription: 수리영이 한 손에 구겨진 사진을 꽉 쥔 채 백팩을 메고 현관 밖으로 한 발을 내디딘 찰나의 뒷모습.\ncharacters: 수리영\nframing_scale: wide\ncamera_direction: From inside the rooftop room behind 수리영, slightly below eye level and several feet back, the tracking shot widens just enough to include the open front-door threshold as she steps out. Her back and backpack sit in the middle of frame, one foot crossing into the exterior light, while the crumpled photograph remains readable as a tight fist-level detail near her right side.\nkey_bg_elements: [{\"camera_use\": \"destination frame and exit boundary\", \"directionality_class\": \"directional_3d\", \"element\": \"open front door\", \"orientation\": \"the inside face of the open door and its threshold angle toward the camera as 수리영 exits\", \"state\": \"open, letting in dim exterior dusk\"}, {\"camera_use\": \"evidence of intrusion in the room she leaves behind\", \"directionality_class\": \"non_directional\", \"element\": \"scattered household debris\", \"orientation\": \"\", \"state\": \"ransacked, strewn across the floor\"}, {\"camera_use\": \"broken domestic geometry in the side background\", \"directionality_class\": \"directional_3d\", \"element\": \"overturned dining chairs\", \"orientation\": \"chair legs jut sideways at uneven angles across the room\", \"state\": \"knocked over\"}, {\"camera_use\": \"damp air source and unsettling escape route implication\", \"directionality_class\": \"transparent_surface\", \"element\": \"open living-room window\", \"orientation\": \"the camera sees the dark opening and wet exterior air beyond the window frame\", \"state\": \"open, dirty, cold\"}]\nframe_spatial_contract: {\"constraints\": [{\"depth_plane\": \"midground\", \"gesture_action\": \"moves_toward\", \"gesture_target_label\": \"open front door\", \"label\": \"수리영\", \"screen_zone\": \"middle_center\", \"target_id\": \"C01\", \"target_kind\": \"character\"}, {\"depth_plane\": \"background\", \"gesture_action\": \"none\", \"gesture_target_label\": \"\", \"label\": \"open front door threshold\", \"screen_zone\": \"upper_center\", \"target_id\": \"\", \"target_kind\": \"background\"}], \"reason\": \"movement_direction\"}\n\n[S27_Shot1] (indoor; loc=L04; scene_heading=S#27. 옥탑방 안 / 해질 무렵)\ndescription: 난장판이 된 옥탑방 거실, 혜수가 핸드폰을 귀에 댄 채 심각한 표정으로 굳어 있는 상체.\ncharacters: 혜수\nframing_scale: medium\ncamera_direction: Inside the rooftop living room at chest height, the camera continues the flow’s slow dolly-in from about 2.5 meters, tightening to a medium upper-body frame of 혜수 with the phone pressed to her ear. She sits slightly right of center amid overturned, damp-looking clutter, angled three-quarters as if her attention has just pulled toward 김형사 off-frame rather than toward us.\nkey_bg_elements: [{\"camera_use\": \"visible disorder around 혜수, keeping the room’s violated condition readable behind her\", \"directionality_class\": \"non_directional\", \"element\": \"scattered rooftop-room clutter\", \"orientation\": \"\", \"state\": \"messy, overturned, neglected\"}, {\"camera_use\": \"background source of cold draft and later sound, held out of focus behind the anxiety\", \"directionality_class\": \"directional_3d\", \"element\": \"entrance door\", \"orientation\": \"its inner face angles slightly away from camera, showing the rattling edge and frame gap\", \"state\": \"not fully secure, wind-shaken\"}, {\"camera_use\": \"thin translucent layer over the small room window, adding a damp dusk haze\", \"directionality_class\": \"transparent_surface\", \"element\": \"grimy window glass\", \"orientation\": \"dirty glass catches the gray exterior light while showing only a blurred rooftop beyond\", \"state\": \"streaked, dim\"}]\n\n[S4_Shot1] (outdoor; loc=L03; scene_heading=S#4. 옥탑방 / D)\ndescription: 인천 변두리의 낡고 오래된 빌라 옥탑방 외부 전경이 한눈에 내려다보이는 부감 구도.\nframing_scale: wide\ncamera_direction: An omniscient overhead camera holds from about forty-five meters above the old villa, centered on the rooftop room while still keeping the surrounding neighborhood readable. The rooftop structure sits in the middle of the frame like a small exposed shrine, boxed in by worn roofs, narrow alleys, and faded concrete blocks.\nkey_bg_elements: [{\"camera_use\": \"The rooftop room is the central visual anchor and destination of the aerial reveal.\", \"directionality_class\": \"directional_3d\", \"element\": \"old rooftop room exterior\", \"orientation\": \"its roof and front wall are visible from above, with the doorway side angled slightly toward camera\", \"state\": \"aged, patched, weather-stained\"}, {\"camera_use\": \"Surrounding villa roofs create a cramped grid that isolates the rooftop room.\", \"directionality_class\": \"directional_3d\", \"element\": \"neighboring old villa rooftops\", \"orientation\": \"flat roof planes face upward toward the overhead camera\", \"state\": \"worn, cluttered, pale gray\"}, {\"camera_use\": \"A thin haze softens the outskirts and carries the news voice’s unease into the space.\", \"directionality_class\": \"non_directional\", \"element\": \"damp urban haze\", \"orientation\": \"\", \"state\": \"thin, bluish, stagnant\"}]\nframe_spatial_contract: {\"constraints\": [{\"depth_plane\": \"midground\", \"gesture_action\": \"none\", \"gesture_target_label\": \"\", \"label\": \"old rooftop room\", \"screen_zone\": \"middle_center\", \"target_id\": \"\", \"target_kind\": \"background\"}], \"reason\": \"required_background_position\"}\n\n[S5_Shot10] (indoor; loc=L04; scene_heading=S#5. 옥탑방 안 / 실내)\ndescription: 수리영이 민숙의 어깨에 코를 묻고 멈춘 찰나의 측면.\ncharacters: 수리영, 민숙\nframing_scale: close\ncamera_direction: The camera follows the flow into the narrow entrance area and holds side-on at shoulder height, about one meter away, lens parallel to the wall to compress mother and daughter together. The tighter profile frame favors the contact point: Suriyeong’s face and nose press into Minsuk’s shoulder at center-left, while Minsuk’s softened profile and apron edge sit center-right.\nkey_bg_elements: [{\"camera_use\": \"The narrow wall flattens the space and makes their closeness feel private and fragile.\", \"directionality_class\": \"non_directional\", \"element\": \"entrance wall\", \"orientation\": \"\", \"state\": \"worn, slightly yellowed, close to camera plane\"}, {\"camera_use\": \"The shoe area at the bottom edge hints at Suriyeong leaving soon without pulling focus from the embrace.\", \"directionality_class\": \"directional_3d\", \"element\": \"entryway shoe area\", \"orientation\": \"shoe tops and low threshold edge face the camera from below the profiles\", \"state\": \"cluttered, dim\"}, {\"camera_use\": \"The door seam creates a vertical boundary beside them, suggesting a moment just before departure.\", \"directionality_class\": \"directional_3d\", \"element\": \"front door seam\", \"orientation\": \"the flat door face is seen in side compression, seam running vertically near the right edge\", \"state\": \"closed, dull, scuffed\"}]\n\n[S5_Shot12] (indoor; loc=L04; scene_heading=S#5. 옥탑방 안 / 실내)\ndescription: 민숙의 손목 안쪽에 새겨진 작은 원 모양의 표식 클로즈업.\ncharacters: 민숙\nframing_scale: insert\ncamera_direction: The camera completes the flow’s downward push from Suriyeong’s side of the entrance to a very close waist-height insert, about twenty centimeters from Minsuk’s inner wrist. The wrist cuts diagonally across the center of frame, the small circular mark isolated in sharp focus while skin, sleeve edge, and the entryway behind fall into creamy blur.\nkey_bg_elements: [{\"camera_use\": \"The marked skin surface is the focal plane and occult reveal.\", \"directionality_class\": \"content_surface\", \"element\": \"inner wrist with circular mark\", \"orientation\": \"the inner wrist surface faces the camera, showing a small dark circular mark clearly against the skin\", \"state\": \"exposed, sharply focused, mark unusually distinct\"}, {\"camera_use\": \"The sleeve cuff frames the wrist without becoming the subject.\", \"directionality_class\": \"directional_3d\", \"element\": \"apron or sleeve edge\", \"orientation\": \"fabric edge runs along the wrist from camera-left, seen as a soft side fold\", \"state\": \"soft, worn, out of focus\"}, {\"camera_use\": \"The entrance background becomes an indistinct shadow field so the symbol carries the tension.\", \"directionality_class\": \"non_directional\", \"element\": \"blurred entryway background\", \"orientation\": \"\", \"state\": \"dim, warm-gray, unfocused\"}]\nframe_spatial_contract: {\"constraints\": [{\"depth_plane\": \"foreground\", \"gesture_action\": \"none\", \"gesture_target_label\": \"\", \"label\": \"Minsuk inner wrist mark\", \"screen_zone\": \"middle_center\", \"target_id\": \"C04\", \"target_kind\": \"character\"}], \"reason\": \"primary_subject_isolation\"}\n\n[S5_Shot3] (indoor; loc=L04; scene_heading=S#5. 옥탑방 안 / 실내)\ndescription: 앞치마를 두른 민숙이 어두운 표정으로 거실 TV 화면을 응시하며 굳어 있는 상체.\ncharacters: 민숙\nframing_scale: medium\ncamera_direction: The observer camera settles at the end of its lateral track from near the sink and small window, chest height and about two and a half meters from Minsuk, looking across the counter line toward the living room TV. Minsuk is held in an upper-body frame at the right-middle of the image, shoulders locked in her apron as the kitchen foreground remains softly present and the TV glow pulls her stare off-frame.\nkey_bg_elements: [{\"camera_use\": \"The TV is the off-frame source of her fixed attention and casts a cold news glow across the room.\", \"directionality_class\": \"content_surface\", \"element\": \"living room TV screen\", \"orientation\": \"the screen face is angled away from the camera, showing only a sliver of moving blue news light rather than readable content\", \"state\": \"on, low volume, flickering\"}, {\"camera_use\": \"The sink and herbs sit in the near foreground, domestic routine interrupted by dread.\", \"directionality_class\": \"directional_3d\", \"element\": \"sink with unfinished medicinal herbs\", \"orientation\": \"the basin rim and faucet side face the camera across the counter\", \"state\": \"water running, herbs wet and half-washed\"}, {\"camera_use\": \"Steam from the pot veils the compact room and gives the practical light a sick texture.\", \"directionality_class\": \"non_directional\", \"element\": \"boiling pot steam\", \"orientation\": \"\", \"state\": \"rising, thin, wavering\"}, {\"camera_use\": \"The small window gives a narrow daylight slit that contrasts with the TV’s colder glow.\", \"directionality_class\": \"transparent_surface\", \"element\": \"small living-room window\", \"orientation\": \"slightly dirty glass admits pale daylight; only a blurred exterior brightness is visible through it\", \"state\": \"closed, dusty\"}]\n\nCREATOR CORRECTIONS (spatial facts, override):\n- CORRECTION (production owner): the exterior stair element is an ADDED-ON STEEL stair retrofitted later onto its building's outside wall — open treads, thin steel stringers and support posts, pipe handrail, visibly a separate later addition to the building. It is NOT concrete or cement; this supersedes any cement/concrete stair mention elsewhere in the data."}
{"ts": "2026-07-06 19:07:06", "kind": "llm", "step": "s20_minimal_struct", "model": "gpt", "dur_s": 58.1, "system_prompt": "You are given structural data of one real property: STRUCTURE lines\n(machine-derived, verbose), ELEMENT DATA (physical facts per\nelement), a PLACE DESCRIPTION (storey / vertical composition ground\ntruth) and optional CREATOR CORRECTIONS.\n\nThe verbose lines OVER-SPECIFY: size words, fine compass positions,\nfootprint-shape clauses. Over-specification breeds contradictions\nbetween clauses, and contradictions make image models hallucinate.\nYour job is the opposite: write the MINIMUM a drawing model needs to\nunderstand this structure. What you leave unsaid, the model invents\nnaturally — that is intended.\n\nRules:\n- FIRST line: 'LEVELS (placement logic only — the drawing stays a\n  flat top-down plan): ground -> <building, N storeys> roof\n  terrace -> <what is on it>' — state the storey count from the\n  PLACE DESCRIPTION. This is level LOGIC for a flat drawing, never\n  an instruction to draw height or elevation.\n- Then ONE SHORT line per element: its number, what it is, what it\n  is ON or IN (its host), plus AT MOST one coarse position on that\n  host ('on the roof terrace, west side' / 'attached to the rear\n  wall of the building'). Nothing else.\n- KEEP EVERY element that belongs to the property itself —\n  including its roof-level and ground-level fixtures; never drop\n  them. Only surrounding context (neighbouring masses, the public\n  road edge) may merge into one single unnumbered line.\n- Phrase every relation as FLAT PLAN-VIEW placement (A is on B /\n  at B's west side / attached to B's rear wall) — never elevation\n  storytelling: no 'rises', 'stands above', 'supports', 'on top'.\n- NO size words, NO footprint or shape clauses, NO frame-edge\n  phrasing, NO fine compass positions beyond the one coarse\n  position per line.\n- SCENE-CRITICAL elements (listed below when present) are the\n  elements the actual shots depend on: their lines must carry\n  EXACTLY the spatial facts given — connection endpoints (from\n  where to where), attachment wall/side, what they face — never\n  simplified away, never distorted. A critical connector (a\n  stair, an entrance) always keeps its full connection in its\n  line.\n- PHYSICAL COHERENCE: every enclosed building keeps an entry\n  opening and the circulation connects all the way (approach ->\n  entrance -> grounds -> stairs -> upper levels). If a physically\n  necessary connection is missing, add one minimal numbered line\n  and mark its legend name with ' (assumed)'.\n- Apply the spatial facts of CREATOR CORRECTIONS; keep materials\n  out.\n- Number the kept elements 1..K in a sensible structural order.\nlegend: every number you kept, with that element's name_en exactly\nas given in ELEMENT DATA (or the assumed element's short name).", "user_prompt": "STRUCTURE lines (verbose, machine-derived — source data, do not copy their level of detail):\n- street road: thin strip rectangular block, south-centre area\n- narrow alley: thin strip rectangular block, centre-west area\n- entry yard: thin strip rectangular block, south-centre area\n- villa mass: large rectangular block, centre area\n- roof terrace: large rectangular block, placed on the villa mass, in its centre part\n- rooftop room: medium rectangular block, placed on the roof terrace, in its centre part\n- concrete stair: thin strip rectangular block, south-east area, connecting the ground level up to the deck level\n- low wall: thin strip rectangular block, placed on the roof terrace, in its south-centre part\n- neighbor block: medium rectangular block, north-west area, plain simplified block\n- rear neighbor: medium rectangular block, north-centre area, plain simplified block\n- side neighbor: thin strip rectangular block, centre-east area, plain simplified block\n- water tank: tiny round block, placed on the roof terrace, in its north-west part\n- low platform: tiny rectangular block, placed on the roof terrace, in its south-west part\n- laundry line: thin strip rectangular block, centre area, on the west edge of the rooftop room\n- iron door: tiny rectangular block, centre area, on the south edge of the rooftop room\n- living window: tiny rectangular block, centre area, on the east edge of the rooftop room\n- bedroom window: thin strip rectangular block, north-centre area, on the north edge of the rooftop room\n- entry gate: thin strip rectangular block, placed on the entry yard, in its centre-west part\n- facade windows: thin strip rectangular block, south-centre area, on the north edge of the entry yard (4 in a row)\n- one flat tint rule only, to tell height levels apart, low to high: Ground -> Stair run -> Roof deck -> Rooftop room (darker = higher)\n\nELEMENT DATA (name [kind]: physical form facts):\n- street road [kind road]: 하단에는 골목과 맞닿은 넓은 차량 도로가 놓여 있다.\n- narrow alley [kind alley]: 왼쪽에는 도로에서 빌라 입구까지 이어지는 좁은 세로 골목이 있다.\n- entry yard [kind yard]: 빌라 앞에는 골목과 계단 사이에 작은 마당이 있다.\n- villa mass [kind building_mass]: 중앙에는 옥탑방을 올린 낡은 다세대 빌라 매스가 있다.\n- roof terrace [kind terrace]: 본관 지붕 위에는 옥탑방과 물탱크가 놓인 시멘트 바닥의 옥상 테라스가 있다.\n- rooftop room [kind upper_shell]: 옥상 중앙에는 작은 옥탑 주거 공간의 외곽 매스가 놓여 있다.\n- concrete stair [kind stair]: 오른쪽 외벽에는 마당에서 옥상 현관 앞까지 이어지는 덧댄 철제 외부계단이 붙어 있다.\n- low wall [kind wall]: 옥상 테라스 가장자리에는 낮은 콘크리트 담이 둘러져 있다.\n- neighbor block [kind neighbor_mass]: 왼쪽에는 옥탑방 옆을 둘러싸는 낡은 이웃 건물 매스가 있다.\n- rear neighbor [kind neighbor_mass]: 상단에는 옥탑방 뒤쪽에 맞닿은 낡은 이웃 건물 매스가 있다.\n- side neighbor [kind neighbor_mass]: 오른쪽에는 계단 바깥쪽 골목을 좁히는 이웃 건물 매스가 있다.\n- water tank [kind fixture_round]: 옥상 왼쪽 뒤편에는 원형 물탱크가 놓여 있다.\n- low platform [kind fixture_rect]: 옥상 앞쪽에는 낮은 직사각형 평상이 놓여 있다.\n- laundry line [kind equipment]: 물탱크와 옥탑방 사이에는 얇은 빨랫줄이 가로질러 걸려 있다.\n- iron door [kind door]: 옥탑방 아래쪽 가장자리에는 계단 상부 랜딩을 향한 철문 현관이 있다.\n- living window [kind window]: 옥탑방 오른쪽 외벽에는 작은 거실 창이 있다.\n- bedroom window [kind window]: 옥탑방 위쪽 외벽에는 커튼이 달린 침실 창이 있다.\n- entry gate [kind gate]: 골목과 앞마당 사이에는 단일 빌라 입구 게이트가 있다.\n- facade windows [kind window]: 본관 앞마당 쪽 벽에는 전면 창 네 칸이 반복되어 있다.\n\nPLACE DESCRIPTION (storeys / composition ground truth):\nTHE PLACE (authored description — the content ground truth):\nBUILDING: The main building is an old multifamily villa block, drawn as an assumed three-storey body below the rooftop unit because the script only states an old villa with a rooftop room. Its mass is a plain rectangular concrete volume set behind an entry yard. The roof is flat and usable as a cement-surfaced terrace. The front facade facing the yard should show four repeated window bays per storey, matching the extracted layout’s inferred facade-window rhythm.\nTOP UNIT & DECK: The topmost enclosed unit is a small, old rooftop dwelling set on the flat terrace, drawn as a simple rectangular shell. Its boundary openings are one iron entrance door facing the stair landing, one small living-room window on a side wall, and one bedroom window on another wall. Around it, the open deck has a low concrete parapet or wall, a round water tank, a fixed laundry line, and a low platform on the cement surface.\nGROUNDS: At ground level, a street edge feeds a narrow alley along the left side, leading to a single entry gate and a small recessed yard at the villa entrance. Neighboring building masses close the rear and sides, making the approach compact. From the yard’s back corner, a later-added exterior steel stair is fixed to the outside wall, with open treads, thin stringers, support posts, and a pipe handrail, continuing up to the rooftop terrace and iron-door landing.\nTHE PLAN MUST SHOW: The finished top-down site plan should show a rectangular villa mass centered behind the yard, with its flat roof terrace visible as the primary upper surface. Place the rooftop room as a smaller rectangle on the terrace, with one door toward the stair landing and two windows on separate sides. Draw the left alley, entry gate, recessed yard, surrounding neighbor blocks, low roof wall, fixed rooftop fixtures, and the retrofitted steel stair as a separate exterior structure attached to the building wall.\n\nSCENE-CRITICAL ELEMENTS (spatial facts the shots depend on — keep these relations EXACT; never simplify or distort them):\n- iron door: The iron door is the rooftop room’s front entrance on the roof terrace/landing.\n- iron door: Its seam and threshold connect the exterior rooftop side to the dark rooftop-room interior.\n- iron door: From the rooftop landing, the door face is visible square-on as the central entrance plane.\n- added-on steel stair: The exterior stair is a later-added steel structure attached to the villa’s outside wall, with open treads, thin steel stringers, support posts, and a pipe handrail.\n- added-on steel stair: It connects the ground-level entry yard area to the rooftop room/roof terrace level.\n- added-on steel stair: It is steel, not concrete or cement.\n- roof terrace: The roof terrace is the exterior rooftop area around the rooftop room.\n- roof terrace: It contains the water tank, laundry line, and low platform, and the iron front door opens onto it.\n- roof terrace: The stair arrives at a rooftop landing with a direct sightline toward the iron door.\n- rooftop room: The rooftop room sits on top of an old villa in the outskirts of Incheon.\n- rooftop room: Its exterior is a small exposed rooftop structure surrounded by neighboring old roofs, narrow alleys, and concrete blocks.\n- rooftop room: Its front/doorway side opens toward the roof terrace.\n- entry gate: The multi-family villa door/gate is the threshold from the alley/outside approach into the villa yard.\n- entry gate: Past this gate lies the ground-level yard that leads to the exterior stair for the rooftop room.\n- entry yard: The entry yard is inside the multi-family villa gate at ground level.\n- entry yard: It has a rear/obscure area and sits at the base route toward the stair connected to the rooftop room.\n- narrow alley: The narrow alley is the exterior approach corridor to the villa property.\n- narrow alley: It provides the depth line between the police car position and the figure farther down the alley.\n- narrow alley: It sits outside the entry gate/yard route to the rooftop stair.\n- Suriyeong's bedroom doorway: This interior doorway is the threshold from the rooftop-room interior into Suriyeong’s bedroom.\n- Suriyeong's bedroom doorway: When open, it frames the bedroom floor, bed, wall, curtain line, and window side.\n- Suriyeong's bedroom doorway: Camera positions exist both just outside the threshold and just inside it.\n- living window: A small window opens in the living-room area of the rooftop room.\n- living window: Its glass can read as a reflective surface at night and as a daylight slit by day.\n- living window: The same living-room window line can be open to the exterior.\n- bedroom window: The bedroom window is inside Suriyeong’s room and is covered or partly obscured by curtains.\n- bedroom window: The curtain/window side forms a side zone of the bedroom opposite the doorway view.\n- bedroom window: The window admits pale daylight through the curtains when the room is clean and still.\n- low wall: The low rooftop wall borders the roof terrace area near the rooftop room.\n- low wall: Its long face and top edge run across the rooftop frame and provide a boundary/jump line.\n- low wall: It faces the lit rooftop-room window across the rooftop space.\n- water tank, laundry line, and low platform: The water tank, laundry line, and low platform are rooftop fixtures on the roof terrace outside the rooftop room.\n- water tank, laundry line, and low platform: The low platform holds dried seokchangpo, and the laundry line spans the rooftop air nearby.\n- water tank, laundry line, and low platform: These fixtures occupy the approach space before the iron front door.\n\nCREATOR CORRECTIONS:\n- CORRECTION (production owner): the exterior stair element is an ADDED-ON STEEL stair retrofitted later onto its building's outside wall — open treads, thin steel stringers and support posts, pipe handrail, visibly a separate later addition to the building. It is NOT concrete or cement; this supersedes any cement/concrete stair mention elsewhere in the data."}
{"ts": "2026-07-06 19:07:22", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s20_numbered_bd_nb2", "refs": [], "ref_labels": [], "attempt": 1, "dur_s": 16.0, "bytes": 1848381, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/numbered_bd_nb2.png", "prompt": "Draw ONE SCHEMATIC BLOCK DIAGRAM of a real property's layout — the\nkind of flat figure a computer program draws: plain solid-colour\nshapes on a plain light background, uniform thin dark outlines.\nFlat schematic drawing language always: no gradients, no shadows,\nno texture, no photorealism.\nVIEWPOINT — top-down, or AT MOST a gentle axonometric tilted about\n30 degrees from vertical (2.5D) so slight height reads. NEVER full\n3D perspective, never vanishing-point depth, never eye-level,\nnever a facade as the main subject. Any level wording in the lines\nbelow is placement logic, not an instruction to build tall 3D\nvolumes.\nThe lines below give ONLY the placement structure (what is on/in\nwhat, roughly where). Everything they leave unsaid — exact shapes,\nsizes, proportions, spacing — YOU decide, so the property reads\nplausibly; keep every stated relation true.\nEvery building is ONE solid block — never any interior rooms, inner\nwalls or furniture.\nEach block shows ONLY its assigned number, drawn once as a small plain dark numeral on (or beside) that block; apart from these numerals there is no other text: no letters, no words, no names, no labels, no legend, no compass anywhere.\nNo people, no props, no vehicles.\n\nSTRUCTURE (containment / support / connection only):\nLEVELS (placement logic only — the drawing stays a flat top-down plan): ground -> villa mass, 3 storeys; roof terrace -> rooftop room\n1 narrow alley is on the ground approach outside the entry gate, connecting the street road edge to the gate route.\n2 entry gate is on the ground approach between the narrow alley and the entry yard.\n3 entry yard is on ground level inside the entry gate, at the villa front, leading to the exterior stair.\n4 villa mass is on ground level behind the entry yard.\n5 villa entrance (assumed) is in the villa mass front wall, connecting the entry yard to the villa interior.\n6 facade windows are on the villa mass front wall facing the entry yard.\n7 added-on steel stair is attached to the villa mass east outside wall, connecting the entry yard to the roof terrace landing facing the iron door.\n8 roof terrace is on the villa mass and is the exterior rooftop area around the rooftop room.\n9 rooftop room is on the roof terrace, with its doorway side opening to the terrace.\n10 low wall is on the roof terrace edge, facing the rooftop room across the roof terrace.\n11 water tank is on the roof terrace, west side of the approach space before the iron door.\n12 low platform is on the roof terrace, in the approach space before the iron door.\n13 laundry line is on the roof terrace, spanning between the water tank and the rooftop room.\n14 iron door is in the rooftop room front entrance, between the roof terrace landing and the rooftop-room interior, facing the stair landing.\n15 living window is in the rooftop room east wall, opening to the exterior.\n16 bedroom window is in the rooftop room north wall, on Suriyeong's bedroom side.\n17 Suriyeong's bedroom doorway (assumed) is inside the rooftop room, between the rooftop-room interior and Suriyeong's bedroom.\nContext: public road edge and neighboring building masses surround the narrow alley and villa."}
{"ts": "2026-07-06 19:10:25", "kind": "llm", "step": "s20_scene_critical", "model": "gpt", "dur_s": 69.8, "system_prompt": "You analyse the scenes and shots that play at one real property,\nto protect the SPATIAL TRUTH of the elements the camera depends\non.\n\nThis analysis feeds an EXTERIOR-ONLY site diagram. Include only\nexterior and boundary elements: grounds, approach routes, stairs,\nterraces, building shells, and boundary openings set in OUTER\nwalls (entrance doors, exterior windows). Interior-only elements\n(rooms, interior thresholds, furniture, curtains) are OUT of\nscope — skip them entirely.\n\nFrom the FULL SCENE TEXTS and ALL SHOTS below, identify the\nexterior spatial elements that matter to the shots — the routes\npeople take, the places the camera frames, the thresholds\ncrossed — especially CONNECTING structures (stairs, entrances,\ngates, passages between levels). For each one state its spatial\nfacts exactly as the scenes use them: what it connects (from\nwhere to where), what it attaches to, which side, what faces it.\nPresent-tense physical facts only — no events, no story wording.\nQuote the supporting phrase (exact, original language) for each\nfact.\n\nMatch element names to the given ELEMENT NAMES where possible;\na critical spatial fact with no matching element may use its own\nshort GENERIC name — never proper names, never character names,\nin the facts either.\nCREATOR CORRECTIONS, when present, override conflicting text.\nOutput per element: name_en, why_critical_ko (one short Korean\nsentence: which shots/actions depend on it), spatial_facts_en\n(1-3 short lines), evidence (source + quote). Order by importance\nto the shots. 5-12 elements.", "user_prompt": "ELEMENT NAMES (match these where possible): street road, narrow alley, entry yard, villa mass, roof terrace, rooftop room, concrete stair, low wall, neighbor block, rear neighbor, side neighbor, water tank, low platform, laundry line, iron door, living window, bedroom window, entry gate, facade windows\n\nFULL ORIGINAL SCENE TEXTS (every scene at this place):\n\n=== SCENE 4 FULL TEXT ===\nS#4. 옥탑방 / D\n인천 변두리 부감, 오래된 빌라 옥탑방 전경.\n기자(E)\n지역 주민들 사이에 횡행한 소문이 돌고 있지만, 경찰은 범인의 윤곽조차 잡지 못하고 있어 지역주민들의 불안과 두려움을 더 키우는 모양새입니다.\n\n\n\n=== SCENE 5 FULL TEXT ===\nS#5. 옥탑방 안 / 실내\n거실에 난 작은 창으로 햇살에 가늘게 비친다. 싱크대 수도꼭지에 흐르는 물, 씻다 만 약초(석창포). 냄비의 물이 끓어 달그락거리는 소리… 김이 피어오르고. 앞치마를 두른 채 TV 뉴스를 뚫어지게 바라보는 민숙(수리영 엄마. 40세) 표정이 어둡다. (뉴스멘트는 작아졌다 커졌다 반복하면서 여기까지 이어진다)\n딸, 수리영(21. 애완동물미용학과 2년)이 방문을 열고 기지개를 켜며 나오자 후다닥 TV를 끄는 민숙. 다정한 말투로\n수리영\n(심드렁) 뭐~야. 사건 났어? 뭔데.\n민숙\n아냐.\n수리영\n(식탁에 앉으며) 이모 또 야근하겠네. 조그만 도시에 왠 사건이 이렇게 많아. 바다가 가까워서 그런가.\n민숙\n신경 꺼. (석창포 달인 물을 따라주면서) 마셔. 방학인데 왜 더 자지않고.\n수리영\n(마시고 나서) 아, 진짜 맛 없어...(투정) 나 알바 있어, 엄마. 원장님이 하루만 봐 달래.\n(cut to.)\n가벼운 차림새. 수리영 신발을 신으며\n수리영\n엄마는 오늘 안 나가?\n민숙\n이따가 1시 타임.\n수리영\n(엄마의 냄새를 맡으며) 아, 좋다. 끝나고 마트로 갈게. 모처럼 밖에서 저녁먹자 엄마.\n민숙\n응 (미소)\n힐끗, 민숙 손목에 보이는 작은 원(이하 표식)을 본다. 오늘따라 유난히 또렷해 보이지만 워낙 어릴 적부터 봐온 터라 개의치 않는.\n\n\n\n=== SCENE 10 FULL TEXT ===\nS#10. 옥탑방 / N\n그 시각. 옥탑방 옥상. 물탱크. 바람에 빨랫줄이 툭- 툭- 평상에 놓인 말린 석창포가 바람에 날리는데... 말린 잎이 걸어오는 낯선 남자의 신발 위를 스친다. 남자의 긴 그림자. (얼굴은 보이지 않는다)\n신발은 옥탑방 철문 현관 앞에 멈춰 선다. 문틈에 낀 광고 전단지. 전단지를 뽑아서 손가락으로 문틈에 꾹 밀어 넣는다. ‘철컥’ 하고 잠금 새가 풀리는 소리. 문이 미세하게 열리고 안으로 들어가는 남자.\n창문에 비친 그림자. 민숙을 덮쳐 어깨를 물어뜯는 듯한 모습 ‘아악-’\n\n\n\n=== SCENE 11 FULL TEXT ===\nS#11. 옥탑 방 밖 / N\n자전거를 타고 골목길을 달리는 수리영. 다세대 빌라 문을 열고 들어와 마당 후미진 곳에 자전거를 대충 세우고, 옥탑방과 연결되는 계단을 급히 오른다.\n갑자기 훅- 느껴지는 역겨운 냄새. 뭐지? 옥상에 올라와 보니 반쯤 열린 현관 철문.\n\n\n\n=== SCENE 12 FULL TEXT ===\nS#12. 옥탑방 안 / N\n/거실\n‘엄마?’를 부르며 들어오는 수리영, 끓다 식은 냄비. 켜져 있는 TV. 희미한 거실 스탠드 불빛,\n/민숙 방\n안방 문을 여는데... 없다. 거실 식탁에 놓여있는 찻잔 두 개. 하나는 엎어져있다.\n/수리영 방\n마지막으로 자기 방문을 연다 헉!- 여기저기 핏자국. 바닥에 흥건한 혈흔. 피묻은 발자국은 커튼으로 이어져 있다 호흡을 가다듬고 커튼을 젖히자 앉은 채로 고개를 떨군 채 죽어있는 엄마- 민숙!!!!\n수리영\n(달려가) 어어어어----엄마\n충격에 온 몸이 얼어붙은 수리영, 살점이 뜯긴 어깨와 쇄골, 마치 동물에게 물어뜯긴 듯한 거친 상처가 고스란히 드러나있다. 덜렁거리는 살점과 뜯겨진 부위에 흘러내리는 피.\n수리영\n(놀라 뒤로 주춤) 어-어-어- 엄마….\n부들부들 떨며 핸드폰을 누른다. 2번 혜수이모\n수리영\n받아, 이모. 받아….\n혜수(E)\n영아, 영아, 왜?\n답은 안 나오고… 엄마 손안에 구겨진 사진 한 장이 보인다. 다가가 사진을 꺼내는데 엄마 손목에 있던 문신이 붉은색으로 변한다. 헉! 호흡이 빨라지고... 침대 위 벽에 붉은 원이 생겨난다 (마치 누군가 붓으로 벽에 원으로 그리는 것처럼). 소름끼치는 으아악---!\n\n\n\n=== SCENE 13 FULL TEXT ===\nS#13. 옥탑방 외곽 / N\n비명을 지르며 옥탑방을 빠져나오는 수리영, 허겁지겁 계단을 내려간다. 동시에 사이렌이 울리고~. (포즈)\n차에서 내린 혜수(40대 중반, 여자, 경위) 초점을 잃고 멍하니 서있는 수리영의 모습을 발견하고 달려간다.\n혜수\n영아? 왜! 무슨 일이야?\n수리영\n(올라다보며) 엄마가, 엄마가... 죽어있어.\n혜수\n(놀라) 뭐?!\n옥탑 방으로 뛰어 올라가는 혜수와 후배 형사(30대 남/ 이하 김형사)\n\n\n\n=== SCENE 14 FULL TEXT ===\nS#14. 옥탑방 안 / N\n/현관\n집안 여기저기를 확인하면서 나오는 형사와 혜수\n김형사\n(허탈한 표정) 없는데.. 아무 것도.\n혜수\n(뒤따라온 수리영에게) 영아, 없어. 뭘 봤는데...?\n어? 수리영, 부리나케 방 안으로 뛰어 들어간다.\n/수리영 방 안\n지나칠 정도로 깨끗하게 정돈된 방안. 핏자국도 보이지 않고, 침대 위에 붉은 표식은 물론 커튼 뒤의 시신도 감쪽 같이 사라졌다. 얼굴이 파리해지는 수리영. ‘어----?’ ‘분명히 봤는데...’\n뛰쳐나가 식탁으로 가본다. 식탁 역시 깨끗한.\n수리영\n여기 찻잔도 두 개 있었고...\n김형사\n(답답) 허 참! 죽은 사람이 발이 달렸을 리도 없고. 쯧쯧 그러게 살인사건은 자세하게 보도하면 안 된다구요...(궁시렁) 이봐요. 학생? 장난전화 하면 안 되는 거 몰라? (짜증) 안 그래도 살인사건으로 난리도 아닌데...\n혜수\n(김형사 째리고) 김형사. 먼저 가 있어. (김형사 나가면) (수리영 어깨를 어루만지며) 영아.\n수리영\n엄마(시신), 어디갔을까? 분명히 봤는데...\n혜수\n네가 요즘 과로했잖아. 공부에다 알바까지... 악몽을 꾼 걸 수도 있으니... 바람이나 쐬러 가자.\n수리영 방안에 놓여진 백팩, 인형. 약간씩 위치가 달라진. (시신을 발견했을 때와 다른)\n\n\n\n=== SCENE 17 FULL TEXT ===\nS#17. 옥탑방 / 동틀무렵\n새벽녘, 고양이 울음소리. 검은 고양이가 불이 켜져 있는 옥탑 방을 슬쩍 보더니 담을 넘는다\n\n\n\n=== SCENE 18 FULL TEXT ===\nS#18. 안방 안 / D\n침대에 머리를 대고 앉아있는 수리영, 밤새 엄마를 기다리다 깜박 졸았다 고양이 울음소리에 번쩍 눈을 뜨고, ‘엄마? ’혹시나 해서 집안을 살피지만 아무런 인기척도 보이지 않는다\n/수리영 방안\n닫혀있는 자신의 방을 바라본다. [F.B: 1부12씬] 커튼 뒤에 죽어있던 엄마. 상처. 혈흔 크게 심호흡하고 조심스럽게 문을 연다. 지나치리만큼 깨끗하게 정돈된 방안. 창문에 다가가 커튼을 확 열어젖힌다. 시신은 없다. 한숨 후~ 다행이긴 한데. 그때, 울리는 폰 벨소리, 화들짝 놀라는 수리영. 달려가 받자마자\n수리영\n엄마?\n혜수(E)\n아직이니?\n수리영\n응. 아무래도 이상해. 이럴 리가 없잖아! 우리 엄마가. 이모, 사고 난 게 분명해\n혜수(E)\n실종신고 냈어. 이모가 엄마 폰 위치추적하고 있으니까 조금만 기다려 별일 없을 거야. 알았지?\n수리영\n응.\n무작정 기다리는게 불안한 수리영, 인형이 달린 자신의 백팩을 꺼내 나온다\n/욕실 안\n얼굴을 씻고 거울을 보며\n수리영\n엄마, 도대체 어딨는 거야...\n거울에 비친 욕실 벽에 갑자기 또 발생하는 붉은 원. 호흡이 가빠지고... 훅 고개를 돌려 벽을 보는 수리영 거짓말처럼 사라지고 없다. 거실로 튀어나와 물 한컵 마시고 식탁에 놓인 엄마와 수리영의 사진을 보는데... 환하게 웃는 엄마 얼굴이 뭉개져 흘러내린다\n수리영\n아아악~~~ (다시보니 멀쩡하다) 나 왜 이러는 거지. (자신의 뺨을 치며) 정신 차려 수리영!\n\n\n\n=== SCENE 25 FULL TEXT ===\nS#25. 옥탑방 안 / 해질 무렵\n누군가 다녀간 흔적으로 보이는 발자국들. 다시 호흡이 가빠지는 수리영. 집안에서 뭔가를 찾기 위해 가재도구를 온통 헤집은 것으로 보인다. 거실에 난 창은 열려있고, 식탁 의자들을 쓰러져있다.\n/수리영 방\n열린 자신의 방을 힐끗 보는데 벽에 또 붉은 원이 그려져있다. 그 가운데 꽂혀있는 피묻은 사진 한 장! 사진을 떼어서 자세히 본다. 어? 그 사진!!!\n[F.B: 1부 12씬] 죽은 엄마의 손에 구겨져있던 바로 그 사진이다. 7-80년대 쯤 보이는 시골 식당과 지붕위에 둥근 원이 설치된 (마치 십자가처럼) 식당 앞에는 어린 여자애 둘(12살)이 앉아있다. 그중에 한 아이는 분명히 어릴 적 엄마다.\n침대에 털썩 주저앉는 수리영. 연속해서 벌어지는 기이한 상황에 정신이 혼미한 엉망이 된 집 안을 한번 획 둘러보는 수리영, 마치 이끌리듯 백팩을 메고 밖으로 나간다. 사진을 손에 꼭 쥔 채.\n\n\n\n=== SCENE 27 FULL TEXT ===\nS#27. 옥탑방 안 / 해질 무렵\n수리영의 녹음메시지를 확인하는 혜수,\n혜수\n너 봤니..본 거니... (김형사에게) 좌표를 보지않았을까?\n김형사\n그럴리가요. (혀를 끌끌 차며) 아이구 쯧쯧. 설사 본들 망망대해에서 뭘 어쩌겠어요. 돌아오겠죠.\n덜커덩 덜커덩. 바람에 현관문 소리. 황량하다.\n\n\n\nALL SHOTS AT THIS PLACE (full content):\n\n[S10_Shot5] (outdoor; loc=L03; scene_heading=S#10. 옥탑방 / N)\ndescription: 철문이 미세하게 열린 틈 사이로 어두운 내부가 보이는 구도.\nframing_scale: insert\ncamera_direction: At the end of the flow’s dolly-in, the lens freezes just outside the iron door at handle height, only inches from the seam, staring directly into the thin opening. The dark crack sits in the center like a vertical wound, with rough iron surfaces on both sides occupying the foreground while the interior beyond remains unreadable and almost lightless.\nkey_bg_elements: [{\"camera_use\": \"Primary focal aperture; turns the entry into a threatening slit rather than a normal doorway.\", \"directionality_class\": \"directional_3d\", \"element\": \"iron front door\", \"orientation\": \"The two heavy door edges face camera at close range, separated by a narrow central crack leading into darkness.\", \"state\": \"slightly open, scratched, cold metal\"}, {\"camera_use\": \"Hides what is inside and makes the gap feel predatory.\", \"directionality_class\": \"non_directional\", \"element\": \"dark interior beyond the crack\", \"orientation\": \"\", \"state\": \"unlit, opaque, silent\"}, {\"camera_use\": \"Adds tactile evidence of forced entry near the seam.\", \"directionality_class\": \"content_surface\", \"element\": \"creased advertisement flyer edge\", \"orientation\": \"Only the printed edge of the paper face is visible near the door seam, with partial color blocks and unreadable text.\", \"state\": \"bent, partly displaced, dirty\"}]\nframe_spatial_contract: {\"constraints\": [{\"depth_plane\": \"foreground\", \"gesture_action\": \"none\", \"gesture_target_label\": \"\", \"label\": \"narrow iron door seam\", \"screen_zone\": \"middle_center\", \"target_id\": \"\", \"target_kind\": \"background\"}], \"reason\": \"required_background_position\"}\n\n[S10_Shot6] (outdoor; loc=L03; scene_heading=S#10. 옥탑방 / N)\ndescription: 방 안 창문에 비친 그림자, 굽은 형태의 인영이 다른 사람 형상 위에 포개져 멈춘 찰나의 실루엣.\nframing_scale: medium\ncamera_direction: Inside the room, the camera holds static near the side wall at shoulder height, angled so only the window glass carries the action as a reflection and the direct attack is never seen. The reflected silhouettes sit within the window frame: a bent 인영 in the upper-middle area lowers its head toward the shoulder of 사람, whose body buckles beneath it in a distorted, wavering mid-action shape.\nkey_bg_elements: [{\"camera_use\": \"Serves as the only visible surface for the attack, keeping violence indirect and distorted.\", \"directionality_class\": \"reflective_surface\", \"element\": \"room window glass\", \"orientation\": \"The glass reflects the bent 인영 and 사람 as warped dark silhouettes, with faint interior light streaks trembling across them.\", \"state\": \"closed, grimy, reflective in darkness\"}, {\"camera_use\": \"Frames the reflection and prevents the viewer from seeing the real bodies directly.\", \"directionality_class\": \"directional_3d\", \"element\": \"window frame\", \"orientation\": \"The frame’s inner edges face camera and box the reflected action into a rigid rectangle.\", \"state\": \"old, chipped, motionless\"}, {\"camera_use\": \"Adds low, diseased color to the reflected silhouettes.\", \"directionality_class\": \"directional_3d\", \"element\": \"dim interior practical light\", \"orientation\": \"The lamp’s shaded side is off-frame but its amber spill grazes the wall and window reflection.\", \"state\": \"on, weak, sickly amber\"}, {\"camera_use\": \"Keeps the room claustrophobic around the window surface.\", \"directionality_class\": \"non_directional\", \"element\": \"dark side wall\", \"orientation\": \"\", \"state\": \"rough, stained, blue-gray shadowed\"}]\nframe_spatial_contract: {\"constraints\": [{\"depth_plane\": \"midground\", \"gesture_action\": \"none\", \"gesture_target_label\": \"\", \"label\": \"window reflection containing silhouettes\", \"screen_zone\": \"middle_center\", \"target_id\": \"\", \"target_kind\": \"background\"}], \"reason\": \"required_background_position\"}\n\n[S11_Shot3] (outdoor; loc=L10; scene_heading=S#11. 옥탑 방 밖 / N)\ndescription: 계단 중간에 서서 심하게 코를 찡그린 수리영의 얼굴 클로즈업.\ncharacters: 수리영\nframing_scale: close\ncamera_direction: Midway up the narrow concrete staircase, the camera holds static very close to 수리영 from the front-left at face height, tightening into an intense close-up that leaves only a sliver of stair texture behind her. Her nose wrinkles hard at the sudden smell, eyes lifting toward the unseen rooftop landing while her halted climb compresses her shoulders into the frame.\nkey_bg_elements: [{\"camera_use\": \"Minimal background texture that preserves the stair location without diluting the reaction.\", \"directionality_class\": \"directional_3d\", \"element\": \"narrow concrete staircase\", \"orientation\": \"Only the side edge and riser texture angle behind her cheek, indicating the upward path to the rooftop.\", \"state\": \"dark, damp, rough\"}, {\"camera_use\": \"Creates a suffocating side boundary close to her face.\", \"directionality_class\": \"non_directional\", \"element\": \"stairwell wall\", \"orientation\": \"\", \"state\": \"stained, cold, blue-gray\"}, {\"camera_use\": \"Suggests the unseen source direction through faint light above.\", \"directionality_class\": \"non_directional\", \"element\": \"rooftop darkness above the stairs\", \"orientation\": \"\", \"state\": \"unseen, heavy, foul implied\"}]\n\n[S11_Shot4] (outdoor; loc=L10; scene_heading=S#11. 옥탑 방 밖 / N)\ndescription: 옥상 위, 어둠 속에 반쯤 열려 멈춰 있는 옥탑방 현관 철문의 정적 구도.\nframing_scale: wide\ncamera_direction: After the hard eyeline cut, the camera adopts 수리영’s direct viewpoint from the rooftop landing, several meters from the entrance and at human eye level, facing the iron front door squarely. The half-open door is held in rigid symmetry at the center of the frame, surrounded by still rooftop darkness, with no figure entering to relieve the threat.\nkey_bg_elements: [{\"camera_use\": \"Central reveal and source of unease, held motionless after her smell reaction.\", \"directionality_class\": \"directional_3d\", \"element\": \"rooftop room iron front door\", \"orientation\": \"The door faces camera squarely but hangs half-open, exposing a narrow black interior gap along one side.\", \"state\": \"half-open, frozen, scratched\"}, {\"camera_use\": \"Frames the doorway in isolated negative space.\", \"directionality_class\": \"non_directional\", \"element\": \"rooftop landing darkness\", \"orientation\": \"\", \"state\": \"still, damp, blue-black\"}, {\"camera_use\": \"Adds rough domestic rooftop texture without drawing attention from the door.\", \"directionality_class\": \"directional_3d\", \"element\": \"low rooftop wall\", \"orientation\": \"Its top edge runs horizontally across the lower background, barely lit against the night.\", \"state\": \"wet-stained, concrete, motionless\"}]\nframe_spatial_contract: {\"constraints\": [{\"depth_plane\": \"background\", \"gesture_action\": \"none\", \"gesture_target_label\": \"\", \"label\": \"half-open rooftop iron door\", \"screen_zone\": \"middle_center\", \"target_id\": \"\", \"target_kind\": \"background\"}], \"reason\": \"required_background_position\"}\n\n[S12_Shot15] (indoor; loc=L04; scene_heading=S#12. 옥탑방 안 / N)\ndescription: 침대 위 어두운 벽면에 피가 번지듯 선명한 붉은색 원형 표식이 그려진 상태의 정지 구도.\nframing_scale: medium\ncamera_direction: From low bedside height near the mattress edge, the camera completes its upward tilt and locks off on the dark wall above the bed, where a completed red circular mark sits in the upper middle of frame. The bed edge remains only as a thin lower strip for scale, while the wall becomes an oppressive flat plane; this is aligned with 수리영’s panicked perception, the image subtly treated as an occult hallucination rather than stable reality.\nkey_bg_elements: [{\"camera_use\": \"Primary occult surface holding the completed mark.\", \"directionality_class\": \"content_surface\", \"element\": \"dark wall above the bed\", \"orientation\": \"The camera-facing wall face is visible, carrying a vivid red circular mark at its center.\", \"state\": \"dark, stained-looking, marked\"}, {\"camera_use\": \"Lower frame scale reference beneath the wall.\", \"directionality_class\": \"directional_3d\", \"element\": \"bed edge\", \"orientation\": \"The side edge of the mattress faces the camera from below, cropped into a narrow horizontal band.\", \"state\": \"dim, still, partly obscured\"}, {\"camera_use\": \"Symbolic focal mark on the wall.\", \"directionality_class\": \"content_surface\", \"element\": \"red circular mark\", \"orientation\": \"The painted-looking face of the circle is fully visible to the camera, as if freshly drawn into the wall surface.\", \"state\": \"bright red, wet-looking, completed\"}]\n\n[S12_Shot4] (indoor; loc=L04; scene_heading=S#12. 옥탑방 안 / N)\ndescription: 열린 방문 틈으로 보이는 방바닥에 검붉은 핏자국이 흥건하게 고여 있는 정지 구도.\nframing_scale: close\ncamera_direction: From the low waist-height position outside the bedroom doorway, the camera holds completely still about three feet back, peering through the opened door gap toward the dark red blood pooled on the floor just beyond the threshold. The door edges form a narrow vertical frame on both sides, with the blood occupying the lower middle of the image and the dim bedroom receding into blue-gray darkness behind it; this is a neutral observer’s direct view, not a character POV.\nkey_bg_elements: [{\"camera_use\": \"Foreground framing device that restricts the view into the room.\", \"directionality_class\": \"directional_3d\", \"element\": \"opened bedroom door\", \"orientation\": \"The inner edge of the door faces the camera at an oblique angle, creating a narrow gap into the room.\", \"state\": \"open, still, shadowed\"}, {\"camera_use\": \"Primary visual focus on the floor just inside the doorway.\", \"directionality_class\": \"non_directional\", \"element\": \"dark red blood pool\", \"orientation\": \"\", \"state\": \"wet, thick, spread across the floor\"}, {\"camera_use\": \"Texture under the blood and scale reference for the room.\", \"directionality_class\": \"non_directional\", \"element\": \"bedroom floor\", \"orientation\": \"\", \"state\": \"dirty, damp-looking, partially covered by blood\"}]\n\n[S12_Shot8] (indoor; loc=L04; scene_heading=S#12. 옥탑방 안 / N)\ndescription: 두 눈을 크게 뜨고 입을 벌린 채 굳어버린 수리영의 창백한 얼굴 클로즈업.\ncharacters: 수리영\nframing_scale: close\ncamera_direction: At eye level directly in front of 수리영, the handheld camera compresses tighter than the stage distance until her pale face nearly fills the frame, backing away only a fraction as her shock freezes mid-recoil. The background is almost lost in darkness, with only a faint suggestion of the room’s black edges behind her; the view remains a direct observer angle, but the proximity feels invasive and breathless.\nkey_bg_elements: [{\"camera_use\": \"Nearly swallowed background plane behind her face.\", \"directionality_class\": \"non_directional\", \"element\": \"dark bedroom recess\", \"orientation\": \"\", \"state\": \"unlit, indistinct\"}, {\"camera_use\": \"Soft edge shadow that isolates her head from the room.\", \"directionality_class\": \"directional_3d\", \"element\": \"bedroom doorway edge\", \"orientation\": \"A narrow side edge catches minimal spill light behind her shoulder.\", \"state\": \"partially visible, shadowed\"}]\nframe_spatial_contract: {\"constraints\": [{\"depth_plane\": \"foreground\", \"gesture_action\": \"none\", \"gesture_target_label\": \"\", \"label\": \"수리영 terrified face\", \"screen_zone\": \"middle_center\", \"target_id\": \"C01\", \"target_kind\": \"character\"}], \"reason\": \"primary_subject_isolation\"}\n\n[S13_Shot3] (outdoor; loc=L03; scene_heading=S#13. 옥탑방 외곽 / N)\ndescription: 차에서 내린 혜수가 초점 없는 눈으로 멍하게 서 있는 수리영을 향해 시선을 고정한 찰나의 상체.\ncharacters: 혜수, 수리영\nframing_scale: medium\ncamera_direction: Beside the police car at chest height, the tracking move slows into a held upper-body frame on 혜수 as she has just stepped out, her body paused between the car and the alley. 수리영 appears farther down the alley in soft background focus, small and blank beneath flashing siren wash, while 혜수 occupies the left foreground in a tense three-quarter view; this is a direct observer view moving parallel with her discovery.\nkey_bg_elements: [{\"camera_use\": \"Foreground context and flashing light source beside 혜수.\", \"directionality_class\": \"directional_3d\", \"element\": \"police car\", \"orientation\": \"The side of the car and open door angle toward the camera, framing 혜수’s exit.\", \"state\": \"parked, door open, siren lights active\"}, {\"camera_use\": \"Depth corridor between 혜수 and 수리영.\", \"directionality_class\": \"directional_3d\", \"element\": \"narrow alley\", \"orientation\": \"The alley recedes diagonally from the police car toward 수리영 in the background.\", \"state\": \"wet, dark, foggy\"}, {\"camera_use\": \"Intermittent color wash across faces and walls.\", \"directionality_class\": \"non_directional\", \"element\": \"siren light spill\", \"orientation\": \"\", \"state\": \"flashing red-blue across damp surfaces\"}]\nframe_spatial_contract: {\"constraints\": [{\"depth_plane\": \"foreground\", \"gesture_action\": \"looks_toward\", \"gesture_target_label\": \"수리영 down the alley\", \"label\": \"혜수 by police car\", \"screen_zone\": \"middle_left\", \"target_id\": \"C02\", \"target_kind\": \"character\"}, {\"depth_plane\": \"background\", \"gesture_action\": \"none\", \"gesture_target_label\": \"\", \"label\": \"수리영 in alley\", \"screen_zone\": \"middle_right\", \"target_id\": \"C01\", \"target_kind\": \"character\"}], \"reason\": \"shared_space_relation\"}\n\n[S13_Shot5] (outdoor; loc=L03; scene_heading=S#13. 옥탑방 외곽 / N)\ndescription: 수리영이 고개를 들어 혜수의 얼굴을 올려다보는 정적 구도.\ncharacters: 수리영, 혜수\nframing_scale: close\ncamera_direction: The camera sits low near 수리영’s eye level, about one meter away, tightened into a still close composition as she lifts her face toward 혜수 just above the frame. 수리영 holds the lower center of the image, her upward eyeline creating the unseen presence of 혜수, while the wet alley background blurs into dark blue-gray; this is a direct observer angle from the space between them.\nkey_bg_elements: [{\"camera_use\": \"Soft, dark background texture behind 수리영’s head.\", \"directionality_class\": \"non_directional\", \"element\": \"wet alley wall\", \"orientation\": \"\", \"state\": \"damp, shadowed, out of focus\"}, {\"camera_use\": \"Atmospheric layer around her face.\", \"directionality_class\": \"non_directional\", \"element\": \"night fog\", \"orientation\": \"\", \"state\": \"thin, drifting, blue-gray\"}, {\"camera_use\": \"Off-screen motivated color pulse on her skin.\", \"directionality_class\": \"non_directional\", \"element\": \"police siren spill\", \"orientation\": \"\", \"state\": \"intermittent, faint\"}]\nframe_spatial_contract: {\"constraints\": [{\"depth_plane\": \"foreground\", \"gesture_action\": \"looks_toward\", \"gesture_target_label\": \"혜수 just above frame\", \"label\": \"수리영 close low frame\", \"screen_zone\": \"middle_center\", \"target_id\": \"C01\", \"target_kind\": \"character\"}], \"reason\": \"primary_subject_isolation\"}\n\n[S14_Shot4] (indoor; loc=L04; scene_heading=S#14. 옥탑방 안 / N)\ndescription: 핏자국 하나 없이 깨끗하게 정돈된 수리영의 방 내부 정지 구도.\nframing_scale: wide\ncamera_direction: Just inside 수리영’s bedroom doorway at eye level, the camera holds a wide, unmoving view inward toward the bed, bare wall, curtain, and spotless floor. The room is framed as evidence: the clean floor stretches across the lower half, the curtain line sits to one side where the body should have been, and the wall above the bed remains blank; this is a direct neutral observation of absence.\nkey_bg_elements: [{\"camera_use\": \"Primary proof of erased violence across the lower frame.\", \"directionality_class\": \"non_directional\", \"element\": \"spotless bedroom floor\", \"orientation\": \"\", \"state\": \"clean, dry, no blood marks\"}, {\"camera_use\": \"Central room anchor and comparison point for the missing wall mark.\", \"directionality_class\": \"directional_3d\", \"element\": \"bed\", \"orientation\": \"The side and top plane of the bed face the camera from mid-frame.\", \"state\": \"neatly made, undisturbed\"}, {\"camera_use\": \"Surface where the red circle should have been absent.\", \"directionality_class\": \"content_surface\", \"element\": \"wall above the bed\", \"orientation\": \"The camera-facing wall face is visible and completely bare, carrying no red circular mark.\", \"state\": \"clean, dark, unmarked\"}, {\"camera_use\": \"Empty area where the hidden body had been discovered earlier.\", \"directionality_class\": \"directional_3d\", \"element\": \"curtain line\", \"orientation\": \"The front folds face the camera from the side of the room, concealing only darkness and empty space behind.\", \"state\": \"hanging still, clean, no body visible\"}]\n\n[S14_Shot6] (indoor; loc=L04; scene_heading=S#14. 옥탑방 안 / N)\ndescription: 수리영이 핏기가 가신 창백한 얼굴로 멍하니 빈 커튼 쪽을 응시하는 정면.\ncharacters: 수리영\nframing_scale: close\ncamera_direction: Inside the bedroom near the bed and curtain side, the dolly-in ends in a frontal upper-body emphasis on 수리영, close enough that her pale face and rigid shoulders take most of the frame. She looks past the camera toward the empty curtain area, which is kept implied rather than shown, turning the direct observer view into a psychological confrontation with the missing evidence.\nkey_bg_elements: [{\"camera_use\": \"Blurred side texture suggesting where the corpse should have been.\", \"directionality_class\": \"directional_3d\", \"element\": \"curtain edge\", \"orientation\": \"Only a soft side fold is visible near the frame edge, with the empty area kept off-camera.\", \"state\": \"still, clean, partially out of focus\"}, {\"camera_use\": \"Low background shape behind her shoulder.\", \"directionality_class\": \"directional_3d\", \"element\": \"bed corner\", \"orientation\": \"The near corner angles away behind 수리영, cropped and subdued.\", \"state\": \"neat, undisturbed\"}, {\"camera_use\": \"Absence marker behind her expression.\", \"directionality_class\": \"content_surface\", \"element\": \"blank wall\", \"orientation\": \"The visible wall face behind her is bare and carries no red mark.\", \"state\": \"unmarked, dim\"}]\nframe_spatial_contract: {\"constraints\": [{\"depth_plane\": \"foreground\", \"gesture_action\": \"looks_toward\", \"gesture_target_label\": \"empty curtain area behind camera\", \"label\": \"수리영 frontal close frame\", \"screen_zone\": \"middle_center\", \"target_id\": \"C01\", \"target_kind\": \"character\"}], \"reason\": \"primary_subject_isolation\"}\n\n[S14_Shot8] (indoor; loc=L04; scene_heading=S#14. 옥탑방 안 / N)\ndescription: 식탁 앞에 선 수리영이 빈 식탁을 손가락으로 가리킨 채 멈춘 측면 상체.\ncharacters: 수리영\nframing_scale: medium\ncamera_direction: At chest height beside the dining table, the camera settles from the track into a brief still side composition perpendicular to 수리영’s body line. Her profile holds the left half of frame while her pointing hand cuts toward the bare tabletop on the right, keeping both the gesture and the missing teacups in one direct observational image.\nkey_bg_elements: [{\"camera_use\": \"Gesture target proving the vanished cups.\", \"directionality_class\": \"directional_3d\", \"element\": \"bare dining table\", \"orientation\": \"The clean top plane faces the camera at a shallow angle, with no cups where her finger indicates.\", \"state\": \"clean, empty, dry\"}, {\"camera_use\": \"Dim living-room depth behind the table.\", \"directionality_class\": \"directional_3d\", \"element\": \"living room wall and doorway\", \"orientation\": \"The wall and doorway recede behind 수리영 in side view.\", \"state\": \"shadowed, quiet\"}, {\"camera_use\": \"Soft ambient source in the room.\", \"directionality_class\": \"directional_3d\", \"element\": \"living room stand lamp\", \"orientation\": \"The lamp shade is seen from the side, its warm face turned slightly away from camera.\", \"state\": \"on, weak amber\"}]\nframe_spatial_contract: {\"constraints\": [{\"depth_plane\": \"foreground\", \"gesture_action\": \"points_to\", \"gesture_target_label\": \"bare dining tabletop\", \"label\": \"수리영 pointing beside table\", \"screen_zone\": \"middle_left\", \"target_id\": \"C01\", \"target_kind\": \"character\"}, {\"depth_plane\": \"midground\", \"gesture_action\": \"none\", \"gesture_target_label\": \"\", \"label\": \"bare dining tabletop\", \"screen_zone\": \"middle_right\", \"target_id\": \"\", \"target_kind\": \"background\"}], \"reason\": \"points_to_anchor\"}\n\n[S17_Shot1] (outdoor; loc=L03; scene_heading=S#17. 옥탑방 / 동틀무렵)\ndescription: 짙고 푸른 안개가 깔린 새벽녘, 희미한 노란 불빛이 켜진 옥탑방 창문을 향해 검은 고양이 한 마리가 고개를 돌린 찰나의 측면.\nframing_scale: medium\ncamera_direction: Low at the 검은 고양이’s shoulder height, roughly one meter away, the camera tracks parallel along the rooftop wall and then holds a brief side profile as the cat turns its head toward the lit rooftop-room window. The cat occupies the lower left-to-center band of the frame, while the faint yellow window hangs in the misty background line of sight above the wall.\nkey_bg_elements: [{\"camera_use\": \"distant visual lure for the cat’s head turn\", \"directionality_class\": \"transparent_surface\", \"element\": \"rooftop-room window\", \"orientation\": \"fogged glass shows a weak yellow interior glow beyond it\", \"state\": \"closed, lit from inside\"}, {\"camera_use\": \"tracking guide and jump setup\", \"directionality_class\": \"directional_3d\", \"element\": \"low concrete rooftop wall\", \"orientation\": \"the long side face runs parallel to the camera movement, with its top edge rising toward the next action\", \"state\": \"damp, stained\"}, {\"camera_use\": \"atmospheric veil separating cat and room\", \"directionality_class\": \"non_directional\", \"element\": \"blue dawn fog\", \"orientation\": \"\", \"state\": \"thick, cold, slowly moving\"}]\nframe_spatial_contract: {\"constraints\": [{\"depth_plane\": \"foreground\", \"gesture_action\": \"looks_toward\", \"gesture_target_label\": \"lit rooftop window\", \"label\": \"black cat\", \"screen_zone\": \"lower_left\", \"target_id\": \"C11\", \"target_kind\": \"character\"}, {\"depth_plane\": \"background\", \"gesture_action\": \"none\", \"gesture_target_label\": \"\", \"label\": \"lit rooftop window\", \"screen_zone\": \"upper_right\", \"target_id\": \"\", \"target_kind\": \"background\"}], \"reason\": \"looks_to_anchor\"}\n\n[S18_Shot15] (indoor; loc=L04; scene_heading=S#18. 안방 안 / D)\ndescription: 거울 속 욕실 벽면에 선명한 붉은색 원형 표식이 맺혀 있는 정지 구도.\nframing_scale: insert\ncamera_direction: Inside the bathroom, the camera is fixed at eye level about three feet from the mirror, tightened so the mirror reflection becomes the frame and the reflected rear wall sits centered. The red circular mark is isolated near the middle of the reflected wall, with only a sliver of mirror edge and damp tile context allowed to remain, making the apparition feel graphic and unavoidable.\nkey_bg_elements: [{\"camera_use\": \"the shot’s perceptual surface and compositional border\", \"directionality_class\": \"reflective_surface\", \"element\": \"bathroom mirror\", \"orientation\": \"the mirror reflects the rear bathroom wall and the impossible red circular mark; a narrow mirror edge confirms this is a reflected view\", \"state\": \"slightly misted, cold\"}, {\"camera_use\": \"surface on which the occult symbol appears within reflection\", \"directionality_class\": \"content_surface\", \"element\": \"reflected bathroom wall\", \"orientation\": \"the wall face visible in the mirror carries a sharp crimson circular mark at its center\", \"state\": \"pale tile surface, otherwise clean\"}, {\"camera_use\": \"claustrophobic bathroom texture\", \"directionality_class\": \"non_directional\", \"element\": \"damp tile grout\", \"orientation\": \"\", \"state\": \"wet-looking, gray, stained\"}]\nframe_spatial_contract: {\"constraints\": [{\"depth_plane\": \"midground\", \"gesture_action\": \"none\", \"gesture_target_label\": \"\", \"label\": \"red circular mark in mirror reflection\", \"screen_zone\": \"middle_center\", \"target_id\": \"\", \"target_kind\": \"background\"}], \"reason\": \"required_background_position\"}\n\n[S18_Shot20] (indoor; loc=L04; scene_heading=S#18. 안방 안 / D)\ndescription: 식탁 위에 놓인 사진 속, 살점이 뭉개진 채 기괴하게 흘러내린 (변형된 민숙)의 모습 클로즈업.\ncharacters: 민숙\nframing_scale: insert\ncamera_direction: At tabletop height beside the dining table, the push-in finishes at an extreme close angle on the framed photograph, stripping away nearly all surrounding table context. The mother’s photographed face, now perceived as 민숙 (변형된), occupies the central close field in a grotesque melted distortion, while the photo frame edge remains barely visible to prove this horror is trapped inside the image surface.\nkey_bg_elements: [{\"camera_use\": \"primary hallucinated image surface\", \"directionality_class\": \"content_surface\", \"element\": \"framed family photograph\", \"orientation\": \"the front image face is angled slightly upward to camera, showing the mother’s face grotesquely distorted within the printed photo\", \"state\": \"upright on table, visually corrupted by hallucination\"}, {\"camera_use\": \"thin physical proof that this is still a household object\", \"directionality_class\": \"reflective_surface\", \"element\": \"photo frame glass\", \"orientation\": \"the glass reflects a dim streak of room light across the distorted face without hiding it\", \"state\": \"clean but unnervingly glossy\"}, {\"camera_use\": \"minimal scale reference around the frame\", \"directionality_class\": \"directional_3d\", \"element\": \"dining table edge\", \"orientation\": \"only a narrow tabletop plane and edge remain at the lower frame margin\", \"state\": \"still, ordinary, dim\"}]\nframe_spatial_contract: {\"constraints\": [{\"depth_plane\": \"foreground\", \"gesture_action\": \"none\", \"gesture_target_label\": \"\", \"label\": \"distorted mother’s face inside framed photograph\", \"screen_zone\": \"middle_center\", \"target_id\": \"C12\", \"target_kind\": \"character\"}], \"reason\": \"primary_subject_isolation\"}\n\n[S18_Shot6] (indoor; loc=L04; scene_heading=S#18. 안방 안 / D)\ndescription: 열린 방문 너머, 핏자국 하나 없이 말끔하게 정돈된 방안 정경.\nframing_scale: wide\ncamera_direction: Just outside 수리영’s room, the camera stays eye-level and static about five feet from the threshold, looking straight through the opened door into a room that appears too clean. The doorway forms a dark rectangular frame around the orderly bed, smooth floor, and untouched curtains, with no body, no stain, and no trace where memory said there should be horror.\nkey_bg_elements: [{\"camera_use\": \"primary frame-within-frame revealing the room\", \"directionality_class\": \"directional_3d\", \"element\": \"opened bedroom door\", \"orientation\": \"the door slab is swung aside so the camera sees through the threshold into the room\", \"state\": \"open, still\"}, {\"camera_use\": \"visual proof of unnatural order\", \"directionality_class\": \"directional_3d\", \"element\": \"neatly arranged bed\", \"orientation\": \"the bed’s side and top plane face camera beyond the doorway\", \"state\": \"made, undisturbed\"}, {\"camera_use\": \"absence marker where the earlier horror is expected\", \"directionality_class\": \"transparent_surface\", \"element\": \"bedroom window with curtains\", \"orientation\": \"the window is partly obscured by clean curtains, with pale daylight diffused beyond\", \"state\": \"closed, curtains hanging evenly\"}, {\"camera_use\": \"negative evidence emphasized by stillness\", \"directionality_class\": \"non_directional\", \"element\": \"spotless bedroom floor\", \"orientation\": \"\", \"state\": \"clean, dry, no blood visible\"}]\n\n[S25_Shot4] (indoor; loc=L04; scene_heading=S#25. 옥탑방 안 / 해질 무렵)\ndescription: 붉은 원 한가운데에 피가 묻은 낡은 흑백 사진이 꽂혀 있는 클로즈업.\nframing_scale: close\ncamera_direction: Inside the bedroom at eye level, the dolly-in ends locked nearly perpendicular to the torn wall, holding a close composition where the blood-stained black-and-white photograph sits pinned at the exact center of a crimson circle. The photo and red mark take up the central mass of the frame, while the rough wall texture remains visible around them like scraped skin.\nkey_bg_elements: [{\"camera_use\": \"central occult symbol and compositional target\", \"directionality_class\": \"content_surface\", \"element\": \"red circular wall mark\", \"orientation\": \"the painted wall face is directly visible to camera, showing a rough crimson circle surrounding the pinned photograph\", \"state\": \"fresh-looking, uneven, ominous\"}, {\"camera_use\": \"primary revealed clue\", \"directionality_class\": \"content_surface\", \"element\": \"old black-and-white photograph\", \"orientation\": \"the front image face is visible, showing an aged rural restaurant scene partially obscured by blood stains\", \"state\": \"pinned to wall, creased, blood-stained\"}, {\"camera_use\": \"macabre texture around the clue\", \"directionality_class\": \"non_directional\", \"element\": \"torn bedroom wall texture\", \"orientation\": \"\", \"state\": \"scraped, dirty, disturbed\"}]\n\n[S25_Shot8] (indoor; loc=L04; scene_heading=S#25. 옥탑방 안 / 해질 무렵)\ndescription: 수리영이 한 손에 구겨진 사진을 꽉 쥔 채 백팩을 메고 현관 밖으로 한 발을 내디딘 찰나의 뒷모습.\ncharacters: 수리영\nframing_scale: wide\ncamera_direction: From inside the rooftop room behind 수리영, slightly below eye level and several feet back, the tracking shot widens just enough to include the open front-door threshold as she steps out. Her back and backpack sit in the middle of frame, one foot crossing into the exterior light, while the crumpled photograph remains readable as a tight fist-level detail near her right side.\nkey_bg_elements: [{\"camera_use\": \"destination frame and exit boundary\", \"directionality_class\": \"directional_3d\", \"element\": \"open front door\", \"orientation\": \"the inside face of the open door and its threshold angle toward the camera as 수리영 exits\", \"state\": \"open, letting in dim exterior dusk\"}, {\"camera_use\": \"evidence of intrusion in the room she leaves behind\", \"directionality_class\": \"non_directional\", \"element\": \"scattered household debris\", \"orientation\": \"\", \"state\": \"ransacked, strewn across the floor\"}, {\"camera_use\": \"broken domestic geometry in the side background\", \"directionality_class\": \"directional_3d\", \"element\": \"overturned dining chairs\", \"orientation\": \"chair legs jut sideways at uneven angles across the room\", \"state\": \"knocked over\"}, {\"camera_use\": \"damp air source and unsettling escape route implication\", \"directionality_class\": \"transparent_surface\", \"element\": \"open living-room window\", \"orientation\": \"the camera sees the dark opening and wet exterior air beyond the window frame\", \"state\": \"open, dirty, cold\"}]\nframe_spatial_contract: {\"constraints\": [{\"depth_plane\": \"midground\", \"gesture_action\": \"moves_toward\", \"gesture_target_label\": \"open front door\", \"label\": \"수리영\", \"screen_zone\": \"middle_center\", \"target_id\": \"C01\", \"target_kind\": \"character\"}, {\"depth_plane\": \"background\", \"gesture_action\": \"none\", \"gesture_target_label\": \"\", \"label\": \"open front door threshold\", \"screen_zone\": \"upper_center\", \"target_id\": \"\", \"target_kind\": \"background\"}], \"reason\": \"movement_direction\"}\n\n[S27_Shot1] (indoor; loc=L04; scene_heading=S#27. 옥탑방 안 / 해질 무렵)\ndescription: 난장판이 된 옥탑방 거실, 혜수가 핸드폰을 귀에 댄 채 심각한 표정으로 굳어 있는 상체.\ncharacters: 혜수\nframing_scale: medium\ncamera_direction: Inside the rooftop living room at chest height, the camera continues the flow’s slow dolly-in from about 2.5 meters, tightening to a medium upper-body frame of 혜수 with the phone pressed to her ear. She sits slightly right of center amid overturned, damp-looking clutter, angled three-quarters as if her attention has just pulled toward 김형사 off-frame rather than toward us.\nkey_bg_elements: [{\"camera_use\": \"visible disorder around 혜수, keeping the room’s violated condition readable behind her\", \"directionality_class\": \"non_directional\", \"element\": \"scattered rooftop-room clutter\", \"orientation\": \"\", \"state\": \"messy, overturned, neglected\"}, {\"camera_use\": \"background source of cold draft and later sound, held out of focus behind the anxiety\", \"directionality_class\": \"directional_3d\", \"element\": \"entrance door\", \"orientation\": \"its inner face angles slightly away from camera, showing the rattling edge and frame gap\", \"state\": \"not fully secure, wind-shaken\"}, {\"camera_use\": \"thin translucent layer over the small room window, adding a damp dusk haze\", \"directionality_class\": \"transparent_surface\", \"element\": \"grimy window glass\", \"orientation\": \"dirty glass catches the gray exterior light while showing only a blurred rooftop beyond\", \"state\": \"streaked, dim\"}]\n\n[S4_Shot1] (outdoor; loc=L03; scene_heading=S#4. 옥탑방 / D)\ndescription: 인천 변두리의 낡고 오래된 빌라 옥탑방 외부 전경이 한눈에 내려다보이는 부감 구도.\nframing_scale: wide\ncamera_direction: An omniscient overhead camera holds from about forty-five meters above the old villa, centered on the rooftop room while still keeping the surrounding neighborhood readable. The rooftop structure sits in the middle of the frame like a small exposed shrine, boxed in by worn roofs, narrow alleys, and faded concrete blocks.\nkey_bg_elements: [{\"camera_use\": \"The rooftop room is the central visual anchor and destination of the aerial reveal.\", \"directionality_class\": \"directional_3d\", \"element\": \"old rooftop room exterior\", \"orientation\": \"its roof and front wall are visible from above, with the doorway side angled slightly toward camera\", \"state\": \"aged, patched, weather-stained\"}, {\"camera_use\": \"Surrounding villa roofs create a cramped grid that isolates the rooftop room.\", \"directionality_class\": \"directional_3d\", \"element\": \"neighboring old villa rooftops\", \"orientation\": \"flat roof planes face upward toward the overhead camera\", \"state\": \"worn, cluttered, pale gray\"}, {\"camera_use\": \"A thin haze softens the outskirts and carries the news voice’s unease into the space.\", \"directionality_class\": \"non_directional\", \"element\": \"damp urban haze\", \"orientation\": \"\", \"state\": \"thin, bluish, stagnant\"}]\nframe_spatial_contract: {\"constraints\": [{\"depth_plane\": \"midground\", \"gesture_action\": \"none\", \"gesture_target_label\": \"\", \"label\": \"old rooftop room\", \"screen_zone\": \"middle_center\", \"target_id\": \"\", \"target_kind\": \"background\"}], \"reason\": \"required_background_position\"}\n\n[S5_Shot10] (indoor; loc=L04; scene_heading=S#5. 옥탑방 안 / 실내)\ndescription: 수리영이 민숙의 어깨에 코를 묻고 멈춘 찰나의 측면.\ncharacters: 수리영, 민숙\nframing_scale: close\ncamera_direction: The camera follows the flow into the narrow entrance area and holds side-on at shoulder height, about one meter away, lens parallel to the wall to compress mother and daughter together. The tighter profile frame favors the contact point: Suriyeong’s face and nose press into Minsuk’s shoulder at center-left, while Minsuk’s softened profile and apron edge sit center-right.\nkey_bg_elements: [{\"camera_use\": \"The narrow wall flattens the space and makes their closeness feel private and fragile.\", \"directionality_class\": \"non_directional\", \"element\": \"entrance wall\", \"orientation\": \"\", \"state\": \"worn, slightly yellowed, close to camera plane\"}, {\"camera_use\": \"The shoe area at the bottom edge hints at Suriyeong leaving soon without pulling focus from the embrace.\", \"directionality_class\": \"directional_3d\", \"element\": \"entryway shoe area\", \"orientation\": \"shoe tops and low threshold edge face the camera from below the profiles\", \"state\": \"cluttered, dim\"}, {\"camera_use\": \"The door seam creates a vertical boundary beside them, suggesting a moment just before departure.\", \"directionality_class\": \"directional_3d\", \"element\": \"front door seam\", \"orientation\": \"the flat door face is seen in side compression, seam running vertically near the right edge\", \"state\": \"closed, dull, scuffed\"}]\n\n[S5_Shot12] (indoor; loc=L04; scene_heading=S#5. 옥탑방 안 / 실내)\ndescription: 민숙의 손목 안쪽에 새겨진 작은 원 모양의 표식 클로즈업.\ncharacters: 민숙\nframing_scale: insert\ncamera_direction: The camera completes the flow’s downward push from Suriyeong’s side of the entrance to a very close waist-height insert, about twenty centimeters from Minsuk’s inner wrist. The wrist cuts diagonally across the center of frame, the small circular mark isolated in sharp focus while skin, sleeve edge, and the entryway behind fall into creamy blur.\nkey_bg_elements: [{\"camera_use\": \"The marked skin surface is the focal plane and occult reveal.\", \"directionality_class\": \"content_surface\", \"element\": \"inner wrist with circular mark\", \"orientation\": \"the inner wrist surface faces the camera, showing a small dark circular mark clearly against the skin\", \"state\": \"exposed, sharply focused, mark unusually distinct\"}, {\"camera_use\": \"The sleeve cuff frames the wrist without becoming the subject.\", \"directionality_class\": \"directional_3d\", \"element\": \"apron or sleeve edge\", \"orientation\": \"fabric edge runs along the wrist from camera-left, seen as a soft side fold\", \"state\": \"soft, worn, out of focus\"}, {\"camera_use\": \"The entrance background becomes an indistinct shadow field so the symbol carries the tension.\", \"directionality_class\": \"non_directional\", \"element\": \"blurred entryway background\", \"orientation\": \"\", \"state\": \"dim, warm-gray, unfocused\"}]\nframe_spatial_contract: {\"constraints\": [{\"depth_plane\": \"foreground\", \"gesture_action\": \"none\", \"gesture_target_label\": \"\", \"label\": \"Minsuk inner wrist mark\", \"screen_zone\": \"middle_center\", \"target_id\": \"C04\", \"target_kind\": \"character\"}], \"reason\": \"primary_subject_isolation\"}\n\n[S5_Shot3] (indoor; loc=L04; scene_heading=S#5. 옥탑방 안 / 실내)\ndescription: 앞치마를 두른 민숙이 어두운 표정으로 거실 TV 화면을 응시하며 굳어 있는 상체.\ncharacters: 민숙\nframing_scale: medium\ncamera_direction: The observer camera settles at the end of its lateral track from near the sink and small window, chest height and about two and a half meters from Minsuk, looking across the counter line toward the living room TV. Minsuk is held in an upper-body frame at the right-middle of the image, shoulders locked in her apron as the kitchen foreground remains softly present and the TV glow pulls her stare off-frame.\nkey_bg_elements: [{\"camera_use\": \"The TV is the off-frame source of her fixed attention and casts a cold news glow across the room.\", \"directionality_class\": \"content_surface\", \"element\": \"living room TV screen\", \"orientation\": \"the screen face is angled away from the camera, showing only a sliver of moving blue news light rather than readable content\", \"state\": \"on, low volume, flickering\"}, {\"camera_use\": \"The sink and herbs sit in the near foreground, domestic routine interrupted by dread.\", \"directionality_class\": \"directional_3d\", \"element\": \"sink with unfinished medicinal herbs\", \"orientation\": \"the basin rim and faucet side face the camera across the counter\", \"state\": \"water running, herbs wet and half-washed\"}, {\"camera_use\": \"Steam from the pot veils the compact room and gives the practical light a sick texture.\", \"directionality_class\": \"non_directional\", \"element\": \"boiling pot steam\", \"orientation\": \"\", \"state\": \"rising, thin, wavering\"}, {\"camera_use\": \"The small window gives a narrow daylight slit that contrasts with the TV’s colder glow.\", \"directionality_class\": \"transparent_surface\", \"element\": \"small living-room window\", \"orientation\": \"slightly dirty glass admits pale daylight; only a blurred exterior brightness is visible through it\", \"state\": \"closed, dusty\"}]\n\nCREATOR CORRECTIONS (spatial facts, override):\n- CORRECTION (production owner): the exterior stair element is an ADDED-ON STEEL stair retrofitted later onto its building's outside wall — open treads, thin steel stringers and support posts, pipe handrail, visibly a separate later addition to the building. It is NOT concrete or cement; this supersedes any cement/concrete stair mention elsewhere in the data."}
{"ts": "2026-07-06 19:11:47", "kind": "llm", "step": "s20_minimal_struct", "model": "gpt", "dur_s": 81.3, "system_prompt": "You are given structural data of one real property: STRUCTURE lines\n(machine-derived, verbose), ELEMENT DATA (physical facts per\nelement), a PLACE DESCRIPTION (storey / vertical composition ground\ntruth) and optional CREATOR CORRECTIONS.\n\nThe verbose lines OVER-SPECIFY: size words, fine compass positions,\nfootprint-shape clauses. Over-specification breeds contradictions\nbetween clauses, and contradictions make image models hallucinate.\nYour job is the opposite: write the MINIMUM a drawing model needs to\nunderstand this structure. What you leave unsaid, the model invents\nnaturally — that is intended.\n\nRules:\n- EXTERIOR-ONLY: the diagram never shows the inside of any\n  enclosed unit. Boundary openings set in outer walls (entrance\n  doors, exterior windows) are the deepest you go; never add\n  interior rooms, interior thresholds or furniture as lines.\n- GENERIC wording only: never proper names or character names\n  anywhere in the lines or legend.\n- FIRST line: 'LEVELS (placement logic only): ground ->\n  <building, N storeys> roof terrace -> <what is on it>' — state\n  the storey count from the PLACE DESCRIPTION. This is level\n  LOGIC, never an instruction to draw height or elevation.\n- Then ONE SHORT line per element: its number, what it is, what it\n  is ON or IN (its host), plus AT MOST one coarse position on that\n  host ('on the roof terrace, west side' / 'attached to the rear\n  wall of the building'). Nothing else.\n- KEEP EVERY element that belongs to the property itself —\n  including its roof-level and ground-level fixtures; never drop\n  them. Only surrounding context (neighbouring masses, the public\n  road edge) may merge into one single unnumbered line.\n- Phrase every relation as FLAT PLAN-VIEW placement (A is on B /\n  at B's west side / attached to B's rear wall) — never elevation\n  storytelling: no 'rises', 'stands above', 'supports', 'on top'.\n- NO size words, NO footprint or shape clauses, NO frame-edge\n  phrasing, NO fine compass positions beyond the one coarse\n  position per line.\n- SCENE-CRITICAL elements (listed below when present) are the\n  elements the actual shots depend on: their lines must carry\n  EXACTLY the spatial facts given — connection endpoints (from\n  where to where), attachment wall/side, what they face — never\n  simplified away, never distorted. A critical connector (a\n  stair, an entrance) always keeps its full connection in its\n  line.\n- PHYSICAL COHERENCE: every enclosed building keeps an entry\n  opening and the circulation connects all the way (approach ->\n  entrance -> grounds -> stairs -> upper levels). If a physically\n  necessary connection is missing, add one minimal numbered line\n  and mark its legend name with ' (assumed)'.\n- Apply the spatial facts of CREATOR CORRECTIONS; keep materials\n  out.\n- Number the kept elements 1..K in a sensible structural order.\nlegend: every number you kept, with that element's name_en exactly\nas given in ELEMENT DATA (or the assumed element's short name).", "user_prompt": "STRUCTURE lines (verbose, machine-derived — source data, do not copy their level of detail):\n- street road: thin strip rectangular block, south-centre area\n- narrow alley: thin strip rectangular block, centre-west area\n- entry yard: thin strip rectangular block, south-centre area\n- villa mass: large rectangular block, centre area\n- roof terrace: large rectangular block, placed on the villa mass, in its centre part\n- rooftop room: medium rectangular block, placed on the roof terrace, in its centre part\n- concrete stair: thin strip rectangular block, south-east area, connecting the ground level up to the deck level\n- low wall: thin strip rectangular block, placed on the roof terrace, in its south-centre part\n- neighbor block: medium rectangular block, north-west area, plain simplified block\n- rear neighbor: medium rectangular block, north-centre area, plain simplified block\n- side neighbor: thin strip rectangular block, centre-east area, plain simplified block\n- water tank: tiny round block, placed on the roof terrace, in its north-west part\n- low platform: tiny rectangular block, placed on the roof terrace, in its south-west part\n- laundry line: thin strip rectangular block, centre area, on the west edge of the rooftop room\n- iron door: tiny rectangular block, centre area, on the south edge of the rooftop room\n- living window: tiny rectangular block, centre area, on the east edge of the rooftop room\n- bedroom window: thin strip rectangular block, north-centre area, on the north edge of the rooftop room\n- entry gate: thin strip rectangular block, placed on the entry yard, in its centre-west part\n- facade windows: thin strip rectangular block, south-centre area, on the north edge of the entry yard (4 in a row)\n- one flat tint rule only, to tell height levels apart, low to high: Ground -> Stair run -> Roof deck -> Rooftop room (darker = higher)\n\nELEMENT DATA (name [kind]: physical form facts):\n- street road [kind road]: 하단에는 골목과 맞닿은 넓은 차량 도로가 놓여 있다.\n- narrow alley [kind alley]: 왼쪽에는 도로에서 빌라 입구까지 이어지는 좁은 세로 골목이 있다.\n- entry yard [kind yard]: 빌라 앞에는 골목과 계단 사이에 작은 마당이 있다.\n- villa mass [kind building_mass]: 중앙에는 옥탑방을 올린 낡은 다세대 빌라 매스가 있다.\n- roof terrace [kind terrace]: 본관 지붕 위에는 옥탑방과 물탱크가 놓인 시멘트 바닥의 옥상 테라스가 있다.\n- rooftop room [kind upper_shell]: 옥상 중앙에는 작은 옥탑 주거 공간의 외곽 매스가 놓여 있다.\n- concrete stair [kind stair]: 오른쪽 외벽에는 마당에서 옥상 현관 앞까지 이어지는 덧댄 철제 외부계단이 붙어 있다.\n- low wall [kind wall]: 옥상 테라스 가장자리에는 낮은 콘크리트 담이 둘러져 있다.\n- neighbor block [kind neighbor_mass]: 왼쪽에는 옥탑방 옆을 둘러싸는 낡은 이웃 건물 매스가 있다.\n- rear neighbor [kind neighbor_mass]: 상단에는 옥탑방 뒤쪽에 맞닿은 낡은 이웃 건물 매스가 있다.\n- side neighbor [kind neighbor_mass]: 오른쪽에는 계단 바깥쪽 골목을 좁히는 이웃 건물 매스가 있다.\n- water tank [kind fixture_round]: 옥상 왼쪽 뒤편에는 원형 물탱크가 놓여 있다.\n- low platform [kind fixture_rect]: 옥상 앞쪽에는 낮은 직사각형 평상이 놓여 있다.\n- laundry line [kind equipment]: 물탱크와 옥탑방 사이에는 얇은 빨랫줄이 가로질러 걸려 있다.\n- iron door [kind door]: 옥탑방 아래쪽 가장자리에는 계단 상부 랜딩을 향한 철문 현관이 있다.\n- living window [kind window]: 옥탑방 오른쪽 외벽에는 작은 거실 창이 있다.\n- bedroom window [kind window]: 옥탑방 위쪽 외벽에는 커튼이 달린 침실 창이 있다.\n- entry gate [kind gate]: 골목과 앞마당 사이에는 단일 빌라 입구 게이트가 있다.\n- facade windows [kind window]: 본관 앞마당 쪽 벽에는 전면 창 네 칸이 반복되어 있다.\n\nPLACE DESCRIPTION (storeys / composition ground truth):\nTHE PLACE (authored description — the content ground truth):\nBUILDING: The main building is an old multifamily villa block, drawn as an assumed three-storey body below the rooftop unit because the script only states an old villa with a rooftop room. Its mass is a plain rectangular concrete volume set behind an entry yard. The roof is flat and usable as a cement-surfaced terrace. The front facade facing the yard should show four repeated window bays per storey, matching the extracted layout’s inferred facade-window rhythm.\nTOP UNIT & DECK: The topmost enclosed unit is a small, old rooftop dwelling set on the flat terrace, drawn as a simple rectangular shell. Its boundary openings are one iron entrance door facing the stair landing, one small living-room window on a side wall, and one bedroom window on another wall. Around it, the open deck has a low concrete parapet or wall, a round water tank, a fixed laundry line, and a low platform on the cement surface.\nGROUNDS: At ground level, a street edge feeds a narrow alley along the left side, leading to a single entry gate and a small recessed yard at the villa entrance. Neighboring building masses close the rear and sides, making the approach compact. From the yard’s back corner, a later-added exterior steel stair is fixed to the outside wall, with open treads, thin stringers, support posts, and a pipe handrail, continuing up to the rooftop terrace and iron-door landing.\nTHE PLAN MUST SHOW: The finished top-down site plan should show a rectangular villa mass centered behind the yard, with its flat roof terrace visible as the primary upper surface. Place the rooftop room as a smaller rectangle on the terrace, with one door toward the stair landing and two windows on separate sides. Draw the left alley, entry gate, recessed yard, surrounding neighbor blocks, low roof wall, fixed rooftop fixtures, and the retrofitted steel stair as a separate exterior structure attached to the building wall.\n\nSCENE-CRITICAL ELEMENTS (spatial facts the shots depend on — keep these relations EXACT; never simplify or distort them):\n- iron door: The iron door is the exterior entrance threshold set in the rooftop room shell.\n- iron door: Its exterior face opens toward the roof terrace/rooftop landing, and its gap leads into the rooftop room interior.\n- iron door: It is used as a visible open or half-open boundary from outside and as the exit threshold from inside.\n- added-on steel stair: The stair is an exterior added-on steel stair attached to the building’s outside wall, with open treads, thin steel stringers, support posts, and a pipe handrail.\n- added-on steel stair: It connects the ground-level villa approach/yard to the rooftop room level.\n- added-on steel stair: Its upper end reaches the roof terrace/landing in front of the rooftop room.\n- roof terrace: The roof terrace is the exterior rooftop surface around the rooftop room.\n- roof terrace: It contains rooftop service/domestic elements including a water tank, laundry line, and low platform.\n- roof terrace: The stair arrives at this terrace, and the iron door faces it across the landing.\n- rooftop room: The rooftop room is a small exterior building volume sitting on top of the old villa mass.\n- rooftop room: Its front side includes the iron entrance door facing the roof terrace.\n- rooftop room: Its outer wall also contains windows visible from the rooftop exterior.\n- entry yard: The entry yard lies inside the multi-family villa gate/door after the alley approach.\n- entry yard: A secluded rear part of the yard is available before the stair route.\n- entry yard: The exterior stair to the rooftop room connects from this yard level.\n- entry gate: The entry gate is the boundary opening between the narrow alley side and the villa yard.\n- entry gate: It opens into the yard before the exterior stair route to the rooftop room.\n- narrow alley: The narrow alley is the exterior approach route leading to the villa entry gate.\n- narrow alley: It forms the ground-level corridor outside the property where vehicles and arrivals align with the villa access.\n- narrow alley: It faces the entry gate/yard sequence that leads onward to the rooftop stair.\n- villa mass: The villa mass is the old multi-family building body below the rooftop room.\n- villa mass: The rooftop room sits on its roof.\n- villa mass: The added-on steel stair is retrofitted to the villa’s outside wall.\n- facade windows: The rooftop room has exterior window openings in its outer walls, including a small living window.\n- facade windows: Window glass can reflect interior silhouettes while still functioning as an exterior facade surface.\n- facade windows: At least one rooftop-room window faces the roof terrace/low wall area and can show interior light to the outside.\n- low wall: The low wall bounds the roof terrace edge around the rooftop room area.\n- low wall: Its top edge is a climbable exterior boundary on the rooftop.\n- low wall: It sits in the sightline between the roof terrace edge and the lit rooftop-room window.\n- low platform: The low platform sits on the roof terrace near the approach to the rooftop-room entrance.\n- low platform: Dried herbs rest on the platform and can be blown across the walking path toward the iron door area.\n- water tank: The water tank stands on the rooftop terrace as an exterior utility object near the rooftop room.\n- water tank: The laundry line is also stretched across the rooftop exterior, sharing the same roof terrace zone.\n\nCREATOR CORRECTIONS:\n- CORRECTION (production owner): the exterior stair element is an ADDED-ON STEEL stair retrofitted later onto its building's outside wall — open treads, thin steel stringers and support posts, pipe handrail, visibly a separate later addition to the building. It is NOT concrete or cement; this supersedes any cement/concrete stair mention elsewhere in the data."}
{"ts": "2026-07-06 19:12:01", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s20_numbered_bd_nb2", "refs": [], "ref_labels": [], "attempt": 1, "dur_s": 14.0, "bytes": 2091392, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/numbered_bd_nb2.png", "prompt": "Draw ONE SCHEMATIC BLOCK DIAGRAM of a real property's layout — the\nkind of flat figure a computer program draws: plain solid-colour\nshapes on a plain light background, uniform thin dark outlines.\nFlat schematic drawing language always: no gradients, no shadows,\nno texture, no photorealism.\nVIEWPOINT — top-down, or AT MOST a gentle axonometric tilted about\n30 degrees from vertical (2.5D) so slight height reads. NEVER full\n3D perspective, never vanishing-point depth, never eye-level,\nnever a facade as the main subject. Any level wording in the lines\nbelow is placement logic, not an instruction to build tall 3D\nvolumes.\nThe lines below give ONLY the placement structure (what is on/in\nwhat, roughly where). Everything they leave unsaid — exact shapes,\nsizes, proportions, spacing — YOU decide, so the property reads\nplausibly; keep every stated relation true.\nEvery building is ONE solid block — never any interior rooms, inner\nwalls or furniture.\nEach block shows ONLY its assigned number, drawn once as a small plain dark numeral on (or beside) that block; apart from these numerals there is no other text: no letters, no words, no names, no labels, no legend, no compass anywhere.\nNo people, no props, no vehicles.\n\nSTRUCTURE (containment / support / connection only):\nLEVELS (placement logic only): ground -> villa mass, 3 storeys roof terrace -> rooftop room and rooftop fixtures\n1. alley, ground approach from street road to entry gate.\n2. gate, boundary opening between alley and entry yard.\n3. entry yard, inside gate, connecting alley to exterior stair.\n4. villa mass, on ground at the rear of entry yard.\n5. building entrance, in villa mass wall facing entry yard. (assumed)\n6. facade windows, in villa mass wall facing entry yard, four repeated bays.\n7. roof terrace, on villa mass around rooftop room.\n8. rooftop room, on roof terrace.\n9. exterior stair, retrofitted to villa mass outside wall, from entry yard to roof terrace landing in front of iron door.\n10. wall, on roof terrace edge around rooftop room area, in sightline to living window.\n11. water tank, on roof terrace near rooftop room.\n12. platform, on roof terrace near the iron-door approach.\n13. laundry line, on roof terrace between water tank and rooftop room.\n14. iron door, exterior entrance threshold in rooftop room wall, facing the roof terrace landing at stair upper end.\n15. living window, in rooftop room east wall, facing roof terrace wall area.\n16. bedroom window, in rooftop room north wall.\nContext: street road feeds the alley; neighboring building masses border the villa sides and rear."}
{"ts": "2026-07-06 19:13:45", "kind": "img", "engine": "gpt-image-2", "mode": "generate", "tag": "s20_numbered_bd_gpt", "refs": [], "size": "1536x864", "attempt": 1, "dur_s": 104.3, "bytes": 1401369, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/numbered_bd_gpt.png", "prompt": "Draw ONE SCHEMATIC BLOCK DIAGRAM of a real property's layout — the\nkind of flat figure a computer program draws: plain solid-colour\nshapes on a plain light background, uniform thin dark outlines.\nFlat schematic drawing language always: no gradients, no shadows,\nno texture, no photorealism.\nVIEWPOINT — top-down, or AT MOST a gentle axonometric tilted about\n30 degrees from vertical (2.5D) so slight height reads. NEVER full\n3D perspective, never vanishing-point depth, never eye-level,\nnever a facade as the main subject. Any level wording in the lines\nbelow is placement logic, not an instruction to build tall 3D\nvolumes.\nThe lines below give ONLY the placement structure (what is on/in\nwhat, roughly where). Everything they leave unsaid — exact shapes,\nsizes, proportions, spacing — YOU decide, so the property reads\nplausibly; keep every stated relation true.\nEvery building is ONE solid block — never any interior rooms, inner\nwalls or furniture.\nEach block shows ONLY its assigned number, drawn once as a small plain dark numeral on (or beside) that block; apart from these numerals there is no other text: no letters, no words, no names, no labels, no legend, no compass anywhere.\nNo people, no props, no vehicles.\n\nSTRUCTURE (containment / support / connection only):\nLEVELS (placement logic only): ground -> villa mass, 3 storeys roof terrace -> rooftop room and rooftop fixtures\n1. alley, ground approach from street road to entry gate.\n2. gate, boundary opening between alley and entry yard.\n3. entry yard, inside gate, connecting alley to exterior stair.\n4. villa mass, on ground at the rear of entry yard.\n5. building entrance, in villa mass wall facing entry yard. (assumed)\n6. facade windows, in villa mass wall facing entry yard, four repeated bays.\n7. roof terrace, on villa mass around rooftop room.\n8. rooftop room, on roof terrace.\n9. exterior stair, retrofitted to villa mass outside wall, from entry yard to roof terrace landing in front of iron door.\n10. wall, on roof terrace edge around rooftop room area, in sightline to living window.\n11. water tank, on roof terrace near rooftop room.\n12. platform, on roof terrace near the iron-door approach.\n13. laundry line, on roof terrace between water tank and rooftop room.\n14. iron door, exterior entrance threshold in rooftop room wall, facing the roof terrace landing at stair upper end.\n15. living window, in rooftop room east wall, facing roof terrace wall area.\n16. bedroom window, in rooftop room north wall.\nContext: street road feeds the alley; neighboring building masses border the villa sides and rear."}
{"ts": "2026-07-06 19:14:00", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s20_numbered_plan_nb2", "refs": [], "ref_labels": [], "attempt": 1, "dur_s": 15.1, "bytes": 1985528, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/numbered_plan_nb2.png", "prompt": "Draw ONE strict TOP-DOWN 2D architectural SITE PLAN in the drafting\nlanguage of a clean floor plan — thin dark outlines, flat muted colour\nfills, detailed plan symbols (double-line walls, door leaf + swing arc,\nwindow frames set in walls, stair treads with stringers and landings,\nbase rings for round fixtures, paving joints, kerb lines). Height\nlevels appear only as flat fill tints (darker = higher). Orthographic\nplan view by default; at most a gentle axonometric tilt (about 30\ndegrees from vertical, 2.5D). NEVER full 3D perspective, no\nvanishing-point depth, no shadows. Neutral document: no people, no story props, no vehicles, no\nposted papers, each element carries ONLY its assigned number, drawn once as a small\nplain dark numeral on (or beside) it; apart from these numerals no text,\nno letters, no words, no other markers, no legend, no compass. Never expose interior rooms or furniture of any enclosed\nunit — outer shell and boundary openings only.\n\nEXTERIOR ONLY: this is an OUTDOOR site plan seen from above — show\nonly the exterior: ground areas, building outer shells, roof-level\nsurfaces and outdoor fixtures. NEVER draw any interior room, inner\nwall, partition or furniture of any enclosed unit — every enclosed\nvolume stays sealed (outer walls and boundary openings only).\n\nMINIMAL SPATIAL STRUCTURE — what is on/in what and roughly where,\nnothing more. All level wording is placement logic only — plan\nview stays primary (a gentle 2.5D axonometric tilt is the\npermitted maximum, never full 3D perspective). Draw each numbered\nelement with its number as a small plain marker. Everything\nunspecified (exact shapes, sizes, proportions, spacing, drawing\ndetail) YOU compose yourself as a believable real site plan; keep\nevery stated relation true:\nLEVELS (placement logic only): ground -> villa mass, 3 storeys roof terrace -> rooftop room and rooftop fixtures\n1. alley, ground approach from street road to entry gate.\n2. gate, boundary opening between alley and entry yard.\n3. entry yard, inside gate, connecting alley to exterior stair.\n4. villa mass, on ground at the rear of entry yard.\n5. building entrance, in villa mass wall facing entry yard. (assumed)\n6. facade windows, in villa mass wall facing entry yard, four repeated bays.\n7. roof terrace, on villa mass around rooftop room.\n8. rooftop room, on roof terrace.\n9. exterior stair, retrofitted to villa mass outside wall, from entry yard to roof terrace landing in front of iron door.\n10. wall, on roof terrace edge around rooftop room area, in sightline to living window.\n11. water tank, on roof terrace near rooftop room.\n12. platform, on roof terrace near the iron-door approach.\n13. laundry line, on roof terrace between water tank and rooftop room.\n14. iron door, exterior entrance threshold in rooftop room wall, facing the roof terrace landing at stair upper end.\n15. living window, in rooftop room east wall, facing roof terrace wall area.\n16. bedroom window, in rooftop room north wall.\nContext: street road feeds the alley; neighboring building masses border the villa sides and rear."}
{"ts": "2026-07-06 19:15:56", "kind": "img", "engine": "gpt-image-2", "mode": "generate", "tag": "s20_numbered_plan_gpt", "refs": [], "size": "1536x864", "attempt": 1, "dur_s": 116.1, "bytes": 2232490, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/numbered_plan_gpt.png", "prompt": "Draw ONE strict TOP-DOWN 2D architectural SITE PLAN in the drafting\nlanguage of a clean floor plan — thin dark outlines, flat muted colour\nfills, detailed plan symbols (double-line walls, door leaf + swing arc,\nwindow frames set in walls, stair treads with stringers and landings,\nbase rings for round fixtures, paving joints, kerb lines). Height\nlevels appear only as flat fill tints (darker = higher). Orthographic\nplan view by default; at most a gentle axonometric tilt (about 30\ndegrees from vertical, 2.5D). NEVER full 3D perspective, no\nvanishing-point depth, no shadows. Neutral document: no people, no story props, no vehicles, no\nposted papers, each element carries ONLY its assigned number, drawn once as a small\nplain dark numeral on (or beside) it; apart from these numerals no text,\nno letters, no words, no other markers, no legend, no compass. Never expose interior rooms or furniture of any enclosed\nunit — outer shell and boundary openings only.\n\nEXTERIOR ONLY: this is an OUTDOOR site plan seen from above — show\nonly the exterior: ground areas, building outer shells, roof-level\nsurfaces and outdoor fixtures. NEVER draw any interior room, inner\nwall, partition or furniture of any enclosed unit — every enclosed\nvolume stays sealed (outer walls and boundary openings only).\n\nMINIMAL SPATIAL STRUCTURE — what is on/in what and roughly where,\nnothing more. All level wording is placement logic only — plan\nview stays primary (a gentle 2.5D axonometric tilt is the\npermitted maximum, never full 3D perspective). Draw each numbered\nelement with its number as a small plain marker. Everything\nunspecified (exact shapes, sizes, proportions, spacing, drawing\ndetail) YOU compose yourself as a believable real site plan; keep\nevery stated relation true:\nLEVELS (placement logic only): ground -> villa mass, 3 storeys roof terrace -> rooftop room and rooftop fixtures\n1. alley, ground approach from street road to entry gate.\n2. gate, boundary opening between alley and entry yard.\n3. entry yard, inside gate, connecting alley to exterior stair.\n4. villa mass, on ground at the rear of entry yard.\n5. building entrance, in villa mass wall facing entry yard. (assumed)\n6. facade windows, in villa mass wall facing entry yard, four repeated bays.\n7. roof terrace, on villa mass around rooftop room.\n8. rooftop room, on roof terrace.\n9. exterior stair, retrofitted to villa mass outside wall, from entry yard to roof terrace landing in front of iron door.\n10. wall, on roof terrace edge around rooftop room area, in sightline to living window.\n11. water tank, on roof terrace near rooftop room.\n12. platform, on roof terrace near the iron-door approach.\n13. laundry line, on roof terrace between water tank and rooftop room.\n14. iron door, exterior entrance threshold in rooftop room wall, facing the roof terrace landing at stair upper end.\n15. living window, in rooftop room east wall, facing roof terrace wall area.\n16. bedroom window, in rooftop room north wall.\nContext: street road feeds the alley; neighboring building masses border the villa sides and rear."}
{"ts": "2026-07-06 19:15:56", "kind": "stage", "stage": "s20_numbered_bd", "done": "minimal"}
{"ts": "2026-07-06 20:11:29", "kind": "llm", "step": "s20_minimal_struct", "model": "gpt", "dur_s": 61.2, "system_prompt": "You are given structural data of one real property: STRUCTURE lines\n(machine-derived, verbose), ELEMENT DATA (physical facts per\nelement), a PLACE DESCRIPTION (storey / vertical composition ground\ntruth) and optional CREATOR CORRECTIONS.\n\nThe verbose lines OVER-SPECIFY: size words, fine compass positions,\nfootprint-shape clauses. Over-specification breeds contradictions\nbetween clauses, and contradictions make image models hallucinate.\nYour job is the opposite: write the MINIMUM a drawing model needs to\nunderstand this structure. What you leave unsaid, the model invents\nnaturally — that is intended.\n\nRules:\n- EXTERIOR-ONLY: the diagram never shows the inside of any\n  enclosed unit. Boundary openings set in outer walls (entrance\n  doors, exterior windows) are the deepest you go; never add\n  interior rooms, interior thresholds or furniture as lines.\n- GENERIC wording only: never proper names or character names\n  anywhere in the lines or legend.\n- FIRST line: 'LEVELS (placement logic only): ground ->\n  <building, N storeys> roof terrace -> <what is on it>' — state\n  the storey count from the PLACE DESCRIPTION. This is level\n  LOGIC, never an instruction to draw height or elevation.\n- Then ONE SHORT line per element: its number, what it is, what it\n  is ON or IN (its host), plus AT MOST one coarse position on that\n  host ('on the roof terrace, west side' / 'attached to the rear\n  wall of the building').\n- SCALE, where it aids structural understanding, is YOURS to judge\n  and include briefly (a word or two in the line): the building's\n  storey count on its own line, an element clearly small or large\n  relative to its host, neighbouring masses' comparable height.\n  Judge from the data given; never invent precise dimensions.\n- KEEP EVERY element that belongs to the property itself —\n  including its roof-level and ground-level fixtures; never drop\n  them. Only surrounding context (neighbouring masses, the public\n  road edge) may merge into one single unnumbered line.\n- Phrase every relation as FLAT PLAN-VIEW placement (A is on B /\n  at B's west side / attached to B's rear wall) — never elevation\n  storytelling: no 'rises', 'stands above', 'supports', 'on top'.\n- Beyond that judged scale: NO mechanical size enumeration, NO\n  footprint or shape clauses, NO frame-edge phrasing, NO fine\n  compass positions beyond the one coarse position per line.\n- SCENE-CRITICAL elements (listed below when present) are the\n  elements the actual shots depend on: their lines must carry\n  EXACTLY the spatial facts given — connection endpoints (from\n  where to where), attachment wall/side, what they face — never\n  simplified away, never distorted. A critical connector (a\n  stair, an entrance) always keeps its full connection in its\n  line.\n- PHYSICAL COHERENCE: every enclosed building keeps an entry\n  opening and the circulation connects all the way (approach ->\n  entrance -> grounds -> stairs -> upper levels). If a physically\n  necessary connection is missing, add one minimal numbered line\n  and mark its legend name with ' (assumed)'.\n- Apply the spatial facts of CREATOR CORRECTIONS; keep materials\n  out.\n- Number the kept elements 1..K in a sensible structural order.\nlegend: every number you kept, with that element's name_en exactly\nas given in ELEMENT DATA (or the assumed element's short name).", "user_prompt": "STRUCTURE lines (verbose, machine-derived — source data, do not copy their level of detail):\n- street road: thin strip rectangular block, south-centre area\n- narrow alley: thin strip rectangular block, centre-west area\n- entry yard: thin strip rectangular block, south-centre area\n- villa mass: large rectangular block, centre area\n- roof terrace: large rectangular block, placed on the villa mass, in its centre part\n- rooftop room: medium rectangular block, placed on the roof terrace, in its centre part\n- concrete stair: thin strip rectangular block, south-east area, connecting the ground level up to the deck level\n- low wall: thin strip rectangular block, placed on the roof terrace, in its south-centre part\n- neighbor block: medium rectangular block, north-west area, plain simplified block\n- rear neighbor: medium rectangular block, north-centre area, plain simplified block\n- side neighbor: thin strip rectangular block, centre-east area, plain simplified block\n- water tank: tiny round block, placed on the roof terrace, in its north-west part\n- low platform: tiny rectangular block, placed on the roof terrace, in its south-west part\n- laundry line: thin strip rectangular block, centre area, on the west edge of the rooftop room\n- iron door: tiny rectangular block, centre area, on the south edge of the rooftop room\n- living window: tiny rectangular block, centre area, on the east edge of the rooftop room\n- bedroom window: thin strip rectangular block, north-centre area, on the north edge of the rooftop room\n- entry gate: thin strip rectangular block, placed on the entry yard, in its centre-west part\n- facade windows: thin strip rectangular block, south-centre area, on the north edge of the entry yard (4 in a row)\n- one flat tint rule only, to tell height levels apart, low to high: Ground -> Stair run -> Roof deck -> Rooftop room (darker = higher)\n\nELEMENT DATA (name [kind]: physical form facts):\n- street road [kind road]: 하단에는 골목과 맞닿은 넓은 차량 도로가 놓여 있다.\n- narrow alley [kind alley]: 왼쪽에는 도로에서 빌라 입구까지 이어지는 좁은 세로 골목이 있다.\n- entry yard [kind yard]: 빌라 앞에는 골목과 계단 사이에 작은 마당이 있다.\n- villa mass [kind building_mass]: 중앙에는 옥탑방을 올린 낡은 다세대 빌라 매스가 있다.\n- roof terrace [kind terrace]: 본관 지붕 위에는 옥탑방과 물탱크가 놓인 시멘트 바닥의 옥상 테라스가 있다.\n- rooftop room [kind upper_shell]: 옥상 중앙에는 작은 옥탑 주거 공간의 외곽 매스가 놓여 있다.\n- concrete stair [kind stair]: 오른쪽 외벽에는 마당에서 옥상 현관 앞까지 이어지는 덧댄 철제 외부계단이 붙어 있다.\n- low wall [kind wall]: 옥상 테라스 가장자리에는 낮은 콘크리트 담이 둘러져 있다.\n- neighbor block [kind neighbor_mass]: 왼쪽에는 옥탑방 옆을 둘러싸는 낡은 이웃 건물 매스가 있다.\n- rear neighbor [kind neighbor_mass]: 상단에는 옥탑방 뒤쪽에 맞닿은 낡은 이웃 건물 매스가 있다.\n- side neighbor [kind neighbor_mass]: 오른쪽에는 계단 바깥쪽 골목을 좁히는 이웃 건물 매스가 있다.\n- water tank [kind fixture_round]: 옥상 왼쪽 뒤편에는 원형 물탱크가 놓여 있다.\n- low platform [kind fixture_rect]: 옥상 앞쪽에는 낮은 직사각형 평상이 놓여 있다.\n- laundry line [kind equipment]: 물탱크와 옥탑방 사이에는 얇은 빨랫줄이 가로질러 걸려 있다.\n- iron door [kind door]: 옥탑방 아래쪽 가장자리에는 계단 상부 랜딩을 향한 철문 현관이 있다.\n- living window [kind window]: 옥탑방 오른쪽 외벽에는 작은 거실 창이 있다.\n- bedroom window [kind window]: 옥탑방 위쪽 외벽에는 커튼이 달린 침실 창이 있다.\n- entry gate [kind gate]: 골목과 앞마당 사이에는 단일 빌라 입구 게이트가 있다.\n- facade windows [kind window]: 본관 앞마당 쪽 벽에는 전면 창 네 칸이 반복되어 있다.\n\nPLACE DESCRIPTION (storeys / composition ground truth):\nTHE PLACE (authored description — the content ground truth):\nBUILDING: The main building is an old multifamily villa block, drawn as an assumed three-storey body below the rooftop unit because the script only states an old villa with a rooftop room. Its mass is a plain rectangular concrete volume set behind an entry yard. The roof is flat and usable as a cement-surfaced terrace. The front facade facing the yard should show four repeated window bays per storey, matching the extracted layout’s inferred facade-window rhythm.\nTOP UNIT & DECK: The topmost enclosed unit is a small, old rooftop dwelling set on the flat terrace, drawn as a simple rectangular shell. Its boundary openings are one iron entrance door facing the stair landing, one small living-room window on a side wall, and one bedroom window on another wall. Around it, the open deck has a low concrete parapet or wall, a round water tank, a fixed laundry line, and a low platform on the cement surface.\nGROUNDS: At ground level, a street edge feeds a narrow alley along the left side, leading to a single entry gate and a small recessed yard at the villa entrance. Neighboring building masses close the rear and sides, making the approach compact. From the yard’s back corner, a later-added exterior steel stair is fixed to the outside wall, with open treads, thin stringers, support posts, and a pipe handrail, continuing up to the rooftop terrace and iron-door landing.\nTHE PLAN MUST SHOW: The finished top-down site plan should show a rectangular villa mass centered behind the yard, with its flat roof terrace visible as the primary upper surface. Place the rooftop room as a smaller rectangle on the terrace, with one door toward the stair landing and two windows on separate sides. Draw the left alley, entry gate, recessed yard, surrounding neighbor blocks, low roof wall, fixed rooftop fixtures, and the retrofitted steel stair as a separate exterior structure attached to the building wall.\n\nSCENE-CRITICAL ELEMENTS (spatial facts the shots depend on — keep these relations EXACT; never simplify or distort them):\n- iron door: The iron door is the exterior entrance threshold set in the rooftop room shell.\n- iron door: Its exterior face opens toward the roof terrace/rooftop landing, and its gap leads into the rooftop room interior.\n- iron door: It is used as a visible open or half-open boundary from outside and as the exit threshold from inside.\n- added-on steel stair: The stair is an exterior added-on steel stair attached to the building’s outside wall, with open treads, thin steel stringers, support posts, and a pipe handrail.\n- added-on steel stair: It connects the ground-level villa approach/yard to the rooftop room level.\n- added-on steel stair: Its upper end reaches the roof terrace/landing in front of the rooftop room.\n- roof terrace: The roof terrace is the exterior rooftop surface around the rooftop room.\n- roof terrace: It contains rooftop service/domestic elements including a water tank, laundry line, and low platform.\n- roof terrace: The stair arrives at this terrace, and the iron door faces it across the landing.\n- rooftop room: The rooftop room is a small exterior building volume sitting on top of the old villa mass.\n- rooftop room: Its front side includes the iron entrance door facing the roof terrace.\n- rooftop room: Its outer wall also contains windows visible from the rooftop exterior.\n- entry yard: The entry yard lies inside the multi-family villa gate/door after the alley approach.\n- entry yard: A secluded rear part of the yard is available before the stair route.\n- entry yard: The exterior stair to the rooftop room connects from this yard level.\n- entry gate: The entry gate is the boundary opening between the narrow alley side and the villa yard.\n- entry gate: It opens into the yard before the exterior stair route to the rooftop room.\n- narrow alley: The narrow alley is the exterior approach route leading to the villa entry gate.\n- narrow alley: It forms the ground-level corridor outside the property where vehicles and arrivals align with the villa access.\n- narrow alley: It faces the entry gate/yard sequence that leads onward to the rooftop stair.\n- villa mass: The villa mass is the old multi-family building body below the rooftop room.\n- villa mass: The rooftop room sits on its roof.\n- villa mass: The added-on steel stair is retrofitted to the villa’s outside wall.\n- facade windows: The rooftop room has exterior window openings in its outer walls, including a small living window.\n- facade windows: Window glass can reflect interior silhouettes while still functioning as an exterior facade surface.\n- facade windows: At least one rooftop-room window faces the roof terrace/low wall area and can show interior light to the outside.\n- low wall: The low wall bounds the roof terrace edge around the rooftop room area.\n- low wall: Its top edge is a climbable exterior boundary on the rooftop.\n- low wall: It sits in the sightline between the roof terrace edge and the lit rooftop-room window.\n- low platform: The low platform sits on the roof terrace near the approach to the rooftop-room entrance.\n- low platform: Dried herbs rest on the platform and can be blown across the walking path toward the iron door area.\n- water tank: The water tank stands on the rooftop terrace as an exterior utility object near the rooftop room.\n- water tank: The laundry line is also stretched across the rooftop exterior, sharing the same roof terrace zone.\n\nCREATOR CORRECTIONS:\n- CORRECTION (production owner): the exterior stair element is an ADDED-ON STEEL stair retrofitted later onto its building's outside wall — open treads, thin steel stringers and support posts, pipe handrail, visibly a separate later addition to the building. It is NOT concrete or cement; this supersedes any cement/concrete stair mention elsewhere in the data."}
{"ts": "2026-07-06 20:11:44", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s20_numbered_bd_nb2", "refs": [], "ref_labels": [], "attempt": 1, "dur_s": 15.0, "bytes": 2147814, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/numbered_bd_nb2.png", "prompt": "Draw ONE SCHEMATIC BLOCK DIAGRAM of a real property's layout — the\nkind of flat figure a computer program draws: plain solid-colour\nshapes on a plain light background, uniform thin dark outlines.\nFlat schematic drawing language always: no gradients, no shadows,\nno texture, no photorealism.\nVIEWPOINT — top-down, or AT MOST a gentle axonometric tilted about\n30 degrees from vertical (2.5D) so slight height reads. NEVER full\n3D perspective, never vanishing-point depth, never eye-level,\nnever a facade as the main subject. Any level wording in the lines\nbelow is placement logic, not an instruction to build tall 3D\nvolumes.\nThe lines below give ONLY the placement structure (what is on/in\nwhat, roughly where). Everything they leave unsaid — exact shapes,\nsizes, proportions, spacing — YOU decide, so the property reads\nplausibly; keep every stated relation true.\nEvery building is ONE solid block — never any interior rooms, inner\nwalls or furniture.\nEach block shows ONLY its assigned number, drawn once as a small plain dark numeral on (or beside) that block; apart from these numerals there is no other text: no letters, no words, no names, no labels, no legend, no compass anywhere.\nNo people, no props, no vehicles.\n\nSTRUCTURE (containment / support / connection only):\nLEVELS (placement logic only): ground -> villa mass, 3 storeys roof terrace -> rooftop room and rooftop fixtures\nContext: public road edge and neighbouring building masses border the alley, rear, and side.\n1 narrow alley, ground approach from the public road edge to the entry gate, facing the yard sequence.\n2 entry gate, boundary opening between the narrow alley and the entry yard.\n3 entry yard, ground yard inside the gate before the villa, with a rear part connecting to the exterior stair route.\n4 villa mass, 3-storey building mass behind the entry yard, hosting the roof terrace and the exterior stair on its outside wall.\n5 facade windows, exterior window bays in the villa wall facing the entry yard, four repeated bays per storey.\n6 roof terrace, exterior rooftop surface on the villa mass around the rooftop room, with the stair landing and rooftop fixtures on it.\n7 low wall, low climbable boundary on the roof terrace edge around the rooftop room area, in the sightline toward a rooftop-room window.\n8 rooftop room, small enclosed volume on the roof terrace, with its front side facing the stair landing.\n9 added-on exterior stair, separate later stair attached to the villa outside wall, connecting the entry-yard level to the roof terrace landing in front of the rooftop room.\n10 iron door, exterior entrance threshold in the rooftop room front wall, facing the roof terrace landing and opening into the rooftop room.\n11 living window, small exterior window in a side wall of the rooftop room, facing the roof terrace and low-wall area.\n12 bedroom window, exterior window in another outer wall of the rooftop room.\n13 water tank, round utility fixture on the roof terrace near the rooftop room.\n14 laundry line, thin exterior line on the roof terrace between the water tank and the rooftop room.\n15 low platform, low fixture on the roof terrace near the approach to the iron door."}
{"ts": "2026-07-06 20:13:25", "kind": "img", "engine": "gpt-image-2", "mode": "generate", "tag": "s20_numbered_bd_gpt", "refs": [], "size": "1536x864", "attempt": 1, "dur_s": 101.3, "bytes": 1579600, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/numbered_bd_gpt.png", "prompt": "Draw ONE SCHEMATIC BLOCK DIAGRAM of a real property's layout — the\nkind of flat figure a computer program draws: plain solid-colour\nshapes on a plain light background, uniform thin dark outlines.\nFlat schematic drawing language always: no gradients, no shadows,\nno texture, no photorealism.\nVIEWPOINT — top-down, or AT MOST a gentle axonometric tilted about\n30 degrees from vertical (2.5D) so slight height reads. NEVER full\n3D perspective, never vanishing-point depth, never eye-level,\nnever a facade as the main subject. Any level wording in the lines\nbelow is placement logic, not an instruction to build tall 3D\nvolumes.\nThe lines below give ONLY the placement structure (what is on/in\nwhat, roughly where). Everything they leave unsaid — exact shapes,\nsizes, proportions, spacing — YOU decide, so the property reads\nplausibly; keep every stated relation true.\nEvery building is ONE solid block — never any interior rooms, inner\nwalls or furniture.\nEach block shows ONLY its assigned number, drawn once as a small plain dark numeral on (or beside) that block; apart from these numerals there is no other text: no letters, no words, no names, no labels, no legend, no compass anywhere.\nNo people, no props, no vehicles.\n\nSTRUCTURE (containment / support / connection only):\nLEVELS (placement logic only): ground -> villa mass, 3 storeys roof terrace -> rooftop room and rooftop fixtures\nContext: public road edge and neighbouring building masses border the alley, rear, and side.\n1 narrow alley, ground approach from the public road edge to the entry gate, facing the yard sequence.\n2 entry gate, boundary opening between the narrow alley and the entry yard.\n3 entry yard, ground yard inside the gate before the villa, with a rear part connecting to the exterior stair route.\n4 villa mass, 3-storey building mass behind the entry yard, hosting the roof terrace and the exterior stair on its outside wall.\n5 facade windows, exterior window bays in the villa wall facing the entry yard, four repeated bays per storey.\n6 roof terrace, exterior rooftop surface on the villa mass around the rooftop room, with the stair landing and rooftop fixtures on it.\n7 low wall, low climbable boundary on the roof terrace edge around the rooftop room area, in the sightline toward a rooftop-room window.\n8 rooftop room, small enclosed volume on the roof terrace, with its front side facing the stair landing.\n9 added-on exterior stair, separate later stair attached to the villa outside wall, connecting the entry-yard level to the roof terrace landing in front of the rooftop room.\n10 iron door, exterior entrance threshold in the rooftop room front wall, facing the roof terrace landing and opening into the rooftop room.\n11 living window, small exterior window in a side wall of the rooftop room, facing the roof terrace and low-wall area.\n12 bedroom window, exterior window in another outer wall of the rooftop room.\n13 water tank, round utility fixture on the roof terrace near the rooftop room.\n14 laundry line, thin exterior line on the roof terrace between the water tank and the rooftop room.\n15 low platform, low fixture on the roof terrace near the approach to the iron door."}
{"ts": "2026-07-06 20:13:40", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s20_numbered_plan_nb2", "refs": [], "ref_labels": [], "attempt": 1, "dur_s": 14.7, "bytes": 1833497, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/numbered_plan_nb2.png", "prompt": "Draw ONE strict TOP-DOWN 2D architectural SITE PLAN in the drafting\nlanguage of a clean floor plan — thin dark outlines, flat muted colour\nfills, detailed plan symbols (double-line walls, door leaf + swing arc,\nwindow frames set in walls, stair treads with stringers and landings,\nbase rings for round fixtures, paving joints, kerb lines). Height\nlevels appear only as flat fill tints (darker = higher). Orthographic\nplan view by default; at most a gentle axonometric tilt (about 30\ndegrees from vertical, 2.5D). NEVER full 3D perspective, no\nvanishing-point depth, no shadows. Neutral document: no people, no story props, no vehicles, no\nposted papers, each element carries ONLY its assigned number, drawn once as a small\nplain dark numeral on (or beside) it; apart from these numerals no text,\nno letters, no words, no other markers, no legend, no compass. Never expose interior rooms or furniture of any enclosed\nunit — outer shell and boundary openings only.\n\nEXTERIOR ONLY: this is an OUTDOOR site plan seen from above — show\nonly the exterior: ground areas, building outer shells, roof-level\nsurfaces and outdoor fixtures. NEVER draw any interior room, inner\nwall, partition or furniture of any enclosed unit — every enclosed\nvolume stays sealed (outer walls and boundary openings only).\n\nMINIMAL SPATIAL STRUCTURE — what is on/in what and roughly where,\nnothing more. All level wording is placement logic only — plan\nview stays primary (a gentle 2.5D axonometric tilt is the\npermitted maximum, never full 3D perspective). Draw each numbered\nelement with its number as a small plain marker. Everything\nunspecified (exact shapes, sizes, proportions, spacing, drawing\ndetail) YOU compose yourself as a believable real site plan; keep\nevery stated relation true:\nLEVELS (placement logic only): ground -> villa mass, 3 storeys roof terrace -> rooftop room and rooftop fixtures\nContext: public road edge and neighbouring building masses border the alley, rear, and side.\n1 narrow alley, ground approach from the public road edge to the entry gate, facing the yard sequence.\n2 entry gate, boundary opening between the narrow alley and the entry yard.\n3 entry yard, ground yard inside the gate before the villa, with a rear part connecting to the exterior stair route.\n4 villa mass, 3-storey building mass behind the entry yard, hosting the roof terrace and the exterior stair on its outside wall.\n5 facade windows, exterior window bays in the villa wall facing the entry yard, four repeated bays per storey.\n6 roof terrace, exterior rooftop surface on the villa mass around the rooftop room, with the stair landing and rooftop fixtures on it.\n7 low wall, low climbable boundary on the roof terrace edge around the rooftop room area, in the sightline toward a rooftop-room window.\n8 rooftop room, small enclosed volume on the roof terrace, with its front side facing the stair landing.\n9 added-on exterior stair, separate later stair attached to the villa outside wall, connecting the entry-yard level to the roof terrace landing in front of the rooftop room.\n10 iron door, exterior entrance threshold in the rooftop room front wall, facing the roof terrace landing and opening into the rooftop room.\n11 living window, small exterior window in a side wall of the rooftop room, facing the roof terrace and low-wall area.\n12 bedroom window, exterior window in another outer wall of the rooftop room.\n13 water tank, round utility fixture on the roof terrace near the rooftop room.\n14 laundry line, thin exterior line on the roof terrace between the water tank and the rooftop room.\n15 low platform, low fixture on the roof terrace near the approach to the iron door."}
{"ts": "2026-07-06 20:15:44", "kind": "img", "engine": "gpt-image-2", "mode": "generate", "tag": "s20_numbered_plan_gpt", "refs": [], "size": "1536x864", "attempt": 1, "dur_s": 124.7, "bytes": 2147933, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/numbered_plan_gpt.png", "prompt": "Draw ONE strict TOP-DOWN 2D architectural SITE PLAN in the drafting\nlanguage of a clean floor plan — thin dark outlines, flat muted colour\nfills, detailed plan symbols (double-line walls, door leaf + swing arc,\nwindow frames set in walls, stair treads with stringers and landings,\nbase rings for round fixtures, paving joints, kerb lines). Height\nlevels appear only as flat fill tints (darker = higher). Orthographic\nplan view by default; at most a gentle axonometric tilt (about 30\ndegrees from vertical, 2.5D). NEVER full 3D perspective, no\nvanishing-point depth, no shadows. Neutral document: no people, no story props, no vehicles, no\nposted papers, each element carries ONLY its assigned number, drawn once as a small\nplain dark numeral on (or beside) it; apart from these numerals no text,\nno letters, no words, no other markers, no legend, no compass. Never expose interior rooms or furniture of any enclosed\nunit — outer shell and boundary openings only.\n\nEXTERIOR ONLY: this is an OUTDOOR site plan seen from above — show\nonly the exterior: ground areas, building outer shells, roof-level\nsurfaces and outdoor fixtures. NEVER draw any interior room, inner\nwall, partition or furniture of any enclosed unit — every enclosed\nvolume stays sealed (outer walls and boundary openings only).\n\nMINIMAL SPATIAL STRUCTURE — what is on/in what and roughly where,\nnothing more. All level wording is placement logic only — plan\nview stays primary (a gentle 2.5D axonometric tilt is the\npermitted maximum, never full 3D perspective). Draw each numbered\nelement with its number as a small plain marker. Everything\nunspecified (exact shapes, sizes, proportions, spacing, drawing\ndetail) YOU compose yourself as a believable real site plan; keep\nevery stated relation true:\nLEVELS (placement logic only): ground -> villa mass, 3 storeys roof terrace -> rooftop room and rooftop fixtures\nContext: public road edge and neighbouring building masses border the alley, rear, and side.\n1 narrow alley, ground approach from the public road edge to the entry gate, facing the yard sequence.\n2 entry gate, boundary opening between the narrow alley and the entry yard.\n3 entry yard, ground yard inside the gate before the villa, with a rear part connecting to the exterior stair route.\n4 villa mass, 3-storey building mass behind the entry yard, hosting the roof terrace and the exterior stair on its outside wall.\n5 facade windows, exterior window bays in the villa wall facing the entry yard, four repeated bays per storey.\n6 roof terrace, exterior rooftop surface on the villa mass around the rooftop room, with the stair landing and rooftop fixtures on it.\n7 low wall, low climbable boundary on the roof terrace edge around the rooftop room area, in the sightline toward a rooftop-room window.\n8 rooftop room, small enclosed volume on the roof terrace, with its front side facing the stair landing.\n9 added-on exterior stair, separate later stair attached to the villa outside wall, connecting the entry-yard level to the roof terrace landing in front of the rooftop room.\n10 iron door, exterior entrance threshold in the rooftop room front wall, facing the roof terrace landing and opening into the rooftop room.\n11 living window, small exterior window in a side wall of the rooftop room, facing the roof terrace and low-wall area.\n12 bedroom window, exterior window in another outer wall of the rooftop room.\n13 water tank, round utility fixture on the roof terrace near the rooftop room.\n14 laundry line, thin exterior line on the roof terrace between the water tank and the rooftop room.\n15 low platform, low fixture on the roof terrace near the approach to the iron door."}
{"ts": "2026-07-06 20:15:44", "kind": "stage", "stage": "s20_numbered_bd", "done": "minimal"}
{"ts": "2026-07-06 20:28:40", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s20_bd_sketch_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/numbered_bd_nb2.png"], "ref_labels": ["TOP-DOWN BLOCK REFERENCE (what exists + plan arrangement; numerals are annotations — draw none of them; flat colours encode height layers only)."], "attempt": 1, "dur_s": 19.1, "bytes": 1817391, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/bd_sketch_nb2.png", "prompt": "The FIRST attached image is a flat TOP-DOWN BLOCK REFERENCE of the\nsame property: use it only for WHAT exists and WHERE things sit in\nplan. Its numerals are annotations — never draw them. Its flat\ncolours encode height layers only; the layer order is given below —\ntranslate those layers into clearly visible built heights.\n\nTHE PLACE (authored description — the content ground truth):\nBUILDING: The main building is an old multifamily villa block, drawn as an assumed three-storey body below the rooftop unit because the script only states an old villa with a rooftop room. Its mass is a plain rectangular concrete volume set behind an entry yard. The roof is flat and usable as a cement-surfaced terrace. The front facade facing the yard should show four repeated window bays per storey, matching the extracted layout’s inferred facade-window rhythm.\nTOP UNIT & DECK: The topmost enclosed unit is a small, old rooftop dwelling set on the flat terrace, drawn as a simple rectangular shell. Its boundary openings are one iron entrance door facing the stair landing, one small living-room window on a side wall, and one bedroom window on another wall. Around it, the open deck has a low concrete parapet or wall, a round water tank, a fixed laundry line, and a low platform on the cement surface.\nGROUNDS: At ground level, a street edge feeds a narrow alley along the left side, leading to a single entry gate and a small recessed yard at the villa entrance. Neighboring building masses close the rear and sides, making the approach compact. From the yard’s back corner, a later-added exterior steel stair is fixed to the outside wall, with open treads, thin stringers, support posts, and a pipe handrail, continuing up to the rooftop terrace and iron-door landing.\nTHE PLAN MUST SHOW: The finished top-down site plan should show a rectangular villa mass centered behind the yard, with its flat roof terrace visible as the primary upper surface. Place the rooftop room as a smaller rectangle on the terrace, with one door toward the stair landing and two windows on separate sides. Draw the left alley, entry gate, recessed yard, surrounding neighbor blocks, low roof wall, fixed rooftop fixtures, and the retrofitted steel stair as a separate exterior structure attached to the building wall.\n\nHEIGHT LAYERS (low to high): Ground (h=0) -> Stair run (h=1.5) -> Roof deck (h=3) -> Rooftop room (h=4)\n\nDraw ONE DETAILED LINE SKETCH of the property's structure — clean\nthin dark lines on plain white, like an architect's developed\nmassing sketch. Viewpoint: slightly elevated three-quarter oblique\nview (tilted about 30 degrees down from vertical) so RELATIVE\nHEIGHTS read clearly — which volume rises above which, how many\nstoreys the building has, what sits on top of what, and how the\nstair climbs between levels.\nMORE DETAIL than a plain massing sketch: draw each structural\nelement with its characteristic built form in lines — stair treads\nand railing lines, parapet and roof edges, door and window openings\nwith simple frames, fixture outlines with their stands or supports\n— enough that every element reads as what it is.\nSTILL LINES ONLY: no colours, no fills, no shading, no materials,\nno texture, no photorealism. Never any interior of enclosed units.\nNo text, letters, numbers, labels, markers, legend or compass.\nNo people, no props, no vehicles."}
{"ts": "2026-07-06 20:30:59", "kind": "img", "engine": "gpt-image-2", "mode": "edit", "tag": "s20_bd_sketch_gpt", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/numbered_bd_nb2.png"], "size": "1536x864", "attempt": 1, "dur_s": 139.0, "bytes": 1307292, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/bd_sketch_gpt.png", "prompt": "The FIRST attached image is a flat TOP-DOWN BLOCK REFERENCE of the\nsame property: use it only for WHAT exists and WHERE things sit in\nplan. Its numerals are annotations — never draw them. Its flat\ncolours encode height layers only; the layer order is given below —\ntranslate those layers into clearly visible built heights.\n\nTHE PLACE (authored description — the content ground truth):\nBUILDING: The main building is an old multifamily villa block, drawn as an assumed three-storey body below the rooftop unit because the script only states an old villa with a rooftop room. Its mass is a plain rectangular concrete volume set behind an entry yard. The roof is flat and usable as a cement-surfaced terrace. The front facade facing the yard should show four repeated window bays per storey, matching the extracted layout’s inferred facade-window rhythm.\nTOP UNIT & DECK: The topmost enclosed unit is a small, old rooftop dwelling set on the flat terrace, drawn as a simple rectangular shell. Its boundary openings are one iron entrance door facing the stair landing, one small living-room window on a side wall, and one bedroom window on another wall. Around it, the open deck has a low concrete parapet or wall, a round water tank, a fixed laundry line, and a low platform on the cement surface.\nGROUNDS: At ground level, a street edge feeds a narrow alley along the left side, leading to a single entry gate and a small recessed yard at the villa entrance. Neighboring building masses close the rear and sides, making the approach compact. From the yard’s back corner, a later-added exterior steel stair is fixed to the outside wall, with open treads, thin stringers, support posts, and a pipe handrail, continuing up to the rooftop terrace and iron-door landing.\nTHE PLAN MUST SHOW: The finished top-down site plan should show a rectangular villa mass centered behind the yard, with its flat roof terrace visible as the primary upper surface. Place the rooftop room as a smaller rectangle on the terrace, with one door toward the stair landing and two windows on separate sides. Draw the left alley, entry gate, recessed yard, surrounding neighbor blocks, low roof wall, fixed rooftop fixtures, and the retrofitted steel stair as a separate exterior structure attached to the building wall.\n\nHEIGHT LAYERS (low to high): Ground (h=0) -> Stair run (h=1.5) -> Roof deck (h=3) -> Rooftop room (h=4)\n\nDraw ONE DETAILED LINE SKETCH of the property's structure — clean\nthin dark lines on plain white, like an architect's developed\nmassing sketch. Viewpoint: slightly elevated three-quarter oblique\nview (tilted about 30 degrees down from vertical) so RELATIVE\nHEIGHTS read clearly — which volume rises above which, how many\nstoreys the building has, what sits on top of what, and how the\nstair climbs between levels.\nMORE DETAIL than a plain massing sketch: draw each structural\nelement with its characteristic built form in lines — stair treads\nand railing lines, parapet and roof edges, door and window openings\nwith simple frames, fixture outlines with their stands or supports\n— enough that every element reads as what it is.\nSTILL LINES ONLY: no colours, no fills, no shading, no materials,\nno texture, no photorealism. Never any interior of enclosed units.\nNo text, letters, numbers, labels, markers, legend or compass.\nNo people, no props, no vehicles."}
{"ts": "2026-07-06 20:30:59", "kind": "stage", "stage": "s20_numbered_bd", "done": "bdsketch"}
{"ts": "2026-07-06 20:31:28", "kind": "llm", "step": "s20_bdsketch_photo_author", "model": "gpt", "dur_s": 26.8, "system_prompt": "You write ONE image-generation prompt (English) for the final\nphotorealistic stage of a location pipeline. The image model will\nreceive your prompt plus ONE attached simple line-art STRUCTURE\nSKETCH of a real property, drawn from a slightly elevated oblique\nview so relative heights, storeys and levels read clearly.\n\nThe sketch is the single source of truth for WHAT exists, WHERE it\nsits and HOW HIGH everything is. Therefore your prompt must NOT\nre-describe, list or count the layout, its elements, positions or\nheights — beyond telling the model the attached drawing is a\nstructure sketch to be translated into real built volumes, never\ncopied as line graphics or drawing style.\n\nYour prompt covers only what the sketch cannot say:\n- the place must read as a REAL, LIVED-IN property — inhabited by\n  ordinary residents (weathering, everyday traces; decide the feel,\n  let the model improvise the specifics — do NOT enumerate a fixed\n  list of objects),\n- PRESENT VISUAL STATE ONLY: everything you write must be what a\n  camera would see standing there right now — colours, materials,\n  age, weathering, look-and-feel; you may add modest realistic\n  detail of that visual kind. NEVER narrate past or one-off events,\n  actions, apparitions or story moments the production data\n  mentions; keep only the ordinary visible present state such a\n  fact implies, or drop it,\n- unpeopled; no readable text or signage anywhere in the image,\n- nothing story-specific — only what any such real place would show,\n- true materials of the regional building type per the production\n  data below (the sketch's bare lines carry NO material information),\n- one believable camera (your choice) and ordinary neutral daylight,\n  documentary tone.\nWrite 90-160 words of direct imperative prose.\nA creator-correction block, when present, overrides any conflicting\nplace data.\nphoto_prompt_ko: the same prompt in Korean (for the human reviewer).", "user_prompt": "PLACE DATA (production members):\n- 인천 변두리 낡은 빌라 옥탑방 옥상·현관 앞 외부: 낡은 다세대 빌라 꼭대기에 위치한 야외 공간. 물탱크, 흔들리는 빨랫줄, 평상 위 약초 건조 흔적, 낡은 철문 현관이 있다. (특징: 낡은 시멘트 바닥; 물탱크; 바람에 날리는 빨랫줄; 평상과 널려 있는 말린 약초(석창포); 전단지가 끼워진 철문 현관)\n- 옥탑방 내부: 작은 창문으로 빛이 들어오는 낡은 주거 공간. 싱크대, 식탁, TV가 있는 거실과 침대, 커튼, 거울 등이 있는 방/욕실로 구성된다. 약초 끓이는 냄비 등 생활 소품이 있으며, 간헐적으로 벽면에 붉은 원 형태의 환영과 핏자국이 생겨난다. (특징: 작은 창문의 햇살; 싱크대와 약초(석창포); 가스레인지 위 끓는 냄비와 수증기; 거실 TV와 스탠드; 침대, 커튼, 거울; 벽과 거울 표면에 나타나는 붉은 원 환영; 바닥과 벽의 핏자국 (특정 시점); 어지럽혀진 가재도구 (특정 시점))\n- 옥탑방 외곽 골목·시멘트 계단: 다세대 빌라 마당의 후미진 구석과 옥탑방으로 올라가는 가파르고 낡은 시멘트 계단. (특징: 다세대 빌라 입구 마당; 후미진 구석 공간; 낡고 가파른 시멘트 계단)\n\nCREATOR CORRECTIONS (override any conflicting place data):\n- CORRECTION (production owner): the exterior stair element is an ADDED-ON STEEL stair retrofitted later onto its building's outside wall — open treads, thin steel stringers and support posts, pipe handrail, visibly a separate later addition to the building. It is NOT concrete or cement; this supersedes any cement/concrete stair mention elsewhere in the data.\n\nREAL-WORLD APPEARANCE (production owner):\nREAL-WORLD APPEARANCE (production owner): render the property as a REAL, EXISTING aged multi-family villa with a rooftop dwelling of the exact regional type the production data describes — the way such buildings actually look there: typical vernacular materials and construction (e.g. aged red-brick or exterior tile cladding on the body, cement mouldings and sills, weathered stucco patches, grime streaks under the parapet, a rusty steel retrofit stair), varied and lived-in. Do NOT render a uniform cement-gray mass, and NEVER copy the site plan's flat drawing colours as building materials."}
{"ts": "2026-07-06 20:33:32", "kind": "img", "engine": "gpt-image-2", "mode": "edit", "tag": "s20_bdsketch_photo_gpt", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/bd_sketch_gpt.png"], "size": "1536x864", "attempt": 1, "dur_s": 123.5, "bytes": 2696490, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/bdsketch_photo_gpt.png", "prompt": "Use the attached line drawing strictly as a structure sketch for the real volumes, proportions and levels; do not copy its line-art style, flat colors, or graphic marks. Render a photorealistic, existing aged multi-family villa rooftop dwelling on the outskirts of Incheon, with vernacular Korean materials: worn red-brown brick or small exterior tile cladding, cement trim and sills, patched stucco, stained concrete roof surfaces, grime below parapets, rust, peeling paint and damp weathering. Render any exterior stair shown as a later-added steel retrofit with open treads, thin stringers and posts, pipe handrail, visibly separate from the older building. Make it feel quietly inhabited by ordinary residents through natural wear and improvised everyday traces, without staging specific props. Keep the scene unpeopled, with no readable text or signage. Use one slightly elevated oblique documentary camera, neutral overcast daylight, natural colors, realistic lens perspective."}
{"ts": "2026-07-06 20:33:49", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s20_bdsketch_photo_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/bd_sketch_gpt.png"], "ref_labels": ["STRUCTURE SKETCH (spatial + height ground truth) — translate its volumes, levels and storeys into real photographic construction; never copy its line style; no text anywhere."], "attempt": 1, "dur_s": 17.8, "bytes": 3450520, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/bdsketch_photo_nb2.png", "prompt": "Use the attached line drawing strictly as a structure sketch for the real volumes, proportions and levels; do not copy its line-art style, flat colors, or graphic marks. Render a photorealistic, existing aged multi-family villa rooftop dwelling on the outskirts of Incheon, with vernacular Korean materials: worn red-brown brick or small exterior tile cladding, cement trim and sills, patched stucco, stained concrete roof surfaces, grime below parapets, rust, peeling paint and damp weathering. Render any exterior stair shown as a later-added steel retrofit with open treads, thin stringers and posts, pipe handrail, visibly separate from the older building. Make it feel quietly inhabited by ordinary residents through natural wear and improvised everyday traces, without staging specific props. Keep the scene unpeopled, with no readable text or signage. Use one slightly elevated oblique documentary camera, neutral overcast daylight, natural colors, realistic lens perspective."}
{"ts": "2026-07-06 20:33:49", "kind": "stage", "stage": "s20_numbered_bd", "done": "bdsketchphoto"}
{"ts": "2026-07-06 20:34:22", "kind": "llm", "step": "s20_bd_photo_author", "model": "gpt", "dur_s": 30.7, "system_prompt": "You write ONE image-generation prompt (English) for the final\nphotorealistic stage of a location pipeline. The image model will\nreceive your prompt plus ONE attached flat top-down BLOCK DIAGRAM\nof a real property. Small numeral markers on it are annotations\nonly, and its flat fill colours encode height layers — they are\nNOT materials or surface colours.\n\nThe diagram is the single source of truth for WHAT exists and\nWHERE. Therefore your prompt must NOT re-describe, list or count\nthe layout, its elements or their positions — beyond telling the\nmodel the attached drawing is a placement diagram to be translated\ninto real built volumes (its height-layer colours into real\nheights), and that its numerals, flat colours and graphics must\nNEVER be reproduced in the image.\n\nYour prompt covers only what the diagram cannot say:\n- the place must read as a REAL, LIVED-IN property — inhabited by\n  ordinary residents (weathering, everyday traces; decide the feel,\n  let the model improvise the specifics — do NOT enumerate a fixed\n  list of objects),\n- PRESENT VISUAL STATE ONLY: everything you write must be what a\n  camera would see standing there right now — colours, materials,\n  age, weathering, look-and-feel; you may add modest realistic\n  detail of that visual kind. NEVER narrate past or one-off events,\n  actions, apparitions or story moments the production data\n  mentions; keep only the ordinary visible present state such a\n  fact implies, or drop it,\n- unpeopled; no readable text or signage anywhere in the image,\n- nothing story-specific — only what any such real place would show,\n- true materials of the regional building type per the production\n  data below (the diagram's flat drawing colours are NOT materials),\n- one believable camera (your choice) and ordinary neutral daylight,\n  documentary tone.\nWrite 90-160 words of direct imperative prose.\nA creator-correction block, when present, overrides any conflicting\nplace data.\nphoto_prompt_ko: the same prompt in Korean (for the human reviewer).", "user_prompt": "PLACE DATA (production members):\n- 인천 변두리 낡은 빌라 옥탑방 옥상·현관 앞 외부: 낡은 다세대 빌라 꼭대기에 위치한 야외 공간. 물탱크, 흔들리는 빨랫줄, 평상 위 약초 건조 흔적, 낡은 철문 현관이 있다. (특징: 낡은 시멘트 바닥; 물탱크; 바람에 날리는 빨랫줄; 평상과 널려 있는 말린 약초(석창포); 전단지가 끼워진 철문 현관)\n- 옥탑방 내부: 작은 창문으로 빛이 들어오는 낡은 주거 공간. 싱크대, 식탁, TV가 있는 거실과 침대, 커튼, 거울 등이 있는 방/욕실로 구성된다. 약초 끓이는 냄비 등 생활 소품이 있으며, 간헐적으로 벽면에 붉은 원 형태의 환영과 핏자국이 생겨난다. (특징: 작은 창문의 햇살; 싱크대와 약초(석창포); 가스레인지 위 끓는 냄비와 수증기; 거실 TV와 스탠드; 침대, 커튼, 거울; 벽과 거울 표면에 나타나는 붉은 원 환영; 바닥과 벽의 핏자국 (특정 시점); 어지럽혀진 가재도구 (특정 시점))\n- 옥탑방 외곽 골목·시멘트 계단: 다세대 빌라 마당의 후미진 구석과 옥탑방으로 올라가는 가파르고 낡은 시멘트 계단. (특징: 다세대 빌라 입구 마당; 후미진 구석 공간; 낡고 가파른 시멘트 계단)\n\nCREATOR CORRECTIONS (override any conflicting place data):\n- CORRECTION (production owner): the exterior stair element is an ADDED-ON STEEL stair retrofitted later onto its building's outside wall — open treads, thin steel stringers and support posts, pipe handrail, visibly a separate later addition to the building. It is NOT concrete or cement; this supersedes any cement/concrete stair mention elsewhere in the data.\n\nREAL-WORLD APPEARANCE (production owner):\nREAL-WORLD APPEARANCE (production owner): render the property as a REAL, EXISTING aged multi-family villa with a rooftop dwelling of the exact regional type the production data describes — the way such buildings actually look there: typical vernacular materials and construction (e.g. aged red-brick or exterior tile cladding on the body, cement mouldings and sills, weathered stucco patches, grime streaks under the parapet, a rusty steel retrofit stair), varied and lived-in. Do NOT render a uniform cement-gray mass, and NEVER copy the site plan's flat drawing colours as building materials."}
{"ts": "2026-07-06 20:36:19", "kind": "img", "engine": "gpt-image-2", "mode": "edit", "tag": "s20_bd_photo_gpt", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/numbered_bd_nb2.png"], "size": "1536x864", "attempt": 1, "dur_s": 116.7, "bytes": 3155956, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/bd_photo_gpt.png", "prompt": "Use the attached flat top-down block diagram as the sole placement and proportion guide for what exists; translate its height-layer colours only into real architectural heights and volumes. Do not reproduce any numerals, annotation marks, flat fills, outlines, or diagram graphics. Render a photorealistic, unpeopled, currently lived-in aged multi-family villa rooftop dwelling in the outskirts of Incheon, with believable ordinary residential wear, grime, repairs, fading, stains, and modest improvised household traces. Use real regional materials: aged red brick or exterior tile cladding, cement mouldings and sills, weathered stucco patches, dark streaks below parapets, rusted metalwork, worn concrete roof surfaces. Where the diagram indicates an exterior stair, make it a later-added steel retrofit with open treads, thin stringers, support posts, and pipe handrail, visibly separate from the building. Shoot from one natural eye-level documentary camera viewpoint in neutral daylight. No readable text, signage, supernatural marks, blood, or story-specific details."}
{"ts": "2026-07-06 20:36:41", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s20_bd_photo_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/numbered_bd_nb2.png"], "ref_labels": ["BLOCK DIAGRAM (spatial ground truth) — translate to real photographic volumes; its flat colours encode height layers only, never materials; its numerals are annotations, never draw them; never copy its drawing style; no text anywhere."], "attempt": 1, "dur_s": 21.9, "bytes": 3647588, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/bd_photo_nb2.png", "prompt": "Use the attached flat top-down block diagram as the sole placement and proportion guide for what exists; translate its height-layer colours only into real architectural heights and volumes. Do not reproduce any numerals, annotation marks, flat fills, outlines, or diagram graphics. Render a photorealistic, unpeopled, currently lived-in aged multi-family villa rooftop dwelling in the outskirts of Incheon, with believable ordinary residential wear, grime, repairs, fading, stains, and modest improvised household traces. Use real regional materials: aged red brick or exterior tile cladding, cement mouldings and sills, weathered stucco patches, dark streaks below parapets, rusted metalwork, worn concrete roof surfaces. Where the diagram indicates an exterior stair, make it a later-added steel retrofit with open treads, thin stringers, support posts, and pipe handrail, visibly separate from the building. Shoot from one natural eye-level documentary camera viewpoint in neutral daylight. No readable text, signage, supernatural marks, blood, or story-specific details."}
{"ts": "2026-07-06 20:36:41", "kind": "stage", "stage": "s20_numbered_bd", "done": "bdphoto"}
{"ts": "2026-07-06 20:51:40", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s20_bd_sketch_gptsrc_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/numbered_bd_gpt.png"], "ref_labels": ["TOP-DOWN BLOCK REFERENCE (what exists + plan arrangement; numerals are annotations — draw none of them; flat colours encode height layers only)."], "attempt": 1, "dur_s": 17.9, "bytes": 1610317, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/bd_sketch_gptsrc_nb2.png", "prompt": "The FIRST attached image is a flat TOP-DOWN BLOCK REFERENCE of the\nsame property: use it only for WHAT exists and WHERE things sit in\nplan. Its numerals are annotations — never draw them. Its flat\ncolours encode height layers only; the layer order is given below —\ntranslate those layers into clearly visible built heights.\n\nTHE PLACE (authored description — the content ground truth):\nBUILDING: The main building is an old multifamily villa block, drawn as an assumed three-storey body below the rooftop unit because the script only states an old villa with a rooftop room. Its mass is a plain rectangular concrete volume set behind an entry yard. The roof is flat and usable as a cement-surfaced terrace. The front facade facing the yard should show four repeated window bays per storey, matching the extracted layout’s inferred facade-window rhythm.\nTOP UNIT & DECK: The topmost enclosed unit is a small, old rooftop dwelling set on the flat terrace, drawn as a simple rectangular shell. Its boundary openings are one iron entrance door facing the stair landing, one small living-room window on a side wall, and one bedroom window on another wall. Around it, the open deck has a low concrete parapet or wall, a round water tank, a fixed laundry line, and a low platform on the cement surface.\nGROUNDS: At ground level, a street edge feeds a narrow alley along the left side, leading to a single entry gate and a small recessed yard at the villa entrance. Neighboring building masses close the rear and sides, making the approach compact. From the yard’s back corner, a later-added exterior steel stair is fixed to the outside wall, with open treads, thin stringers, support posts, and a pipe handrail, continuing up to the rooftop terrace and iron-door landing.\nTHE PLAN MUST SHOW: The finished top-down site plan should show a rectangular villa mass centered behind the yard, with its flat roof terrace visible as the primary upper surface. Place the rooftop room as a smaller rectangle on the terrace, with one door toward the stair landing and two windows on separate sides. Draw the left alley, entry gate, recessed yard, surrounding neighbor blocks, low roof wall, fixed rooftop fixtures, and the retrofitted steel stair as a separate exterior structure attached to the building wall.\n\nHEIGHT LAYERS (low to high): Ground (h=0) -> Stair run (h=1.5) -> Roof deck (h=3) -> Rooftop room (h=4)\n\nDraw ONE DETAILED LINE SKETCH of the property's structure — clean\nthin dark lines on plain white, like an architect's developed\nmassing sketch. Viewpoint: slightly elevated three-quarter oblique\nview (tilted about 30 degrees down from vertical) so RELATIVE\nHEIGHTS read clearly — which volume rises above which, how many\nstoreys the building has, what sits on top of what, and how the\nstair climbs between levels.\nMORE DETAIL than a plain massing sketch: draw each structural\nelement with its characteristic built form in lines — stair treads\nand railing lines, parapet and roof edges, door and window openings\nwith simple frames, fixture outlines with their stands or supports\n— enough that every element reads as what it is.\nSTILL LINES ONLY: no colours, no fills, no shading, no materials,\nno texture, no photorealism. Never any interior of enclosed units.\nNo text, letters, numbers, labels, markers, legend or compass.\nNo people, no props, no vehicles."}
{"ts": "2026-07-06 20:54:27", "kind": "img", "engine": "gpt-image-2", "mode": "edit", "tag": "s20_bd_sketch_gptsrc_gpt", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/numbered_bd_gpt.png"], "size": "1536x864", "attempt": 1, "dur_s": 167.4, "bytes": 1201531, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/bd_sketch_gptsrc_gpt.png", "prompt": "The FIRST attached image is a flat TOP-DOWN BLOCK REFERENCE of the\nsame property: use it only for WHAT exists and WHERE things sit in\nplan. Its numerals are annotations — never draw them. Its flat\ncolours encode height layers only; the layer order is given below —\ntranslate those layers into clearly visible built heights.\n\nTHE PLACE (authored description — the content ground truth):\nBUILDING: The main building is an old multifamily villa block, drawn as an assumed three-storey body below the rooftop unit because the script only states an old villa with a rooftop room. Its mass is a plain rectangular concrete volume set behind an entry yard. The roof is flat and usable as a cement-surfaced terrace. The front facade facing the yard should show four repeated window bays per storey, matching the extracted layout’s inferred facade-window rhythm.\nTOP UNIT & DECK: The topmost enclosed unit is a small, old rooftop dwelling set on the flat terrace, drawn as a simple rectangular shell. Its boundary openings are one iron entrance door facing the stair landing, one small living-room window on a side wall, and one bedroom window on another wall. Around it, the open deck has a low concrete parapet or wall, a round water tank, a fixed laundry line, and a low platform on the cement surface.\nGROUNDS: At ground level, a street edge feeds a narrow alley along the left side, leading to a single entry gate and a small recessed yard at the villa entrance. Neighboring building masses close the rear and sides, making the approach compact. From the yard’s back corner, a later-added exterior steel stair is fixed to the outside wall, with open treads, thin stringers, support posts, and a pipe handrail, continuing up to the rooftop terrace and iron-door landing.\nTHE PLAN MUST SHOW: The finished top-down site plan should show a rectangular villa mass centered behind the yard, with its flat roof terrace visible as the primary upper surface. Place the rooftop room as a smaller rectangle on the terrace, with one door toward the stair landing and two windows on separate sides. Draw the left alley, entry gate, recessed yard, surrounding neighbor blocks, low roof wall, fixed rooftop fixtures, and the retrofitted steel stair as a separate exterior structure attached to the building wall.\n\nHEIGHT LAYERS (low to high): Ground (h=0) -> Stair run (h=1.5) -> Roof deck (h=3) -> Rooftop room (h=4)\n\nDraw ONE DETAILED LINE SKETCH of the property's structure — clean\nthin dark lines on plain white, like an architect's developed\nmassing sketch. Viewpoint: slightly elevated three-quarter oblique\nview (tilted about 30 degrees down from vertical) so RELATIVE\nHEIGHTS read clearly — which volume rises above which, how many\nstoreys the building has, what sits on top of what, and how the\nstair climbs between levels.\nMORE DETAIL than a plain massing sketch: draw each structural\nelement with its characteristic built form in lines — stair treads\nand railing lines, parapet and roof edges, door and window openings\nwith simple frames, fixture outlines with their stands or supports\n— enough that every element reads as what it is.\nSTILL LINES ONLY: no colours, no fills, no shading, no materials,\nno texture, no photorealism. Never any interior of enclosed units.\nNo text, letters, numbers, labels, markers, legend or compass.\nNo people, no props, no vehicles."}
{"ts": "2026-07-06 20:54:27", "kind": "stage", "stage": "s20_numbered_bd", "done": "bdsketch_gptsrc"}
{"ts": "2026-07-06 20:56:53", "kind": "img", "engine": "gpt-image-2", "mode": "edit", "tag": "s20_bdsketch_photo_gptsrc_gpt", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/bd_sketch_gptsrc_gpt.png"], "size": "1536x864", "attempt": 1, "dur_s": 143.4, "bytes": 2582903, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/bdsketch_photo_gptsrc_gpt.png", "prompt": "Use the attached line drawing strictly as a structure sketch for the real volumes, proportions and levels; do not copy its line-art style, flat colors, or graphic marks. Render a photorealistic, existing aged multi-family villa rooftop dwelling on the outskirts of Incheon, with vernacular Korean materials: worn red-brown brick or small exterior tile cladding, cement trim and sills, patched stucco, stained concrete roof surfaces, grime below parapets, rust, peeling paint and damp weathering. Render any exterior stair shown as a later-added steel retrofit with open treads, thin stringers and posts, pipe handrail, visibly separate from the older building. Make it feel quietly inhabited by ordinary residents through natural wear and improvised everyday traces, without staging specific props. Keep the scene unpeopled, with no readable text or signage. Use one slightly elevated oblique documentary camera, neutral overcast daylight, natural colors, realistic lens perspective."}
{"ts": "2026-07-06 20:57:14", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s20_bdsketch_photo_gptsrc_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/bd_sketch_gptsrc_gpt.png"], "ref_labels": ["STRUCTURE SKETCH (spatial + height ground truth) — translate its volumes, levels and storeys into real photographic construction; never copy its line style; no text anywhere."], "attempt": 1, "dur_s": 21.7, "bytes": 2874510, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/bdsketch_photo_gptsrc_nb2.png", "prompt": "Use the attached line drawing strictly as a structure sketch for the real volumes, proportions and levels; do not copy its line-art style, flat colors, or graphic marks. Render a photorealistic, existing aged multi-family villa rooftop dwelling on the outskirts of Incheon, with vernacular Korean materials: worn red-brown brick or small exterior tile cladding, cement trim and sills, patched stucco, stained concrete roof surfaces, grime below parapets, rust, peeling paint and damp weathering. Render any exterior stair shown as a later-added steel retrofit with open treads, thin stringers and posts, pipe handrail, visibly separate from the older building. Make it feel quietly inhabited by ordinary residents through natural wear and improvised everyday traces, without staging specific props. Keep the scene unpeopled, with no readable text or signage. Use one slightly elevated oblique documentary camera, neutral overcast daylight, natural colors, realistic lens perspective."}
{"ts": "2026-07-06 20:57:14", "kind": "stage", "stage": "s20_numbered_bd", "done": "bdsketchphoto_gptsrc"}
{"ts": "2026-07-06 20:59:57", "kind": "img", "engine": "gpt-image-2", "mode": "edit", "tag": "s20_bd_photo_gptsrc_gpt", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/numbered_bd_gpt.png"], "size": "1536x864", "attempt": 1, "dur_s": 160.3, "bytes": 2990560, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/bd_photo_gptsrc_gpt.png", "prompt": "Use the attached flat top-down block diagram as the sole placement and proportion guide for what exists; translate its height-layer colours only into real architectural heights and volumes. Do not reproduce any numerals, annotation marks, flat fills, outlines, or diagram graphics. Render a photorealistic, unpeopled, currently lived-in aged multi-family villa rooftop dwelling in the outskirts of Incheon, with believable ordinary residential wear, grime, repairs, fading, stains, and modest improvised household traces. Use real regional materials: aged red brick or exterior tile cladding, cement mouldings and sills, weathered stucco patches, dark streaks below parapets, rusted metalwork, worn concrete roof surfaces. Where the diagram indicates an exterior stair, make it a later-added steel retrofit with open treads, thin stringers, support posts, and pipe handrail, visibly separate from the building. Shoot from one natural eye-level documentary camera viewpoint in neutral daylight. No readable text, signage, supernatural marks, blood, or story-specific details."}
{"ts": "2026-07-06 21:00:16", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s20_bd_photo_gptsrc_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/numbered_bd_gpt.png"], "ref_labels": ["BLOCK DIAGRAM (spatial ground truth) — translate to real photographic volumes; its flat colours encode height layers only, never materials; its numerals are annotations, never draw them; never copy its drawing style; no text anywhere."], "attempt": 1, "dur_s": 19.0, "bytes": 2766350, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/bd_photo_gptsrc_nb2.png", "prompt": "Use the attached flat top-down block diagram as the sole placement and proportion guide for what exists; translate its height-layer colours only into real architectural heights and volumes. Do not reproduce any numerals, annotation marks, flat fills, outlines, or diagram graphics. Render a photorealistic, unpeopled, currently lived-in aged multi-family villa rooftop dwelling in the outskirts of Incheon, with believable ordinary residential wear, grime, repairs, fading, stains, and modest improvised household traces. Use real regional materials: aged red brick or exterior tile cladding, cement mouldings and sills, weathered stucco patches, dark streaks below parapets, rusted metalwork, worn concrete roof surfaces. Where the diagram indicates an exterior stair, make it a later-added steel retrofit with open treads, thin stringers, support posts, and pipe handrail, visibly separate from the building. Shoot from one natural eye-level documentary camera viewpoint in neutral daylight. No readable text, signage, supernatural marks, blood, or story-specific details."}
{"ts": "2026-07-06 21:00:16", "kind": "stage", "stage": "s20_numbered_bd", "done": "bdphoto_gptsrc"}
{"ts": "2026-07-06 21:17:56", "kind": "llm", "step": "s20_bdsketch_photo_author", "model": "gpt", "dur_s": 28.6, "system_prompt": "You write ONE image-generation prompt (English) for the final\nphotorealistic stage of a location pipeline. The image model will\nreceive your prompt plus ONE attached simple line-art STRUCTURE\nSKETCH of a real property, drawn from a slightly elevated oblique\nview so relative heights, storeys and levels read clearly.\n\nThe sketch is the single source of truth for WHAT exists, WHERE it\nsits and HOW HIGH everything is. Therefore your prompt must NOT\nre-describe, list or count the layout, its elements, positions or\nheights — beyond telling the model the attached drawing is a\nstructure sketch to be translated into real built volumes, never\ncopied as line graphics or drawing style.\n\nYour prompt covers only what the sketch cannot say:\n- the place must read as a REAL, LIVED-IN property — inhabited by\n  ordinary residents (weathering, everyday traces; decide the feel,\n  let the model improvise the specifics — do NOT enumerate a fixed\n  list of objects),\n- PRESENT VISUAL STATE ONLY: everything you write must be what a\n  camera would see standing there right now — colours, materials,\n  age, weathering, look-and-feel; you may add modest realistic\n  detail of that visual kind. NEVER narrate past or one-off events,\n  actions, apparitions or story moments the production data\n  mentions; keep only the ordinary visible present state such a\n  fact implies, or drop it,\n- SURROUNDINGS ARE FREE: neighbouring buildings and surrounding\n  context appear in the attached drawing only as placeholder\n  blocks marking that something stands there — never render them\n  as bare box-like concrete masses. Invent believable, ordinary\n  surroundings of the same neighbourhood character at your own\n  judgement (real buildings with real roofs, windows, utility\n  clutter, street texture). Only the property itself must follow\n  the drawing's structure exactly,\n- unpeopled; no readable text or signage anywhere in the image,\n- nothing story-specific — only what any such real place would show,\n- true materials of the regional building type per the production\n  data below (the sketch's bare lines carry NO material information),\n- one believable camera (your choice) and ordinary neutral daylight,\n  documentary tone.\nWrite 90-160 words of direct imperative prose.\nA creator-correction block, when present, overrides any conflicting\nplace data.\nphoto_prompt_ko: the same prompt in Korean (for the human reviewer).", "user_prompt": "PLACE DATA (production members):\n- 인천 변두리 낡은 빌라 옥탑방 옥상·현관 앞 외부: 낡은 다세대 빌라 꼭대기에 위치한 야외 공간. 물탱크, 흔들리는 빨랫줄, 평상 위 약초 건조 흔적, 낡은 철문 현관이 있다. (특징: 낡은 시멘트 바닥; 물탱크; 바람에 날리는 빨랫줄; 평상과 널려 있는 말린 약초(석창포); 전단지가 끼워진 철문 현관)\n- 옥탑방 내부: 작은 창문으로 빛이 들어오는 낡은 주거 공간. 싱크대, 식탁, TV가 있는 거실과 침대, 커튼, 거울 등이 있는 방/욕실로 구성된다. 약초 끓이는 냄비 등 생활 소품이 있으며, 간헐적으로 벽면에 붉은 원 형태의 환영과 핏자국이 생겨난다. (특징: 작은 창문의 햇살; 싱크대와 약초(석창포); 가스레인지 위 끓는 냄비와 수증기; 거실 TV와 스탠드; 침대, 커튼, 거울; 벽과 거울 표면에 나타나는 붉은 원 환영; 바닥과 벽의 핏자국 (특정 시점); 어지럽혀진 가재도구 (특정 시점))\n- 옥탑방 외곽 골목·시멘트 계단: 다세대 빌라 마당의 후미진 구석과 옥탑방으로 올라가는 가파르고 낡은 시멘트 계단. (특징: 다세대 빌라 입구 마당; 후미진 구석 공간; 낡고 가파른 시멘트 계단)\n\nCREATOR CORRECTIONS (override any conflicting place data):\n- CORRECTION (production owner): the exterior stair element is an ADDED-ON STEEL stair retrofitted later onto its building's outside wall — open treads, thin steel stringers and support posts, pipe handrail, visibly a separate later addition to the building. It is NOT concrete or cement; this supersedes any cement/concrete stair mention elsewhere in the data.\n\nREAL-WORLD APPEARANCE (production owner):\nREAL-WORLD APPEARANCE (production owner): render the property as a REAL, EXISTING aged multi-family villa with a rooftop dwelling of the exact regional type the production data describes — the way such buildings actually look there: typical vernacular materials and construction (e.g. aged red-brick or exterior tile cladding on the body, cement mouldings and sills, weathered stucco patches, grime streaks under the parapet, a rusty steel retrofit stair), varied and lived-in. Do NOT render a uniform cement-gray mass, and NEVER copy the site plan's flat drawing colours as building materials."}
{"ts": "2026-07-06 21:20:10", "kind": "img", "engine": "gpt-image-2", "mode": "edit", "tag": "s20_bdsketch_photo_gptsrc_gpt", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/bd_sketch_gptsrc_gpt.png"], "size": "1536x864", "attempt": 1, "dur_s": 133.9, "bytes": 2678993, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/bdsketch_photo_gptsrc_gpt.png", "prompt": "Use the attached line-art structure sketch only as the exact guide for the property’s built volumes, levels and relationships; translate it into photoreal architecture, never into drawing lines or flat sketch colors. Render an aged Incheon outskirts multi-family villa with a rooftop dwelling in real regional materials: weathered red brick or exterior tile cladding, cement mouldings and sills, patched stucco, grime under parapets, faded paint, damp stains and minor repairs. Any exterior stair shown must read as a later retrofit in rusty steel, with open treads, thin stringers, support posts and pipe handrails, visibly separate from the original wall. Make the place inhabited by ordinary residents through natural wear and modest everyday traces without staging a story. Invent believable surrounding villas, alleys, roofs, windows, utility clutter and street texture instead of placeholder blocks. Keep it unpeopled, with no readable text or signage. Shoot in neutral daylight, documentary photorealism, slightly elevated oblique camera matching the sketch perspective."}
{"ts": "2026-07-06 21:20:27", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s20_bdsketch_photo_gptsrc_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/bd_sketch_gptsrc_gpt.png"], "ref_labels": ["STRUCTURE SKETCH (spatial + height ground truth) — translate its volumes, levels and storeys into real photographic construction; never copy its line style; no text anywhere."], "attempt": 1, "dur_s": 17.2, "bytes": 3809833, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/bdsketch_photo_gptsrc_nb2.png", "prompt": "Use the attached line-art structure sketch only as the exact guide for the property’s built volumes, levels and relationships; translate it into photoreal architecture, never into drawing lines or flat sketch colors. Render an aged Incheon outskirts multi-family villa with a rooftop dwelling in real regional materials: weathered red brick or exterior tile cladding, cement mouldings and sills, patched stucco, grime under parapets, faded paint, damp stains and minor repairs. Any exterior stair shown must read as a later retrofit in rusty steel, with open treads, thin stringers, support posts and pipe handrails, visibly separate from the original wall. Make the place inhabited by ordinary residents through natural wear and modest everyday traces without staging a story. Invent believable surrounding villas, alleys, roofs, windows, utility clutter and street texture instead of placeholder blocks. Keep it unpeopled, with no readable text or signage. Shoot in neutral daylight, documentary photorealism, slightly elevated oblique camera matching the sketch perspective."}
{"ts": "2026-07-06 21:20:27", "kind": "stage", "stage": "s20_numbered_bd", "done": "bdsketchphoto_gptsrc"}
{"ts": "2026-07-06 21:20:56", "kind": "llm", "step": "s20_bd_photo_author", "model": "gpt", "dur_s": 26.8, "system_prompt": "You write ONE image-generation prompt (English) for the final\nphotorealistic stage of a location pipeline. The image model will\nreceive your prompt plus ONE attached flat top-down BLOCK DIAGRAM\nof a real property. Small numeral markers on it are annotations\nonly, and its flat fill colours encode height layers — they are\nNOT materials or surface colours.\n\nThe diagram is the single source of truth for WHAT exists and\nWHERE. Therefore your prompt must NOT re-describe, list or count\nthe layout, its elements or their positions — beyond telling the\nmodel the attached drawing is a placement diagram to be translated\ninto real built volumes (its height-layer colours into real\nheights), and that its numerals, flat colours and graphics must\nNEVER be reproduced in the image.\n\nYour prompt covers only what the diagram cannot say:\n- the place must read as a REAL, LIVED-IN property — inhabited by\n  ordinary residents (weathering, everyday traces; decide the feel,\n  let the model improvise the specifics — do NOT enumerate a fixed\n  list of objects),\n- PRESENT VISUAL STATE ONLY: everything you write must be what a\n  camera would see standing there right now — colours, materials,\n  age, weathering, look-and-feel; you may add modest realistic\n  detail of that visual kind. NEVER narrate past or one-off events,\n  actions, apparitions or story moments the production data\n  mentions; keep only the ordinary visible present state such a\n  fact implies, or drop it,\n- SURROUNDINGS ARE FREE: neighbouring buildings and surrounding\n  context appear in the attached drawing only as placeholder\n  blocks marking that something stands there — never render them\n  as bare box-like concrete masses. Invent believable, ordinary\n  surroundings of the same neighbourhood character at your own\n  judgement (real buildings with real roofs, windows, utility\n  clutter, street texture). Only the property itself must follow\n  the drawing's structure exactly,\n- unpeopled; no readable text or signage anywhere in the image,\n- nothing story-specific — only what any such real place would show,\n- true materials of the regional building type per the production\n  data below (the diagram's flat drawing colours are NOT materials),\n- one believable camera (your choice) and ordinary neutral daylight,\n  documentary tone.\nWrite 90-160 words of direct imperative prose.\nA creator-correction block, when present, overrides any conflicting\nplace data.\nphoto_prompt_ko: the same prompt in Korean (for the human reviewer).", "user_prompt": "PLACE DATA (production members):\n- 인천 변두리 낡은 빌라 옥탑방 옥상·현관 앞 외부: 낡은 다세대 빌라 꼭대기에 위치한 야외 공간. 물탱크, 흔들리는 빨랫줄, 평상 위 약초 건조 흔적, 낡은 철문 현관이 있다. (특징: 낡은 시멘트 바닥; 물탱크; 바람에 날리는 빨랫줄; 평상과 널려 있는 말린 약초(석창포); 전단지가 끼워진 철문 현관)\n- 옥탑방 내부: 작은 창문으로 빛이 들어오는 낡은 주거 공간. 싱크대, 식탁, TV가 있는 거실과 침대, 커튼, 거울 등이 있는 방/욕실로 구성된다. 약초 끓이는 냄비 등 생활 소품이 있으며, 간헐적으로 벽면에 붉은 원 형태의 환영과 핏자국이 생겨난다. (특징: 작은 창문의 햇살; 싱크대와 약초(석창포); 가스레인지 위 끓는 냄비와 수증기; 거실 TV와 스탠드; 침대, 커튼, 거울; 벽과 거울 표면에 나타나는 붉은 원 환영; 바닥과 벽의 핏자국 (특정 시점); 어지럽혀진 가재도구 (특정 시점))\n- 옥탑방 외곽 골목·시멘트 계단: 다세대 빌라 마당의 후미진 구석과 옥탑방으로 올라가는 가파르고 낡은 시멘트 계단. (특징: 다세대 빌라 입구 마당; 후미진 구석 공간; 낡고 가파른 시멘트 계단)\n\nCREATOR CORRECTIONS (override any conflicting place data):\n- CORRECTION (production owner): the exterior stair element is an ADDED-ON STEEL stair retrofitted later onto its building's outside wall — open treads, thin steel stringers and support posts, pipe handrail, visibly a separate later addition to the building. It is NOT concrete or cement; this supersedes any cement/concrete stair mention elsewhere in the data.\n\nREAL-WORLD APPEARANCE (production owner):\nREAL-WORLD APPEARANCE (production owner): render the property as a REAL, EXISTING aged multi-family villa with a rooftop dwelling of the exact regional type the production data describes — the way such buildings actually look there: typical vernacular materials and construction (e.g. aged red-brick or exterior tile cladding on the body, cement mouldings and sills, weathered stucco patches, grime streaks under the parapet, a rusty steel retrofit stair), varied and lived-in. Do NOT render a uniform cement-gray mass, and NEVER copy the site plan's flat drawing colours as building materials."}
{"ts": "2026-07-06 21:23:18", "kind": "img", "engine": "gpt-image-2", "mode": "edit", "tag": "s20_bd_photo_gptsrc_gpt", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/numbered_bd_gpt.png"], "size": "1536x864", "attempt": 1, "dur_s": 141.9, "bytes": 2946467, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/bd_photo_gptsrc_gpt.png", "prompt": "Use the attached top-down block diagram as the only placement and height guide for the property, translating every footprint into real built volume and every height-layer colour into physical height only. Never reproduce its numerals, flat colours, outlines, labels, or diagram graphics. Render a photorealistic present-day exterior of an aged Incheon outskirts multi-family villa with a rooftop dwelling, lived-in by ordinary residents: varied weathering, practical repairs, modest everyday traces, and no staged drama. Use real regional materials, not diagram colours: aged red brick or exterior tile cladding, cement mouldings and sills, patched stucco, grime below parapets, dull metalwork, worn roof surfaces. The retrofitted exterior stair must read as a later-added rusty steel structure with open treads, thin stringers, support posts, and pipe handrails. Turn surrounding placeholder blocks into believable neighbouring low-rise buildings and street texture. Unpeopled, no readable text or signage. Shoot in neutral daylight, documentary eye-level realism."}
{"ts": "2026-07-06 21:23:38", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s20_bd_photo_gptsrc_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/numbered_bd_gpt.png"], "ref_labels": ["BLOCK DIAGRAM (spatial ground truth) — translate to real photographic volumes; its flat colours encode height layers only, never materials; its numerals are annotations, never draw them; never copy its drawing style; no text anywhere."], "attempt": 1, "dur_s": 20.6, "bytes": 4000377, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/bd_photo_gptsrc_nb2.png", "prompt": "Use the attached top-down block diagram as the only placement and height guide for the property, translating every footprint into real built volume and every height-layer colour into physical height only. Never reproduce its numerals, flat colours, outlines, labels, or diagram graphics. Render a photorealistic present-day exterior of an aged Incheon outskirts multi-family villa with a rooftop dwelling, lived-in by ordinary residents: varied weathering, practical repairs, modest everyday traces, and no staged drama. Use real regional materials, not diagram colours: aged red brick or exterior tile cladding, cement mouldings and sills, patched stucco, grime below parapets, dull metalwork, worn roof surfaces. The retrofitted exterior stair must read as a later-added rusty steel structure with open treads, thin stringers, support posts, and pipe handrails. Turn surrounding placeholder blocks into believable neighbouring low-rise buildings and street texture. Unpeopled, no readable text or signage. Shoot in neutral daylight, documentary eye-level realism."}
{"ts": "2026-07-06 21:23:38", "kind": "stage", "stage": "s20_numbered_bd", "done": "bdphoto_gptsrc"}
{"ts": "2026-07-06 21:35:56", "kind": "llm", "step": "s20_textonly_photo_author", "model": "gpt", "dur_s": 22.8, "system_prompt": "You write ONE image-generation prompt (English) for a\nphotorealistic location image. There is NO reference image this\ntime: your prompt is the model's ONLY source — it must carry the\nSTRUCTURE and the LOOK together.\n\nYou get the property's minimal structure lines (containment /\nsupport / connection, coarse positions, judged scale), place data,\nand production-owner corrections / appearance overrides.\n\nYour prompt must:\n- state the structure compactly in plain visual language — what\n  contains or carries what, roughly where, the storey count. Keep\n  it as LEAN as the given lines: over-specification breeds\n  contradictions and hallucination; trust the model with\n  everything unstated. The lines' numbers are identifiers only —\n  never mention numbers, markers or diagrams in the prompt,\n- true materials of the regional building type per the production\n  data,\n- PRESENT VISUAL STATE ONLY: everything you write must be what a\n  camera would see standing there right now — colours, materials,\n  age, weathering, look-and-feel; you may add modest realistic\n  detail of that visual kind. NEVER narrate past or one-off events,\n  actions, apparitions or story moments the production data\n  mentions; keep only the ordinary visible present state such a\n  fact implies, or drop it,\n- surroundings: invent believable ordinary neighbourhood context\n  (real low-rise buildings, roofs, windows, utility clutter,\n  street texture) at your own judgement — only the property\n  itself follows the structure lines,\n- the place must read as REAL and LIVED-IN (weathering, everyday\n  traces; decide the feel, let the model improvise specifics),\n- unpeopled; no readable text or signage anywhere,\n- one believable camera (your choice) and ordinary neutral\n  daylight, documentary tone.\nWrite 120-200 words of direct imperative prose.\nA creator-correction block, when present, overrides any\nconflicting place data.\nphoto_prompt_ko: the same prompt in Korean (for the human\nreviewer).", "user_prompt": "MINIMAL STRUCTURE (the property to depict):\nLEVELS (placement logic only): ground -> villa mass, 3 storeys roof terrace -> rooftop room and rooftop fixtures\nContext: public road edge and neighbouring building masses border the alley, rear, and side.\n1 narrow alley, ground approach from the public road edge to the entry gate, facing the yard sequence.\n2 entry gate, boundary opening between the narrow alley and the entry yard.\n3 entry yard, ground yard inside the gate before the villa, with a rear part connecting to the exterior stair route.\n4 villa mass, 3-storey building mass behind the entry yard, hosting the roof terrace and the exterior stair on its outside wall.\n5 facade windows, exterior window bays in the villa wall facing the entry yard, four repeated bays per storey.\n6 roof terrace, exterior rooftop surface on the villa mass around the rooftop room, with the stair landing and rooftop fixtures on it.\n7 low wall, low climbable boundary on the roof terrace edge around the rooftop room area, in the sightline toward a rooftop-room window.\n8 rooftop room, small enclosed volume on the roof terrace, with its front side facing the stair landing.\n9 added-on exterior stair, separate later stair attached to the villa outside wall, connecting the entry-yard level to the roof terrace landing in front of the rooftop room.\n10 iron door, exterior entrance threshold in the rooftop room front wall, facing the roof terrace landing and opening into the rooftop room.\n11 living window, small exterior window in a side wall of the rooftop room, facing the roof terrace and low-wall area.\n12 bedroom window, exterior window in another outer wall of the rooftop room.\n13 water tank, round utility fixture on the roof terrace near the rooftop room.\n14 laundry line, thin exterior line on the roof terrace between the water tank and the rooftop room.\n15 low platform, low fixture on the roof terrace near the approach to the iron door.\n\nPLACE DATA (production members):\n- 인천 변두리 낡은 빌라 옥탑방 옥상·현관 앞 외부: 낡은 다세대 빌라 꼭대기에 위치한 야외 공간. 물탱크, 흔들리는 빨랫줄, 평상 위 약초 건조 흔적, 낡은 철문 현관이 있다. (특징: 낡은 시멘트 바닥; 물탱크; 바람에 날리는 빨랫줄; 평상과 널려 있는 말린 약초(석창포); 전단지가 끼워진 철문 현관)\n- 옥탑방 내부: 작은 창문으로 빛이 들어오는 낡은 주거 공간. 싱크대, 식탁, TV가 있는 거실과 침대, 커튼, 거울 등이 있는 방/욕실로 구성된다. 약초 끓이는 냄비 등 생활 소품이 있으며, 간헐적으로 벽면에 붉은 원 형태의 환영과 핏자국이 생겨난다. (특징: 작은 창문의 햇살; 싱크대와 약초(석창포); 가스레인지 위 끓는 냄비와 수증기; 거실 TV와 스탠드; 침대, 커튼, 거울; 벽과 거울 표면에 나타나는 붉은 원 환영; 바닥과 벽의 핏자국 (특정 시점); 어지럽혀진 가재도구 (특정 시점))\n- 옥탑방 외곽 골목·시멘트 계단: 다세대 빌라 마당의 후미진 구석과 옥탑방으로 올라가는 가파르고 낡은 시멘트 계단. (특징: 다세대 빌라 입구 마당; 후미진 구석 공간; 낡고 가파른 시멘트 계단)\n\nCREATOR CORRECTIONS (override any conflicting place data):\n- CORRECTION (production owner): the exterior stair element is an ADDED-ON STEEL stair retrofitted later onto its building's outside wall — open treads, thin steel stringers and support posts, pipe handrail, visibly a separate later addition to the building. It is NOT concrete or cement; this supersedes any cement/concrete stair mention elsewhere in the data.\n\nREAL-WORLD APPEARANCE (production owner):\nREAL-WORLD APPEARANCE (production owner): render the property as a REAL, EXISTING aged multi-family villa with a rooftop dwelling of the exact regional type the production data describes — the way such buildings actually look there: typical vernacular materials and construction (e.g. aged red-brick or exterior tile cladding on the body, cement mouldings and sills, weathered stucco patches, grime streaks under the parapet, a rusty steel retrofit stair), varied and lived-in. Do NOT render a uniform cement-gray mass, and NEVER copy the site plan's flat drawing colours as building materials."}
{"ts": "2026-07-06 21:37:51", "kind": "img", "engine": "gpt-image-2", "mode": "generate", "tag": "s20_textonly_photo_gpt", "refs": [], "size": "1536x864", "attempt": 1, "dur_s": 115.6, "bytes": 2394949, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/textonly_photo_gpt.png", "prompt": "Create a photorealistic documentary daylight image from eye level at the entry yard, looking through a narrow Incheon outskirts alley gate toward an aged three-storey multi-family villa. Show the small ground yard inside the gate, bordered by neighbouring low-rise building masses and utility clutter. The villa body stands behind the yard, clad in weathered red brick and old exterior tile with cement mouldings, patched stucco, stained sills, grime under parapets, and four repeated window bays on each storey facing the yard. On the outside wall, show a visibly later-added steel stair rising from the rear part of the yard to the roof terrace: open treads, thin steel stringers and posts, pipe handrail, rust and peeling paint, clearly separate from the building. On the roof terrace, include a low parapet wall, a small rooftop room facing the stair landing with a worn iron door, small side windows, a round water tank, a sagging laundry line between tank and room, and a low platform with dried herbs. Keep it real, lived-in, unpeopled, with no readable text or signage, neutral overcast daylight, 35mm lens."}
{"ts": "2026-07-06 21:38:08", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s20_textonly_photo_nb2", "refs": [], "ref_labels": [], "attempt": 1, "dur_s": 16.8, "bytes": 4222144, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/textonly_photo_nb2.png", "prompt": "Create a photorealistic documentary daylight image from eye level at the entry yard, looking through a narrow Incheon outskirts alley gate toward an aged three-storey multi-family villa. Show the small ground yard inside the gate, bordered by neighbouring low-rise building masses and utility clutter. The villa body stands behind the yard, clad in weathered red brick and old exterior tile with cement mouldings, patched stucco, stained sills, grime under parapets, and four repeated window bays on each storey facing the yard. On the outside wall, show a visibly later-added steel stair rising from the rear part of the yard to the roof terrace: open treads, thin steel stringers and posts, pipe handrail, rust and peeling paint, clearly separate from the building. On the roof terrace, include a low parapet wall, a small rooftop room facing the stair landing with a worn iron door, small side windows, a round water tank, a sagging laundry line between tank and room, and a low platform with dried herbs. Keep it real, lived-in, unpeopled, with no readable text or signage, neutral overcast daylight, 35mm lens."}
{"ts": "2026-07-06 21:38:08", "kind": "stage", "stage": "s20_numbered_bd", "done": "textphoto"}
{"ts": "2026-07-06 21:49:07", "kind": "stage", "stage": "s20_numbered_bd", "done": "html"}
{"ts": "2026-07-06 21:56:29", "kind": "llm", "step": "s20_textonly45_photo_author", "model": "gpt", "dur_s": 23.2, "system_prompt": "You write ONE image-generation prompt (English) for a\nphotorealistic location image. There is NO reference image this\ntime: your prompt is the model's ONLY source — it must carry the\nSTRUCTURE and the LOOK together.\n\nYou get the property's minimal structure lines (containment /\nsupport / connection, coarse positions, judged scale), place data,\nand production-owner corrections / appearance overrides.\n\nYour prompt must:\n- state the structure compactly in plain visual language — what\n  contains or carries what, roughly where, the storey count. Keep\n  it as LEAN as the given lines: over-specification breeds\n  contradictions and hallucination; trust the model with\n  everything unstated. The lines' numbers are identifiers only —\n  never mention numbers, markers or diagrams in the prompt,\n- true materials of the regional building type per the production\n  data,\n- PRESENT VISUAL STATE ONLY: everything you write must be what a\n  camera would see standing there right now — colours, materials,\n  age, weathering, look-and-feel; you may add modest realistic\n  detail of that visual kind. NEVER narrate past or one-off events,\n  actions, apparitions or story moments the production data\n  mentions; keep only the ordinary visible present state such a\n  fact implies, or drop it,\n- surroundings: invent believable ordinary neighbourhood context\n  (real low-rise buildings, roofs, windows, utility clutter,\n  street texture) at your own judgement — only the property\n  itself follows the structure lines,\n- the place must read as REAL and LIVED-IN (weathering, everyday\n  traces; decide the feel, let the model improvise specifics),\n- unpeopled; no readable text or signage anywhere,\n- camera: an elevated three-quarter view from roughly 45 degrees\n  above, off to one side of the property, so one side facade and\n  the roof level read together and the whole property fits the\n  frame; ordinary neutral daylight, documentary tone.\nWrite 120-200 words of direct imperative prose.\nA creator-correction block, when present, overrides any\nconflicting place data.\nphoto_prompt_ko: the same prompt in Korean (for the human\nreviewer).", "user_prompt": "MINIMAL STRUCTURE (the property to depict):\nLEVELS (placement logic only): ground -> villa mass, 3 storeys roof terrace -> rooftop room and rooftop fixtures\nContext: public road edge and neighbouring building masses border the alley, rear, and side.\n1 narrow alley, ground approach from the public road edge to the entry gate, facing the yard sequence.\n2 entry gate, boundary opening between the narrow alley and the entry yard.\n3 entry yard, ground yard inside the gate before the villa, with a rear part connecting to the exterior stair route.\n4 villa mass, 3-storey building mass behind the entry yard, hosting the roof terrace and the exterior stair on its outside wall.\n5 facade windows, exterior window bays in the villa wall facing the entry yard, four repeated bays per storey.\n6 roof terrace, exterior rooftop surface on the villa mass around the rooftop room, with the stair landing and rooftop fixtures on it.\n7 low wall, low climbable boundary on the roof terrace edge around the rooftop room area, in the sightline toward a rooftop-room window.\n8 rooftop room, small enclosed volume on the roof terrace, with its front side facing the stair landing.\n9 added-on exterior stair, separate later stair attached to the villa outside wall, connecting the entry-yard level to the roof terrace landing in front of the rooftop room.\n10 iron door, exterior entrance threshold in the rooftop room front wall, facing the roof terrace landing and opening into the rooftop room.\n11 living window, small exterior window in a side wall of the rooftop room, facing the roof terrace and low-wall area.\n12 bedroom window, exterior window in another outer wall of the rooftop room.\n13 water tank, round utility fixture on the roof terrace near the rooftop room.\n14 laundry line, thin exterior line on the roof terrace between the water tank and the rooftop room.\n15 low platform, low fixture on the roof terrace near the approach to the iron door.\n\nPLACE DATA (production members):\n- 인천 변두리 낡은 빌라 옥탑방 옥상·현관 앞 외부: 낡은 다세대 빌라 꼭대기에 위치한 야외 공간. 물탱크, 흔들리는 빨랫줄, 평상 위 약초 건조 흔적, 낡은 철문 현관이 있다. (특징: 낡은 시멘트 바닥; 물탱크; 바람에 날리는 빨랫줄; 평상과 널려 있는 말린 약초(석창포); 전단지가 끼워진 철문 현관)\n- 옥탑방 내부: 작은 창문으로 빛이 들어오는 낡은 주거 공간. 싱크대, 식탁, TV가 있는 거실과 침대, 커튼, 거울 등이 있는 방/욕실로 구성된다. 약초 끓이는 냄비 등 생활 소품이 있으며, 간헐적으로 벽면에 붉은 원 형태의 환영과 핏자국이 생겨난다. (특징: 작은 창문의 햇살; 싱크대와 약초(석창포); 가스레인지 위 끓는 냄비와 수증기; 거실 TV와 스탠드; 침대, 커튼, 거울; 벽과 거울 표면에 나타나는 붉은 원 환영; 바닥과 벽의 핏자국 (특정 시점); 어지럽혀진 가재도구 (특정 시점))\n- 옥탑방 외곽 골목·시멘트 계단: 다세대 빌라 마당의 후미진 구석과 옥탑방으로 올라가는 가파르고 낡은 시멘트 계단. (특징: 다세대 빌라 입구 마당; 후미진 구석 공간; 낡고 가파른 시멘트 계단)\n\nCREATOR CORRECTIONS (override any conflicting place data):\n- CORRECTION (production owner): the exterior stair element is an ADDED-ON STEEL stair retrofitted later onto its building's outside wall — open treads, thin steel stringers and support posts, pipe handrail, visibly a separate later addition to the building. It is NOT concrete or cement; this supersedes any cement/concrete stair mention elsewhere in the data.\n\nREAL-WORLD APPEARANCE (production owner):\nREAL-WORLD APPEARANCE (production owner): render the property as a REAL, EXISTING aged multi-family villa with a rooftop dwelling of the exact regional type the production data describes — the way such buildings actually look there: typical vernacular materials and construction (e.g. aged red-brick or exterior tile cladding on the body, cement mouldings and sills, weathered stucco patches, grime streaks under the parapet, a rusty steel retrofit stair), varied and lived-in. Do NOT render a uniform cement-gray mass, and NEVER copy the site plan's flat drawing colours as building materials."}
{"ts": "2026-07-06 21:56:53", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s20_textonly45_photo_nb2_a", "refs": [], "ref_labels": [], "attempt": 1, "dur_s": 24.0, "bytes": 4603979, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/textonly45_photo_nb2_a.png", "prompt": "Create a photorealistic documentary location image of an aged multi-family villa in the outskirts of Incheon, seen from an elevated three-quarter angle about 45 degrees above and off to one side, fitting the whole property in frame. Show a narrow alley from the public road edge leading to a simple entry gate, then a small entry yard before a three-storey villa mass. The villa has aged red brick and exterior tile cladding, cement mouldings and sills, patched stucco, grime streaks under parapets, and four repeated window bays per storey facing the yard. Attach a clearly later-added open steel stair to the outside wall, with thin stringers, open treads, support posts, rusty pipe handrails, rising from the rear of the yard to the roof terrace landing. On the roof terrace place a small rooftop room with a worn iron door facing the landing, small side windows, a low parapet wall, round water tank, sagging laundry line, and a low platform with scattered dried herbs. Surround it with ordinary low-rise neighboring buildings, utility wires, pipes, roof clutter, stained concrete paving, no people, no readable text, neutral daylight."}
{"ts": "2026-07-06 21:57:08", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s20_textonly45_photo_nb2_b", "refs": [], "ref_labels": [], "attempt": 1, "dur_s": 15.6, "bytes": 4470964, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/textonly45_photo_nb2_b.png", "prompt": "Create a photorealistic documentary location image of an aged multi-family villa in the outskirts of Incheon, seen from an elevated three-quarter angle about 45 degrees above and off to one side, fitting the whole property in frame. Show a narrow alley from the public road edge leading to a simple entry gate, then a small entry yard before a three-storey villa mass. The villa has aged red brick and exterior tile cladding, cement mouldings and sills, patched stucco, grime streaks under parapets, and four repeated window bays per storey facing the yard. Attach a clearly later-added open steel stair to the outside wall, with thin stringers, open treads, support posts, rusty pipe handrails, rising from the rear of the yard to the roof terrace landing. On the roof terrace place a small rooftop room with a worn iron door facing the landing, small side windows, a low parapet wall, round water tank, sagging laundry line, and a low platform with scattered dried herbs. Surround it with ordinary low-rise neighboring buildings, utility wires, pipes, roof clutter, stained concrete paving, no people, no readable text, neutral daylight."}
{"ts": "2026-07-06 21:57:09", "kind": "stage", "stage": "s20_numbered_bd", "done": "textphoto45"}
{"ts": "2026-07-06 22:05:27", "kind": "img", "engine": "gpt-image-2", "mode": "generate", "tag": "s20_textonly45_photo_gpt_a", "refs": [], "size": "1536x864", "attempt": 1, "dur_s": 122.5, "bytes": 2749448, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/textonly45_photo_gpt_a.png", "prompt": "Create a photorealistic documentary location image of an aged multi-family villa in the outskirts of Incheon, seen from an elevated three-quarter angle about 45 degrees above and off to one side, fitting the whole property in frame. Show a narrow alley from the public road edge leading to a simple entry gate, then a small entry yard before a three-storey villa mass. The villa has aged red brick and exterior tile cladding, cement mouldings and sills, patched stucco, grime streaks under parapets, and four repeated window bays per storey facing the yard. Attach a clearly later-added open steel stair to the outside wall, with thin stringers, open treads, support posts, rusty pipe handrails, rising from the rear of the yard to the roof terrace landing. On the roof terrace place a small rooftop room with a worn iron door facing the landing, small side windows, a low parapet wall, round water tank, sagging laundry line, and a low platform with scattered dried herbs. Surround it with ordinary low-rise neighboring buildings, utility wires, pipes, roof clutter, stained concrete paving, no people, no readable text, neutral daylight."}
{"ts": "2026-07-06 22:07:36", "kind": "img", "engine": "gpt-image-2", "mode": "generate", "tag": "s20_textonly45_photo_gpt_b", "refs": [], "size": "1536x864", "attempt": 1, "dur_s": 128.5, "bytes": 2869719, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/textonly45_photo_gpt_b.png", "prompt": "Create a photorealistic documentary location image of an aged multi-family villa in the outskirts of Incheon, seen from an elevated three-quarter angle about 45 degrees above and off to one side, fitting the whole property in frame. Show a narrow alley from the public road edge leading to a simple entry gate, then a small entry yard before a three-storey villa mass. The villa has aged red brick and exterior tile cladding, cement mouldings and sills, patched stucco, grime streaks under parapets, and four repeated window bays per storey facing the yard. Attach a clearly later-added open steel stair to the outside wall, with thin stringers, open treads, support posts, rusty pipe handrails, rising from the rear of the yard to the roof terrace landing. On the roof terrace place a small rooftop room with a worn iron door facing the landing, small side windows, a low parapet wall, round water tank, sagging laundry line, and a low platform with scattered dried herbs. Surround it with ordinary low-rise neighboring buildings, utility wires, pipes, roof clutter, stained concrete paving, no people, no readable text, neutral daylight."}
{"ts": "2026-07-06 22:07:36", "kind": "stage", "stage": "s20_numbered_bd", "done": "textphoto45_gpt"}
{"ts": "2026-07-06 22:09:24", "kind": "llm", "step": "s20_judge45_gpt", "model": "gpt", "dur_s": 80.5, "system_prompt": "You are given ONE image-generation prompt and FOUR candidate\nimages, labelled A, B, C, D in the order attached, all generated\nfrom that exact prompt.\nPick the ONE candidate that most faithfully realises the prompt.\nJudge ONLY fidelity to the prompt: its stated structure (what\ncontains or carries what, counts, connections, placements), the\ncamera it asks for, materials and state, and its exclusions (no\npeople, no readable text). Ignore generic aesthetic appeal.\nCheck every candidate against the prompt point by point before\ndeciding; base every verdict only on what is visible.\nOutput: winner, ranking best-to-worst, and a one-line Korean\nverdict per candidate citing the decisive prompt points.", "user_prompt": "[{\"type\": \"text\", \"text\": \"THE PROMPT (all four candidates were generated from this):\\nCreate a photorealistic documentary location image of an aged multi-family villa in the outskirts of Incheon, seen from an elevated three-quarter angle about 45 degrees above and off to one side, fitting the whole property in frame. Show a narrow alley from the public road edge leading to a simple entry gate, then a small entry yard before a three-storey villa mass. The villa has aged red brick and exterior tile cladding, cement mouldings and sills, patched stucco, grime streaks under parapets, and four repeated window bays per storey facing the yard. Attach a clearly later-added open steel stair to the outside wall, with thin stringers, open treads, support posts, rusty pipe handrails, rising from the rear of the yard to the roof terrace landing. On the roof terrace place a small rooftop room with a worn iron door facing the landing, small side windows, a low parapet wall, round water tank, sagging laundry line, and a low platform with scattered dried herbs. Surround it with ordinary low-rise neighboring buildings, utility wires, pipes, roof clutter, stained concrete paving, no people, no readable text, neutral daylight.\"}, {\"type\": \"text\", \"text\": \"Candidate A:\"}, {\"type\": \"text\", \"text\": \"Candidate B:\"}, {\"type\": \"text\", \"text\": \"Candidate C:\"}, {\"type\": \"text\", \"text\": \"Candidate D:\"}]"}
{"ts": "2026-07-06 22:10:05", "kind": "llm", "step": "s20_judge45_gemini", "model": "gemini-pro", "dur_s": 41.1, "system_prompt": "You are given ONE image-generation prompt and FOUR candidate\nimages, labelled A, B, C, D in the order attached, all generated\nfrom that exact prompt.\nPick the ONE candidate that most faithfully realises the prompt.\nJudge ONLY fidelity to the prompt: its stated structure (what\ncontains or carries what, counts, connections, placements), the\ncamera it asks for, materials and state, and its exclusions (no\npeople, no readable text). Ignore generic aesthetic appeal.\nCheck every candidate against the prompt point by point before\ndeciding; base every verdict only on what is visible.\nOutput: winner, ranking best-to-worst, and a one-line Korean\nverdict per candidate citing the decisive prompt points.", "user_prompt": "[{\"type\": \"text\", \"text\": \"THE PROMPT (all four candidates were generated from this):\\nCreate a photorealistic documentary location image of an aged multi-family villa in the outskirts of Incheon, seen from an elevated three-quarter angle about 45 degrees above and off to one side, fitting the whole property in frame. Show a narrow alley from the public road edge leading to a simple entry gate, then a small entry yard before a three-storey villa mass. The villa has aged red brick and exterior tile cladding, cement mouldings and sills, patched stucco, grime streaks under parapets, and four repeated window bays per storey facing the yard. Attach a clearly later-added open steel stair to the outside wall, with thin stringers, open treads, support posts, rusty pipe handrails, rising from the rear of the yard to the roof terrace landing. On the roof terrace place a small rooftop room with a worn iron door facing the landing, small side windows, a low parapet wall, round water tank, sagging laundry line, and a low platform with scattered dried herbs. Surround it with ordinary low-rise neighboring buildings, utility wires, pipes, roof clutter, stained concrete paving, no people, no readable text, neutral daylight.\"}, {\"type\": \"text\", \"text\": \"Candidate A:\"}, {\"type\": \"text\", \"text\": \"Candidate B:\"}, {\"type\": \"text\", \"text\": \"Candidate C:\"}, {\"type\": \"text\", \"text\": \"Candidate D:\"}]"}
{"ts": "2026-07-06 22:10:05", "kind": "stage", "stage": "s20_numbered_bd", "done": "judge45"}
{"ts": "2026-07-06 22:21:28", "kind": "llm", "step": "s20_stair_check_gpt", "model": "gpt", "dur_s": 39.8, "system_prompt": "You are given ONE photograph of a real property. Examine the\nexterior staircase in it as a PHYSICAL CONSTRUCTION and answer\nstrictly from what is visible: could a person actually climb it\nfrom the ground level to the level it serves?\nCheck point by point:\n- where it starts: is the bottom step reachable from the ground\n  or yard,\n- flight continuity: no gaps, no floating or detached segments,\n  no impossible overlapping geometry, landings connected,\n- tread spacing and slope: plausibly walkable,\n- the top: does it actually arrive at the upper level (onto a\n  landing or over the parapet in a usable way),\n- railing/support continuity.\nclimbable: overall yes/no.\nverdict_ko: one short Korean paragraph stating the conclusion.\nissues_ko: each visible physical problem as one short Korean\nline (empty array if none).", "user_prompt": "[{\"type\": \"text\", \"text\": \"Photograph to examine (its exterior staircase):\"}]"}
{"ts": "2026-07-06 22:21:48", "kind": "llm", "step": "s20_stair_check_gemini", "model": "gemini-pro", "dur_s": 20.6, "system_prompt": "You are given ONE photograph of a real property. Examine the\nexterior staircase in it as a PHYSICAL CONSTRUCTION and answer\nstrictly from what is visible: could a person actually climb it\nfrom the ground level to the level it serves?\nCheck point by point:\n- where it starts: is the bottom step reachable from the ground\n  or yard,\n- flight continuity: no gaps, no floating or detached segments,\n  no impossible overlapping geometry, landings connected,\n- tread spacing and slope: plausibly walkable,\n- the top: does it actually arrive at the upper level (onto a\n  landing or over the parapet in a usable way),\n- railing/support continuity.\nclimbable: overall yes/no.\nverdict_ko: one short Korean paragraph stating the conclusion.\nissues_ko: each visible physical problem as one short Korean\nline (empty array if none).", "user_prompt": "[{\"type\": \"text\", \"text\": \"Photograph to examine (its exterior staircase):\"}]"}
{"ts": "2026-07-06 22:21:48", "kind": "stage", "stage": "s20_numbered_bd", "done": "staircheck"}
{"ts": "2026-07-06 22:29:50", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s20_stairfix_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/textonly45_photo_nb2_a.png"], "ref_labels": ["PHOTOGRAPH TO EDIT — fix ONLY its exterior staircase as the prompt says; preserve everything else exactly."], "attempt": 1, "dur_s": 20.1, "bytes": 3900018, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/stairfix_nb2.png", "prompt": "Edit this photograph. The exterior metal staircase on the building\nis structurally impossible: flights overlap, connections between\nruns and landings are broken, the bottom run does not reach the\nground, and railings pass through structure.\nREDRAW THE STAIRCASE ONLY, as ONE physically climbable retrofit\nsteel stair: continuous flights with even open treads, landings\nthat actually connect each run, the bottom run reaching the\nground / yard level, the top run arriving at the rooftop landing,\nrailings and support posts continuous and never intersecting any\nstructure. Keep its rusty, added-on steel character and its\nposition against the same wall.\nPRESERVE EVERYTHING ELSE EXACTLY as in the original photograph —\nbuildings, roof objects, yard, surroundings, lighting, camera,\nframing. No people, no readable text anywhere."}
{"ts": "2026-07-06 22:32:10", "kind": "img", "engine": "gpt-image-2", "mode": "edit", "tag": "s20_stairfix_gpt", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/textonly45_photo_nb2_a.png"], "size": "1536x864", "attempt": 1, "dur_s": 139.9, "bytes": 2871121, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/stairfix_gpt.png", "prompt": "Edit this photograph. The exterior metal staircase on the building\nis structurally impossible: flights overlap, connections between\nruns and landings are broken, the bottom run does not reach the\nground, and railings pass through structure.\nREDRAW THE STAIRCASE ONLY, as ONE physically climbable retrofit\nsteel stair: continuous flights with even open treads, landings\nthat actually connect each run, the bottom run reaching the\nground / yard level, the top run arriving at the rooftop landing,\nrailings and support posts continuous and never intersecting any\nstructure. Keep its rusty, added-on steel character and its\nposition against the same wall.\nPRESERVE EVERYTHING ELSE EXACTLY as in the original photograph —\nbuildings, roof objects, yard, surroundings, lighting, camera,\nframing. No people, no readable text anywhere."}
{"ts": "2026-07-06 22:32:10", "kind": "stage", "stage": "s20_numbered_bd", "done": "stairfix"}
{"ts": "2026-07-06 22:58:09", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s20_rev_bd_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/stairfix_nb2.png"], "ref_labels": ["PHOTOGRAPH (layout source) — extract its permanent structural layout only; draw the diagram the prompt describes, not a photo."], "attempt": 1, "dur_s": 21.8, "bytes": 3434482, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/rev_bd_nb2.png", "prompt": "The attached image is a PHOTOGRAPH of one real property. EXTRACT\nits permanent structural layout — what contains or carries what,\nwhere things sit, how the exterior stair connects the levels —\nand redraw that layout as ONE SCHEMATIC BLOCK DIAGRAM: the kind\nof flat figure a computer program draws, strict TOP-DOWN 2D,\nplain solid-colour shapes on a plain light background, uniform\nthin dark outlines. ABSOLUTELY FLAT: no bevels, no gradients, no\nshadows, no texture, no perspective, no 3D feel of any kind.\nPermanent structure only: ignore people, loose objects and\nmovable props; keep buildings, levels, stairs, boundary walls,\nopenings and fixed fixtures. Stay faithful to the photograph's\nactual arrangement.\nEvery building is ONE solid block — never any interior rooms,\ninner walls or furniture. Use flat fill tints only to tell height\nlevels apart (darker = higher).\nNo text, letters, numbers, labels, markers, legend or compass anywhere.\nNo people, no props, no vehicles."}
{"ts": "2026-07-06 23:00:20", "kind": "img", "engine": "gpt-image-2", "mode": "edit", "tag": "s20_rev_bd_gpt", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/stairfix_nb2.png"], "size": "1536x864", "attempt": 1, "dur_s": 131.5, "bytes": 961833, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/rev_bd_gpt.png", "prompt": "The attached image is a PHOTOGRAPH of one real property. EXTRACT\nits permanent structural layout — what contains or carries what,\nwhere things sit, how the exterior stair connects the levels —\nand redraw that layout as ONE SCHEMATIC BLOCK DIAGRAM: the kind\nof flat figure a computer program draws, strict TOP-DOWN 2D,\nplain solid-colour shapes on a plain light background, uniform\nthin dark outlines. ABSOLUTELY FLAT: no bevels, no gradients, no\nshadows, no texture, no perspective, no 3D feel of any kind.\nPermanent structure only: ignore people, loose objects and\nmovable props; keep buildings, levels, stairs, boundary walls,\nopenings and fixed fixtures. Stay faithful to the photograph's\nactual arrangement.\nEvery building is ONE solid block — never any interior rooms,\ninner walls or furniture. Use flat fill tints only to tell height\nlevels apart (darker = higher).\nNo text, letters, numbers, labels, markers, legend or compass anywhere.\nNo people, no props, no vehicles."}
{"ts": "2026-07-06 23:00:20", "kind": "stage", "stage": "s20_numbered_bd", "done": "revbd"}
{"ts": "2026-07-06 23:00:46", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s20_rev_fp_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/stairfix_nb2.png"], "ref_labels": ["PHOTOGRAPH (layout source) — extract its permanent structural layout only; draw the diagram the prompt describes, not a photo."], "attempt": 1, "dur_s": 23.6, "bytes": 2639353, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/rev_fp_nb2.png", "prompt": "The attached image is a PHOTOGRAPH of one real property.\nTRANSLATE its permanent structural layout into the top-down\narchitectural SITE PLAN described below — faithful to the\nphotograph's actual arrangement: positions, connections,\nboundary openings, and the exterior stair route between levels.\nPermanent structure only: ignore people, loose objects and\nmovable props.\n\nEXTERIOR ONLY: this is an OUTDOOR site plan seen from above — show\nonly the exterior: ground areas, building outer shells, roof-level\nsurfaces and outdoor fixtures. NEVER draw any interior room, inner\nwall, partition or furniture of any enclosed unit — every enclosed\nvolume stays sealed (outer walls and boundary openings only).\n\nDraw ONE strict TOP-DOWN 2D architectural SITE PLAN in the drafting\nlanguage of a clean floor plan — thin dark outlines, flat muted colour\nfills, detailed plan symbols (double-line walls, door leaf + swing arc,\nwindow frames set in walls, stair treads with stringers and landings,\nbase rings for round fixtures, paving joints, kerb lines). Height\nlevels appear only as flat fill tints (darker = higher). Flat\northographic plan view: NO 3D, NO axonometric, NO perspective, no\nshadows. Neutral document: no people, no story props, no vehicles, no\nposted papers, no text, no letters, no numbers, no markers, no legend,\nno compass. Never expose interior rooms or furniture of any enclosed\nunit — outer shell and boundary openings only."}
{"ts": "2026-07-06 23:02:40", "kind": "img", "engine": "gpt-image-2", "mode": "edit", "tag": "s20_rev_fp_gpt", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/stairfix_nb2.png"], "size": "1536x864", "attempt": 1, "dur_s": 113.7, "bytes": 1986986, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/rev_fp_gpt.png", "prompt": "The attached image is a PHOTOGRAPH of one real property.\nTRANSLATE its permanent structural layout into the top-down\narchitectural SITE PLAN described below — faithful to the\nphotograph's actual arrangement: positions, connections,\nboundary openings, and the exterior stair route between levels.\nPermanent structure only: ignore people, loose objects and\nmovable props.\n\nEXTERIOR ONLY: this is an OUTDOOR site plan seen from above — show\nonly the exterior: ground areas, building outer shells, roof-level\nsurfaces and outdoor fixtures. NEVER draw any interior room, inner\nwall, partition or furniture of any enclosed unit — every enclosed\nvolume stays sealed (outer walls and boundary openings only).\n\nDraw ONE strict TOP-DOWN 2D architectural SITE PLAN in the drafting\nlanguage of a clean floor plan — thin dark outlines, flat muted colour\nfills, detailed plan symbols (double-line walls, door leaf + swing arc,\nwindow frames set in walls, stair treads with stringers and landings,\nbase rings for round fixtures, paving joints, kerb lines). Height\nlevels appear only as flat fill tints (darker = higher). Flat\northographic plan view: NO 3D, NO axonometric, NO perspective, no\nshadows. Neutral document: no people, no story props, no vehicles, no\nposted papers, no text, no letters, no numbers, no markers, no legend,\nno compass. Never expose interior rooms or furniture of any enclosed\nunit — outer shell and boundary openings only."}
{"ts": "2026-07-06 23:02:40", "kind": "stage", "stage": "s20_numbered_bd", "done": "revfp"}
{"ts": "2026-07-06 23:03:01", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s20_rev_sketch_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/rev_fp_gpt.png"], "ref_labels": ["SITE PLAN (layout ground truth) — translate to the sketch the prompt describes; no text anywhere."], "attempt": 1, "dur_s": 19.2, "bytes": 1547420, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/rev_sketch_nb2.png", "prompt": "The FIRST attached image is a top-down SITE PLAN of one real\nproperty: use it as the layout ground truth. Translate it into\nthe line sketch described below, judging plausible built heights\nfrom the plan's own cues (storey rhythm of openings, the stair\nrun between levels, parapet lines).\n\nDraw ONE SIMPLE LINE SKETCH of the property's structure — clean thin\ndark lines on plain white, like a quick architect's massing sketch.\nViewpoint: slightly elevated three-quarter oblique view (tilted about\n30 degrees down from vertical) so RELATIVE HEIGHTS read clearly —\nwhich volume rises above which, how many storeys the building has,\nwhat sits on top of what, and how the stair climbs between levels.\nLINES ONLY: no colours, no fills, no shading, no materials, no\ntexture, no photorealism.\nSIMPLE: massing outlines, level edges and openings only — no\ndrafting detail, no double-line walls, no furniture, never any\ninterior of enclosed units.\nNo text, letters, numbers, labels, markers, legend or compass.\nNo people, no props, no vehicles."}
{"ts": "2026-07-06 23:04:48", "kind": "img", "engine": "gpt-image-2", "mode": "edit", "tag": "s20_rev_sketch_gpt", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/rev_fp_gpt.png"], "size": "1536x864", "attempt": 1, "dur_s": 107.1, "bytes": 1194441, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/rev_sketch_gpt.png", "prompt": "The FIRST attached image is a top-down SITE PLAN of one real\nproperty: use it as the layout ground truth. Translate it into\nthe line sketch described below, judging plausible built heights\nfrom the plan's own cues (storey rhythm of openings, the stair\nrun between levels, parapet lines).\n\nDraw ONE SIMPLE LINE SKETCH of the property's structure — clean thin\ndark lines on plain white, like a quick architect's massing sketch.\nViewpoint: slightly elevated three-quarter oblique view (tilted about\n30 degrees down from vertical) so RELATIVE HEIGHTS read clearly —\nwhich volume rises above which, how many storeys the building has,\nwhat sits on top of what, and how the stair climbs between levels.\nLINES ONLY: no colours, no fills, no shading, no materials, no\ntexture, no photorealism.\nSIMPLE: massing outlines, level edges and openings only — no\ndrafting detail, no double-line walls, no furniture, never any\ninterior of enclosed units.\nNo text, letters, numbers, labels, markers, legend or compass.\nNo people, no props, no vehicles."}
{"ts": "2026-07-06 23:04:48", "kind": "stage", "stage": "s20_numbered_bd", "done": "revsketch"}
{"ts": "2026-07-06 23:06:34", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s20_rev_bd_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/stairfix_nb2.png"], "ref_labels": ["PHOTOGRAPH (layout source) — extract its permanent structural layout only; draw the diagram the prompt describes, not a photo."], "attempt": 1, "dur_s": 23.0, "bytes": 1635566, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/rev_bd_nb2.png", "prompt": "The attached image is a PHOTOGRAPH of one real property — it\nreplaces the structure lines: EXTRACT the placement structure\n(what contains or carries what, roughly where, how the exterior\nstair connects the levels) from the photograph itself, and stay\nfaithful to its actual arrangement. Permanent structure only:\nignore people, loose objects and movable props.\n\nDraw ONE SCHEMATIC BLOCK DIAGRAM of a real property's layout — the\nkind of flat figure a computer program draws: plain solid-colour\nshapes on a plain light background, uniform thin dark outlines.\nFlat schematic drawing language always: no gradients, no shadows,\nno texture, no photorealism.\nVIEWPOINT — top-down, or AT MOST a gentle axonometric tilted about\n30 degrees from vertical (2.5D) so slight height reads. NEVER full\n3D perspective, never vanishing-point depth, never eye-level,\nnever a facade as the main subject. Any level difference read from the\nphotograph is placement logic, not an instruction to build tall 3D\nvolumes.\nThe attached photograph gives the placement structure (what is on/in\nwhat, roughly where). Everything beyond that placement — exact shapes,\nsizes, proportions, spacing — YOU decide, so the property reads\nplausibly; keep every extracted relation true.\nEvery building is ONE solid block — never any interior rooms, inner\nwalls or furniture.\nNo text, letters, numbers, labels, markers, legend or compass anywhere.\nNo people, no props, no vehicles."}
{"ts": "2026-07-06 23:08:24", "kind": "img", "engine": "gpt-image-2", "mode": "edit", "tag": "s20_rev_bd_gpt", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/stairfix_nb2.png"], "size": "1536x864", "attempt": 1, "dur_s": 110.6, "bytes": 1392180, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/rev_bd_gpt.png", "prompt": "The attached image is a PHOTOGRAPH of one real property — it\nreplaces the structure lines: EXTRACT the placement structure\n(what contains or carries what, roughly where, how the exterior\nstair connects the levels) from the photograph itself, and stay\nfaithful to its actual arrangement. Permanent structure only:\nignore people, loose objects and movable props.\n\nDraw ONE SCHEMATIC BLOCK DIAGRAM of a real property's layout — the\nkind of flat figure a computer program draws: plain solid-colour\nshapes on a plain light background, uniform thin dark outlines.\nFlat schematic drawing language always: no gradients, no shadows,\nno texture, no photorealism.\nVIEWPOINT — top-down, or AT MOST a gentle axonometric tilted about\n30 degrees from vertical (2.5D) so slight height reads. NEVER full\n3D perspective, never vanishing-point depth, never eye-level,\nnever a facade as the main subject. Any level difference read from the\nphotograph is placement logic, not an instruction to build tall 3D\nvolumes.\nThe attached photograph gives the placement structure (what is on/in\nwhat, roughly where). Everything beyond that placement — exact shapes,\nsizes, proportions, spacing — YOU decide, so the property reads\nplausibly; keep every extracted relation true.\nEvery building is ONE solid block — never any interior rooms, inner\nwalls or furniture.\nNo text, letters, numbers, labels, markers, legend or compass anywhere.\nNo people, no props, no vehicles."}
{"ts": "2026-07-06 23:08:24", "kind": "stage", "stage": "s20_numbered_bd", "done": "revbd"}
{"ts": "2026-07-06 23:12:56", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s20_rot90_bd_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/rev_bd_nb2.png"], "ref_labels": ["SOURCE DIAGRAM (same property) — redraw the same layout rotated 90 degrees clockwise; keep every relative position true."], "attempt": 1, "dur_s": 21.8, "bytes": 1793179, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/rot90_bd_nb2.png", "prompt": "The attached image is the SAME property's schematic block diagram\n(top-down). REDRAW the SAME layout with the viewing direction\nROTATED 90 DEGREES TO THE RIGHT (clockwise): every element keeps\nits true relative position and size — only the view rotates, as\nif the plan sheet were turned 90 degrees.\n\nDraw ONE SCHEMATIC BLOCK DIAGRAM of a real property's layout — the\nkind of flat figure a computer program draws: plain solid-colour\nshapes on a plain light background, uniform thin dark outlines.\nFlat schematic drawing language always: no gradients, no shadows,\nno texture, no photorealism.\nVIEWPOINT — top-down, or AT MOST a gentle axonometric tilted about\n30 degrees from vertical (2.5D) so slight height reads. NEVER full\n3D perspective, never vanishing-point depth, never eye-level,\nnever a facade as the main subject. Any level difference read from the\nattached image is placement logic, not an instruction to build tall 3D\nvolumes.\nThe attached image gives the placement structure (what is on/in\nwhat, roughly where). Everything beyond that placement — exact shapes,\nsizes, proportions, spacing — YOU decide, so the property reads\nplausibly; keep every extracted relation true.\nEvery building is ONE solid block — never any interior rooms, inner\nwalls or furniture.\nNo text, letters, numbers, labels, markers, legend or compass anywhere.\nNo people, no props, no vehicles."}
{"ts": "2026-07-06 23:15:09", "kind": "img", "engine": "gpt-image-2", "mode": "edit", "tag": "s20_rot90_bd_gpt", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/rev_bd_nb2.png"], "size": "1536x864", "attempt": 1, "dur_s": 132.6, "bytes": 1289476, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/rot90_bd_gpt.png", "prompt": "The attached image is the SAME property's schematic block diagram\n(top-down). REDRAW the SAME layout with the viewing direction\nROTATED 90 DEGREES TO THE RIGHT (clockwise): every element keeps\nits true relative position and size — only the view rotates, as\nif the plan sheet were turned 90 degrees.\n\nDraw ONE SCHEMATIC BLOCK DIAGRAM of a real property's layout — the\nkind of flat figure a computer program draws: plain solid-colour\nshapes on a plain light background, uniform thin dark outlines.\nFlat schematic drawing language always: no gradients, no shadows,\nno texture, no photorealism.\nVIEWPOINT — top-down, or AT MOST a gentle axonometric tilted about\n30 degrees from vertical (2.5D) so slight height reads. NEVER full\n3D perspective, never vanishing-point depth, never eye-level,\nnever a facade as the main subject. Any level difference read from the\nattached image is placement logic, not an instruction to build tall 3D\nvolumes.\nThe attached image gives the placement structure (what is on/in\nwhat, roughly where). Everything beyond that placement — exact shapes,\nsizes, proportions, spacing — YOU decide, so the property reads\nplausibly; keep every extracted relation true.\nEvery building is ONE solid block — never any interior rooms, inner\nwalls or furniture.\nNo text, letters, numbers, labels, markers, legend or compass anywhere.\nNo people, no props, no vehicles."}
{"ts": "2026-07-06 23:15:09", "kind": "stage", "stage": "s20_numbered_bd", "done": "rot90bd"}
{"ts": "2026-07-06 23:15:31", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s20_rot90_fp_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/rev_fp_nb2.png"], "ref_labels": ["SOURCE DIAGRAM (same property) — redraw the same layout rotated 90 degrees clockwise; keep every relative position true."], "attempt": 1, "dur_s": 20.5, "bytes": 1898034, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/rot90_fp_nb2.png", "prompt": "The attached image is the SAME property's top-down SITE PLAN.\nREDRAW the SAME layout with the viewing direction ROTATED 90\nDEGREES TO THE RIGHT (clockwise): every element keeps its true\nrelative position and size — only the view rotates, as if the\nplan sheet were turned 90 degrees.\n\nEXTERIOR ONLY: this is an OUTDOOR site plan seen from above — show\nonly the exterior: ground areas, building outer shells, roof-level\nsurfaces and outdoor fixtures. NEVER draw any interior room, inner\nwall, partition or furniture of any enclosed unit — every enclosed\nvolume stays sealed (outer walls and boundary openings only).\n\nDraw ONE strict TOP-DOWN 2D architectural SITE PLAN in the drafting\nlanguage of a clean floor plan — thin dark outlines, flat muted colour\nfills, detailed plan symbols (double-line walls, door leaf + swing arc,\nwindow frames set in walls, stair treads with stringers and landings,\nbase rings for round fixtures, paving joints, kerb lines). Height\nlevels appear only as flat fill tints (darker = higher). Flat\northographic plan view: NO 3D, NO axonometric, NO perspective, no\nshadows. Neutral document: no people, no story props, no vehicles, no\nposted papers, no text, no letters, no numbers, no markers, no legend,\nno compass. Never expose interior rooms or furniture of any enclosed\nunit — outer shell and boundary openings only."}
{"ts": "2026-07-06 23:17:24", "kind": "img", "engine": "gpt-image-2", "mode": "edit", "tag": "s20_rot90_fp_gpt", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/rev_fp_nb2.png"], "size": "1536x864", "attempt": 1, "dur_s": 112.6, "bytes": 1465644, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/rot90_fp_gpt.png", "prompt": "The attached image is the SAME property's top-down SITE PLAN.\nREDRAW the SAME layout with the viewing direction ROTATED 90\nDEGREES TO THE RIGHT (clockwise): every element keeps its true\nrelative position and size — only the view rotates, as if the\nplan sheet were turned 90 degrees.\n\nEXTERIOR ONLY: this is an OUTDOOR site plan seen from above — show\nonly the exterior: ground areas, building outer shells, roof-level\nsurfaces and outdoor fixtures. NEVER draw any interior room, inner\nwall, partition or furniture of any enclosed unit — every enclosed\nvolume stays sealed (outer walls and boundary openings only).\n\nDraw ONE strict TOP-DOWN 2D architectural SITE PLAN in the drafting\nlanguage of a clean floor plan — thin dark outlines, flat muted colour\nfills, detailed plan symbols (double-line walls, door leaf + swing arc,\nwindow frames set in walls, stair treads with stringers and landings,\nbase rings for round fixtures, paving joints, kerb lines). Height\nlevels appear only as flat fill tints (darker = higher). Flat\northographic plan view: NO 3D, NO axonometric, NO perspective, no\nshadows. Neutral document: no people, no story props, no vehicles, no\nposted papers, no text, no letters, no numbers, no markers, no legend,\nno compass. Never expose interior rooms or furniture of any enclosed\nunit — outer shell and boundary openings only."}
{"ts": "2026-07-06 23:17:24", "kind": "stage", "stage": "s20_numbered_bd", "done": "rot90fp"}
{"ts": "2026-07-06 23:34:33", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s20_fpflat_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/stairfix_nb2.png"], "ref_labels": ["PHOTOGRAPH (layout source) — extract its permanent structural layout only; draw the diagram the prompt describes, not a photo."], "attempt": 1, "dur_s": 22.5, "bytes": 1796989, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/fpflat_nb2.png", "prompt": "The attached image is a PHOTOGRAPH of one real property.\nTRANSLATE its permanent structural layout into the top-down\narchitectural SITE PLAN described below — faithful to the\nphotograph's actual arrangement: positions, connections,\nboundary openings, and the exterior stair route between levels.\nPermanent structure only: ignore people, loose objects and\nmovable props.\n\nSTRICT VERTICAL TOP-DOWN ONLY: this drawing is a TRUE ORTHOGRAPHIC\nPLAN seen from DIRECTLY ABOVE — absolutely NO 3D, NO 2.5D, NO\naxonometric or oblique tilt of any kind, no facades, no volume\nsides visible; every element appears only as its pure plan\ngeometry (roof outlines, ground shapes, openings set in walls).\n\nEXTERIOR ONLY: this is an OUTDOOR site plan seen from above — show\nonly the exterior: ground areas, building outer shells, roof-level\nsurfaces and outdoor fixtures. NEVER draw any interior room, inner\nwall, partition or furniture of any enclosed unit — every enclosed\nvolume stays sealed (outer walls and boundary openings only).\n\nDraw ONE strict TOP-DOWN 2D architectural SITE PLAN in the drafting\nlanguage of a clean floor plan — thin dark outlines, flat muted colour\nfills, detailed plan symbols (double-line walls, door leaf + swing arc,\nwindow frames set in walls, stair treads with stringers and landings,\nbase rings for round fixtures, paving joints, kerb lines). Height\nlevels appear only as flat fill tints (darker = higher). Flat\northographic plan view: NO 3D, NO axonometric, NO perspective, no\nshadows. Neutral document: no people, no story props, no vehicles, no\nposted papers, no text, no letters, no numbers, no markers, no legend,\nno compass. Never expose interior rooms or furniture of any enclosed\nunit — outer shell and boundary openings only."}
{"ts": "2026-07-06 23:36:43", "kind": "img", "engine": "gpt-image-2", "mode": "edit", "tag": "s20_fpflat_gpt", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/stairfix_nb2.png"], "size": "1536x864", "attempt": 1, "dur_s": 129.9, "bytes": 2287302, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/fpflat_gpt.png", "prompt": "The attached image is a PHOTOGRAPH of one real property.\nTRANSLATE its permanent structural layout into the top-down\narchitectural SITE PLAN described below — faithful to the\nphotograph's actual arrangement: positions, connections,\nboundary openings, and the exterior stair route between levels.\nPermanent structure only: ignore people, loose objects and\nmovable props.\n\nSTRICT VERTICAL TOP-DOWN ONLY: this drawing is a TRUE ORTHOGRAPHIC\nPLAN seen from DIRECTLY ABOVE — absolutely NO 3D, NO 2.5D, NO\naxonometric or oblique tilt of any kind, no facades, no volume\nsides visible; every element appears only as its pure plan\ngeometry (roof outlines, ground shapes, openings set in walls).\n\nEXTERIOR ONLY: this is an OUTDOOR site plan seen from above — show\nonly the exterior: ground areas, building outer shells, roof-level\nsurfaces and outdoor fixtures. NEVER draw any interior room, inner\nwall, partition or furniture of any enclosed unit — every enclosed\nvolume stays sealed (outer walls and boundary openings only).\n\nDraw ONE strict TOP-DOWN 2D architectural SITE PLAN in the drafting\nlanguage of a clean floor plan — thin dark outlines, flat muted colour\nfills, detailed plan symbols (double-line walls, door leaf + swing arc,\nwindow frames set in walls, stair treads with stringers and landings,\nbase rings for round fixtures, paving joints, kerb lines). Height\nlevels appear only as flat fill tints (darker = higher). Flat\northographic plan view: NO 3D, NO axonometric, NO perspective, no\nshadows. Neutral document: no people, no story props, no vehicles, no\nposted papers, no text, no letters, no numbers, no markers, no legend,\nno compass. Never expose interior rooms or furniture of any enclosed\nunit — outer shell and boundary openings only."}
{"ts": "2026-07-06 23:36:43", "kind": "stage", "stage": "s20_numbered_bd", "done": "fpflat"}
{"ts": "2026-07-06 23:46:54", "kind": "img", "engine": "gpt-image-2", "mode": "edit", "tag": "s20_fpflat_marked_gpt", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/stairfix_nb2.png"], "size": "1536x864", "attempt": 1, "dur_s": 188.6, "bytes": 1807536, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/fpflat_marked_gpt.png", "prompt": "The attached image is a PHOTOGRAPH of one real property.\nTRANSLATE its permanent structural layout into the top-down\narchitectural SITE PLAN described below — faithful to the\nphotograph's actual arrangement: positions, connections,\nboundary openings, and the exterior stair route between levels.\nPermanent structure only: ignore people, loose objects and\nmovable props.\n\nSTRICT VERTICAL TOP-DOWN ONLY: this drawing is a TRUE ORTHOGRAPHIC\nPLAN seen from DIRECTLY ABOVE — absolutely NO 3D, NO 2.5D, NO\naxonometric or oblique tilt of any kind, no facades, no volume\nsides visible; every element appears only as its pure plan\ngeometry (roof outlines, ground shapes, openings set in walls).\n\nEXTERIOR ONLY: this is an OUTDOOR site plan seen from above — show\nonly the exterior: ground areas, building outer shells, roof-level\nsurfaces and outdoor fixtures. NEVER draw any interior room, inner\nwall, partition or furniture of any enclosed unit — every enclosed\nvolume stays sealed (outer walls and boundary openings only).\n\nKEY ELEMENTS (letters are identifiers only — mark each listed element's POSITION on the plan with its circled letter):\nLEVELS (placement logic only): ground -> villa mass, 3 storeys roof terrace -> rooftop room and rooftop fixtures\nContext: public road edge and neighbouring building masses border the alley, rear, and side.\nA. narrow alley, ground approach from the public road edge to the entry gate, facing the yard sequence.\nB. entry gate, boundary opening between the narrow alley and the entry yard.\nC. entry yard, ground yard inside the gate before the villa, with a rear part connecting to the exterior stair route.\nD. villa mass, 3-storey building mass behind the entry yard, hosting the roof terrace and the exterior stair on its outside wall.\nE. facade windows, exterior window bays in the villa wall facing the entry yard, four repeated bays per storey.\nF. roof terrace, exterior rooftop surface on the villa mass around the rooftop room, with the stair landing and rooftop fixtures on it.\nG. low wall, low climbable boundary on the roof terrace edge around the rooftop room area, in the sightline toward a rooftop-room window.\nH. rooftop room, small enclosed volume on the roof terrace, with its front side facing the stair landing.\nI. added-on exterior stair, separate later stair attached to the villa outside wall, connecting the entry-yard level to the roof terrace landing in front of the rooftop room.\nJ. iron door, exterior entrance threshold in the rooftop room front wall, facing the roof terrace landing and opening into the rooftop room.\nK. living window, small exterior window in a side wall of the rooftop room, facing the roof terrace and low-wall area.\nL. bedroom window, exterior window in another outer wall of the rooftop room.\nM. water tank, round utility fixture on the roof terrace near the rooftop room.\nN. laundry line, thin exterior line on the roof terrace between the water tank and the rooftop room.\nO. low platform, low fixture on the roof terrace near the approach to the iron door.\n\nDraw ONE strict TOP-DOWN 2D architectural SITE PLAN in the drafting\nlanguage of a clean floor plan — thin dark outlines, flat muted colour\nfills, detailed plan symbols (double-line walls, door leaf + swing arc,\nwindow frames set in walls, stair treads with stringers and landings,\nbase rings for round fixtures, paving joints, kerb lines). Height\nlevels appear only as flat fill tints (darker = higher). Flat\northographic plan view: NO 3D, NO axonometric, NO perspective, no\nshadows. Neutral document: no people, no story props, no vehicles, no\nposted papers, each listed element carries ONLY its assigned letter, drawn once\nas a small plain CIRCLED LETTER marker on (or beside) it; apart\nfrom these circled letters no text, no words, no numbers, no other\nmarkers, no legend, no compass. Never expose interior rooms or furniture of any enclosed\nunit — outer shell and boundary openings only."}
{"ts": "2026-07-06 23:46:54", "kind": "stage", "stage": "s20_numbered_bd", "done": "fpflatmarked"}
{"ts": "2026-07-07 02:32:15", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "remake_bgswap_S4_Shot1", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/stairfix_nb2.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/b0ad5c18-5140-4022-a2b0-805de0e5a385/episodes/0d30302a-51c8-4ac9-98e2-6cd9180512bf/images/generated/outdoor_site_layout/808cb0e9-636f-4b43-b6ba-f01323e491ce.png"], "ref_labels": ["background chain ref (L03B02 for L03) — match wall/floor/ceiling/lighting", "POSE + COMPOSITION sketch of THIS exact shot (composition guide only): the human figures are drawn as featureless posed mannequins with constructed heads ONLY to show each person's exact body pose, stance and head-facing direction, plus the built features and receding path at their screen positions and relative sizes. Render the real photographic scene with exactly this composition, figure placement, relative sizes, body pose and head direction — but replace each mannequin with a real clothed person (identity, face, hair and outfit from the prompt text and the character reference images, never from the mannequin). Do NOT draw any mannequin, joints or construction lines in the final image, and do NOT copy any environment detail from this sketch."], "attempt": 1, "dur_s": 21.6, "bytes": 3422515, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/shots_outdoor/remake/S4_Shot1_bgswap.png", "prompt": "Photorealistic cinematic still.\n\nReference image 1: pre-rendered BACKGROUND environment reference — layout/material/lighting identity\nReference image 2: POSE + COMPOSITION STORYBOARD SKETCH of THIS exact shot — figures drawn as featureless artist's mannequins (framing + pose guide only)\n\nAn old rooftop room sits in the middle-center midground, viewed from an omniscient overhead camera high above. The dilapidated building is centered in the wide frame, boxed in by a cramped grid of neighboring pale gray rooftops and narrow alleys. Daylight is overcast and desaturated, casting blue-gray concrete shadows across the worn roof tile and faded parapet. An aged water tank, a rusted antenna, and sagging cable lines dot the flat surface next to the stairwell. A thin, bluish damp urban haze softens the outskirts, while faint sickly amber stains on the window break the neighborhood's cold isolation.\n\nGenerate one image:\n- use image 1 for this location's wall/floor/ceiling materials, furniture identity, and lighting mood\n- follow the camera position, framing, and action requested in the prompt text — do NOT copy the camera position or composition of image 1 unless the prompt explicitly asks for it\n- do NOT copy any people from image 1\n- architectural openings (doors, windows, thresholds) must match image 1 — same position, type, and material; do NOT invent additional doors or windows unless the prompt text explicitly asks for them\n- if the prompt text places the camera inside or at one of these openings, camera-side walls and door/window frames may appear only as local foreground edges — do NOT show the same opening again in the scene, and do NOT show the exterior facade of the structure that contains the camera out in front of it\n- match this frame's composition to image 2: the same figure screen positions, relative sizes and depth, and the same receding path / vanishing perspective — this sketch is the one exception to the 'do not copy compositions' rule below\n- each human figure in image 2 is a featureless posed mannequin with a constructed head: reproduce its body pose, stance and head-facing direction exactly, then render it as a real clothed person — identity, face, hair, clothing and skin come from the prompt text and the character reference image(s), never from the mannequin\n- image 2 is only a rough construction sketch: do NOT draw any mannequin, joints, spheres or construction lines in the final image, and do NOT copy its flat tones, line style or any environment surface detail — environment identity comes from the other reference images and the prompt text\n- the final image must be a full-colour PHOTOREALISTIC render under the scene's real lighting: never reproduce image 2's monochrome line-art look, pencil/marker strokes, sketch shading, unfinished background or paper texture in ANY part of the frame\n- do not copy poses or compositions from reference images\n- do not alter character identities where their face is visible in the scene\n- each character's clothing/outfit must match that character's appearance reference image EXACTLY; if any clothing wording in the text conflicts with the reference image, follow the reference image and ignore that wording\n- only render what the scene description asks for — if only a hand or wrist is described, do NOT add the character's face\n- CRITICAL: Only render what the scene description explicitly describes. If a character's face is visible in the scene, match it to the reference. If only a body part is shown, do NOT add the face.\n- CRITICAL: Output exactly ONE single continuous photograph of ONE moment — never a panel grid, collage, contact sheet, split-screen, storyboard sheet, or multiple sub-frames inside one image.\n- CRITICAL: Every person must be physically grounded and weight-bearing — in real contact with a supporting surface, with body weight visibly carried by that contact. For a figure caught mid-action (falling, stumbling, collapsing, jumping off something), render a physically plausible instant: joints bent, weight clearly transferring, at least one believable point of contact or support — never a rigid body hovering, tilted or suspended in mid-air without support."}
{"ts": "2026-07-07 02:32:32", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "remake_bgswap_S10_Shot5", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/stairfix_nb2.png"], "ref_labels": ["background chain ref (L03B04 for L03) — match wall/floor/ceiling/lighting"], "attempt": 1, "dur_s": 17.5, "bytes": 2071832, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/shots_outdoor/remake/S10_Shot5_bgswap.png", "prompt": "Photorealistic cinematic still.\n\nReference image 1: pre-rendered BACKGROUND environment reference — layout/material/lighting identity\n\nThe narrow iron door seam sits in the middle-center foreground. The heavy edges of the iron door face the camera at close range, occupying the outer framing with scratched, cold metal. Near the opening at handle height, a creased advertisement flyer edge is wedged in the gap, its bent and dirty paper face showing partial color blocks and unreadable text. Beyond the thin crack, the unlit interior remains entirely opaque, unreadable, and silent. A deep monochrome blue-black ambient night tone skims the outer rough iron surfaces, while a weak trace of sickly amber light leaks from somewhere unseen deep inside the dead black interior, casting a faint smear along the inner metal edge.\n\nGenerate one image:\n- use image 1 for this location's wall/floor/ceiling materials, furniture identity, and lighting mood\n- follow the camera position, framing, and action requested in the prompt text — do NOT copy the camera position or composition of image 1 unless the prompt explicitly asks for it\n- do NOT copy any people from image 1\n- architectural openings (doors, windows, thresholds) must match image 1 — same position, type, and material; do NOT invent additional doors or windows unless the prompt text explicitly asks for them\n- if the prompt text places the camera inside or at one of these openings, camera-side walls and door/window frames may appear only as local foreground edges — do NOT show the same opening again in the scene, and do NOT show the exterior facade of the structure that contains the camera out in front of it\n- do not copy poses or compositions from reference images\n- do not alter character identities where their face is visible in the scene\n- each character's clothing/outfit must match that character's appearance reference image EXACTLY; if any clothing wording in the text conflicts with the reference image, follow the reference image and ignore that wording\n- only render what the scene description asks for — if only a hand or wrist is described, do NOT add the character's face\n- CRITICAL: Only render what the scene description explicitly describes. If a character's face is visible in the scene, match it to the reference. If only a body part is shown, do NOT add the face.\n- CRITICAL: Output exactly ONE single continuous photograph of ONE moment — never a panel grid, collage, contact sheet, split-screen, storyboard sheet, or multiple sub-frames inside one image.\n- CRITICAL: Every person must be physically grounded and weight-bearing — in real contact with a supporting surface, with body weight visibly carried by that contact. For a figure caught mid-action (falling, stumbling, collapsing, jumping off something), render a physically plausible instant: joints bent, weight clearly transferring, at least one believable point of contact or support — never a rigid body hovering, tilted or suspended in mid-air without support."}
{"ts": "2026-07-07 02:33:01", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "remake_bgswap_S11_Shot4", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/stairfix_nb2.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/b0ad5c18-5140-4022-a2b0-805de0e5a385/episodes/0d30302a-51c8-4ac9-98e2-6cd9180512bf/images/generated/outdoor_site_layout/8fa679bc-9fee-43c1-8cd9-daa86f91de9e.png"], "ref_labels": ["background chain ref (L10B02 for L10) — match wall/floor/ceiling/lighting", "POSE + COMPOSITION sketch of THIS exact shot (composition guide only): the human figures are drawn as featureless posed mannequins with constructed heads ONLY to show each person's exact body pose, stance and head-facing direction, plus the built features and receding path at their screen positions and relative sizes. Render the real photographic scene with exactly this composition, figure placement, relative sizes, body pose and head direction — but replace each mannequin with a real clothed person (identity, face, hair and outfit from the prompt text and the character reference images, never from the mannequin). Do NOT draw any mannequin, joints or construction lines in the final image, and do NOT copy any environment detail from this sketch."], "attempt": 1, "dur_s": 28.5, "bytes": 2639846, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/shots_outdoor/remake/S11_Shot4_bgswap.png", "prompt": "Photorealistic cinematic still.\n\nReference image 1: pre-rendered BACKGROUND environment reference — layout/material/lighting identity\nReference image 2: POSE + COMPOSITION STORYBOARD SKETCH of THIS exact shot — figures drawn as featureless artist's mannequins (framing + pose guide only)\n\nThe half-open rooftop iron door is positioned in the middle-center background, viewed squarely from a direct eye-level subjective viewpoint across the damp landing. The environment is enveloped in a cold, muted blue-gray darkness. Contrasting this ambient shadow, a faint and sickly amber light spills outward from the black interior gap along one side of the door, casting an ominous and contaminated glow across the wet-stained concrete wall and the horizontal edge of the low parapet in the lower frame. The camera focuses entirely on the motionless threshold, isolating the doorway within the silent negative space of the rooftop.\n\nGenerate one image:\n- use image 1 for this location's wall/floor/ceiling materials, furniture identity, and lighting mood\n- follow the camera position, framing, and action requested in the prompt text — do NOT copy the camera position or composition of image 1 unless the prompt explicitly asks for it\n- do NOT copy any people from image 1\n- architectural openings (doors, windows, thresholds) must match image 1 — same position, type, and material; do NOT invent additional doors or windows unless the prompt text explicitly asks for them\n- if the prompt text places the camera inside or at one of these openings, camera-side walls and door/window frames may appear only as local foreground edges — do NOT show the same opening again in the scene, and do NOT show the exterior facade of the structure that contains the camera out in front of it\n- match this frame's composition to image 2: the same figure screen positions, relative sizes and depth, and the same receding path / vanishing perspective — this sketch is the one exception to the 'do not copy compositions' rule below\n- each human figure in image 2 is a featureless posed mannequin with a constructed head: reproduce its body pose, stance and head-facing direction exactly, then render it as a real clothed person — identity, face, hair, clothing and skin come from the prompt text and the character reference image(s), never from the mannequin\n- image 2 is only a rough construction sketch: do NOT draw any mannequin, joints, spheres or construction lines in the final image, and do NOT copy its flat tones, line style or any environment surface detail — environment identity comes from the other reference images and the prompt text\n- the final image must be a full-colour PHOTOREALISTIC render under the scene's real lighting: never reproduce image 2's monochrome line-art look, pencil/marker strokes, sketch shading, unfinished background or paper texture in ANY part of the frame\n- do not copy poses or compositions from reference images\n- do not alter character identities where their face is visible in the scene\n- each character's clothing/outfit must match that character's appearance reference image EXACTLY; if any clothing wording in the text conflicts with the reference image, follow the reference image and ignore that wording\n- only render what the scene description asks for — if only a hand or wrist is described, do NOT add the character's face\n- CRITICAL: Only render what the scene description explicitly describes. If a character's face is visible in the scene, match it to the reference. If only a body part is shown, do NOT add the face.\n- CRITICAL: Output exactly ONE single continuous photograph of ONE moment — never a panel grid, collage, contact sheet, split-screen, storyboard sheet, or multiple sub-frames inside one image.\n- CRITICAL: Every person must be physically grounded and weight-bearing — in real contact with a supporting surface, with body weight visibly carried by that contact. For a figure caught mid-action (falling, stumbling, collapsing, jumping off something), render a physically plausible instant: joints bent, weight clearly transferring, at least one believable point of contact or support — never a rigid body hovering, tilted or suspended in mid-air without support."}
{"ts": "2026-07-07 02:33:22", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "remake_bgswap_S13_Shot3", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/stairfix_nb2.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/b0ad5c18-5140-4022-a2b0-805de0e5a385/images/0d30302a-51c8-4ac9-98e2-6cd9180512bf/reference/61da9a20-bea4-4a7b-8913-6ba2feafd83f.png"], "ref_labels": ["background chain ref (L03B03 for L03) — match wall/floor/ceiling/lighting", "character appearance reference: Korean 40대 중반 여성, 성숙한 얼굴선과 짙은 검은 머리의 차분한 인상."], "attempt": 1, "dur_s": 20.7, "bytes": 3177098, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/shots_outdoor/remake/S13_Shot3_bgswap.png", "prompt": "Photorealistic cinematic still.\n\nReference image 1: pre-rendered BACKGROUND environment reference — layout/material/lighting identity\nReference image 2: character appearance reference: Korean 40대 중반 여성, 성숙한 얼굴선과 짙은 검은 머리의 차분한 인상.\n\nthe character from Image 2 in a detective coat, an Asian middle-aged woman with mature facial features and dark natural hair by the police car, occupies the middle-left foreground, looking toward a young Asian woman down the alley in the background across the same damp exterior alleyway they both occupy. the character from Image 2 stands at a three-quarter angle from the right, upper body in frame at chest height, half-stepping from the parked vehicle, eyes fixed on the distant figure. The young Asian woman is softly focused in the rear, standing at a three-quarter angle from the left, stalled mid-alley, gazing into the distance. A damp exterior alleyway shrouded in cold misty fog and deep shadows, illuminated by strobing red and blue lights mixing with a weak amber street lamp to create colored reflections on the wet surfaces. The open police vehicle side angles toward the camera on the left, framing the character from Image 2's exit.\n\nGenerate one image:\n- use image 1 for this location's wall/floor/ceiling materials, furniture identity, and lighting mood\n- follow the camera position, framing, and action requested in the prompt text — do NOT copy the camera position or composition of image 1 unless the prompt explicitly asks for it\n- do NOT copy any people from image 1\n- architectural openings (doors, windows, thresholds) must match image 1 — same position, type, and material; do NOT invent additional doors or windows unless the prompt text explicitly asks for them\n- if the prompt text places the camera inside or at one of these openings, camera-side walls and door/window frames may appear only as local foreground edges — do NOT show the same opening again in the scene, and do NOT show the exterior facade of the structure that contains the camera out in front of it\n- use image 2 as character appearance reference — match the person's identity and outfit where visible in the scene\n- do not copy poses or compositions from reference images\n- do not alter character identities where their face is visible in the scene\n- each character's clothing/outfit must match that character's appearance reference image EXACTLY; if any clothing wording in the text conflicts with the reference image, follow the reference image and ignore that wording\n- only render what the scene description asks for — if only a hand or wrist is described, do NOT add the character's face\n- CRITICAL: Only render what the scene description explicitly describes. If a character's face is visible in the scene, match it to the reference. If only a body part is shown, do NOT add the face.\n- CRITICAL: Output exactly ONE single continuous photograph of ONE moment — never a panel grid, collage, contact sheet, split-screen, storyboard sheet, or multiple sub-frames inside one image.\n- CRITICAL: Every person must be physically grounded and weight-bearing — in real contact with a supporting surface, with body weight visibly carried by that contact. For a figure caught mid-action (falling, stumbling, collapsing, jumping off something), render a physically plausible instant: joints bent, weight clearly transferring, at least one believable point of contact or support — never a rigid body hovering, tilted or suspended in mid-air without support."}
{"ts": "2026-07-07 02:33:40", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "remake_bgswap_S17_Shot1", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/stairfix_nb2.png"], "ref_labels": ["background chain ref (L03B01 for L03) — match wall/floor/ceiling/lighting"], "attempt": 1, "dur_s": 18.7, "bytes": 2248075, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/shots_outdoor/remake/S17_Shot1_bgswap.png", "prompt": "Photorealistic cinematic still.\n\nReference image 1: pre-rendered BACKGROUND environment reference — layout/material/lighting identity\n\nFocusing on the pre-existing black cat in the lower-center foreground, already partway along the low concrete rooftop wall where that path leads toward the near center of the frame and not into the old villa rooftop, in left profile as it looks up toward the lit rooftop window in the upper-right background. The low camera at the cat's shoulder height captures its silhouette with faint rim-lit edges preserving body volume against the cool blue ambient fill. Thick dawn fog desaturates the damp concrete parapet running parallel behind the cat. The sickly yellow glow from the window hangs in the misty distance, creating a faint occult point of warmth near the rooftop room.\n\nGenerate one image:\n- use image 1 for this location's wall/floor/ceiling materials, furniture identity, and lighting mood\n- follow the camera position, framing, and action requested in the prompt text — do NOT copy the camera position or composition of image 1 unless the prompt explicitly asks for it\n- do NOT copy any people from image 1\n- architectural openings (doors, windows, thresholds) must match image 1 — same position, type, and material; do NOT invent additional doors or windows unless the prompt text explicitly asks for them\n- if the prompt text places the camera inside or at one of these openings, camera-side walls and door/window frames may appear only as local foreground edges — do NOT show the same opening again in the scene, and do NOT show the exterior facade of the structure that contains the camera out in front of it\n- do not copy poses or compositions from reference images\n- do not alter character identities where their face is visible in the scene\n- each character's clothing/outfit must match that character's appearance reference image EXACTLY; if any clothing wording in the text conflicts with the reference image, follow the reference image and ignore that wording\n- only render what the scene description asks for — if only a hand or wrist is described, do NOT add the character's face\n- CRITICAL: Only render what the scene description explicitly describes. If a character's face is visible in the scene, match it to the reference. If only a body part is shown, do NOT add the face.\n- CRITICAL: Output exactly ONE single continuous photograph of ONE moment — never a panel grid, collage, contact sheet, split-screen, storyboard sheet, or multiple sub-frames inside one image.\n- CRITICAL: Every person must be physically grounded and weight-bearing — in real contact with a supporting surface, with body weight visibly carried by that contact. For a figure caught mid-action (falling, stumbling, collapsing, jumping off something), render a physically plausible instant: joints bent, weight clearly transferring, at least one believable point of contact or support — never a rigid body hovering, tilted or suspended in mid-air without support."}
{"ts": "2026-07-07 02:51:32", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "remake_bgswap_S4_Shot1", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/stairfix_nb2.png"], "ref_labels": ["background chain ref (L03B02 for L03) — match wall/floor/ceiling/lighting"], "attempt": 1, "dur_s": 19.1, "bytes": 3388684, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/shots_outdoor/remake/S4_Shot1_bgswap.png", "prompt": "Photorealistic cinematic still.\n\nReference image 1: pre-rendered BACKGROUND environment reference — layout/material/lighting identity\n\nAn old rooftop room sits in the middle-center midground, viewed from an omniscient overhead camera high above. The dilapidated building is centered in the wide frame, boxed in by a cramped grid of neighboring pale gray rooftops and narrow alleys. Daylight is overcast and desaturated, casting blue-gray concrete shadows across the worn roof tile and faded parapet. An aged water tank, a rusted antenna, and sagging cable lines dot the flat surface next to the stairwell. A thin, bluish damp urban haze softens the outskirts, while faint sickly amber stains on the window break the neighborhood's cold isolation.\n\nGenerate one image:\n- use image 1 for this location's wall/floor/ceiling materials, furniture identity, and lighting mood\n- follow the camera position, framing, and action requested in the prompt text — do NOT copy the camera position or composition of image 1 unless the prompt explicitly asks for it\n- do NOT copy any people from image 1\n- architectural openings (doors, windows, thresholds) must match image 1 — same position, type, and material; do NOT invent additional doors or windows unless the prompt text explicitly asks for them\n- if the prompt text places the camera inside or at one of these openings, camera-side walls and door/window frames may appear only as local foreground edges — do NOT show the same opening again in the scene, and do NOT show the exterior facade of the structure that contains the camera out in front of it\n- do not copy poses or compositions from reference images\n- do not alter character identities where their face is visible in the scene\n- each character's clothing/outfit must match that character's appearance reference image EXACTLY; if any clothing wording in the text conflicts with the reference image, follow the reference image and ignore that wording\n- only render what the scene description asks for — if only a hand or wrist is described, do NOT add the character's face\n- CRITICAL: Only render what the scene description explicitly describes. If a character's face is visible in the scene, match it to the reference. If only a body part is shown, do NOT add the face.\n- CRITICAL: Output exactly ONE single continuous photograph of ONE moment — never a panel grid, collage, contact sheet, split-screen, storyboard sheet, or multiple sub-frames inside one image.\n- CRITICAL: Every person must be physically grounded and weight-bearing — in real contact with a supporting surface, with body weight visibly carried by that contact. For a figure caught mid-action (falling, stumbling, collapsing, jumping off something), render a physically plausible instant: joints bent, weight clearly transferring, at least one believable point of contact or support — never a rigid body hovering, tilted or suspended in mid-air without support."}
{"ts": "2026-07-07 02:51:32", "kind": "img", "tag": "remake_bgswap_S10_Shot5", "skip": "exists", "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/shots_outdoor/remake/S10_Shot5_bgswap.png"}
{"ts": "2026-07-07 02:51:50", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "remake_bgswap_S11_Shot4", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/stairfix_nb2.png"], "ref_labels": ["background chain ref (L10B02 for L10) — match wall/floor/ceiling/lighting"], "attempt": 1, "dur_s": 17.9, "bytes": 2753910, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/shots_outdoor/remake/S11_Shot4_bgswap.png", "prompt": "Photorealistic cinematic still.\n\nReference image 1: pre-rendered BACKGROUND environment reference — layout/material/lighting identity\n\nThe half-open rooftop iron door is positioned in the middle-center background, viewed squarely from a direct eye-level subjective viewpoint across the damp landing. The environment is enveloped in a cold, muted blue-gray darkness. Contrasting this ambient shadow, a faint and sickly amber light spills outward from the black interior gap along one side of the door, casting an ominous and contaminated glow across the wet-stained concrete wall and the horizontal edge of the low parapet in the lower frame. The camera focuses entirely on the motionless threshold, isolating the doorway within the silent negative space of the rooftop.\n\nGenerate one image:\n- use image 1 for this location's wall/floor/ceiling materials, furniture identity, and lighting mood\n- follow the camera position, framing, and action requested in the prompt text — do NOT copy the camera position or composition of image 1 unless the prompt explicitly asks for it\n- do NOT copy any people from image 1\n- architectural openings (doors, windows, thresholds) must match image 1 — same position, type, and material; do NOT invent additional doors or windows unless the prompt text explicitly asks for them\n- if the prompt text places the camera inside or at one of these openings, camera-side walls and door/window frames may appear only as local foreground edges — do NOT show the same opening again in the scene, and do NOT show the exterior facade of the structure that contains the camera out in front of it\n- do not copy poses or compositions from reference images\n- do not alter character identities where their face is visible in the scene\n- each character's clothing/outfit must match that character's appearance reference image EXACTLY; if any clothing wording in the text conflicts with the reference image, follow the reference image and ignore that wording\n- only render what the scene description asks for — if only a hand or wrist is described, do NOT add the character's face\n- CRITICAL: Only render what the scene description explicitly describes. If a character's face is visible in the scene, match it to the reference. If only a body part is shown, do NOT add the face.\n- CRITICAL: Output exactly ONE single continuous photograph of ONE moment — never a panel grid, collage, contact sheet, split-screen, storyboard sheet, or multiple sub-frames inside one image.\n- CRITICAL: Every person must be physically grounded and weight-bearing — in real contact with a supporting surface, with body weight visibly carried by that contact. For a figure caught mid-action (falling, stumbling, collapsing, jumping off something), render a physically plausible instant: joints bent, weight clearly transferring, at least one believable point of contact or support — never a rigid body hovering, tilted or suspended in mid-air without support."}
{"ts": "2026-07-07 02:51:50", "kind": "img", "tag": "remake_bgswap_S13_Shot3", "skip": "exists", "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/shots_outdoor/remake/S13_Shot3_bgswap.png"}
{"ts": "2026-07-07 02:51:50", "kind": "img", "tag": "remake_bgswap_S17_Shot1", "skip": "exists", "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/shots_outdoor/remake/S17_Shot1_bgswap.png"}
{"ts": "2026-07-07 03:02:16", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "remake_nobg_S4_Shot1", "refs": [], "ref_labels": [], "attempt": 1, "dur_s": 14.0, "bytes": 3959077, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/shots_outdoor/remake/S4_Shot1_nobg.png", "prompt": "Photorealistic cinematic still.\n\nAn old rooftop room sits in the middle-center midground, viewed from an omniscient overhead camera high above. The dilapidated building is centered in the wide frame, boxed in by a cramped grid of neighboring pale gray rooftops and narrow alleys. Daylight is overcast and desaturated, casting blue-gray concrete shadows across the worn roof tile and faded parapet. An aged water tank, a rusted antenna, and sagging cable lines dot the flat surface next to the stairwell. A thin, bluish damp urban haze softens the outskirts, while faint sickly amber stains on the window break the neighborhood's cold isolation.\n\nGenerate one image:\n- follow the camera position, framing, and action requested in the prompt text\n- architectural openings (doors, windows, thresholds): do NOT invent additional doors or windows unless the prompt text explicitly asks for them\n- if the prompt text places the camera inside or at one of these openings, camera-side walls and door/window frames may appear only as local foreground edges — do NOT show the same opening again in the scene, and do NOT show the exterior facade of the structure that contains the camera out in front of it\n- only render what the scene description asks for — if only a hand or wrist is described, do NOT add the character's face\n- CRITICAL: Only render what the scene description explicitly describes. If only a body part is shown, do NOT add the face.\n- CRITICAL: Output exactly ONE single continuous photograph of ONE moment — never a panel grid, collage, contact sheet, split-screen, storyboard sheet, or multiple sub-frames inside one image.\n- CRITICAL: Every person must be physically grounded and weight-bearing — in real contact with a supporting surface, with body weight visibly carried by that contact. For a figure caught mid-action (falling, stumbling, collapsing, jumping off something), render a physically plausible instant: joints bent, weight clearly transferring, at least one believable point of contact or support — never a rigid body hovering, tilted or suspended in mid-air without support."}
{"ts": "2026-07-07 03:02:29", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "remake_nobg_S10_Shot5", "refs": [], "ref_labels": [], "attempt": 1, "dur_s": 12.7, "bytes": 2989696, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/shots_outdoor/remake/S10_Shot5_nobg.png", "prompt": "Photorealistic cinematic still.\n\nThe narrow iron door seam sits in the middle-center foreground. The heavy edges of the iron door face the camera at close range, occupying the outer framing with scratched, cold metal. Near the opening at handle height, a creased advertisement flyer edge is wedged in the gap, its bent and dirty paper face showing partial color blocks and unreadable text. Beyond the thin crack, the unlit interior remains entirely opaque, unreadable, and silent. A deep monochrome blue-black ambient night tone skims the outer rough iron surfaces, while a weak trace of sickly amber light leaks from somewhere unseen deep inside the dead black interior, casting a faint smear along the inner metal edge.\n\nGenerate one image:\n- follow the camera position, framing, and action requested in the prompt text\n- architectural openings (doors, windows, thresholds): do NOT invent additional doors or windows unless the prompt text explicitly asks for them\n- if the prompt text places the camera inside or at one of these openings, camera-side walls and door/window frames may appear only as local foreground edges — do NOT show the same opening again in the scene, and do NOT show the exterior facade of the structure that contains the camera out in front of it\n- only render what the scene description asks for — if only a hand or wrist is described, do NOT add the character's face\n- CRITICAL: Only render what the scene description explicitly describes. If only a body part is shown, do NOT add the face.\n- CRITICAL: Output exactly ONE single continuous photograph of ONE moment — never a panel grid, collage, contact sheet, split-screen, storyboard sheet, or multiple sub-frames inside one image.\n- CRITICAL: Every person must be physically grounded and weight-bearing — in real contact with a supporting surface, with body weight visibly carried by that contact. For a figure caught mid-action (falling, stumbling, collapsing, jumping off something), render a physically plausible instant: joints bent, weight clearly transferring, at least one believable point of contact or support — never a rigid body hovering, tilted or suspended in mid-air without support."}
{"ts": "2026-07-07 03:02:42", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "remake_nobg_S11_Shot4", "refs": [], "ref_labels": [], "attempt": 1, "dur_s": 13.8, "bytes": 2717008, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/shots_outdoor/remake/S11_Shot4_nobg.png", "prompt": "Photorealistic cinematic still.\n\nThe half-open rooftop iron door is positioned in the middle-center background, viewed squarely from a direct eye-level subjective viewpoint across the damp landing. The environment is enveloped in a cold, muted blue-gray darkness. Contrasting this ambient shadow, a faint and sickly amber light spills outward from the black interior gap along one side of the door, casting an ominous and contaminated glow across the wet-stained concrete wall and the horizontal edge of the low parapet in the lower frame. The camera focuses entirely on the motionless threshold, isolating the doorway within the silent negative space of the rooftop.\n\nGenerate one image:\n- follow the camera position, framing, and action requested in the prompt text\n- architectural openings (doors, windows, thresholds): do NOT invent additional doors or windows unless the prompt text explicitly asks for them\n- if the prompt text places the camera inside or at one of these openings, camera-side walls and door/window frames may appear only as local foreground edges — do NOT show the same opening again in the scene, and do NOT show the exterior facade of the structure that contains the camera out in front of it\n- only render what the scene description asks for — if only a hand or wrist is described, do NOT add the character's face\n- CRITICAL: Only render what the scene description explicitly describes. If only a body part is shown, do NOT add the face.\n- CRITICAL: Output exactly ONE single continuous photograph of ONE moment — never a panel grid, collage, contact sheet, split-screen, storyboard sheet, or multiple sub-frames inside one image.\n- CRITICAL: Every person must be physically grounded and weight-bearing — in real contact with a supporting surface, with body weight visibly carried by that contact. For a figure caught mid-action (falling, stumbling, collapsing, jumping off something), render a physically plausible instant: joints bent, weight clearly transferring, at least one believable point of contact or support — never a rigid body hovering, tilted or suspended in mid-air without support."}
{"ts": "2026-07-07 03:02:56", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "remake_nobg_S13_Shot3", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/projects/b0ad5c18-5140-4022-a2b0-805de0e5a385/images/0d30302a-51c8-4ac9-98e2-6cd9180512bf/reference/61da9a20-bea4-4a7b-8913-6ba2feafd83f.png"], "ref_labels": ["character appearance reference: Korean 40대 중반 여성, 성숙한 얼굴선과 짙은 검은 머리의 차분한 인상."], "attempt": 1, "dur_s": 14.1, "bytes": 2481314, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/shots_outdoor/remake/S13_Shot3_nobg.png", "prompt": "Photorealistic cinematic still.\n\nReference image 1: character appearance reference: Korean 40대 중반 여성, 성숙한 얼굴선과 짙은 검은 머리의 차분한 인상.\n\nthe character from Image 1 in a detective coat, an Asian middle-aged woman with mature facial features and dark natural hair by the police car, occupies the middle-left foreground, looking toward a young Asian woman down the alley in the background across the same damp exterior alleyway they both occupy. the character from Image 1 stands at a three-quarter angle from the right, upper body in frame at chest height, half-stepping from the parked vehicle, eyes fixed on the distant figure. The young Asian woman is softly focused in the rear, standing at a three-quarter angle from the left, stalled mid-alley, gazing into the distance. A damp exterior alleyway shrouded in cold misty fog and deep shadows, illuminated by strobing red and blue lights mixing with a weak amber street lamp to create colored reflections on the wet surfaces. The open police vehicle side angles toward the camera on the left, framing the character from Image 1's exit.\n\nGenerate one image:\n- follow the camera position, framing, and action requested in the prompt text\n- architectural openings (doors, windows, thresholds): do NOT invent additional doors or windows unless the prompt text explicitly asks for them\n- if the prompt text places the camera inside or at one of these openings, camera-side walls and door/window frames may appear only as local foreground edges — do NOT show the same opening again in the scene, and do NOT show the exterior facade of the structure that contains the camera out in front of it\n- use image 1 as character appearance reference — match the person's identity and outfit where visible in the scene\n- do not copy poses or compositions from reference images\n- do not alter character identities where their face is visible in the scene\n- each character's clothing/outfit must match that character's appearance reference image EXACTLY; if any clothing wording in the text conflicts with the reference image, follow the reference image and ignore that wording\n- only render what the scene description asks for — if only a hand or wrist is described, do NOT add the character's face\n- CRITICAL: Only render what the scene description explicitly describes. If a character's face is visible in the scene, match it to the reference. If only a body part is shown, do NOT add the face.\n- CRITICAL: Output exactly ONE single continuous photograph of ONE moment — never a panel grid, collage, contact sheet, split-screen, storyboard sheet, or multiple sub-frames inside one image.\n- CRITICAL: Every person must be physically grounded and weight-bearing — in real contact with a supporting surface, with body weight visibly carried by that contact. For a figure caught mid-action (falling, stumbling, collapsing, jumping off something), render a physically plausible instant: joints bent, weight clearly transferring, at least one believable point of contact or support — never a rigid body hovering, tilted or suspended in mid-air without support."}
{"ts": "2026-07-07 03:03:09", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "remake_nobg_S17_Shot1", "refs": [], "ref_labels": [], "attempt": 1, "dur_s": 12.5, "bytes": 2713524, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/shots_outdoor/remake/S17_Shot1_nobg.png", "prompt": "Photorealistic cinematic still.\n\nFocusing on the pre-existing black cat in the lower-center foreground, already partway along the low concrete rooftop wall where that path leads toward the near center of the frame and not into the old villa rooftop, in left profile as it looks up toward the lit rooftop window in the upper-right background. The low camera at the cat's shoulder height captures its silhouette with faint rim-lit edges preserving body volume against the cool blue ambient fill. Thick dawn fog desaturates the damp concrete parapet running parallel behind the cat. The sickly yellow glow from the window hangs in the misty distance, creating a faint occult point of warmth near the rooftop room.\n\nGenerate one image:\n- follow the camera position, framing, and action requested in the prompt text\n- architectural openings (doors, windows, thresholds): do NOT invent additional doors or windows unless the prompt text explicitly asks for them\n- if the prompt text places the camera inside or at one of these openings, camera-side walls and door/window frames may appear only as local foreground edges — do NOT show the same opening again in the scene, and do NOT show the exterior facade of the structure that contains the camera out in front of it\n- only render what the scene description asks for — if only a hand or wrist is described, do NOT add the character's face\n- CRITICAL: Only render what the scene description explicitly describes. If only a body part is shown, do NOT add the face.\n- CRITICAL: Output exactly ONE single continuous photograph of ONE moment — never a panel grid, collage, contact sheet, split-screen, storyboard sheet, or multiple sub-frames inside one image.\n- CRITICAL: Every person must be physically grounded and weight-bearing — in real contact with a supporting surface, with body weight visibly carried by that contact. For a figure caught mid-action (falling, stumbling, collapsing, jumping off something), render a physically plausible instant: joints bent, weight clearly transferring, at least one believable point of contact or support — never a rigid body hovering, tilted or suspended in mid-air without support."}
{"ts": "2026-07-07 05:43:10", "kind": "llm", "step": "pure_shot_author_S4_Shot1", "model": "gpt", "dur_s": 23.8, "system_prompt": "You write ONE image-generation prompt (English) for a\nphotorealistic cinematic still of ONE selected shot. There is NO\nreference image: your prompt is the model's ONLY source.\n\nYou get the scene's original screenplay text (full) and the\nselected shot's moment/framing description.\n\nYour prompt must:\n- render exactly the selected shot's single moment — one instant,\n  one camera position,\n- use ONLY what the screenplay text states or visibly implies:\n  place, time of day, objects, people, actions. Do NOT invent\n  lighting colours, weather, fog, haze, mood props, measurements\n  or atmosphere the text does not state. Where the text is\n  silent, say nothing and trust the model — over-specification\n  breeds contradictions,\n- the shot description picks the moment and framing only; if it\n  contains visual content absent from the screenplay text, the\n  screenplay text wins — drop the extra content,\n- people: describe generically using only the text's own\n  demographic/role wording — NEVER use personal names,\n- PRESENT VISUAL STATE ONLY: everything you write must be what a\n  camera would see standing there right now — colours, materials,\n  age, weathering, look-and-feel; you may add modest realistic\n  detail of that visual kind. NEVER narrate past or one-off events,\n  actions, apparitions or story moments the production data\n  mentions; keep only the ordinary visible present state such a\n  fact implies, or drop it,\n- ignore continuity with any other scene or shot — this scene's\n  text is the whole world,\n- no readable text, signage or lettering anywhere in the image.\nWrite 60-140 words of direct imperative prose, starting with\n'Photorealistic cinematic still.'\nused_from_text_ko: quotes from the given text you actually used\n(Korean, verbatim).\nprompt_ko: the same prompt in Korean (for the human reviewer).", "user_prompt": "[SCENE TEXT — full original screenplay scene]\nS#4. 옥탑방 / D\n인천 변두리 부감, 오래된 빌라 옥탑방 전경.\n기자(E)\n지역 주민들 사이에 횡행한 소문이 돌고 있지만, 경찰은 범인의 윤곽조차 잡지 못하고 있어 지역주민들의 불안과 두려움을 더 키우는 모양새입니다.\n\n\n\n[SELECTED SHOT — moment/framing]\n인천 변두리의 낡고 오래된 빌라 옥탑방 외부 전경이 한눈에 내려다보이는 부감 구도."}
{"ts": "2026-07-07 05:43:31", "kind": "llm", "step": "pure_shot_author_S10_Shot5", "model": "gpt", "dur_s": 21.5, "system_prompt": "You write ONE image-generation prompt (English) for a\nphotorealistic cinematic still of ONE selected shot. There is NO\nreference image: your prompt is the model's ONLY source.\n\nYou get the scene's original screenplay text (full) and the\nselected shot's moment/framing description.\n\nYour prompt must:\n- render exactly the selected shot's single moment — one instant,\n  one camera position,\n- use ONLY what the screenplay text states or visibly implies:\n  place, time of day, objects, people, actions. Do NOT invent\n  lighting colours, weather, fog, haze, mood props, measurements\n  or atmosphere the text does not state. Where the text is\n  silent, say nothing and trust the model — over-specification\n  breeds contradictions,\n- the shot description picks the moment and framing only; if it\n  contains visual content absent from the screenplay text, the\n  screenplay text wins — drop the extra content,\n- people: describe generically using only the text's own\n  demographic/role wording — NEVER use personal names,\n- PRESENT VISUAL STATE ONLY: everything you write must be what a\n  camera would see standing there right now — colours, materials,\n  age, weathering, look-and-feel; you may add modest realistic\n  detail of that visual kind. NEVER narrate past or one-off events,\n  actions, apparitions or story moments the production data\n  mentions; keep only the ordinary visible present state such a\n  fact implies, or drop it,\n- ignore continuity with any other scene or shot — this scene's\n  text is the whole world,\n- no readable text, signage or lettering anywhere in the image.\nWrite 60-140 words of direct imperative prose, starting with\n'Photorealistic cinematic still.'\nused_from_text_ko: quotes from the given text you actually used\n(Korean, verbatim).\nprompt_ko: the same prompt in Korean (for the human reviewer).", "user_prompt": "[SCENE TEXT — full original screenplay scene]\nS#10. 옥탑방 / N\n그 시각. 옥탑방 옥상. 물탱크. 바람에 빨랫줄이 툭- 툭- 평상에 놓인 말린 석창포가 바람에 날리는데... 말린 잎이 걸어오는 낯선 남자의 신발 위를 스친다. 남자의 긴 그림자. (얼굴은 보이지 않는다)\n신발은 옥탑방 철문 현관 앞에 멈춰 선다. 문틈에 낀 광고 전단지. 전단지를 뽑아서 손가락으로 문틈에 꾹 밀어 넣는다. ‘철컥’ 하고 잠금 새가 풀리는 소리. 문이 미세하게 열리고 안으로 들어가는 남자.\n창문에 비친 그림자. 민숙을 덮쳐 어깨를 물어뜯는 듯한 모습 ‘아악-’\n\n\n\n[SELECTED SHOT — moment/framing]\n철문이 미세하게 열린 틈 사이로 어두운 내부가 보이는 구도."}
{"ts": "2026-07-07 05:43:49", "kind": "llm", "step": "pure_shot_author_S11_Shot4", "model": "gpt", "dur_s": 17.1, "system_prompt": "You write ONE image-generation prompt (English) for a\nphotorealistic cinematic still of ONE selected shot. There is NO\nreference image: your prompt is the model's ONLY source.\n\nYou get the scene's original screenplay text (full) and the\nselected shot's moment/framing description.\n\nYour prompt must:\n- render exactly the selected shot's single moment — one instant,\n  one camera position,\n- use ONLY what the screenplay text states or visibly implies:\n  place, time of day, objects, people, actions. Do NOT invent\n  lighting colours, weather, fog, haze, mood props, measurements\n  or atmosphere the text does not state. Where the text is\n  silent, say nothing and trust the model — over-specification\n  breeds contradictions,\n- the shot description picks the moment and framing only; if it\n  contains visual content absent from the screenplay text, the\n  screenplay text wins — drop the extra content,\n- people: describe generically using only the text's own\n  demographic/role wording — NEVER use personal names,\n- PRESENT VISUAL STATE ONLY: everything you write must be what a\n  camera would see standing there right now — colours, materials,\n  age, weathering, look-and-feel; you may add modest realistic\n  detail of that visual kind. NEVER narrate past or one-off events,\n  actions, apparitions or story moments the production data\n  mentions; keep only the ordinary visible present state such a\n  fact implies, or drop it,\n- ignore continuity with any other scene or shot — this scene's\n  text is the whole world,\n- no readable text, signage or lettering anywhere in the image.\nWrite 60-140 words of direct imperative prose, starting with\n'Photorealistic cinematic still.'\nused_from_text_ko: quotes from the given text you actually used\n(Korean, verbatim).\nprompt_ko: the same prompt in Korean (for the human reviewer).", "user_prompt": "[SCENE TEXT — full original screenplay scene]\nS#11. 옥탑 방 밖 / N\n자전거를 타고 골목길을 달리는 수리영. 다세대 빌라 문을 열고 들어와 마당 후미진 곳에 자전거를 대충 세우고, 옥탑방과 연결되는 계단을 급히 오른다.\n갑자기 훅- 느껴지는 역겨운 냄새. 뭐지? 옥상에 올라와 보니 반쯤 열린 현관 철문.\n\n\n\n[SELECTED SHOT — moment/framing]\n옥상 위, 어둠 속에 반쯤 열려 멈춰 있는 옥탑방 현관 철문의 정적 구도."}
{"ts": "2026-07-07 05:44:11", "kind": "llm", "step": "pure_shot_author_S13_Shot3", "model": "gpt", "dur_s": 22.5, "system_prompt": "You write ONE image-generation prompt (English) for a\nphotorealistic cinematic still of ONE selected shot. There is NO\nreference image: your prompt is the model's ONLY source.\n\nYou get the scene's original screenplay text (full) and the\nselected shot's moment/framing description.\n\nYour prompt must:\n- render exactly the selected shot's single moment — one instant,\n  one camera position,\n- use ONLY what the screenplay text states or visibly implies:\n  place, time of day, objects, people, actions. Do NOT invent\n  lighting colours, weather, fog, haze, mood props, measurements\n  or atmosphere the text does not state. Where the text is\n  silent, say nothing and trust the model — over-specification\n  breeds contradictions,\n- the shot description picks the moment and framing only; if it\n  contains visual content absent from the screenplay text, the\n  screenplay text wins — drop the extra content,\n- people: describe generically using only the text's own\n  demographic/role wording — NEVER use personal names,\n- PRESENT VISUAL STATE ONLY: everything you write must be what a\n  camera would see standing there right now — colours, materials,\n  age, weathering, look-and-feel; you may add modest realistic\n  detail of that visual kind. NEVER narrate past or one-off events,\n  actions, apparitions or story moments the production data\n  mentions; keep only the ordinary visible present state such a\n  fact implies, or drop it,\n- ignore continuity with any other scene or shot — this scene's\n  text is the whole world,\n- no readable text, signage or lettering anywhere in the image.\nWrite 60-140 words of direct imperative prose, starting with\n'Photorealistic cinematic still.'\nused_from_text_ko: quotes from the given text you actually used\n(Korean, verbatim).\nprompt_ko: the same prompt in Korean (for the human reviewer).", "user_prompt": "[SCENE TEXT — full original screenplay scene]\nS#13. 옥탑방 외곽 / N\n비명을 지르며 옥탑방을 빠져나오는 수리영, 허겁지겁 계단을 내려간다. 동시에 사이렌이 울리고~. (포즈)\n차에서 내린 혜수(40대 중반, 여자, 경위) 초점을 잃고 멍하니 서있는 수리영의 모습을 발견하고 달려간다.\n혜수\n영아? 왜! 무슨 일이야?\n수리영\n(올라다보며) 엄마가, 엄마가... 죽어있어.\n혜수\n(놀라) 뭐?!\n옥탑 방으로 뛰어 올라가는 혜수와 후배 형사(30대 남/ 이하 김형사)\n\n\n\n[SELECTED SHOT — moment/framing]\n차에서 내린 혜수가 초점 없는 눈으로 멍하게 서 있는 수리영을 향해 시선을 고정한 찰나의 상체."}
{"ts": "2026-07-07 05:44:27", "kind": "llm", "step": "pure_shot_author_S17_Shot1", "model": "gpt", "dur_s": 15.8, "system_prompt": "You write ONE image-generation prompt (English) for a\nphotorealistic cinematic still of ONE selected shot. There is NO\nreference image: your prompt is the model's ONLY source.\n\nYou get the scene's original screenplay text (full) and the\nselected shot's moment/framing description.\n\nYour prompt must:\n- render exactly the selected shot's single moment — one instant,\n  one camera position,\n- use ONLY what the screenplay text states or visibly implies:\n  place, time of day, objects, people, actions. Do NOT invent\n  lighting colours, weather, fog, haze, mood props, measurements\n  or atmosphere the text does not state. Where the text is\n  silent, say nothing and trust the model — over-specification\n  breeds contradictions,\n- the shot description picks the moment and framing only; if it\n  contains visual content absent from the screenplay text, the\n  screenplay text wins — drop the extra content,\n- people: describe generically using only the text's own\n  demographic/role wording — NEVER use personal names,\n- PRESENT VISUAL STATE ONLY: everything you write must be what a\n  camera would see standing there right now — colours, materials,\n  age, weathering, look-and-feel; you may add modest realistic\n  detail of that visual kind. NEVER narrate past or one-off events,\n  actions, apparitions or story moments the production data\n  mentions; keep only the ordinary visible present state such a\n  fact implies, or drop it,\n- ignore continuity with any other scene or shot — this scene's\n  text is the whole world,\n- no readable text, signage or lettering anywhere in the image.\nWrite 60-140 words of direct imperative prose, starting with\n'Photorealistic cinematic still.'\nused_from_text_ko: quotes from the given text you actually used\n(Korean, verbatim).\nprompt_ko: the same prompt in Korean (for the human reviewer).", "user_prompt": "[SCENE TEXT — full original screenplay scene]\nS#17. 옥탑방 / 동틀무렵\n새벽녘, 고양이 울음소리. 검은 고양이가 불이 켜져 있는 옥탑 방을 슬쩍 보더니 담을 넘는다\n\n\n\n[SELECTED SHOT — moment/framing]\n짙고 푸른 안개가 깔린 새벽녘, 희미한 노란 불빛이 켜진 옥탑방 창문을 향해 검은 고양이 한 마리가 고개를 돌린 찰나의 측면."}
{"ts": "2026-07-07 05:48:18", "kind": "img", "engine": "gpt-image-2", "mode": "generate", "tag": "pure_t2i_S4_Shot1_gpt", "refs": [], "size": "1536x864", "attempt": 1, "dur_s": 124.6, "bytes": 2497693, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/pure_t2i/S4_Shot1_gpt.png", "prompt": "Photorealistic cinematic still. Render a daytime high-angle exterior overview looking down over an old villa rooftop room in the outskirts of Incheon. Frame the rooftop room and the surrounding roof area as the clear subject, with weathered concrete surfaces, a simple rooftop structure, parapet edges, windows and doors visible as ordinary exterior details. Keep the composition wide enough to show the building’s aged rooftop setting at a glance. Do not include people, readable signage, lettering, or any added dramatic weather or effects."}
{"ts": "2026-07-07 05:48:33", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "pure_t2i_S4_Shot1_nb2", "refs": [], "ref_labels": [], "attempt": 1, "dur_s": 15.0, "bytes": 3841106, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/pure_t2i/S4_Shot1_nb2.png", "prompt": "Photorealistic cinematic still. Render a daytime high-angle exterior overview looking down over an old villa rooftop room in the outskirts of Incheon. Frame the rooftop room and the surrounding roof area as the clear subject, with weathered concrete surfaces, a simple rooftop structure, parapet edges, windows and doors visible as ordinary exterior details. Keep the composition wide enough to show the building’s aged rooftop setting at a glance. Do not include people, readable signage, lettering, or any added dramatic weather or effects."}
{"ts": "2026-07-07 05:50:15", "kind": "img", "engine": "gpt-image-2", "mode": "generate", "tag": "pure_t2i_S10_Shot5_gpt", "refs": [], "size": "1536x864", "attempt": 1, "dur_s": 101.3, "bytes": 2087119, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/pure_t2i/S10_Shot5_gpt.png", "prompt": "Photorealistic cinematic still. Frame a close, fixed view of a rooftop room’s iron entrance door at night, the door barely open by a thin crack. Look straight toward the narrow gap so the dark interior is visible only as a shadowed void beyond the metal edge and doorframe. Keep the composition tight on the slightly opened iron door, its frame, hinge side, and threshold, with only the immediate rooftop doorway surfaces visible. Use realistic metal texture and worn edges, but no readable text, signage, people, or extra objects."}
{"ts": "2026-07-07 05:50:27", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "pure_t2i_S10_Shot5_nb2", "refs": [], "ref_labels": [], "attempt": 1, "dur_s": 12.6, "bytes": 3408752, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/pure_t2i/S10_Shot5_nb2.png", "prompt": "Photorealistic cinematic still. Frame a close, fixed view of a rooftop room’s iron entrance door at night, the door barely open by a thin crack. Look straight toward the narrow gap so the dark interior is visible only as a shadowed void beyond the metal edge and doorframe. Keep the composition tight on the slightly opened iron door, its frame, hinge side, and threshold, with only the immediate rooftop doorway surfaces visible. Use realistic metal texture and worn edges, but no readable text, signage, people, or extra objects."}
{"ts": "2026-07-07 05:52:06", "kind": "img", "engine": "gpt-image-2", "mode": "generate", "tag": "pure_t2i_S11_Shot4_gpt", "refs": [], "size": "1536x864", "attempt": 1, "dur_s": 98.7, "bytes": 1727494, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/pure_t2i/S11_Shot4_gpt.png", "prompt": "Photorealistic cinematic still. Frame a static nighttime view on the rooftop outside a rooftop room, centered on an iron entrance door stopped half open. Show the doorway and the surrounding exterior wall plainly, with the rooftop surface in front of it. Keep the composition fixed on this single moment and single camera position: no people present, no motion, no readable text, signs, labels, or lettering anywhere. Use realistic proportions, ordinary exterior materials, and natural night visibility without adding extra objects."}
{"ts": "2026-07-07 05:52:19", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "pure_t2i_S11_Shot4_nb2", "refs": [], "ref_labels": [], "attempt": 1, "dur_s": 13.3, "bytes": 3497279, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/pure_t2i/S11_Shot4_nb2.png", "prompt": "Photorealistic cinematic still. Frame a static nighttime view on the rooftop outside a rooftop room, centered on an iron entrance door stopped half open. Show the doorway and the surrounding exterior wall plainly, with the rooftop surface in front of it. Keep the composition fixed on this single moment and single camera position: no people present, no motion, no readable text, signs, labels, or lettering anywhere. Use realistic proportions, ordinary exterior materials, and natural night visibility without adding extra objects."}
{"ts": "2026-07-07 05:53:50", "kind": "img", "engine": "gpt-image-2", "mode": "generate", "tag": "pure_t2i_S13_Shot3_gpt", "refs": [], "size": "1536x864", "attempt": 1, "dur_s": 91.3, "bytes": 1654355, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/pure_t2i/S13_Shot3_gpt.png", "prompt": "Photorealistic cinematic still. Frame a medium close-up upper-body shot of a middle-aged woman police lieutenant beside a car at night outside a rooftop room. She stands with her body turned from the car, eyes locked ahead with sudden concern and alarm, as if she has spotted someone. Keep a dazed woman with unfocused eyes visible only in the distance or edge of frame, soft and secondary, standing near the exterior stairs. Use a single grounded camera position at chest height, shallow depth of field, realistic urban rooftop exterior details, no readable text, signage, badges, or lettering."}
{"ts": "2026-07-07 05:54:04", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "pure_t2i_S13_Shot3_nb2", "refs": [], "ref_labels": [], "attempt": 1, "dur_s": 13.1, "bytes": 3123574, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/pure_t2i/S13_Shot3_nb2.png", "prompt": "Photorealistic cinematic still. Frame a medium close-up upper-body shot of a middle-aged woman police lieutenant beside a car at night outside a rooftop room. She stands with her body turned from the car, eyes locked ahead with sudden concern and alarm, as if she has spotted someone. Keep a dazed woman with unfocused eyes visible only in the distance or edge of frame, soft and secondary, standing near the exterior stairs. Use a single grounded camera position at chest height, shallow depth of field, realistic urban rooftop exterior details, no readable text, signage, badges, or lettering."}
{"ts": "2026-07-07 05:55:43", "kind": "img", "engine": "gpt-image-2", "mode": "generate", "tag": "pure_t2i_S17_Shot1_gpt", "refs": [], "size": "1536x864", "attempt": 1, "dur_s": 99.8, "bytes": 1607292, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/pure_t2i/S17_Shot1_gpt.png", "prompt": "Photorealistic cinematic still. At dawn on a rooftop room exterior, frame a single black cat in side profile on or beside a low wall, its head turned toward the lit rooftop room. The rooftop room is simple and small, with its interior light visible through a plain window or opening; surrounding rooftop surfaces and the wall are modest, realistic, and unadorned. Use a fixed side-angle camera position at the cat’s level, capturing one quiet instant with the cat and the illuminated room in the same composition. No readable text, signage, or lettering anywhere."}
{"ts": "2026-07-07 05:55:59", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "pure_t2i_S17_Shot1_nb2", "refs": [], "ref_labels": [], "attempt": 1, "dur_s": 15.5, "bytes": 3334137, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/pure_t2i/S17_Shot1_nb2.png", "prompt": "Photorealistic cinematic still. At dawn on a rooftop room exterior, frame a single black cat in side profile on or beside a low wall, its head turned toward the lit rooftop room. The rooftop room is simple and small, with its interior light visible through a plain window or opening; surrounding rooftop surfaces and the wall are modest, realistic, and unadorned. Use a fixed side-angle camera position at the cat’s level, capturing one quiet instant with the cat and the illuminated room in the same composition. No readable text, signage, or lettering anywhere."}
{"ts": "2026-07-07 12:06:24", "kind": "llm", "step": "s21_blocking_S4_Shot1", "model": "gpt", "dur_s": 12.9, "system_prompt": "You are a film staging planner. You receive:\n- PLAN ELEMENTS: the lettered elements (circled letters) of a strict\n  top-down exterior site plan of one real location.\n- SHOT DATA: one shot's heading/description.\n- SHOT PROMPT: the full image-generation prompt actually used for\n  that shot (ground truth for what is on screen).\n\nTask: author the top-down STAGING for this exact shot on that plan.\n1. List every character/entity PHYSICALLY PRESENT ON SCREEN in this\n   shot per SHOT PROMPT / SHOT DATA only — people, animals, vehicles,\n   other movable subjects. Do NOT invent anyone; permanent structure\n   already on the plan is NOT an entity; if the shot is unmanned the\n   list is empty. Refer to each by a generic role wording taken from\n   the shot text (no proper names).\n2. For each entity give placement_en: its top-down position described\n   ONLY relative to the lettered plan elements (e.g. 'on F just\n   outside J, toward G'). If the shot text does not fix a position,\n   choose the position the shot's framing implies and mark\n   inferred=true.\n3. Camera: give its top-down position_en (relative to letters; it may\n   sit outside the drawn plan edge), facing_en (direction/target\n   letters or entity digits), and height_en (ground/eye-level/\n   elevated/overhead per the shot text).\n4. Quote evidence_ko: the shot-text wording (원문 인용) grounding each\n   entity and the camera. Keep every field short and factual — no\n   narrative, no mood, no invention beyond step 2's marked inference.\nAlso give notes_ko: 한 줄 한국어 요약 (이 샷에서 누가/무엇이 어디에,\n카메라는 어디서 어디를 보는지).", "user_prompt": "PLAN ELEMENTS (circled letters on the plan):\nLEVELS (placement logic only): ground -> villa mass, 3 storeys roof terrace -> rooftop room and rooftop fixtures\nContext: public road edge and neighbouring building masses border the alley, rear, and side.\nA. narrow alley, ground approach from the public road edge to the entry gate, facing the yard sequence.\nB. entry gate, boundary opening between the narrow alley and the entry yard.\nC. entry yard, ground yard inside the gate before the villa, with a rear part connecting to the exterior stair route.\nD. villa mass, 3-storey building mass behind the entry yard, hosting the roof terrace and the exterior stair on its outside wall.\nE. facade windows, exterior window bays in the villa wall facing the entry yard, four repeated bays per storey.\nF. roof terrace, exterior rooftop surface on the villa mass around the rooftop room, with the stair landing and rooftop fixtures on it.\nG. low wall, low climbable boundary on the roof terrace edge around the rooftop room area, in the sightline toward a rooftop-room window.\nH. rooftop room, small enclosed volume on the roof terrace, with its front side facing the stair landing.\nI. added-on exterior stair, separate later stair attached to the villa outside wall, connecting the entry-yard level to the roof terrace landing in front of the rooftop room.\nJ. iron door, exterior entrance threshold in the rooftop room front wall, facing the roof terrace landing and opening into the rooftop room.\nK. living window, small exterior window in a side wall of the rooftop room, facing the roof terrace and low-wall area.\nL. bedroom window, exterior window in another outer wall of the rooftop room.\nM. water tank, round utility fixture on the roof terrace near the rooftop room.\nN. laundry line, thin exterior line on the roof terrace between the water tank and the rooftop room.\nO. low platform, low fixture on the roof terrace near the approach to the iron door.\n\nSHOT DATA:\nscene_heading: S#4. 옥탑방 / D\ndescription: 인천 변두리의 낡고 오래된 빌라 옥탑방 외부 전경이 한눈에 내려다보이는 부감 구도.\n\nSHOT PROMPT (full, ground truth):\nPhotorealistic cinematic still.\n\nReference image 1: pre-rendered BACKGROUND environment reference — layout/material/lighting identity\n\nAn old rooftop room sits in the middle-center midground, viewed from an omniscient overhead camera high above. The dilapidated building is centered in the wide frame, boxed in by a cramped grid of neighboring pale gray rooftops and narrow alleys. Daylight is overcast and desaturated, casting blue-gray concrete shadows across the worn roof tile and faded parapet. An aged water tank, a rusted antenna, and sagging cable lines dot the flat surface next to the stairwell. A thin, bluish damp urban haze softens the outskirts, while faint sickly amber stains on the window break the neighborhood's cold isolation.\n\nGenerate one image:\n- use image 1 for this location's wall/floor/ceiling materials, furniture identity, and lighting mood\n- follow the camera position, framing, and action requested in the prompt text — do NOT copy the camera position or composition of image 1 unless the prompt explicitly asks for it\n- do NOT copy any people from image 1\n- architectural openings (doors, windows, thresholds) must match image 1 — same position, type, and material; do NOT invent additional doors or windows unless the prompt text explicitly asks for them\n- if the prompt text places the camera inside or at one of these openings, camera-side walls and door/window frames may appear only as local foreground edges — do NOT show the same opening again in the scene, and do NOT show the exterior facade of the structure that contains the camera out in front of it\n- do not copy poses or compositions from reference images\n- do not alter character identities where their face is visible in the scene\n- each character's clothing/outfit must match that character's appearance reference image EXACTLY; if any clothing wording in the text conflicts with the reference image, follow the reference image and ignore that wording\n- only render what the scene description asks for — if only a hand or wrist is described, do NOT add the character's face\n- CRITICAL: Only render what the scene description explicitly describes. If a character's face is visible in the scene, match it to the reference. If only a body part is shown, do NOT add the face.\n- CRITICAL: Output exactly ONE single continuous photograph of ONE moment — never a panel grid, collage, contact sheet, split-screen, storyboard sheet, or multiple sub-frames inside one image.\n- CRITICAL: Every person must be physically grounded and weight-bearing — in real contact with a supporting surface, with body weight visibly carried by that contact. For a figure caught mid-action (falling, stumbling, collapsing, jumping off something), render a physically plausible instant: joints bent, weight clearly transferring, at least one believable point of contact or support — never a rigid body hovering, tilted or suspended in mid-air without support."}
{"ts": "2026-07-07 12:06:39", "kind": "llm", "step": "s21_blocking_S10_Shot5", "model": "gpt", "dur_s": 14.7, "system_prompt": "You are a film staging planner. You receive:\n- PLAN ELEMENTS: the lettered elements (circled letters) of a strict\n  top-down exterior site plan of one real location.\n- SHOT DATA: one shot's heading/description.\n- SHOT PROMPT: the full image-generation prompt actually used for\n  that shot (ground truth for what is on screen).\n\nTask: author the top-down STAGING for this exact shot on that plan.\n1. List every character/entity PHYSICALLY PRESENT ON SCREEN in this\n   shot per SHOT PROMPT / SHOT DATA only — people, animals, vehicles,\n   other movable subjects. Do NOT invent anyone; permanent structure\n   already on the plan is NOT an entity; if the shot is unmanned the\n   list is empty. Refer to each by a generic role wording taken from\n   the shot text (no proper names).\n2. For each entity give placement_en: its top-down position described\n   ONLY relative to the lettered plan elements (e.g. 'on F just\n   outside J, toward G'). If the shot text does not fix a position,\n   choose the position the shot's framing implies and mark\n   inferred=true.\n3. Camera: give its top-down position_en (relative to letters; it may\n   sit outside the drawn plan edge), facing_en (direction/target\n   letters or entity digits), and height_en (ground/eye-level/\n   elevated/overhead per the shot text).\n4. Quote evidence_ko: the shot-text wording (원문 인용) grounding each\n   entity and the camera. Keep every field short and factual — no\n   narrative, no mood, no invention beyond step 2's marked inference.\nAlso give notes_ko: 한 줄 한국어 요약 (이 샷에서 누가/무엇이 어디에,\n카메라는 어디서 어디를 보는지).", "user_prompt": "PLAN ELEMENTS (circled letters on the plan):\nLEVELS (placement logic only): ground -> villa mass, 3 storeys roof terrace -> rooftop room and rooftop fixtures\nContext: public road edge and neighbouring building masses border the alley, rear, and side.\nA. narrow alley, ground approach from the public road edge to the entry gate, facing the yard sequence.\nB. entry gate, boundary opening between the narrow alley and the entry yard.\nC. entry yard, ground yard inside the gate before the villa, with a rear part connecting to the exterior stair route.\nD. villa mass, 3-storey building mass behind the entry yard, hosting the roof terrace and the exterior stair on its outside wall.\nE. facade windows, exterior window bays in the villa wall facing the entry yard, four repeated bays per storey.\nF. roof terrace, exterior rooftop surface on the villa mass around the rooftop room, with the stair landing and rooftop fixtures on it.\nG. low wall, low climbable boundary on the roof terrace edge around the rooftop room area, in the sightline toward a rooftop-room window.\nH. rooftop room, small enclosed volume on the roof terrace, with its front side facing the stair landing.\nI. added-on exterior stair, separate later stair attached to the villa outside wall, connecting the entry-yard level to the roof terrace landing in front of the rooftop room.\nJ. iron door, exterior entrance threshold in the rooftop room front wall, facing the roof terrace landing and opening into the rooftop room.\nK. living window, small exterior window in a side wall of the rooftop room, facing the roof terrace and low-wall area.\nL. bedroom window, exterior window in another outer wall of the rooftop room.\nM. water tank, round utility fixture on the roof terrace near the rooftop room.\nN. laundry line, thin exterior line on the roof terrace between the water tank and the rooftop room.\nO. low platform, low fixture on the roof terrace near the approach to the iron door.\n\nSHOT DATA:\nscene_heading: S#10. 옥탑방 / N\ndescription: 철문이 미세하게 열린 틈 사이로 어두운 내부가 보이는 구도.\n\nSHOT PROMPT (full, ground truth):\nPhotorealistic cinematic still.\n\nReference image 1: pre-rendered BACKGROUND environment reference — layout/material/lighting identity\n\nThe narrow iron door seam sits in the middle-center foreground. The heavy edges of the iron door face the camera at close range, occupying the outer framing with scratched, cold metal. Near the opening at handle height, a creased advertisement flyer edge is wedged in the gap, its bent and dirty paper face showing partial color blocks and unreadable text. Beyond the thin crack, the unlit interior remains entirely opaque, unreadable, and silent. A deep monochrome blue-black ambient night tone skims the outer rough iron surfaces, while a weak trace of sickly amber light leaks from somewhere unseen deep inside the dead black interior, casting a faint smear along the inner metal edge.\n\nGenerate one image:\n- use image 1 for this location's wall/floor/ceiling materials, furniture identity, and lighting mood\n- follow the camera position, framing, and action requested in the prompt text — do NOT copy the camera position or composition of image 1 unless the prompt explicitly asks for it\n- do NOT copy any people from image 1\n- architectural openings (doors, windows, thresholds) must match image 1 — same position, type, and material; do NOT invent additional doors or windows unless the prompt text explicitly asks for them\n- if the prompt text places the camera inside or at one of these openings, camera-side walls and door/window frames may appear only as local foreground edges — do NOT show the same opening again in the scene, and do NOT show the exterior facade of the structure that contains the camera out in front of it\n- do not copy poses or compositions from reference images\n- do not alter character identities where their face is visible in the scene\n- each character's clothing/outfit must match that character's appearance reference image EXACTLY; if any clothing wording in the text conflicts with the reference image, follow the reference image and ignore that wording\n- only render what the scene description asks for — if only a hand or wrist is described, do NOT add the character's face\n- CRITICAL: Only render what the scene description explicitly describes. If a character's face is visible in the scene, match it to the reference. If only a body part is shown, do NOT add the face.\n- CRITICAL: Output exactly ONE single continuous photograph of ONE moment — never a panel grid, collage, contact sheet, split-screen, storyboard sheet, or multiple sub-frames inside one image.\n- CRITICAL: Every person must be physically grounded and weight-bearing — in real contact with a supporting surface, with body weight visibly carried by that contact. For a figure caught mid-action (falling, stumbling, collapsing, jumping off something), render a physically plausible instant: joints bent, weight clearly transferring, at least one believable point of contact or support — never a rigid body hovering, tilted or suspended in mid-air without support."}
{"ts": "2026-07-07 12:06:50", "kind": "llm", "step": "s21_blocking_S11_Shot4", "model": "gpt", "dur_s": 11.1, "system_prompt": "You are a film staging planner. You receive:\n- PLAN ELEMENTS: the lettered elements (circled letters) of a strict\n  top-down exterior site plan of one real location.\n- SHOT DATA: one shot's heading/description.\n- SHOT PROMPT: the full image-generation prompt actually used for\n  that shot (ground truth for what is on screen).\n\nTask: author the top-down STAGING for this exact shot on that plan.\n1. List every character/entity PHYSICALLY PRESENT ON SCREEN in this\n   shot per SHOT PROMPT / SHOT DATA only — people, animals, vehicles,\n   other movable subjects. Do NOT invent anyone; permanent structure\n   already on the plan is NOT an entity; if the shot is unmanned the\n   list is empty. Refer to each by a generic role wording taken from\n   the shot text (no proper names).\n2. For each entity give placement_en: its top-down position described\n   ONLY relative to the lettered plan elements (e.g. 'on F just\n   outside J, toward G'). If the shot text does not fix a position,\n   choose the position the shot's framing implies and mark\n   inferred=true.\n3. Camera: give its top-down position_en (relative to letters; it may\n   sit outside the drawn plan edge), facing_en (direction/target\n   letters or entity digits), and height_en (ground/eye-level/\n   elevated/overhead per the shot text).\n4. Quote evidence_ko: the shot-text wording (원문 인용) grounding each\n   entity and the camera. Keep every field short and factual — no\n   narrative, no mood, no invention beyond step 2's marked inference.\nAlso give notes_ko: 한 줄 한국어 요약 (이 샷에서 누가/무엇이 어디에,\n카메라는 어디서 어디를 보는지).", "user_prompt": "PLAN ELEMENTS (circled letters on the plan):\nLEVELS (placement logic only): ground -> villa mass, 3 storeys roof terrace -> rooftop room and rooftop fixtures\nContext: public road edge and neighbouring building masses border the alley, rear, and side.\nA. narrow alley, ground approach from the public road edge to the entry gate, facing the yard sequence.\nB. entry gate, boundary opening between the narrow alley and the entry yard.\nC. entry yard, ground yard inside the gate before the villa, with a rear part connecting to the exterior stair route.\nD. villa mass, 3-storey building mass behind the entry yard, hosting the roof terrace and the exterior stair on its outside wall.\nE. facade windows, exterior window bays in the villa wall facing the entry yard, four repeated bays per storey.\nF. roof terrace, exterior rooftop surface on the villa mass around the rooftop room, with the stair landing and rooftop fixtures on it.\nG. low wall, low climbable boundary on the roof terrace edge around the rooftop room area, in the sightline toward a rooftop-room window.\nH. rooftop room, small enclosed volume on the roof terrace, with its front side facing the stair landing.\nI. added-on exterior stair, separate later stair attached to the villa outside wall, connecting the entry-yard level to the roof terrace landing in front of the rooftop room.\nJ. iron door, exterior entrance threshold in the rooftop room front wall, facing the roof terrace landing and opening into the rooftop room.\nK. living window, small exterior window in a side wall of the rooftop room, facing the roof terrace and low-wall area.\nL. bedroom window, exterior window in another outer wall of the rooftop room.\nM. water tank, round utility fixture on the roof terrace near the rooftop room.\nN. laundry line, thin exterior line on the roof terrace between the water tank and the rooftop room.\nO. low platform, low fixture on the roof terrace near the approach to the iron door.\n\nSHOT DATA:\nscene_heading: S#11. 옥탑 방 밖 / N\ndescription: 옥상 위, 어둠 속에 반쯤 열려 멈춰 있는 옥탑방 현관 철문의 정적 구도.\n\nSHOT PROMPT (full, ground truth):\nPhotorealistic cinematic still.\n\nReference image 1: pre-rendered BACKGROUND environment reference — layout/material/lighting identity\n\nThe half-open rooftop iron door is positioned in the middle-center background, viewed squarely from a direct eye-level subjective viewpoint across the damp landing. The environment is enveloped in a cold, muted blue-gray darkness. Contrasting this ambient shadow, a faint and sickly amber light spills outward from the black interior gap along one side of the door, casting an ominous and contaminated glow across the wet-stained concrete wall and the horizontal edge of the low parapet in the lower frame. The camera focuses entirely on the motionless threshold, isolating the doorway within the silent negative space of the rooftop.\n\nGenerate one image:\n- use image 1 for this location's wall/floor/ceiling materials, furniture identity, and lighting mood\n- follow the camera position, framing, and action requested in the prompt text — do NOT copy the camera position or composition of image 1 unless the prompt explicitly asks for it\n- do NOT copy any people from image 1\n- architectural openings (doors, windows, thresholds) must match image 1 — same position, type, and material; do NOT invent additional doors or windows unless the prompt text explicitly asks for them\n- if the prompt text places the camera inside or at one of these openings, camera-side walls and door/window frames may appear only as local foreground edges — do NOT show the same opening again in the scene, and do NOT show the exterior facade of the structure that contains the camera out in front of it\n- do not copy poses or compositions from reference images\n- do not alter character identities where their face is visible in the scene\n- each character's clothing/outfit must match that character's appearance reference image EXACTLY; if any clothing wording in the text conflicts with the reference image, follow the reference image and ignore that wording\n- only render what the scene description asks for — if only a hand or wrist is described, do NOT add the character's face\n- CRITICAL: Only render what the scene description explicitly describes. If a character's face is visible in the scene, match it to the reference. If only a body part is shown, do NOT add the face.\n- CRITICAL: Output exactly ONE single continuous photograph of ONE moment — never a panel grid, collage, contact sheet, split-screen, storyboard sheet, or multiple sub-frames inside one image.\n- CRITICAL: Every person must be physically grounded and weight-bearing — in real contact with a supporting surface, with body weight visibly carried by that contact. For a figure caught mid-action (falling, stumbling, collapsing, jumping off something), render a physically plausible instant: joints bent, weight clearly transferring, at least one believable point of contact or support — never a rigid body hovering, tilted or suspended in mid-air without support."}
{"ts": "2026-07-07 12:07:05", "kind": "llm", "step": "s21_blocking_S13_Shot3", "model": "gpt", "dur_s": 14.6, "system_prompt": "You are a film staging planner. You receive:\n- PLAN ELEMENTS: the lettered elements (circled letters) of a strict\n  top-down exterior site plan of one real location.\n- SHOT DATA: one shot's heading/description.\n- SHOT PROMPT: the full image-generation prompt actually used for\n  that shot (ground truth for what is on screen).\n\nTask: author the top-down STAGING for this exact shot on that plan.\n1. List every character/entity PHYSICALLY PRESENT ON SCREEN in this\n   shot per SHOT PROMPT / SHOT DATA only — people, animals, vehicles,\n   other movable subjects. Do NOT invent anyone; permanent structure\n   already on the plan is NOT an entity; if the shot is unmanned the\n   list is empty. Refer to each by a generic role wording taken from\n   the shot text (no proper names).\n2. For each entity give placement_en: its top-down position described\n   ONLY relative to the lettered plan elements (e.g. 'on F just\n   outside J, toward G'). If the shot text does not fix a position,\n   choose the position the shot's framing implies and mark\n   inferred=true.\n3. Camera: give its top-down position_en (relative to letters; it may\n   sit outside the drawn plan edge), facing_en (direction/target\n   letters or entity digits), and height_en (ground/eye-level/\n   elevated/overhead per the shot text).\n4. Quote evidence_ko: the shot-text wording (원문 인용) grounding each\n   entity and the camera. Keep every field short and factual — no\n   narrative, no mood, no invention beyond step 2's marked inference.\nAlso give notes_ko: 한 줄 한국어 요약 (이 샷에서 누가/무엇이 어디에,\n카메라는 어디서 어디를 보는지).", "user_prompt": "PLAN ELEMENTS (circled letters on the plan):\nLEVELS (placement logic only): ground -> villa mass, 3 storeys roof terrace -> rooftop room and rooftop fixtures\nContext: public road edge and neighbouring building masses border the alley, rear, and side.\nA. narrow alley, ground approach from the public road edge to the entry gate, facing the yard sequence.\nB. entry gate, boundary opening between the narrow alley and the entry yard.\nC. entry yard, ground yard inside the gate before the villa, with a rear part connecting to the exterior stair route.\nD. villa mass, 3-storey building mass behind the entry yard, hosting the roof terrace and the exterior stair on its outside wall.\nE. facade windows, exterior window bays in the villa wall facing the entry yard, four repeated bays per storey.\nF. roof terrace, exterior rooftop surface on the villa mass around the rooftop room, with the stair landing and rooftop fixtures on it.\nG. low wall, low climbable boundary on the roof terrace edge around the rooftop room area, in the sightline toward a rooftop-room window.\nH. rooftop room, small enclosed volume on the roof terrace, with its front side facing the stair landing.\nI. added-on exterior stair, separate later stair attached to the villa outside wall, connecting the entry-yard level to the roof terrace landing in front of the rooftop room.\nJ. iron door, exterior entrance threshold in the rooftop room front wall, facing the roof terrace landing and opening into the rooftop room.\nK. living window, small exterior window in a side wall of the rooftop room, facing the roof terrace and low-wall area.\nL. bedroom window, exterior window in another outer wall of the rooftop room.\nM. water tank, round utility fixture on the roof terrace near the rooftop room.\nN. laundry line, thin exterior line on the roof terrace between the water tank and the rooftop room.\nO. low platform, low fixture on the roof terrace near the approach to the iron door.\n\nSHOT DATA:\nscene_heading: S#13. 옥탑방 외곽 / N\ndescription: 차에서 내린 혜수가 초점 없는 눈으로 멍하게 서 있는 수리영을 향해 시선을 고정한 찰나의 상체.\n\nSHOT PROMPT (full, ground truth):\nPhotorealistic cinematic still.\n\nReference image 1: pre-rendered BACKGROUND environment reference — layout/material/lighting identity\nReference image 2: character appearance reference: Korean 40대 중반 여성, 성숙한 얼굴선과 짙은 검은 머리의 차분한 인상.\n\nthe character from Image 2 in a detective coat, an Asian middle-aged woman with mature facial features and dark natural hair by the police car, occupies the middle-left foreground, looking toward a young Asian woman down the alley in the background across the same damp exterior alleyway they both occupy. the character from Image 2 stands at a three-quarter angle from the right, upper body in frame at chest height, half-stepping from the parked vehicle, eyes fixed on the distant figure. The young Asian woman is softly focused in the rear, standing at a three-quarter angle from the left, stalled mid-alley, gazing into the distance. A damp exterior alleyway shrouded in cold misty fog and deep shadows, illuminated by strobing red and blue lights mixing with a weak amber street lamp to create colored reflections on the wet surfaces. The open police vehicle side angles toward the camera on the left, framing the character from Image 2's exit.\n\nGenerate one image:\n- use image 1 for this location's wall/floor/ceiling materials, furniture identity, and lighting mood\n- follow the camera position, framing, and action requested in the prompt text — do NOT copy the camera position or composition of image 1 unless the prompt explicitly asks for it\n- do NOT copy any people from image 1\n- architectural openings (doors, windows, thresholds) must match image 1 — same position, type, and material; do NOT invent additional doors or windows unless the prompt text explicitly asks for them\n- if the prompt text places the camera inside or at one of these openings, camera-side walls and door/window frames may appear only as local foreground edges — do NOT show the same opening again in the scene, and do NOT show the exterior facade of the structure that contains the camera out in front of it\n- use image 2 as character appearance reference — match the person's identity and outfit where visible in the scene\n- do not copy poses or compositions from reference images\n- do not alter character identities where their face is visible in the scene\n- each character's clothing/outfit must match that character's appearance reference image EXACTLY; if any clothing wording in the text conflicts with the reference image, follow the reference image and ignore that wording\n- only render what the scene description asks for — if only a hand or wrist is described, do NOT add the character's face\n- CRITICAL: Only render what the scene description explicitly describes. If a character's face is visible in the scene, match it to the reference. If only a body part is shown, do NOT add the face.\n- CRITICAL: Output exactly ONE single continuous photograph of ONE moment — never a panel grid, collage, contact sheet, split-screen, storyboard sheet, or multiple sub-frames inside one image.\n- CRITICAL: Every person must be physically grounded and weight-bearing — in real contact with a supporting surface, with body weight visibly carried by that contact. For a figure caught mid-action (falling, stumbling, collapsing, jumping off something), render a physically plausible instant: joints bent, weight clearly transferring, at least one believable point of contact or support — never a rigid body hovering, tilted or suspended in mid-air without support."}
{"ts": "2026-07-07 12:07:21", "kind": "llm", "step": "s21_blocking_S17_Shot1", "model": "gpt", "dur_s": 16.1, "system_prompt": "You are a film staging planner. You receive:\n- PLAN ELEMENTS: the lettered elements (circled letters) of a strict\n  top-down exterior site plan of one real location.\n- SHOT DATA: one shot's heading/description.\n- SHOT PROMPT: the full image-generation prompt actually used for\n  that shot (ground truth for what is on screen).\n\nTask: author the top-down STAGING for this exact shot on that plan.\n1. List every character/entity PHYSICALLY PRESENT ON SCREEN in this\n   shot per SHOT PROMPT / SHOT DATA only — people, animals, vehicles,\n   other movable subjects. Do NOT invent anyone; permanent structure\n   already on the plan is NOT an entity; if the shot is unmanned the\n   list is empty. Refer to each by a generic role wording taken from\n   the shot text (no proper names).\n2. For each entity give placement_en: its top-down position described\n   ONLY relative to the lettered plan elements (e.g. 'on F just\n   outside J, toward G'). If the shot text does not fix a position,\n   choose the position the shot's framing implies and mark\n   inferred=true.\n3. Camera: give its top-down position_en (relative to letters; it may\n   sit outside the drawn plan edge), facing_en (direction/target\n   letters or entity digits), and height_en (ground/eye-level/\n   elevated/overhead per the shot text).\n4. Quote evidence_ko: the shot-text wording (원문 인용) grounding each\n   entity and the camera. Keep every field short and factual — no\n   narrative, no mood, no invention beyond step 2's marked inference.\nAlso give notes_ko: 한 줄 한국어 요약 (이 샷에서 누가/무엇이 어디에,\n카메라는 어디서 어디를 보는지).", "user_prompt": "PLAN ELEMENTS (circled letters on the plan):\nLEVELS (placement logic only): ground -> villa mass, 3 storeys roof terrace -> rooftop room and rooftop fixtures\nContext: public road edge and neighbouring building masses border the alley, rear, and side.\nA. narrow alley, ground approach from the public road edge to the entry gate, facing the yard sequence.\nB. entry gate, boundary opening between the narrow alley and the entry yard.\nC. entry yard, ground yard inside the gate before the villa, with a rear part connecting to the exterior stair route.\nD. villa mass, 3-storey building mass behind the entry yard, hosting the roof terrace and the exterior stair on its outside wall.\nE. facade windows, exterior window bays in the villa wall facing the entry yard, four repeated bays per storey.\nF. roof terrace, exterior rooftop surface on the villa mass around the rooftop room, with the stair landing and rooftop fixtures on it.\nG. low wall, low climbable boundary on the roof terrace edge around the rooftop room area, in the sightline toward a rooftop-room window.\nH. rooftop room, small enclosed volume on the roof terrace, with its front side facing the stair landing.\nI. added-on exterior stair, separate later stair attached to the villa outside wall, connecting the entry-yard level to the roof terrace landing in front of the rooftop room.\nJ. iron door, exterior entrance threshold in the rooftop room front wall, facing the roof terrace landing and opening into the rooftop room.\nK. living window, small exterior window in a side wall of the rooftop room, facing the roof terrace and low-wall area.\nL. bedroom window, exterior window in another outer wall of the rooftop room.\nM. water tank, round utility fixture on the roof terrace near the rooftop room.\nN. laundry line, thin exterior line on the roof terrace between the water tank and the rooftop room.\nO. low platform, low fixture on the roof terrace near the approach to the iron door.\n\nSHOT DATA:\nscene_heading: S#17. 옥탑방 / 동틀무렵\ndescription: 짙고 푸른 안개가 깔린 새벽녘, 희미한 노란 불빛이 켜진 옥탑방 창문을 향해 검은 고양이 한 마리가 고개를 돌린 찰나의 측면.\n\nSHOT PROMPT (full, ground truth):\nPhotorealistic cinematic still.\n\nReference image 1: pre-rendered BACKGROUND environment reference — layout/material/lighting identity\n\nFocusing on the pre-existing black cat in the lower-center foreground, already partway along the low concrete rooftop wall where that path leads toward the near center of the frame and not into the old villa rooftop, in left profile as it looks up toward the lit rooftop window in the upper-right background. The low camera at the cat's shoulder height captures its silhouette with faint rim-lit edges preserving body volume against the cool blue ambient fill. Thick dawn fog desaturates the damp concrete parapet running parallel behind the cat. The sickly yellow glow from the window hangs in the misty distance, creating a faint occult point of warmth near the rooftop room.\n\nGenerate one image:\n- use image 1 for this location's wall/floor/ceiling materials, furniture identity, and lighting mood\n- follow the camera position, framing, and action requested in the prompt text — do NOT copy the camera position or composition of image 1 unless the prompt explicitly asks for it\n- do NOT copy any people from image 1\n- architectural openings (doors, windows, thresholds) must match image 1 — same position, type, and material; do NOT invent additional doors or windows unless the prompt text explicitly asks for them\n- if the prompt text places the camera inside or at one of these openings, camera-side walls and door/window frames may appear only as local foreground edges — do NOT show the same opening again in the scene, and do NOT show the exterior facade of the structure that contains the camera out in front of it\n- do not copy poses or compositions from reference images\n- do not alter character identities where their face is visible in the scene\n- each character's clothing/outfit must match that character's appearance reference image EXACTLY; if any clothing wording in the text conflicts with the reference image, follow the reference image and ignore that wording\n- only render what the scene description asks for — if only a hand or wrist is described, do NOT add the character's face\n- CRITICAL: Only render what the scene description explicitly describes. If a character's face is visible in the scene, match it to the reference. If only a body part is shown, do NOT add the face.\n- CRITICAL: Output exactly ONE single continuous photograph of ONE moment — never a panel grid, collage, contact sheet, split-screen, storyboard sheet, or multiple sub-frames inside one image.\n- CRITICAL: Every person must be physically grounded and weight-bearing — in real contact with a supporting surface, with body weight visibly carried by that contact. For a figure caught mid-action (falling, stumbling, collapsing, jumping off something), render a physically plausible instant: joints bent, weight clearly transferring, at least one believable point of contact or support — never a rigid body hovering, tilted or suspended in mid-air without support."}
{"ts": "2026-07-07 12:07:21", "kind": "stage", "stage": "s21_blocking_fp", "done": "llm", "shots": ["S4_Shot1", "S10_Shot5", "S11_Shot4", "S13_Shot3", "S17_Shot1"]}
{"ts": "2026-07-07 12:09:56", "kind": "img", "engine": "gpt-image-2", "mode": "edit", "tag": "s21_blockfp_S4_Shot1", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/fpflat_marked_gpt.png"], "size": "1536x864", "attempt": 1, "dur_s": 137.6, "bytes": 1816907, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/shots_outdoor/blocking/S4_Shot1_blockfp.png", "prompt": "The attached image is a strict top-down exterior SITE PLAN whose\nelements are identified by small plain CIRCLED LETTER markers.\nREPRODUCE the attached plan EXACTLY — same geometry, same colours,\nsame circled letters, nothing moved, nothing redrawn — and ADD ONLY\nthe shot-staging marks listed below.\n\nCAMERA MARK:\n- position: high above the villa mass D and roof terrace F, centered so rooftop room H sits middle-center\n- facing: straight down toward D/F, centered on H and surrounding rooftop fixtures\n\nMarker style: each added entity mark is a small plain CIRCLED DIGIT\n(same graphic style as the existing circled letters), drawn once at\nits stated position. The camera is ONE small solid dark wedge\n(triangle) at its stated position with a short straight arrow showing\nits facing direction. Apart from the existing circled letters, these\ncircled digits and the single camera wedge+arrow, add nothing: no\ntext, no words, no other markers, no legend, no compass, no people,\nno objects."}
{"ts": "2026-07-07 12:12:57", "kind": "img", "engine": "gpt-image-2", "mode": "edit", "tag": "s21_blockfp_S10_Shot5", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/fpflat_marked_gpt.png"], "size": "1536x864", "attempt": 1, "dur_s": 180.9, "bytes": 1798020, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/shots_outdoor/blocking/S10_Shot5_blockfp.png", "prompt": "The attached image is a strict top-down exterior SITE PLAN whose\nelements are identified by small plain CIRCLED LETTER markers.\nREPRODUCE the attached plan EXACTLY — same geometry, same colours,\nsame circled letters, nothing moved, nothing redrawn — and ADD ONLY\nthe shot-staging marks listed below.\n\nENTITY MARKS (digits are identifiers only):\n1. creased advertisement flyer edge — circled digit 1 at: wedged in the narrow gap of J at handle height\n\nCAMERA MARK:\n- position: on F immediately outside J at the rooftop room threshold\n- facing: toward J seam and into H through the crack\n\nMarker style: each added entity mark is a small plain CIRCLED DIGIT\n(same graphic style as the existing circled letters), drawn once at\nits stated position. The camera is ONE small solid dark wedge\n(triangle) at its stated position with a short straight arrow showing\nits facing direction. Apart from the existing circled letters, these\ncircled digits and the single camera wedge+arrow, add nothing: no\ntext, no words, no other markers, no legend, no compass, no people,\nno objects."}
{"ts": "2026-07-07 12:15:03", "kind": "img", "engine": "gpt-image-2", "mode": "edit", "tag": "s21_blockfp_S11_Shot4", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/fpflat_marked_gpt.png"], "size": "1536x864", "attempt": 1, "dur_s": 126.7, "bytes": 1785328, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/shots_outdoor/blocking/S11_Shot4_blockfp.png", "prompt": "The attached image is a strict top-down exterior SITE PLAN whose\nelements are identified by small plain CIRCLED LETTER markers.\nREPRODUCE the attached plan EXACTLY — same geometry, same colours,\nsame circled letters, nothing moved, nothing redrawn — and ADD ONLY\nthe shot-staging marks listed below.\n\nCAMERA MARK:\n- position: on F near G, across the roof-terrace landing from J\n- facing: squarely toward J on the front of H\n\nMarker style: each added entity mark is a small plain CIRCLED DIGIT\n(same graphic style as the existing circled letters), drawn once at\nits stated position. The camera is ONE small solid dark wedge\n(triangle) at its stated position with a short straight arrow showing\nits facing direction. Apart from the existing circled letters, these\ncircled digits and the single camera wedge+arrow, add nothing: no\ntext, no words, no other markers, no legend, no compass, no people,\nno objects."}
{"ts": "2026-07-07 12:17:04", "kind": "img", "engine": "gpt-image-2", "mode": "edit", "tag": "s21_blockfp_S13_Shot3", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/fpflat_marked_gpt.png"], "size": "1536x864", "attempt": 1, "dur_s": 120.3, "bytes": 1812166, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/shots_outdoor/blocking/S13_Shot3_blockfp.png", "prompt": "The attached image is a strict top-down exterior SITE PLAN whose\nelements are identified by small plain CIRCLED LETTER markers.\nREPRODUCE the attached plan EXACTLY — same geometry, same colours,\nsame circled letters, nothing moved, nothing redrawn — and ADD ONLY\nthe shot-staging marks listed below.\n\nENTITY MARKS (digits are identifiers only):\n1. middle-aged woman in detective coat — circled digit 1 at: on A near the public road edge, beside the police vehicle on the left side of A, facing down A toward B\n2. young woman — circled digit 2 at: on A farther down the alley toward B, mid-alley in the background\n3. police vehicle — circled digit 3 at: on the left side of A near the public road edge, angled toward the camera\n\nCAMERA MARK:\n- position: on A near the public road edge, just right of the open police vehicle side\n- facing: down A toward B and the distant young woman\n\nMarker style: each added entity mark is a small plain CIRCLED DIGIT\n(same graphic style as the existing circled letters), drawn once at\nits stated position. The camera is ONE small solid dark wedge\n(triangle) at its stated position with a short straight arrow showing\nits facing direction. Apart from the existing circled letters, these\ncircled digits and the single camera wedge+arrow, add nothing: no\ntext, no words, no other markers, no legend, no compass, no people,\nno objects."}
{"ts": "2026-07-07 12:19:39", "kind": "img", "engine": "gpt-image-2", "mode": "edit", "tag": "s21_blockfp_S17_Shot1", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/fpflat_marked_gpt.png"], "size": "1536x864", "attempt": 1, "dur_s": 155.2, "bytes": 1759894, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/shots_outdoor/blocking/S17_Shot1_blockfp.png", "prompt": "The attached image is a strict top-down exterior SITE PLAN whose\nelements are identified by small plain CIRCLED LETTER markers.\nREPRODUCE the attached plan EXACTLY — same geometry, same colours,\nsame circled letters, nothing moved, nothing redrawn — and ADD ONLY\nthe shot-staging marks listed below.\n\nENTITY MARKS (digits are identifiers only):\n1. black cat — circled digit 1 at: on G on the roof terrace F, partway along the low wall in the sightline toward rooftop-room window K\n\nCAMERA MARK:\n- position: on F beside G, close to entity 1, with K in the background\n- facing: toward entity 1 on G and the lit rooftop-room window K\n\nMarker style: each added entity mark is a small plain CIRCLED DIGIT\n(same graphic style as the existing circled letters), drawn once at\nits stated position. The camera is ONE small solid dark wedge\n(triangle) at its stated position with a short straight arrow showing\nits facing direction. Apart from the existing circled letters, these\ncircled digits and the single camera wedge+arrow, add nothing: no\ntext, no words, no other markers, no legend, no compass, no people,\nno objects."}
{"ts": "2026-07-07 12:20:01", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s21_blockstill_S4_Shot1", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/stairfix_nb2.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/shots_outdoor/blocking/S4_Shot1_blockfp.png"], "ref_labels": ["background chain ref (L03B02 for L03) — match wall/floor/ceiling/lighting", "shot STAGING PLAN (top-down diagram of this same location — annotation only: NEVER draw or copy this diagram, its flat colours, markers or top-down view into the photograph): circled letters = structure identifiers; each circled digit = where that on-screen character/entity stands; the single dark wedge with arrow = the camera's position and facing direction for THIS shot. Use it only to place subjects and the camera consistently with the prompt text."], "attempt": 1, "dur_s": 21.7, "bytes": 3669456, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/shots_outdoor/blocking/S4_Shot1_blockstill.png", "prompt": "Photorealistic cinematic still.\n\nReference image 1: pre-rendered BACKGROUND environment reference — layout/material/lighting identity\n\nAn old rooftop room sits in the middle-center midground, viewed from an omniscient overhead camera high above. The dilapidated building is centered in the wide frame, boxed in by a cramped grid of neighboring pale gray rooftops and narrow alleys. Daylight is overcast and desaturated, casting blue-gray concrete shadows across the worn roof tile and faded parapet. An aged water tank, a rusted antenna, and sagging cable lines dot the flat surface next to the stairwell. A thin, bluish damp urban haze softens the outskirts, while faint sickly amber stains on the window break the neighborhood's cold isolation.\n\nGenerate one image:\n- use image 1 for this location's wall/floor/ceiling materials, furniture identity, and lighting mood\n- follow the camera position, framing, and action requested in the prompt text — do NOT copy the camera position or composition of image 1 unless the prompt explicitly asks for it\n- do NOT copy any people from image 1\n- architectural openings (doors, windows, thresholds) must match image 1 — same position, type, and material; do NOT invent additional doors or windows unless the prompt text explicitly asks for them\n- if the prompt text places the camera inside or at one of these openings, camera-side walls and door/window frames may appear only as local foreground edges — do NOT show the same opening again in the scene, and do NOT show the exterior facade of the structure that contains the camera out in front of it\n- do not copy poses or compositions from reference images\n- do not alter character identities where their face is visible in the scene\n- each character's clothing/outfit must match that character's appearance reference image EXACTLY; if any clothing wording in the text conflicts with the reference image, follow the reference image and ignore that wording\n- only render what the scene description asks for — if only a hand or wrist is described, do NOT add the character's face\n- CRITICAL: Only render what the scene description explicitly describes. If a character's face is visible in the scene, match it to the reference. If only a body part is shown, do NOT add the face.\n- CRITICAL: Output exactly ONE single continuous photograph of ONE moment — never a panel grid, collage, contact sheet, split-screen, storyboard sheet, or multiple sub-frames inside one image.\n- CRITICAL: Every person must be physically grounded and weight-bearing — in real contact with a supporting surface, with body weight visibly carried by that contact. For a figure caught mid-action (falling, stumbling, collapsing, jumping off something), render a physically plausible instant: joints bent, weight clearly transferring, at least one believable point of contact or support — never a rigid body hovering, tilted or suspended in mid-air without support."}
{"ts": "2026-07-07 12:20:23", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s21_blockstill_S10_Shot5", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/stairfix_nb2.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/shots_outdoor/blocking/S10_Shot5_blockfp.png"], "ref_labels": ["background chain ref (L03B04 for L03) — match wall/floor/ceiling/lighting", "shot STAGING PLAN (top-down diagram of this same location — annotation only: NEVER draw or copy this diagram, its flat colours, markers or top-down view into the photograph): circled letters = structure identifiers; each circled digit = where that on-screen character/entity stands; the single dark wedge with arrow = the camera's position and facing direction for THIS shot. Use it only to place subjects and the camera consistently with the prompt text."], "attempt": 1, "dur_s": 22.6, "bytes": 2347588, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/shots_outdoor/blocking/S10_Shot5_blockstill.png", "prompt": "Photorealistic cinematic still.\n\nReference image 1: pre-rendered BACKGROUND environment reference — layout/material/lighting identity\n\nThe narrow iron door seam sits in the middle-center foreground. The heavy edges of the iron door face the camera at close range, occupying the outer framing with scratched, cold metal. Near the opening at handle height, a creased advertisement flyer edge is wedged in the gap, its bent and dirty paper face showing partial color blocks and unreadable text. Beyond the thin crack, the unlit interior remains entirely opaque, unreadable, and silent. A deep monochrome blue-black ambient night tone skims the outer rough iron surfaces, while a weak trace of sickly amber light leaks from somewhere unseen deep inside the dead black interior, casting a faint smear along the inner metal edge.\n\nGenerate one image:\n- use image 1 for this location's wall/floor/ceiling materials, furniture identity, and lighting mood\n- follow the camera position, framing, and action requested in the prompt text — do NOT copy the camera position or composition of image 1 unless the prompt explicitly asks for it\n- do NOT copy any people from image 1\n- architectural openings (doors, windows, thresholds) must match image 1 — same position, type, and material; do NOT invent additional doors or windows unless the prompt text explicitly asks for them\n- if the prompt text places the camera inside or at one of these openings, camera-side walls and door/window frames may appear only as local foreground edges — do NOT show the same opening again in the scene, and do NOT show the exterior facade of the structure that contains the camera out in front of it\n- do not copy poses or compositions from reference images\n- do not alter character identities where their face is visible in the scene\n- each character's clothing/outfit must match that character's appearance reference image EXACTLY; if any clothing wording in the text conflicts with the reference image, follow the reference image and ignore that wording\n- only render what the scene description asks for — if only a hand or wrist is described, do NOT add the character's face\n- CRITICAL: Only render what the scene description explicitly describes. If a character's face is visible in the scene, match it to the reference. If only a body part is shown, do NOT add the face.\n- CRITICAL: Output exactly ONE single continuous photograph of ONE moment — never a panel grid, collage, contact sheet, split-screen, storyboard sheet, or multiple sub-frames inside one image.\n- CRITICAL: Every person must be physically grounded and weight-bearing — in real contact with a supporting surface, with body weight visibly carried by that contact. For a figure caught mid-action (falling, stumbling, collapsing, jumping off something), render a physically plausible instant: joints bent, weight clearly transferring, at least one believable point of contact or support — never a rigid body hovering, tilted or suspended in mid-air without support."}
{"ts": "2026-07-07 12:20:44", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s21_blockstill_S11_Shot4", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/stairfix_nb2.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/shots_outdoor/blocking/S11_Shot4_blockfp.png"], "ref_labels": ["background chain ref (L10B02 for L10) — match wall/floor/ceiling/lighting", "shot STAGING PLAN (top-down diagram of this same location — annotation only: NEVER draw or copy this diagram, its flat colours, markers or top-down view into the photograph): circled letters = structure identifiers; each circled digit = where that on-screen character/entity stands; the single dark wedge with arrow = the camera's position and facing direction for THIS shot. Use it only to place subjects and the camera consistently with the prompt text."], "attempt": 1, "dur_s": 20.4, "bytes": 2701712, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/shots_outdoor/blocking/S11_Shot4_blockstill.png", "prompt": "Photorealistic cinematic still.\n\nReference image 1: pre-rendered BACKGROUND environment reference — layout/material/lighting identity\n\nThe half-open rooftop iron door is positioned in the middle-center background, viewed squarely from a direct eye-level subjective viewpoint across the damp landing. The environment is enveloped in a cold, muted blue-gray darkness. Contrasting this ambient shadow, a faint and sickly amber light spills outward from the black interior gap along one side of the door, casting an ominous and contaminated glow across the wet-stained concrete wall and the horizontal edge of the low parapet in the lower frame. The camera focuses entirely on the motionless threshold, isolating the doorway within the silent negative space of the rooftop.\n\nGenerate one image:\n- use image 1 for this location's wall/floor/ceiling materials, furniture identity, and lighting mood\n- follow the camera position, framing, and action requested in the prompt text — do NOT copy the camera position or composition of image 1 unless the prompt explicitly asks for it\n- do NOT copy any people from image 1\n- architectural openings (doors, windows, thresholds) must match image 1 — same position, type, and material; do NOT invent additional doors or windows unless the prompt text explicitly asks for them\n- if the prompt text places the camera inside or at one of these openings, camera-side walls and door/window frames may appear only as local foreground edges — do NOT show the same opening again in the scene, and do NOT show the exterior facade of the structure that contains the camera out in front of it\n- do not copy poses or compositions from reference images\n- do not alter character identities where their face is visible in the scene\n- each character's clothing/outfit must match that character's appearance reference image EXACTLY; if any clothing wording in the text conflicts with the reference image, follow the reference image and ignore that wording\n- only render what the scene description asks for — if only a hand or wrist is described, do NOT add the character's face\n- CRITICAL: Only render what the scene description explicitly describes. If a character's face is visible in the scene, match it to the reference. If only a body part is shown, do NOT add the face.\n- CRITICAL: Output exactly ONE single continuous photograph of ONE moment — never a panel grid, collage, contact sheet, split-screen, storyboard sheet, or multiple sub-frames inside one image.\n- CRITICAL: Every person must be physically grounded and weight-bearing — in real contact with a supporting surface, with body weight visibly carried by that contact. For a figure caught mid-action (falling, stumbling, collapsing, jumping off something), render a physically plausible instant: joints bent, weight clearly transferring, at least one believable point of contact or support — never a rigid body hovering, tilted or suspended in mid-air without support."}
{"ts": "2026-07-07 12:21:14", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s21_blockstill_S13_Shot3", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/stairfix_nb2.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/b0ad5c18-5140-4022-a2b0-805de0e5a385/images/0d30302a-51c8-4ac9-98e2-6cd9180512bf/reference/61da9a20-bea4-4a7b-8913-6ba2feafd83f.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/shots_outdoor/blocking/S13_Shot3_blockfp.png"], "ref_labels": ["background chain ref (L03B03 for L03) — match wall/floor/ceiling/lighting", "character appearance reference: Korean 40대 중반 여성, 성숙한 얼굴선과 짙은 검은 머리의 차분한 인상.", "shot STAGING PLAN (top-down diagram of this same location — annotation only: NEVER draw or copy this diagram, its flat colours, markers or top-down view into the photograph): circled letters = structure identifiers; each circled digit = where that on-screen character/entity stands; the single dark wedge with arrow = the camera's position and facing direction for THIS shot. Use it only to place subjects and the camera consistently with the prompt text."], "attempt": 1, "dur_s": 30.7, "bytes": 2676901, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/shots_outdoor/blocking/S13_Shot3_blockstill.png", "prompt": "Photorealistic cinematic still.\n\nReference image 1: pre-rendered BACKGROUND environment reference — layout/material/lighting identity\nReference image 2: character appearance reference: Korean 40대 중반 여성, 성숙한 얼굴선과 짙은 검은 머리의 차분한 인상.\n\nthe character from Image 2 in a detective coat, an Asian middle-aged woman with mature facial features and dark natural hair by the police car, occupies the middle-left foreground, looking toward a young Asian woman down the alley in the background across the same damp exterior alleyway they both occupy. the character from Image 2 stands at a three-quarter angle from the right, upper body in frame at chest height, half-stepping from the parked vehicle, eyes fixed on the distant figure. The young Asian woman is softly focused in the rear, standing at a three-quarter angle from the left, stalled mid-alley, gazing into the distance. A damp exterior alleyway shrouded in cold misty fog and deep shadows, illuminated by strobing red and blue lights mixing with a weak amber street lamp to create colored reflections on the wet surfaces. The open police vehicle side angles toward the camera on the left, framing the character from Image 2's exit.\n\nGenerate one image:\n- use image 1 for this location's wall/floor/ceiling materials, furniture identity, and lighting mood\n- follow the camera position, framing, and action requested in the prompt text — do NOT copy the camera position or composition of image 1 unless the prompt explicitly asks for it\n- do NOT copy any people from image 1\n- architectural openings (doors, windows, thresholds) must match image 1 — same position, type, and material; do NOT invent additional doors or windows unless the prompt text explicitly asks for them\n- if the prompt text places the camera inside or at one of these openings, camera-side walls and door/window frames may appear only as local foreground edges — do NOT show the same opening again in the scene, and do NOT show the exterior facade of the structure that contains the camera out in front of it\n- use image 2 as character appearance reference — match the person's identity and outfit where visible in the scene\n- do not copy poses or compositions from reference images\n- do not alter character identities where their face is visible in the scene\n- each character's clothing/outfit must match that character's appearance reference image EXACTLY; if any clothing wording in the text conflicts with the reference image, follow the reference image and ignore that wording\n- only render what the scene description asks for — if only a hand or wrist is described, do NOT add the character's face\n- CRITICAL: Only render what the scene description explicitly describes. If a character's face is visible in the scene, match it to the reference. If only a body part is shown, do NOT add the face.\n- CRITICAL: Output exactly ONE single continuous photograph of ONE moment — never a panel grid, collage, contact sheet, split-screen, storyboard sheet, or multiple sub-frames inside one image.\n- CRITICAL: Every person must be physically grounded and weight-bearing — in real contact with a supporting surface, with body weight visibly carried by that contact. For a figure caught mid-action (falling, stumbling, collapsing, jumping off something), render a physically plausible instant: joints bent, weight clearly transferring, at least one believable point of contact or support — never a rigid body hovering, tilted or suspended in mid-air without support."}
{"ts": "2026-07-07 12:21:36", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s21_blockstill_S17_Shot1", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/stairfix_nb2.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/shots_outdoor/blocking/S17_Shot1_blockfp.png"], "ref_labels": ["background chain ref (L03B01 for L03) — match wall/floor/ceiling/lighting", "shot STAGING PLAN (top-down diagram of this same location — annotation only: NEVER draw or copy this diagram, its flat colours, markers or top-down view into the photograph): circled letters = structure identifiers; each circled digit = where that on-screen character/entity stands; the single dark wedge with arrow = the camera's position and facing direction for THIS shot. Use it only to place subjects and the camera consistently with the prompt text."], "attempt": 1, "dur_s": 21.4, "bytes": 2415440, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/shots_outdoor/blocking/S17_Shot1_blockstill.png", "prompt": "Photorealistic cinematic still.\n\nReference image 1: pre-rendered BACKGROUND environment reference — layout/material/lighting identity\n\nFocusing on the pre-existing black cat in the lower-center foreground, already partway along the low concrete rooftop wall where that path leads toward the near center of the frame and not into the old villa rooftop, in left profile as it looks up toward the lit rooftop window in the upper-right background. The low camera at the cat's shoulder height captures its silhouette with faint rim-lit edges preserving body volume against the cool blue ambient fill. Thick dawn fog desaturates the damp concrete parapet running parallel behind the cat. The sickly yellow glow from the window hangs in the misty distance, creating a faint occult point of warmth near the rooftop room.\n\nGenerate one image:\n- use image 1 for this location's wall/floor/ceiling materials, furniture identity, and lighting mood\n- follow the camera position, framing, and action requested in the prompt text — do NOT copy the camera position or composition of image 1 unless the prompt explicitly asks for it\n- do NOT copy any people from image 1\n- architectural openings (doors, windows, thresholds) must match image 1 — same position, type, and material; do NOT invent additional doors or windows unless the prompt text explicitly asks for them\n- if the prompt text places the camera inside or at one of these openings, camera-side walls and door/window frames may appear only as local foreground edges — do NOT show the same opening again in the scene, and do NOT show the exterior facade of the structure that contains the camera out in front of it\n- do not copy poses or compositions from reference images\n- do not alter character identities where their face is visible in the scene\n- each character's clothing/outfit must match that character's appearance reference image EXACTLY; if any clothing wording in the text conflicts with the reference image, follow the reference image and ignore that wording\n- only render what the scene description asks for — if only a hand or wrist is described, do NOT add the character's face\n- CRITICAL: Only render what the scene description explicitly describes. If a character's face is visible in the scene, match it to the reference. If only a body part is shown, do NOT add the face.\n- CRITICAL: Output exactly ONE single continuous photograph of ONE moment — never a panel grid, collage, contact sheet, split-screen, storyboard sheet, or multiple sub-frames inside one image.\n- CRITICAL: Every person must be physically grounded and weight-bearing — in real contact with a supporting surface, with body weight visibly carried by that contact. For a figure caught mid-action (falling, stumbling, collapsing, jumping off something), render a physically plausible instant: joints bent, weight clearly transferring, at least one believable point of contact or support — never a rigid body hovering, tilted or suspended in mid-air without support."}
{"ts": "2026-07-07 12:21:36", "kind": "stage", "stage": "s21_blocking_fp", "done": "all", "shots": ["S4_Shot1", "S10_Shot5", "S11_Shot4", "S13_Shot3", "S17_Shot1"]}
{"ts": "2026-07-07 13:53:50", "kind": "stage", "stage": "s20_numbered_bd", "done": "html"}
{"ts": "2026-07-07 13:54:25", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s20_top_photo_a", "refs": [], "ref_labels": [], "attempt": 1, "dur_s": 16.5, "bytes": 4726282, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/top_photo_nb2_a.png", "prompt": "Create a photorealistic documentary location image of an aged multi-family villa in the outskirts of Incheon, seen from an elevated three-quarter angle about 45 degrees above and off to one side, fitting the whole property in frame. Show a narrow alley from the public road edge leading to a simple entry gate, then a small entry yard before a three-storey villa mass. The villa has aged red brick and exterior tile cladding, cement mouldings and sills, patched stucco, grime streaks under parapets, and four repeated window bays per storey facing the yard. Attach a clearly later-added open steel stair to the outside wall, with thin stringers, open treads, support posts, rusty pipe handrails, rising from the rear of the yard to the roof terrace landing. On the roof terrace place a small rooftop room with a worn iron door facing the landing, small side windows, a low parapet wall, round water tank, sagging laundry line, and a low platform with scattered dried herbs. Surround it with ordinary low-rise neighboring buildings, utility wires, pipes, roof clutter, stained concrete paving, no people, no readable text, neutral daylight."}
{"ts": "2026-07-07 13:54:40", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s20_top_photo_b", "refs": [], "ref_labels": [], "attempt": 1, "dur_s": 15.5, "bytes": 4765499, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/top_photo_nb2_b.png", "prompt": "Create a photorealistic documentary location image of an aged multi-family villa in the outskirts of Incheon, seen from an elevated three-quarter angle about 45 degrees above and off to one side, fitting the whole property in frame. Show a narrow alley from the public road edge leading to a simple entry gate, then a small entry yard before a three-storey villa mass. The villa has aged red brick and exterior tile cladding, cement mouldings and sills, patched stucco, grime streaks under parapets, and four repeated window bays per storey facing the yard. Attach a clearly later-added open steel stair to the outside wall, with thin stringers, open treads, support posts, rusty pipe handrails, rising from the rear of the yard to the roof terrace landing. On the roof terrace place a small rooftop room with a worn iron door facing the landing, small side windows, a low parapet wall, round water tank, sagging laundry line, and a low platform with scattered dried herbs. Surround it with ordinary low-rise neighboring buildings, utility wires, pipes, roof clutter, stained concrete paving, no people, no readable text, neutral daylight."}
{"ts": "2026-07-07 13:54:57", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s20_top_photo_c", "refs": [], "ref_labels": [], "attempt": 1, "dur_s": 16.8, "bytes": 4531485, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/top_photo_nb2_c.png", "prompt": "Create a photorealistic documentary location image of an aged multi-family villa in the outskirts of Incheon, seen from an elevated three-quarter angle about 45 degrees above and off to one side, fitting the whole property in frame. Show a narrow alley from the public road edge leading to a simple entry gate, then a small entry yard before a three-storey villa mass. The villa has aged red brick and exterior tile cladding, cement mouldings and sills, patched stucco, grime streaks under parapets, and four repeated window bays per storey facing the yard. Attach a clearly later-added open steel stair to the outside wall, with thin stringers, open treads, support posts, rusty pipe handrails, rising from the rear of the yard to the roof terrace landing. On the roof terrace place a small rooftop room with a worn iron door facing the landing, small side windows, a low parapet wall, round water tank, sagging laundry line, and a low platform with scattered dried herbs. Surround it with ordinary low-rise neighboring buildings, utility wires, pipes, roof clutter, stained concrete paving, no people, no readable text, neutral daylight."}
{"ts": "2026-07-07 13:55:31", "kind": "llm", "step": "s20_top_judge_gpt", "model": "gpt", "dur_s": 34.5, "system_prompt": "You are given ONE image-generation prompt and THREE candidate\nimages, labelled A, B, C in the order attached, all generated\nfrom that exact prompt.\nPick the ONE candidate that most faithfully realises the prompt.\nJudge ONLY fidelity to the prompt: its stated structure (what\ncontains or carries what, counts, connections, placements), the\ncamera it asks for, materials and state, and its exclusions (no\npeople, no readable text). Ignore generic aesthetic appeal.\nCheck every candidate against the prompt point by point before\ndeciding; base every verdict only on what is visible.\nOutput: winner, ranking best-to-worst, an integer fidelity\nscore 0-10 per candidate, and a one-line Korean verdict per\ncandidate citing the decisive prompt points.", "user_prompt": "[{\"type\": \"text\", \"text\": \"THE PROMPT (all three candidates were generated from this):\\nCreate a photorealistic documentary location image of an aged multi-family villa in the outskirts of Incheon, seen from an elevated three-quarter angle about 45 degrees above and off to one side, fitting the whole property in frame. Show a narrow alley from the public road edge leading to a simple entry gate, then a small entry yard before a three-storey villa mass. The villa has aged red brick and exterior tile cladding, cement mouldings and sills, patched stucco, grime streaks under parapets, and four repeated window bays per storey facing the yard. Attach a clearly later-added open steel stair to the outside wall, with thin stringers, open treads, support posts, rusty pipe handrails, rising from the rear of the yard to the roof terrace landing. On the roof terrace place a small rooftop room with a worn iron door facing the landing, small side windows, a low parapet wall, round water tank, sagging laundry line, and a low platform with scattered dried herbs. Surround it with ordinary low-rise neighboring buildings, utility wires, pipes, roof clutter, stained concrete paving, no people, no readable text, neutral daylight.\"}, {\"type\": \"text\", \"text\": \"Candidate A:\"}, {\"type\": \"text\", \"text\": \"Candidate B:\"}, {\"type\": \"text\", \"text\": \"Candidate C:\"}]"}
{"ts": "2026-07-07 13:56:07", "kind": "llm", "step": "s20_top_judge_gemini", "model": "gemini-pro", "dur_s": 35.5, "system_prompt": "You are given ONE image-generation prompt and THREE candidate\nimages, labelled A, B, C in the order attached, all generated\nfrom that exact prompt.\nPick the ONE candidate that most faithfully realises the prompt.\nJudge ONLY fidelity to the prompt: its stated structure (what\ncontains or carries what, counts, connections, placements), the\ncamera it asks for, materials and state, and its exclusions (no\npeople, no readable text). Ignore generic aesthetic appeal.\nCheck every candidate against the prompt point by point before\ndeciding; base every verdict only on what is visible.\nOutput: winner, ranking best-to-worst, an integer fidelity\nscore 0-10 per candidate, and a one-line Korean verdict per\ncandidate citing the decisive prompt points.", "user_prompt": "[{\"type\": \"text\", \"text\": \"THE PROMPT (all three candidates were generated from this):\\nCreate a photorealistic documentary location image of an aged multi-family villa in the outskirts of Incheon, seen from an elevated three-quarter angle about 45 degrees above and off to one side, fitting the whole property in frame. Show a narrow alley from the public road edge leading to a simple entry gate, then a small entry yard before a three-storey villa mass. The villa has aged red brick and exterior tile cladding, cement mouldings and sills, patched stucco, grime streaks under parapets, and four repeated window bays per storey facing the yard. Attach a clearly later-added open steel stair to the outside wall, with thin stringers, open treads, support posts, rusty pipe handrails, rising from the rear of the yard to the roof terrace landing. On the roof terrace place a small rooftop room with a worn iron door facing the landing, small side windows, a low parapet wall, round water tank, sagging laundry line, and a low platform with scattered dried herbs. Surround it with ordinary low-rise neighboring buildings, utility wires, pipes, roof clutter, stained concrete paving, no people, no readable text, neutral daylight.\"}, {\"type\": \"text\", \"text\": \"Candidate A:\"}, {\"type\": \"text\", \"text\": \"Candidate B:\"}, {\"type\": \"text\", \"text\": \"Candidate C:\"}]"}
{"ts": "2026-07-07 13:56:34", "kind": "llm", "step": "s20_top_critique_gpt", "model": "gpt", "dur_s": 26.8, "system_prompt": "You are given the image-generation prompt and ONE photograph\ngenerated from it. List what is WRONG with the photograph:\n- fidelity: any visible deviation from the prompt's stated\n  structure (what contains or carries what, counts, connections,\n  placements), its camera, materials and state, and its\n  exclusions (no people, no readable text),\n- physical coherence: any construction that could not physically\n  work in reality (broken, floating or overlapping structure,\n  unreachable routes, impossible geometry).\nBase every finding only on what is visible. Ignore generic\naesthetic taste.\nissues: each finding as issue_ko (one short Korean line) plus\nfix_en (ONE imperative English edit instruction that fixes\nexactly that finding while changing nothing else). Empty array\nif nothing is wrong.", "user_prompt": "[{\"type\": \"text\", \"text\": \"THE PROMPT (the photograph was generated from this):\\nCreate a photorealistic documentary location image of an aged multi-family villa in the outskirts of Incheon, seen from an elevated three-quarter angle about 45 degrees above and off to one side, fitting the whole property in frame. Show a narrow alley from the public road edge leading to a simple entry gate, then a small entry yard before a three-storey villa mass. The villa has aged red brick and exterior tile cladding, cement mouldings and sills, patched stucco, grime streaks under parapets, and four repeated window bays per storey facing the yard. Attach a clearly later-added open steel stair to the outside wall, with thin stringers, open treads, support posts, rusty pipe handrails, rising from the rear of the yard to the roof terrace landing. On the roof terrace place a small rooftop room with a worn iron door facing the landing, small side windows, a low parapet wall, round water tank, sagging laundry line, and a low platform with scattered dried herbs. Surround it with ordinary low-rise neighboring buildings, utility wires, pipes, roof clutter, stained concrete paving, no people, no readable text, neutral daylight.\"}, {\"type\": \"text\", \"text\": \"Photograph to examine:\"}]"}
{"ts": "2026-07-07 13:56:55", "kind": "llm", "step": "s20_top_critique_gemini", "model": "gemini-pro", "dur_s": 21.6, "system_prompt": "You are given the image-generation prompt and ONE photograph\ngenerated from it. List what is WRONG with the photograph:\n- fidelity: any visible deviation from the prompt's stated\n  structure (what contains or carries what, counts, connections,\n  placements), its camera, materials and state, and its\n  exclusions (no people, no readable text),\n- physical coherence: any construction that could not physically\n  work in reality (broken, floating or overlapping structure,\n  unreachable routes, impossible geometry).\nBase every finding only on what is visible. Ignore generic\naesthetic taste.\nissues: each finding as issue_ko (one short Korean line) plus\nfix_en (ONE imperative English edit instruction that fixes\nexactly that finding while changing nothing else). Empty array\nif nothing is wrong.", "user_prompt": "[{\"type\": \"text\", \"text\": \"THE PROMPT (the photograph was generated from this):\\nCreate a photorealistic documentary location image of an aged multi-family villa in the outskirts of Incheon, seen from an elevated three-quarter angle about 45 degrees above and off to one side, fitting the whole property in frame. Show a narrow alley from the public road edge leading to a simple entry gate, then a small entry yard before a three-storey villa mass. The villa has aged red brick and exterior tile cladding, cement mouldings and sills, patched stucco, grime streaks under parapets, and four repeated window bays per storey facing the yard. Attach a clearly later-added open steel stair to the outside wall, with thin stringers, open treads, support posts, rusty pipe handrails, rising from the rear of the yard to the roof terrace landing. On the roof terrace place a small rooftop room with a worn iron door facing the landing, small side windows, a low parapet wall, round water tank, sagging laundry line, and a low platform with scattered dried herbs. Surround it with ordinary low-rise neighboring buildings, utility wires, pipes, roof clutter, stained concrete paving, no people, no readable text, neutral daylight.\"}, {\"type\": \"text\", \"text\": \"Photograph to examine:\"}]"}
{"ts": "2026-07-07 13:57:17", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s20_top_photo_fixed", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/top_photo_nb2_a.png"], "ref_labels": ["PHOTOGRAPH TO EDIT — fix ONLY the issues the prompt lists; preserve everything else exactly."], "attempt": 1, "dur_s": 21.9, "bytes": 3912197, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/top_photo_fixed_nb2.png", "prompt": "Edit this photograph. Fix ONLY the issues listed below, each in\nplace, changing nothing else about the property:\n\nISSUES TO FIX:\n- (GPT VLM) Make the yard-facing facade show exactly four repeated window bays on each storey.\n- (GPT VLM) Move the added exterior steel stair so it starts from the rear of the entry yard.\n- (GPT VLM) Add a clear roof-terrace landing and parapet opening where the exterior stair reaches the roof.\n- (GPT VLM) Keep only one worn iron door on the rooftop room and orient it toward the stair landing.\n- (GPT VLM) Reduce the rooftop room to a small rooftop room while preserving its placement and details.\n- (Gemini VLM) Remove the railing at the top stair landing to open access to the roof.\n- (Gemini VLM) Redesign the front facade to display exactly four repeated window bays per storey.\n- (Gemini VLM) Relocate the bottom of the steel stair to start from the rear of the yard.\n\nPRESERVE EVERYTHING ELSE EXACTLY as in the original photograph —\nbuildings, roof objects, yard, surroundings, lighting, camera,\nframing. No people, no readable text anywhere."}
{"ts": "2026-07-07 13:59:32", "kind": "img", "engine": "gpt-image-2", "mode": "edit", "tag": "s20_top_fpflat_marked_gpt", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/top_photo_fixed_nb2.png"], "size": "1536x864", "attempt": 1, "dur_s": 135.2, "bytes": 2137308, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/top_fpflat_marked_gpt.png", "prompt": "The attached image is a PHOTOGRAPH of one real property.\nTRANSLATE its permanent structural layout into the top-down\narchitectural SITE PLAN described below — faithful to the\nphotograph's actual arrangement: positions, connections,\nboundary openings, and the exterior stair route between levels.\nPermanent structure only: ignore people, loose objects and\nmovable props.\n\nSTRICT VERTICAL TOP-DOWN ONLY: this drawing is a TRUE ORTHOGRAPHIC\nPLAN seen from DIRECTLY ABOVE — absolutely NO 3D, NO 2.5D, NO\naxonometric or oblique tilt of any kind, no facades, no volume\nsides visible; every element appears only as its pure plan\ngeometry (roof outlines, ground shapes, openings set in walls).\n\nEXTERIOR ONLY: this is an OUTDOOR site plan seen from above — show\nonly the exterior: ground areas, building outer shells, roof-level\nsurfaces and outdoor fixtures. NEVER draw any interior room, inner\nwall, partition or furniture of any enclosed unit — every enclosed\nvolume stays sealed (outer walls and boundary openings only).\n\nKEY ELEMENTS (letters are identifiers only — mark each listed element's POSITION on the plan with its circled letter):\nLEVELS (placement logic only): ground -> villa mass, 3 storeys roof terrace -> rooftop room and rooftop fixtures\nContext: public road edge and neighbouring building masses border the alley, rear, and side.\nA. narrow alley, ground approach from the public road edge to the entry gate, facing the yard sequence.\nB. entry gate, boundary opening between the narrow alley and the entry yard.\nC. entry yard, ground yard inside the gate before the villa, with a rear part connecting to the exterior stair route.\nD. villa mass, 3-storey building mass behind the entry yard, hosting the roof terrace and the exterior stair on its outside wall.\nE. facade windows, exterior window bays in the villa wall facing the entry yard, four repeated bays per storey.\nF. roof terrace, exterior rooftop surface on the villa mass around the rooftop room, with the stair landing and rooftop fixtures on it.\nG. low wall, low climbable boundary on the roof terrace edge around the rooftop room area, in the sightline toward a rooftop-room window.\nH. rooftop room, small enclosed volume on the roof terrace, with its front side facing the stair landing.\nI. added-on exterior stair, separate later stair attached to the villa outside wall, connecting the entry-yard level to the roof terrace landing in front of the rooftop room.\nJ. iron door, exterior entrance threshold in the rooftop room front wall, facing the roof terrace landing and opening into the rooftop room.\nK. living window, small exterior window in a side wall of the rooftop room, facing the roof terrace and low-wall area.\nL. bedroom window, exterior window in another outer wall of the rooftop room.\nM. water tank, round utility fixture on the roof terrace near the rooftop room.\nN. laundry line, thin exterior line on the roof terrace between the water tank and the rooftop room.\nO. low platform, low fixture on the roof terrace near the approach to the iron door.\n\nDraw ONE strict TOP-DOWN 2D architectural SITE PLAN in the drafting\nlanguage of a clean floor plan — thin dark outlines, flat muted colour\nfills, detailed plan symbols (double-line walls, door leaf + swing arc,\nwindow frames set in walls, stair treads with stringers and landings,\nbase rings for round fixtures, paving joints, kerb lines). Height\nlevels appear only as flat fill tints (darker = higher). Flat\northographic plan view: NO 3D, NO axonometric, NO perspective, no\nshadows. Neutral document: no people, no story props, no vehicles, no\nposted papers, each listed element carries ONLY its assigned letter, drawn once\nas a small plain CIRCLED LETTER marker on (or beside) it; apart\nfrom these circled letters no text, no words, no numbers, no other\nmarkers, no legend, no compass. Never expose interior rooms or furniture of any enclosed\nunit — outer shell and boundary openings only."}
{"ts": "2026-07-07 13:59:33", "kind": "stage", "stage": "s20_numbered_bd", "done": "top"}
{"ts": "2026-07-07 14:09:53", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s20_top_fpflat_marked_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/top_photo_fixed_nb2.png"], "ref_labels": ["PHOTOGRAPH (layout source) — extract its permanent structural layout only; draw the diagram the prompt describes, not a photo."], "attempt": 1, "dur_s": 26.1, "bytes": 2633251, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/top_fpflat_marked_nb2.png", "prompt": "The attached image is a PHOTOGRAPH of one real property.\nTRANSLATE its permanent structural layout into the top-down\narchitectural SITE PLAN described below — faithful to the\nphotograph's actual arrangement: positions, connections,\nboundary openings, and the exterior stair route between levels.\nPermanent structure only: ignore people, loose objects and\nmovable props.\n\nSTRICT VERTICAL TOP-DOWN ONLY: this drawing is a TRUE ORTHOGRAPHIC\nPLAN seen from DIRECTLY ABOVE — absolutely NO 3D, NO 2.5D, NO\naxonometric or oblique tilt of any kind, no facades, no volume\nsides visible; every element appears only as its pure plan\ngeometry (roof outlines, ground shapes, openings set in walls).\n\nEXTERIOR ONLY: this is an OUTDOOR site plan seen from above — show\nonly the exterior: ground areas, building outer shells, roof-level\nsurfaces and outdoor fixtures. NEVER draw any interior room, inner\nwall, partition or furniture of any enclosed unit — every enclosed\nvolume stays sealed (outer walls and boundary openings only).\n\nKEY ELEMENTS (letters are identifiers only — mark each listed element's POSITION on the plan with its circled letter):\nLEVELS (placement logic only): ground -> villa mass, 3 storeys roof terrace -> rooftop room and rooftop fixtures\nContext: public road edge and neighbouring building masses border the alley, rear, and side.\nA. narrow alley, ground approach from the public road edge to the entry gate, facing the yard sequence.\nB. entry gate, boundary opening between the narrow alley and the entry yard.\nC. entry yard, ground yard inside the gate before the villa, with a rear part connecting to the exterior stair route.\nD. villa mass, 3-storey building mass behind the entry yard, hosting the roof terrace and the exterior stair on its outside wall.\nE. facade windows, exterior window bays in the villa wall facing the entry yard, four repeated bays per storey.\nF. roof terrace, exterior rooftop surface on the villa mass around the rooftop room, with the stair landing and rooftop fixtures on it.\nG. low wall, low climbable boundary on the roof terrace edge around the rooftop room area, in the sightline toward a rooftop-room window.\nH. rooftop room, small enclosed volume on the roof terrace, with its front side facing the stair landing.\nI. added-on exterior stair, separate later stair attached to the villa outside wall, connecting the entry-yard level to the roof terrace landing in front of the rooftop room.\nJ. iron door, exterior entrance threshold in the rooftop room front wall, facing the roof terrace landing and opening into the rooftop room.\nK. living window, small exterior window in a side wall of the rooftop room, facing the roof terrace and low-wall area.\nL. bedroom window, exterior window in another outer wall of the rooftop room.\nM. water tank, round utility fixture on the roof terrace near the rooftop room.\nN. laundry line, thin exterior line on the roof terrace between the water tank and the rooftop room.\nO. low platform, low fixture on the roof terrace near the approach to the iron door.\n\nDraw ONE strict TOP-DOWN 2D architectural SITE PLAN in the drafting\nlanguage of a clean floor plan — thin dark outlines, flat muted colour\nfills, detailed plan symbols (double-line walls, door leaf + swing arc,\nwindow frames set in walls, stair treads with stringers and landings,\nbase rings for round fixtures, paving joints, kerb lines). Height\nlevels appear only as flat fill tints (darker = higher). Flat\northographic plan view: NO 3D, NO axonometric, NO perspective, no\nshadows. Neutral document: no people, no story props, no vehicles, no\nposted papers, each listed element carries ONLY its assigned letter, drawn once\nas a small plain CIRCLED LETTER marker on (or beside) it; apart\nfrom these circled letters no text, no words, no numbers, no other\nmarkers, no legend, no compass. Never expose interior rooms or furniture of any enclosed\nunit — outer shell and boundary openings only."}
{"ts": "2026-07-07 14:09:53", "kind": "stage", "stage": "s20_numbered_bd", "done": "topfpnb2"}
{"ts": "2026-07-07 14:20:35", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s20_top_fpflat_marked_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/top_photo_fixed_nb2.png"], "ref_labels": ["PHOTOGRAPH (layout source) — extract its permanent structural layout only; draw the diagram the prompt describes, not a photo."], "attempt": 1, "dur_s": 21.4, "bytes": 2834881, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/top_fpflat_marked_nb2.png", "prompt": "The attached image is a PHOTOGRAPH of one real property.\nTRANSLATE its permanent structural layout into the top-down\narchitectural SITE PLAN described below — faithful to the\nphotograph's actual arrangement: positions, connections,\nboundary openings, and the exterior stair route between levels.\nPermanent structure only: ignore people, loose objects and\nmovable props.\n\nOUTPUT MEDIUM: a flat 2D architectural SITE-PLAN DRAWING on plain\ndrawing paper — NOT a photograph, NOT a rendering of the scene.\nThe attached photograph is ONLY a source of layout information;\ndo NOT reproduce or imitate its camera angle or its look —\nRE-PROJECT everything to a TRUE ORTHOGRAPHIC PLAN seen from\nDIRECTLY ABOVE (90 degrees, straight-down nadir).\nAbsolutely NO 3D of any kind: no perspective, no foreshortening,\nno axonometric or oblique tilt, no facades, no wall surfaces, no\nvolume sides, no cast shadows, no photographic texture — every\nelement appears ONLY as its pure plan geometry (roof outlines,\nground shapes, openings marked in wall lines) in uniform flat\nfills and clean drafting linework.\n\nEXTERIOR ONLY: this is an OUTDOOR site plan seen from above — show\nonly the exterior: ground areas, building outer shells, roof-level\nsurfaces and outdoor fixtures. NEVER draw any interior room, inner\nwall, partition or furniture of any enclosed unit — every enclosed\nvolume stays sealed (outer walls and boundary openings only).\n\nKEY ELEMENTS (letters are identifiers only — mark each listed element's POSITION on the plan with its circled letter):\nLEVELS (placement logic only): ground -> villa mass, 3 storeys roof terrace -> rooftop room and rooftop fixtures\nContext: public road edge and neighbouring building masses border the alley, rear, and side.\nA. narrow alley, ground approach from the public road edge to the entry gate, facing the yard sequence.\nB. entry gate, boundary opening between the narrow alley and the entry yard.\nC. entry yard, ground yard inside the gate before the villa, with a rear part connecting to the exterior stair route.\nD. villa mass, 3-storey building mass behind the entry yard, hosting the roof terrace and the exterior stair on its outside wall.\nE. facade windows, exterior window bays in the villa wall facing the entry yard, four repeated bays per storey.\nF. roof terrace, exterior rooftop surface on the villa mass around the rooftop room, with the stair landing and rooftop fixtures on it.\nG. low wall, low climbable boundary on the roof terrace edge around the rooftop room area, in the sightline toward a rooftop-room window.\nH. rooftop room, small enclosed volume on the roof terrace, with its front side facing the stair landing.\nI. added-on exterior stair, separate later stair attached to the villa outside wall, connecting the entry-yard level to the roof terrace landing in front of the rooftop room.\nJ. iron door, exterior entrance threshold in the rooftop room front wall, facing the roof terrace landing and opening into the rooftop room.\nK. living window, small exterior window in a side wall of the rooftop room, facing the roof terrace and low-wall area.\nL. bedroom window, exterior window in another outer wall of the rooftop room.\nM. water tank, round utility fixture on the roof terrace near the rooftop room.\nN. laundry line, thin exterior line on the roof terrace between the water tank and the rooftop room.\nO. low platform, low fixture on the roof terrace near the approach to the iron door.\n\nDraw ONE strict TOP-DOWN 2D architectural SITE PLAN in the drafting\nlanguage of a clean floor plan — thin dark outlines, flat muted colour\nfills, detailed plan symbols (double-line walls, door leaf + swing arc,\nwindow frames set in walls, stair treads with stringers and landings,\nbase rings for round fixtures, paving joints, kerb lines). Height\nlevels appear only as flat fill tints (darker = higher). Flat\northographic plan view: NO 3D, NO axonometric, NO perspective, no\nshadows. Neutral document: no people, no story props, no vehicles, no\nposted papers, each listed element carries ONLY its assigned letter, drawn once\nas a small plain CIRCLED LETTER marker on (or beside) it; apart\nfrom these circled letters no text, no words, no numbers, no other\nmarkers, no legend, no compass. Never expose interior rooms or furniture of any enclosed\nunit — outer shell and boundary openings only."}
{"ts": "2026-07-07 14:20:35", "kind": "stage", "stage": "s20_numbered_bd", "done": "topfpnb2"}
{"ts": "2026-07-07 14:22:51", "kind": "img", "engine": "gpt-image-2", "mode": "edit", "tag": "s20_top_fpflat_marked_gpt", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/top_photo_fixed_nb2.png"], "size": "1536x864", "attempt": 1, "dur_s": 134.0, "bytes": 1634474, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/top_fpflat_marked_gpt.png", "prompt": "The attached image is a PHOTOGRAPH of one real property.\nTRANSLATE its permanent structural layout into the top-down\narchitectural SITE PLAN described below — faithful to the\nphotograph's actual arrangement: positions, connections,\nboundary openings, and the exterior stair route between levels.\nPermanent structure only: ignore people, loose objects and\nmovable props.\n\nOUTPUT MEDIUM: a flat 2D architectural SITE-PLAN DRAWING on plain\ndrawing paper — NOT a photograph, NOT a rendering of the scene.\nThe attached photograph is ONLY a source of layout information;\ndo NOT reproduce or imitate its camera angle or its look —\nRE-PROJECT everything to a TRUE ORTHOGRAPHIC PLAN seen from\nDIRECTLY ABOVE (90 degrees, straight-down nadir).\nAbsolutely NO 3D of any kind: no perspective, no foreshortening,\nno axonometric or oblique tilt, no facades, no wall surfaces, no\nvolume sides, no cast shadows, no photographic texture — every\nelement appears ONLY as its pure plan geometry (roof outlines,\nground shapes, openings marked in wall lines) in uniform flat\nfills and clean drafting linework.\n\nEXTERIOR ONLY: this is an OUTDOOR site plan seen from above — show\nonly the exterior: ground areas, building outer shells, roof-level\nsurfaces and outdoor fixtures. NEVER draw any interior room, inner\nwall, partition or furniture of any enclosed unit — every enclosed\nvolume stays sealed (outer walls and boundary openings only).\n\nKEY ELEMENTS (letters are identifiers only — mark each listed element's POSITION on the plan with its circled letter):\nLEVELS (placement logic only): ground -> villa mass, 3 storeys roof terrace -> rooftop room and rooftop fixtures\nContext: public road edge and neighbouring building masses border the alley, rear, and side.\nA. narrow alley, ground approach from the public road edge to the entry gate, facing the yard sequence.\nB. entry gate, boundary opening between the narrow alley and the entry yard.\nC. entry yard, ground yard inside the gate before the villa, with a rear part connecting to the exterior stair route.\nD. villa mass, 3-storey building mass behind the entry yard, hosting the roof terrace and the exterior stair on its outside wall.\nE. facade windows, exterior window bays in the villa wall facing the entry yard, four repeated bays per storey.\nF. roof terrace, exterior rooftop surface on the villa mass around the rooftop room, with the stair landing and rooftop fixtures on it.\nG. low wall, low climbable boundary on the roof terrace edge around the rooftop room area, in the sightline toward a rooftop-room window.\nH. rooftop room, small enclosed volume on the roof terrace, with its front side facing the stair landing.\nI. added-on exterior stair, separate later stair attached to the villa outside wall, connecting the entry-yard level to the roof terrace landing in front of the rooftop room.\nJ. iron door, exterior entrance threshold in the rooftop room front wall, facing the roof terrace landing and opening into the rooftop room.\nK. living window, small exterior window in a side wall of the rooftop room, facing the roof terrace and low-wall area.\nL. bedroom window, exterior window in another outer wall of the rooftop room.\nM. water tank, round utility fixture on the roof terrace near the rooftop room.\nN. laundry line, thin exterior line on the roof terrace between the water tank and the rooftop room.\nO. low platform, low fixture on the roof terrace near the approach to the iron door.\n\nDraw ONE strict TOP-DOWN 2D architectural SITE PLAN in the drafting\nlanguage of a clean floor plan — thin dark outlines, flat muted colour\nfills, detailed plan symbols (double-line walls, door leaf + swing arc,\nwindow frames set in walls, stair treads with stringers and landings,\nbase rings for round fixtures, paving joints, kerb lines). Height\nlevels appear only as flat fill tints (darker = higher). Flat\northographic plan view: NO 3D, NO axonometric, NO perspective, no\nshadows. Neutral document: no people, no story props, no vehicles, no\nposted papers, each listed element carries ONLY its assigned letter, drawn once\nas a small plain CIRCLED LETTER marker on (or beside) it; apart\nfrom these circled letters no text, no words, no numbers, no other\nmarkers, no legend, no compass. Never expose interior rooms or furniture of any enclosed\nunit — outer shell and boundary openings only."}
{"ts": "2026-07-07 14:22:51", "kind": "stage", "stage": "s20_numbered_bd", "done": "topfp"}
{"ts": "2026-07-07 14:59:46", "kind": "img", "engine": "gpt-image-2", "mode": "edit", "tag": "s20_top_fpflat_marked_gpt", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/top_photo_fixed_nb2.png"], "size": "1536x864", "attempt": 1, "dur_s": 110.6, "bytes": 1865954, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/top_fpflat_marked_gpt.png", "prompt": "The attached image is a PHOTOGRAPH of one real property.\nTRANSLATE its permanent structural layout into the top-down\narchitectural SITE PLAN described below — faithful to the\nphotograph's actual arrangement: positions, connections,\nboundary openings, and the exterior stair route between levels.\nPermanent structure only: ignore people, loose objects and\nmovable props.\n\nOUTPUT MEDIUM: a flat 2D architectural SITE-PLAN DRAWING on plain\ndrawing paper — NOT a photograph, NOT a rendering of the scene.\nThe attached photograph is ONLY a source of layout information;\ndo NOT reproduce or imitate its camera angle or its look —\nRE-PROJECT everything to a TRUE ORTHOGRAPHIC PLAN seen from\nDIRECTLY ABOVE (90 degrees, straight-down nadir).\nAbsolutely NO 3D of any kind: no perspective, no foreshortening,\nno axonometric or oblique tilt, no facades, no wall surfaces, no\nvolume sides, no cast shadows, no photographic texture — every\nelement appears ONLY as its pure plan geometry (roof outlines,\nground shapes, openings marked in wall lines) in uniform flat\nfills and clean drafting linework.\n\nEXTERIOR ONLY: this is an OUTDOOR site plan seen from above — show\nonly the exterior: ground areas, building outer shells, roof-level\nsurfaces and outdoor fixtures. NEVER draw any interior room, inner\nwall, partition or furniture of any enclosed unit — every enclosed\nvolume stays sealed (outer walls and boundary openings only).\n\nKEY ELEMENTS (letters are identifiers only — mark each listed element's POSITION on the plan with its circled letter). Elements that face sideways and are not visible from directly above (windows or doors set in walls) appear ONLY as their opening symbols on the wall line, with the circled letter beside that symbol — NEVER fold or draw any facade or elevation into the plan to show them:\nLEVELS (placement logic only): ground -> villa mass, 3 storeys roof terrace -> rooftop room and rooftop fixtures\nContext: public road edge and neighbouring building masses border the alley, rear, and side.\nA. narrow alley, ground approach from the public road edge to the entry gate, facing the yard sequence.\nB. entry gate, boundary opening between the narrow alley and the entry yard.\nC. entry yard, ground yard inside the gate before the villa, with a rear part connecting to the exterior stair route.\nD. villa mass, 3-storey building mass behind the entry yard, hosting the roof terrace and the exterior stair on its outside wall.\nE. facade windows, exterior window bays in the villa wall facing the entry yard, four repeated bays per storey.\nF. roof terrace, exterior rooftop surface on the villa mass around the rooftop room, with the stair landing and rooftop fixtures on it.\nG. low wall, low climbable boundary on the roof terrace edge around the rooftop room area, in the sightline toward a rooftop-room window.\nH. rooftop room, small enclosed volume on the roof terrace, with its front side facing the stair landing.\nI. added-on exterior stair, separate later stair attached to the villa outside wall, connecting the entry-yard level to the roof terrace landing in front of the rooftop room.\nJ. iron door, exterior entrance threshold in the rooftop room front wall, facing the roof terrace landing and opening into the rooftop room.\nK. living window, small exterior window in a side wall of the rooftop room, facing the roof terrace and low-wall area.\nL. bedroom window, exterior window in another outer wall of the rooftop room.\nM. water tank, round utility fixture on the roof terrace near the rooftop room.\nN. laundry line, thin exterior line on the roof terrace between the water tank and the rooftop room.\nO. low platform, low fixture on the roof terrace near the approach to the iron door.\n\nDraw ONE strict TOP-DOWN 2D architectural SITE PLAN in the drafting\nlanguage of a clean floor plan — thin dark outlines, flat muted colour\nfills, detailed plan symbols (double-line walls, door leaf + swing arc,\nwindow frames set in walls, stair treads with stringers and landings,\nbase rings for round fixtures, paving joints, kerb lines). Height\nlevels appear only as flat fill tints (darker = higher). Flat\northographic plan view: NO 3D, NO axonometric, NO perspective, no\nshadows. Neutral document: no people, no story props, no vehicles, no\nposted papers, each listed element carries ONLY its assigned letter, drawn once\nas a small plain CIRCLED LETTER marker on (or beside) it; apart\nfrom these circled letters no text, no words, no numbers, no other\nmarkers, no legend, no compass. Never expose interior rooms or furniture of any enclosed\nunit — outer shell and boundary openings only."}
{"ts": "2026-07-07 14:59:46", "kind": "stage", "stage": "s20_numbered_bd", "done": "topfp"}
{"ts": "2026-07-07 15:00:10", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s20_top_fpflat_marked_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/top_fpflat_marked_gpt.png"], "ref_labels": ["SITE-PLAN DRAFT (layout ground truth) — redraw it in clean drafting language, SAME straight-down top-down view, keeping every circled letter marker in place; never tilt into 3D."], "attempt": 1, "dur_s": 21.3, "bytes": 2291566, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/top_fpflat_marked_nb2.png", "prompt": "The attached image is already a straight-down TOP-DOWN\narchitectural SITE PLAN of one real property. REDRAW it in the\ndrafting language described below — keep its viewpoint, layout,\nproportions, boundary openings, stair position and every circled\nletter marker exactly where they are; do not add, move or remove\nelements.\n\nOUTPUT MEDIUM: a flat 2D architectural SITE-PLAN DRAWING on plain\ndrawing paper — NOT a photograph, NOT a rendering of the scene.\nKeep the TRUE ORTHOGRAPHIC straight-down view of the attached plan draft.\nAbsolutely NO 3D of any kind: no perspective, no foreshortening,\nno axonometric or oblique tilt, no facades, no wall surfaces, no\nvolume sides, no cast shadows, no photographic texture — every\nelement appears ONLY as its pure plan geometry (roof outlines,\nground shapes, openings marked in wall lines) in uniform flat\nfills and clean drafting linework.\n\nEXTERIOR ONLY: this is an OUTDOOR site plan seen from above — show\nonly the exterior: ground areas, building outer shells, roof-level\nsurfaces and outdoor fixtures. NEVER draw any interior room, inner\nwall, partition or furniture of any enclosed unit — every enclosed\nvolume stays sealed (outer walls and boundary openings only).\n\nKEY ELEMENTS (letters are identifiers only — mark each listed element's POSITION on the plan with its circled letter). Elements that face sideways and are not visible from directly above (windows or doors set in walls) appear ONLY as their opening symbols on the wall line, with the circled letter beside that symbol — NEVER fold or draw any facade or elevation into the plan to show them:\nLEVELS (placement logic only): ground -> villa mass, 3 storeys roof terrace -> rooftop room and rooftop fixtures\nContext: public road edge and neighbouring building masses border the alley, rear, and side.\nA. narrow alley, ground approach from the public road edge to the entry gate, facing the yard sequence.\nB. entry gate, boundary opening between the narrow alley and the entry yard.\nC. entry yard, ground yard inside the gate before the villa, with a rear part connecting to the exterior stair route.\nD. villa mass, 3-storey building mass behind the entry yard, hosting the roof terrace and the exterior stair on its outside wall.\nE. facade windows, exterior window bays in the villa wall facing the entry yard, four repeated bays per storey.\nF. roof terrace, exterior rooftop surface on the villa mass around the rooftop room, with the stair landing and rooftop fixtures on it.\nG. low wall, low climbable boundary on the roof terrace edge around the rooftop room area, in the sightline toward a rooftop-room window.\nH. rooftop room, small enclosed volume on the roof terrace, with its front side facing the stair landing.\nI. added-on exterior stair, separate later stair attached to the villa outside wall, connecting the entry-yard level to the roof terrace landing in front of the rooftop room.\nJ. iron door, exterior entrance threshold in the rooftop room front wall, facing the roof terrace landing and opening into the rooftop room.\nK. living window, small exterior window in a side wall of the rooftop room, facing the roof terrace and low-wall area.\nL. bedroom window, exterior window in another outer wall of the rooftop room.\nM. water tank, round utility fixture on the roof terrace near the rooftop room.\nN. laundry line, thin exterior line on the roof terrace between the water tank and the rooftop room.\nO. low platform, low fixture on the roof terrace near the approach to the iron door.\n\nDraw ONE strict TOP-DOWN 2D architectural SITE PLAN in the drafting\nlanguage of a clean floor plan — thin dark outlines, flat muted colour\nfills, detailed plan symbols (double-line walls, door leaf + swing arc,\nwindow frames set in walls, stair treads with stringers and landings,\nbase rings for round fixtures, paving joints, kerb lines). Height\nlevels appear only as flat fill tints (darker = higher). Flat\northographic plan view: NO 3D, NO axonometric, NO perspective, no\nshadows. Neutral document: no people, no story props, no vehicles, no\nposted papers, each listed element carries ONLY its assigned letter, drawn once\nas a small plain CIRCLED LETTER marker on (or beside) it; apart\nfrom these circled letters no text, no words, no numbers, no other\nmarkers, no legend, no compass. Never expose interior rooms or furniture of any enclosed\nunit — outer shell and boundary openings only."}
{"ts": "2026-07-07 15:00:10", "kind": "stage", "stage": "s20_numbered_bd", "done": "topfpnb2"}
{"ts": "2026-07-07 16:31:52", "kind": "llm", "step": "s20_top_fp_read", "model": "gpt", "dur_s": 55.8, "system_prompt": "You are given ONE photograph of a real property and the list of\nits known element names.\nREAD the photograph like a surveyor and write its spatial\nstructure as text — one line per element, grammar:\n'N. <element name>, <containment> + one approximate position\n(e.g. \"on the roof terrace, rear-left\") + what it attaches or\nconnects to'.\nPlan-placement language ONLY (positions on the ground plane; no\nelevation wording such as rises/stands above/on top of the\nfacade). Visible present state only.\nEvery position MUST come from what is visible in THIS\nphotograph — not from typical buildings, not from prior\nknowledge. Include short scale judgements that aid plan reading\n(storey count, notably small or large vs its host).\nFirst line: 'LEVELS (placement logic only): ...' summarising\nthe vertical stack. Then one 'Context:' line for unnamed\nneighbouring masses. If an element is not visible, still write\nits line, set visible=false in its legend row, and place it by\nthe best visible cue using inferred wording.\nlegend rows: num, name_en, desc_ko(사진에서 읽은 위치를 한국어\n한 줄로), visible.", "user_prompt": "[{\"type\": \"text\", \"text\": \"KNOWN ELEMENT NAMES:\\n1. narrow alley\\n2. entry gate\\n3. entry yard\\n4. villa mass\\n5. facade windows\\n6. roof terrace\\n7. low wall\\n8. rooftop room\\n9. added-on exterior stair\\n10. iron door\\n11. living window\\n12. bedroom window\\n13. water tank\\n14. laundry line\\n15. low platform\"}, {\"type\": \"text\", \"text\": \"Photograph to survey:\"}]"}
{"ts": "2026-07-07 16:36:52", "kind": "img", "engine": "gpt-image-2", "mode": "generate", "tag": "s20_top_fpflat_read_gpt", "refs": [], "size": "1536x864", "attempt": 1, "dur_s": 300.1, "bytes": 2012743, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/top_fpflat_read_gpt.png", "prompt": "OUTPUT MEDIUM: a flat 2D architectural SITE-PLAN DRAWING on plain\ndrawing paper — NOT a photograph, NOT a rendering of the scene.\nDraw a TRUE ORTHOGRAPHIC PLAN seen from DIRECTLY ABOVE\n(90 degrees, straight-down nadir).\nAbsolutely NO 3D of any kind: no perspective, no foreshortening,\nno axonometric or oblique tilt, no facades, no wall surfaces, no\nvolume sides, no cast shadows, no photographic texture — every\nelement appears ONLY as its pure plan geometry (roof outlines,\nground shapes, openings marked in wall lines) in uniform flat\nfills and clean drafting linework.\n\nEXTERIOR ONLY: this is an OUTDOOR site plan seen from above — show\nonly the exterior: ground areas, building outer shells, roof-level\nsurfaces and outdoor fixtures. NEVER draw any interior room, inner\nwall, partition or furniture of any enclosed unit — every enclosed\nvolume stays sealed (outer walls and boundary openings only).\n\nKEY ELEMENTS (letters are identifiers only — mark each listed element's POSITION on the plan with its circled letter). Elements that face sideways and are not visible from directly above (windows or doors set in walls) appear ONLY as their opening symbols on the wall line, with the circled letter beside that symbol — NEVER fold or draw any facade or elevation into the plan to show them:\nLEVELS (placement logic only): narrow alley and entry yard occupy the ground plane; a large four-storey villa mass fills the plot; the roof terrace occupies the villa footprint and contains the low wall, rooftop room, water tank, laundry line, low platform, and the exterior-stair landing.\nContext: unnamed neighboring villa masses press close at left, rear, and right, with narrow gaps, roof terraces, tanks, and utility lines surrounding the surveyed villa.\nA. narrow alley, public lane + front-left along the villa plot + connects to the entry gate and continues between neighboring masses.\nB. entry gate, perimeter wall + front-left of the entry yard, small compared with the yard width + connects the narrow alley to the entry yard.\nC. entry yard, inside the front perimeter wall + front of the villa mass, compact paved court + connects the entry gate to the ground-floor entrance area and the base of the added-on exterior stair.\nD. villa mass, main plot footprint + center-right of the photograph, large four-storey block + attaches to the entry yard at the front and to the added-on exterior stair along the right side.\nE. facade windows, villa mass wall faces + front and right flanks in repeated vertical groups, medium-sized relative to the bays + connect interior rooms to balconies, yard side, and stair side.\nF. roof terrace, roof area within the villa footprint + broad rectangular area across the villa, larger than the rooftop room + connects to the low wall, rooftop room, water tank, laundry line, low platform, and added-on exterior stair landing.\nG. low wall, terrace and yard edges + perimeter around the roof terrace and front yard boundary, low continuous strip + attaches to the terrace edge, stair landing, and gate-side yard wall.\nH. rooftop room, roof terrace + rear-center/right of the terrace, small box compared with the terrace + connects to the roof terrace through the iron door.\nI. added-on exterior stair, outside face of the villa mass + right side of the building, large linear steel stair + connects the entry-yard/right-side ground area to the roof terrace landing.\nJ. iron door, rooftop room + terrace-facing side of the rooftop room, narrow rusty door panel + connects the rooftop room interior to the roof terrace.\nK. living window, villa mass + front-center bay facing the entry yard, larger sliding window group than nearby small windows + connects the living area to the balcony/front yard side.\nL. bedroom window, villa mass + front-right and right-side bays near the exterior stair, smaller repeated window groups + connect bedroom rooms to the stair-side and yard-side exterior space.\nM. water tank, roof terrace + right-middle beside the rooftop room, large black cylinder + connects to rooftop plumbing lines and sits near planters and the low platform.\nN. laundry line, roof terrace + left-middle/rear-left open terrace zone, light frame much smaller than the terrace + connects between thin posts near the low wall with clothes hanging across it.\nO. low platform, roof terrace + right-front corner area near the water tank, low rectangular platform smaller than the terrace but large as furniture + connects to the paved terrace surface and nearby planter edge.\n\nDraw ONE strict TOP-DOWN 2D architectural SITE PLAN in the drafting\nlanguage of a clean floor plan — thin dark outlines, flat muted colour\nfills, detailed plan symbols (double-line walls, door leaf + swing arc,\nwindow frames set in walls, stair treads with stringers and landings,\nbase rings for round fixtures, paving joints, kerb lines). Height\nlevels appear only as flat fill tints (darker = higher). Flat\northographic plan view: NO 3D, NO axonometric, NO perspective, no\nshadows. Neutral document: no people, no story props, no vehicles, no\nposted papers, each listed element carries ONLY its assigned letter, drawn once\nas a small plain CIRCLED LETTER marker on (or beside) it; apart\nfrom these circled letters no text, no words, no numbers, no other\nmarkers, no legend, no compass. Never expose interior rooms or furniture of any enclosed\nunit — outer shell and boundary openings only."}
{"ts": "2026-07-07 16:37:11", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s20_top_fpflat_read_nb2", "refs": [], "ref_labels": [], "attempt": 1, "dur_s": 19.1, "bytes": 2538315, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/top_fpflat_read_nb2.png", "prompt": "OUTPUT MEDIUM: a flat 2D architectural SITE-PLAN DRAWING on plain\ndrawing paper — NOT a photograph, NOT a rendering of the scene.\nDraw a TRUE ORTHOGRAPHIC PLAN seen from DIRECTLY ABOVE\n(90 degrees, straight-down nadir).\nAbsolutely NO 3D of any kind: no perspective, no foreshortening,\nno axonometric or oblique tilt, no facades, no wall surfaces, no\nvolume sides, no cast shadows, no photographic texture — every\nelement appears ONLY as its pure plan geometry (roof outlines,\nground shapes, openings marked in wall lines) in uniform flat\nfills and clean drafting linework.\n\nEXTERIOR ONLY: this is an OUTDOOR site plan seen from above — show\nonly the exterior: ground areas, building outer shells, roof-level\nsurfaces and outdoor fixtures. NEVER draw any interior room, inner\nwall, partition or furniture of any enclosed unit — every enclosed\nvolume stays sealed (outer walls and boundary openings only).\n\nKEY ELEMENTS (letters are identifiers only — mark each listed element's POSITION on the plan with its circled letter). Elements that face sideways and are not visible from directly above (windows or doors set in walls) appear ONLY as their opening symbols on the wall line, with the circled letter beside that symbol — NEVER fold or draw any facade or elevation into the plan to show them:\nLEVELS (placement logic only): narrow alley and entry yard occupy the ground plane; a large four-storey villa mass fills the plot; the roof terrace occupies the villa footprint and contains the low wall, rooftop room, water tank, laundry line, low platform, and the exterior-stair landing.\nContext: unnamed neighboring villa masses press close at left, rear, and right, with narrow gaps, roof terraces, tanks, and utility lines surrounding the surveyed villa.\nA. narrow alley, public lane + front-left along the villa plot + connects to the entry gate and continues between neighboring masses.\nB. entry gate, perimeter wall + front-left of the entry yard, small compared with the yard width + connects the narrow alley to the entry yard.\nC. entry yard, inside the front perimeter wall + front of the villa mass, compact paved court + connects the entry gate to the ground-floor entrance area and the base of the added-on exterior stair.\nD. villa mass, main plot footprint + center-right of the photograph, large four-storey block + attaches to the entry yard at the front and to the added-on exterior stair along the right side.\nE. facade windows, villa mass wall faces + front and right flanks in repeated vertical groups, medium-sized relative to the bays + connect interior rooms to balconies, yard side, and stair side.\nF. roof terrace, roof area within the villa footprint + broad rectangular area across the villa, larger than the rooftop room + connects to the low wall, rooftop room, water tank, laundry line, low platform, and added-on exterior stair landing.\nG. low wall, terrace and yard edges + perimeter around the roof terrace and front yard boundary, low continuous strip + attaches to the terrace edge, stair landing, and gate-side yard wall.\nH. rooftop room, roof terrace + rear-center/right of the terrace, small box compared with the terrace + connects to the roof terrace through the iron door.\nI. added-on exterior stair, outside face of the villa mass + right side of the building, large linear steel stair + connects the entry-yard/right-side ground area to the roof terrace landing.\nJ. iron door, rooftop room + terrace-facing side of the rooftop room, narrow rusty door panel + connects the rooftop room interior to the roof terrace.\nK. living window, villa mass + front-center bay facing the entry yard, larger sliding window group than nearby small windows + connects the living area to the balcony/front yard side.\nL. bedroom window, villa mass + front-right and right-side bays near the exterior stair, smaller repeated window groups + connect bedroom rooms to the stair-side and yard-side exterior space.\nM. water tank, roof terrace + right-middle beside the rooftop room, large black cylinder + connects to rooftop plumbing lines and sits near planters and the low platform.\nN. laundry line, roof terrace + left-middle/rear-left open terrace zone, light frame much smaller than the terrace + connects between thin posts near the low wall with clothes hanging across it.\nO. low platform, roof terrace + right-front corner area near the water tank, low rectangular platform smaller than the terrace but large as furniture + connects to the paved terrace surface and nearby planter edge.\n\nDraw ONE strict TOP-DOWN 2D architectural SITE PLAN in the drafting\nlanguage of a clean floor plan — thin dark outlines, flat muted colour\nfills, detailed plan symbols (double-line walls, door leaf + swing arc,\nwindow frames set in walls, stair treads with stringers and landings,\nbase rings for round fixtures, paving joints, kerb lines). Height\nlevels appear only as flat fill tints (darker = higher). Flat\northographic plan view: NO 3D, NO axonometric, NO perspective, no\nshadows. Neutral document: no people, no story props, no vehicles, no\nposted papers, each listed element carries ONLY its assigned letter, drawn once\nas a small plain CIRCLED LETTER marker on (or beside) it; apart\nfrom these circled letters no text, no words, no numbers, no other\nmarkers, no legend, no compass. Never expose interior rooms or furniture of any enclosed\nunit — outer shell and boundary openings only."}
{"ts": "2026-07-07 16:38:02", "kind": "llm", "step": "s20_top_fp_verify_gpt", "model": "gemini-pro", "dur_s": 50.6, "system_prompt": "You are given a PHOTOGRAPH of a real property and a top-down\nSITE PLAN that claims to represent the same property.\nCompare them like a surveyor, only on spatial arrangement: for\neach major element (building masses, yard, gate, alley, stair,\nrooftop structures and fixtures) check position, containment,\nattachment wall/side, connections and relative size.\nmatch: overall does the plan represent the photograph's actual\narrangement (yes only if no major element is misplaced)?\nissues_ko: each concrete mismatch as one short Korean line\n(element + how the plan differs from the photograph). Empty if\nnone. verdict_ko: one-line Korean conclusion.", "user_prompt": "[{\"type\": \"text\", \"text\": \"Photograph:\"}, {\"type\": \"text\", \"text\": \"Site plan to verify:\"}]"}
{"ts": "2026-07-07 16:38:38", "kind": "llm", "step": "s20_top_fp_verify_nb2", "model": "gemini-pro", "dur_s": 36.6, "system_prompt": "You are given a PHOTOGRAPH of a real property and a top-down\nSITE PLAN that claims to represent the same property.\nCompare them like a surveyor, only on spatial arrangement: for\neach major element (building masses, yard, gate, alley, stair,\nrooftop structures and fixtures) check position, containment,\nattachment wall/side, connections and relative size.\nmatch: overall does the plan represent the photograph's actual\narrangement (yes only if no major element is misplaced)?\nissues_ko: each concrete mismatch as one short Korean line\n(element + how the plan differs from the photograph). Empty if\nnone. verdict_ko: one-line Korean conclusion.", "user_prompt": "[{\"type\": \"text\", \"text\": \"Photograph:\"}, {\"type\": \"text\", \"text\": \"Site plan to verify:\"}]"}
{"ts": "2026-07-07 16:38:38", "kind": "stage", "stage": "s20_numbered_bd", "done": "topfpread"}
{"ts": "2026-07-07 18:40:23", "kind": "llm", "step": "s20_top_fp_loop_verify_1", "model": "gemini-pro", "dur_s": 55.9, "system_prompt": "You are given a PHOTOGRAPH of a real property and a top-down\nSITE PLAN that claims to represent the same property.\nCompare them like a surveyor, only on spatial arrangement: for\neach major element (building masses, yard, gate, alley, stair,\nrooftop structures and fixtures) check position, containment,\nattachment wall/side, connections and relative size.\nmatch: overall does the plan represent the photograph's actual\narrangement (yes only if no major element is misplaced)?\nissues: each concrete mismatch as issue_ko (one short Korean\nline) plus fix_en (ONE imperative English drawing instruction\nthat fixes exactly that mismatch in the plan). Empty if none.\n(element + how the plan differs from the photograph). Empty if\nnone. verdict_ko: one-line Korean conclusion.", "user_prompt": "[{\"type\": \"text\", \"text\": \"Photograph:\"}, {\"type\": \"text\", \"text\": \"Site plan to verify:\"}]"}
{"ts": "2026-07-07 18:42:28", "kind": "img", "engine": "gpt-image-2", "mode": "generate", "tag": "s20_top_fpflat_read_gpt_it1", "refs": [], "size": "1536x864", "attempt": 1, "dur_s": 125.3, "bytes": 2098138, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/top_fpflat_read_gpt_it1.png", "prompt": "OUTPUT MEDIUM: a flat 2D architectural SITE-PLAN DRAWING on plain\ndrawing paper — NOT a photograph, NOT a rendering of the scene.\nDraw a TRUE ORTHOGRAPHIC PLAN seen from DIRECTLY ABOVE\n(90 degrees, straight-down nadir).\nAbsolutely NO 3D of any kind: no perspective, no foreshortening,\nno axonometric or oblique tilt, no facades, no wall surfaces, no\nvolume sides, no cast shadows, no photographic texture — every\nelement appears ONLY as its pure plan geometry (roof outlines,\nground shapes, openings marked in wall lines) in uniform flat\nfills and clean drafting linework.\n\nEXTERIOR ONLY: this is an OUTDOOR site plan seen from above — show\nonly the exterior: ground areas, building outer shells, roof-level\nsurfaces and outdoor fixtures. NEVER draw any interior room, inner\nwall, partition or furniture of any enclosed unit — every enclosed\nvolume stays sealed (outer walls and boundary openings only).\n\nKEY ELEMENTS (letters are identifiers only — mark each listed element's POSITION on the plan with its circled letter). Elements that face sideways and are not visible from directly above (windows or doors set in walls) appear ONLY as their opening symbols on the wall line, with the circled letter beside that symbol — NEVER fold or draw any facade or elevation into the plan to show them:\nLEVELS (placement logic only): narrow alley and entry yard occupy the ground plane; a large four-storey villa mass fills the plot; the roof terrace occupies the villa footprint and contains the low wall, rooftop room, water tank, laundry line, low platform, and the exterior-stair landing.\nContext: unnamed neighboring villa masses press close at left, rear, and right, with narrow gaps, roof terraces, tanks, and utility lines surrounding the surveyed villa.\nA. narrow alley, public lane + front-left along the villa plot + connects to the entry gate and continues between neighboring masses.\nB. entry gate, perimeter wall + front-left of the entry yard, small compared with the yard width + connects the narrow alley to the entry yard.\nC. entry yard, inside the front perimeter wall + front of the villa mass, compact paved court + connects the entry gate to the ground-floor entrance area and the base of the added-on exterior stair.\nD. villa mass, main plot footprint + center-right of the photograph, large four-storey block + attaches to the entry yard at the front and to the added-on exterior stair along the right side.\nE. facade windows, villa mass wall faces + front and right flanks in repeated vertical groups, medium-sized relative to the bays + connect interior rooms to balconies, yard side, and stair side.\nF. roof terrace, roof area within the villa footprint + broad rectangular area across the villa, larger than the rooftop room + connects to the low wall, rooftop room, water tank, laundry line, low platform, and added-on exterior stair landing.\nG. low wall, terrace and yard edges + perimeter around the roof terrace and front yard boundary, low continuous strip + attaches to the terrace edge, stair landing, and gate-side yard wall.\nH. rooftop room, roof terrace + rear-center/right of the terrace, small box compared with the terrace + connects to the roof terrace through the iron door.\nI. added-on exterior stair, outside face of the villa mass + right side of the building, large linear steel stair + connects the entry-yard/right-side ground area to the roof terrace landing.\nJ. iron door, rooftop room + terrace-facing side of the rooftop room, narrow rusty door panel + connects the rooftop room interior to the roof terrace.\nK. living window, villa mass + front-center bay facing the entry yard, larger sliding window group than nearby small windows + connects the living area to the balcony/front yard side.\nL. bedroom window, villa mass + front-right and right-side bays near the exterior stair, smaller repeated window groups + connect bedroom rooms to the stair-side and yard-side exterior space.\nM. water tank, roof terrace + right-middle beside the rooftop room, large black cylinder + connects to rooftop plumbing lines and sits near planters and the low platform.\nN. laundry line, roof terrace + left-middle/rear-left open terrace zone, light frame much smaller than the terrace + connects between thin posts near the low wall with clothes hanging across it.\nO. low platform, roof terrace + right-front corner area near the water tank, low rectangular platform smaller than the terrace but large as furniture + connects to the paved terrace surface and nearby planter edge.\n\nDraw ONE strict TOP-DOWN 2D architectural SITE PLAN in the drafting\nlanguage of a clean floor plan — thin dark outlines, flat muted colour\nfills, detailed plan symbols (double-line walls, door leaf + swing arc,\nwindow frames set in walls, stair treads with stringers and landings,\nbase rings for round fixtures, paving joints, kerb lines). Height\nlevels appear only as flat fill tints (darker = higher). Flat\northographic plan view: NO 3D, NO axonometric, NO perspective, no\nshadows. Neutral document: no people, no story props, no vehicles, no\nposted papers, each listed element carries ONLY its assigned letter, drawn once\nas a small plain CIRCLED LETTER marker on (or beside) it; apart\nfrom these circled letters no text, no words, no numbers, no other\nmarkers, no legend, no compass. Never expose interior rooms or furniture of any enclosed\nunit — outer shell and boundary openings only.\n\nCORRECTIONS — a previous attempt of this plan got the points below wrong; draw them correctly this time:\n- Indent the central section of the front wall to represent the recessed balconies.\n- Redraw the roof structure (O) as a wide, solid rectangular platform."}
{"ts": "2026-07-07 18:43:02", "kind": "llm", "step": "s20_top_fp_loop_verify_2", "model": "gemini-pro", "dur_s": 33.7, "system_prompt": "You are given a PHOTOGRAPH of a real property and a top-down\nSITE PLAN that claims to represent the same property.\nCompare them like a surveyor, only on spatial arrangement: for\neach major element (building masses, yard, gate, alley, stair,\nrooftop structures and fixtures) check position, containment,\nattachment wall/side, connections and relative size.\nmatch: overall does the plan represent the photograph's actual\narrangement (yes only if no major element is misplaced)?\nissues: each concrete mismatch as issue_ko (one short Korean\nline) plus fix_en (ONE imperative English drawing instruction\nthat fixes exactly that mismatch in the plan). Empty if none.\n(element + how the plan differs from the photograph). Empty if\nnone. verdict_ko: one-line Korean conclusion.", "user_prompt": "[{\"type\": \"text\", \"text\": \"Photograph:\"}, {\"type\": \"text\", \"text\": \"Site plan to verify:\"}]"}
{"ts": "2026-07-07 18:45:07", "kind": "img", "engine": "gpt-image-2", "mode": "generate", "tag": "s20_top_fpflat_read_gpt_it2", "refs": [], "size": "1536x864", "attempt": 1, "dur_s": 124.7, "bytes": 1917278, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/top_fpflat_read_gpt_it2.png", "prompt": "OUTPUT MEDIUM: a flat 2D architectural SITE-PLAN DRAWING on plain\ndrawing paper — NOT a photograph, NOT a rendering of the scene.\nDraw a TRUE ORTHOGRAPHIC PLAN seen from DIRECTLY ABOVE\n(90 degrees, straight-down nadir).\nAbsolutely NO 3D of any kind: no perspective, no foreshortening,\nno axonometric or oblique tilt, no facades, no wall surfaces, no\nvolume sides, no cast shadows, no photographic texture — every\nelement appears ONLY as its pure plan geometry (roof outlines,\nground shapes, openings marked in wall lines) in uniform flat\nfills and clean drafting linework.\n\nEXTERIOR ONLY: this is an OUTDOOR site plan seen from above — show\nonly the exterior: ground areas, building outer shells, roof-level\nsurfaces and outdoor fixtures. NEVER draw any interior room, inner\nwall, partition or furniture of any enclosed unit — every enclosed\nvolume stays sealed (outer walls and boundary openings only).\n\nKEY ELEMENTS (letters are identifiers only — mark each listed element's POSITION on the plan with its circled letter). Elements that face sideways and are not visible from directly above (windows or doors set in walls) appear ONLY as their opening symbols on the wall line, with the circled letter beside that symbol — NEVER fold or draw any facade or elevation into the plan to show them:\nLEVELS (placement logic only): narrow alley and entry yard occupy the ground plane; a large four-storey villa mass fills the plot; the roof terrace occupies the villa footprint and contains the low wall, rooftop room, water tank, laundry line, low platform, and the exterior-stair landing.\nContext: unnamed neighboring villa masses press close at left, rear, and right, with narrow gaps, roof terraces, tanks, and utility lines surrounding the surveyed villa.\nA. narrow alley, public lane + front-left along the villa plot + connects to the entry gate and continues between neighboring masses.\nB. entry gate, perimeter wall + front-left of the entry yard, small compared with the yard width + connects the narrow alley to the entry yard.\nC. entry yard, inside the front perimeter wall + front of the villa mass, compact paved court + connects the entry gate to the ground-floor entrance area and the base of the added-on exterior stair.\nD. villa mass, main plot footprint + center-right of the photograph, large four-storey block + attaches to the entry yard at the front and to the added-on exterior stair along the right side.\nE. facade windows, villa mass wall faces + front and right flanks in repeated vertical groups, medium-sized relative to the bays + connect interior rooms to balconies, yard side, and stair side.\nF. roof terrace, roof area within the villa footprint + broad rectangular area across the villa, larger than the rooftop room + connects to the low wall, rooftop room, water tank, laundry line, low platform, and added-on exterior stair landing.\nG. low wall, terrace and yard edges + perimeter around the roof terrace and front yard boundary, low continuous strip + attaches to the terrace edge, stair landing, and gate-side yard wall.\nH. rooftop room, roof terrace + rear-center/right of the terrace, small box compared with the terrace + connects to the roof terrace through the iron door.\nI. added-on exterior stair, outside face of the villa mass + right side of the building, large linear steel stair + connects the entry-yard/right-side ground area to the roof terrace landing.\nJ. iron door, rooftop room + terrace-facing side of the rooftop room, narrow rusty door panel + connects the rooftop room interior to the roof terrace.\nK. living window, villa mass + front-center bay facing the entry yard, larger sliding window group than nearby small windows + connects the living area to the balcony/front yard side.\nL. bedroom window, villa mass + front-right and right-side bays near the exterior stair, smaller repeated window groups + connect bedroom rooms to the stair-side and yard-side exterior space.\nM. water tank, roof terrace + right-middle beside the rooftop room, large black cylinder + connects to rooftop plumbing lines and sits near planters and the low platform.\nN. laundry line, roof terrace + left-middle/rear-left open terrace zone, light frame much smaller than the terrace + connects between thin posts near the low wall with clothes hanging across it.\nO. low platform, roof terrace + right-front corner area near the water tank, low rectangular platform smaller than the terrace but large as furniture + connects to the paved terrace surface and nearby planter edge.\n\nDraw ONE strict TOP-DOWN 2D architectural SITE PLAN in the drafting\nlanguage of a clean floor plan — thin dark outlines, flat muted colour\nfills, detailed plan symbols (double-line walls, door leaf + swing arc,\nwindow frames set in walls, stair treads with stringers and landings,\nbase rings for round fixtures, paving joints, kerb lines). Height\nlevels appear only as flat fill tints (darker = higher). Flat\northographic plan view: NO 3D, NO axonometric, NO perspective, no\nshadows. Neutral document: no people, no story props, no vehicles, no\nposted papers, each listed element carries ONLY its assigned letter, drawn once\nas a small plain CIRCLED LETTER marker on (or beside) it; apart\nfrom these circled letters no text, no words, no numbers, no other\nmarkers, no legend, no compass. Never expose interior rooms or furniture of any enclosed\nunit — outer shell and boundary openings only.\n\nCORRECTIONS — a previous attempt of this plan got the points below wrong; draw them correctly this time:\n- Move the rooftop structure (H) downwards so it is entirely contained within the main rectangular boundary of the roof (F), making the top parapet line straight."}
{"ts": "2026-07-07 18:46:11", "kind": "llm", "step": "s20_top_fp_loop_verify_final", "model": "gemini-pro", "dur_s": 64.8, "system_prompt": "You are given a PHOTOGRAPH of a real property and a top-down\nSITE PLAN that claims to represent the same property.\nCompare them like a surveyor, only on spatial arrangement: for\neach major element (building masses, yard, gate, alley, stair,\nrooftop structures and fixtures) check position, containment,\nattachment wall/side, connections and relative size.\nmatch: overall does the plan represent the photograph's actual\narrangement (yes only if no major element is misplaced)?\nissues: each concrete mismatch as issue_ko (one short Korean\nline) plus fix_en (ONE imperative English drawing instruction\nthat fixes exactly that mismatch in the plan). Empty if none.\n(element + how the plan differs from the photograph). Empty if\nnone. verdict_ko: one-line Korean conclusion.", "user_prompt": "[{\"type\": \"text\", \"text\": \"Photograph:\"}, {\"type\": \"text\", \"text\": \"Site plan to verify:\"}]"}
{"ts": "2026-07-07 18:46:11", "kind": "stage", "stage": "s20_numbered_bd", "done": "topfploop"}
{"ts": "2026-07-07 18:50:17", "kind": "img", "engine": "gpt-image-2", "mode": "edit", "tag": "s20_top_fpflat_read_gpt_edit", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/top_fpflat_read_gpt_it1.png"], "size": "1536x864", "attempt": 1, "dur_s": 136.1, "bytes": 1959205, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/top_fpflat_read_gpt_edit.png", "prompt": "Edit this architectural site-plan DRAWING. Fix ONLY the points listed below, each in place:\n\nCORRECTIONS:\n- Move the rooftop structure (H) downwards so it is entirely contained within the main rectangular boundary of the roof (F), making the top parapet line straight.\n\nPRESERVE EVERYTHING ELSE EXACTLY as in the attached drawing — same straight-down plan view, same layout, same drafting style, same circled letter markers in their places. Apart from the circled letters no text anywhere."}
{"ts": "2026-07-07 18:50:53", "kind": "llm", "step": "s20_top_fp_edit_verify", "model": "gemini-pro", "dur_s": 36.3, "system_prompt": "You are given a PHOTOGRAPH of a real property and a top-down\nSITE PLAN that claims to represent the same property.\nCompare them like a surveyor, only on spatial arrangement: for\neach major element (building masses, yard, gate, alley, stair,\nrooftop structures and fixtures) check position, containment,\nattachment wall/side, connections and relative size.\nmatch: overall does the plan represent the photograph's actual\narrangement (yes only if no major element is misplaced)?\nissues: each concrete mismatch as issue_ko (one short Korean\nline) plus fix_en (ONE imperative English drawing instruction\nthat fixes exactly that mismatch in the plan). Empty if none.\n(element + how the plan differs from the photograph). Empty if\nnone. verdict_ko: one-line Korean conclusion.", "user_prompt": "[{\"type\": \"text\", \"text\": \"Photograph:\"}, {\"type\": \"text\", \"text\": \"Site plan to verify:\"}]"}
{"ts": "2026-07-07 18:50:53", "kind": "stage", "stage": "s20_numbered_bd", "done": "topfpedit"}
{"ts": "2026-07-07 18:53:04", "kind": "llm", "step": "s20_top_fp_topo_verify", "model": "gemini-pro", "dur_s": 44.4, "system_prompt": "You are given a PHOTOGRAPH of a real property and a top-down\nSITE PLAN that claims to represent the same property.\nCompare them like a surveyor, only on spatial arrangement of the\nmajor elements (building masses, yard, gate, alley, stair,\nrooftop structures and fixtures).\nJudge ONLY relational topology: containment, adjacency, what\nsits between what, which wall/side OF ITS HOST an element\nattaches to, connections, and relative size.\nNEVER use absolute left/right/top/bottom of either image — the\nplan's orientation may be rotated relative to the photograph's\nviewpoint. First infer the plan's orientation from unmistakable\nanchors (alley, entry gate, exterior stair), state it in the\nverdict, then compare all relations in that frame.\nmatch: overall does the plan represent the photograph's actual\narrangement (yes only if no major element is misplaced)?\nissues: each concrete mismatch as issue_ko (one short Korean\nline) plus fix_en (ONE imperative English drawing instruction\nthat fixes exactly that mismatch in the plan). Empty if none.\n(element + how the plan differs from the photograph). Empty if\nnone. verdict_ko: one-line Korean conclusion.", "user_prompt": "[{\"type\": \"text\", \"text\": \"Photograph:\"}, {\"type\": \"text\", \"text\": \"Site plan to verify:\"}]"}
{"ts": "2026-07-07 18:55:10", "kind": "img", "engine": "gpt-image-2", "mode": "edit", "tag": "s20_top_fpflat_read_gpt_edit2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/top_fpflat_read_gpt_edit.png"], "size": "1536x864", "attempt": 1, "dur_s": 125.5, "bytes": 1834824, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/top_fpflat_read_gpt_edit2.png", "prompt": "Edit this architectural site-plan DRAWING. Fix ONLY the points listed below, each in place:\n\nCORRECTIONS:\n- Enlarge structure H into a large rectangle and move it to the front-left edge of the roof.\n- Rotate table O 90 degrees so its long axis is parallel to the front facade.\n- Redraw the front facade footprint to have a single central recess with flush left and right blocks.\n\nPRESERVE EVERYTHING ELSE EXACTLY as in the attached drawing — same straight-down plan view, same layout, same drafting style, same circled letter markers in their places. Apart from the circled letters no text anywhere."}
{"ts": "2026-07-07 18:56:06", "kind": "llm", "step": "s20_top_fp_topo_verify2", "model": "gemini-pro", "dur_s": 56.0, "system_prompt": "You are given a PHOTOGRAPH of a real property and a top-down\nSITE PLAN that claims to represent the same property.\nCompare them like a surveyor, only on spatial arrangement of the\nmajor elements (building masses, yard, gate, alley, stair,\nrooftop structures and fixtures).\nJudge ONLY relational topology: containment, adjacency, what\nsits between what, which wall/side OF ITS HOST an element\nattaches to, connections, and relative size.\nNEVER use absolute left/right/top/bottom of either image — the\nplan's orientation may be rotated relative to the photograph's\nviewpoint. First infer the plan's orientation from unmistakable\nanchors (alley, entry gate, exterior stair), state it in the\nverdict, then compare all relations in that frame.\nmatch: overall does the plan represent the photograph's actual\narrangement (yes only if no major element is misplaced)?\nissues: each concrete mismatch as issue_ko (one short Korean\nline) plus fix_en (ONE imperative English drawing instruction\nthat fixes exactly that mismatch in the plan). Empty if none.\n(element + how the plan differs from the photograph). Empty if\nnone. verdict_ko: one-line Korean conclusion.", "user_prompt": "[{\"type\": \"text\", \"text\": \"Photograph:\"}, {\"type\": \"text\", \"text\": \"Site plan to verify:\"}]"}
{"ts": "2026-07-07 18:56:06", "kind": "stage", "stage": "s20_numbered_bd", "done": "topfpfinal"}
{"ts": "2026-07-07 20:11:59", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s20_top_pair_photo1", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/top_fpflat_read_gpt.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/top_photo_fixed_nb2.png"], "ref_labels": ["SITE PLAN — the LAYOUT authority for this property: follow ONLY its arrangement (positions, orientations, relative sizes, connections of the property's elements). Do NOT imitate its diagram style, flat colours or circled letters; no markers, no diagram look anywhere in the photograph.", "PREVIOUS PHOTOGRAPH of the same property — the APPEARANCE authority: match its materials, textures, lighting, camera angle, neighborhood character and overall look. Where its layout disagrees with the SITE PLAN, the SITE PLAN wins."], "attempt": 1, "dur_s": 28.9, "bytes": 3919361, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/top_pair_photo1_nb2.png", "prompt": "Create a photorealistic documentary location image of an aged multi-family villa in the outskirts of Incheon, seen from an elevated three-quarter angle about 45 degrees above and off to one side, fitting the whole property in frame. Show a narrow alley from the public road edge leading to a simple entry gate, then a small entry yard before a three-storey villa mass. The villa has aged red brick and exterior tile cladding, cement mouldings and sills, patched stucco, grime streaks under parapets, and four repeated window bays per storey facing the yard. Attach a clearly later-added open steel stair to the outside wall, with thin stringers, open treads, support posts, rusty pipe handrails, rising from the rear of the yard to the roof terrace landing. On the roof terrace place a small rooftop room with a worn iron door facing the landing, small side windows, a low parapet wall, round water tank, sagging laundry line, and a low platform with scattered dried herbs. Surround it with ordinary low-rise neighboring buildings, utility wires, pipes, roof clutter, stained concrete paving, no people, no readable text, neutral daylight."}
{"ts": "2026-07-07 20:12:30", "kind": "llm", "step": "s20_top_pair_verify_fp0", "model": "gemini-pro", "dur_s": 30.7, "system_prompt": "You are given a PHOTOGRAPH of a real property and a top-down\nSITE PLAN that claims to represent the same property.\nCompare them like a surveyor, only on spatial arrangement of the\nmajor elements (building masses, yard, gate, alley, stair,\nrooftop structures and fixtures).\nJudge ONLY relational topology: containment, adjacency, what\nsits between what, which wall/side OF ITS HOST an element\nattaches to, connections, and relative size.\nNEVER use absolute left/right/top/bottom of either image — the\nplan's orientation may be rotated relative to the photograph's\nviewpoint. First infer the plan's orientation from unmistakable\nanchors (alley, entry gate, exterior stair), state it in the\nverdict, then compare all relations in that frame.\nmatch: overall does the plan represent the photograph's actual\narrangement (yes only if no major element is misplaced)?\nissues: each concrete mismatch as issue_ko (one short Korean\nline) plus fix_en (ONE imperative English drawing instruction\nthat fixes exactly that mismatch in the plan). Empty if none.\n(element + how the plan differs from the photograph). Empty if\nnone. verdict_ko: one-line Korean conclusion.", "user_prompt": "[{\"type\": \"text\", \"text\": \"Photograph:\"}, {\"type\": \"text\", \"text\": \"Site plan to verify:\"}]"}
{"ts": "2026-07-07 20:14:28", "kind": "img", "engine": "gpt-image-2", "mode": "edit", "tag": "s20_top_pair_fp1", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/top_fpflat_read_gpt.png"], "size": "1536x864", "attempt": 1, "dur_s": 117.8, "bytes": 1872293, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/top_pair_fp1_gpt.png", "prompt": "Edit this architectural site-plan DRAWING. Fix ONLY the points listed below, each in place:\n\nCORRECTIONS:\n- Move the clothesline to the front-left area of the roof.\n- Move the platform to the center-right area, adjacent to the roof structure.\n\nPRESERVE EVERYTHING ELSE EXACTLY as in the attached drawing — same straight-down plan view, same layout, same drafting style, same circled letter markers in their places. Apart from the circled letters no text anywhere."}
{"ts": "2026-07-07 20:15:32", "kind": "llm", "step": "s20_top_pair_verify_fp1", "model": "gemini-pro", "dur_s": 64.0, "system_prompt": "You are given a PHOTOGRAPH of a real property and a top-down\nSITE PLAN that claims to represent the same property.\nCompare them like a surveyor, only on spatial arrangement of the\nmajor elements (building masses, yard, gate, alley, stair,\nrooftop structures and fixtures).\nJudge ONLY relational topology: containment, adjacency, what\nsits between what, which wall/side OF ITS HOST an element\nattaches to, connections, and relative size.\nNEVER use absolute left/right/top/bottom of either image — the\nplan's orientation may be rotated relative to the photograph's\nviewpoint. First infer the plan's orientation from unmistakable\nanchors (alley, entry gate, exterior stair), state it in the\nverdict, then compare all relations in that frame.\nmatch: overall does the plan represent the photograph's actual\narrangement (yes only if no major element is misplaced)?\nissues: each concrete mismatch as issue_ko (one short Korean\nline) plus fix_en (ONE imperative English drawing instruction\nthat fixes exactly that mismatch in the plan). Empty if none.\n(element + how the plan differs from the photograph). Empty if\nnone. verdict_ko: one-line Korean conclusion.", "user_prompt": "[{\"type\": \"text\", \"text\": \"Photograph:\"}, {\"type\": \"text\", \"text\": \"Site plan to verify:\"}]"}
{"ts": "2026-07-07 20:15:32", "kind": "stage", "stage": "s20_numbered_bd", "done": "toppair"}
{"ts": "2026-07-07 21:09:00", "kind": "llm", "step": "s22_bd_rel_v1", "model": "gpt", "dur_s": 117.6, "system_prompt": "You are a set-layout analyst for film pre-production. You get one\nreal-world place's member descriptions, the FULL ORIGINAL TEXT of every scene\nthat plays there, all shots, and creator corrections (which override any\nconflicting text). Build ONE top-down BLOCK LAYOUT of the whole property as\nRELATIONAL data for a deterministic solver — you never output coordinates;\nyou only state what contains what, where inside its container, how big\nrelative to its container, and what is attached to which side.\n\nPlacement model (the solver computes all geometry from this):\n- Every element names a parent: \"canvas\" (the whole 100x100 site, canvas top\n  = the property's rear, canvas bottom = the street/approach side unless the\n  texts imply otherwise — state your choice in layout_notes_ko) or another\n  element's id (true containment: the child sits ON/INSIDE the parent area).\n- anchor: one of NW,N,NE,W,C,E,SW,S,SE — where the element sits INSIDE its\n  parent.\n- w_pct,h_pct: the element's width/height as a PERCENT of its parent's\n  width/height (5..100). For shape \"circle\", w_pct alone sets the diameter\n  as a percent of the parent's smaller side.\n- attach_side: none, or N/S/E/W — the element is snapped flush against that\n  side of its parent (stairs on an outside wall, walls on an edge, and ALL\n  openings). along_pct (0..100) positions it along that side (left→right or\n  top→bottom); use it whenever attach_side is not \"none\".\n- Openings (door/window/gate) MUST have attach_side = the wall side of their\n  host parent that the texts support, and repeat = how many identical\n  openings the strip contains.\n\nElement kinds: building_mass, upper_shell (enclosed upper unit — outline\nonly, never interior), terrace, yard, road, alley, stair, wall, neighbor_mass\n(BLOCK kinds) and door, window, gate, fixture_round, fixture_rect, equipment\n(POINT kinds).\n- ids: short lowercase slugs, unique.\n- Simplify ALL neighbouring buildings to plain neighbor_mass rects (parent =\n  canvas, no openings). Include the road/alley approach.\n- COUNT-CRITICAL: opening counts/sides must match the texts; if the texts\n  give no exact count choose a modest count and set certainty=\"inferred\".\n- Include permanent fixtures the scenes rely on. NO story props, no\n  vehicles, no people, nothing temporary.\n- 10 to 26 elements. name_en: 1-3 generic English words, no proper names.\n  desc_ko: one short Korean sentence — what it PHYSICALLY is, its form and\n  key spatial relation, present tense, PHYSICAL VISIBLE FACTS ONLY: never\n  events, actions, characters or animals, usage stories, moments of motion,\n  or authorial phrasing (verbatim shown to the human reviewer).\n- evidence: source = scene index / shot key / member id, quote = exact\n  phrase copied from the given texts. certainty=\"text\" needs a real quote.\n\nHEIGHT LAYERS (3-6): you define them; each = layer_id, name_en, desc_ko (one\nKorean sentence: what physical height), rel_height (0 = ground, increasing\nupward). Every element references one layer_id.\n\nSolid blocks that share a parent must not overlap — place siblings at\ndifferent anchors with sizes that leave room (the solver will report any\noverlap back to you for correction).\n\nAlso output layout_notes_ko: 3-6 Korean sentences on the arrangement logic\n(verbatim shown to the human reviewer).", "user_prompt": "PLACE MEMBERS:\n- (outdoor, L03) 인천 변두리 낡은 빌라 옥탑방 옥상·현관 앞 외부: 낡은 다세대 빌라 꼭대기에 위치한 야외 공간. 물탱크, 흔들리는 빨랫줄, 평상 위 약초 건조 흔적, 낡은 철문 현관이 있다. (특징: 낡은 시멘트 바닥; 물탱크; 바람에 날리는 빨랫줄; 평상과 널려 있는 말린 약초(석창포); 전단지가 끼워진 철문 현관)\n- (indoor, L04) 옥탑방 내부: 작은 창문으로 빛이 들어오는 낡은 주거 공간. 싱크대, 식탁, TV가 있는 거실과 침대, 커튼, 거울 등이 있는 방/욕실로 구성된다. 약초 끓이는 냄비 등 생활 소품이 있으며, 간헐적으로 벽면에 붉은 원 형태의 환영과 핏자국이 생겨난다. (특징: 작은 창문의 햇살; 싱크대와 약초(석창포); 가스레인지 위 끓는 냄비와 수증기; 거실 TV와 스탠드; 침대, 커튼, 거울; 벽과 거울 표면에 나타나는 붉은 원 환영; 바닥과 벽의 핏자국 (특정 시점); 어지럽혀진 가재도구 (특정 시점))\n- (outdoor, L10) 옥탑방 외곽 골목·시멘트 계단: 다세대 빌라 마당의 후미진 구석과 옥탑방으로 올라가는 가파르고 낡은 시멘트 계단. (특징: 다세대 빌라 입구 마당; 후미진 구석 공간; 낡고 가파른 시멘트 계단)\n\nFULL ORIGINAL SCENE TEXTS (every scene at this place):\n\n=== SCENE 4 FULL TEXT ===\nS#4. 옥탑방 / D\n인천 변두리 부감, 오래된 빌라 옥탑방 전경.\n기자(E)\n지역 주민들 사이에 횡행한 소문이 돌고 있지만, 경찰은 범인의 윤곽조차 잡지 못하고 있어 지역주민들의 불안과 두려움을 더 키우는 모양새입니다.\n\n\n\n=== SCENE 5 FULL TEXT ===\nS#5. 옥탑방 안 / 실내\n거실에 난 작은 창으로 햇살에 가늘게 비친다. 싱크대 수도꼭지에 흐르는 물, 씻다 만 약초(석창포). 냄비의 물이 끓어 달그락거리는 소리… 김이 피어오르고. 앞치마를 두른 채 TV 뉴스를 뚫어지게 바라보는 민숙(수리영 엄마. 40세) 표정이 어둡다. (뉴스멘트는 작아졌다 커졌다 반복하면서 여기까지 이어진다)\n딸, 수리영(21. 애완동물미용학과 2년)이 방문을 열고 기지개를 켜며 나오자 후다닥 TV를 끄는 민숙. 다정한 말투로\n수리영\n(심드렁) 뭐~야. 사건 났어? 뭔데.\n민숙\n아냐.\n수리영\n(식탁에 앉으며) 이모 또 야근하겠네. 조그만 도시에 왠 사건이 이렇게 많아. 바다가 가까워서 그런가.\n민숙\n신경 꺼. (석창포 달인 물을 따라주면서) 마셔. 방학인데 왜 더 자지않고.\n수리영\n(마시고 나서) 아, 진짜 맛 없어...(투정) 나 알바 있어, 엄마. 원장님이 하루만 봐 달래.\n(cut to.)\n가벼운 차림새. 수리영 신발을 신으며\n수리영\n엄마는 오늘 안 나가?\n민숙\n이따가 1시 타임.\n수리영\n(엄마의 냄새를 맡으며) 아, 좋다. 끝나고 마트로 갈게. 모처럼 밖에서 저녁먹자 엄마.\n민숙\n응 (미소)\n힐끗, 민숙 손목에 보이는 작은 원(이하 표식)을 본다. 오늘따라 유난히 또렷해 보이지만 워낙 어릴 적부터 봐온 터라 개의치 않는.\n\n\n\n=== SCENE 10 FULL TEXT ===\nS#10. 옥탑방 / N\n그 시각. 옥탑방 옥상. 물탱크. 바람에 빨랫줄이 툭- 툭- 평상에 놓인 말린 석창포가 바람에 날리는데... 말린 잎이 걸어오는 낯선 남자의 신발 위를 스친다. 남자의 긴 그림자. (얼굴은 보이지 않는다)\n신발은 옥탑방 철문 현관 앞에 멈춰 선다. 문틈에 낀 광고 전단지. 전단지를 뽑아서 손가락으로 문틈에 꾹 밀어 넣는다. ‘철컥’ 하고 잠금 새가 풀리는 소리. 문이 미세하게 열리고 안으로 들어가는 남자.\n창문에 비친 그림자. 민숙을 덮쳐 어깨를 물어뜯는 듯한 모습 ‘아악-’\n\n\n\n=== SCENE 11 FULL TEXT ===\nS#11. 옥탑 방 밖 / N\n자전거를 타고 골목길을 달리는 수리영. 다세대 빌라 문을 열고 들어와 마당 후미진 곳에 자전거를 대충 세우고, 옥탑방과 연결되는 계단을 급히 오른다.\n갑자기 훅- 느껴지는 역겨운 냄새. 뭐지? 옥상에 올라와 보니 반쯤 열린 현관 철문.\n\n\n\n=== SCENE 12 FULL TEXT ===\nS#12. 옥탑방 안 / N\n/거실\n‘엄마?’를 부르며 들어오는 수리영, 끓다 식은 냄비. 켜져 있는 TV. 희미한 거실 스탠드 불빛,\n/민숙 방\n안방 문을 여는데... 없다. 거실 식탁에 놓여있는 찻잔 두 개. 하나는 엎어져있다.\n/수리영 방\n마지막으로 자기 방문을 연다 헉!- 여기저기 핏자국. 바닥에 흥건한 혈흔. 피묻은 발자국은 커튼으로 이어져 있다 호흡을 가다듬고 커튼을 젖히자 앉은 채로 고개를 떨군 채 죽어있는 엄마- 민숙!!!!\n수리영\n(달려가) 어어어어----엄마\n충격에 온 몸이 얼어붙은 수리영, 살점이 뜯긴 어깨와 쇄골, 마치 동물에게 물어뜯긴 듯한 거친 상처가 고스란히 드러나있다. 덜렁거리는 살점과 뜯겨진 부위에 흘러내리는 피.\n수리영\n(놀라 뒤로 주춤) 어-어-어- 엄마….\n부들부들 떨며 핸드폰을 누른다. 2번 혜수이모\n수리영\n받아, 이모. 받아….\n혜수(E)\n영아, 영아, 왜?\n답은 안 나오고… 엄마 손안에 구겨진 사진 한 장이 보인다. 다가가 사진을 꺼내는데 엄마 손목에 있던 문신이 붉은색으로 변한다. 헉! 호흡이 빨라지고... 침대 위 벽에 붉은 원이 생겨난다 (마치 누군가 붓으로 벽에 원으로 그리는 것처럼). 소름끼치는 으아악---!\n\n\n\n=== SCENE 13 FULL TEXT ===\nS#13. 옥탑방 외곽 / N\n비명을 지르며 옥탑방을 빠져나오는 수리영, 허겁지겁 계단을 내려간다. 동시에 사이렌이 울리고~. (포즈)\n차에서 내린 혜수(40대 중반, 여자, 경위) 초점을 잃고 멍하니 서있는 수리영의 모습을 발견하고 달려간다.\n혜수\n영아? 왜! 무슨 일이야?\n수리영\n(올라다보며) 엄마가, 엄마가... 죽어있어.\n혜수\n(놀라) 뭐?!\n옥탑 방으로 뛰어 올라가는 혜수와 후배 형사(30대 남/ 이하 김형사)\n\n\n\n=== SCENE 14 FULL TEXT ===\nS#14. 옥탑방 안 / N\n/현관\n집안 여기저기를 확인하면서 나오는 형사와 혜수\n김형사\n(허탈한 표정) 없는데.. 아무 것도.\n혜수\n(뒤따라온 수리영에게) 영아, 없어. 뭘 봤는데...?\n어? 수리영, 부리나케 방 안으로 뛰어 들어간다.\n/수리영 방 안\n지나칠 정도로 깨끗하게 정돈된 방안. 핏자국도 보이지 않고, 침대 위에 붉은 표식은 물론 커튼 뒤의 시신도 감쪽 같이 사라졌다. 얼굴이 파리해지는 수리영. ‘어----?’ ‘분명히 봤는데...’\n뛰쳐나가 식탁으로 가본다. 식탁 역시 깨끗한.\n수리영\n여기 찻잔도 두 개 있었고...\n김형사\n(답답) 허 참! 죽은 사람이 발이 달렸을 리도 없고. 쯧쯧 그러게 살인사건은 자세하게 보도하면 안 된다구요...(궁시렁) 이봐요. 학생? 장난전화 하면 안 되는 거 몰라? (짜증) 안 그래도 살인사건으로 난리도 아닌데...\n혜수\n(김형사 째리고) 김형사. 먼저 가 있어. (김형사 나가면) (수리영 어깨를 어루만지며) 영아.\n수리영\n엄마(시신), 어디갔을까? 분명히 봤는데...\n혜수\n네가 요즘 과로했잖아. 공부에다 알바까지... 악몽을 꾼 걸 수도 있으니... 바람이나 쐬러 가자.\n수리영 방안에 놓여진 백팩, 인형. 약간씩 위치가 달라진. (시신을 발견했을 때와 다른)\n\n\n\n=== SCENE 17 FULL TEXT ===\nS#17. 옥탑방 / 동틀무렵\n새벽녘, 고양이 울음소리. 검은 고양이가 불이 켜져 있는 옥탑 방을 슬쩍 보더니 담을 넘는다\n\n\n\n=== SCENE 18 FULL TEXT ===\nS#18. 안방 안 / D\n침대에 머리를 대고 앉아있는 수리영, 밤새 엄마를 기다리다 깜박 졸았다 고양이 울음소리에 번쩍 눈을 뜨고, ‘엄마? ’혹시나 해서 집안을 살피지만 아무런 인기척도 보이지 않는다\n/수리영 방안\n닫혀있는 자신의 방을 바라본다. [F.B: 1부12씬] 커튼 뒤에 죽어있던 엄마. 상처. 혈흔 크게 심호흡하고 조심스럽게 문을 연다. 지나치리만큼 깨끗하게 정돈된 방안. 창문에 다가가 커튼을 확 열어젖힌다. 시신은 없다. 한숨 후~ 다행이긴 한데. 그때, 울리는 폰 벨소리, 화들짝 놀라는 수리영. 달려가 받자마자\n수리영\n엄마?\n혜수(E)\n아직이니?\n수리영\n응. 아무래도 이상해. 이럴 리가 없잖아! 우리 엄마가. 이모, 사고 난 게 분명해\n혜수(E)\n실종신고 냈어. 이모가 엄마 폰 위치추적하고 있으니까 조금만 기다려 별일 없을 거야. 알았지?\n수리영\n응.\n무작정 기다리는게 불안한 수리영, 인형이 달린 자신의 백팩을 꺼내 나온다\n/욕실 안\n얼굴을 씻고 거울을 보며\n수리영\n엄마, 도대체 어딨는 거야...\n거울에 비친 욕실 벽에 갑자기 또 발생하는 붉은 원. 호흡이 가빠지고... 훅 고개를 돌려 벽을 보는 수리영 거짓말처럼 사라지고 없다. 거실로 튀어나와 물 한컵 마시고 식탁에 놓인 엄마와 수리영의 사진을 보는데... 환하게 웃는 엄마 얼굴이 뭉개져 흘러내린다\n수리영\n아아악~~~ (다시보니 멀쩡하다) 나 왜 이러는 거지. (자신의 뺨을 치며) 정신 차려 수리영!\n\n\n\n=== SCENE 25 FULL TEXT ===\nS#25. 옥탑방 안 / 해질 무렵\n누군가 다녀간 흔적으로 보이는 발자국들. 다시 호흡이 가빠지는 수리영. 집안에서 뭔가를 찾기 위해 가재도구를 온통 헤집은 것으로 보인다. 거실에 난 창은 열려있고, 식탁 의자들을 쓰러져있다.\n/수리영 방\n열린 자신의 방을 힐끗 보는데 벽에 또 붉은 원이 그려져있다. 그 가운데 꽂혀있는 피묻은 사진 한 장! 사진을 떼어서 자세히 본다. 어? 그 사진!!!\n[F.B: 1부 12씬] 죽은 엄마의 손에 구겨져있던 바로 그 사진이다. 7-80년대 쯤 보이는 시골 식당과 지붕위에 둥근 원이 설치된 (마치 십자가처럼) 식당 앞에는 어린 여자애 둘(12살)이 앉아있다. 그중에 한 아이는 분명히 어릴 적 엄마다.\n침대에 털썩 주저앉는 수리영. 연속해서 벌어지는 기이한 상황에 정신이 혼미한 엉망이 된 집 안을 한번 획 둘러보는 수리영, 마치 이끌리듯 백팩을 메고 밖으로 나간다. 사진을 손에 꼭 쥔 채.\n\n\n\n=== SCENE 27 FULL TEXT ===\nS#27. 옥탑방 안 / 해질 무렵\n수리영의 녹음메시지를 확인하는 혜수,\n혜수\n너 봤니..본 거니... (김형사에게) 좌표를 보지않았을까?\n김형사\n그럴리가요. (혀를 끌끌 차며) 아이구 쯧쯧. 설사 본들 망망대해에서 뭘 어쩌겠어요. 돌아오겠죠.\n덜커덩 덜커덩. 바람에 현관문 소리. 황량하다.\n\n\n\nALL SHOTS AT THIS PLACE (full content):\n\n[S10_Shot5] (outdoor; loc=L03; scene_heading=S#10. 옥탑방 / N)\ndescription: 철문이 미세하게 열린 틈 사이로 어두운 내부가 보이는 구도.\nframing_scale: insert\ncamera_direction: At the end of the flow’s dolly-in, the lens freezes just outside the iron door at handle height, only inches from the seam, staring directly into the thin opening. The dark crack sits in the center like a vertical wound, with rough iron surfaces on both sides occupying the foreground while the interior beyond remains unreadable and almost lightless.\nkey_bg_elements: [{\"camera_use\": \"Primary focal aperture; turns the entry into a threatening slit rather than a normal doorway.\", \"directionality_class\": \"directional_3d\", \"element\": \"iron front door\", \"orientation\": \"The two heavy door edges face camera at close range, separated by a narrow central crack leading into darkness.\", \"state\": \"slightly open, scratched, cold metal\"}, {\"camera_use\": \"Hides what is inside and makes the gap feel predatory.\", \"directionality_class\": \"non_directional\", \"element\": \"dark interior beyond the crack\", \"orientation\": \"\", \"state\": \"unlit, opaque, silent\"}, {\"camera_use\": \"Adds tactile evidence of forced entry near the seam.\", \"directionality_class\": \"content_surface\", \"element\": \"creased advertisement flyer edge\", \"orientation\": \"Only the printed edge of the paper face is visible near the door seam, with partial color blocks and unreadable text.\", \"state\": \"bent, partly displaced, dirty\"}]\nframe_spatial_contract: {\"constraints\": [{\"depth_plane\": \"foreground\", \"gesture_action\": \"none\", \"gesture_target_label\": \"\", \"label\": \"narrow iron door seam\", \"screen_zone\": \"middle_center\", \"target_id\": \"\", \"target_kind\": \"background\"}], \"reason\": \"required_background_position\"}\n\n[S10_Shot6] (outdoor; loc=L03; scene_heading=S#10. 옥탑방 / N)\ndescription: 방 안 창문에 비친 그림자, 굽은 형태의 인영이 다른 사람 형상 위에 포개져 멈춘 찰나의 실루엣.\nframing_scale: medium\ncamera_direction: Inside the room, the camera holds static near the side wall at shoulder height, angled so only the window glass carries the action as a reflection and the direct attack is never seen. The reflected silhouettes sit within the window frame: a bent 인영 in the upper-middle area lowers its head toward the shoulder of 사람, whose body buckles beneath it in a distorted, wavering mid-action shape.\nkey_bg_elements: [{\"camera_use\": \"Serves as the only visible surface for the attack, keeping violence indirect and distorted.\", \"directionality_class\": \"reflective_surface\", \"element\": \"room window glass\", \"orientation\": \"The glass reflects the bent 인영 and 사람 as warped dark silhouettes, with faint interior light streaks trembling across them.\", \"state\": \"closed, grimy, reflective in darkness\"}, {\"camera_use\": \"Frames the reflection and prevents the viewer from seeing the real bodies directly.\", \"directionality_class\": \"directional_3d\", \"element\": \"window frame\", \"orientation\": \"The frame’s inner edges face camera and box the reflected action into a rigid rectangle.\", \"state\": \"old, chipped, motionless\"}, {\"camera_use\": \"Adds low, diseased color to the reflected silhouettes.\", \"directionality_class\": \"directional_3d\", \"element\": \"dim interior practical light\", \"orientation\": \"The lamp’s shaded side is off-frame but its amber spill grazes the wall and window reflection.\", \"state\": \"on, weak, sickly amber\"}, {\"camera_use\": \"Keeps the room claustrophobic around the window surface.\", \"directionality_class\": \"non_directional\", \"element\": \"dark side wall\", \"orientation\": \"\", \"state\": \"rough, stained, blue-gray shadowed\"}]\nframe_spatial_contract: {\"constraints\": [{\"depth_plane\": \"midground\", \"gesture_action\": \"none\", \"gesture_target_label\": \"\", \"label\": \"window reflection containing silhouettes\", \"screen_zone\": \"middle_center\", \"target_id\": \"\", \"target_kind\": \"background\"}], \"reason\": \"required_background_position\"}\n\n[S11_Shot3] (outdoor; loc=L10; scene_heading=S#11. 옥탑 방 밖 / N)\ndescription: 계단 중간에 서서 심하게 코를 찡그린 수리영의 얼굴 클로즈업.\ncharacters: 수리영\nframing_scale: close\ncamera_direction: Midway up the narrow concrete staircase, the camera holds static very close to 수리영 from the front-left at face height, tightening into an intense close-up that leaves only a sliver of stair texture behind her. Her nose wrinkles hard at the sudden smell, eyes lifting toward the unseen rooftop landing while her halted climb compresses her shoulders into the frame.\nkey_bg_elements: [{\"camera_use\": \"Minimal background texture that preserves the stair location without diluting the reaction.\", \"directionality_class\": \"directional_3d\", \"element\": \"narrow concrete staircase\", \"orientation\": \"Only the side edge and riser texture angle behind her cheek, indicating the upward path to the rooftop.\", \"state\": \"dark, damp, rough\"}, {\"camera_use\": \"Creates a suffocating side boundary close to her face.\", \"directionality_class\": \"non_directional\", \"element\": \"stairwell wall\", \"orientation\": \"\", \"state\": \"stained, cold, blue-gray\"}, {\"camera_use\": \"Suggests the unseen source direction through faint light above.\", \"directionality_class\": \"non_directional\", \"element\": \"rooftop darkness above the stairs\", \"orientation\": \"\", \"state\": \"unseen, heavy, foul implied\"}]\n\n[S11_Shot4] (outdoor; loc=L10; scene_heading=S#11. 옥탑 방 밖 / N)\ndescription: 옥상 위, 어둠 속에 반쯤 열려 멈춰 있는 옥탑방 현관 철문의 정적 구도.\nframing_scale: wide\ncamera_direction: After the hard eyeline cut, the camera adopts 수리영’s direct viewpoint from the rooftop landing, several meters from the entrance and at human eye level, facing the iron front door squarely. The half-open door is held in rigid symmetry at the center of the frame, surrounded by still rooftop darkness, with no figure entering to relieve the threat.\nkey_bg_elements: [{\"camera_use\": \"Central reveal and source of unease, held motionless after her smell reaction.\", \"directionality_class\": \"directional_3d\", \"element\": \"rooftop room iron front door\", \"orientation\": \"The door faces camera squarely but hangs half-open, exposing a narrow black interior gap along one side.\", \"state\": \"half-open, frozen, scratched\"}, {\"camera_use\": \"Frames the doorway in isolated negative space.\", \"directionality_class\": \"non_directional\", \"element\": \"rooftop landing darkness\", \"orientation\": \"\", \"state\": \"still, damp, blue-black\"}, {\"camera_use\": \"Adds rough domestic rooftop texture without drawing attention from the door.\", \"directionality_class\": \"directional_3d\", \"element\": \"low rooftop wall\", \"orientation\": \"Its top edge runs horizontally across the lower background, barely lit against the night.\", \"state\": \"wet-stained, concrete, motionless\"}]\nframe_spatial_contract: {\"constraints\": [{\"depth_plane\": \"background\", \"gesture_action\": \"none\", \"gesture_target_label\": \"\", \"label\": \"half-open rooftop iron door\", \"screen_zone\": \"middle_center\", \"target_id\": \"\", \"target_kind\": \"background\"}], \"reason\": \"required_background_position\"}\n\n[S12_Shot15] (indoor; loc=L04; scene_heading=S#12. 옥탑방 안 / N)\ndescription: 침대 위 어두운 벽면에 피가 번지듯 선명한 붉은색 원형 표식이 그려진 상태의 정지 구도.\nframing_scale: medium\ncamera_direction: From low bedside height near the mattress edge, the camera completes its upward tilt and locks off on the dark wall above the bed, where a completed red circular mark sits in the upper middle of frame. The bed edge remains only as a thin lower strip for scale, while the wall becomes an oppressive flat plane; this is aligned with 수리영’s panicked perception, the image subtly treated as an occult hallucination rather than stable reality.\nkey_bg_elements: [{\"camera_use\": \"Primary occult surface holding the completed mark.\", \"directionality_class\": \"content_surface\", \"element\": \"dark wall above the bed\", \"orientation\": \"The camera-facing wall face is visible, carrying a vivid red circular mark at its center.\", \"state\": \"dark, stained-looking, marked\"}, {\"camera_use\": \"Lower frame scale reference beneath the wall.\", \"directionality_class\": \"directional_3d\", \"element\": \"bed edge\", \"orientation\": \"The side edge of the mattress faces the camera from below, cropped into a narrow horizontal band.\", \"state\": \"dim, still, partly obscured\"}, {\"camera_use\": \"Symbolic focal mark on the wall.\", \"directionality_class\": \"content_surface\", \"element\": \"red circular mark\", \"orientation\": \"The painted-looking face of the circle is fully visible to the camera, as if freshly drawn into the wall surface.\", \"state\": \"bright red, wet-looking, completed\"}]\n\n[S12_Shot4] (indoor; loc=L04; scene_heading=S#12. 옥탑방 안 / N)\ndescription: 열린 방문 틈으로 보이는 방바닥에 검붉은 핏자국이 흥건하게 고여 있는 정지 구도.\nframing_scale: close\ncamera_direction: From the low waist-height position outside the bedroom doorway, the camera holds completely still about three feet back, peering through the opened door gap toward the dark red blood pooled on the floor just beyond the threshold. The door edges form a narrow vertical frame on both sides, with the blood occupying the lower middle of the image and the dim bedroom receding into blue-gray darkness behind it; this is a neutral observer’s direct view, not a character POV.\nkey_bg_elements: [{\"camera_use\": \"Foreground framing device that restricts the view into the room.\", \"directionality_class\": \"directional_3d\", \"element\": \"opened bedroom door\", \"orientation\": \"The inner edge of the door faces the camera at an oblique angle, creating a narrow gap into the room.\", \"state\": \"open, still, shadowed\"}, {\"camera_use\": \"Primary visual focus on the floor just inside the doorway.\", \"directionality_class\": \"non_directional\", \"element\": \"dark red blood pool\", \"orientation\": \"\", \"state\": \"wet, thick, spread across the floor\"}, {\"camera_use\": \"Texture under the blood and scale reference for the room.\", \"directionality_class\": \"non_directional\", \"element\": \"bedroom floor\", \"orientation\": \"\", \"state\": \"dirty, damp-looking, partially covered by blood\"}]\n\n[S12_Shot8] (indoor; loc=L04; scene_heading=S#12. 옥탑방 안 / N)\ndescription: 두 눈을 크게 뜨고 입을 벌린 채 굳어버린 수리영의 창백한 얼굴 클로즈업.\ncharacters: 수리영\nframing_scale: close\ncamera_direction: At eye level directly in front of 수리영, the handheld camera compresses tighter than the stage distance until her pale face nearly fills the frame, backing away only a fraction as her shock freezes mid-recoil. The background is almost lost in darkness, with only a faint suggestion of the room’s black edges behind her; the view remains a direct observer angle, but the proximity feels invasive and breathless.\nkey_bg_elements: [{\"camera_use\": \"Nearly swallowed background plane behind her face.\", \"directionality_class\": \"non_directional\", \"element\": \"dark bedroom recess\", \"orientation\": \"\", \"state\": \"unlit, indistinct\"}, {\"camera_use\": \"Soft edge shadow that isolates her head from the room.\", \"directionality_class\": \"directional_3d\", \"element\": \"bedroom doorway edge\", \"orientation\": \"A narrow side edge catches minimal spill light behind her shoulder.\", \"state\": \"partially visible, shadowed\"}]\nframe_spatial_contract: {\"constraints\": [{\"depth_plane\": \"foreground\", \"gesture_action\": \"none\", \"gesture_target_label\": \"\", \"label\": \"수리영 terrified face\", \"screen_zone\": \"middle_center\", \"target_id\": \"C01\", \"target_kind\": \"character\"}], \"reason\": \"primary_subject_isolation\"}\n\n[S13_Shot3] (outdoor; loc=L03; scene_heading=S#13. 옥탑방 외곽 / N)\ndescription: 차에서 내린 혜수가 초점 없는 눈으로 멍하게 서 있는 수리영을 향해 시선을 고정한 찰나의 상체.\ncharacters: 혜수, 수리영\nframing_scale: medium\ncamera_direction: Beside the police car at chest height, the tracking move slows into a held upper-body frame on 혜수 as she has just stepped out, her body paused between the car and the alley. 수리영 appears farther down the alley in soft background focus, small and blank beneath flashing siren wash, while 혜수 occupies the left foreground in a tense three-quarter view; this is a direct observer view moving parallel with her discovery.\nkey_bg_elements: [{\"camera_use\": \"Foreground context and flashing light source beside 혜수.\", \"directionality_class\": \"directional_3d\", \"element\": \"police car\", \"orientation\": \"The side of the car and open door angle toward the camera, framing 혜수’s exit.\", \"state\": \"parked, door open, siren lights active\"}, {\"camera_use\": \"Depth corridor between 혜수 and 수리영.\", \"directionality_class\": \"directional_3d\", \"element\": \"narrow alley\", \"orientation\": \"The alley recedes diagonally from the police car toward 수리영 in the background.\", \"state\": \"wet, dark, foggy\"}, {\"camera_use\": \"Intermittent color wash across faces and walls.\", \"directionality_class\": \"non_directional\", \"element\": \"siren light spill\", \"orientation\": \"\", \"state\": \"flashing red-blue across damp surfaces\"}]\nframe_spatial_contract: {\"constraints\": [{\"depth_plane\": \"foreground\", \"gesture_action\": \"looks_toward\", \"gesture_target_label\": \"수리영 down the alley\", \"label\": \"혜수 by police car\", \"screen_zone\": \"middle_left\", \"target_id\": \"C02\", \"target_kind\": \"character\"}, {\"depth_plane\": \"background\", \"gesture_action\": \"none\", \"gesture_target_label\": \"\", \"label\": \"수리영 in alley\", \"screen_zone\": \"middle_right\", \"target_id\": \"C01\", \"target_kind\": \"character\"}], \"reason\": \"shared_space_relation\"}\n\n[S13_Shot5] (outdoor; loc=L03; scene_heading=S#13. 옥탑방 외곽 / N)\ndescription: 수리영이 고개를 들어 혜수의 얼굴을 올려다보는 정적 구도.\ncharacters: 수리영, 혜수\nframing_scale: close\ncamera_direction: The camera sits low near 수리영’s eye level, about one meter away, tightened into a still close composition as she lifts her face toward 혜수 just above the frame. 수리영 holds the lower center of the image, her upward eyeline creating the unseen presence of 혜수, while the wet alley background blurs into dark blue-gray; this is a direct observer angle from the space between them.\nkey_bg_elements: [{\"camera_use\": \"Soft, dark background texture behind 수리영’s head.\", \"directionality_class\": \"non_directional\", \"element\": \"wet alley wall\", \"orientation\": \"\", \"state\": \"damp, shadowed, out of focus\"}, {\"camera_use\": \"Atmospheric layer around her face.\", \"directionality_class\": \"non_directional\", \"element\": \"night fog\", \"orientation\": \"\", \"state\": \"thin, drifting, blue-gray\"}, {\"camera_use\": \"Off-screen motivated color pulse on her skin.\", \"directionality_class\": \"non_directional\", \"element\": \"police siren spill\", \"orientation\": \"\", \"state\": \"intermittent, faint\"}]\nframe_spatial_contract: {\"constraints\": [{\"depth_plane\": \"foreground\", \"gesture_action\": \"looks_toward\", \"gesture_target_label\": \"혜수 just above frame\", \"label\": \"수리영 close low frame\", \"screen_zone\": \"middle_center\", \"target_id\": \"C01\", \"target_kind\": \"character\"}], \"reason\": \"primary_subject_isolation\"}\n\n[S14_Shot4] (indoor; loc=L04; scene_heading=S#14. 옥탑방 안 / N)\ndescription: 핏자국 하나 없이 깨끗하게 정돈된 수리영의 방 내부 정지 구도.\nframing_scale: wide\ncamera_direction: Just inside 수리영’s bedroom doorway at eye level, the camera holds a wide, unmoving view inward toward the bed, bare wall, curtain, and spotless floor. The room is framed as evidence: the clean floor stretches across the lower half, the curtain line sits to one side where the body should have been, and the wall above the bed remains blank; this is a direct neutral observation of absence.\nkey_bg_elements: [{\"camera_use\": \"Primary proof of erased violence across the lower frame.\", \"directionality_class\": \"non_directional\", \"element\": \"spotless bedroom floor\", \"orientation\": \"\", \"state\": \"clean, dry, no blood marks\"}, {\"camera_use\": \"Central room anchor and comparison point for the missing wall mark.\", \"directionality_class\": \"directional_3d\", \"element\": \"bed\", \"orientation\": \"The side and top plane of the bed face the camera from mid-frame.\", \"state\": \"neatly made, undisturbed\"}, {\"camera_use\": \"Surface where the red circle should have been absent.\", \"directionality_class\": \"content_surface\", \"element\": \"wall above the bed\", \"orientation\": \"The camera-facing wall face is visible and completely bare, carrying no red circular mark.\", \"state\": \"clean, dark, unmarked\"}, {\"camera_use\": \"Empty area where the hidden body had been discovered earlier.\", \"directionality_class\": \"directional_3d\", \"element\": \"curtain line\", \"orientation\": \"The front folds face the camera from the side of the room, concealing only darkness and empty space behind.\", \"state\": \"hanging still, clean, no body visible\"}]\n\n[S14_Shot6] (indoor; loc=L04; scene_heading=S#14. 옥탑방 안 / N)\ndescription: 수리영이 핏기가 가신 창백한 얼굴로 멍하니 빈 커튼 쪽을 응시하는 정면.\ncharacters: 수리영\nframing_scale: close\ncamera_direction: Inside the bedroom near the bed and curtain side, the dolly-in ends in a frontal upper-body emphasis on 수리영, close enough that her pale face and rigid shoulders take most of the frame. She looks past the camera toward the empty curtain area, which is kept implied rather than shown, turning the direct observer view into a psychological confrontation with the missing evidence.\nkey_bg_elements: [{\"camera_use\": \"Blurred side texture suggesting where the corpse should have been.\", \"directionality_class\": \"directional_3d\", \"element\": \"curtain edge\", \"orientation\": \"Only a soft side fold is visible near the frame edge, with the empty area kept off-camera.\", \"state\": \"still, clean, partially out of focus\"}, {\"camera_use\": \"Low background shape behind her shoulder.\", \"directionality_class\": \"directional_3d\", \"element\": \"bed corner\", \"orientation\": \"The near corner angles away behind 수리영, cropped and subdued.\", \"state\": \"neat, undisturbed\"}, {\"camera_use\": \"Absence marker behind her expression.\", \"directionality_class\": \"content_surface\", \"element\": \"blank wall\", \"orientation\": \"The visible wall face behind her is bare and carries no red mark.\", \"state\": \"unmarked, dim\"}]\nframe_spatial_contract: {\"constraints\": [{\"depth_plane\": \"foreground\", \"gesture_action\": \"looks_toward\", \"gesture_target_label\": \"empty curtain area behind camera\", \"label\": \"수리영 frontal close frame\", \"screen_zone\": \"middle_center\", \"target_id\": \"C01\", \"target_kind\": \"character\"}], \"reason\": \"primary_subject_isolation\"}\n\n[S14_Shot8] (indoor; loc=L04; scene_heading=S#14. 옥탑방 안 / N)\ndescription: 식탁 앞에 선 수리영이 빈 식탁을 손가락으로 가리킨 채 멈춘 측면 상체.\ncharacters: 수리영\nframing_scale: medium\ncamera_direction: At chest height beside the dining table, the camera settles from the track into a brief still side composition perpendicular to 수리영’s body line. Her profile holds the left half of frame while her pointing hand cuts toward the bare tabletop on the right, keeping both the gesture and the missing teacups in one direct observational image.\nkey_bg_elements: [{\"camera_use\": \"Gesture target proving the vanished cups.\", \"directionality_class\": \"directional_3d\", \"element\": \"bare dining table\", \"orientation\": \"The clean top plane faces the camera at a shallow angle, with no cups where her finger indicates.\", \"state\": \"clean, empty, dry\"}, {\"camera_use\": \"Dim living-room depth behind the table.\", \"directionality_class\": \"directional_3d\", \"element\": \"living room wall and doorway\", \"orientation\": \"The wall and doorway recede behind 수리영 in side view.\", \"state\": \"shadowed, quiet\"}, {\"camera_use\": \"Soft ambient source in the room.\", \"directionality_class\": \"directional_3d\", \"element\": \"living room stand lamp\", \"orientation\": \"The lamp shade is seen from the side, its warm face turned slightly away from camera.\", \"state\": \"on, weak amber\"}]\nframe_spatial_contract: {\"constraints\": [{\"depth_plane\": \"foreground\", \"gesture_action\": \"points_to\", \"gesture_target_label\": \"bare dining tabletop\", \"label\": \"수리영 pointing beside table\", \"screen_zone\": \"middle_left\", \"target_id\": \"C01\", \"target_kind\": \"character\"}, {\"depth_plane\": \"midground\", \"gesture_action\": \"none\", \"gesture_target_label\": \"\", \"label\": \"bare dining tabletop\", \"screen_zone\": \"middle_right\", \"target_id\": \"\", \"target_kind\": \"background\"}], \"reason\": \"points_to_anchor\"}\n\n[S17_Shot1] (outdoor; loc=L03; scene_heading=S#17. 옥탑방 / 동틀무렵)\ndescription: 짙고 푸른 안개가 깔린 새벽녘, 희미한 노란 불빛이 켜진 옥탑방 창문을 향해 검은 고양이 한 마리가 고개를 돌린 찰나의 측면.\nframing_scale: medium\ncamera_direction: Low at the 검은 고양이’s shoulder height, roughly one meter away, the camera tracks parallel along the rooftop wall and then holds a brief side profile as the cat turns its head toward the lit rooftop-room window. The cat occupies the lower left-to-center band of the frame, while the faint yellow window hangs in the misty background line of sight above the wall.\nkey_bg_elements: [{\"camera_use\": \"distant visual lure for the cat’s head turn\", \"directionality_class\": \"transparent_surface\", \"element\": \"rooftop-room window\", \"orientation\": \"fogged glass shows a weak yellow interior glow beyond it\", \"state\": \"closed, lit from inside\"}, {\"camera_use\": \"tracking guide and jump setup\", \"directionality_class\": \"directional_3d\", \"element\": \"low concrete rooftop wall\", \"orientation\": \"the long side face runs parallel to the camera movement, with its top edge rising toward the next action\", \"state\": \"damp, stained\"}, {\"camera_use\": \"atmospheric veil separating cat and room\", \"directionality_class\": \"non_directional\", \"element\": \"blue dawn fog\", \"orientation\": \"\", \"state\": \"thick, cold, slowly moving\"}]\nframe_spatial_contract: {\"constraints\": [{\"depth_plane\": \"foreground\", \"gesture_action\": \"looks_toward\", \"gesture_target_label\": \"lit rooftop window\", \"label\": \"black cat\", \"screen_zone\": \"lower_left\", \"target_id\": \"C11\", \"target_kind\": \"character\"}, {\"depth_plane\": \"background\", \"gesture_action\": \"none\", \"gesture_target_label\": \"\", \"label\": \"lit rooftop window\", \"screen_zone\": \"upper_right\", \"target_id\": \"\", \"target_kind\": \"background\"}], \"reason\": \"looks_to_anchor\"}\n\n[S18_Shot15] (indoor; loc=L04; scene_heading=S#18. 안방 안 / D)\ndescription: 거울 속 욕실 벽면에 선명한 붉은색 원형 표식이 맺혀 있는 정지 구도.\nframing_scale: insert\ncamera_direction: Inside the bathroom, the camera is fixed at eye level about three feet from the mirror, tightened so the mirror reflection becomes the frame and the reflected rear wall sits centered. The red circular mark is isolated near the middle of the reflected wall, with only a sliver of mirror edge and damp tile context allowed to remain, making the apparition feel graphic and unavoidable.\nkey_bg_elements: [{\"camera_use\": \"the shot’s perceptual surface and compositional border\", \"directionality_class\": \"reflective_surface\", \"element\": \"bathroom mirror\", \"orientation\": \"the mirror reflects the rear bathroom wall and the impossible red circular mark; a narrow mirror edge confirms this is a reflected view\", \"state\": \"slightly misted, cold\"}, {\"camera_use\": \"surface on which the occult symbol appears within reflection\", \"directionality_class\": \"content_surface\", \"element\": \"reflected bathroom wall\", \"orientation\": \"the wall face visible in the mirror carries a sharp crimson circular mark at its center\", \"state\": \"pale tile surface, otherwise clean\"}, {\"camera_use\": \"claustrophobic bathroom texture\", \"directionality_class\": \"non_directional\", \"element\": \"damp tile grout\", \"orientation\": \"\", \"state\": \"wet-looking, gray, stained\"}]\nframe_spatial_contract: {\"constraints\": [{\"depth_plane\": \"midground\", \"gesture_action\": \"none\", \"gesture_target_label\": \"\", \"label\": \"red circular mark in mirror reflection\", \"screen_zone\": \"middle_center\", \"target_id\": \"\", \"target_kind\": \"background\"}], \"reason\": \"required_background_position\"}\n\n[S18_Shot20] (indoor; loc=L04; scene_heading=S#18. 안방 안 / D)\ndescription: 식탁 위에 놓인 사진 속, 살점이 뭉개진 채 기괴하게 흘러내린 (변형된 민숙)의 모습 클로즈업.\ncharacters: 민숙\nframing_scale: insert\ncamera_direction: At tabletop height beside the dining table, the push-in finishes at an extreme close angle on the framed photograph, stripping away nearly all surrounding table context. The mother’s photographed face, now perceived as 민숙 (변형된), occupies the central close field in a grotesque melted distortion, while the photo frame edge remains barely visible to prove this horror is trapped inside the image surface.\nkey_bg_elements: [{\"camera_use\": \"primary hallucinated image surface\", \"directionality_class\": \"content_surface\", \"element\": \"framed family photograph\", \"orientation\": \"the front image face is angled slightly upward to camera, showing the mother’s face grotesquely distorted within the printed photo\", \"state\": \"upright on table, visually corrupted by hallucination\"}, {\"camera_use\": \"thin physical proof that this is still a household object\", \"directionality_class\": \"reflective_surface\", \"element\": \"photo frame glass\", \"orientation\": \"the glass reflects a dim streak of room light across the distorted face without hiding it\", \"state\": \"clean but unnervingly glossy\"}, {\"camera_use\": \"minimal scale reference around the frame\", \"directionality_class\": \"directional_3d\", \"element\": \"dining table edge\", \"orientation\": \"only a narrow tabletop plane and edge remain at the lower frame margin\", \"state\": \"still, ordinary, dim\"}]\nframe_spatial_contract: {\"constraints\": [{\"depth_plane\": \"foreground\", \"gesture_action\": \"none\", \"gesture_target_label\": \"\", \"label\": \"distorted mother’s face inside framed photograph\", \"screen_zone\": \"middle_center\", \"target_id\": \"C12\", \"target_kind\": \"character\"}], \"reason\": \"primary_subject_isolation\"}\n\n[S18_Shot6] (indoor; loc=L04; scene_heading=S#18. 안방 안 / D)\ndescription: 열린 방문 너머, 핏자국 하나 없이 말끔하게 정돈된 방안 정경.\nframing_scale: wide\ncamera_direction: Just outside 수리영’s room, the camera stays eye-level and static about five feet from the threshold, looking straight through the opened door into a room that appears too clean. The doorway forms a dark rectangular frame around the orderly bed, smooth floor, and untouched curtains, with no body, no stain, and no trace where memory said there should be horror.\nkey_bg_elements: [{\"camera_use\": \"primary frame-within-frame revealing the room\", \"directionality_class\": \"directional_3d\", \"element\": \"opened bedroom door\", \"orientation\": \"the door slab is swung aside so the camera sees through the threshold into the room\", \"state\": \"open, still\"}, {\"camera_use\": \"visual proof of unnatural order\", \"directionality_class\": \"directional_3d\", \"element\": \"neatly arranged bed\", \"orientation\": \"the bed’s side and top plane face camera beyond the doorway\", \"state\": \"made, undisturbed\"}, {\"camera_use\": \"absence marker where the earlier horror is expected\", \"directionality_class\": \"transparent_surface\", \"element\": \"bedroom window with curtains\", \"orientation\": \"the window is partly obscured by clean curtains, with pale daylight diffused beyond\", \"state\": \"closed, curtains hanging evenly\"}, {\"camera_use\": \"negative evidence emphasized by stillness\", \"directionality_class\": \"non_directional\", \"element\": \"spotless bedroom floor\", \"orientation\": \"\", \"state\": \"clean, dry, no blood visible\"}]\n\n[S25_Shot4] (indoor; loc=L04; scene_heading=S#25. 옥탑방 안 / 해질 무렵)\ndescription: 붉은 원 한가운데에 피가 묻은 낡은 흑백 사진이 꽂혀 있는 클로즈업.\nframing_scale: close\ncamera_direction: Inside the bedroom at eye level, the dolly-in ends locked nearly perpendicular to the torn wall, holding a close composition where the blood-stained black-and-white photograph sits pinned at the exact center of a crimson circle. The photo and red mark take up the central mass of the frame, while the rough wall texture remains visible around them like scraped skin.\nkey_bg_elements: [{\"camera_use\": \"central occult symbol and compositional target\", \"directionality_class\": \"content_surface\", \"element\": \"red circular wall mark\", \"orientation\": \"the painted wall face is directly visible to camera, showing a rough crimson circle surrounding the pinned photograph\", \"state\": \"fresh-looking, uneven, ominous\"}, {\"camera_use\": \"primary revealed clue\", \"directionality_class\": \"content_surface\", \"element\": \"old black-and-white photograph\", \"orientation\": \"the front image face is visible, showing an aged rural restaurant scene partially obscured by blood stains\", \"state\": \"pinned to wall, creased, blood-stained\"}, {\"camera_use\": \"macabre texture around the clue\", \"directionality_class\": \"non_directional\", \"element\": \"torn bedroom wall texture\", \"orientation\": \"\", \"state\": \"scraped, dirty, disturbed\"}]\n\n[S25_Shot8] (indoor; loc=L04; scene_heading=S#25. 옥탑방 안 / 해질 무렵)\ndescription: 수리영이 한 손에 구겨진 사진을 꽉 쥔 채 백팩을 메고 현관 밖으로 한 발을 내디딘 찰나의 뒷모습.\ncharacters: 수리영\nframing_scale: wide\ncamera_direction: From inside the rooftop room behind 수리영, slightly below eye level and several feet back, the tracking shot widens just enough to include the open front-door threshold as she steps out. Her back and backpack sit in the middle of frame, one foot crossing into the exterior light, while the crumpled photograph remains readable as a tight fist-level detail near her right side.\nkey_bg_elements: [{\"camera_use\": \"destination frame and exit boundary\", \"directionality_class\": \"directional_3d\", \"element\": \"open front door\", \"orientation\": \"the inside face of the open door and its threshold angle toward the camera as 수리영 exits\", \"state\": \"open, letting in dim exterior dusk\"}, {\"camera_use\": \"evidence of intrusion in the room she leaves behind\", \"directionality_class\": \"non_directional\", \"element\": \"scattered household debris\", \"orientation\": \"\", \"state\": \"ransacked, strewn across the floor\"}, {\"camera_use\": \"broken domestic geometry in the side background\", \"directionality_class\": \"directional_3d\", \"element\": \"overturned dining chairs\", \"orientation\": \"chair legs jut sideways at uneven angles across the room\", \"state\": \"knocked over\"}, {\"camera_use\": \"damp air source and unsettling escape route implication\", \"directionality_class\": \"transparent_surface\", \"element\": \"open living-room window\", \"orientation\": \"the camera sees the dark opening and wet exterior air beyond the window frame\", \"state\": \"open, dirty, cold\"}]\nframe_spatial_contract: {\"constraints\": [{\"depth_plane\": \"midground\", \"gesture_action\": \"moves_toward\", \"gesture_target_label\": \"open front door\", \"label\": \"수리영\", \"screen_zone\": \"middle_center\", \"target_id\": \"C01\", \"target_kind\": \"character\"}, {\"depth_plane\": \"background\", \"gesture_action\": \"none\", \"gesture_target_label\": \"\", \"label\": \"open front door threshold\", \"screen_zone\": \"upper_center\", \"target_id\": \"\", \"target_kind\": \"background\"}], \"reason\": \"movement_direction\"}\n\n[S27_Shot1] (indoor; loc=L04; scene_heading=S#27. 옥탑방 안 / 해질 무렵)\ndescription: 난장판이 된 옥탑방 거실, 혜수가 핸드폰을 귀에 댄 채 심각한 표정으로 굳어 있는 상체.\ncharacters: 혜수\nframing_scale: medium\ncamera_direction: Inside the rooftop living room at chest height, the camera continues the flow’s slow dolly-in from about 2.5 meters, tightening to a medium upper-body frame of 혜수 with the phone pressed to her ear. She sits slightly right of center amid overturned, damp-looking clutter, angled three-quarters as if her attention has just pulled toward 김형사 off-frame rather than toward us.\nkey_bg_elements: [{\"camera_use\": \"visible disorder around 혜수, keeping the room’s violated condition readable behind her\", \"directionality_class\": \"non_directional\", \"element\": \"scattered rooftop-room clutter\", \"orientation\": \"\", \"state\": \"messy, overturned, neglected\"}, {\"camera_use\": \"background source of cold draft and later sound, held out of focus behind the anxiety\", \"directionality_class\": \"directional_3d\", \"element\": \"entrance door\", \"orientation\": \"its inner face angles slightly away from camera, showing the rattling edge and frame gap\", \"state\": \"not fully secure, wind-shaken\"}, {\"camera_use\": \"thin translucent layer over the small room window, adding a damp dusk haze\", \"directionality_class\": \"transparent_surface\", \"element\": \"grimy window glass\", \"orientation\": \"dirty glass catches the gray exterior light while showing only a blurred rooftop beyond\", \"state\": \"streaked, dim\"}]\n\n[S4_Shot1] (outdoor; loc=L03; scene_heading=S#4. 옥탑방 / D)\ndescription: 인천 변두리의 낡고 오래된 빌라 옥탑방 외부 전경이 한눈에 내려다보이는 부감 구도.\nframing_scale: wide\ncamera_direction: An omniscient overhead camera holds from about forty-five meters above the old villa, centered on the rooftop room while still keeping the surrounding neighborhood readable. The rooftop structure sits in the middle of the frame like a small exposed shrine, boxed in by worn roofs, narrow alleys, and faded concrete blocks.\nkey_bg_elements: [{\"camera_use\": \"The rooftop room is the central visual anchor and destination of the aerial reveal.\", \"directionality_class\": \"directional_3d\", \"element\": \"old rooftop room exterior\", \"orientation\": \"its roof and front wall are visible from above, with the doorway side angled slightly toward camera\", \"state\": \"aged, patched, weather-stained\"}, {\"camera_use\": \"Surrounding villa roofs create a cramped grid that isolates the rooftop room.\", \"directionality_class\": \"directional_3d\", \"element\": \"neighboring old villa rooftops\", \"orientation\": \"flat roof planes face upward toward the overhead camera\", \"state\": \"worn, cluttered, pale gray\"}, {\"camera_use\": \"A thin haze softens the outskirts and carries the news voice’s unease into the space.\", \"directionality_class\": \"non_directional\", \"element\": \"damp urban haze\", \"orientation\": \"\", \"state\": \"thin, bluish, stagnant\"}]\nframe_spatial_contract: {\"constraints\": [{\"depth_plane\": \"midground\", \"gesture_action\": \"none\", \"gesture_target_label\": \"\", \"label\": \"old rooftop room\", \"screen_zone\": \"middle_center\", \"target_id\": \"\", \"target_kind\": \"background\"}], \"reason\": \"required_background_position\"}\n\n[S5_Shot10] (indoor; loc=L04; scene_heading=S#5. 옥탑방 안 / 실내)\ndescription: 수리영이 민숙의 어깨에 코를 묻고 멈춘 찰나의 측면.\ncharacters: 수리영, 민숙\nframing_scale: close\ncamera_direction: The camera follows the flow into the narrow entrance area and holds side-on at shoulder height, about one meter away, lens parallel to the wall to compress mother and daughter together. The tighter profile frame favors the contact point: Suriyeong’s face and nose press into Minsuk’s shoulder at center-left, while Minsuk’s softened profile and apron edge sit center-right.\nkey_bg_elements: [{\"camera_use\": \"The narrow wall flattens the space and makes their closeness feel private and fragile.\", \"directionality_class\": \"non_directional\", \"element\": \"entrance wall\", \"orientation\": \"\", \"state\": \"worn, slightly yellowed, close to camera plane\"}, {\"camera_use\": \"The shoe area at the bottom edge hints at Suriyeong leaving soon without pulling focus from the embrace.\", \"directionality_class\": \"directional_3d\", \"element\": \"entryway shoe area\", \"orientation\": \"shoe tops and low threshold edge face the camera from below the profiles\", \"state\": \"cluttered, dim\"}, {\"camera_use\": \"The door seam creates a vertical boundary beside them, suggesting a moment just before departure.\", \"directionality_class\": \"directional_3d\", \"element\": \"front door seam\", \"orientation\": \"the flat door face is seen in side compression, seam running vertically near the right edge\", \"state\": \"closed, dull, scuffed\"}]\n\n[S5_Shot12] (indoor; loc=L04; scene_heading=S#5. 옥탑방 안 / 실내)\ndescription: 민숙의 손목 안쪽에 새겨진 작은 원 모양의 표식 클로즈업.\ncharacters: 민숙\nframing_scale: insert\ncamera_direction: The camera completes the flow’s downward push from Suriyeong’s side of the entrance to a very close waist-height insert, about twenty centimeters from Minsuk’s inner wrist. The wrist cuts diagonally across the center of frame, the small circular mark isolated in sharp focus while skin, sleeve edge, and the entryway behind fall into creamy blur.\nkey_bg_elements: [{\"camera_use\": \"The marked skin surface is the focal plane and occult reveal.\", \"directionality_class\": \"content_surface\", \"element\": \"inner wrist with circular mark\", \"orientation\": \"the inner wrist surface faces the camera, showing a small dark circular mark clearly against the skin\", \"state\": \"exposed, sharply focused, mark unusually distinct\"}, {\"camera_use\": \"The sleeve cuff frames the wrist without becoming the subject.\", \"directionality_class\": \"directional_3d\", \"element\": \"apron or sleeve edge\", \"orientation\": \"fabric edge runs along the wrist from camera-left, seen as a soft side fold\", \"state\": \"soft, worn, out of focus\"}, {\"camera_use\": \"The entrance background becomes an indistinct shadow field so the symbol carries the tension.\", \"directionality_class\": \"non_directional\", \"element\": \"blurred entryway background\", \"orientation\": \"\", \"state\": \"dim, warm-gray, unfocused\"}]\nframe_spatial_contract: {\"constraints\": [{\"depth_plane\": \"foreground\", \"gesture_action\": \"none\", \"gesture_target_label\": \"\", \"label\": \"Minsuk inner wrist mark\", \"screen_zone\": \"middle_center\", \"target_id\": \"C04\", \"target_kind\": \"character\"}], \"reason\": \"primary_subject_isolation\"}\n\n[S5_Shot3] (indoor; loc=L04; scene_heading=S#5. 옥탑방 안 / 실내)\ndescription: 앞치마를 두른 민숙이 어두운 표정으로 거실 TV 화면을 응시하며 굳어 있는 상체.\ncharacters: 민숙\nframing_scale: medium\ncamera_direction: The observer camera settles at the end of its lateral track from near the sink and small window, chest height and about two and a half meters from Minsuk, looking across the counter line toward the living room TV. Minsuk is held in an upper-body frame at the right-middle of the image, shoulders locked in her apron as the kitchen foreground remains softly present and the TV glow pulls her stare off-frame.\nkey_bg_elements: [{\"camera_use\": \"The TV is the off-frame source of her fixed attention and casts a cold news glow across the room.\", \"directionality_class\": \"content_surface\", \"element\": \"living room TV screen\", \"orientation\": \"the screen face is angled away from the camera, showing only a sliver of moving blue news light rather than readable content\", \"state\": \"on, low volume, flickering\"}, {\"camera_use\": \"The sink and herbs sit in the near foreground, domestic routine interrupted by dread.\", \"directionality_class\": \"directional_3d\", \"element\": \"sink with unfinished medicinal herbs\", \"orientation\": \"the basin rim and faucet side face the camera across the counter\", \"state\": \"water running, herbs wet and half-washed\"}, {\"camera_use\": \"Steam from the pot veils the compact room and gives the practical light a sick texture.\", \"directionality_class\": \"non_directional\", \"element\": \"boiling pot steam\", \"orientation\": \"\", \"state\": \"rising, thin, wavering\"}, {\"camera_use\": \"The small window gives a narrow daylight slit that contrasts with the TV’s colder glow.\", \"directionality_class\": \"transparent_surface\", \"element\": \"small living-room window\", \"orientation\": \"slightly dirty glass admits pale daylight; only a blurred exterior brightness is visible through it\", \"state\": \"closed, dusty\"}]\n\nCREATOR CORRECTIONS (override any conflicting text):\n- CORRECTION (production owner): the exterior stair element is an ADDED-ON STEEL stair retrofitted later onto its building's outside wall — open treads, thin steel stringers and support posts, pipe handrail, visibly a separate later addition to the building. It is NOT concrete or cement; this supersedes any cement/concrete stair mention elsewhere in the data.\n\nBuild the relational block layout now."}
{"ts": "2026-07-07 21:09:00", "kind": "code_render", "tag": "blockset_v2", "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/bd_code_r0.png", "elements": 24, "layers": 4}
{"ts": "2026-07-07 21:09:00", "kind": "stage", "stage": "s22_bd_code", "done": "all"}
{"ts": "2026-07-07 21:11:36", "kind": "llm", "step": "s22_bd_rel_v1", "model": "gpt", "dur_s": 90.6, "system_prompt": "You are a set-layout analyst for film pre-production. You get one\nreal-world place's member descriptions, the FULL ORIGINAL TEXT of every scene\nthat plays there, all shots, and creator corrections (which override any\nconflicting text). Build ONE top-down BLOCK LAYOUT of the whole property as\nRELATIONAL data for a deterministic solver — you never output coordinates;\nyou only state what contains what, where inside its container, how big\nrelative to its container, and what is attached to which side.\n\nPlacement model (the solver computes all geometry from this):\n- Every element names a parent: \"canvas\" (the whole 100x100 site, canvas top\n  = the property's rear, canvas bottom = the street/approach side unless the\n  texts imply otherwise — state your choice in layout_notes_ko) or another\n  element's id (true containment: the child sits ON/INSIDE the parent area).\n- anchor: one of NW,N,NE,W,C,E,SW,S,SE — where the element sits INSIDE its\n  parent.\n- w_pct,h_pct: the element's width/height as a PERCENT of its parent's\n  width/height (5..100). For shape \"circle\", w_pct alone sets the diameter\n  as a percent of the parent's smaller side.\n- attach_side: none, or N/S/E/W — the element is snapped flush against that\n  side of its parent (stairs on an outside wall, walls on an edge, and ALL\n  openings). along_pct (0..100) positions it along that side (left→right or\n  top→bottom); use it whenever attach_side is not \"none\".\n- Openings (door/window/gate) MUST have attach_side = the wall side of their\n  host parent that the texts support, and repeat = how many identical\n  openings the strip contains.\n\nElement kinds: building_mass, upper_shell (enclosed upper unit — outline\nonly, never interior), terrace, yard, road, alley, stair, wall, neighbor_mass\n(BLOCK kinds) and door, window, gate, fixture_round, fixture_rect, equipment\n(POINT kinds).\n- ids: short lowercase slugs, unique.\n- Simplify ALL neighbouring buildings to plain neighbor_mass rects (parent =\n  canvas, no openings). Include the road/alley approach.\n- COUNT-CRITICAL: opening counts/sides must match the texts; if the texts\n  give no exact count choose a modest count and set certainty=\"inferred\".\n- EXTERIOR ONLY: this is an OUTDOOR site diagram — ground areas, building\n  outer shells, roof-level surfaces, OUTDOOR fixtures, and boundary openings\n  (doors/windows/gates in OUTER walls) only. NEVER include interior\n  furniture, appliances or fixtures of any enclosed unit (no beds, tables,\n  stoves, counters, mirrors, lamps, TVs); every enclosed volume stays\n  sealed — outline and outer-wall openings only.\n- Include permanent OUTDOOR fixtures the scenes rely on. NO story props, no\n  vehicles, no people, nothing temporary.\n- 10 to 26 elements. name_en: 1-3 generic English words, no proper names.\n  desc_ko: one short Korean sentence — what it PHYSICALLY is, its form and\n  key spatial relation, present tense, PHYSICAL VISIBLE FACTS ONLY: never\n  events, actions, characters or animals, usage stories, moments of motion,\n  or authorial phrasing (verbatim shown to the human reviewer).\n- evidence: source = scene index / shot key / member id, quote = exact\n  phrase copied from the given texts. certainty=\"text\" needs a real quote.\n\nHEIGHT LAYERS (3-6): you define them; each = layer_id, name_en, desc_ko (one\nKorean sentence: what physical height), rel_height (0 = ground, increasing\nupward). Every element references one layer_id.\n\nSolid blocks that share a parent must not overlap — place siblings at\ndifferent anchors with sizes that leave room (the solver will report any\noverlap back to you for correction).\n\nAlso output layout_notes_ko: 3-6 Korean sentences on the arrangement logic\n(verbatim shown to the human reviewer).", "user_prompt": "PLACE MEMBERS:\n- (outdoor, L03) 인천 변두리 낡은 빌라 옥탑방 옥상·현관 앞 외부: 낡은 다세대 빌라 꼭대기에 위치한 야외 공간. 물탱크, 흔들리는 빨랫줄, 평상 위 약초 건조 흔적, 낡은 철문 현관이 있다. (특징: 낡은 시멘트 바닥; 물탱크; 바람에 날리는 빨랫줄; 평상과 널려 있는 말린 약초(석창포); 전단지가 끼워진 철문 현관)\n- (indoor, L04) 옥탑방 내부: 작은 창문으로 빛이 들어오는 낡은 주거 공간. 싱크대, 식탁, TV가 있는 거실과 침대, 커튼, 거울 등이 있는 방/욕실로 구성된다. 약초 끓이는 냄비 등 생활 소품이 있으며, 간헐적으로 벽면에 붉은 원 형태의 환영과 핏자국이 생겨난다. (특징: 작은 창문의 햇살; 싱크대와 약초(석창포); 가스레인지 위 끓는 냄비와 수증기; 거실 TV와 스탠드; 침대, 커튼, 거울; 벽과 거울 표면에 나타나는 붉은 원 환영; 바닥과 벽의 핏자국 (특정 시점); 어지럽혀진 가재도구 (특정 시점))\n- (outdoor, L10) 옥탑방 외곽 골목·시멘트 계단: 다세대 빌라 마당의 후미진 구석과 옥탑방으로 올라가는 가파르고 낡은 시멘트 계단. (특징: 다세대 빌라 입구 마당; 후미진 구석 공간; 낡고 가파른 시멘트 계단)\n\nFULL ORIGINAL SCENE TEXTS (every scene at this place):\n\n=== SCENE 4 FULL TEXT ===\nS#4. 옥탑방 / D\n인천 변두리 부감, 오래된 빌라 옥탑방 전경.\n기자(E)\n지역 주민들 사이에 횡행한 소문이 돌고 있지만, 경찰은 범인의 윤곽조차 잡지 못하고 있어 지역주민들의 불안과 두려움을 더 키우는 모양새입니다.\n\n\n\n=== SCENE 5 FULL TEXT ===\nS#5. 옥탑방 안 / 실내\n거실에 난 작은 창으로 햇살에 가늘게 비친다. 싱크대 수도꼭지에 흐르는 물, 씻다 만 약초(석창포). 냄비의 물이 끓어 달그락거리는 소리… 김이 피어오르고. 앞치마를 두른 채 TV 뉴스를 뚫어지게 바라보는 민숙(수리영 엄마. 40세) 표정이 어둡다. (뉴스멘트는 작아졌다 커졌다 반복하면서 여기까지 이어진다)\n딸, 수리영(21. 애완동물미용학과 2년)이 방문을 열고 기지개를 켜며 나오자 후다닥 TV를 끄는 민숙. 다정한 말투로\n수리영\n(심드렁) 뭐~야. 사건 났어? 뭔데.\n민숙\n아냐.\n수리영\n(식탁에 앉으며) 이모 또 야근하겠네. 조그만 도시에 왠 사건이 이렇게 많아. 바다가 가까워서 그런가.\n민숙\n신경 꺼. (석창포 달인 물을 따라주면서) 마셔. 방학인데 왜 더 자지않고.\n수리영\n(마시고 나서) 아, 진짜 맛 없어...(투정) 나 알바 있어, 엄마. 원장님이 하루만 봐 달래.\n(cut to.)\n가벼운 차림새. 수리영 신발을 신으며\n수리영\n엄마는 오늘 안 나가?\n민숙\n이따가 1시 타임.\n수리영\n(엄마의 냄새를 맡으며) 아, 좋다. 끝나고 마트로 갈게. 모처럼 밖에서 저녁먹자 엄마.\n민숙\n응 (미소)\n힐끗, 민숙 손목에 보이는 작은 원(이하 표식)을 본다. 오늘따라 유난히 또렷해 보이지만 워낙 어릴 적부터 봐온 터라 개의치 않는.\n\n\n\n=== SCENE 10 FULL TEXT ===\nS#10. 옥탑방 / N\n그 시각. 옥탑방 옥상. 물탱크. 바람에 빨랫줄이 툭- 툭- 평상에 놓인 말린 석창포가 바람에 날리는데... 말린 잎이 걸어오는 낯선 남자의 신발 위를 스친다. 남자의 긴 그림자. (얼굴은 보이지 않는다)\n신발은 옥탑방 철문 현관 앞에 멈춰 선다. 문틈에 낀 광고 전단지. 전단지를 뽑아서 손가락으로 문틈에 꾹 밀어 넣는다. ‘철컥’ 하고 잠금 새가 풀리는 소리. 문이 미세하게 열리고 안으로 들어가는 남자.\n창문에 비친 그림자. 민숙을 덮쳐 어깨를 물어뜯는 듯한 모습 ‘아악-’\n\n\n\n=== SCENE 11 FULL TEXT ===\nS#11. 옥탑 방 밖 / N\n자전거를 타고 골목길을 달리는 수리영. 다세대 빌라 문을 열고 들어와 마당 후미진 곳에 자전거를 대충 세우고, 옥탑방과 연결되는 계단을 급히 오른다.\n갑자기 훅- 느껴지는 역겨운 냄새. 뭐지? 옥상에 올라와 보니 반쯤 열린 현관 철문.\n\n\n\n=== SCENE 12 FULL TEXT ===\nS#12. 옥탑방 안 / N\n/거실\n‘엄마?’를 부르며 들어오는 수리영, 끓다 식은 냄비. 켜져 있는 TV. 희미한 거실 스탠드 불빛,\n/민숙 방\n안방 문을 여는데... 없다. 거실 식탁에 놓여있는 찻잔 두 개. 하나는 엎어져있다.\n/수리영 방\n마지막으로 자기 방문을 연다 헉!- 여기저기 핏자국. 바닥에 흥건한 혈흔. 피묻은 발자국은 커튼으로 이어져 있다 호흡을 가다듬고 커튼을 젖히자 앉은 채로 고개를 떨군 채 죽어있는 엄마- 민숙!!!!\n수리영\n(달려가) 어어어어----엄마\n충격에 온 몸이 얼어붙은 수리영, 살점이 뜯긴 어깨와 쇄골, 마치 동물에게 물어뜯긴 듯한 거친 상처가 고스란히 드러나있다. 덜렁거리는 살점과 뜯겨진 부위에 흘러내리는 피.\n수리영\n(놀라 뒤로 주춤) 어-어-어- 엄마….\n부들부들 떨며 핸드폰을 누른다. 2번 혜수이모\n수리영\n받아, 이모. 받아….\n혜수(E)\n영아, 영아, 왜?\n답은 안 나오고… 엄마 손안에 구겨진 사진 한 장이 보인다. 다가가 사진을 꺼내는데 엄마 손목에 있던 문신이 붉은색으로 변한다. 헉! 호흡이 빨라지고... 침대 위 벽에 붉은 원이 생겨난다 (마치 누군가 붓으로 벽에 원으로 그리는 것처럼). 소름끼치는 으아악---!\n\n\n\n=== SCENE 13 FULL TEXT ===\nS#13. 옥탑방 외곽 / N\n비명을 지르며 옥탑방을 빠져나오는 수리영, 허겁지겁 계단을 내려간다. 동시에 사이렌이 울리고~. (포즈)\n차에서 내린 혜수(40대 중반, 여자, 경위) 초점을 잃고 멍하니 서있는 수리영의 모습을 발견하고 달려간다.\n혜수\n영아? 왜! 무슨 일이야?\n수리영\n(올라다보며) 엄마가, 엄마가... 죽어있어.\n혜수\n(놀라) 뭐?!\n옥탑 방으로 뛰어 올라가는 혜수와 후배 형사(30대 남/ 이하 김형사)\n\n\n\n=== SCENE 14 FULL TEXT ===\nS#14. 옥탑방 안 / N\n/현관\n집안 여기저기를 확인하면서 나오는 형사와 혜수\n김형사\n(허탈한 표정) 없는데.. 아무 것도.\n혜수\n(뒤따라온 수리영에게) 영아, 없어. 뭘 봤는데...?\n어? 수리영, 부리나케 방 안으로 뛰어 들어간다.\n/수리영 방 안\n지나칠 정도로 깨끗하게 정돈된 방안. 핏자국도 보이지 않고, 침대 위에 붉은 표식은 물론 커튼 뒤의 시신도 감쪽 같이 사라졌다. 얼굴이 파리해지는 수리영. ‘어----?’ ‘분명히 봤는데...’\n뛰쳐나가 식탁으로 가본다. 식탁 역시 깨끗한.\n수리영\n여기 찻잔도 두 개 있었고...\n김형사\n(답답) 허 참! 죽은 사람이 발이 달렸을 리도 없고. 쯧쯧 그러게 살인사건은 자세하게 보도하면 안 된다구요...(궁시렁) 이봐요. 학생? 장난전화 하면 안 되는 거 몰라? (짜증) 안 그래도 살인사건으로 난리도 아닌데...\n혜수\n(김형사 째리고) 김형사. 먼저 가 있어. (김형사 나가면) (수리영 어깨를 어루만지며) 영아.\n수리영\n엄마(시신), 어디갔을까? 분명히 봤는데...\n혜수\n네가 요즘 과로했잖아. 공부에다 알바까지... 악몽을 꾼 걸 수도 있으니... 바람이나 쐬러 가자.\n수리영 방안에 놓여진 백팩, 인형. 약간씩 위치가 달라진. (시신을 발견했을 때와 다른)\n\n\n\n=== SCENE 17 FULL TEXT ===\nS#17. 옥탑방 / 동틀무렵\n새벽녘, 고양이 울음소리. 검은 고양이가 불이 켜져 있는 옥탑 방을 슬쩍 보더니 담을 넘는다\n\n\n\n=== SCENE 18 FULL TEXT ===\nS#18. 안방 안 / D\n침대에 머리를 대고 앉아있는 수리영, 밤새 엄마를 기다리다 깜박 졸았다 고양이 울음소리에 번쩍 눈을 뜨고, ‘엄마? ’혹시나 해서 집안을 살피지만 아무런 인기척도 보이지 않는다\n/수리영 방안\n닫혀있는 자신의 방을 바라본다. [F.B: 1부12씬] 커튼 뒤에 죽어있던 엄마. 상처. 혈흔 크게 심호흡하고 조심스럽게 문을 연다. 지나치리만큼 깨끗하게 정돈된 방안. 창문에 다가가 커튼을 확 열어젖힌다. 시신은 없다. 한숨 후~ 다행이긴 한데. 그때, 울리는 폰 벨소리, 화들짝 놀라는 수리영. 달려가 받자마자\n수리영\n엄마?\n혜수(E)\n아직이니?\n수리영\n응. 아무래도 이상해. 이럴 리가 없잖아! 우리 엄마가. 이모, 사고 난 게 분명해\n혜수(E)\n실종신고 냈어. 이모가 엄마 폰 위치추적하고 있으니까 조금만 기다려 별일 없을 거야. 알았지?\n수리영\n응.\n무작정 기다리는게 불안한 수리영, 인형이 달린 자신의 백팩을 꺼내 나온다\n/욕실 안\n얼굴을 씻고 거울을 보며\n수리영\n엄마, 도대체 어딨는 거야...\n거울에 비친 욕실 벽에 갑자기 또 발생하는 붉은 원. 호흡이 가빠지고... 훅 고개를 돌려 벽을 보는 수리영 거짓말처럼 사라지고 없다. 거실로 튀어나와 물 한컵 마시고 식탁에 놓인 엄마와 수리영의 사진을 보는데... 환하게 웃는 엄마 얼굴이 뭉개져 흘러내린다\n수리영\n아아악~~~ (다시보니 멀쩡하다) 나 왜 이러는 거지. (자신의 뺨을 치며) 정신 차려 수리영!\n\n\n\n=== SCENE 25 FULL TEXT ===\nS#25. 옥탑방 안 / 해질 무렵\n누군가 다녀간 흔적으로 보이는 발자국들. 다시 호흡이 가빠지는 수리영. 집안에서 뭔가를 찾기 위해 가재도구를 온통 헤집은 것으로 보인다. 거실에 난 창은 열려있고, 식탁 의자들을 쓰러져있다.\n/수리영 방\n열린 자신의 방을 힐끗 보는데 벽에 또 붉은 원이 그려져있다. 그 가운데 꽂혀있는 피묻은 사진 한 장! 사진을 떼어서 자세히 본다. 어? 그 사진!!!\n[F.B: 1부 12씬] 죽은 엄마의 손에 구겨져있던 바로 그 사진이다. 7-80년대 쯤 보이는 시골 식당과 지붕위에 둥근 원이 설치된 (마치 십자가처럼) 식당 앞에는 어린 여자애 둘(12살)이 앉아있다. 그중에 한 아이는 분명히 어릴 적 엄마다.\n침대에 털썩 주저앉는 수리영. 연속해서 벌어지는 기이한 상황에 정신이 혼미한 엉망이 된 집 안을 한번 획 둘러보는 수리영, 마치 이끌리듯 백팩을 메고 밖으로 나간다. 사진을 손에 꼭 쥔 채.\n\n\n\n=== SCENE 27 FULL TEXT ===\nS#27. 옥탑방 안 / 해질 무렵\n수리영의 녹음메시지를 확인하는 혜수,\n혜수\n너 봤니..본 거니... (김형사에게) 좌표를 보지않았을까?\n김형사\n그럴리가요. (혀를 끌끌 차며) 아이구 쯧쯧. 설사 본들 망망대해에서 뭘 어쩌겠어요. 돌아오겠죠.\n덜커덩 덜커덩. 바람에 현관문 소리. 황량하다.\n\n\n\nALL SHOTS AT THIS PLACE (full content):\n\n[S10_Shot5] (outdoor; loc=L03; scene_heading=S#10. 옥탑방 / N)\ndescription: 철문이 미세하게 열린 틈 사이로 어두운 내부가 보이는 구도.\nframing_scale: insert\ncamera_direction: At the end of the flow’s dolly-in, the lens freezes just outside the iron door at handle height, only inches from the seam, staring directly into the thin opening. The dark crack sits in the center like a vertical wound, with rough iron surfaces on both sides occupying the foreground while the interior beyond remains unreadable and almost lightless.\nkey_bg_elements: [{\"camera_use\": \"Primary focal aperture; turns the entry into a threatening slit rather than a normal doorway.\", \"directionality_class\": \"directional_3d\", \"element\": \"iron front door\", \"orientation\": \"The two heavy door edges face camera at close range, separated by a narrow central crack leading into darkness.\", \"state\": \"slightly open, scratched, cold metal\"}, {\"camera_use\": \"Hides what is inside and makes the gap feel predatory.\", \"directionality_class\": \"non_directional\", \"element\": \"dark interior beyond the crack\", \"orientation\": \"\", \"state\": \"unlit, opaque, silent\"}, {\"camera_use\": \"Adds tactile evidence of forced entry near the seam.\", \"directionality_class\": \"content_surface\", \"element\": \"creased advertisement flyer edge\", \"orientation\": \"Only the printed edge of the paper face is visible near the door seam, with partial color blocks and unreadable text.\", \"state\": \"bent, partly displaced, dirty\"}]\nframe_spatial_contract: {\"constraints\": [{\"depth_plane\": \"foreground\", \"gesture_action\": \"none\", \"gesture_target_label\": \"\", \"label\": \"narrow iron door seam\", \"screen_zone\": \"middle_center\", \"target_id\": \"\", \"target_kind\": \"background\"}], \"reason\": \"required_background_position\"}\n\n[S10_Shot6] (outdoor; loc=L03; scene_heading=S#10. 옥탑방 / N)\ndescription: 방 안 창문에 비친 그림자, 굽은 형태의 인영이 다른 사람 형상 위에 포개져 멈춘 찰나의 실루엣.\nframing_scale: medium\ncamera_direction: Inside the room, the camera holds static near the side wall at shoulder height, angled so only the window glass carries the action as a reflection and the direct attack is never seen. The reflected silhouettes sit within the window frame: a bent 인영 in the upper-middle area lowers its head toward the shoulder of 사람, whose body buckles beneath it in a distorted, wavering mid-action shape.\nkey_bg_elements: [{\"camera_use\": \"Serves as the only visible surface for the attack, keeping violence indirect and distorted.\", \"directionality_class\": \"reflective_surface\", \"element\": \"room window glass\", \"orientation\": \"The glass reflects the bent 인영 and 사람 as warped dark silhouettes, with faint interior light streaks trembling across them.\", \"state\": \"closed, grimy, reflective in darkness\"}, {\"camera_use\": \"Frames the reflection and prevents the viewer from seeing the real bodies directly.\", \"directionality_class\": \"directional_3d\", \"element\": \"window frame\", \"orientation\": \"The frame’s inner edges face camera and box the reflected action into a rigid rectangle.\", \"state\": \"old, chipped, motionless\"}, {\"camera_use\": \"Adds low, diseased color to the reflected silhouettes.\", \"directionality_class\": \"directional_3d\", \"element\": \"dim interior practical light\", \"orientation\": \"The lamp’s shaded side is off-frame but its amber spill grazes the wall and window reflection.\", \"state\": \"on, weak, sickly amber\"}, {\"camera_use\": \"Keeps the room claustrophobic around the window surface.\", \"directionality_class\": \"non_directional\", \"element\": \"dark side wall\", \"orientation\": \"\", \"state\": \"rough, stained, blue-gray shadowed\"}]\nframe_spatial_contract: {\"constraints\": [{\"depth_plane\": \"midground\", \"gesture_action\": \"none\", \"gesture_target_label\": \"\", \"label\": \"window reflection containing silhouettes\", \"screen_zone\": \"middle_center\", \"target_id\": \"\", \"target_kind\": \"background\"}], \"reason\": \"required_background_position\"}\n\n[S11_Shot3] (outdoor; loc=L10; scene_heading=S#11. 옥탑 방 밖 / N)\ndescription: 계단 중간에 서서 심하게 코를 찡그린 수리영의 얼굴 클로즈업.\ncharacters: 수리영\nframing_scale: close\ncamera_direction: Midway up the narrow concrete staircase, the camera holds static very close to 수리영 from the front-left at face height, tightening into an intense close-up that leaves only a sliver of stair texture behind her. Her nose wrinkles hard at the sudden smell, eyes lifting toward the unseen rooftop landing while her halted climb compresses her shoulders into the frame.\nkey_bg_elements: [{\"camera_use\": \"Minimal background texture that preserves the stair location without diluting the reaction.\", \"directionality_class\": \"directional_3d\", \"element\": \"narrow concrete staircase\", \"orientation\": \"Only the side edge and riser texture angle behind her cheek, indicating the upward path to the rooftop.\", \"state\": \"dark, damp, rough\"}, {\"camera_use\": \"Creates a suffocating side boundary close to her face.\", \"directionality_class\": \"non_directional\", \"element\": \"stairwell wall\", \"orientation\": \"\", \"state\": \"stained, cold, blue-gray\"}, {\"camera_use\": \"Suggests the unseen source direction through faint light above.\", \"directionality_class\": \"non_directional\", \"element\": \"rooftop darkness above the stairs\", \"orientation\": \"\", \"state\": \"unseen, heavy, foul implied\"}]\n\n[S11_Shot4] (outdoor; loc=L10; scene_heading=S#11. 옥탑 방 밖 / N)\ndescription: 옥상 위, 어둠 속에 반쯤 열려 멈춰 있는 옥탑방 현관 철문의 정적 구도.\nframing_scale: wide\ncamera_direction: After the hard eyeline cut, the camera adopts 수리영’s direct viewpoint from the rooftop landing, several meters from the entrance and at human eye level, facing the iron front door squarely. The half-open door is held in rigid symmetry at the center of the frame, surrounded by still rooftop darkness, with no figure entering to relieve the threat.\nkey_bg_elements: [{\"camera_use\": \"Central reveal and source of unease, held motionless after her smell reaction.\", \"directionality_class\": \"directional_3d\", \"element\": \"rooftop room iron front door\", \"orientation\": \"The door faces camera squarely but hangs half-open, exposing a narrow black interior gap along one side.\", \"state\": \"half-open, frozen, scratched\"}, {\"camera_use\": \"Frames the doorway in isolated negative space.\", \"directionality_class\": \"non_directional\", \"element\": \"rooftop landing darkness\", \"orientation\": \"\", \"state\": \"still, damp, blue-black\"}, {\"camera_use\": \"Adds rough domestic rooftop texture without drawing attention from the door.\", \"directionality_class\": \"directional_3d\", \"element\": \"low rooftop wall\", \"orientation\": \"Its top edge runs horizontally across the lower background, barely lit against the night.\", \"state\": \"wet-stained, concrete, motionless\"}]\nframe_spatial_contract: {\"constraints\": [{\"depth_plane\": \"background\", \"gesture_action\": \"none\", \"gesture_target_label\": \"\", \"label\": \"half-open rooftop iron door\", \"screen_zone\": \"middle_center\", \"target_id\": \"\", \"target_kind\": \"background\"}], \"reason\": \"required_background_position\"}\n\n[S12_Shot15] (indoor; loc=L04; scene_heading=S#12. 옥탑방 안 / N)\ndescription: 침대 위 어두운 벽면에 피가 번지듯 선명한 붉은색 원형 표식이 그려진 상태의 정지 구도.\nframing_scale: medium\ncamera_direction: From low bedside height near the mattress edge, the camera completes its upward tilt and locks off on the dark wall above the bed, where a completed red circular mark sits in the upper middle of frame. The bed edge remains only as a thin lower strip for scale, while the wall becomes an oppressive flat plane; this is aligned with 수리영’s panicked perception, the image subtly treated as an occult hallucination rather than stable reality.\nkey_bg_elements: [{\"camera_use\": \"Primary occult surface holding the completed mark.\", \"directionality_class\": \"content_surface\", \"element\": \"dark wall above the bed\", \"orientation\": \"The camera-facing wall face is visible, carrying a vivid red circular mark at its center.\", \"state\": \"dark, stained-looking, marked\"}, {\"camera_use\": \"Lower frame scale reference beneath the wall.\", \"directionality_class\": \"directional_3d\", \"element\": \"bed edge\", \"orientation\": \"The side edge of the mattress faces the camera from below, cropped into a narrow horizontal band.\", \"state\": \"dim, still, partly obscured\"}, {\"camera_use\": \"Symbolic focal mark on the wall.\", \"directionality_class\": \"content_surface\", \"element\": \"red circular mark\", \"orientation\": \"The painted-looking face of the circle is fully visible to the camera, as if freshly drawn into the wall surface.\", \"state\": \"bright red, wet-looking, completed\"}]\n\n[S12_Shot4] (indoor; loc=L04; scene_heading=S#12. 옥탑방 안 / N)\ndescription: 열린 방문 틈으로 보이는 방바닥에 검붉은 핏자국이 흥건하게 고여 있는 정지 구도.\nframing_scale: close\ncamera_direction: From the low waist-height position outside the bedroom doorway, the camera holds completely still about three feet back, peering through the opened door gap toward the dark red blood pooled on the floor just beyond the threshold. The door edges form a narrow vertical frame on both sides, with the blood occupying the lower middle of the image and the dim bedroom receding into blue-gray darkness behind it; this is a neutral observer’s direct view, not a character POV.\nkey_bg_elements: [{\"camera_use\": \"Foreground framing device that restricts the view into the room.\", \"directionality_class\": \"directional_3d\", \"element\": \"opened bedroom door\", \"orientation\": \"The inner edge of the door faces the camera at an oblique angle, creating a narrow gap into the room.\", \"state\": \"open, still, shadowed\"}, {\"camera_use\": \"Primary visual focus on the floor just inside the doorway.\", \"directionality_class\": \"non_directional\", \"element\": \"dark red blood pool\", \"orientation\": \"\", \"state\": \"wet, thick, spread across the floor\"}, {\"camera_use\": \"Texture under the blood and scale reference for the room.\", \"directionality_class\": \"non_directional\", \"element\": \"bedroom floor\", \"orientation\": \"\", \"state\": \"dirty, damp-looking, partially covered by blood\"}]\n\n[S12_Shot8] (indoor; loc=L04; scene_heading=S#12. 옥탑방 안 / N)\ndescription: 두 눈을 크게 뜨고 입을 벌린 채 굳어버린 수리영의 창백한 얼굴 클로즈업.\ncharacters: 수리영\nframing_scale: close\ncamera_direction: At eye level directly in front of 수리영, the handheld camera compresses tighter than the stage distance until her pale face nearly fills the frame, backing away only a fraction as her shock freezes mid-recoil. The background is almost lost in darkness, with only a faint suggestion of the room’s black edges behind her; the view remains a direct observer angle, but the proximity feels invasive and breathless.\nkey_bg_elements: [{\"camera_use\": \"Nearly swallowed background plane behind her face.\", \"directionality_class\": \"non_directional\", \"element\": \"dark bedroom recess\", \"orientation\": \"\", \"state\": \"unlit, indistinct\"}, {\"camera_use\": \"Soft edge shadow that isolates her head from the room.\", \"directionality_class\": \"directional_3d\", \"element\": \"bedroom doorway edge\", \"orientation\": \"A narrow side edge catches minimal spill light behind her shoulder.\", \"state\": \"partially visible, shadowed\"}]\nframe_spatial_contract: {\"constraints\": [{\"depth_plane\": \"foreground\", \"gesture_action\": \"none\", \"gesture_target_label\": \"\", \"label\": \"수리영 terrified face\", \"screen_zone\": \"middle_center\", \"target_id\": \"C01\", \"target_kind\": \"character\"}], \"reason\": \"primary_subject_isolation\"}\n\n[S13_Shot3] (outdoor; loc=L03; scene_heading=S#13. 옥탑방 외곽 / N)\ndescription: 차에서 내린 혜수가 초점 없는 눈으로 멍하게 서 있는 수리영을 향해 시선을 고정한 찰나의 상체.\ncharacters: 혜수, 수리영\nframing_scale: medium\ncamera_direction: Beside the police car at chest height, the tracking move slows into a held upper-body frame on 혜수 as she has just stepped out, her body paused between the car and the alley. 수리영 appears farther down the alley in soft background focus, small and blank beneath flashing siren wash, while 혜수 occupies the left foreground in a tense three-quarter view; this is a direct observer view moving parallel with her discovery.\nkey_bg_elements: [{\"camera_use\": \"Foreground context and flashing light source beside 혜수.\", \"directionality_class\": \"directional_3d\", \"element\": \"police car\", \"orientation\": \"The side of the car and open door angle toward the camera, framing 혜수’s exit.\", \"state\": \"parked, door open, siren lights active\"}, {\"camera_use\": \"Depth corridor between 혜수 and 수리영.\", \"directionality_class\": \"directional_3d\", \"element\": \"narrow alley\", \"orientation\": \"The alley recedes diagonally from the police car toward 수리영 in the background.\", \"state\": \"wet, dark, foggy\"}, {\"camera_use\": \"Intermittent color wash across faces and walls.\", \"directionality_class\": \"non_directional\", \"element\": \"siren light spill\", \"orientation\": \"\", \"state\": \"flashing red-blue across damp surfaces\"}]\nframe_spatial_contract: {\"constraints\": [{\"depth_plane\": \"foreground\", \"gesture_action\": \"looks_toward\", \"gesture_target_label\": \"수리영 down the alley\", \"label\": \"혜수 by police car\", \"screen_zone\": \"middle_left\", \"target_id\": \"C02\", \"target_kind\": \"character\"}, {\"depth_plane\": \"background\", \"gesture_action\": \"none\", \"gesture_target_label\": \"\", \"label\": \"수리영 in alley\", \"screen_zone\": \"middle_right\", \"target_id\": \"C01\", \"target_kind\": \"character\"}], \"reason\": \"shared_space_relation\"}\n\n[S13_Shot5] (outdoor; loc=L03; scene_heading=S#13. 옥탑방 외곽 / N)\ndescription: 수리영이 고개를 들어 혜수의 얼굴을 올려다보는 정적 구도.\ncharacters: 수리영, 혜수\nframing_scale: close\ncamera_direction: The camera sits low near 수리영’s eye level, about one meter away, tightened into a still close composition as she lifts her face toward 혜수 just above the frame. 수리영 holds the lower center of the image, her upward eyeline creating the unseen presence of 혜수, while the wet alley background blurs into dark blue-gray; this is a direct observer angle from the space between them.\nkey_bg_elements: [{\"camera_use\": \"Soft, dark background texture behind 수리영’s head.\", \"directionality_class\": \"non_directional\", \"element\": \"wet alley wall\", \"orientation\": \"\", \"state\": \"damp, shadowed, out of focus\"}, {\"camera_use\": \"Atmospheric layer around her face.\", \"directionality_class\": \"non_directional\", \"element\": \"night fog\", \"orientation\": \"\", \"state\": \"thin, drifting, blue-gray\"}, {\"camera_use\": \"Off-screen motivated color pulse on her skin.\", \"directionality_class\": \"non_directional\", \"element\": \"police siren spill\", \"orientation\": \"\", \"state\": \"intermittent, faint\"}]\nframe_spatial_contract: {\"constraints\": [{\"depth_plane\": \"foreground\", \"gesture_action\": \"looks_toward\", \"gesture_target_label\": \"혜수 just above frame\", \"label\": \"수리영 close low frame\", \"screen_zone\": \"middle_center\", \"target_id\": \"C01\", \"target_kind\": \"character\"}], \"reason\": \"primary_subject_isolation\"}\n\n[S14_Shot4] (indoor; loc=L04; scene_heading=S#14. 옥탑방 안 / N)\ndescription: 핏자국 하나 없이 깨끗하게 정돈된 수리영의 방 내부 정지 구도.\nframing_scale: wide\ncamera_direction: Just inside 수리영’s bedroom doorway at eye level, the camera holds a wide, unmoving view inward toward the bed, bare wall, curtain, and spotless floor. The room is framed as evidence: the clean floor stretches across the lower half, the curtain line sits to one side where the body should have been, and the wall above the bed remains blank; this is a direct neutral observation of absence.\nkey_bg_elements: [{\"camera_use\": \"Primary proof of erased violence across the lower frame.\", \"directionality_class\": \"non_directional\", \"element\": \"spotless bedroom floor\", \"orientation\": \"\", \"state\": \"clean, dry, no blood marks\"}, {\"camera_use\": \"Central room anchor and comparison point for the missing wall mark.\", \"directionality_class\": \"directional_3d\", \"element\": \"bed\", \"orientation\": \"The side and top plane of the bed face the camera from mid-frame.\", \"state\": \"neatly made, undisturbed\"}, {\"camera_use\": \"Surface where the red circle should have been absent.\", \"directionality_class\": \"content_surface\", \"element\": \"wall above the bed\", \"orientation\": \"The camera-facing wall face is visible and completely bare, carrying no red circular mark.\", \"state\": \"clean, dark, unmarked\"}, {\"camera_use\": \"Empty area where the hidden body had been discovered earlier.\", \"directionality_class\": \"directional_3d\", \"element\": \"curtain line\", \"orientation\": \"The front folds face the camera from the side of the room, concealing only darkness and empty space behind.\", \"state\": \"hanging still, clean, no body visible\"}]\n\n[S14_Shot6] (indoor; loc=L04; scene_heading=S#14. 옥탑방 안 / N)\ndescription: 수리영이 핏기가 가신 창백한 얼굴로 멍하니 빈 커튼 쪽을 응시하는 정면.\ncharacters: 수리영\nframing_scale: close\ncamera_direction: Inside the bedroom near the bed and curtain side, the dolly-in ends in a frontal upper-body emphasis on 수리영, close enough that her pale face and rigid shoulders take most of the frame. She looks past the camera toward the empty curtain area, which is kept implied rather than shown, turning the direct observer view into a psychological confrontation with the missing evidence.\nkey_bg_elements: [{\"camera_use\": \"Blurred side texture suggesting where the corpse should have been.\", \"directionality_class\": \"directional_3d\", \"element\": \"curtain edge\", \"orientation\": \"Only a soft side fold is visible near the frame edge, with the empty area kept off-camera.\", \"state\": \"still, clean, partially out of focus\"}, {\"camera_use\": \"Low background shape behind her shoulder.\", \"directionality_class\": \"directional_3d\", \"element\": \"bed corner\", \"orientation\": \"The near corner angles away behind 수리영, cropped and subdued.\", \"state\": \"neat, undisturbed\"}, {\"camera_use\": \"Absence marker behind her expression.\", \"directionality_class\": \"content_surface\", \"element\": \"blank wall\", \"orientation\": \"The visible wall face behind her is bare and carries no red mark.\", \"state\": \"unmarked, dim\"}]\nframe_spatial_contract: {\"constraints\": [{\"depth_plane\": \"foreground\", \"gesture_action\": \"looks_toward\", \"gesture_target_label\": \"empty curtain area behind camera\", \"label\": \"수리영 frontal close frame\", \"screen_zone\": \"middle_center\", \"target_id\": \"C01\", \"target_kind\": \"character\"}], \"reason\": \"primary_subject_isolation\"}\n\n[S14_Shot8] (indoor; loc=L04; scene_heading=S#14. 옥탑방 안 / N)\ndescription: 식탁 앞에 선 수리영이 빈 식탁을 손가락으로 가리킨 채 멈춘 측면 상체.\ncharacters: 수리영\nframing_scale: medium\ncamera_direction: At chest height beside the dining table, the camera settles from the track into a brief still side composition perpendicular to 수리영’s body line. Her profile holds the left half of frame while her pointing hand cuts toward the bare tabletop on the right, keeping both the gesture and the missing teacups in one direct observational image.\nkey_bg_elements: [{\"camera_use\": \"Gesture target proving the vanished cups.\", \"directionality_class\": \"directional_3d\", \"element\": \"bare dining table\", \"orientation\": \"The clean top plane faces the camera at a shallow angle, with no cups where her finger indicates.\", \"state\": \"clean, empty, dry\"}, {\"camera_use\": \"Dim living-room depth behind the table.\", \"directionality_class\": \"directional_3d\", \"element\": \"living room wall and doorway\", \"orientation\": \"The wall and doorway recede behind 수리영 in side view.\", \"state\": \"shadowed, quiet\"}, {\"camera_use\": \"Soft ambient source in the room.\", \"directionality_class\": \"directional_3d\", \"element\": \"living room stand lamp\", \"orientation\": \"The lamp shade is seen from the side, its warm face turned slightly away from camera.\", \"state\": \"on, weak amber\"}]\nframe_spatial_contract: {\"constraints\": [{\"depth_plane\": \"foreground\", \"gesture_action\": \"points_to\", \"gesture_target_label\": \"bare dining tabletop\", \"label\": \"수리영 pointing beside table\", \"screen_zone\": \"middle_left\", \"target_id\": \"C01\", \"target_kind\": \"character\"}, {\"depth_plane\": \"midground\", \"gesture_action\": \"none\", \"gesture_target_label\": \"\", \"label\": \"bare dining tabletop\", \"screen_zone\": \"middle_right\", \"target_id\": \"\", \"target_kind\": \"background\"}], \"reason\": \"points_to_anchor\"}\n\n[S17_Shot1] (outdoor; loc=L03; scene_heading=S#17. 옥탑방 / 동틀무렵)\ndescription: 짙고 푸른 안개가 깔린 새벽녘, 희미한 노란 불빛이 켜진 옥탑방 창문을 향해 검은 고양이 한 마리가 고개를 돌린 찰나의 측면.\nframing_scale: medium\ncamera_direction: Low at the 검은 고양이’s shoulder height, roughly one meter away, the camera tracks parallel along the rooftop wall and then holds a brief side profile as the cat turns its head toward the lit rooftop-room window. The cat occupies the lower left-to-center band of the frame, while the faint yellow window hangs in the misty background line of sight above the wall.\nkey_bg_elements: [{\"camera_use\": \"distant visual lure for the cat’s head turn\", \"directionality_class\": \"transparent_surface\", \"element\": \"rooftop-room window\", \"orientation\": \"fogged glass shows a weak yellow interior glow beyond it\", \"state\": \"closed, lit from inside\"}, {\"camera_use\": \"tracking guide and jump setup\", \"directionality_class\": \"directional_3d\", \"element\": \"low concrete rooftop wall\", \"orientation\": \"the long side face runs parallel to the camera movement, with its top edge rising toward the next action\", \"state\": \"damp, stained\"}, {\"camera_use\": \"atmospheric veil separating cat and room\", \"directionality_class\": \"non_directional\", \"element\": \"blue dawn fog\", \"orientation\": \"\", \"state\": \"thick, cold, slowly moving\"}]\nframe_spatial_contract: {\"constraints\": [{\"depth_plane\": \"foreground\", \"gesture_action\": \"looks_toward\", \"gesture_target_label\": \"lit rooftop window\", \"label\": \"black cat\", \"screen_zone\": \"lower_left\", \"target_id\": \"C11\", \"target_kind\": \"character\"}, {\"depth_plane\": \"background\", \"gesture_action\": \"none\", \"gesture_target_label\": \"\", \"label\": \"lit rooftop window\", \"screen_zone\": \"upper_right\", \"target_id\": \"\", \"target_kind\": \"background\"}], \"reason\": \"looks_to_anchor\"}\n\n[S18_Shot15] (indoor; loc=L04; scene_heading=S#18. 안방 안 / D)\ndescription: 거울 속 욕실 벽면에 선명한 붉은색 원형 표식이 맺혀 있는 정지 구도.\nframing_scale: insert\ncamera_direction: Inside the bathroom, the camera is fixed at eye level about three feet from the mirror, tightened so the mirror reflection becomes the frame and the reflected rear wall sits centered. The red circular mark is isolated near the middle of the reflected wall, with only a sliver of mirror edge and damp tile context allowed to remain, making the apparition feel graphic and unavoidable.\nkey_bg_elements: [{\"camera_use\": \"the shot’s perceptual surface and compositional border\", \"directionality_class\": \"reflective_surface\", \"element\": \"bathroom mirror\", \"orientation\": \"the mirror reflects the rear bathroom wall and the impossible red circular mark; a narrow mirror edge confirms this is a reflected view\", \"state\": \"slightly misted, cold\"}, {\"camera_use\": \"surface on which the occult symbol appears within reflection\", \"directionality_class\": \"content_surface\", \"element\": \"reflected bathroom wall\", \"orientation\": \"the wall face visible in the mirror carries a sharp crimson circular mark at its center\", \"state\": \"pale tile surface, otherwise clean\"}, {\"camera_use\": \"claustrophobic bathroom texture\", \"directionality_class\": \"non_directional\", \"element\": \"damp tile grout\", \"orientation\": \"\", \"state\": \"wet-looking, gray, stained\"}]\nframe_spatial_contract: {\"constraints\": [{\"depth_plane\": \"midground\", \"gesture_action\": \"none\", \"gesture_target_label\": \"\", \"label\": \"red circular mark in mirror reflection\", \"screen_zone\": \"middle_center\", \"target_id\": \"\", \"target_kind\": \"background\"}], \"reason\": \"required_background_position\"}\n\n[S18_Shot20] (indoor; loc=L04; scene_heading=S#18. 안방 안 / D)\ndescription: 식탁 위에 놓인 사진 속, 살점이 뭉개진 채 기괴하게 흘러내린 (변형된 민숙)의 모습 클로즈업.\ncharacters: 민숙\nframing_scale: insert\ncamera_direction: At tabletop height beside the dining table, the push-in finishes at an extreme close angle on the framed photograph, stripping away nearly all surrounding table context. The mother’s photographed face, now perceived as 민숙 (변형된), occupies the central close field in a grotesque melted distortion, while the photo frame edge remains barely visible to prove this horror is trapped inside the image surface.\nkey_bg_elements: [{\"camera_use\": \"primary hallucinated image surface\", \"directionality_class\": \"content_surface\", \"element\": \"framed family photograph\", \"orientation\": \"the front image face is angled slightly upward to camera, showing the mother’s face grotesquely distorted within the printed photo\", \"state\": \"upright on table, visually corrupted by hallucination\"}, {\"camera_use\": \"thin physical proof that this is still a household object\", \"directionality_class\": \"reflective_surface\", \"element\": \"photo frame glass\", \"orientation\": \"the glass reflects a dim streak of room light across the distorted face without hiding it\", \"state\": \"clean but unnervingly glossy\"}, {\"camera_use\": \"minimal scale reference around the frame\", \"directionality_class\": \"directional_3d\", \"element\": \"dining table edge\", \"orientation\": \"only a narrow tabletop plane and edge remain at the lower frame margin\", \"state\": \"still, ordinary, dim\"}]\nframe_spatial_contract: {\"constraints\": [{\"depth_plane\": \"foreground\", \"gesture_action\": \"none\", \"gesture_target_label\": \"\", \"label\": \"distorted mother’s face inside framed photograph\", \"screen_zone\": \"middle_center\", \"target_id\": \"C12\", \"target_kind\": \"character\"}], \"reason\": \"primary_subject_isolation\"}\n\n[S18_Shot6] (indoor; loc=L04; scene_heading=S#18. 안방 안 / D)\ndescription: 열린 방문 너머, 핏자국 하나 없이 말끔하게 정돈된 방안 정경.\nframing_scale: wide\ncamera_direction: Just outside 수리영’s room, the camera stays eye-level and static about five feet from the threshold, looking straight through the opened door into a room that appears too clean. The doorway forms a dark rectangular frame around the orderly bed, smooth floor, and untouched curtains, with no body, no stain, and no trace where memory said there should be horror.\nkey_bg_elements: [{\"camera_use\": \"primary frame-within-frame revealing the room\", \"directionality_class\": \"directional_3d\", \"element\": \"opened bedroom door\", \"orientation\": \"the door slab is swung aside so the camera sees through the threshold into the room\", \"state\": \"open, still\"}, {\"camera_use\": \"visual proof of unnatural order\", \"directionality_class\": \"directional_3d\", \"element\": \"neatly arranged bed\", \"orientation\": \"the bed’s side and top plane face camera beyond the doorway\", \"state\": \"made, undisturbed\"}, {\"camera_use\": \"absence marker where the earlier horror is expected\", \"directionality_class\": \"transparent_surface\", \"element\": \"bedroom window with curtains\", \"orientation\": \"the window is partly obscured by clean curtains, with pale daylight diffused beyond\", \"state\": \"closed, curtains hanging evenly\"}, {\"camera_use\": \"negative evidence emphasized by stillness\", \"directionality_class\": \"non_directional\", \"element\": \"spotless bedroom floor\", \"orientation\": \"\", \"state\": \"clean, dry, no blood visible\"}]\n\n[S25_Shot4] (indoor; loc=L04; scene_heading=S#25. 옥탑방 안 / 해질 무렵)\ndescription: 붉은 원 한가운데에 피가 묻은 낡은 흑백 사진이 꽂혀 있는 클로즈업.\nframing_scale: close\ncamera_direction: Inside the bedroom at eye level, the dolly-in ends locked nearly perpendicular to the torn wall, holding a close composition where the blood-stained black-and-white photograph sits pinned at the exact center of a crimson circle. The photo and red mark take up the central mass of the frame, while the rough wall texture remains visible around them like scraped skin.\nkey_bg_elements: [{\"camera_use\": \"central occult symbol and compositional target\", \"directionality_class\": \"content_surface\", \"element\": \"red circular wall mark\", \"orientation\": \"the painted wall face is directly visible to camera, showing a rough crimson circle surrounding the pinned photograph\", \"state\": \"fresh-looking, uneven, ominous\"}, {\"camera_use\": \"primary revealed clue\", \"directionality_class\": \"content_surface\", \"element\": \"old black-and-white photograph\", \"orientation\": \"the front image face is visible, showing an aged rural restaurant scene partially obscured by blood stains\", \"state\": \"pinned to wall, creased, blood-stained\"}, {\"camera_use\": \"macabre texture around the clue\", \"directionality_class\": \"non_directional\", \"element\": \"torn bedroom wall texture\", \"orientation\": \"\", \"state\": \"scraped, dirty, disturbed\"}]\n\n[S25_Shot8] (indoor; loc=L04; scene_heading=S#25. 옥탑방 안 / 해질 무렵)\ndescription: 수리영이 한 손에 구겨진 사진을 꽉 쥔 채 백팩을 메고 현관 밖으로 한 발을 내디딘 찰나의 뒷모습.\ncharacters: 수리영\nframing_scale: wide\ncamera_direction: From inside the rooftop room behind 수리영, slightly below eye level and several feet back, the tracking shot widens just enough to include the open front-door threshold as she steps out. Her back and backpack sit in the middle of frame, one foot crossing into the exterior light, while the crumpled photograph remains readable as a tight fist-level detail near her right side.\nkey_bg_elements: [{\"camera_use\": \"destination frame and exit boundary\", \"directionality_class\": \"directional_3d\", \"element\": \"open front door\", \"orientation\": \"the inside face of the open door and its threshold angle toward the camera as 수리영 exits\", \"state\": \"open, letting in dim exterior dusk\"}, {\"camera_use\": \"evidence of intrusion in the room she leaves behind\", \"directionality_class\": \"non_directional\", \"element\": \"scattered household debris\", \"orientation\": \"\", \"state\": \"ransacked, strewn across the floor\"}, {\"camera_use\": \"broken domestic geometry in the side background\", \"directionality_class\": \"directional_3d\", \"element\": \"overturned dining chairs\", \"orientation\": \"chair legs jut sideways at uneven angles across the room\", \"state\": \"knocked over\"}, {\"camera_use\": \"damp air source and unsettling escape route implication\", \"directionality_class\": \"transparent_surface\", \"element\": \"open living-room window\", \"orientation\": \"the camera sees the dark opening and wet exterior air beyond the window frame\", \"state\": \"open, dirty, cold\"}]\nframe_spatial_contract: {\"constraints\": [{\"depth_plane\": \"midground\", \"gesture_action\": \"moves_toward\", \"gesture_target_label\": \"open front door\", \"label\": \"수리영\", \"screen_zone\": \"middle_center\", \"target_id\": \"C01\", \"target_kind\": \"character\"}, {\"depth_plane\": \"background\", \"gesture_action\": \"none\", \"gesture_target_label\": \"\", \"label\": \"open front door threshold\", \"screen_zone\": \"upper_center\", \"target_id\": \"\", \"target_kind\": \"background\"}], \"reason\": \"movement_direction\"}\n\n[S27_Shot1] (indoor; loc=L04; scene_heading=S#27. 옥탑방 안 / 해질 무렵)\ndescription: 난장판이 된 옥탑방 거실, 혜수가 핸드폰을 귀에 댄 채 심각한 표정으로 굳어 있는 상체.\ncharacters: 혜수\nframing_scale: medium\ncamera_direction: Inside the rooftop living room at chest height, the camera continues the flow’s slow dolly-in from about 2.5 meters, tightening to a medium upper-body frame of 혜수 with the phone pressed to her ear. She sits slightly right of center amid overturned, damp-looking clutter, angled three-quarters as if her attention has just pulled toward 김형사 off-frame rather than toward us.\nkey_bg_elements: [{\"camera_use\": \"visible disorder around 혜수, keeping the room’s violated condition readable behind her\", \"directionality_class\": \"non_directional\", \"element\": \"scattered rooftop-room clutter\", \"orientation\": \"\", \"state\": \"messy, overturned, neglected\"}, {\"camera_use\": \"background source of cold draft and later sound, held out of focus behind the anxiety\", \"directionality_class\": \"directional_3d\", \"element\": \"entrance door\", \"orientation\": \"its inner face angles slightly away from camera, showing the rattling edge and frame gap\", \"state\": \"not fully secure, wind-shaken\"}, {\"camera_use\": \"thin translucent layer over the small room window, adding a damp dusk haze\", \"directionality_class\": \"transparent_surface\", \"element\": \"grimy window glass\", \"orientation\": \"dirty glass catches the gray exterior light while showing only a blurred rooftop beyond\", \"state\": \"streaked, dim\"}]\n\n[S4_Shot1] (outdoor; loc=L03; scene_heading=S#4. 옥탑방 / D)\ndescription: 인천 변두리의 낡고 오래된 빌라 옥탑방 외부 전경이 한눈에 내려다보이는 부감 구도.\nframing_scale: wide\ncamera_direction: An omniscient overhead camera holds from about forty-five meters above the old villa, centered on the rooftop room while still keeping the surrounding neighborhood readable. The rooftop structure sits in the middle of the frame like a small exposed shrine, boxed in by worn roofs, narrow alleys, and faded concrete blocks.\nkey_bg_elements: [{\"camera_use\": \"The rooftop room is the central visual anchor and destination of the aerial reveal.\", \"directionality_class\": \"directional_3d\", \"element\": \"old rooftop room exterior\", \"orientation\": \"its roof and front wall are visible from above, with the doorway side angled slightly toward camera\", \"state\": \"aged, patched, weather-stained\"}, {\"camera_use\": \"Surrounding villa roofs create a cramped grid that isolates the rooftop room.\", \"directionality_class\": \"directional_3d\", \"element\": \"neighboring old villa rooftops\", \"orientation\": \"flat roof planes face upward toward the overhead camera\", \"state\": \"worn, cluttered, pale gray\"}, {\"camera_use\": \"A thin haze softens the outskirts and carries the news voice’s unease into the space.\", \"directionality_class\": \"non_directional\", \"element\": \"damp urban haze\", \"orientation\": \"\", \"state\": \"thin, bluish, stagnant\"}]\nframe_spatial_contract: {\"constraints\": [{\"depth_plane\": \"midground\", \"gesture_action\": \"none\", \"gesture_target_label\": \"\", \"label\": \"old rooftop room\", \"screen_zone\": \"middle_center\", \"target_id\": \"\", \"target_kind\": \"background\"}], \"reason\": \"required_background_position\"}\n\n[S5_Shot10] (indoor; loc=L04; scene_heading=S#5. 옥탑방 안 / 실내)\ndescription: 수리영이 민숙의 어깨에 코를 묻고 멈춘 찰나의 측면.\ncharacters: 수리영, 민숙\nframing_scale: close\ncamera_direction: The camera follows the flow into the narrow entrance area and holds side-on at shoulder height, about one meter away, lens parallel to the wall to compress mother and daughter together. The tighter profile frame favors the contact point: Suriyeong’s face and nose press into Minsuk’s shoulder at center-left, while Minsuk’s softened profile and apron edge sit center-right.\nkey_bg_elements: [{\"camera_use\": \"The narrow wall flattens the space and makes their closeness feel private and fragile.\", \"directionality_class\": \"non_directional\", \"element\": \"entrance wall\", \"orientation\": \"\", \"state\": \"worn, slightly yellowed, close to camera plane\"}, {\"camera_use\": \"The shoe area at the bottom edge hints at Suriyeong leaving soon without pulling focus from the embrace.\", \"directionality_class\": \"directional_3d\", \"element\": \"entryway shoe area\", \"orientation\": \"shoe tops and low threshold edge face the camera from below the profiles\", \"state\": \"cluttered, dim\"}, {\"camera_use\": \"The door seam creates a vertical boundary beside them, suggesting a moment just before departure.\", \"directionality_class\": \"directional_3d\", \"element\": \"front door seam\", \"orientation\": \"the flat door face is seen in side compression, seam running vertically near the right edge\", \"state\": \"closed, dull, scuffed\"}]\n\n[S5_Shot12] (indoor; loc=L04; scene_heading=S#5. 옥탑방 안 / 실내)\ndescription: 민숙의 손목 안쪽에 새겨진 작은 원 모양의 표식 클로즈업.\ncharacters: 민숙\nframing_scale: insert\ncamera_direction: The camera completes the flow’s downward push from Suriyeong’s side of the entrance to a very close waist-height insert, about twenty centimeters from Minsuk’s inner wrist. The wrist cuts diagonally across the center of frame, the small circular mark isolated in sharp focus while skin, sleeve edge, and the entryway behind fall into creamy blur.\nkey_bg_elements: [{\"camera_use\": \"The marked skin surface is the focal plane and occult reveal.\", \"directionality_class\": \"content_surface\", \"element\": \"inner wrist with circular mark\", \"orientation\": \"the inner wrist surface faces the camera, showing a small dark circular mark clearly against the skin\", \"state\": \"exposed, sharply focused, mark unusually distinct\"}, {\"camera_use\": \"The sleeve cuff frames the wrist without becoming the subject.\", \"directionality_class\": \"directional_3d\", \"element\": \"apron or sleeve edge\", \"orientation\": \"fabric edge runs along the wrist from camera-left, seen as a soft side fold\", \"state\": \"soft, worn, out of focus\"}, {\"camera_use\": \"The entrance background becomes an indistinct shadow field so the symbol carries the tension.\", \"directionality_class\": \"non_directional\", \"element\": \"blurred entryway background\", \"orientation\": \"\", \"state\": \"dim, warm-gray, unfocused\"}]\nframe_spatial_contract: {\"constraints\": [{\"depth_plane\": \"foreground\", \"gesture_action\": \"none\", \"gesture_target_label\": \"\", \"label\": \"Minsuk inner wrist mark\", \"screen_zone\": \"middle_center\", \"target_id\": \"C04\", \"target_kind\": \"character\"}], \"reason\": \"primary_subject_isolation\"}\n\n[S5_Shot3] (indoor; loc=L04; scene_heading=S#5. 옥탑방 안 / 실내)\ndescription: 앞치마를 두른 민숙이 어두운 표정으로 거실 TV 화면을 응시하며 굳어 있는 상체.\ncharacters: 민숙\nframing_scale: medium\ncamera_direction: The observer camera settles at the end of its lateral track from near the sink and small window, chest height and about two and a half meters from Minsuk, looking across the counter line toward the living room TV. Minsuk is held in an upper-body frame at the right-middle of the image, shoulders locked in her apron as the kitchen foreground remains softly present and the TV glow pulls her stare off-frame.\nkey_bg_elements: [{\"camera_use\": \"The TV is the off-frame source of her fixed attention and casts a cold news glow across the room.\", \"directionality_class\": \"content_surface\", \"element\": \"living room TV screen\", \"orientation\": \"the screen face is angled away from the camera, showing only a sliver of moving blue news light rather than readable content\", \"state\": \"on, low volume, flickering\"}, {\"camera_use\": \"The sink and herbs sit in the near foreground, domestic routine interrupted by dread.\", \"directionality_class\": \"directional_3d\", \"element\": \"sink with unfinished medicinal herbs\", \"orientation\": \"the basin rim and faucet side face the camera across the counter\", \"state\": \"water running, herbs wet and half-washed\"}, {\"camera_use\": \"Steam from the pot veils the compact room and gives the practical light a sick texture.\", \"directionality_class\": \"non_directional\", \"element\": \"boiling pot steam\", \"orientation\": \"\", \"state\": \"rising, thin, wavering\"}, {\"camera_use\": \"The small window gives a narrow daylight slit that contrasts with the TV’s colder glow.\", \"directionality_class\": \"transparent_surface\", \"element\": \"small living-room window\", \"orientation\": \"slightly dirty glass admits pale daylight; only a blurred exterior brightness is visible through it\", \"state\": \"closed, dusty\"}]\n\nCREATOR CORRECTIONS (override any conflicting text):\n- CORRECTION (production owner): the exterior stair element is an ADDED-ON STEEL stair retrofitted later onto its building's outside wall — open treads, thin steel stringers and support posts, pipe handrail, visibly a separate later addition to the building. It is NOT concrete or cement; this supersedes any cement/concrete stair mention elsewhere in the data.\n\nBuild the relational block layout now."}
{"ts": "2026-07-07 21:11:36", "kind": "code_render", "tag": "blockset_v2", "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/bd_code_r0.png", "elements": 16, "layers": 4}
{"ts": "2026-07-07 21:12:07", "kind": "llm", "step": "s22_bd_rel_repair", "model": "gpt", "dur_s": 31.8, "system_prompt": "You are a set-layout analyst for film pre-production. You get one\nreal-world place's member descriptions, the FULL ORIGINAL TEXT of every scene\nthat plays there, all shots, and creator corrections (which override any\nconflicting text). Build ONE top-down BLOCK LAYOUT of the whole property as\nRELATIONAL data for a deterministic solver — you never output coordinates;\nyou only state what contains what, where inside its container, how big\nrelative to its container, and what is attached to which side.\n\nPlacement model (the solver computes all geometry from this):\n- Every element names a parent: \"canvas\" (the whole 100x100 site, canvas top\n  = the property's rear, canvas bottom = the street/approach side unless the\n  texts imply otherwise — state your choice in layout_notes_ko) or another\n  element's id (true containment: the child sits ON/INSIDE the parent area).\n- anchor: one of NW,N,NE,W,C,E,SW,S,SE — where the element sits INSIDE its\n  parent.\n- w_pct,h_pct: the element's width/height as a PERCENT of its parent's\n  width/height (5..100). For shape \"circle\", w_pct alone sets the diameter\n  as a percent of the parent's smaller side.\n- attach_side: none, or N/S/E/W — the element is snapped flush against that\n  side of its parent (stairs on an outside wall, walls on an edge, and ALL\n  openings). along_pct (0..100) positions it along that side (left→right or\n  top→bottom); use it whenever attach_side is not \"none\".\n- Openings (door/window/gate) MUST have attach_side = the wall side of their\n  host parent that the texts support, and repeat = how many identical\n  openings the strip contains.\n\nElement kinds: building_mass, upper_shell (enclosed upper unit — outline\nonly, never interior), terrace, yard, road, alley, stair, wall, neighbor_mass\n(BLOCK kinds) and door, window, gate, fixture_round, fixture_rect, equipment\n(POINT kinds).\n- ids: short lowercase slugs, unique.\n- Simplify ALL neighbouring buildings to plain neighbor_mass rects (parent =\n  canvas, no openings). Include the road/alley approach.\n- COUNT-CRITICAL: opening counts/sides must match the texts; if the texts\n  give no exact count choose a modest count and set certainty=\"inferred\".\n- EXTERIOR ONLY: this is an OUTDOOR site diagram — ground areas, building\n  outer shells, roof-level surfaces, OUTDOOR fixtures, and boundary openings\n  (doors/windows/gates in OUTER walls) only. NEVER include interior\n  furniture, appliances or fixtures of any enclosed unit (no beds, tables,\n  stoves, counters, mirrors, lamps, TVs); every enclosed volume stays\n  sealed — outline and outer-wall openings only.\n- Include permanent OUTDOOR fixtures the scenes rely on. NO story props, no\n  vehicles, no people, nothing temporary.\n- 10 to 26 elements. name_en: 1-3 generic English words, no proper names.\n  desc_ko: one short Korean sentence — what it PHYSICALLY is, its form and\n  key spatial relation, present tense, PHYSICAL VISIBLE FACTS ONLY: never\n  events, actions, characters or animals, usage stories, moments of motion,\n  or authorial phrasing (verbatim shown to the human reviewer).\n- evidence: source = scene index / shot key / member id, quote = exact\n  phrase copied from the given texts. certainty=\"text\" needs a real quote.\n\nHEIGHT LAYERS (3-6): you define them; each = layer_id, name_en, desc_ko (one\nKorean sentence: what physical height), rel_height (0 = ground, increasing\nupward). Every element references one layer_id.\n\nSolid blocks that share a parent must not overlap — place siblings at\ndifferent anchors with sizes that leave room (the solver will report any\noverlap back to you for correction).\n\nAlso output layout_notes_ko: 3-6 Korean sentences on the arrangement logic\n(verbatim shown to the human reviewer).\n\nREPAIR MODE: you previously produced the RELATIONAL data below and the\ndeterministic solver found the listed violations. Return the FULL corrected\ndata (same schema): change ONLY what is needed to resolve every violation —\nadjust anchors, sizes, attach sides or containment; keep every element,\nmeaning, desc_ko and evidence unless a violation forces a change.", "user_prompt": "PREVIOUS RELATIONAL DATA:\n{\"elements\": [{\"along_pct\": 50, \"anchor\": \"S\", \"attach_side\": \"none\", \"certainty\": \"text\", \"desc_ko\": \"화면 아래쪽의 접근 방향에 놓인 좁고 어두운 골목길이다.\", \"evidence\": [{\"quote\": \"좁은 골목\", \"source\": \"S13_Shot3\"}, {\"quote\": \"골목길을 달리는\", \"source\": \"scene 11\"}], \"h_pct\": 16, \"id\": \"approach_alley\", \"importance\": \"major\", \"kind\": \"alley\", \"layer_id\": \"ground\", \"name_en\": \"approach alley\", \"parent\": \"canvas\", \"repeat\": 1, \"shape\": \"rect\", \"w_pct\": 48}, {\"along_pct\": 50, \"anchor\": \"SW\", \"attach_side\": \"none\", \"certainty\": \"text\", \"desc_ko\": \"빌라 입구 쪽 아래 구석에 있는 작은 마당 공간이다.\", \"evidence\": [{\"quote\": \"다세대 빌라 입구 마당\", \"source\": \"member L10\"}, {\"quote\": \"마당 후미진 곳\", \"source\": \"scene 11\"}], \"h_pct\": 28, \"id\": \"entry_yard\", \"importance\": \"major\", \"kind\": \"yard\", \"layer_id\": \"ground\", \"name_en\": \"entry yard\", \"parent\": \"canvas\", \"repeat\": 1, \"shape\": \"rect\", \"w_pct\": 45}, {\"along_pct\": 50, \"anchor\": \"S\", \"attach_side\": \"S\", \"certainty\": \"text\", \"desc_ko\": \"마당의 남쪽 경계에 붙은 빌라 출입문이다.\", \"evidence\": [{\"quote\": \"다세대 빌라 문을 열고 들어와\", \"source\": \"scene 11\"}], \"h_pct\": 6, \"id\": \"yard_gate\", \"importance\": \"minor\", \"kind\": \"gate\", \"layer_id\": \"ground\", \"name_en\": \"entry gate\", \"parent\": \"entry_yard\", \"repeat\": 1, \"shape\": \"rect\", \"w_pct\": 22}, {\"along_pct\": 50, \"anchor\": \"N\", \"attach_side\": \"none\", \"certainty\": \"text\", \"desc_ko\": \"낡은 옥탑방을 받치고 있는 오래된 다세대 빌라 본체이다.\", \"evidence\": [{\"quote\": \"낡은 다세대 빌라 꼭대기\", \"source\": \"member L03\"}, {\"quote\": \"오래된 빌라 옥탑방 전경\", \"source\": \"scene 4\"}], \"h_pct\": 50, \"id\": \"main_villa\", \"importance\": \"major\", \"kind\": \"building_mass\", \"layer_id\": \"ground\", \"name_en\": \"main villa\", \"parent\": \"canvas\", \"repeat\": 1, \"shape\": \"rect\", \"w_pct\": 50}, {\"along_pct\": 75, \"anchor\": \"E\", \"attach_side\": \"E\", \"certainty\": \"text\", \"desc_ko\": \"빌라 동쪽 외벽에 덧붙은 개방형 철제 계단이다.\", \"evidence\": [{\"quote\": \"ADDED-ON STEEL stair retrofitted later onto its building's outside wall — open treads, thin steel stringers and support posts, pipe handrail\", \"source\": \"creator correction\"}, {\"quote\": \"옥탑방과 연결되는 계단\", \"source\": \"scene 11\"}], \"h_pct\": 52, \"id\": \"steel_stair\", \"importance\": \"major\", \"kind\": \"stair\", \"layer_id\": \"stair\", \"name_en\": \"steel stair\", \"parent\": \"main_villa\", \"repeat\": 1, \"shape\": \"rect\", \"w_pct\": 12}, {\"along_pct\": 50, \"anchor\": \"C\", \"attach_side\": \"none\", \"certainty\": \"text\", \"desc_ko\": \"빌라 지붕 위를 거의 채우는 낡은 시멘트 옥상 바닥이다.\", \"evidence\": [{\"quote\": \"옥탑방 옥상\", \"source\": \"scene 10\"}, {\"quote\": \"낡은 시멘트 바닥\", \"source\": \"member L03\"}], \"h_pct\": 92, \"id\": \"roof_terrace\", \"importance\": \"major\", \"kind\": \"terrace\", \"layer_id\": \"roof\", \"name_en\": \"roof terrace\", \"parent\": \"main_villa\", \"repeat\": 1, \"shape\": \"rect\", \"w_pct\": 92}, {\"along_pct\": 50, \"anchor\": \"NE\", \"attach_side\": \"none\", \"certainty\": \"text\", \"desc_ko\": \"옥상 북동쪽에 놓인 작고 낡은 옥탑방 외곽 껍데기이다.\", \"evidence\": [{\"quote\": \"old rooftop room exterior\", \"source\": \"S4_Shot1\"}, {\"quote\": \"불이 켜져 있는 옥탑 방\", \"source\": \"scene 17\"}], \"h_pct\": 38, \"id\": \"rooftop_room\", \"importance\": \"major\", \"kind\": \"upper_shell\", \"layer_id\": \"upper\", \"name_en\": \"rooftop room\", \"parent\": \"roof_terrace\", \"repeat\": 1, \"shape\": \"rect\", \"w_pct\": 42}, {\"along_pct\": 50, \"anchor\": \"S\", \"attach_side\": \"S\", \"certainty\": \"text\", \"desc_ko\": \"옥탑방 남쪽 벽 중앙에 붙은 낡은 철문 현관이다.\", \"evidence\": [{\"quote\": \"옥탑방 철문 현관 앞\", \"source\": \"scene 10\"}, {\"quote\": \"rooftop room iron front door\", \"source\": \"S11_Shot4\"}], \"h_pct\": 10, \"id\": \"iron_door\", \"importance\": \"major\", \"kind\": \"door\", \"layer_id\": \"upper\", \"name_en\": \"iron door\", \"parent\": \"rooftop_room\", \"repeat\": 1, \"shape\": \"rect\", \"w_pct\": 18}, {\"along_pct\": 45, \"anchor\": \"W\", \"attach_side\": \"W\", \"certainty\": \"text\", \"desc_ko\": \"옥탑방 서쪽 외벽에 난 작은 거실 창문이다.\", \"evidence\": [{\"quote\": \"거실에 난 작은 창\", \"source\": \"scene 5\"}, {\"quote\": \"open living-room window\", \"source\": \"S25_Shot8\"}], \"h_pct\": 16, \"id\": \"living_window\", \"importance\": \"major\", \"kind\": \"window\", \"layer_id\": \"upper\", \"name_en\": \"living window\", \"parent\": \"rooftop_room\", \"repeat\": 1, \"shape\": \"rect\", \"w_pct\": 12}, {\"along_pct\": 55, \"anchor\": \"N\", \"attach_side\": \"N\", \"certainty\": \"text\", \"desc_ko\": \"옥탑방 북쪽 외벽에 붙은 침실 쪽 창문이다.\", \"evidence\": [{\"quote\": \"bedroom window with curtains\", \"source\": \"S18_Shot6\"}, {\"quote\": \"옥탑방 창문\", \"source\": \"scene 17\"}], \"h_pct\": 12, \"id\": \"bedroom_window\", \"importance\": \"minor\", \"kind\": \"window\", \"layer_id\": \"upper\", \"name_en\": \"bedroom window\", \"parent\": \"rooftop_room\", \"repeat\": 1, \"shape\": \"rect\", \"w_pct\": 16}, {\"along_pct\": 50, \"anchor\": \"NW\", \"attach_side\": \"none\", \"certainty\": \"text\", \"desc_ko\": \"옥상 북서쪽에 놓인 둥근 물탱크이다.\", \"evidence\": [{\"quote\": \"물탱크\", \"source\": \"scene 10\"}, {\"quote\": \"물탱크\", \"source\": \"member L03\"}], \"h_pct\": 16, \"id\": \"water_tank\", \"importance\": \"major\", \"kind\": \"fixture_round\", \"layer_id\": \"roof\", \"name_en\": \"water tank\", \"parent\": \"roof_terrace\", \"repeat\": 1, \"shape\": \"circle\", \"w_pct\": 16}, {\"along_pct\": 50, \"anchor\": \"W\", \"attach_side\": \"none\", \"certainty\": \"text\", \"desc_ko\": \"옥상 서쪽 중간에 놓인 낮은 직사각형 평상이다.\", \"evidence\": [{\"quote\": \"평상에 놓인 말린 석창포\", \"source\": \"scene 10\"}, {\"quote\": \"평상\", \"source\": \"member L03\"}], \"h_pct\": 16, \"id\": \"drying_platform\", \"importance\": \"major\", \"kind\": \"fixture_rect\", \"layer_id\": \"roof\", \"name_en\": \"drying platform\", \"parent\": \"roof_terrace\", \"repeat\": 1, \"shape\": \"rect\", \"w_pct\": 28}, {\"along_pct\": 50, \"anchor\": \"S\", \"attach_side\": \"none\", \"certainty\": \"text\", \"desc_ko\": \"옥상 남쪽 쪽으로 길게 걸린 빨랫줄이다.\", \"evidence\": [{\"quote\": \"바람에 빨랫줄이 툭- 툭-\", \"source\": \"scene 10\"}, {\"quote\": \"바람에 날리는 빨랫줄\", \"source\": \"member L03\"}], \"h_pct\": 5, \"id\": \"clothesline\", \"importance\": \"minor\", \"kind\": \"equipment\", \"layer_id\": \"roof\", \"name_en\": \"clothesline\", \"parent\": \"roof_terrace\", \"repeat\": 1, \"shape\": \"rect\", \"w_pct\": 45}, {\"along_pct\": 50, \"anchor\": \"S\", \"attach_side\": \"S\", \"certainty\": \"text\", \"desc_ko\": \"옥상 남쪽 가장자리에 붙은 낮은 콘크리트 담이다.\", \"evidence\": [{\"quote\": \"low rooftop wall\", \"source\": \"S11_Shot4\"}, {\"quote\": \"담을 넘는다\", \"source\": \"scene 17\"}], \"h_pct\": 5, \"id\": \"south_parapet\", \"importance\": \"minor\", \"kind\": \"wall\", \"layer_id\": \"roof\", \"name_en\": \"low parapet\", \"parent\": \"roof_terrace\", \"repeat\": 1, \"shape\": \"rect\", \"w_pct\": 100}, {\"along_pct\": 50, \"anchor\": \"NW\", \"attach_side\": \"none\", \"certainty\": \"text\", \"desc_ko\": \"주 건물 왼쪽 위에 붙어 보이는 낡은 이웃 건물 덩어리이다.\", \"evidence\": [{\"quote\": \"neighboring old villa rooftops\", \"source\": \"S4_Shot1\"}, {\"quote\": \"surrounding neighborhood\", \"source\": \"S4_Shot1\"}], \"h_pct\": 55, \"id\": \"west_neighbor\", \"importance\": \"minor\", \"kind\": \"neighbor_mass\", \"layer_id\": \"ground\", \"name_en\": \"west neighbor\", \"parent\": \"canvas\", \"repeat\": 1, \"shape\": \"rect\", \"w_pct\": 20}, {\"along_pct\": 50, \"anchor\": \"NE\", \"attach_side\": \"none\", \"certainty\": \"text\", \"desc_ko\": \"주 건물 오른쪽 위에 붙어 보이는 낡은 이웃 건물 덩어리이다.\", \"evidence\": [{\"quote\": \"neighboring old villa rooftops\", \"source\": \"S4_Shot1\"}, {\"quote\": \"faded concrete blocks\", \"source\": \"S4_Shot1\"}], \"h_pct\": 55, \"id\": \"east_neighbor\", \"importance\": \"minor\", \"kind\": \"neighbor_mass\", \"layer_id\": \"ground\", \"name_en\": \"east neighbor\", \"parent\": \"canvas\", \"repeat\": 1, \"shape\": \"rect\", \"w_pct\": 20}], \"layers\": [{\"desc_ko\": \"마당과 골목 및 빌라 지상 외곽이 놓이는 높이이다.\", \"layer_id\": \"ground\", \"name_en\": \"ground level\", \"rel_height\": 0}, {\"desc_ko\": \"지상에서 옥상으로 오르는 외부 철제 계단의 중간 높이이다.\", \"layer_id\": \"stair\", \"name_en\": \"stair rise\", \"rel_height\": 1}, {\"desc_ko\": \"다세대 빌라 지붕 위의 옥상 바닥과 그 위 설비가 놓이는 높이이다.\", \"layer_id\": \"roof\", \"name_en\": \"roof deck\", \"rel_height\": 2}, {\"desc_ko\": \"옥상 위 옥탑방 외벽과 외벽 개구부가 서 있는 높이이다.\", \"layer_id\": \"upper\", \"name_en\": \"upper shell\", \"rel_height\": 3}], \"layout_notes_ko\": \"캔버스의 아래쪽을 골목과 접근 방향, 위쪽을 건물 뒤편으로 본다. 낡은 다세대 빌라 본체는 중앙 위쪽에 두고, 입구 마당은 아래 왼쪽, 좁은 접근 골목은 아래 오른쪽에 분리해 배치한다. 옥상 테라스는 빌라 본체 위에 포함되며, 옥탑방은 그 옥상 북동쪽에 얹힌 별도 외곽 껍데기로 둔다. 제작자 수정에 따라 계단은 콘크리트가 아니라 빌라 동쪽 외벽에 나중에 덧붙은 개방형 철제 계단으로 처리한다. 옥탑방 내부 가구와 생활 소품은 제외하고, 외벽 문과 창문 및 옥상 고정 설비만 표시한다.\"}\n\nSOLVER VIOLATIONS (each must be resolved):\n- OVERLAP: solid blocks 'approach_alley' and 'entry_yard' (same parent 'canvas') overlap by 304 sq-units — move anchors apart or shrink sizes\n- OVERLAP: solid blocks 'steel_stair' and 'roof_terrace' (same parent 'main_villa') overlap by 104 sq-units — move anchors apart or shrink sizes\n\nReturn the full corrected data."}
{"ts": "2026-07-07 21:12:07", "kind": "code_render", "tag": "blockset_v2", "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/bd_code_r1.png", "elements": 16, "layers": 4}
{"ts": "2026-07-07 21:12:07", "kind": "stage", "stage": "s22_bd_code", "done": "all"}
{"ts": "2026-07-07 21:44:21", "kind": "llm", "step": "s22_bd_rel_v1", "model": "gpt", "dur_s": 139.5, "system_prompt": "You are a set-layout analyst for film pre-production. You get one\nreal-world place's member descriptions, the FULL ORIGINAL TEXT of every scene\nthat plays there, all shots, and creator corrections (which override any\nconflicting text). Build ONE top-down BLOCK LAYOUT of the whole property as\nRELATIONAL data for a deterministic solver — you never output coordinates;\nyou only state what contains what, where inside its container, how big\nrelative to its container, and what is attached to which side.\n\nPlacement model (the solver computes all geometry from this):\n- Every element names a parent: \"canvas\" (the whole 100x100 site, canvas top\n  = the property's rear, canvas bottom = the street/approach side unless the\n  texts imply otherwise — state your choice in layout_notes_ko) or another\n  element's id (true containment: the child sits ON/INSIDE the parent area).\n- anchor: one of NW,N,NE,W,C,E,SW,S,SE — where the element sits INSIDE its\n  parent.\n- w_pct,h_pct: the element's width/height as a PERCENT of its parent's\n  width/height (5..100). For shape \"circle\", w_pct alone sets the diameter\n  as a percent of the parent's smaller side.\n- attach_side: none, or N/S/E/W — the element is snapped flush against that\n  side of its parent (stairs on an outside wall, walls on an edge, and ALL\n  openings). along_pct (0..100) positions it along that side (left→right or\n  top→bottom); use it whenever attach_side is not \"none\".\n- Openings (door/window/gate) MUST have attach_side = the wall side of their\n  host parent that the texts support, and repeat = how many identical\n  openings the strip contains.\n\nElement kinds: building_mass, upper_shell (enclosed upper unit — outline\nonly, never interior), terrace, yard, road, alley, stair, wall, neighbor_mass\n(BLOCK kinds) and door, window, gate, fixture_round, fixture_rect, equipment\n(POINT kinds).\n- ids: short lowercase slugs, unique.\n- Simplify ALL neighbouring buildings to plain neighbor_mass rects (parent =\n  canvas, no openings). Include the road/alley approach.\n- COUNT-CRITICAL: opening counts/sides must match the texts; if the texts\n  give no exact count choose a modest count and set certainty=\"inferred\".\n- EXTERIOR ONLY: this is an OUTDOOR site diagram — ground areas, building\n  outer shells, roof-level surfaces, OUTDOOR fixtures, and boundary openings\n  (doors/windows/gates in OUTER walls) only. NEVER include interior\n  furniture, appliances or fixtures of any enclosed unit (no beds, tables,\n  stoves, counters, mirrors, lamps, TVs); every enclosed volume stays\n  sealed — outline and outer-wall openings only.\n- Include permanent OUTDOOR fixtures the scenes rely on. NO story props, no\n  vehicles, no people, nothing temporary.\n- 10 to 26 elements. name_en: 1-3 generic English words, no proper names.\n  desc_ko: one short Korean sentence — what it PHYSICALLY is, its form and\n  key spatial relation, present tense, PHYSICAL VISIBLE FACTS ONLY: never\n  events, actions, characters or animals, usage stories, moments of motion,\n  or authorial phrasing (verbatim shown to the human reviewer).\n- evidence: source = scene index / shot key / member id, quote = exact\n  phrase copied from the given texts. certainty=\"text\" needs a real quote.\n\nHEIGHT LAYERS (3-6): you define them; each = layer_id, name_en, desc_ko (one\nKorean sentence: what physical height), rel_height (0 = ground, increasing\nupward). Every element references one layer_id.\n\nSolid blocks that share a parent must not overlap — place siblings at\ndifferent anchors with sizes that leave room (the solver will report any\noverlap back to you for correction).\n\nconnections: pairs of element ids that the texts say PHYSICALLY adjoin or\nconnect — a stair to the ground area it rises from AND to the level it\nserves, a gate between the two areas it joins, an alley to the yard/road it\nlinks. why_ko = one short Korean line quoting-level grounding. The solver\nverifies each pair actually touches (gap <= 1 unit) and reports failures —\nso place connected elements so they really meet (matching anchors/sides).\n\nAlso output layout_notes_ko: 3-6 Korean sentences on the arrangement logic\n(verbatim shown to the human reviewer).", "user_prompt": "PLACE MEMBERS:\n- (outdoor, L03) 인천 변두리 낡은 빌라 옥탑방 옥상·현관 앞 외부: 낡은 다세대 빌라 꼭대기에 위치한 야외 공간. 물탱크, 흔들리는 빨랫줄, 평상 위 약초 건조 흔적, 낡은 철문 현관이 있다. (특징: 낡은 시멘트 바닥; 물탱크; 바람에 날리는 빨랫줄; 평상과 널려 있는 말린 약초(석창포); 전단지가 끼워진 철문 현관)\n- (indoor, L04) 옥탑방 내부: 작은 창문으로 빛이 들어오는 낡은 주거 공간. 싱크대, 식탁, TV가 있는 거실과 침대, 커튼, 거울 등이 있는 방/욕실로 구성된다. 약초 끓이는 냄비 등 생활 소품이 있으며, 간헐적으로 벽면에 붉은 원 형태의 환영과 핏자국이 생겨난다. (특징: 작은 창문의 햇살; 싱크대와 약초(석창포); 가스레인지 위 끓는 냄비와 수증기; 거실 TV와 스탠드; 침대, 커튼, 거울; 벽과 거울 표면에 나타나는 붉은 원 환영; 바닥과 벽의 핏자국 (특정 시점); 어지럽혀진 가재도구 (특정 시점))\n- (outdoor, L10) 옥탑방 외곽 골목·시멘트 계단: 다세대 빌라 마당의 후미진 구석과 옥탑방으로 올라가는 가파르고 낡은 시멘트 계단. (특징: 다세대 빌라 입구 마당; 후미진 구석 공간; 낡고 가파른 시멘트 계단)\n\nFULL ORIGINAL SCENE TEXTS (every scene at this place):\n\n=== SCENE 4 FULL TEXT ===\nS#4. 옥탑방 / D\n인천 변두리 부감, 오래된 빌라 옥탑방 전경.\n기자(E)\n지역 주민들 사이에 횡행한 소문이 돌고 있지만, 경찰은 범인의 윤곽조차 잡지 못하고 있어 지역주민들의 불안과 두려움을 더 키우는 모양새입니다.\n\n\n\n=== SCENE 5 FULL TEXT ===\nS#5. 옥탑방 안 / 실내\n거실에 난 작은 창으로 햇살에 가늘게 비친다. 싱크대 수도꼭지에 흐르는 물, 씻다 만 약초(석창포). 냄비의 물이 끓어 달그락거리는 소리… 김이 피어오르고. 앞치마를 두른 채 TV 뉴스를 뚫어지게 바라보는 민숙(수리영 엄마. 40세) 표정이 어둡다. (뉴스멘트는 작아졌다 커졌다 반복하면서 여기까지 이어진다)\n딸, 수리영(21. 애완동물미용학과 2년)이 방문을 열고 기지개를 켜며 나오자 후다닥 TV를 끄는 민숙. 다정한 말투로\n수리영\n(심드렁) 뭐~야. 사건 났어? 뭔데.\n민숙\n아냐.\n수리영\n(식탁에 앉으며) 이모 또 야근하겠네. 조그만 도시에 왠 사건이 이렇게 많아. 바다가 가까워서 그런가.\n민숙\n신경 꺼. (석창포 달인 물을 따라주면서) 마셔. 방학인데 왜 더 자지않고.\n수리영\n(마시고 나서) 아, 진짜 맛 없어...(투정) 나 알바 있어, 엄마. 원장님이 하루만 봐 달래.\n(cut to.)\n가벼운 차림새. 수리영 신발을 신으며\n수리영\n엄마는 오늘 안 나가?\n민숙\n이따가 1시 타임.\n수리영\n(엄마의 냄새를 맡으며) 아, 좋다. 끝나고 마트로 갈게. 모처럼 밖에서 저녁먹자 엄마.\n민숙\n응 (미소)\n힐끗, 민숙 손목에 보이는 작은 원(이하 표식)을 본다. 오늘따라 유난히 또렷해 보이지만 워낙 어릴 적부터 봐온 터라 개의치 않는.\n\n\n\n=== SCENE 10 FULL TEXT ===\nS#10. 옥탑방 / N\n그 시각. 옥탑방 옥상. 물탱크. 바람에 빨랫줄이 툭- 툭- 평상에 놓인 말린 석창포가 바람에 날리는데... 말린 잎이 걸어오는 낯선 남자의 신발 위를 스친다. 남자의 긴 그림자. (얼굴은 보이지 않는다)\n신발은 옥탑방 철문 현관 앞에 멈춰 선다. 문틈에 낀 광고 전단지. 전단지를 뽑아서 손가락으로 문틈에 꾹 밀어 넣는다. ‘철컥’ 하고 잠금 새가 풀리는 소리. 문이 미세하게 열리고 안으로 들어가는 남자.\n창문에 비친 그림자. 민숙을 덮쳐 어깨를 물어뜯는 듯한 모습 ‘아악-’\n\n\n\n=== SCENE 11 FULL TEXT ===\nS#11. 옥탑 방 밖 / N\n자전거를 타고 골목길을 달리는 수리영. 다세대 빌라 문을 열고 들어와 마당 후미진 곳에 자전거를 대충 세우고, 옥탑방과 연결되는 계단을 급히 오른다.\n갑자기 훅- 느껴지는 역겨운 냄새. 뭐지? 옥상에 올라와 보니 반쯤 열린 현관 철문.\n\n\n\n=== SCENE 12 FULL TEXT ===\nS#12. 옥탑방 안 / N\n/거실\n‘엄마?’를 부르며 들어오는 수리영, 끓다 식은 냄비. 켜져 있는 TV. 희미한 거실 스탠드 불빛,\n/민숙 방\n안방 문을 여는데... 없다. 거실 식탁에 놓여있는 찻잔 두 개. 하나는 엎어져있다.\n/수리영 방\n마지막으로 자기 방문을 연다 헉!- 여기저기 핏자국. 바닥에 흥건한 혈흔. 피묻은 발자국은 커튼으로 이어져 있다 호흡을 가다듬고 커튼을 젖히자 앉은 채로 고개를 떨군 채 죽어있는 엄마- 민숙!!!!\n수리영\n(달려가) 어어어어----엄마\n충격에 온 몸이 얼어붙은 수리영, 살점이 뜯긴 어깨와 쇄골, 마치 동물에게 물어뜯긴 듯한 거친 상처가 고스란히 드러나있다. 덜렁거리는 살점과 뜯겨진 부위에 흘러내리는 피.\n수리영\n(놀라 뒤로 주춤) 어-어-어- 엄마….\n부들부들 떨며 핸드폰을 누른다. 2번 혜수이모\n수리영\n받아, 이모. 받아….\n혜수(E)\n영아, 영아, 왜?\n답은 안 나오고… 엄마 손안에 구겨진 사진 한 장이 보인다. 다가가 사진을 꺼내는데 엄마 손목에 있던 문신이 붉은색으로 변한다. 헉! 호흡이 빨라지고... 침대 위 벽에 붉은 원이 생겨난다 (마치 누군가 붓으로 벽에 원으로 그리는 것처럼). 소름끼치는 으아악---!\n\n\n\n=== SCENE 13 FULL TEXT ===\nS#13. 옥탑방 외곽 / N\n비명을 지르며 옥탑방을 빠져나오는 수리영, 허겁지겁 계단을 내려간다. 동시에 사이렌이 울리고~. (포즈)\n차에서 내린 혜수(40대 중반, 여자, 경위) 초점을 잃고 멍하니 서있는 수리영의 모습을 발견하고 달려간다.\n혜수\n영아? 왜! 무슨 일이야?\n수리영\n(올라다보며) 엄마가, 엄마가... 죽어있어.\n혜수\n(놀라) 뭐?!\n옥탑 방으로 뛰어 올라가는 혜수와 후배 형사(30대 남/ 이하 김형사)\n\n\n\n=== SCENE 14 FULL TEXT ===\nS#14. 옥탑방 안 / N\n/현관\n집안 여기저기를 확인하면서 나오는 형사와 혜수\n김형사\n(허탈한 표정) 없는데.. 아무 것도.\n혜수\n(뒤따라온 수리영에게) 영아, 없어. 뭘 봤는데...?\n어? 수리영, 부리나케 방 안으로 뛰어 들어간다.\n/수리영 방 안\n지나칠 정도로 깨끗하게 정돈된 방안. 핏자국도 보이지 않고, 침대 위에 붉은 표식은 물론 커튼 뒤의 시신도 감쪽 같이 사라졌다. 얼굴이 파리해지는 수리영. ‘어----?’ ‘분명히 봤는데...’\n뛰쳐나가 식탁으로 가본다. 식탁 역시 깨끗한.\n수리영\n여기 찻잔도 두 개 있었고...\n김형사\n(답답) 허 참! 죽은 사람이 발이 달렸을 리도 없고. 쯧쯧 그러게 살인사건은 자세하게 보도하면 안 된다구요...(궁시렁) 이봐요. 학생? 장난전화 하면 안 되는 거 몰라? (짜증) 안 그래도 살인사건으로 난리도 아닌데...\n혜수\n(김형사 째리고) 김형사. 먼저 가 있어. (김형사 나가면) (수리영 어깨를 어루만지며) 영아.\n수리영\n엄마(시신), 어디갔을까? 분명히 봤는데...\n혜수\n네가 요즘 과로했잖아. 공부에다 알바까지... 악몽을 꾼 걸 수도 있으니... 바람이나 쐬러 가자.\n수리영 방안에 놓여진 백팩, 인형. 약간씩 위치가 달라진. (시신을 발견했을 때와 다른)\n\n\n\n=== SCENE 17 FULL TEXT ===\nS#17. 옥탑방 / 동틀무렵\n새벽녘, 고양이 울음소리. 검은 고양이가 불이 켜져 있는 옥탑 방을 슬쩍 보더니 담을 넘는다\n\n\n\n=== SCENE 18 FULL TEXT ===\nS#18. 안방 안 / D\n침대에 머리를 대고 앉아있는 수리영, 밤새 엄마를 기다리다 깜박 졸았다 고양이 울음소리에 번쩍 눈을 뜨고, ‘엄마? ’혹시나 해서 집안을 살피지만 아무런 인기척도 보이지 않는다\n/수리영 방안\n닫혀있는 자신의 방을 바라본다. [F.B: 1부12씬] 커튼 뒤에 죽어있던 엄마. 상처. 혈흔 크게 심호흡하고 조심스럽게 문을 연다. 지나치리만큼 깨끗하게 정돈된 방안. 창문에 다가가 커튼을 확 열어젖힌다. 시신은 없다. 한숨 후~ 다행이긴 한데. 그때, 울리는 폰 벨소리, 화들짝 놀라는 수리영. 달려가 받자마자\n수리영\n엄마?\n혜수(E)\n아직이니?\n수리영\n응. 아무래도 이상해. 이럴 리가 없잖아! 우리 엄마가. 이모, 사고 난 게 분명해\n혜수(E)\n실종신고 냈어. 이모가 엄마 폰 위치추적하고 있으니까 조금만 기다려 별일 없을 거야. 알았지?\n수리영\n응.\n무작정 기다리는게 불안한 수리영, 인형이 달린 자신의 백팩을 꺼내 나온다\n/욕실 안\n얼굴을 씻고 거울을 보며\n수리영\n엄마, 도대체 어딨는 거야...\n거울에 비친 욕실 벽에 갑자기 또 발생하는 붉은 원. 호흡이 가빠지고... 훅 고개를 돌려 벽을 보는 수리영 거짓말처럼 사라지고 없다. 거실로 튀어나와 물 한컵 마시고 식탁에 놓인 엄마와 수리영의 사진을 보는데... 환하게 웃는 엄마 얼굴이 뭉개져 흘러내린다\n수리영\n아아악~~~ (다시보니 멀쩡하다) 나 왜 이러는 거지. (자신의 뺨을 치며) 정신 차려 수리영!\n\n\n\n=== SCENE 25 FULL TEXT ===\nS#25. 옥탑방 안 / 해질 무렵\n누군가 다녀간 흔적으로 보이는 발자국들. 다시 호흡이 가빠지는 수리영. 집안에서 뭔가를 찾기 위해 가재도구를 온통 헤집은 것으로 보인다. 거실에 난 창은 열려있고, 식탁 의자들을 쓰러져있다.\n/수리영 방\n열린 자신의 방을 힐끗 보는데 벽에 또 붉은 원이 그려져있다. 그 가운데 꽂혀있는 피묻은 사진 한 장! 사진을 떼어서 자세히 본다. 어? 그 사진!!!\n[F.B: 1부 12씬] 죽은 엄마의 손에 구겨져있던 바로 그 사진이다. 7-80년대 쯤 보이는 시골 식당과 지붕위에 둥근 원이 설치된 (마치 십자가처럼) 식당 앞에는 어린 여자애 둘(12살)이 앉아있다. 그중에 한 아이는 분명히 어릴 적 엄마다.\n침대에 털썩 주저앉는 수리영. 연속해서 벌어지는 기이한 상황에 정신이 혼미한 엉망이 된 집 안을 한번 획 둘러보는 수리영, 마치 이끌리듯 백팩을 메고 밖으로 나간다. 사진을 손에 꼭 쥔 채.\n\n\n\n=== SCENE 27 FULL TEXT ===\nS#27. 옥탑방 안 / 해질 무렵\n수리영의 녹음메시지를 확인하는 혜수,\n혜수\n너 봤니..본 거니... (김형사에게) 좌표를 보지않았을까?\n김형사\n그럴리가요. (혀를 끌끌 차며) 아이구 쯧쯧. 설사 본들 망망대해에서 뭘 어쩌겠어요. 돌아오겠죠.\n덜커덩 덜커덩. 바람에 현관문 소리. 황량하다.\n\n\n\nALL SHOTS AT THIS PLACE (full content):\n\n[S10_Shot5] (outdoor; loc=L03; scene_heading=S#10. 옥탑방 / N)\ndescription: 철문이 미세하게 열린 틈 사이로 어두운 내부가 보이는 구도.\nframing_scale: insert\ncamera_direction: At the end of the flow’s dolly-in, the lens freezes just outside the iron door at handle height, only inches from the seam, staring directly into the thin opening. The dark crack sits in the center like a vertical wound, with rough iron surfaces on both sides occupying the foreground while the interior beyond remains unreadable and almost lightless.\nkey_bg_elements: [{\"camera_use\": \"Primary focal aperture; turns the entry into a threatening slit rather than a normal doorway.\", \"directionality_class\": \"directional_3d\", \"element\": \"iron front door\", \"orientation\": \"The two heavy door edges face camera at close range, separated by a narrow central crack leading into darkness.\", \"state\": \"slightly open, scratched, cold metal\"}, {\"camera_use\": \"Hides what is inside and makes the gap feel predatory.\", \"directionality_class\": \"non_directional\", \"element\": \"dark interior beyond the crack\", \"orientation\": \"\", \"state\": \"unlit, opaque, silent\"}, {\"camera_use\": \"Adds tactile evidence of forced entry near the seam.\", \"directionality_class\": \"content_surface\", \"element\": \"creased advertisement flyer edge\", \"orientation\": \"Only the printed edge of the paper face is visible near the door seam, with partial color blocks and unreadable text.\", \"state\": \"bent, partly displaced, dirty\"}]\nframe_spatial_contract: {\"constraints\": [{\"depth_plane\": \"foreground\", \"gesture_action\": \"none\", \"gesture_target_label\": \"\", \"label\": \"narrow iron door seam\", \"screen_zone\": \"middle_center\", \"target_id\": \"\", \"target_kind\": \"background\"}], \"reason\": \"required_background_position\"}\n\n[S10_Shot6] (outdoor; loc=L03; scene_heading=S#10. 옥탑방 / N)\ndescription: 방 안 창문에 비친 그림자, 굽은 형태의 인영이 다른 사람 형상 위에 포개져 멈춘 찰나의 실루엣.\nframing_scale: medium\ncamera_direction: Inside the room, the camera holds static near the side wall at shoulder height, angled so only the window glass carries the action as a reflection and the direct attack is never seen. The reflected silhouettes sit within the window frame: a bent 인영 in the upper-middle area lowers its head toward the shoulder of 사람, whose body buckles beneath it in a distorted, wavering mid-action shape.\nkey_bg_elements: [{\"camera_use\": \"Serves as the only visible surface for the attack, keeping violence indirect and distorted.\", \"directionality_class\": \"reflective_surface\", \"element\": \"room window glass\", \"orientation\": \"The glass reflects the bent 인영 and 사람 as warped dark silhouettes, with faint interior light streaks trembling across them.\", \"state\": \"closed, grimy, reflective in darkness\"}, {\"camera_use\": \"Frames the reflection and prevents the viewer from seeing the real bodies directly.\", \"directionality_class\": \"directional_3d\", \"element\": \"window frame\", \"orientation\": \"The frame’s inner edges face camera and box the reflected action into a rigid rectangle.\", \"state\": \"old, chipped, motionless\"}, {\"camera_use\": \"Adds low, diseased color to the reflected silhouettes.\", \"directionality_class\": \"directional_3d\", \"element\": \"dim interior practical light\", \"orientation\": \"The lamp’s shaded side is off-frame but its amber spill grazes the wall and window reflection.\", \"state\": \"on, weak, sickly amber\"}, {\"camera_use\": \"Keeps the room claustrophobic around the window surface.\", \"directionality_class\": \"non_directional\", \"element\": \"dark side wall\", \"orientation\": \"\", \"state\": \"rough, stained, blue-gray shadowed\"}]\nframe_spatial_contract: {\"constraints\": [{\"depth_plane\": \"midground\", \"gesture_action\": \"none\", \"gesture_target_label\": \"\", \"label\": \"window reflection containing silhouettes\", \"screen_zone\": \"middle_center\", \"target_id\": \"\", \"target_kind\": \"background\"}], \"reason\": \"required_background_position\"}\n\n[S11_Shot3] (outdoor; loc=L10; scene_heading=S#11. 옥탑 방 밖 / N)\ndescription: 계단 중간에 서서 심하게 코를 찡그린 수리영의 얼굴 클로즈업.\ncharacters: 수리영\nframing_scale: close\ncamera_direction: Midway up the narrow concrete staircase, the camera holds static very close to 수리영 from the front-left at face height, tightening into an intense close-up that leaves only a sliver of stair texture behind her. Her nose wrinkles hard at the sudden smell, eyes lifting toward the unseen rooftop landing while her halted climb compresses her shoulders into the frame.\nkey_bg_elements: [{\"camera_use\": \"Minimal background texture that preserves the stair location without diluting the reaction.\", \"directionality_class\": \"directional_3d\", \"element\": \"narrow concrete staircase\", \"orientation\": \"Only the side edge and riser texture angle behind her cheek, indicating the upward path to the rooftop.\", \"state\": \"dark, damp, rough\"}, {\"camera_use\": \"Creates a suffocating side boundary close to her face.\", \"directionality_class\": \"non_directional\", \"element\": \"stairwell wall\", \"orientation\": \"\", \"state\": \"stained, cold, blue-gray\"}, {\"camera_use\": \"Suggests the unseen source direction through faint light above.\", \"directionality_class\": \"non_directional\", \"element\": \"rooftop darkness above the stairs\", \"orientation\": \"\", \"state\": \"unseen, heavy, foul implied\"}]\n\n[S11_Shot4] (outdoor; loc=L10; scene_heading=S#11. 옥탑 방 밖 / N)\ndescription: 옥상 위, 어둠 속에 반쯤 열려 멈춰 있는 옥탑방 현관 철문의 정적 구도.\nframing_scale: wide\ncamera_direction: After the hard eyeline cut, the camera adopts 수리영’s direct viewpoint from the rooftop landing, several meters from the entrance and at human eye level, facing the iron front door squarely. The half-open door is held in rigid symmetry at the center of the frame, surrounded by still rooftop darkness, with no figure entering to relieve the threat.\nkey_bg_elements: [{\"camera_use\": \"Central reveal and source of unease, held motionless after her smell reaction.\", \"directionality_class\": \"directional_3d\", \"element\": \"rooftop room iron front door\", \"orientation\": \"The door faces camera squarely but hangs half-open, exposing a narrow black interior gap along one side.\", \"state\": \"half-open, frozen, scratched\"}, {\"camera_use\": \"Frames the doorway in isolated negative space.\", \"directionality_class\": \"non_directional\", \"element\": \"rooftop landing darkness\", \"orientation\": \"\", \"state\": \"still, damp, blue-black\"}, {\"camera_use\": \"Adds rough domestic rooftop texture without drawing attention from the door.\", \"directionality_class\": \"directional_3d\", \"element\": \"low rooftop wall\", \"orientation\": \"Its top edge runs horizontally across the lower background, barely lit against the night.\", \"state\": \"wet-stained, concrete, motionless\"}]\nframe_spatial_contract: {\"constraints\": [{\"depth_plane\": \"background\", \"gesture_action\": \"none\", \"gesture_target_label\": \"\", \"label\": \"half-open rooftop iron door\", \"screen_zone\": \"middle_center\", \"target_id\": \"\", \"target_kind\": \"background\"}], \"reason\": \"required_background_position\"}\n\n[S12_Shot15] (indoor; loc=L04; scene_heading=S#12. 옥탑방 안 / N)\ndescription: 침대 위 어두운 벽면에 피가 번지듯 선명한 붉은색 원형 표식이 그려진 상태의 정지 구도.\nframing_scale: medium\ncamera_direction: From low bedside height near the mattress edge, the camera completes its upward tilt and locks off on the dark wall above the bed, where a completed red circular mark sits in the upper middle of frame. The bed edge remains only as a thin lower strip for scale, while the wall becomes an oppressive flat plane; this is aligned with 수리영’s panicked perception, the image subtly treated as an occult hallucination rather than stable reality.\nkey_bg_elements: [{\"camera_use\": \"Primary occult surface holding the completed mark.\", \"directionality_class\": \"content_surface\", \"element\": \"dark wall above the bed\", \"orientation\": \"The camera-facing wall face is visible, carrying a vivid red circular mark at its center.\", \"state\": \"dark, stained-looking, marked\"}, {\"camera_use\": \"Lower frame scale reference beneath the wall.\", \"directionality_class\": \"directional_3d\", \"element\": \"bed edge\", \"orientation\": \"The side edge of the mattress faces the camera from below, cropped into a narrow horizontal band.\", \"state\": \"dim, still, partly obscured\"}, {\"camera_use\": \"Symbolic focal mark on the wall.\", \"directionality_class\": \"content_surface\", \"element\": \"red circular mark\", \"orientation\": \"The painted-looking face of the circle is fully visible to the camera, as if freshly drawn into the wall surface.\", \"state\": \"bright red, wet-looking, completed\"}]\n\n[S12_Shot4] (indoor; loc=L04; scene_heading=S#12. 옥탑방 안 / N)\ndescription: 열린 방문 틈으로 보이는 방바닥에 검붉은 핏자국이 흥건하게 고여 있는 정지 구도.\nframing_scale: close\ncamera_direction: From the low waist-height position outside the bedroom doorway, the camera holds completely still about three feet back, peering through the opened door gap toward the dark red blood pooled on the floor just beyond the threshold. The door edges form a narrow vertical frame on both sides, with the blood occupying the lower middle of the image and the dim bedroom receding into blue-gray darkness behind it; this is a neutral observer’s direct view, not a character POV.\nkey_bg_elements: [{\"camera_use\": \"Foreground framing device that restricts the view into the room.\", \"directionality_class\": \"directional_3d\", \"element\": \"opened bedroom door\", \"orientation\": \"The inner edge of the door faces the camera at an oblique angle, creating a narrow gap into the room.\", \"state\": \"open, still, shadowed\"}, {\"camera_use\": \"Primary visual focus on the floor just inside the doorway.\", \"directionality_class\": \"non_directional\", \"element\": \"dark red blood pool\", \"orientation\": \"\", \"state\": \"wet, thick, spread across the floor\"}, {\"camera_use\": \"Texture under the blood and scale reference for the room.\", \"directionality_class\": \"non_directional\", \"element\": \"bedroom floor\", \"orientation\": \"\", \"state\": \"dirty, damp-looking, partially covered by blood\"}]\n\n[S12_Shot8] (indoor; loc=L04; scene_heading=S#12. 옥탑방 안 / N)\ndescription: 두 눈을 크게 뜨고 입을 벌린 채 굳어버린 수리영의 창백한 얼굴 클로즈업.\ncharacters: 수리영\nframing_scale: close\ncamera_direction: At eye level directly in front of 수리영, the handheld camera compresses tighter than the stage distance until her pale face nearly fills the frame, backing away only a fraction as her shock freezes mid-recoil. The background is almost lost in darkness, with only a faint suggestion of the room’s black edges behind her; the view remains a direct observer angle, but the proximity feels invasive and breathless.\nkey_bg_elements: [{\"camera_use\": \"Nearly swallowed background plane behind her face.\", \"directionality_class\": \"non_directional\", \"element\": \"dark bedroom recess\", \"orientation\": \"\", \"state\": \"unlit, indistinct\"}, {\"camera_use\": \"Soft edge shadow that isolates her head from the room.\", \"directionality_class\": \"directional_3d\", \"element\": \"bedroom doorway edge\", \"orientation\": \"A narrow side edge catches minimal spill light behind her shoulder.\", \"state\": \"partially visible, shadowed\"}]\nframe_spatial_contract: {\"constraints\": [{\"depth_plane\": \"foreground\", \"gesture_action\": \"none\", \"gesture_target_label\": \"\", \"label\": \"수리영 terrified face\", \"screen_zone\": \"middle_center\", \"target_id\": \"C01\", \"target_kind\": \"character\"}], \"reason\": \"primary_subject_isolation\"}\n\n[S13_Shot3] (outdoor; loc=L03; scene_heading=S#13. 옥탑방 외곽 / N)\ndescription: 차에서 내린 혜수가 초점 없는 눈으로 멍하게 서 있는 수리영을 향해 시선을 고정한 찰나의 상체.\ncharacters: 혜수, 수리영\nframing_scale: medium\ncamera_direction: Beside the police car at chest height, the tracking move slows into a held upper-body frame on 혜수 as she has just stepped out, her body paused between the car and the alley. 수리영 appears farther down the alley in soft background focus, small and blank beneath flashing siren wash, while 혜수 occupies the left foreground in a tense three-quarter view; this is a direct observer view moving parallel with her discovery.\nkey_bg_elements: [{\"camera_use\": \"Foreground context and flashing light source beside 혜수.\", \"directionality_class\": \"directional_3d\", \"element\": \"police car\", \"orientation\": \"The side of the car and open door angle toward the camera, framing 혜수’s exit.\", \"state\": \"parked, door open, siren lights active\"}, {\"camera_use\": \"Depth corridor between 혜수 and 수리영.\", \"directionality_class\": \"directional_3d\", \"element\": \"narrow alley\", \"orientation\": \"The alley recedes diagonally from the police car toward 수리영 in the background.\", \"state\": \"wet, dark, foggy\"}, {\"camera_use\": \"Intermittent color wash across faces and walls.\", \"directionality_class\": \"non_directional\", \"element\": \"siren light spill\", \"orientation\": \"\", \"state\": \"flashing red-blue across damp surfaces\"}]\nframe_spatial_contract: {\"constraints\": [{\"depth_plane\": \"foreground\", \"gesture_action\": \"looks_toward\", \"gesture_target_label\": \"수리영 down the alley\", \"label\": \"혜수 by police car\", \"screen_zone\": \"middle_left\", \"target_id\": \"C02\", \"target_kind\": \"character\"}, {\"depth_plane\": \"background\", \"gesture_action\": \"none\", \"gesture_target_label\": \"\", \"label\": \"수리영 in alley\", \"screen_zone\": \"middle_right\", \"target_id\": \"C01\", \"target_kind\": \"character\"}], \"reason\": \"shared_space_relation\"}\n\n[S13_Shot5] (outdoor; loc=L03; scene_heading=S#13. 옥탑방 외곽 / N)\ndescription: 수리영이 고개를 들어 혜수의 얼굴을 올려다보는 정적 구도.\ncharacters: 수리영, 혜수\nframing_scale: close\ncamera_direction: The camera sits low near 수리영’s eye level, about one meter away, tightened into a still close composition as she lifts her face toward 혜수 just above the frame. 수리영 holds the lower center of the image, her upward eyeline creating the unseen presence of 혜수, while the wet alley background blurs into dark blue-gray; this is a direct observer angle from the space between them.\nkey_bg_elements: [{\"camera_use\": \"Soft, dark background texture behind 수리영’s head.\", \"directionality_class\": \"non_directional\", \"element\": \"wet alley wall\", \"orientation\": \"\", \"state\": \"damp, shadowed, out of focus\"}, {\"camera_use\": \"Atmospheric layer around her face.\", \"directionality_class\": \"non_directional\", \"element\": \"night fog\", \"orientation\": \"\", \"state\": \"thin, drifting, blue-gray\"}, {\"camera_use\": \"Off-screen motivated color pulse on her skin.\", \"directionality_class\": \"non_directional\", \"element\": \"police siren spill\", \"orientation\": \"\", \"state\": \"intermittent, faint\"}]\nframe_spatial_contract: {\"constraints\": [{\"depth_plane\": \"foreground\", \"gesture_action\": \"looks_toward\", \"gesture_target_label\": \"혜수 just above frame\", \"label\": \"수리영 close low frame\", \"screen_zone\": \"middle_center\", \"target_id\": \"C01\", \"target_kind\": \"character\"}], \"reason\": \"primary_subject_isolation\"}\n\n[S14_Shot4] (indoor; loc=L04; scene_heading=S#14. 옥탑방 안 / N)\ndescription: 핏자국 하나 없이 깨끗하게 정돈된 수리영의 방 내부 정지 구도.\nframing_scale: wide\ncamera_direction: Just inside 수리영’s bedroom doorway at eye level, the camera holds a wide, unmoving view inward toward the bed, bare wall, curtain, and spotless floor. The room is framed as evidence: the clean floor stretches across the lower half, the curtain line sits to one side where the body should have been, and the wall above the bed remains blank; this is a direct neutral observation of absence.\nkey_bg_elements: [{\"camera_use\": \"Primary proof of erased violence across the lower frame.\", \"directionality_class\": \"non_directional\", \"element\": \"spotless bedroom floor\", \"orientation\": \"\", \"state\": \"clean, dry, no blood marks\"}, {\"camera_use\": \"Central room anchor and comparison point for the missing wall mark.\", \"directionality_class\": \"directional_3d\", \"element\": \"bed\", \"orientation\": \"The side and top plane of the bed face the camera from mid-frame.\", \"state\": \"neatly made, undisturbed\"}, {\"camera_use\": \"Surface where the red circle should have been absent.\", \"directionality_class\": \"content_surface\", \"element\": \"wall above the bed\", \"orientation\": \"The camera-facing wall face is visible and completely bare, carrying no red circular mark.\", \"state\": \"clean, dark, unmarked\"}, {\"camera_use\": \"Empty area where the hidden body had been discovered earlier.\", \"directionality_class\": \"directional_3d\", \"element\": \"curtain line\", \"orientation\": \"The front folds face the camera from the side of the room, concealing only darkness and empty space behind.\", \"state\": \"hanging still, clean, no body visible\"}]\n\n[S14_Shot6] (indoor; loc=L04; scene_heading=S#14. 옥탑방 안 / N)\ndescription: 수리영이 핏기가 가신 창백한 얼굴로 멍하니 빈 커튼 쪽을 응시하는 정면.\ncharacters: 수리영\nframing_scale: close\ncamera_direction: Inside the bedroom near the bed and curtain side, the dolly-in ends in a frontal upper-body emphasis on 수리영, close enough that her pale face and rigid shoulders take most of the frame. She looks past the camera toward the empty curtain area, which is kept implied rather than shown, turning the direct observer view into a psychological confrontation with the missing evidence.\nkey_bg_elements: [{\"camera_use\": \"Blurred side texture suggesting where the corpse should have been.\", \"directionality_class\": \"directional_3d\", \"element\": \"curtain edge\", \"orientation\": \"Only a soft side fold is visible near the frame edge, with the empty area kept off-camera.\", \"state\": \"still, clean, partially out of focus\"}, {\"camera_use\": \"Low background shape behind her shoulder.\", \"directionality_class\": \"directional_3d\", \"element\": \"bed corner\", \"orientation\": \"The near corner angles away behind 수리영, cropped and subdued.\", \"state\": \"neat, undisturbed\"}, {\"camera_use\": \"Absence marker behind her expression.\", \"directionality_class\": \"content_surface\", \"element\": \"blank wall\", \"orientation\": \"The visible wall face behind her is bare and carries no red mark.\", \"state\": \"unmarked, dim\"}]\nframe_spatial_contract: {\"constraints\": [{\"depth_plane\": \"foreground\", \"gesture_action\": \"looks_toward\", \"gesture_target_label\": \"empty curtain area behind camera\", \"label\": \"수리영 frontal close frame\", \"screen_zone\": \"middle_center\", \"target_id\": \"C01\", \"target_kind\": \"character\"}], \"reason\": \"primary_subject_isolation\"}\n\n[S14_Shot8] (indoor; loc=L04; scene_heading=S#14. 옥탑방 안 / N)\ndescription: 식탁 앞에 선 수리영이 빈 식탁을 손가락으로 가리킨 채 멈춘 측면 상체.\ncharacters: 수리영\nframing_scale: medium\ncamera_direction: At chest height beside the dining table, the camera settles from the track into a brief still side composition perpendicular to 수리영’s body line. Her profile holds the left half of frame while her pointing hand cuts toward the bare tabletop on the right, keeping both the gesture and the missing teacups in one direct observational image.\nkey_bg_elements: [{\"camera_use\": \"Gesture target proving the vanished cups.\", \"directionality_class\": \"directional_3d\", \"element\": \"bare dining table\", \"orientation\": \"The clean top plane faces the camera at a shallow angle, with no cups where her finger indicates.\", \"state\": \"clean, empty, dry\"}, {\"camera_use\": \"Dim living-room depth behind the table.\", \"directionality_class\": \"directional_3d\", \"element\": \"living room wall and doorway\", \"orientation\": \"The wall and doorway recede behind 수리영 in side view.\", \"state\": \"shadowed, quiet\"}, {\"camera_use\": \"Soft ambient source in the room.\", \"directionality_class\": \"directional_3d\", \"element\": \"living room stand lamp\", \"orientation\": \"The lamp shade is seen from the side, its warm face turned slightly away from camera.\", \"state\": \"on, weak amber\"}]\nframe_spatial_contract: {\"constraints\": [{\"depth_plane\": \"foreground\", \"gesture_action\": \"points_to\", \"gesture_target_label\": \"bare dining tabletop\", \"label\": \"수리영 pointing beside table\", \"screen_zone\": \"middle_left\", \"target_id\": \"C01\", \"target_kind\": \"character\"}, {\"depth_plane\": \"midground\", \"gesture_action\": \"none\", \"gesture_target_label\": \"\", \"label\": \"bare dining tabletop\", \"screen_zone\": \"middle_right\", \"target_id\": \"\", \"target_kind\": \"background\"}], \"reason\": \"points_to_anchor\"}\n\n[S17_Shot1] (outdoor; loc=L03; scene_heading=S#17. 옥탑방 / 동틀무렵)\ndescription: 짙고 푸른 안개가 깔린 새벽녘, 희미한 노란 불빛이 켜진 옥탑방 창문을 향해 검은 고양이 한 마리가 고개를 돌린 찰나의 측면.\nframing_scale: medium\ncamera_direction: Low at the 검은 고양이’s shoulder height, roughly one meter away, the camera tracks parallel along the rooftop wall and then holds a brief side profile as the cat turns its head toward the lit rooftop-room window. The cat occupies the lower left-to-center band of the frame, while the faint yellow window hangs in the misty background line of sight above the wall.\nkey_bg_elements: [{\"camera_use\": \"distant visual lure for the cat’s head turn\", \"directionality_class\": \"transparent_surface\", \"element\": \"rooftop-room window\", \"orientation\": \"fogged glass shows a weak yellow interior glow beyond it\", \"state\": \"closed, lit from inside\"}, {\"camera_use\": \"tracking guide and jump setup\", \"directionality_class\": \"directional_3d\", \"element\": \"low concrete rooftop wall\", \"orientation\": \"the long side face runs parallel to the camera movement, with its top edge rising toward the next action\", \"state\": \"damp, stained\"}, {\"camera_use\": \"atmospheric veil separating cat and room\", \"directionality_class\": \"non_directional\", \"element\": \"blue dawn fog\", \"orientation\": \"\", \"state\": \"thick, cold, slowly moving\"}]\nframe_spatial_contract: {\"constraints\": [{\"depth_plane\": \"foreground\", \"gesture_action\": \"looks_toward\", \"gesture_target_label\": \"lit rooftop window\", \"label\": \"black cat\", \"screen_zone\": \"lower_left\", \"target_id\": \"C11\", \"target_kind\": \"character\"}, {\"depth_plane\": \"background\", \"gesture_action\": \"none\", \"gesture_target_label\": \"\", \"label\": \"lit rooftop window\", \"screen_zone\": \"upper_right\", \"target_id\": \"\", \"target_kind\": \"background\"}], \"reason\": \"looks_to_anchor\"}\n\n[S18_Shot15] (indoor; loc=L04; scene_heading=S#18. 안방 안 / D)\ndescription: 거울 속 욕실 벽면에 선명한 붉은색 원형 표식이 맺혀 있는 정지 구도.\nframing_scale: insert\ncamera_direction: Inside the bathroom, the camera is fixed at eye level about three feet from the mirror, tightened so the mirror reflection becomes the frame and the reflected rear wall sits centered. The red circular mark is isolated near the middle of the reflected wall, with only a sliver of mirror edge and damp tile context allowed to remain, making the apparition feel graphic and unavoidable.\nkey_bg_elements: [{\"camera_use\": \"the shot’s perceptual surface and compositional border\", \"directionality_class\": \"reflective_surface\", \"element\": \"bathroom mirror\", \"orientation\": \"the mirror reflects the rear bathroom wall and the impossible red circular mark; a narrow mirror edge confirms this is a reflected view\", \"state\": \"slightly misted, cold\"}, {\"camera_use\": \"surface on which the occult symbol appears within reflection\", \"directionality_class\": \"content_surface\", \"element\": \"reflected bathroom wall\", \"orientation\": \"the wall face visible in the mirror carries a sharp crimson circular mark at its center\", \"state\": \"pale tile surface, otherwise clean\"}, {\"camera_use\": \"claustrophobic bathroom texture\", \"directionality_class\": \"non_directional\", \"element\": \"damp tile grout\", \"orientation\": \"\", \"state\": \"wet-looking, gray, stained\"}]\nframe_spatial_contract: {\"constraints\": [{\"depth_plane\": \"midground\", \"gesture_action\": \"none\", \"gesture_target_label\": \"\", \"label\": \"red circular mark in mirror reflection\", \"screen_zone\": \"middle_center\", \"target_id\": \"\", \"target_kind\": \"background\"}], \"reason\": \"required_background_position\"}\n\n[S18_Shot20] (indoor; loc=L04; scene_heading=S#18. 안방 안 / D)\ndescription: 식탁 위에 놓인 사진 속, 살점이 뭉개진 채 기괴하게 흘러내린 (변형된 민숙)의 모습 클로즈업.\ncharacters: 민숙\nframing_scale: insert\ncamera_direction: At tabletop height beside the dining table, the push-in finishes at an extreme close angle on the framed photograph, stripping away nearly all surrounding table context. The mother’s photographed face, now perceived as 민숙 (변형된), occupies the central close field in a grotesque melted distortion, while the photo frame edge remains barely visible to prove this horror is trapped inside the image surface.\nkey_bg_elements: [{\"camera_use\": \"primary hallucinated image surface\", \"directionality_class\": \"content_surface\", \"element\": \"framed family photograph\", \"orientation\": \"the front image face is angled slightly upward to camera, showing the mother’s face grotesquely distorted within the printed photo\", \"state\": \"upright on table, visually corrupted by hallucination\"}, {\"camera_use\": \"thin physical proof that this is still a household object\", \"directionality_class\": \"reflective_surface\", \"element\": \"photo frame glass\", \"orientation\": \"the glass reflects a dim streak of room light across the distorted face without hiding it\", \"state\": \"clean but unnervingly glossy\"}, {\"camera_use\": \"minimal scale reference around the frame\", \"directionality_class\": \"directional_3d\", \"element\": \"dining table edge\", \"orientation\": \"only a narrow tabletop plane and edge remain at the lower frame margin\", \"state\": \"still, ordinary, dim\"}]\nframe_spatial_contract: {\"constraints\": [{\"depth_plane\": \"foreground\", \"gesture_action\": \"none\", \"gesture_target_label\": \"\", \"label\": \"distorted mother’s face inside framed photograph\", \"screen_zone\": \"middle_center\", \"target_id\": \"C12\", \"target_kind\": \"character\"}], \"reason\": \"primary_subject_isolation\"}\n\n[S18_Shot6] (indoor; loc=L04; scene_heading=S#18. 안방 안 / D)\ndescription: 열린 방문 너머, 핏자국 하나 없이 말끔하게 정돈된 방안 정경.\nframing_scale: wide\ncamera_direction: Just outside 수리영’s room, the camera stays eye-level and static about five feet from the threshold, looking straight through the opened door into a room that appears too clean. The doorway forms a dark rectangular frame around the orderly bed, smooth floor, and untouched curtains, with no body, no stain, and no trace where memory said there should be horror.\nkey_bg_elements: [{\"camera_use\": \"primary frame-within-frame revealing the room\", \"directionality_class\": \"directional_3d\", \"element\": \"opened bedroom door\", \"orientation\": \"the door slab is swung aside so the camera sees through the threshold into the room\", \"state\": \"open, still\"}, {\"camera_use\": \"visual proof of unnatural order\", \"directionality_class\": \"directional_3d\", \"element\": \"neatly arranged bed\", \"orientation\": \"the bed’s side and top plane face camera beyond the doorway\", \"state\": \"made, undisturbed\"}, {\"camera_use\": \"absence marker where the earlier horror is expected\", \"directionality_class\": \"transparent_surface\", \"element\": \"bedroom window with curtains\", \"orientation\": \"the window is partly obscured by clean curtains, with pale daylight diffused beyond\", \"state\": \"closed, curtains hanging evenly\"}, {\"camera_use\": \"negative evidence emphasized by stillness\", \"directionality_class\": \"non_directional\", \"element\": \"spotless bedroom floor\", \"orientation\": \"\", \"state\": \"clean, dry, no blood visible\"}]\n\n[S25_Shot4] (indoor; loc=L04; scene_heading=S#25. 옥탑방 안 / 해질 무렵)\ndescription: 붉은 원 한가운데에 피가 묻은 낡은 흑백 사진이 꽂혀 있는 클로즈업.\nframing_scale: close\ncamera_direction: Inside the bedroom at eye level, the dolly-in ends locked nearly perpendicular to the torn wall, holding a close composition where the blood-stained black-and-white photograph sits pinned at the exact center of a crimson circle. The photo and red mark take up the central mass of the frame, while the rough wall texture remains visible around them like scraped skin.\nkey_bg_elements: [{\"camera_use\": \"central occult symbol and compositional target\", \"directionality_class\": \"content_surface\", \"element\": \"red circular wall mark\", \"orientation\": \"the painted wall face is directly visible to camera, showing a rough crimson circle surrounding the pinned photograph\", \"state\": \"fresh-looking, uneven, ominous\"}, {\"camera_use\": \"primary revealed clue\", \"directionality_class\": \"content_surface\", \"element\": \"old black-and-white photograph\", \"orientation\": \"the front image face is visible, showing an aged rural restaurant scene partially obscured by blood stains\", \"state\": \"pinned to wall, creased, blood-stained\"}, {\"camera_use\": \"macabre texture around the clue\", \"directionality_class\": \"non_directional\", \"element\": \"torn bedroom wall texture\", \"orientation\": \"\", \"state\": \"scraped, dirty, disturbed\"}]\n\n[S25_Shot8] (indoor; loc=L04; scene_heading=S#25. 옥탑방 안 / 해질 무렵)\ndescription: 수리영이 한 손에 구겨진 사진을 꽉 쥔 채 백팩을 메고 현관 밖으로 한 발을 내디딘 찰나의 뒷모습.\ncharacters: 수리영\nframing_scale: wide\ncamera_direction: From inside the rooftop room behind 수리영, slightly below eye level and several feet back, the tracking shot widens just enough to include the open front-door threshold as she steps out. Her back and backpack sit in the middle of frame, one foot crossing into the exterior light, while the crumpled photograph remains readable as a tight fist-level detail near her right side.\nkey_bg_elements: [{\"camera_use\": \"destination frame and exit boundary\", \"directionality_class\": \"directional_3d\", \"element\": \"open front door\", \"orientation\": \"the inside face of the open door and its threshold angle toward the camera as 수리영 exits\", \"state\": \"open, letting in dim exterior dusk\"}, {\"camera_use\": \"evidence of intrusion in the room she leaves behind\", \"directionality_class\": \"non_directional\", \"element\": \"scattered household debris\", \"orientation\": \"\", \"state\": \"ransacked, strewn across the floor\"}, {\"camera_use\": \"broken domestic geometry in the side background\", \"directionality_class\": \"directional_3d\", \"element\": \"overturned dining chairs\", \"orientation\": \"chair legs jut sideways at uneven angles across the room\", \"state\": \"knocked over\"}, {\"camera_use\": \"damp air source and unsettling escape route implication\", \"directionality_class\": \"transparent_surface\", \"element\": \"open living-room window\", \"orientation\": \"the camera sees the dark opening and wet exterior air beyond the window frame\", \"state\": \"open, dirty, cold\"}]\nframe_spatial_contract: {\"constraints\": [{\"depth_plane\": \"midground\", \"gesture_action\": \"moves_toward\", \"gesture_target_label\": \"open front door\", \"label\": \"수리영\", \"screen_zone\": \"middle_center\", \"target_id\": \"C01\", \"target_kind\": \"character\"}, {\"depth_plane\": \"background\", \"gesture_action\": \"none\", \"gesture_target_label\": \"\", \"label\": \"open front door threshold\", \"screen_zone\": \"upper_center\", \"target_id\": \"\", \"target_kind\": \"background\"}], \"reason\": \"movement_direction\"}\n\n[S27_Shot1] (indoor; loc=L04; scene_heading=S#27. 옥탑방 안 / 해질 무렵)\ndescription: 난장판이 된 옥탑방 거실, 혜수가 핸드폰을 귀에 댄 채 심각한 표정으로 굳어 있는 상체.\ncharacters: 혜수\nframing_scale: medium\ncamera_direction: Inside the rooftop living room at chest height, the camera continues the flow’s slow dolly-in from about 2.5 meters, tightening to a medium upper-body frame of 혜수 with the phone pressed to her ear. She sits slightly right of center amid overturned, damp-looking clutter, angled three-quarters as if her attention has just pulled toward 김형사 off-frame rather than toward us.\nkey_bg_elements: [{\"camera_use\": \"visible disorder around 혜수, keeping the room’s violated condition readable behind her\", \"directionality_class\": \"non_directional\", \"element\": \"scattered rooftop-room clutter\", \"orientation\": \"\", \"state\": \"messy, overturned, neglected\"}, {\"camera_use\": \"background source of cold draft and later sound, held out of focus behind the anxiety\", \"directionality_class\": \"directional_3d\", \"element\": \"entrance door\", \"orientation\": \"its inner face angles slightly away from camera, showing the rattling edge and frame gap\", \"state\": \"not fully secure, wind-shaken\"}, {\"camera_use\": \"thin translucent layer over the small room window, adding a damp dusk haze\", \"directionality_class\": \"transparent_surface\", \"element\": \"grimy window glass\", \"orientation\": \"dirty glass catches the gray exterior light while showing only a blurred rooftop beyond\", \"state\": \"streaked, dim\"}]\n\n[S4_Shot1] (outdoor; loc=L03; scene_heading=S#4. 옥탑방 / D)\ndescription: 인천 변두리의 낡고 오래된 빌라 옥탑방 외부 전경이 한눈에 내려다보이는 부감 구도.\nframing_scale: wide\ncamera_direction: An omniscient overhead camera holds from about forty-five meters above the old villa, centered on the rooftop room while still keeping the surrounding neighborhood readable. The rooftop structure sits in the middle of the frame like a small exposed shrine, boxed in by worn roofs, narrow alleys, and faded concrete blocks.\nkey_bg_elements: [{\"camera_use\": \"The rooftop room is the central visual anchor and destination of the aerial reveal.\", \"directionality_class\": \"directional_3d\", \"element\": \"old rooftop room exterior\", \"orientation\": \"its roof and front wall are visible from above, with the doorway side angled slightly toward camera\", \"state\": \"aged, patched, weather-stained\"}, {\"camera_use\": \"Surrounding villa roofs create a cramped grid that isolates the rooftop room.\", \"directionality_class\": \"directional_3d\", \"element\": \"neighboring old villa rooftops\", \"orientation\": \"flat roof planes face upward toward the overhead camera\", \"state\": \"worn, cluttered, pale gray\"}, {\"camera_use\": \"A thin haze softens the outskirts and carries the news voice’s unease into the space.\", \"directionality_class\": \"non_directional\", \"element\": \"damp urban haze\", \"orientation\": \"\", \"state\": \"thin, bluish, stagnant\"}]\nframe_spatial_contract: {\"constraints\": [{\"depth_plane\": \"midground\", \"gesture_action\": \"none\", \"gesture_target_label\": \"\", \"label\": \"old rooftop room\", \"screen_zone\": \"middle_center\", \"target_id\": \"\", \"target_kind\": \"background\"}], \"reason\": \"required_background_position\"}\n\n[S5_Shot10] (indoor; loc=L04; scene_heading=S#5. 옥탑방 안 / 실내)\ndescription: 수리영이 민숙의 어깨에 코를 묻고 멈춘 찰나의 측면.\ncharacters: 수리영, 민숙\nframing_scale: close\ncamera_direction: The camera follows the flow into the narrow entrance area and holds side-on at shoulder height, about one meter away, lens parallel to the wall to compress mother and daughter together. The tighter profile frame favors the contact point: Suriyeong’s face and nose press into Minsuk’s shoulder at center-left, while Minsuk’s softened profile and apron edge sit center-right.\nkey_bg_elements: [{\"camera_use\": \"The narrow wall flattens the space and makes their closeness feel private and fragile.\", \"directionality_class\": \"non_directional\", \"element\": \"entrance wall\", \"orientation\": \"\", \"state\": \"worn, slightly yellowed, close to camera plane\"}, {\"camera_use\": \"The shoe area at the bottom edge hints at Suriyeong leaving soon without pulling focus from the embrace.\", \"directionality_class\": \"directional_3d\", \"element\": \"entryway shoe area\", \"orientation\": \"shoe tops and low threshold edge face the camera from below the profiles\", \"state\": \"cluttered, dim\"}, {\"camera_use\": \"The door seam creates a vertical boundary beside them, suggesting a moment just before departure.\", \"directionality_class\": \"directional_3d\", \"element\": \"front door seam\", \"orientation\": \"the flat door face is seen in side compression, seam running vertically near the right edge\", \"state\": \"closed, dull, scuffed\"}]\n\n[S5_Shot12] (indoor; loc=L04; scene_heading=S#5. 옥탑방 안 / 실내)\ndescription: 민숙의 손목 안쪽에 새겨진 작은 원 모양의 표식 클로즈업.\ncharacters: 민숙\nframing_scale: insert\ncamera_direction: The camera completes the flow’s downward push from Suriyeong’s side of the entrance to a very close waist-height insert, about twenty centimeters from Minsuk’s inner wrist. The wrist cuts diagonally across the center of frame, the small circular mark isolated in sharp focus while skin, sleeve edge, and the entryway behind fall into creamy blur.\nkey_bg_elements: [{\"camera_use\": \"The marked skin surface is the focal plane and occult reveal.\", \"directionality_class\": \"content_surface\", \"element\": \"inner wrist with circular mark\", \"orientation\": \"the inner wrist surface faces the camera, showing a small dark circular mark clearly against the skin\", \"state\": \"exposed, sharply focused, mark unusually distinct\"}, {\"camera_use\": \"The sleeve cuff frames the wrist without becoming the subject.\", \"directionality_class\": \"directional_3d\", \"element\": \"apron or sleeve edge\", \"orientation\": \"fabric edge runs along the wrist from camera-left, seen as a soft side fold\", \"state\": \"soft, worn, out of focus\"}, {\"camera_use\": \"The entrance background becomes an indistinct shadow field so the symbol carries the tension.\", \"directionality_class\": \"non_directional\", \"element\": \"blurred entryway background\", \"orientation\": \"\", \"state\": \"dim, warm-gray, unfocused\"}]\nframe_spatial_contract: {\"constraints\": [{\"depth_plane\": \"foreground\", \"gesture_action\": \"none\", \"gesture_target_label\": \"\", \"label\": \"Minsuk inner wrist mark\", \"screen_zone\": \"middle_center\", \"target_id\": \"C04\", \"target_kind\": \"character\"}], \"reason\": \"primary_subject_isolation\"}\n\n[S5_Shot3] (indoor; loc=L04; scene_heading=S#5. 옥탑방 안 / 실내)\ndescription: 앞치마를 두른 민숙이 어두운 표정으로 거실 TV 화면을 응시하며 굳어 있는 상체.\ncharacters: 민숙\nframing_scale: medium\ncamera_direction: The observer camera settles at the end of its lateral track from near the sink and small window, chest height and about two and a half meters from Minsuk, looking across the counter line toward the living room TV. Minsuk is held in an upper-body frame at the right-middle of the image, shoulders locked in her apron as the kitchen foreground remains softly present and the TV glow pulls her stare off-frame.\nkey_bg_elements: [{\"camera_use\": \"The TV is the off-frame source of her fixed attention and casts a cold news glow across the room.\", \"directionality_class\": \"content_surface\", \"element\": \"living room TV screen\", \"orientation\": \"the screen face is angled away from the camera, showing only a sliver of moving blue news light rather than readable content\", \"state\": \"on, low volume, flickering\"}, {\"camera_use\": \"The sink and herbs sit in the near foreground, domestic routine interrupted by dread.\", \"directionality_class\": \"directional_3d\", \"element\": \"sink with unfinished medicinal herbs\", \"orientation\": \"the basin rim and faucet side face the camera across the counter\", \"state\": \"water running, herbs wet and half-washed\"}, {\"camera_use\": \"Steam from the pot veils the compact room and gives the practical light a sick texture.\", \"directionality_class\": \"non_directional\", \"element\": \"boiling pot steam\", \"orientation\": \"\", \"state\": \"rising, thin, wavering\"}, {\"camera_use\": \"The small window gives a narrow daylight slit that contrasts with the TV’s colder glow.\", \"directionality_class\": \"transparent_surface\", \"element\": \"small living-room window\", \"orientation\": \"slightly dirty glass admits pale daylight; only a blurred exterior brightness is visible through it\", \"state\": \"closed, dusty\"}]\n\nCREATOR CORRECTIONS (override any conflicting text):\n- CORRECTION (production owner): the exterior stair element is an ADDED-ON STEEL stair retrofitted later onto its building's outside wall — open treads, thin steel stringers and support posts, pipe handrail, visibly a separate later addition to the building. It is NOT concrete or cement; this supersedes any cement/concrete stair mention elsewhere in the data.\n\nBuild the relational block layout now."}
{"ts": "2026-07-07 21:44:21", "kind": "code_render", "tag": "blockset_v2", "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/bd_code_r0.png", "elements": 17, "layers": 5}
{"ts": "2026-07-07 21:44:21", "kind": "stage", "stage": "s22_bd_code", "done": "all"}
{"ts": "2026-07-07 23:06:03", "kind": "img", "engine": "gpt-image-2", "mode": "edit", "tag": "s23_map_fp_gpt", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/bd_map_base.png"], "size": "1536x864", "attempt": 1, "dur_s": 110.8, "bytes": 1656761, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/bd_map_fp_gpt.png", "prompt": "The attached image is a NEIGHBOURHOOD MAP around one filming\nlocation, drawn straight-down. The filming property is the area\ninside the dashed boundary, whose parts carry circled letter\nmarkers. REDRAW ONLY that property area as a detailed top-down\narchitectural floor-plan sketch, keeping every block's position,\nsize, proportions and boundary openings exactly where the map\ndraws them.\nEVERYTHING OUTSIDE the dashed boundary (roads, unmarked\nneighbour blocks, background) stays in the original simple flat\nMAP style, completely unchanged.\nKeep each circled letter marker exactly in place; apart from\nthese circled letters add no text, no words, no numbers, no\nlegend, no compass.\nSTRICT VERTICAL TOP-DOWN ONLY — no 3D, no axonometric tilt, no\nfacades, no shadows.\n\nFloor-plan drafting language for the property area:\nDraw ONE strict TOP-DOWN 2D architectural SITE PLAN in the drafting\nlanguage of a clean floor plan — thin dark outlines, flat muted colour\nfills, detailed plan symbols (double-line walls, door leaf + swing arc,\nwindow frames set in walls, stair treads with stringers and landings,\nbase rings for round fixtures, paving joints, kerb lines). Height\nlevels appear only as flat fill tints (darker = higher). Flat\northographic plan view: NO 3D, NO axonometric, NO perspective, no\nshadows."}
{"ts": "2026-07-07 23:06:22", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s23_map_fp_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/bd_map_base.png"], "ref_labels": ["NEIGHBOURHOOD MAP with the filming property inside the dashed boundary — redraw ONLY the property as a floor-plan sketch per the prompt; keep the map part unchanged."], "attempt": 1, "dur_s": 19.7, "bytes": 1436739, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/bd_map_fp_nb2.png", "prompt": "The attached image is a NEIGHBOURHOOD MAP around one filming\nlocation, drawn straight-down. The filming property is the area\ninside the dashed boundary, whose parts carry circled letter\nmarkers. REDRAW ONLY that property area as a detailed top-down\narchitectural floor-plan sketch, keeping every block's position,\nsize, proportions and boundary openings exactly where the map\ndraws them.\nEVERYTHING OUTSIDE the dashed boundary (roads, unmarked\nneighbour blocks, background) stays in the original simple flat\nMAP style, completely unchanged.\nKeep each circled letter marker exactly in place; apart from\nthese circled letters add no text, no words, no numbers, no\nlegend, no compass.\nSTRICT VERTICAL TOP-DOWN ONLY — no 3D, no axonometric tilt, no\nfacades, no shadows.\n\nFloor-plan drafting language for the property area:\nDraw ONE strict TOP-DOWN 2D architectural SITE PLAN in the drafting\nlanguage of a clean floor plan — thin dark outlines, flat muted colour\nfills, detailed plan symbols (double-line walls, door leaf + swing arc,\nwindow frames set in walls, stair treads with stringers and landings,\nbase rings for round fixtures, paving joints, kerb lines). Height\nlevels appear only as flat fill tints (darker = higher). Flat\northographic plan view: NO 3D, NO axonometric, NO perspective, no\nshadows."}
{"ts": "2026-07-07 23:06:22", "kind": "stage", "stage": "s23_map_fp", "done": "all"}
{"ts": "2026-07-07 23:11:15", "kind": "img", "engine": "gpt-image-2", "mode": "edit", "tag": "s23_map_fp_gpt", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/bd_map_base.png"], "size": "1536x864", "attempt": 1, "dur_s": 170.9, "bytes": 1742709, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/bd_map_fp_gpt.png", "prompt": "The attached image is a NEIGHBOURHOOD MAP around one filming\nlocation, drawn straight-down. The filming property is the area\ninside the dashed boundary, whose parts carry circled letter\nmarkers. REDRAW ONLY that property area as a detailed top-down\narchitectural floor-plan sketch, keeping every block's position,\nsize, proportions and boundary openings exactly where the map\ndraws them.\nEVERYTHING OUTSIDE the dashed boundary (roads, unmarked\nneighbour blocks, background) stays in the original simple flat\nMAP style, completely unchanged.\nKeep each circled letter marker exactly in place; apart from\nthese circled letters add no text, no words, no numbers, no\nlegend, no compass.\nSTRICT VERTICAL TOP-DOWN ONLY — no 3D, no axonometric tilt, no\nfacades, no shadows.\n\nThis property is an OUTDOOR urban site: open areas (yard,\nterrace, roof surfaces, alley) are OPEN-AIR ground/roof\nsurfaces — never rooms; do NOT wrap them in walls, do NOT add\ninterior partitions, furniture, gardens, lawns, fountains or\nplanting that is not listed below. Every enclosed unit stays\nsealed — outer shell and its listed openings only.\n\nKEY ELEMENTS (identity of each marked part — markers are identifiers only, draw each part as WHAT IT IS):\nC. side yard (yard) — 빌라 서쪽 외벽에 붙은 길고 후미진 지상 마당이다.\n1. yard gate (gate) — 마당 남쪽 끝에 붙은 빌라 출입문이다.\nD. old villa (building_mass) — 부지 북쪽 중앙을 차지하는 오래된 다세대 빌라 본체이다.\nG. steel stair (stair) — 마당 동쪽 가장자리에 붙은 개방형 철제 외부 계단이다.\nH. roof deck (terrace) — 빌라 본체 위를 덮는 낡은 시멘트 옥상 바닥이다.\nI. low parapet (wall) — 옥상 남쪽 가장자리에 낮게 둘러진 콘크리트 벽이다.\nJ. rooftop room (upper_shell) — 옥상 중앙에 놓인 작은 밀폐 옥탑방 외곽이다.\n2. iron door (door) — 옥탑방 남쪽 벽에 달린 낡은 철제 현관문이다.\n3. small window (window) — 옥탑방 동쪽 벽에 붙은 작은 거실 창이다.\n4. bedroom window (window) — 옥탑방 북쪽 벽에 붙은 커튼 달린 방 창이다.\n5. water tank (equipment) — 옥상 북서쪽에 놓인 둥근 물탱크이다.\n6. clothes line (fixture_rect) — 옥상 북쪽 빈 바닥을 가로지르는 얇은 빨랫줄이다.\n7. drying platform (fixture_rect) — 옥상 서쪽 바닥에 놓인 낮은 직사각 평상이다.\n\nFloor-plan drafting language for the property area:\nDraw ONE strict TOP-DOWN 2D architectural SITE PLAN in the drafting\nlanguage of a clean floor plan — thin dark outlines, flat muted colour\nfills, detailed plan symbols (double-line walls, door leaf + swing arc,\nwindow frames set in walls, stair treads with stringers and landings,\nbase rings for round fixtures, paving joints, kerb lines). Height\nlevels appear only as flat fill tints (darker = higher). Flat\northographic plan view: NO 3D, NO axonometric, NO perspective, no\nshadows."}
{"ts": "2026-07-07 23:11:30", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s23_map_fp_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/bd_map_base.png"], "ref_labels": ["NEIGHBOURHOOD MAP with the filming property inside the dashed boundary — redraw ONLY the property as a floor-plan sketch per the prompt; keep the map part unchanged."], "attempt": 1, "dur_s": 15.5, "bytes": 1438308, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/bd_map_fp_nb2.png", "prompt": "The attached image is a NEIGHBOURHOOD MAP around one filming\nlocation, drawn straight-down. The filming property is the area\ninside the dashed boundary, whose parts carry circled letter\nmarkers. REDRAW ONLY that property area as a detailed top-down\narchitectural floor-plan sketch, keeping every block's position,\nsize, proportions and boundary openings exactly where the map\ndraws them.\nEVERYTHING OUTSIDE the dashed boundary (roads, unmarked\nneighbour blocks, background) stays in the original simple flat\nMAP style, completely unchanged.\nKeep each circled letter marker exactly in place; apart from\nthese circled letters add no text, no words, no numbers, no\nlegend, no compass.\nSTRICT VERTICAL TOP-DOWN ONLY — no 3D, no axonometric tilt, no\nfacades, no shadows.\n\nThis property is an OUTDOOR urban site: open areas (yard,\nterrace, roof surfaces, alley) are OPEN-AIR ground/roof\nsurfaces — never rooms; do NOT wrap them in walls, do NOT add\ninterior partitions, furniture, gardens, lawns, fountains or\nplanting that is not listed below. Every enclosed unit stays\nsealed — outer shell and its listed openings only.\n\nKEY ELEMENTS (identity of each marked part — markers are identifiers only, draw each part as WHAT IT IS):\nC. side yard (yard) — 빌라 서쪽 외벽에 붙은 길고 후미진 지상 마당이다.\n1. yard gate (gate) — 마당 남쪽 끝에 붙은 빌라 출입문이다.\nD. old villa (building_mass) — 부지 북쪽 중앙을 차지하는 오래된 다세대 빌라 본체이다.\nG. steel stair (stair) — 마당 동쪽 가장자리에 붙은 개방형 철제 외부 계단이다.\nH. roof deck (terrace) — 빌라 본체 위를 덮는 낡은 시멘트 옥상 바닥이다.\nI. low parapet (wall) — 옥상 남쪽 가장자리에 낮게 둘러진 콘크리트 벽이다.\nJ. rooftop room (upper_shell) — 옥상 중앙에 놓인 작은 밀폐 옥탑방 외곽이다.\n2. iron door (door) — 옥탑방 남쪽 벽에 달린 낡은 철제 현관문이다.\n3. small window (window) — 옥탑방 동쪽 벽에 붙은 작은 거실 창이다.\n4. bedroom window (window) — 옥탑방 북쪽 벽에 붙은 커튼 달린 방 창이다.\n5. water tank (equipment) — 옥상 북서쪽에 놓인 둥근 물탱크이다.\n6. clothes line (fixture_rect) — 옥상 북쪽 빈 바닥을 가로지르는 얇은 빨랫줄이다.\n7. drying platform (fixture_rect) — 옥상 서쪽 바닥에 놓인 낮은 직사각 평상이다.\n\nFloor-plan drafting language for the property area:\nDraw ONE strict TOP-DOWN 2D architectural SITE PLAN in the drafting\nlanguage of a clean floor plan — thin dark outlines, flat muted colour\nfills, detailed plan symbols (double-line walls, door leaf + swing arc,\nwindow frames set in walls, stair treads with stringers and landings,\nbase rings for round fixtures, paving joints, kerb lines). Height\nlevels appear only as flat fill tints (darker = higher). Flat\northographic plan view: NO 3D, NO axonometric, NO perspective, no\nshadows."}
{"ts": "2026-07-07 23:11:30", "kind": "stage", "stage": "s23_map_fp", "done": "sketch"}
{"ts": "2026-07-07 23:20:36", "kind": "img", "engine": "gpt-image-2", "mode": "generate", "tag": "s23_pure_map_gpt", "refs": [], "size": "1536x864", "attempt": 1, "dur_s": 109.3, "bytes": 1526032, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/map_pure_gpt.png", "prompt": "Draw ONE straight-down NEIGHBOURHOOD MAP in clean digital\nstreet-map language: white roads with thin grey casings, flat\npale building blocks on a paper-tone background, strictly 2D\ntop-down — no 3D, no perspective, no shadows, no labels, no\ntext, no icons, no compass.\nThe FILMING PROPERTY parcel is the subject: draw its parts per\nthe STRUCTURE lines below, and outline the parcel once with a\nthin dashed boundary. Surrounding context stays simple: plain\nfull-scale neighbouring blocks and the approach road/alley only\n(edge blocks may be cut by the frame).\n\nSTRUCTURE (the property and its surroundings):\nLEVELS (placement logic only): ground -> villa mass, 3 storeys roof terrace -> rooftop room and rooftop fixtures\nContext: public road edge and neighbouring building masses border the alley, rear, and side.\n1 narrow alley, ground approach from the public road edge to the entry gate, facing the yard sequence.\n2 entry gate, boundary opening between the narrow alley and the entry yard.\n3 entry yard, ground yard inside the gate before the villa, with a rear part connecting to the exterior stair route.\n4 villa mass, 3-storey building mass behind the entry yard, hosting the roof terrace and the exterior stair on its outside wall.\n5 facade windows, exterior window bays in the villa wall facing the entry yard, four repeated bays per storey.\n6 roof terrace, exterior rooftop surface on the villa mass around the rooftop room, with the stair landing and rooftop fixtures on it.\n7 low wall, low climbable boundary on the roof terrace edge around the rooftop room area, in the sightline toward a rooftop-room window.\n8 rooftop room, small enclosed volume on the roof terrace, with its front side facing the stair landing.\n9 added-on exterior stair, separate later stair attached to the villa outside wall, connecting the entry-yard level to the roof terrace landing in front of the rooftop room.\n10 iron door, exterior entrance threshold in the rooftop room front wall, facing the roof terrace landing and opening into the rooftop room.\n11 living window, small exterior window in a side wall of the rooftop room, facing the roof terrace and low-wall area.\n12 bedroom window, exterior window in another outer wall of the rooftop room.\n13 water tank, round utility fixture on the roof terrace near the rooftop room.\n14 laundry line, thin exterior line on the roof terrace between the water tank and the rooftop room.\n15 low platform, low fixture on the roof terrace near the approach to the iron door."}
{"ts": "2026-07-07 23:20:51", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s23_pure_map_nb2", "refs": [], "ref_labels": [], "attempt": 1, "dur_s": 15.2, "bytes": 2243434, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/map_pure_nb2.png", "prompt": "Draw ONE straight-down NEIGHBOURHOOD MAP in clean digital\nstreet-map language: white roads with thin grey casings, flat\npale building blocks on a paper-tone background, strictly 2D\ntop-down — no 3D, no perspective, no shadows, no labels, no\ntext, no icons, no compass.\nThe FILMING PROPERTY parcel is the subject: draw its parts per\nthe STRUCTURE lines below, and outline the parcel once with a\nthin dashed boundary. Surrounding context stays simple: plain\nfull-scale neighbouring blocks and the approach road/alley only\n(edge blocks may be cut by the frame).\n\nSTRUCTURE (the property and its surroundings):\nLEVELS (placement logic only): ground -> villa mass, 3 storeys roof terrace -> rooftop room and rooftop fixtures\nContext: public road edge and neighbouring building masses border the alley, rear, and side.\n1 narrow alley, ground approach from the public road edge to the entry gate, facing the yard sequence.\n2 entry gate, boundary opening between the narrow alley and the entry yard.\n3 entry yard, ground yard inside the gate before the villa, with a rear part connecting to the exterior stair route.\n4 villa mass, 3-storey building mass behind the entry yard, hosting the roof terrace and the exterior stair on its outside wall.\n5 facade windows, exterior window bays in the villa wall facing the entry yard, four repeated bays per storey.\n6 roof terrace, exterior rooftop surface on the villa mass around the rooftop room, with the stair landing and rooftop fixtures on it.\n7 low wall, low climbable boundary on the roof terrace edge around the rooftop room area, in the sightline toward a rooftop-room window.\n8 rooftop room, small enclosed volume on the roof terrace, with its front side facing the stair landing.\n9 added-on exterior stair, separate later stair attached to the villa outside wall, connecting the entry-yard level to the roof terrace landing in front of the rooftop room.\n10 iron door, exterior entrance threshold in the rooftop room front wall, facing the roof terrace landing and opening into the rooftop room.\n11 living window, small exterior window in a side wall of the rooftop room, facing the roof terrace and low-wall area.\n12 bedroom window, exterior window in another outer wall of the rooftop room.\n13 water tank, round utility fixture on the roof terrace near the rooftop room.\n14 laundry line, thin exterior line on the roof terrace between the water tank and the rooftop room.\n15 low platform, low fixture on the roof terrace near the approach to the iron door."}
{"ts": "2026-07-07 23:22:37", "kind": "img", "engine": "gpt-image-2", "mode": "edit", "tag": "s23_pure_fp_gpt", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/map_pure_gpt.png"], "size": "1536x864", "attempt": 1, "dur_s": 105.4, "bytes": 1524106, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/mapfp_pure_gpt.png", "prompt": "The attached image is a NEIGHBOURHOOD MAP around one filming\nlocation, drawn straight-down. The filming property is the area\ninside the dashed boundary. REDRAW ONLY that property area as a\ndetailed top-down architectural floor-plan sketch, keeping every\nblock's position, size, proportions and openings exactly where\nthe map draws them.\nEVERYTHING OUTSIDE the dashed boundary (roads, neighbour blocks,\nbackground) stays in the original simple flat MAP style,\ncompletely unchanged.\nAdd no text, no words, no numbers, no legend, no compass.\nSTRICT VERTICAL TOP-DOWN ONLY — no 3D, no axonometric tilt, no\nfacades, no shadows.\n\nThis property is an OUTDOOR urban site: open areas (yard,\nterrace, roof surfaces, alley) are OPEN-AIR ground/roof\nsurfaces — never rooms; do NOT wrap them in walls, do NOT add\ninterior partitions, furniture, gardens, lawns, fountains or\nplanting that is not listed below. Every enclosed unit stays\nsealed — outer shell and its listed openings only.\n\nKEY ELEMENTS (identity of the property's parts — draw each as WHAT IT IS, positions per the map):\nLEVELS (placement logic only): ground -> villa mass, 3 storeys roof terrace -> rooftop room and rooftop fixtures\nContext: public road edge and neighbouring building masses border the alley, rear, and side.\n1 narrow alley, ground approach from the public road edge to the entry gate, facing the yard sequence.\n2 entry gate, boundary opening between the narrow alley and the entry yard.\n3 entry yard, ground yard inside the gate before the villa, with a rear part connecting to the exterior stair route.\n4 villa mass, 3-storey building mass behind the entry yard, hosting the roof terrace and the exterior stair on its outside wall.\n5 facade windows, exterior window bays in the villa wall facing the entry yard, four repeated bays per storey.\n6 roof terrace, exterior rooftop surface on the villa mass around the rooftop room, with the stair landing and rooftop fixtures on it.\n7 low wall, low climbable boundary on the roof terrace edge around the rooftop room area, in the sightline toward a rooftop-room window.\n8 rooftop room, small enclosed volume on the roof terrace, with its front side facing the stair landing.\n9 added-on exterior stair, separate later stair attached to the villa outside wall, connecting the entry-yard level to the roof terrace landing in front of the rooftop room.\n10 iron door, exterior entrance threshold in the rooftop room front wall, facing the roof terrace landing and opening into the rooftop room.\n11 living window, small exterior window in a side wall of the rooftop room, facing the roof terrace and low-wall area.\n12 bedroom window, exterior window in another outer wall of the rooftop room.\n13 water tank, round utility fixture on the roof terrace near the rooftop room.\n14 laundry line, thin exterior line on the roof terrace between the water tank and the rooftop room.\n15 low platform, low fixture on the roof terrace near the approach to the iron door.\n\nFloor-plan drafting language for the property area:\nDraw ONE strict TOP-DOWN 2D architectural SITE PLAN in the drafting\nlanguage of a clean floor plan — thin dark outlines, flat muted colour\nfills, detailed plan symbols (double-line walls, door leaf + swing arc,\nwindow frames set in walls, stair treads with stringers and landings,\nbase rings for round fixtures, paving joints, kerb lines). Height\nlevels appear only as flat fill tints (darker = higher). Flat\northographic plan view: NO 3D, NO axonometric, NO perspective, no\nshadows."}
{"ts": "2026-07-07 23:22:58", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s23_pure_fp_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/map_pure_nb2.png"], "ref_labels": ["NEIGHBOURHOOD MAP with the filming property inside the dashed boundary — redraw ONLY the property area as a floor-plan sketch per the prompt; keep the map part unchanged."], "attempt": 1, "dur_s": 21.6, "bytes": 1905880, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/mapfp_pure_nb2.png", "prompt": "The attached image is a NEIGHBOURHOOD MAP around one filming\nlocation, drawn straight-down. The filming property is the area\ninside the dashed boundary. REDRAW ONLY that property area as a\ndetailed top-down architectural floor-plan sketch, keeping every\nblock's position, size, proportions and openings exactly where\nthe map draws them.\nEVERYTHING OUTSIDE the dashed boundary (roads, neighbour blocks,\nbackground) stays in the original simple flat MAP style,\ncompletely unchanged.\nAdd no text, no words, no numbers, no legend, no compass.\nSTRICT VERTICAL TOP-DOWN ONLY — no 3D, no axonometric tilt, no\nfacades, no shadows.\n\nThis property is an OUTDOOR urban site: open areas (yard,\nterrace, roof surfaces, alley) are OPEN-AIR ground/roof\nsurfaces — never rooms; do NOT wrap them in walls, do NOT add\ninterior partitions, furniture, gardens, lawns, fountains or\nplanting that is not listed below. Every enclosed unit stays\nsealed — outer shell and its listed openings only.\n\nKEY ELEMENTS (identity of the property's parts — draw each as WHAT IT IS, positions per the map):\nLEVELS (placement logic only): ground -> villa mass, 3 storeys roof terrace -> rooftop room and rooftop fixtures\nContext: public road edge and neighbouring building masses border the alley, rear, and side.\n1 narrow alley, ground approach from the public road edge to the entry gate, facing the yard sequence.\n2 entry gate, boundary opening between the narrow alley and the entry yard.\n3 entry yard, ground yard inside the gate before the villa, with a rear part connecting to the exterior stair route.\n4 villa mass, 3-storey building mass behind the entry yard, hosting the roof terrace and the exterior stair on its outside wall.\n5 facade windows, exterior window bays in the villa wall facing the entry yard, four repeated bays per storey.\n6 roof terrace, exterior rooftop surface on the villa mass around the rooftop room, with the stair landing and rooftop fixtures on it.\n7 low wall, low climbable boundary on the roof terrace edge around the rooftop room area, in the sightline toward a rooftop-room window.\n8 rooftop room, small enclosed volume on the roof terrace, with its front side facing the stair landing.\n9 added-on exterior stair, separate later stair attached to the villa outside wall, connecting the entry-yard level to the roof terrace landing in front of the rooftop room.\n10 iron door, exterior entrance threshold in the rooftop room front wall, facing the roof terrace landing and opening into the rooftop room.\n11 living window, small exterior window in a side wall of the rooftop room, facing the roof terrace and low-wall area.\n12 bedroom window, exterior window in another outer wall of the rooftop room.\n13 water tank, round utility fixture on the roof terrace near the rooftop room.\n14 laundry line, thin exterior line on the roof terrace between the water tank and the rooftop room.\n15 low platform, low fixture on the roof terrace near the approach to the iron door.\n\nFloor-plan drafting language for the property area:\nDraw ONE strict TOP-DOWN 2D architectural SITE PLAN in the drafting\nlanguage of a clean floor plan — thin dark outlines, flat muted colour\nfills, detailed plan symbols (double-line walls, door leaf + swing arc,\nwindow frames set in walls, stair treads with stringers and landings,\nbase rings for round fixtures, paving joints, kerb lines). Height\nlevels appear only as flat fill tints (darker = higher). Flat\northographic plan view: NO 3D, NO axonometric, NO perspective, no\nshadows."}
{"ts": "2026-07-07 23:22:58", "kind": "stage", "stage": "s23_map_fp", "done": "pure"}
{"ts": "2026-07-08 00:02:10", "kind": "llm", "step": "s24_evidence_graph", "model": "gpt", "dur_s": 109.7, "system_prompt": "You are a continuity supervisor structuring a human-written\nSPATIAL EVIDENCE MEMO about one real filming location into a machine-checkable\nevidence graph. The memo is the source of truth: it lists (A) confirmed cues\nquoted from the original scenario scenes, (B) verdicts on downstream staging\nincluding inventions to fix, and (C) a consistency chain of connected spaces.\nYou also get CREATOR CORRECTIONS (they override any conflicting text) and the\nlist of shot keys in scope.\n\nEmit every distinct fact as one claim:\n- claim_type \"confirmed_cue\": directly quoted/derived from the original\n  scenario per the memo. quote = the memo's original-text quotation (keep the\n  original language), source = the scene/shot reference given in the memo.\n- claim_type \"allowed_inference\": ranges and estimates the memo allows\n  (distances, heights, counts). These are VALIDATION bounds, not hard\n  geometry — allowed_inference_en states the allowed range/relation.\n- claim_type \"prohibited_invention\": each invention the memo marks for\n  correction. quote = the invented wording, source = where it appears,\n  prohibited_modes_en = a GENERIC description of the invention mode (e.g.\n  \"weather/fog invention\", \"colour-mood propagation\", \"material invention\n  overridden by creator correction\", \"numeric dimension invention\",\n  \"surface condition without textual support\") so the mode generalizes\n  beyond this location.\n- affected_space_en: the place part the claim constrains (short generic\n  words). affected_shots: every given shot key the claim bears on ([] if\n  none specifically).\n- confidence: high/medium/low per how directly the memo grounds it.\n- summary_ko: one short Korean sentence.\n\nchain: one link per arrow of the memo's consistency chain, in order —\nfrom_space_en / to_space_en (short generic words), relation_en (how they\nconnect physically: adjoins / opens-into / rises-to / sightline etc.),\nclaim_refs = evidence_ids of the claims grounding the link.\n\nDo not invent facts absent from the memo/corrections. notes_ko: 2-4 Korean\nsentences on how this graph should gate downstream authoring.", "user_prompt": "SPATIAL EVIDENCE MEMO (full, source of truth):\n# 공간 단서 사전 v1 (2026-07-07, 씬 11개 원문 전수 통독 — 옥탑 유닛 그룹)\n\n> 목적(사용자): 감독식 구체화의 허용 범위 사전 — \"시나리오 위배 없는 구체화\"와\n> \"LLM 발명\"의 경계. 씬=S4,5,10,11,12,13,14,17,18,25,27 원문 전체 +\n> 실외 샷 staging 대조. 커밋 금지(scratchpad).\n\n## A. 원문 확정 단서 (인용 기반)\n\n### 동선의 척추 (S#11)\n1. \"자전거를 타고 골목길을 달리는\" — 골목=자전거 주행 가능 폭·노면\n2. \"다세대 빌라 문을 열고 들어와\" — 골목→대문 직접 진입, 여닫이\n3. \"마당 후미진 곳에 자전거를 대충 세우고\" — 마당에 꺾인 구석(단순 사각형 아님)+자전거 자리\n4. \"옥탑방과 연결되는 계단을 급히 오른다\" — 마당→계단 직결\n5. (계단 중간) \"갑자기 훅- 역겨운 냄새\" — 계단 상부↔옥탑 현관 근접\n6. \"옥상에 올라와 보니 반쯤 열린 현관 철문\" — 계단 착지에서 철문 즉시 보임(랜딩↔철문 시야 직결·무차폐)\n\n### 경찰차 거리 단서 (S#13)\n7. \"계단을 내려간다. 동시에 사이렌~ (포즈). 차에서 내린 혜수... 수리영의 모습을 발견하고 달려간다\"\n   — 차량 진입·정차 가능 골목/이면도로 / 정차점↔계단 하단 시야 직선·무차폐 / 한달음 거리 ≈10~30m\n8. \"수리영 (올라다보며)\" — 수리영 낮은 자세(주저앉음/계단 하단), 혜수 서 있는 상하 구도\n9. \"옥탑 방으로 뛰어 올라가는 혜수와 김형사\" — 정차점→계단 진입 즉시 가능\n\n### 옥상면 배치·동선 (S#10, S#27)\n10. \"옥상. 물탱크. 빨랫줄 툭-툭- 평상에 말린 석창포\" — 3요소 실재+개방 옥상(바람)\n11. \"말린 잎이 걸어오는 남자의 신발 위를 스친다... 신발은 철문 현관 앞에 멈춰\" — 계단 착지→철문 동선이 평상 옆 경유(평상·빨랫줄=현관 접근로 인접)\n12. \"남자의 긴 그림자\" — 밤 낮은 각도 광원 존재(가로등/현관등급)\n13. \"문틈에 낀 광고 전단지\" / S#27 \"바람에 현관문 소리. 황량하다\" — 철문 디테일+옥상 바람\n\n### 시선 관계 (S#17)\n14. \"검은 고양이가 불이 켜져 있는 옥탑 방을 슬쩍 보더니 담을 넘는다\" — 낮은 담(고양이가 넘는 높이)+담↔옥탑 창 가시선\n\n### 광역 맥락\n15. S#4 \"인천 변두리 부감, 오래된 빌라 옥탑방 전경\" — 부감 전경 성립=주변 저층 밀집\n16. S#5 \"조그만 도시... 바다가 가까워서\" — 소도시+바다 인접(대기 정도의 근거, 매 샷 해안 무드 근거 아님)\n17. S#5 \"끝나고 마트로 갈게\"/\"이따가 1시 타임\" — 마트(민숙 직장)=생활권 거리\n18. S#5·25 거실 \"작은 창\"(햇살·개폐) / S#18 수리영 방 커튼 창·욕실 존재\n\n## B. 샷 staging(하류 저작) 대조 판정\n\n### 정합(좋은 구체화)\n- S11_4: 랜딩에서 \"several meters\"·눈높이 정면·문 뒤 배경 낮은 담 수평 (=6)\n- S13_3: 경찰차=골목 초입 정차·문 열림·골목 대각 후퇴·안쪽 수리영 (=7)\n- S13_5: 로우앵글 올려다봄 (=8)\n- S17_1: 담과 평행 트래킹+창이 담 위 배경 (=14)\n\n### 발명(근거 0 — 수정 대상)\n- S4_1 \"45m 상공\" (원문 무고도)\n- S13·S17 안개 (원문 0회 — S17 desc \"짙고 푸른 안개\" 자체가 하류 발명)\n- \"sickly amber\" 무드 증식 (S10_6 실내 램프 1개→다수 샷 전파)\n- ★S11_3 staging \"narrow concrete staircase\" — 시나리오 무재질+사용자 정정=철제 외부 증축 계단과 모순 (일관성 위험 1순위)\n- wet/damp 일괄 부여 (강우 원문 없음)\n\n## C. 일관성 연결 고리 체인 (추정치 포함)\n\n거리/골목(차량 정차+자전거, 폭 ~3m급) ─10~30m 시야 직선─ 계단 하단\n→ 대문(여닫이) → 마당(후미진 구석) → 외부 계단(철제 정정, 3층 ~8-10m 수직)\n→ 랜딩 ─2~5m 정면─ 철문(전단지 틈, 바람에 덜컹)\n→ 옥상면(착지→철문 동선=평상 옆 경유, 빨랫줄·물탱크 인접)\n→ 옥탑 창들(거실 작은 창↔낮은 담 가시선, 침실 커튼 창) → 담(고양이 동선)\n\n## 결론\n시나리오는 관계·시야·동선 단서를 충분히 주며(치수 대신 상한/하한 함의),\n현 자산의 문제는 구체화 부족이 아니라 **구체화가 단서 체인이 아닌 무드\n발명(안개·앰버·콘크리트) 쪽으로 샌 것**. 이 사전이 감독식 구체화의 허용\n범위 SOT 후보.\n\n\nCREATOR CORRECTIONS (override any conflicting text):\n{\n \"note_ko\": \"사용자 정정 (2026-07-05): ①외부 계단은 철제 증축 계단 — 시나리오 원본(씬 30개 전문)에 재질 서술 0회('계단' 2회 무재질, '철제/철재/시멘트/콘크리트' 0회), '시멘트 계단'은 요소 추출 단계 LLM 발명 명명(L10 이름→fp id→하류 전파). 건물에 나중에 덧붙인 철제 외부 계단이 원본과 모순 없고 현실 정합. ②실사는 도면의 플랫 회색을 재질로 복사하지 말고, 데이터가 말하는 지역의 실존 낡은 다세대 빌라+옥탑 실물 전형 재질로.\",\n \"photo_appearance\": [\n  \"REAL-WORLD APPEARANCE (production owner): render the property as a REAL, EXISTING aged multi-family villa with a rooftop dwelling of the exact regional type the production data describes — the way such buildings actually look there: typical vernacular materials and construction (e.g. aged red-brick or exterior tile cladding on the body, cement mouldings and sills, weathered stucco patches, grime streaks under the parapet, a rusty steel retrofit stair), varied and lived-in. Do NOT render a uniform cement-gray mass, and NEVER copy the site plan's flat drawing colours as building materials.\"\n ],\n \"stair\": {\n  \"name_en\": \"steel retrofit stair\",\n  \"desc_ko\": \"건물 외벽에 나중에 덧붙인 철제 증축 계단 — 오픈 발판, 얇은 강판 스트링거, 파이프 난간 (사용자 정정)\"\n },\n \"facts_extra\": [\n  \"- CORRECTION (production owner): the exterior stair element is an ADDED-ON STEEL stair retrofitted later onto its building's outside wall — open treads, thin steel stringers and support posts, pipe handrail, visibly a separate later addition to the building. It is NOT concrete or cement; this supersedes any cement/concrete stair mention elsewhere in the data.\"\n ]\n}\n\nSHOT KEYS IN SCOPE:\n- S10_Shot5\n- S10_Shot6\n- S11_Shot3\n- S11_Shot4\n- S13_Shot3\n- S13_Shot5\n- S17_Shot1\n- S4_Shot1\n\nBuild the evidence graph now."}
{"ts": "2026-07-08 00:02:10", "kind": "stage", "stage": "s24_evidence", "done": "graph"}
{"ts": "2026-07-08 00:04:28", "kind": "llm", "step": "s24_audit_S10_Shot5", "model": "gpt", "dur_s": 102.4, "system_prompt": "You are a continuity auditor. You get an EVIDENCE GRAPH\n(claims with evidence_ids: confirmed cues, allowed inference bounds,\nprohibited inventions; creator corrections override everything else) and one\nor more downstream ARTIFACTS for one shot or one layout dataset.\n\nFind every CONCRETE world claim in the artifacts — spatial relation,\nmaterial, weather/atmosphere, light colour/mood, surface condition, numeric\ndimension — and classify each against the graph:\n- \"supported\": restates a confirmed cue (cite the evidence_ids).\n- \"plausible_inference\": not directly evidenced but a reasonable directorial\n  concretization inside the allowed bounds and contradicting nothing. These\n  are GOOD — they must be kept.\n- \"unsupported_invention\": adds weather, mood colour, material, surface\n  condition or dimension that no claim supports (match a prohibited mode\n  where one applies).\n- \"contradiction\": conflicts with a confirmed cue or a creator correction.\n\nRules: claim_quote = an EXACT substring copied from the artifact (never\nparaphrase). location_en = which artifact field/part it sits in. Cite\nevidence_ids for the claims you compared against ([] only for pure\ninventions with no related claim). Ignore pure framing/lens/composition\nlanguage unless it asserts a world fact. Do not flag the same fact twice in\nthe same artifact unless the wording differs materially. repair_hint_en:\none short sentence on the minimal fix (only for unsupported_invention /\ncontradiction; \"\" otherwise). reasoning_ko: 한 줄 한국어 근거.\nsummary_ko: 2-3 문장 한국어 총평.", "user_prompt": "EVIDENCE GRAPH:\n{\n \"claims\": [\n  {\n   \"affected_shots\": [\n    \"S11_Shot3\",\n    \"S13_Shot3\"\n   ],\n   \"affected_space_en\": \"alley road\",\n   \"allowed_inference_en\": \"\",\n   \"claim_type\": \"confirmed_cue\",\n   \"confidence\": \"high\",\n   \"evidence_id\": \"E001\",\n   \"prohibited_modes_en\": \"\",\n   \"quote\": \"자전거를 타고 골목길을 달리는\",\n   \"source\": \"S#11\",\n   \"summary_ko\": \"골목은 자전거가 달릴 수 있는 폭과 노면을 가져야 한다.\"\n  },\n  {\n   \"affected_shots\": [\n    \"S11_Shot3\"\n   ],\n   \"affected_space_en\": \"villa gate\",\n   \"allowed_inference_en\": \"\",\n   \"claim_type\": \"confirmed_cue\",\n   \"confidence\": \"high\",\n   \"evidence_id\": \"E002\",\n   \"prohibited_modes_en\": \"\",\n   \"quote\": \"다세대 빌라 문을 열고 들어와\",\n   \"source\": \"S#11\",\n   \"summary_ko\": \"골목에서 다세대 빌라 문을 열고 직접 들어간다.\"\n  },\n  {\n   \"affected_shots\": [\n    \"S11_Shot3\"\n   ],\n   \"affected_space_en\": \"yard\",\n   \"allowed_inference_en\": \"\",\n   \"claim_type\": \"confirmed_cue\",\n   \"confidence\": \"high\",\n   \"evidence_id\": \"E003\",\n   \"prohibited_modes_en\": \"\",\n   \"quote\": \"마당 후미진 곳에 자전거를 대충 세우고\",\n   \"source\": \"S#11\",\n   \"summary_ko\": \"마당은 단순 평면이 아니라 자전거를 둘 후미진 구석을 포함한다.\"\n  },\n  {\n   \"affected_shots\": [\n    \"S11_Shot3\",\n    \"S11_Shot4\"\n   ],\n   \"affected_space_en\": \"external stair\",\n   \"allowed_inference_en\": \"\",\n   \"claim_type\": \"confirmed_cue\",\n   \"confidence\": \"high\",\n   \"evidence_id\": \"E004\",\n   \"prohibited_modes_en\": \"\",\n   \"quote\": \"옥탑방과 연결되는 계단을 급히 오른다\",\n   \"source\": \"S#11\",\n   \"summary_ko\": \"마당에서 옥탑방으로 이어지는 계단이 직접 연결된다.\"\n  },\n  {\n   \"affected_shots\": [\n    \"S11_Shot4\"\n   ],\n   \"affected_space_en\": \"upper stair\",\n   \"allowed_inference_en\": \"\",\n   \"claim_type\": \"confirmed_cue\",\n   \"confidence\": \"high\",\n   \"evidence_id\": \"E005\",\n   \"prohibited_modes_en\": \"\",\n   \"quote\": \"갑자기 훅- 역겨운 냄새\",\n   \"source\": \"S#11 계단 중간\",\n   \"summary_ko\": \"계단 중간 또는 상부는 옥탑 현관과 냄새가 닿을 만큼 가깝다.\"\n  },\n  {\n   \"affected_shots\": [\n    \"S11_Shot4\"\n   ],\n   \"affected_space_en\": \"landing and iron door\",\n   \"allowed_inference_en\": \"\",\n   \"claim_type\": \"confirmed_cue\",\n   \"confidence\": \"high\",\n   \"evidence_id\": \"E006\",\n   \"prohibited_modes_en\": \"\",\n   \"quote\": \"옥상에 올라와 보니 반쯤 열린 현관 철문\",\n   \"source\": \"S#11\",\n   \"summary_ko\": \"계단 착지점에서는 반쯤 열린 현관 철문이 즉시 보여야 한다.\"\n  },\n  {\n   \"affected_shots\": [\n    \"S13_Shot3\"\n   ],\n   \"affected_space_en\": \"alley road and stair foot\",\n   \"allowed_inference_en\": \"\",\n   \"claim_type\": \"confirmed_cue\",\n   \"confidence\": \"high\",\n   \"evidence_id\": \"E007\",\n   \"prohibited_modes_en\": \"\",\n   \"quote\": \"계단을 내려간다. 동시에 사이렌~ (포즈). 차에서 내린 혜수... 수리영의 모습을 발견하고 달려간다\",\n   \"source\": \"S#13\",\n   \"summary_ko\": \"경찰차는 진입·정차 가능한 골목에 서고 정차점에서 계단 하단 쪽 수리영이 보여야 한다.\"\n  },\n  {\n   \"affected_shots\": [\n    \"S13_Shot3\"\n   ],\n   \"affected_space_en\": \"alley road and stair foot\",\n   \"allowed_inference_en\": \"The stop point and stair foot may be staged as an unobstructed straight sightline at approximately 10–30 m, a validation range rather than a hard measurement.\",\n   \"claim_type\": \"allowed_inference\",\n   \"confidence\": \"medium\",\n   \"evidence_id\": \"E008\",\n   \"prohibited_modes_en\": \"\",\n   \"quote\": \"\",\n   \"source\": \"Memo C consistency chain from S#13 cue\",\n   \"summary_ko\": \"정차점과 계단 하단 사이는 약 10~30m 직선 시야 범위로 허용된다.\"\n  },\n  {\n   \"affected_shots\": [\n    \"S13_Shot5\"\n   ],\n   \"affected_space_en\": \"stair foot\",\n   \"allowed_inference_en\": \"\",\n   \"claim_type\": \"confirmed_cue\",\n   \"confidence\": \"high\",\n   \"evidence_id\": \"E009\",\n   \"prohibited_modes_en\": \"\",\n   \"quote\": \"수리영 (올라다보며)\",\n   \"source\": \"S#13\",\n   \"summary_ko\": \"수리영은 낮은 자세에 있고 혜수는 위에서 보이는 상하 구도가 성립한다.\"\n  },\n  {\n   \"affected_shots\": [\n    \"S13_Shot3\",\n    \"S13_Shot5\"\n   ],\n   \"affected_space_en\": \"stair entry\",\n   \"allowed_inference_en\": \"\",\n   \"claim_type\": \"confirmed_cue\",\n   \"confidence\": \"high\",\n   \"evidence_id\": \"E010\",\n   \"prohibited_modes_en\": \"\",\n   \"quote\": \"옥탑 방으로 뛰어 올라가는 혜수와 김형사\",\n   \"source\": \"S#13\",\n   \"summary_ko\": \"정차 지점에서 계단 진입과 옥탑으로 뛰어오르는 동선이 즉시 가능해야 한다.\"\n  },\n  {\n   \"affected_shots\": [\n    \"S10_Shot5\"\n   ],\n   \"affected_space_en\": \"roof surface\",\n   \"allowed_inference_en\": \"\",\n   \"claim_type\": \"confirmed_cue\",\n   \"confidence\": \"high\",\n   \"evidence_id\": \"E011\",\n   \"prohibited_modes_en\": \"\",\n   \"quote\": \"옥상. 물탱크. 빨랫줄 툭-툭- 평상에 말린 석창포\",\n   \"source\": \"S#10\",\n   \"summary_ko\": \"옥상에는 물탱크, 빨랫줄, 석창포 말린 평상이 실재한다.\"\n  },\n  {\n   \"affected_shots\": [\n    \"S10_Shot5\",\n    \"S11_Shot4\"\n   ],\n   \"affected_space_en\": \"roof path\",\n   \"allowed_inference_en\": \"\",\n   \"claim_type\": \"confirmed_cue\",\n   \"confidence\": \"high\",\n   \"evidence_id\": \"E012\",\n   \"prohibited_modes_en\": \"\",\n   \"quote\": \"말린 잎이 걸어오는 남자의 신발 위를 스친다... 신발은 철문 현관 앞에 멈춰\",\n   \"source\": \"S#10\",\n   \"summary_ko\": \"계단 착지에서 철문으로 가는 접근로는 평상과 빨랫줄 곁을 지나야 한다.\"\n  },\n  {\n   \"affected_shots\": [\n    \"S10_Shot5\"\n   ],\n   \"affected_space_en\": \"roof lighting\",\n   \"allowed_inference_en\": \"\",\n   \"claim_type\": \"confirmed_cue\",\n   \"confidence\": \"high\",\n   \"evidence_id\": \"E013\",\n   \"prohibited_modes_en\": \"\",\n   \"quote\": \"남자의 긴 그림자\",\n   \"source\": \"S#10\",\n   \"summary_ko\": \"밤 장면에는 긴 그림자를 만드는 낮은 각도의 광원이 존재한다.\"\n  },\n  {\n   \"affected_shots\": [\n    \"S10_Shot5\"\n   ],\n   \"affected_space_en\": \"roof lighting\",\n   \"allowed_inference_en\": \"A low-angle night light source such as a streetlight or entrance-grade lamp is allowed; this does not license a broad amber colour mood across unrelated shots.\",\n   \"claim_type\": \"allowed_inference\",\n   \"confidence\": \"medium\",\n   \"evidence_id\": \"E014\",\n   \"prohibited_modes_en\": \"\",\n   \"quote\": \"\",\n   \"source\": \"Memo A item 12\",\n   \"summary_ko\": \"긴 그림자는 낮은 각도 광원을 허용하지만 전역 색무드 근거는 아니다.\"\n  },\n  {\n   \"affected_shots\": [\n    \"S10_Shot5\",\n    \"S11_Shot4\"\n   ],\n   \"affected_space_en\": \"iron door\",\n   \"allowed_inference_en\": \"\",\n   \"claim_type\": \"confirmed_cue\",\n   \"confidence\": \"high\",\n   \"evidence_id\": \"E015\",\n   \"prohibited_modes_en\": \"\",\n   \"quote\": \"문틈에 낀 광고 전단지 / 바람에 현관문 소리. 황량하다\",\n   \"source\": \"S#10 / S#27\",\n   \"summary_ko\": \"철문에는 문틈 전단지와 바람에 덜컹이는 소리 디테일이 있어야 한다.\"\n  },\n  {\n   \"affected_shots\": [\n    \"S17_Shot1\"\n   ],\n   \"affected_space_en\": \"low wall and window\",\n   \"allowed_inference_en\": \"\",\n   \"claim_type\": \"confirmed_cue\",\n   \"confidence\": \"high\",\n   \"evidence_id\": \"E016\",\n   \"prohibited_modes_en\": \"\",\n   \"quote\": \"검은 고양이가 불이 켜져 있는 옥탑 방을 슬쩍 보더니 담을 넘는다\",\n   \"source\": \"S#17\",\n   \"summary_ko\": \"고양이가 넘는 낮은 담과 불 켜진 옥탑방 창 사이에 시선이 성립한다.\"\n  },\n  {\n   \"affected_shots\": [\n    \"S17_Shot1\"\n   ],\n   \"affected_space_en\": \"low wall\",\n   \"allowed_inference_en\": \"The wall height should be low enough for a cat to cross and placed so the lit rooftop-room window remains visible over or through the wall relationship.\",\n   \"claim_type\": \"allowed_inference\",\n   \"confidence\": \"medium\",\n   \"evidence_id\": \"E017\",\n   \"prohibited_modes_en\": \"\",\n   \"quote\": \"\",\n   \"source\": \"Memo A item 14 / Memo C\",\n   \"summary_ko\": \"담은 고양이가 넘을 수 있고 창과 가시선이 이어지는 정도로 낮아야 한다.\"\n  },\n  {\n   \"affected_shots\": [\n    \"S4_Shot1\"\n   ],\n   \"affected_space_en\": \"neighborhood view\",\n   \"allowed_inference_en\": \"\",\n   \"claim_type\": \"confirmed_cue\",\n   \"confidence\": \"high\",\n   \"evidence_id\": \"E018\",\n   \"prohibited_modes_en\": \"\",\n   \"quote\": \"인천 변두리 부감, 오래된 빌라 옥탑방 전경\",\n   \"source\": \"S#4\",\n   \"summary_ko\": \"인천 변두리의 오래된 빌라 옥탑방을 부감 전경으로 볼 수 있어야 한다.\"\n  },\n  {\n   \"affected_shots\": [\n    \"S4_Shot1\"\n   ],\n   \"affected_space_en\": \"surroundings\",\n   \"allowed_inference_en\": \"A bird's-eye rooftop-villa view supports surrounding dense low-rise fabric; it does not supply an exact altitude.\",\n   \"claim_type\": \"allowed_inference\",\n   \"confidence\": \"medium\",\n   \"evidence_id\": \"E019\",\n   \"prohibited_modes_en\": \"\",\n   \"quote\": \"\",\n   \"source\": \"Memo A item 15\",\n   \"summary_ko\": \"부감 전경은 저층 밀집 맥락을 허용하지만 정확한 고도 수치는 주지 않는다.\"\n  },\n  {\n   \"affected_shots\": [\n    \"S4_Shot1\"\n   ],\n   \"affected_space_en\": \"regional context\",\n   \"allowed_inference_en\": \"\",\n   \"claim_type\": \"confirmed_cue\",\n   \"confidence\": \"high\",\n   \"evidence_id\": \"E020\",\n   \"prohibited_modes_en\": \"\",\n   \"quote\": \"조그만 도시... 바다가 가까워서\",\n   \"source\": \"S#5\",\n   \"summary_ko\": \"장소는 바다가 가까운 조그만 도시 맥락을 가진다.\"\n  },\n  {\n   \"affected_shots\": [\n    \"S4_Shot1\"\n   ],\n   \"affected_space_en\": \"atmosphere\",\n   \"allowed_inference_en\": \"Sea proximity may inform only a general atmospheric degree; it is not evidence for applying a coastal mood to every shot.\",\n   \"claim_type\": \"allowed_inference\",\n   \"confidence\": \"medium\",\n   \"evidence_id\": \"E021\",\n   \"prohibited_modes_en\": \"\",\n   \"quote\": \"\",\n   \"source\": \"Memo A item 16\",\n   \"summary_ko\": \"바다 인접성은 대기 정도의 근거일 뿐 매 샷 해안 무드는 아니다.\"\n  },\n  {\n   \"affected_shots\": [],\n   \"affected_space_en\": \"local services\",\n   \"allowed_inference_en\": \"\",\n   \"claim_type\": \"confirmed_cue\",\n   \"confidence\": \"high\",\n   \"evidence_id\": \"E022\",\n   \"prohibited_modes_en\": \"\",\n   \"quote\": \"끝나고 마트로 갈게 / 이따가 1시 타임\",\n   \"source\": \"S#5\",\n   \"summary_ko\": \"민숙의 직장인 마트는 생활권 거리 안에 있다.\"\n  },\n  {\n   \"affected_shots\": [\n    \"S10_Shot6\",\n    \"S17_Shot1\"\n   ],\n   \"affected_space_en\": \"rooftop room windows\",\n   \"allowed_inference_en\": \"\",\n   \"claim_type\": \"confirmed_cue\",\n   \"confidence\": \"high\",\n   \"evidence_id\": \"E023\",\n   \"prohibited_modes_en\": \"\",\n   \"quote\": \"작은 창 / 수리영 방 커튼 창·욕실 존재\",\n   \"source\": \"S#5·S#25 거실 / S#18\",\n   \"summary_ko\": \"옥탑 내부에는 거실 작은 창과 수리영 방 커튼 창, 욕실이 존재한다.\"\n  },\n  {\n   \"affected_shots\": [\n    \"S11_Shot3\",\n    \"S13_Shot3\"\n   ],\n   \"affected_space_en\": \"alley road\",\n   \"allowed_inference_en\": \"The alley/side road may be treated as roughly 3 m class in width because it must accept both bicycle travel and police-car approach/stop; this is a validation class, not an exact dimension.\",\n   \"claim_type\": \"allowed_inference\",\n   \"confidence\": \"medium\",\n   \"evidence_id\": \"E024\",\n   \"prohibited_modes_en\": \"\",\n   \"quote\": \"\",\n   \"source\": \"Memo C consistency chain from S#11 and S#13 cues\",\n   \"summary_ko\": \"골목 폭은 자전거와 차량 정차가 가능한 약 3m급으로 검증할 수 있다.\"\n  },\n  {\n   \"affected_shots\": [\n    \"S11_Shot3\",\n    \"S11_Shot4\"\n   ],\n   \"affected_space_en\": \"external stair\",\n   \"allowed_inference_en\": \"The exterior stair may be validated as a later-added steel retrofit stair rising about three floors, roughly 8–10 m vertical; creator correction requires steel retrofit construction and rejects concrete/cement.\",\n   \"claim_type\": \"allowed_inference\",\n   \"confidence\": \"high\",\n   \"evidence_id\": \"E025\",\n   \"prohibited_modes_en\": \"\",\n   \"quote\": \"건물 외벽에 나중에 덧붙인 철제 증축 계단 — 오픈 발판, 얇은 강판 스트링거, 파이프 난간\",\n   \"source\": \"Memo C consistency chain + CREATOR CORRECTIONS stair.desc_ko\",\n   \"summary_ko\": \"외부 계단은 약 3층 높이의 철제 증축 계단으로 검증해야 한다.\"\n  },\n  {\n   \"affected_shots\": [\n    \"S11_Shot4\"\n   ],\n   \"affected_space_en\": \"landing and iron door\",\n   \"allowed_inference_en\": \"The landing-to-iron-door frontal distance may be staged in the 2–5 m range, keeping an unobstructed eye-level view.\",\n   \"claim_type\": \"allowed_inference\",\n   \"confidence\": \"medium\",\n   \"evidence_id\": \"E026\",\n   \"prohibited_modes_en\": \"\",\n   \"quote\": \"\",\n   \"source\": \"Memo B good staging S11_4 / Memo C consistency chain\",\n   \"summary_ko\": \"랜딩에서 철문까지는 2~5m 정면 무차폐 시야가 허용된다.\"\n  },\n  {\n   \"affected_shots\": [\n    \"S4_Shot1\"\n   ],\n   \"affected_space_en\": \"neighborhood view\",\n   \"allowed_inference_en\": \"\",\n   \"claim_type\": \"prohibited_invention\",\n   \"confidence\": \"high\",\n   \"evidence_id\": \"E027\",\n   \"prohibited_modes_en\": \"numeric dimension invention\",\n   \"quote\": \"45m 상공\",\n   \"source\": \"B. 샷 staging 대조 판정, S4_1\",\n   \"summary_ko\": \"S4 부감에 45m라는 고도 수치를 붙이는 것은 원문 근거가 없다.\"\n  },\n  {\n   \"affected_shots\": [\n    \"S13_Shot3\",\n    \"S13_Shot5\",\n    \"S17_Shot1\"\n   ],\n   \"affected_space_en\": \"exterior air\",\n   \"allowed_inference_en\": \"\",\n   \"claim_type\": \"prohibited_invention\",\n   \"confidence\": \"high\",\n   \"evidence_id\": \"E028\",\n   \"prohibited_modes_en\": \"weather/fog invention\",\n   \"quote\": \"짙고 푸른 안개\",\n   \"source\": \"B. 샷 staging 대조 판정, S13·S17 / S17 desc\",\n   \"summary_ko\": \"S13과 S17의 안개, 특히 짙고 푸른 안개는 하류 발명이다.\"\n  },\n  {\n   \"affected_shots\": [\n    \"S10_Shot5\",\n    \"S10_Shot6\"\n   ],\n   \"affected_space_en\": \"lighting mood\",\n   \"allowed_inference_en\": \"\",\n   \"claim_type\": \"prohibited_invention\",\n   \"confidence\": \"high\",\n   \"evidence_id\": \"E029\",\n   \"prohibited_modes_en\": \"colour-mood propagation\",\n   \"quote\": \"sickly amber\",\n   \"source\": \"B. 샷 staging 대조 판정, S10_6 실내 램프 1개→다수 샷 전파\",\n   \"summary_ko\": \"S10_6의 실내 램프 근거를 다수 샷의 병든 앰버 무드로 확산하면 안 된다.\"\n  },\n  {\n   \"affected_shots\": [\n    \"S11_Shot3\",\n    \"S11_Shot4\"\n   ],\n   \"affected_space_en\": \"external stair\",\n   \"allowed_inference_en\": \"\",\n   \"claim_type\": \"prohibited_invention\",\n   \"confidence\": \"high\",\n   \"evidence_id\": \"E030\",\n   \"prohibited_modes_en\": \"material invention overridden by creator correction\",\n   \"quote\": \"narrow concrete staircase\",\n   \"source\": \"B. 샷 staging 대조 판정, S11_3 staging + CREATOR CORRECTIONS facts_extra\",\n   \"summary_ko\": \"S11_3의 콘크리트 계단 표기는 사용자 정정의 철제 증축 계단과 모순된다.\"\n  },\n  {\n   \"affected_shots\": [\n    \"S10_Shot5\",\n    \"S11_Shot3\",\n    \"S11_Shot4\",\n    \"S13_Shot3\",\n    \"S13_Shot5\",\n    \"S17_Shot1\",\n    \"S4_Shot1\"\n   ],\n   \"affected_space_en\": \"exterior surfaces\",\n   \"allowed_inference_en\": \"\",\n   \"claim_type\": \"prohibited_invention\",\n   \"confidence\": \"high\",\n   \"evidence_id\": \"E031\",\n   \"prohibited_modes_en\": \"surface condition without textual support\",\n   \"quote\": \"wet/damp 일괄 부여\",\n   \"source\": \"B. 샷 staging 대조 판정\",\n   \"summary_ko\": \"강우 원문이 없으므로 외부 표면을 일괄 젖거나 축축하게 만들면 안 된다.\"\n  },\n  {\n   \"affected_shots\": [\n    \"S10_Shot5\",\n    \"S11_Shot3\",\n    \"S11_Shot4\",\n    \"S13_Shot3\",\n    \"S13_Shot5\",\n    \"S17_Shot1\",\n    \"S4_Shot1\"\n   ],\n   \"affected_space_en\": \"building exterior\",\n   \"allowed_inference_en\": \"\",\n   \"claim_type\": \"prohibited_invention\",\n   \"confidence\": \"high\",\n   \"evidence_id\": \"E032\",\n   \"prohibited_modes_en\": \"plan-colour-to-material invention\",\n   \"quote\": \"uniform cement-gray mass\",\n   \"source\": \"CREATOR CORRECTIONS photo_appearance\",\n   \"summary_ko\": \"건물을 균일한 시멘트 회색 덩어리로 렌더링하면 안 된다.\"\n  },\n  {\n   \"affected_shots\": [\n    \"S10_Shot5\",\n    \"S11_Shot3\",\n    \"S11_Shot4\",\n    \"S13_Shot3\",\n    \"S13_Shot5\",\n    \"S17_Shot1\",\n    \"S4_Shot1\"\n   ],\n   \"affected_space_en\": \"building exterior\",\n   \"allowed_inference_en\": \"\",\n   \"claim_type\": \"prohibited_invention\",\n   \"confidence\": \"high\",\n   \"evidence_id\": \"E033\",\n   \"prohibited_modes_en\": \"plan-colour-to-material invention\",\n   \"quote\": \"copy the site plan's flat drawing colours as building materials\",\n   \"source\": \"CREATOR CORRECTIONS photo_appearance\",\n   \"summary_ko\": \"도면의 플랫 색을 실사 재질로 복사하는 방식은 금지된다.\"\n  },\n  {\n   \"affected_shots\": [\n    \"S10_Shot5\",\n    \"S11_Shot3\",\n    \"S11_Shot4\",\n    \"S13_Shot3\",\n    \"S13_Shot5\",\n    \"S17_Shot1\",\n    \"S4_Shot1\"\n   ],\n   \"affected_space_en\": \"building exterior\",\n   \"allowed_inference_en\": \"The property should be authored as a real existing aged multi-family villa with regional vernacular materials and varied lived-in aging; examples such as aged red brick, exterior tile cladding, cement mouldings/sills, weathered stucco patches, grime streaks, and a rusty steel retrofit stair are allowed appearance directions, not a mandate that every example appear.\",\n   \"claim_type\": \"allowed_inference\",\n   \"confidence\": \"high\",\n   \"evidence_id\": \"E034\",\n   \"prohibited_modes_en\": \"\",\n   \"quote\": \"render the property as a REAL, EXISTING aged multi-family villa with a rooftop dwelling of the exact regional type the production data describes\",\n   \"source\": \"CREATOR CORRECTIONS photo_appearance\",\n   \"summary_ko\": \"건물은 지역 전형의 낡은 다세대 빌라 실물감과 다양한 생활 흔적으로 구체화해야 한다.\"\n  }\n ],\n \"chain\": [\n  {\n   \"claim_refs\": [\n    \"E001\",\n    \"E007\",\n    \"E008\",\n    \"E024\"\n   ],\n   \"from_space_en\": \"alley road\",\n   \"link_id\": \"L01\",\n   \"relation_en\": \"straight sightline and short run to\",\n   \"summary_ko\": \"골목/이면도로 정차점과 계단 하단은 차량·자전거가 가능한 폭 안에서 10~30m 직선 시야로 연결된다.\",\n   \"to_space_en\": \"stair foot\"\n  },\n  {\n   \"claim_refs\": [\n    \"E002\",\n    \"E007\",\n    \"E010\"\n   ],\n   \"from_space_en\": \"stair foot\",\n   \"link_id\": \"L02\",\n   \"relation_en\": \"adjoins route to\",\n   \"summary_ko\": \"계단 하단 동선은 다세대 빌라의 여닫이 대문 진입 동선과 바로 이어져야 한다.\",\n   \"to_space_en\": \"villa gate\"\n  },\n  {\n   \"claim_refs\": [\n    \"E002\",\n    \"E003\"\n   ],\n   \"from_space_en\": \"villa gate\",\n   \"link_id\": \"L03\",\n   \"relation_en\": \"opens-into\",\n   \"summary_ko\": \"대문을 열고 들어오면 마당으로 진입한다.\",\n   \"to_space_en\": \"yard\"\n  },\n  {\n   \"claim_refs\": [\n    \"E003\",\n    \"E004\"\n   ],\n   \"from_space_en\": \"yard\",\n   \"link_id\": \"L04\",\n   \"relation_en\": \"adjoins\",\n   \"summary_ko\": \"마당에는 후미진 구석과 자전거 자리가 있으며 옥탑방 연결 계단과 직결된다.\",\n   \"to_space_en\": \"external stair\"\n  },\n  {\n   \"claim_refs\": [\n    \"E004\",\n    \"E005\",\n    \"E025\"\n   ],\n   \"from_space_en\": \"external stair\",\n   \"link_id\": \"L05\",\n   \"relation_en\": \"rises-to\",\n   \"summary_ko\": \"외부 철제 증축 계단은 마당에서 옥탑 랜딩까지 대략 3층 높이로 오른다.\",\n   \"to_space_en\": \"landing\"\n  },\n  {\n   \"claim_refs\": [\n    \"E006\",\n    \"E015\",\n    \"E026\"\n   ],\n   \"from_space_en\": \"landing\",\n   \"link_id\": \"L06\",\n   \"relation_en\": \"frontal sightline to\",\n   \"summary_ko\": \"랜딩에서는 2~5m 정면 거리의 반쯤 열린 철문과 전단지·바람 소리 디테일이 바로 보인다.\",\n   \"to_space_en\": \"iron door\"\n  },\n  {\n   \"claim_refs\": [\n    \"E006\",\n    \"E011\",\n    \"E012\",\n    \"E015\"\n   ],\n   \"from_space_en\": \"iron door\",\n   \"link_id\": \"L07\",\n   \"relation_en\": \"opens-into\",\n   \"summary_ko\": \"철문은 옥상면과 이어지고, 착지에서 철문으로 가는 길은 평상·빨랫줄·물탱크 인접 영역을 지난다.\",\n   \"to_space_en\": \"roof surface\"\n  },\n  {\n   \"claim_refs\": [\n    \"E012\",\n    \"E016\",\n    \"E023\"\n   ],\n   \"from_space_en\": \"roof surface\",\n   \"link_id\": \"L08\",\n   \"relation_en\": \"sightline and access adjacency to\",\n   \"summary_ko\": \"옥상면에서 옥탑 창들이 관계를 맺고, 거실 작은 창과 침실 커튼 창이 존재한다.\",\n   \"to_space_en\": \"rooftop windows\"\n  },\n  {\n   \"claim_refs\": [\n    \"E016\",\n    \"E017\"\n   ],\n   \"from_space_en\": \"rooftop windows\",\n   \"link_id\": \"L09\",\n   \"relation_en\": \"sightline to\",\n   \"summary_ko\": \"낮은 담은 고양이 동선이며 불 켜진 옥탑방 창과 서로 보이는 위치여야 한다.\",\n   \"to_space_en\": \"low wall\"\n  }\n ]\n}\n\nARTIFACT target=shot_description (S10_Shot5):\nscene_heading: S#10. 옥탑방 / N\ndescription: 철문이 미세하게 열린 틈 사이로 어두운 내부가 보이는 구도.\n\nARTIFACT target=staging (S10_Shot5) — full staging JSON:\n{\n \"camera_direction\": \"At the end of the flow’s dolly-in, the lens freezes just outside the iron door at handle height, only inches from the seam, staring directly into the thin opening. The dark crack sits in the center like a vertical wound, with rough iron surfaces on both sides occupying the foreground while the interior beyond remains unreadable and almost lightless.\",\n \"character_angles\": [],\n \"frame_spatial_contract\": {\n  \"constraints\": [\n   {\n    \"depth_plane\": \"foreground\",\n    \"gesture_action\": \"none\",\n    \"gesture_target_label\": \"\",\n    \"label\": \"narrow iron door seam\",\n    \"screen_zone\": \"middle_center\",\n    \"target_id\": \"\",\n    \"target_kind\": \"background\"\n   }\n  ],\n  \"reason\": \"required_background_position\"\n },\n \"framing_scale\": \"insert\",\n \"key_bg_elements\": [\n  {\n   \"camera_use\": \"Primary focal aperture; turns the entry into a threatening slit rather than a normal doorway.\",\n   \"directionality_class\": \"directional_3d\",\n   \"element\": \"iron front door\",\n   \"orientation\": \"The two heavy door edges face camera at close range, separated by a narrow central crack leading into darkness.\",\n   \"state\": \"slightly open, scratched, cold metal\"\n  },\n  {\n   \"camera_use\": \"Hides what is inside and makes the gap feel predatory.\",\n   \"directionality_class\": \"non_directional\",\n   \"element\": \"dark interior beyond the crack\",\n   \"orientation\": \"\",\n   \"state\": \"unlit, opaque, silent\"\n  },\n  {\n   \"camera_use\": \"Adds tactile evidence of forced entry near the seam.\",\n   \"directionality_class\": \"content_surface\",\n   \"element\": \"creased advertisement flyer edge\",\n   \"orientation\": \"Only the printed edge of the paper face is visible near the door seam, with partial color blocks and unreadable text.\",\n   \"state\": \"bent, partly displaced, dirty\"\n  }\n ],\n \"lighting_mood\": \"A thin blue rooftop ambient line skims the iron while the interior remains dead black, with only a trace of sickly amber leaking from somewhere unseen.\",\n \"perception_mode\": \"direct\",\n \"perspective\": \"voyeur\",\n \"pov_character\": \"\",\n \"scene_index\": 10,\n \"shot_index\": 5,\n \"subject_reference_policy\": []\n}\n\nARTIFACT target=still_prompt (S10_Shot5) — the full image prompt actually used:\nPhotorealistic cinematic still.\n\nReference image 1: pre-rendered BACKGROUND environment reference — layout/material/lighting identity\n\nThe narrow iron door seam sits in the middle-center foreground. The heavy edges of the iron door face the camera at close range, occupying the outer framing with scratched, cold metal. Near the opening at handle height, a creased advertisement flyer edge is wedged in the gap, its bent and dirty paper face showing partial color blocks and unreadable text. Beyond the thin crack, the unlit interior remains entirely opaque, unreadable, and silent. A deep monochrome blue-black ambient night tone skims the outer rough iron surfaces, while a weak trace of sickly amber light leaks from somewhere unseen deep inside the dead black interior, casting a faint smear along the inner metal edge.\n\nGenerate one image:\n- use image 1 for this location's wall/floor/ceiling materials, furniture identity, and lighting mood\n- follow the camera position, framing, and action requested in the prompt text — do NOT copy the camera position or composition of image 1 unless the prompt explicitly asks for it\n- do NOT copy any people from image 1\n- architectural openings (doors, windows, thresholds) must match image 1 — same position, type, and material; do NOT invent additional doors or windows unless the prompt text explicitly asks for them\n- if the prompt text places the camera inside or at one of these openings, camera-side walls and door/window frames may appear only as local foreground edges — do NOT show the same opening again in the scene, and do NOT show the exterior facade of the structure that contains the camera out in front of it\n- do not copy poses or compositions from reference images\n- do not alter character identities where their face is visible in the scene\n- each character's clothing/outfit must match that character's appearance reference image EXACTLY; if any clothing wording in the text conflicts with the reference image, follow the reference image and ignore that wording\n- only render what the scene description asks for — if only a hand or wrist is described, do NOT add the character's face\n- CRITICAL: Only render what the scene description explicitly describes. If a character's face is visible in the scene, match it to the reference. If only a body part is shown, do NOT add the face.\n- CRITICAL: Output exactly ONE single continuous photograph of ONE moment — never a panel grid, collage, contact sheet, split-screen, storyboard sheet, or multiple sub-frames inside one image.\n- CRITICAL: Every person must be physically grounded and weight-bearing — in real contact with a supporting surface, with body weight visibly carried by that contact. For a figure caught mid-action (falling, stumbling, collapsing, jumping off something), render a physically plausible instant: joints bent, weight clearly transferring, at least one believable point of contact or support — never a rigid body hovering, tilted or suspended in mid-air without support.\n\nAudit every concrete world claim now."}
{"ts": "2026-07-08 00:06:00", "kind": "llm", "step": "s24_audit_S10_Shot6", "model": "gpt", "dur_s": 92.3, "system_prompt": "You are a continuity auditor. You get an EVIDENCE GRAPH\n(claims with evidence_ids: confirmed cues, allowed inference bounds,\nprohibited inventions; creator corrections override everything else) and one\nor more downstream ARTIFACTS for one shot or one layout dataset.\n\nFind every CONCRETE world claim in the artifacts — spatial relation,\nmaterial, weather/atmosphere, light colour/mood, surface condition, numeric\ndimension — and classify each against the graph:\n- \"supported\": restates a confirmed cue (cite the evidence_ids).\n- \"plausible_inference\": not directly evidenced but a reasonable directorial\n  concretization inside the allowed bounds and contradicting nothing. These\n  are GOOD — they must be kept.\n- \"unsupported_invention\": adds weather, mood colour, material, surface\n  condition or dimension that no claim supports (match a prohibited mode\n  where one applies).\n- \"contradiction\": conflicts with a confirmed cue or a creator correction.\n\nRules: claim_quote = an EXACT substring copied from the artifact (never\nparaphrase). location_en = which artifact field/part it sits in. Cite\nevidence_ids for the claims you compared against ([] only for pure\ninventions with no related claim). Ignore pure framing/lens/composition\nlanguage unless it asserts a world fact. Do not flag the same fact twice in\nthe same artifact unless the wording differs materially. repair_hint_en:\none short sentence on the minimal fix (only for unsupported_invention /\ncontradiction; \"\" otherwise). reasoning_ko: 한 줄 한국어 근거.\nsummary_ko: 2-3 문장 한국어 총평.", "user_prompt": "EVIDENCE GRAPH:\n{\n \"claims\": [\n  {\n   \"affected_shots\": [\n    \"S11_Shot3\",\n    \"S13_Shot3\"\n   ],\n   \"affected_space_en\": \"alley road\",\n   \"allowed_inference_en\": \"\",\n   \"claim_type\": \"confirmed_cue\",\n   \"confidence\": \"high\",\n   \"evidence_id\": \"E001\",\n   \"prohibited_modes_en\": \"\",\n   \"quote\": \"자전거를 타고 골목길을 달리는\",\n   \"source\": \"S#11\",\n   \"summary_ko\": \"골목은 자전거가 달릴 수 있는 폭과 노면을 가져야 한다.\"\n  },\n  {\n   \"affected_shots\": [\n    \"S11_Shot3\"\n   ],\n   \"affected_space_en\": \"villa gate\",\n   \"allowed_inference_en\": \"\",\n   \"claim_type\": \"confirmed_cue\",\n   \"confidence\": \"high\",\n   \"evidence_id\": \"E002\",\n   \"prohibited_modes_en\": \"\",\n   \"quote\": \"다세대 빌라 문을 열고 들어와\",\n   \"source\": \"S#11\",\n   \"summary_ko\": \"골목에서 다세대 빌라 문을 열고 직접 들어간다.\"\n  },\n  {\n   \"affected_shots\": [\n    \"S11_Shot3\"\n   ],\n   \"affected_space_en\": \"yard\",\n   \"allowed_inference_en\": \"\",\n   \"claim_type\": \"confirmed_cue\",\n   \"confidence\": \"high\",\n   \"evidence_id\": \"E003\",\n   \"prohibited_modes_en\": \"\",\n   \"quote\": \"마당 후미진 곳에 자전거를 대충 세우고\",\n   \"source\": \"S#11\",\n   \"summary_ko\": \"마당은 단순 평면이 아니라 자전거를 둘 후미진 구석을 포함한다.\"\n  },\n  {\n   \"affected_shots\": [\n    \"S11_Shot3\",\n    \"S11_Shot4\"\n   ],\n   \"affected_space_en\": \"external stair\",\n   \"allowed_inference_en\": \"\",\n   \"claim_type\": \"confirmed_cue\",\n   \"confidence\": \"high\",\n   \"evidence_id\": \"E004\",\n   \"prohibited_modes_en\": \"\",\n   \"quote\": \"옥탑방과 연결되는 계단을 급히 오른다\",\n   \"source\": \"S#11\",\n   \"summary_ko\": \"마당에서 옥탑방으로 이어지는 계단이 직접 연결된다.\"\n  },\n  {\n   \"affected_shots\": [\n    \"S11_Shot4\"\n   ],\n   \"affected_space_en\": \"upper stair\",\n   \"allowed_inference_en\": \"\",\n   \"claim_type\": \"confirmed_cue\",\n   \"confidence\": \"high\",\n   \"evidence_id\": \"E005\",\n   \"prohibited_modes_en\": \"\",\n   \"quote\": \"갑자기 훅- 역겨운 냄새\",\n   \"source\": \"S#11 계단 중간\",\n   \"summary_ko\": \"계단 중간 또는 상부는 옥탑 현관과 냄새가 닿을 만큼 가깝다.\"\n  },\n  {\n   \"affected_shots\": [\n    \"S11_Shot4\"\n   ],\n   \"affected_space_en\": \"landing and iron door\",\n   \"allowed_inference_en\": \"\",\n   \"claim_type\": \"confirmed_cue\",\n   \"confidence\": \"high\",\n   \"evidence_id\": \"E006\",\n   \"prohibited_modes_en\": \"\",\n   \"quote\": \"옥상에 올라와 보니 반쯤 열린 현관 철문\",\n   \"source\": \"S#11\",\n   \"summary_ko\": \"계단 착지점에서는 반쯤 열린 현관 철문이 즉시 보여야 한다.\"\n  },\n  {\n   \"affected_shots\": [\n    \"S13_Shot3\"\n   ],\n   \"affected_space_en\": \"alley road and stair foot\",\n   \"allowed_inference_en\": \"\",\n   \"claim_type\": \"confirmed_cue\",\n   \"confidence\": \"high\",\n   \"evidence_id\": \"E007\",\n   \"prohibited_modes_en\": \"\",\n   \"quote\": \"계단을 내려간다. 동시에 사이렌~ (포즈). 차에서 내린 혜수... 수리영의 모습을 발견하고 달려간다\",\n   \"source\": \"S#13\",\n   \"summary_ko\": \"경찰차는 진입·정차 가능한 골목에 서고 정차점에서 계단 하단 쪽 수리영이 보여야 한다.\"\n  },\n  {\n   \"affected_shots\": [\n    \"S13_Shot3\"\n   ],\n   \"affected_space_en\": \"alley road and stair foot\",\n   \"allowed_inference_en\": \"The stop point and stair foot may be staged as an unobstructed straight sightline at approximately 10–30 m, a validation range rather than a hard measurement.\",\n   \"claim_type\": \"allowed_inference\",\n   \"confidence\": \"medium\",\n   \"evidence_id\": \"E008\",\n   \"prohibited_modes_en\": \"\",\n   \"quote\": \"\",\n   \"source\": \"Memo C consistency chain from S#13 cue\",\n   \"summary_ko\": \"정차점과 계단 하단 사이는 약 10~30m 직선 시야 범위로 허용된다.\"\n  },\n  {\n   \"affected_shots\": [\n    \"S13_Shot5\"\n   ],\n   \"affected_space_en\": \"stair foot\",\n   \"allowed_inference_en\": \"\",\n   \"claim_type\": \"confirmed_cue\",\n   \"confidence\": \"high\",\n   \"evidence_id\": \"E009\",\n   \"prohibited_modes_en\": \"\",\n   \"quote\": \"수리영 (올라다보며)\",\n   \"source\": \"S#13\",\n   \"summary_ko\": \"수리영은 낮은 자세에 있고 혜수는 위에서 보이는 상하 구도가 성립한다.\"\n  },\n  {\n   \"affected_shots\": [\n    \"S13_Shot3\",\n    \"S13_Shot5\"\n   ],\n   \"affected_space_en\": \"stair entry\",\n   \"allowed_inference_en\": \"\",\n   \"claim_type\": \"confirmed_cue\",\n   \"confidence\": \"high\",\n   \"evidence_id\": \"E010\",\n   \"prohibited_modes_en\": \"\",\n   \"quote\": \"옥탑 방으로 뛰어 올라가는 혜수와 김형사\",\n   \"source\": \"S#13\",\n   \"summary_ko\": \"정차 지점에서 계단 진입과 옥탑으로 뛰어오르는 동선이 즉시 가능해야 한다.\"\n  },\n  {\n   \"affected_shots\": [\n    \"S10_Shot5\"\n   ],\n   \"affected_space_en\": \"roof surface\",\n   \"allowed_inference_en\": \"\",\n   \"claim_type\": \"confirmed_cue\",\n   \"confidence\": \"high\",\n   \"evidence_id\": \"E011\",\n   \"prohibited_modes_en\": \"\",\n   \"quote\": \"옥상. 물탱크. 빨랫줄 툭-툭- 평상에 말린 석창포\",\n   \"source\": \"S#10\",\n   \"summary_ko\": \"옥상에는 물탱크, 빨랫줄, 석창포 말린 평상이 실재한다.\"\n  },\n  {\n   \"affected_shots\": [\n    \"S10_Shot5\",\n    \"S11_Shot4\"\n   ],\n   \"affected_space_en\": \"roof path\",\n   \"allowed_inference_en\": \"\",\n   \"claim_type\": \"confirmed_cue\",\n   \"confidence\": \"high\",\n   \"evidence_id\": \"E012\",\n   \"prohibited_modes_en\": \"\",\n   \"quote\": \"말린 잎이 걸어오는 남자의 신발 위를 스친다... 신발은 철문 현관 앞에 멈춰\",\n   \"source\": \"S#10\",\n   \"summary_ko\": \"계단 착지에서 철문으로 가는 접근로는 평상과 빨랫줄 곁을 지나야 한다.\"\n  },\n  {\n   \"affected_shots\": [\n    \"S10_Shot5\"\n   ],\n   \"affected_space_en\": \"roof lighting\",\n   \"allowed_inference_en\": \"\",\n   \"claim_type\": \"confirmed_cue\",\n   \"confidence\": \"high\",\n   \"evidence_id\": \"E013\",\n   \"prohibited_modes_en\": \"\",\n   \"quote\": \"남자의 긴 그림자\",\n   \"source\": \"S#10\",\n   \"summary_ko\": \"밤 장면에는 긴 그림자를 만드는 낮은 각도의 광원이 존재한다.\"\n  },\n  {\n   \"affected_shots\": [\n    \"S10_Shot5\"\n   ],\n   \"affected_space_en\": \"roof lighting\",\n   \"allowed_inference_en\": \"A low-angle night light source such as a streetlight or entrance-grade lamp is allowed; this does not license a broad amber colour mood across unrelated shots.\",\n   \"claim_type\": \"allowed_inference\",\n   \"confidence\": \"medium\",\n   \"evidence_id\": \"E014\",\n   \"prohibited_modes_en\": \"\",\n   \"quote\": \"\",\n   \"source\": \"Memo A item 12\",\n   \"summary_ko\": \"긴 그림자는 낮은 각도 광원을 허용하지만 전역 색무드 근거는 아니다.\"\n  },\n  {\n   \"affected_shots\": [\n    \"S10_Shot5\",\n    \"S11_Shot4\"\n   ],\n   \"affected_space_en\": \"iron door\",\n   \"allowed_inference_en\": \"\",\n   \"claim_type\": \"confirmed_cue\",\n   \"confidence\": \"high\",\n   \"evidence_id\": \"E015\",\n   \"prohibited_modes_en\": \"\",\n   \"quote\": \"문틈에 낀 광고 전단지 / 바람에 현관문 소리. 황량하다\",\n   \"source\": \"S#10 / S#27\",\n   \"summary_ko\": \"철문에는 문틈 전단지와 바람에 덜컹이는 소리 디테일이 있어야 한다.\"\n  },\n  {\n   \"affected_shots\": [\n    \"S17_Shot1\"\n   ],\n   \"affected_space_en\": \"low wall and window\",\n   \"allowed_inference_en\": \"\",\n   \"claim_type\": \"confirmed_cue\",\n   \"confidence\": \"high\",\n   \"evidence_id\": \"E016\",\n   \"prohibited_modes_en\": \"\",\n   \"quote\": \"검은 고양이가 불이 켜져 있는 옥탑 방을 슬쩍 보더니 담을 넘는다\",\n   \"source\": \"S#17\",\n   \"summary_ko\": \"고양이가 넘는 낮은 담과 불 켜진 옥탑방 창 사이에 시선이 성립한다.\"\n  },\n  {\n   \"affected_shots\": [\n    \"S17_Shot1\"\n   ],\n   \"affected_space_en\": \"low wall\",\n   \"allowed_inference_en\": \"The wall height should be low enough for a cat to cross and placed so the lit rooftop-room window remains visible over or through the wall relationship.\",\n   \"claim_type\": \"allowed_inference\",\n   \"confidence\": \"medium\",\n   \"evidence_id\": \"E017\",\n   \"prohibited_modes_en\": \"\",\n   \"quote\": \"\",\n   \"source\": \"Memo A item 14 / Memo C\",\n   \"summary_ko\": \"담은 고양이가 넘을 수 있고 창과 가시선이 이어지는 정도로 낮아야 한다.\"\n  },\n  {\n   \"affected_shots\": [\n    \"S4_Shot1\"\n   ],\n   \"affected_space_en\": \"neighborhood view\",\n   \"allowed_inference_en\": \"\",\n   \"claim_type\": \"confirmed_cue\",\n   \"confidence\": \"high\",\n   \"evidence_id\": \"E018\",\n   \"prohibited_modes_en\": \"\",\n   \"quote\": \"인천 변두리 부감, 오래된 빌라 옥탑방 전경\",\n   \"source\": \"S#4\",\n   \"summary_ko\": \"인천 변두리의 오래된 빌라 옥탑방을 부감 전경으로 볼 수 있어야 한다.\"\n  },\n  {\n   \"affected_shots\": [\n    \"S4_Shot1\"\n   ],\n   \"affected_space_en\": \"surroundings\",\n   \"allowed_inference_en\": \"A bird's-eye rooftop-villa view supports surrounding dense low-rise fabric; it does not supply an exact altitude.\",\n   \"claim_type\": \"allowed_inference\",\n   \"confidence\": \"medium\",\n   \"evidence_id\": \"E019\",\n   \"prohibited_modes_en\": \"\",\n   \"quote\": \"\",\n   \"source\": \"Memo A item 15\",\n   \"summary_ko\": \"부감 전경은 저층 밀집 맥락을 허용하지만 정확한 고도 수치는 주지 않는다.\"\n  },\n  {\n   \"affected_shots\": [\n    \"S4_Shot1\"\n   ],\n   \"affected_space_en\": \"regional context\",\n   \"allowed_inference_en\": \"\",\n   \"claim_type\": \"confirmed_cue\",\n   \"confidence\": \"high\",\n   \"evidence_id\": \"E020\",\n   \"prohibited_modes_en\": \"\",\n   \"quote\": \"조그만 도시... 바다가 가까워서\",\n   \"source\": \"S#5\",\n   \"summary_ko\": \"장소는 바다가 가까운 조그만 도시 맥락을 가진다.\"\n  },\n  {\n   \"affected_shots\": [\n    \"S4_Shot1\"\n   ],\n   \"affected_space_en\": \"atmosphere\",\n   \"allowed_inference_en\": \"Sea proximity may inform only a general atmospheric degree; it is not evidence for applying a coastal mood to every shot.\",\n   \"claim_type\": \"allowed_inference\",\n   \"confidence\": \"medium\",\n   \"evidence_id\": \"E021\",\n   \"prohibited_modes_en\": \"\",\n   \"quote\": \"\",\n   \"source\": \"Memo A item 16\",\n   \"summary_ko\": \"바다 인접성은 대기 정도의 근거일 뿐 매 샷 해안 무드는 아니다.\"\n  },\n  {\n   \"affected_shots\": [],\n   \"affected_space_en\": \"local services\",\n   \"allowed_inference_en\": \"\",\n   \"claim_type\": \"confirmed_cue\",\n   \"confidence\": \"high\",\n   \"evidence_id\": \"E022\",\n   \"prohibited_modes_en\": \"\",\n   \"quote\": \"끝나고 마트로 갈게 / 이따가 1시 타임\",\n   \"source\": \"S#5\",\n   \"summary_ko\": \"민숙의 직장인 마트는 생활권 거리 안에 있다.\"\n  },\n  {\n   \"affected_shots\": [\n    \"S10_Shot6\",\n    \"S17_Shot1\"\n   ],\n   \"affected_space_en\": \"rooftop room windows\",\n   \"allowed_inference_en\": \"\",\n   \"claim_type\": \"confirmed_cue\",\n   \"confidence\": \"high\",\n   \"evidence_id\": \"E023\",\n   \"prohibited_modes_en\": \"\",\n   \"quote\": \"작은 창 / 수리영 방 커튼 창·욕실 존재\",\n   \"source\": \"S#5·S#25 거실 / S#18\",\n   \"summary_ko\": \"옥탑 내부에는 거실 작은 창과 수리영 방 커튼 창, 욕실이 존재한다.\"\n  },\n  {\n   \"affected_shots\": [\n    \"S11_Shot3\",\n    \"S13_Shot3\"\n   ],\n   \"affected_space_en\": \"alley road\",\n   \"allowed_inference_en\": \"The alley/side road may be treated as roughly 3 m class in width because it must accept both bicycle travel and police-car approach/stop; this is a validation class, not an exact dimension.\",\n   \"claim_type\": \"allowed_inference\",\n   \"confidence\": \"medium\",\n   \"evidence_id\": \"E024\",\n   \"prohibited_modes_en\": \"\",\n   \"quote\": \"\",\n   \"source\": \"Memo C consistency chain from S#11 and S#13 cues\",\n   \"summary_ko\": \"골목 폭은 자전거와 차량 정차가 가능한 약 3m급으로 검증할 수 있다.\"\n  },\n  {\n   \"affected_shots\": [\n    \"S11_Shot3\",\n    \"S11_Shot4\"\n   ],\n   \"affected_space_en\": \"external stair\",\n   \"allowed_inference_en\": \"The exterior stair may be validated as a later-added steel retrofit stair rising about three floors, roughly 8–10 m vertical; creator correction requires steel retrofit construction and rejects concrete/cement.\",\n   \"claim_type\": \"allowed_inference\",\n   \"confidence\": \"high\",\n   \"evidence_id\": \"E025\",\n   \"prohibited_modes_en\": \"\",\n   \"quote\": \"건물 외벽에 나중에 덧붙인 철제 증축 계단 — 오픈 발판, 얇은 강판 스트링거, 파이프 난간\",\n   \"source\": \"Memo C consistency chain + CREATOR CORRECTIONS stair.desc_ko\",\n   \"summary_ko\": \"외부 계단은 약 3층 높이의 철제 증축 계단으로 검증해야 한다.\"\n  },\n  {\n   \"affected_shots\": [\n    \"S11_Shot4\"\n   ],\n   \"affected_space_en\": \"landing and iron door\",\n   \"allowed_inference_en\": \"The landing-to-iron-door frontal distance may be staged in the 2–5 m range, keeping an unobstructed eye-level view.\",\n   \"claim_type\": \"allowed_inference\",\n   \"confidence\": \"medium\",\n   \"evidence_id\": \"E026\",\n   \"prohibited_modes_en\": \"\",\n   \"quote\": \"\",\n   \"source\": \"Memo B good staging S11_4 / Memo C consistency chain\",\n   \"summary_ko\": \"랜딩에서 철문까지는 2~5m 정면 무차폐 시야가 허용된다.\"\n  },\n  {\n   \"affected_shots\": [\n    \"S4_Shot1\"\n   ],\n   \"affected_space_en\": \"neighborhood view\",\n   \"allowed_inference_en\": \"\",\n   \"claim_type\": \"prohibited_invention\",\n   \"confidence\": \"high\",\n   \"evidence_id\": \"E027\",\n   \"prohibited_modes_en\": \"numeric dimension invention\",\n   \"quote\": \"45m 상공\",\n   \"source\": \"B. 샷 staging 대조 판정, S4_1\",\n   \"summary_ko\": \"S4 부감에 45m라는 고도 수치를 붙이는 것은 원문 근거가 없다.\"\n  },\n  {\n   \"affected_shots\": [\n    \"S13_Shot3\",\n    \"S13_Shot5\",\n    \"S17_Shot1\"\n   ],\n   \"affected_space_en\": \"exterior air\",\n   \"allowed_inference_en\": \"\",\n   \"claim_type\": \"prohibited_invention\",\n   \"confidence\": \"high\",\n   \"evidence_id\": \"E028\",\n   \"prohibited_modes_en\": \"weather/fog invention\",\n   \"quote\": \"짙고 푸른 안개\",\n   \"source\": \"B. 샷 staging 대조 판정, S13·S17 / S17 desc\",\n   \"summary_ko\": \"S13과 S17의 안개, 특히 짙고 푸른 안개는 하류 발명이다.\"\n  },\n  {\n   \"affected_shots\": [\n    \"S10_Shot5\",\n    \"S10_Shot6\"\n   ],\n   \"affected_space_en\": \"lighting mood\",\n   \"allowed_inference_en\": \"\",\n   \"claim_type\": \"prohibited_invention\",\n   \"confidence\": \"high\",\n   \"evidence_id\": \"E029\",\n   \"prohibited_modes_en\": \"colour-mood propagation\",\n   \"quote\": \"sickly amber\",\n   \"source\": \"B. 샷 staging 대조 판정, S10_6 실내 램프 1개→다수 샷 전파\",\n   \"summary_ko\": \"S10_6의 실내 램프 근거를 다수 샷의 병든 앰버 무드로 확산하면 안 된다.\"\n  },\n  {\n   \"affected_shots\": [\n    \"S11_Shot3\",\n    \"S11_Shot4\"\n   ],\n   \"affected_space_en\": \"external stair\",\n   \"allowed_inference_en\": \"\",\n   \"claim_type\": \"prohibited_invention\",\n   \"confidence\": \"high\",\n   \"evidence_id\": \"E030\",\n   \"prohibited_modes_en\": \"material invention overridden by creator correction\",\n   \"quote\": \"narrow concrete staircase\",\n   \"source\": \"B. 샷 staging 대조 판정, S11_3 staging + CREATOR CORRECTIONS facts_extra\",\n   \"summary_ko\": \"S11_3의 콘크리트 계단 표기는 사용자 정정의 철제 증축 계단과 모순된다.\"\n  },\n  {\n   \"affected_shots\": [\n    \"S10_Shot5\",\n    \"S11_Shot3\",\n    \"S11_Shot4\",\n    \"S13_Shot3\",\n    \"S13_Shot5\",\n    \"S17_Shot1\",\n    \"S4_Shot1\"\n   ],\n   \"affected_space_en\": \"exterior surfaces\",\n   \"allowed_inference_en\": \"\",\n   \"claim_type\": \"prohibited_invention\",\n   \"confidence\": \"high\",\n   \"evidence_id\": \"E031\",\n   \"prohibited_modes_en\": \"surface condition without textual support\",\n   \"quote\": \"wet/damp 일괄 부여\",\n   \"source\": \"B. 샷 staging 대조 판정\",\n   \"summary_ko\": \"강우 원문이 없으므로 외부 표면을 일괄 젖거나 축축하게 만들면 안 된다.\"\n  },\n  {\n   \"affected_shots\": [\n    \"S10_Shot5\",\n    \"S11_Shot3\",\n    \"S11_Shot4\",\n    \"S13_Shot3\",\n    \"S13_Shot5\",\n    \"S17_Shot1\",\n    \"S4_Shot1\"\n   ],\n   \"affected_space_en\": \"building exterior\",\n   \"allowed_inference_en\": \"\",\n   \"claim_type\": \"prohibited_invention\",\n   \"confidence\": \"high\",\n   \"evidence_id\": \"E032\",\n   \"prohibited_modes_en\": \"plan-colour-to-material invention\",\n   \"quote\": \"uniform cement-gray mass\",\n   \"source\": \"CREATOR CORRECTIONS photo_appearance\",\n   \"summary_ko\": \"건물을 균일한 시멘트 회색 덩어리로 렌더링하면 안 된다.\"\n  },\n  {\n   \"affected_shots\": [\n    \"S10_Shot5\",\n    \"S11_Shot3\",\n    \"S11_Shot4\",\n    \"S13_Shot3\",\n    \"S13_Shot5\",\n    \"S17_Shot1\",\n    \"S4_Shot1\"\n   ],\n   \"affected_space_en\": \"building exterior\",\n   \"allowed_inference_en\": \"\",\n   \"claim_type\": \"prohibited_invention\",\n   \"confidence\": \"high\",\n   \"evidence_id\": \"E033\",\n   \"prohibited_modes_en\": \"plan-colour-to-material invention\",\n   \"quote\": \"copy the site plan's flat drawing colours as building materials\",\n   \"source\": \"CREATOR CORRECTIONS photo_appearance\",\n   \"summary_ko\": \"도면의 플랫 색을 실사 재질로 복사하는 방식은 금지된다.\"\n  },\n  {\n   \"affected_shots\": [\n    \"S10_Shot5\",\n    \"S11_Shot3\",\n    \"S11_Shot4\",\n    \"S13_Shot3\",\n    \"S13_Shot5\",\n    \"S17_Shot1\",\n    \"S4_Shot1\"\n   ],\n   \"affected_space_en\": \"building exterior\",\n   \"allowed_inference_en\": \"The property should be authored as a real existing aged multi-family villa with regional vernacular materials and varied lived-in aging; examples such as aged red brick, exterior tile cladding, cement mouldings/sills, weathered stucco patches, grime streaks, and a rusty steel retrofit stair are allowed appearance directions, not a mandate that every example appear.\",\n   \"claim_type\": \"allowed_inference\",\n   \"confidence\": \"high\",\n   \"evidence_id\": \"E034\",\n   \"prohibited_modes_en\": \"\",\n   \"quote\": \"render the property as a REAL, EXISTING aged multi-family villa with a rooftop dwelling of the exact regional type the production data describes\",\n   \"source\": \"CREATOR CORRECTIONS photo_appearance\",\n   \"summary_ko\": \"건물은 지역 전형의 낡은 다세대 빌라 실물감과 다양한 생활 흔적으로 구체화해야 한다.\"\n  }\n ],\n \"chain\": [\n  {\n   \"claim_refs\": [\n    \"E001\",\n    \"E007\",\n    \"E008\",\n    \"E024\"\n   ],\n   \"from_space_en\": \"alley road\",\n   \"link_id\": \"L01\",\n   \"relation_en\": \"straight sightline and short run to\",\n   \"summary_ko\": \"골목/이면도로 정차점과 계단 하단은 차량·자전거가 가능한 폭 안에서 10~30m 직선 시야로 연결된다.\",\n   \"to_space_en\": \"stair foot\"\n  },\n  {\n   \"claim_refs\": [\n    \"E002\",\n    \"E007\",\n    \"E010\"\n   ],\n   \"from_space_en\": \"stair foot\",\n   \"link_id\": \"L02\",\n   \"relation_en\": \"adjoins route to\",\n   \"summary_ko\": \"계단 하단 동선은 다세대 빌라의 여닫이 대문 진입 동선과 바로 이어져야 한다.\",\n   \"to_space_en\": \"villa gate\"\n  },\n  {\n   \"claim_refs\": [\n    \"E002\",\n    \"E003\"\n   ],\n   \"from_space_en\": \"villa gate\",\n   \"link_id\": \"L03\",\n   \"relation_en\": \"opens-into\",\n   \"summary_ko\": \"대문을 열고 들어오면 마당으로 진입한다.\",\n   \"to_space_en\": \"yard\"\n  },\n  {\n   \"claim_refs\": [\n    \"E003\",\n    \"E004\"\n   ],\n   \"from_space_en\": \"yard\",\n   \"link_id\": \"L04\",\n   \"relation_en\": \"adjoins\",\n   \"summary_ko\": \"마당에는 후미진 구석과 자전거 자리가 있으며 옥탑방 연결 계단과 직결된다.\",\n   \"to_space_en\": \"external stair\"\n  },\n  {\n   \"claim_refs\": [\n    \"E004\",\n    \"E005\",\n    \"E025\"\n   ],\n   \"from_space_en\": \"external stair\",\n   \"link_id\": \"L05\",\n   \"relation_en\": \"rises-to\",\n   \"summary_ko\": \"외부 철제 증축 계단은 마당에서 옥탑 랜딩까지 대략 3층 높이로 오른다.\",\n   \"to_space_en\": \"landing\"\n  },\n  {\n   \"claim_refs\": [\n    \"E006\",\n    \"E015\",\n    \"E026\"\n   ],\n   \"from_space_en\": \"landing\",\n   \"link_id\": \"L06\",\n   \"relation_en\": \"frontal sightline to\",\n   \"summary_ko\": \"랜딩에서는 2~5m 정면 거리의 반쯤 열린 철문과 전단지·바람 소리 디테일이 바로 보인다.\",\n   \"to_space_en\": \"iron door\"\n  },\n  {\n   \"claim_refs\": [\n    \"E006\",\n    \"E011\",\n    \"E012\",\n    \"E015\"\n   ],\n   \"from_space_en\": \"iron door\",\n   \"link_id\": \"L07\",\n   \"relation_en\": \"opens-into\",\n   \"summary_ko\": \"철문은 옥상면과 이어지고, 착지에서 철문으로 가는 길은 평상·빨랫줄·물탱크 인접 영역을 지난다.\",\n   \"to_space_en\": \"roof surface\"\n  },\n  {\n   \"claim_refs\": [\n    \"E012\",\n    \"E016\",\n    \"E023\"\n   ],\n   \"from_space_en\": \"roof surface\",\n   \"link_id\": \"L08\",\n   \"relation_en\": \"sightline and access adjacency to\",\n   \"summary_ko\": \"옥상면에서 옥탑 창들이 관계를 맺고, 거실 작은 창과 침실 커튼 창이 존재한다.\",\n   \"to_space_en\": \"rooftop windows\"\n  },\n  {\n   \"claim_refs\": [\n    \"E016\",\n    \"E017\"\n   ],\n   \"from_space_en\": \"rooftop windows\",\n   \"link_id\": \"L09\",\n   \"relation_en\": \"sightline to\",\n   \"summary_ko\": \"낮은 담은 고양이 동선이며 불 켜진 옥탑방 창과 서로 보이는 위치여야 한다.\",\n   \"to_space_en\": \"low wall\"\n  }\n ]\n}\n\nARTIFACT target=shot_description (S10_Shot6):\nscene_heading: S#10. 옥탑방 / N\ndescription: 방 안 창문에 비친 그림자, 굽은 형태의 인영이 다른 사람 형상 위에 포개져 멈춘 찰나의 실루엣.\n\nARTIFACT target=staging (S10_Shot6) — full staging JSON:\n{\n \"camera_direction\": \"Inside the room, the camera holds static near the side wall at shoulder height, angled so only the window glass carries the action as a reflection and the direct attack is never seen. The reflected silhouettes sit within the window frame: a bent 인영 in the upper-middle area lowers its head toward the shoulder of 사람, whose body buckles beneath it in a distorted, wavering mid-action shape.\",\n \"character_angles\": [\n  {\n   \"angle\": \"three_quarter_left\",\n   \"body_pose\": \"hunched over shoulder\",\n   \"character\": \"인영\",\n   \"gaze_direction_kind\": \"looks_at_character\",\n   \"gaze_target_id\": \"C20\",\n   \"subject_state\": \"alive\"\n  },\n  {\n   \"angle\": \"profile_left\",\n   \"body_pose\": \"buckling under lunge\",\n   \"character\": \"사람\",\n   \"gaze_direction_kind\": \"off_screen\",\n   \"gaze_target_id\": null,\n   \"subject_state\": \"severely_injured\"\n  }\n ],\n \"frame_spatial_contract\": {\n  \"constraints\": [\n   {\n    \"depth_plane\": \"midground\",\n    \"gesture_action\": \"none\",\n    \"gesture_target_label\": \"\",\n    \"label\": \"window reflection containing silhouettes\",\n    \"screen_zone\": \"middle_center\",\n    \"target_id\": \"\",\n    \"target_kind\": \"background\"\n   }\n  ],\n  \"reason\": \"required_background_position\"\n },\n \"framing_scale\": \"medium\",\n \"key_bg_elements\": [\n  {\n   \"camera_use\": \"Serves as the only visible surface for the attack, keeping violence indirect and distorted.\",\n   \"directionality_class\": \"reflective_surface\",\n   \"element\": \"room window glass\",\n   \"orientation\": \"The glass reflects the bent 인영 and 사람 as warped dark silhouettes, with faint interior light streaks trembling across them.\",\n   \"state\": \"closed, grimy, reflective in darkness\"\n  },\n  {\n   \"camera_use\": \"Frames the reflection and prevents the viewer from seeing the real bodies directly.\",\n   \"directionality_class\": \"directional_3d\",\n   \"element\": \"window frame\",\n   \"orientation\": \"The frame’s inner edges face camera and box the reflected action into a rigid rectangle.\",\n   \"state\": \"old, chipped, motionless\"\n  },\n  {\n   \"camera_use\": \"Adds low, diseased color to the reflected silhouettes.\",\n   \"directionality_class\": \"directional_3d\",\n   \"element\": \"dim interior practical light\",\n   \"orientation\": \"The lamp’s shaded side is off-frame but its amber spill grazes the wall and window reflection.\",\n   \"state\": \"on, weak, sickly amber\"\n  },\n  {\n   \"camera_use\": \"Keeps the room claustrophobic around the window surface.\",\n   \"directionality_class\": \"non_directional\",\n   \"element\": \"dark side wall\",\n   \"orientation\": \"\",\n   \"state\": \"rough, stained, blue-gray shadowed\"\n  }\n ],\n \"lighting_mood\": \"The reflected action is almost monochrome blue-black, broken by a weak amber practical smear and restrained crimson-brown shadow at the shoulder line.\",\n \"perception_mode\": \"reflection\",\n \"perspective\": \"observer\",\n \"pov_character\": \"\",\n \"scene_index\": 10,\n \"shot_index\": 6,\n \"subject_reference_policy\": [\n  {\n   \"policy\": \"generic_descriptor_allowed\",\n   \"policy_type\": \"identity_reference\",\n   \"reason\": \"The figure is seen only as a distorted reflected silhouette; no stable identity or outlook detail should be required.\",\n   \"subject_id\": \"C19\"\n  },\n  {\n   \"policy\": \"generic_descriptor_allowed\",\n   \"policy_type\": \"identity_reference\",\n   \"reason\": \"The attacked person is visible only as a vague reflected body shape, so a generic silhouette reference is more appropriate than an outlook-specific identity reference.\",\n   \"subject_id\": \"C20\"\n  }\n ]\n}\n\nAudit every concrete world claim now."}
{"ts": "2026-07-08 00:07:36", "kind": "llm", "step": "s24_audit_S11_Shot3", "model": "gpt", "dur_s": 96.1, "system_prompt": "You are a continuity auditor. You get an EVIDENCE GRAPH\n(claims with evidence_ids: confirmed cues, allowed inference bounds,\nprohibited inventions; creator corrections override everything else) and one\nor more downstream ARTIFACTS for one shot or one layout dataset.\n\nFind every CONCRETE world claim in the artifacts — spatial relation,\nmaterial, weather/atmosphere, light colour/mood, surface condition, numeric\ndimension — and classify each against the graph:\n- \"supported\": restates a confirmed cue (cite the evidence_ids).\n- \"plausible_inference\": not directly evidenced but a reasonable directorial\n  concretization inside the allowed bounds and contradicting nothing. These\n  are GOOD — they must be kept.\n- \"unsupported_invention\": adds weather, mood colour, material, surface\n  condition or dimension that no claim supports (match a prohibited mode\n  where one applies).\n- \"contradiction\": conflicts with a confirmed cue or a creator correction.\n\nRules: claim_quote = an EXACT substring copied from the artifact (never\nparaphrase). location_en = which artifact field/part it sits in. Cite\nevidence_ids for the claims you compared against ([] only for pure\ninventions with no related claim). Ignore pure framing/lens/composition\nlanguage unless it asserts a world fact. Do not flag the same fact twice in\nthe same artifact unless the wording differs materially. repair_hint_en:\none short sentence on the minimal fix (only for unsupported_invention /\ncontradiction; \"\" otherwise). reasoning_ko: 한 줄 한국어 근거.\nsummary_ko: 2-3 문장 한국어 총평.", "user_prompt": "EVIDENCE GRAPH:\n{\n \"claims\": [\n  {\n   \"affected_shots\": [\n    \"S11_Shot3\",\n    \"S13_Shot3\"\n   ],\n   \"affected_space_en\": \"alley road\",\n   \"allowed_inference_en\": \"\",\n   \"claim_type\": \"confirmed_cue\",\n   \"confidence\": \"high\",\n   \"evidence_id\": \"E001\",\n   \"prohibited_modes_en\": \"\",\n   \"quote\": \"자전거를 타고 골목길을 달리는\",\n   \"source\": \"S#11\",\n   \"summary_ko\": \"골목은 자전거가 달릴 수 있는 폭과 노면을 가져야 한다.\"\n  },\n  {\n   \"affected_shots\": [\n    \"S11_Shot3\"\n   ],\n   \"affected_space_en\": \"villa gate\",\n   \"allowed_inference_en\": \"\",\n   \"claim_type\": \"confirmed_cue\",\n   \"confidence\": \"high\",\n   \"evidence_id\": \"E002\",\n   \"prohibited_modes_en\": \"\",\n   \"quote\": \"다세대 빌라 문을 열고 들어와\",\n   \"source\": \"S#11\",\n   \"summary_ko\": \"골목에서 다세대 빌라 문을 열고 직접 들어간다.\"\n  },\n  {\n   \"affected_shots\": [\n    \"S11_Shot3\"\n   ],\n   \"affected_space_en\": \"yard\",\n   \"allowed_inference_en\": \"\",\n   \"claim_type\": \"confirmed_cue\",\n   \"confidence\": \"high\",\n   \"evidence_id\": \"E003\",\n   \"prohibited_modes_en\": \"\",\n   \"quote\": \"마당 후미진 곳에 자전거를 대충 세우고\",\n   \"source\": \"S#11\",\n   \"summary_ko\": \"마당은 단순 평면이 아니라 자전거를 둘 후미진 구석을 포함한다.\"\n  },\n  {\n   \"affected_shots\": [\n    \"S11_Shot3\",\n    \"S11_Shot4\"\n   ],\n   \"affected_space_en\": \"external stair\",\n   \"allowed_inference_en\": \"\",\n   \"claim_type\": \"confirmed_cue\",\n   \"confidence\": \"high\",\n   \"evidence_id\": \"E004\",\n   \"prohibited_modes_en\": \"\",\n   \"quote\": \"옥탑방과 연결되는 계단을 급히 오른다\",\n   \"source\": \"S#11\",\n   \"summary_ko\": \"마당에서 옥탑방으로 이어지는 계단이 직접 연결된다.\"\n  },\n  {\n   \"affected_shots\": [\n    \"S11_Shot4\"\n   ],\n   \"affected_space_en\": \"upper stair\",\n   \"allowed_inference_en\": \"\",\n   \"claim_type\": \"confirmed_cue\",\n   \"confidence\": \"high\",\n   \"evidence_id\": \"E005\",\n   \"prohibited_modes_en\": \"\",\n   \"quote\": \"갑자기 훅- 역겨운 냄새\",\n   \"source\": \"S#11 계단 중간\",\n   \"summary_ko\": \"계단 중간 또는 상부는 옥탑 현관과 냄새가 닿을 만큼 가깝다.\"\n  },\n  {\n   \"affected_shots\": [\n    \"S11_Shot4\"\n   ],\n   \"affected_space_en\": \"landing and iron door\",\n   \"allowed_inference_en\": \"\",\n   \"claim_type\": \"confirmed_cue\",\n   \"confidence\": \"high\",\n   \"evidence_id\": \"E006\",\n   \"prohibited_modes_en\": \"\",\n   \"quote\": \"옥상에 올라와 보니 반쯤 열린 현관 철문\",\n   \"source\": \"S#11\",\n   \"summary_ko\": \"계단 착지점에서는 반쯤 열린 현관 철문이 즉시 보여야 한다.\"\n  },\n  {\n   \"affected_shots\": [\n    \"S13_Shot3\"\n   ],\n   \"affected_space_en\": \"alley road and stair foot\",\n   \"allowed_inference_en\": \"\",\n   \"claim_type\": \"confirmed_cue\",\n   \"confidence\": \"high\",\n   \"evidence_id\": \"E007\",\n   \"prohibited_modes_en\": \"\",\n   \"quote\": \"계단을 내려간다. 동시에 사이렌~ (포즈). 차에서 내린 혜수... 수리영의 모습을 발견하고 달려간다\",\n   \"source\": \"S#13\",\n   \"summary_ko\": \"경찰차는 진입·정차 가능한 골목에 서고 정차점에서 계단 하단 쪽 수리영이 보여야 한다.\"\n  },\n  {\n   \"affected_shots\": [\n    \"S13_Shot3\"\n   ],\n   \"affected_space_en\": \"alley road and stair foot\",\n   \"allowed_inference_en\": \"The stop point and stair foot may be staged as an unobstructed straight sightline at approximately 10–30 m, a validation range rather than a hard measurement.\",\n   \"claim_type\": \"allowed_inference\",\n   \"confidence\": \"medium\",\n   \"evidence_id\": \"E008\",\n   \"prohibited_modes_en\": \"\",\n   \"quote\": \"\",\n   \"source\": \"Memo C consistency chain from S#13 cue\",\n   \"summary_ko\": \"정차점과 계단 하단 사이는 약 10~30m 직선 시야 범위로 허용된다.\"\n  },\n  {\n   \"affected_shots\": [\n    \"S13_Shot5\"\n   ],\n   \"affected_space_en\": \"stair foot\",\n   \"allowed_inference_en\": \"\",\n   \"claim_type\": \"confirmed_cue\",\n   \"confidence\": \"high\",\n   \"evidence_id\": \"E009\",\n   \"prohibited_modes_en\": \"\",\n   \"quote\": \"수리영 (올라다보며)\",\n   \"source\": \"S#13\",\n   \"summary_ko\": \"수리영은 낮은 자세에 있고 혜수는 위에서 보이는 상하 구도가 성립한다.\"\n  },\n  {\n   \"affected_shots\": [\n    \"S13_Shot3\",\n    \"S13_Shot5\"\n   ],\n   \"affected_space_en\": \"stair entry\",\n   \"allowed_inference_en\": \"\",\n   \"claim_type\": \"confirmed_cue\",\n   \"confidence\": \"high\",\n   \"evidence_id\": \"E010\",\n   \"prohibited_modes_en\": \"\",\n   \"quote\": \"옥탑 방으로 뛰어 올라가는 혜수와 김형사\",\n   \"source\": \"S#13\",\n   \"summary_ko\": \"정차 지점에서 계단 진입과 옥탑으로 뛰어오르는 동선이 즉시 가능해야 한다.\"\n  },\n  {\n   \"affected_shots\": [\n    \"S10_Shot5\"\n   ],\n   \"affected_space_en\": \"roof surface\",\n   \"allowed_inference_en\": \"\",\n   \"claim_type\": \"confirmed_cue\",\n   \"confidence\": \"high\",\n   \"evidence_id\": \"E011\",\n   \"prohibited_modes_en\": \"\",\n   \"quote\": \"옥상. 물탱크. 빨랫줄 툭-툭- 평상에 말린 석창포\",\n   \"source\": \"S#10\",\n   \"summary_ko\": \"옥상에는 물탱크, 빨랫줄, 석창포 말린 평상이 실재한다.\"\n  },\n  {\n   \"affected_shots\": [\n    \"S10_Shot5\",\n    \"S11_Shot4\"\n   ],\n   \"affected_space_en\": \"roof path\",\n   \"allowed_inference_en\": \"\",\n   \"claim_type\": \"confirmed_cue\",\n   \"confidence\": \"high\",\n   \"evidence_id\": \"E012\",\n   \"prohibited_modes_en\": \"\",\n   \"quote\": \"말린 잎이 걸어오는 남자의 신발 위를 스친다... 신발은 철문 현관 앞에 멈춰\",\n   \"source\": \"S#10\",\n   \"summary_ko\": \"계단 착지에서 철문으로 가는 접근로는 평상과 빨랫줄 곁을 지나야 한다.\"\n  },\n  {\n   \"affected_shots\": [\n    \"S10_Shot5\"\n   ],\n   \"affected_space_en\": \"roof lighting\",\n   \"allowed_inference_en\": \"\",\n   \"claim_type\": \"confirmed_cue\",\n   \"confidence\": \"high\",\n   \"evidence_id\": \"E013\",\n   \"prohibited_modes_en\": \"\",\n   \"quote\": \"남자의 긴 그림자\",\n   \"source\": \"S#10\",\n   \"summary_ko\": \"밤 장면에는 긴 그림자를 만드는 낮은 각도의 광원이 존재한다.\"\n  },\n  {\n   \"affected_shots\": [\n    \"S10_Shot5\"\n   ],\n   \"affected_space_en\": \"roof lighting\",\n   \"allowed_inference_en\": \"A low-angle night light source such as a streetlight or entrance-grade lamp is allowed; this does not license a broad amber colour mood across unrelated shots.\",\n   \"claim_type\": \"allowed_inference\",\n   \"confidence\": \"medium\",\n   \"evidence_id\": \"E014\",\n   \"prohibited_modes_en\": \"\",\n   \"quote\": \"\",\n   \"source\": \"Memo A item 12\",\n   \"summary_ko\": \"긴 그림자는 낮은 각도 광원을 허용하지만 전역 색무드 근거는 아니다.\"\n  },\n  {\n   \"affected_shots\": [\n    \"S10_Shot5\",\n    \"S11_Shot4\"\n   ],\n   \"affected_space_en\": \"iron door\",\n   \"allowed_inference_en\": \"\",\n   \"claim_type\": \"confirmed_cue\",\n   \"confidence\": \"high\",\n   \"evidence_id\": \"E015\",\n   \"prohibited_modes_en\": \"\",\n   \"quote\": \"문틈에 낀 광고 전단지 / 바람에 현관문 소리. 황량하다\",\n   \"source\": \"S#10 / S#27\",\n   \"summary_ko\": \"철문에는 문틈 전단지와 바람에 덜컹이는 소리 디테일이 있어야 한다.\"\n  },\n  {\n   \"affected_shots\": [\n    \"S17_Shot1\"\n   ],\n   \"affected_space_en\": \"low wall and window\",\n   \"allowed_inference_en\": \"\",\n   \"claim_type\": \"confirmed_cue\",\n   \"confidence\": \"high\",\n   \"evidence_id\": \"E016\",\n   \"prohibited_modes_en\": \"\",\n   \"quote\": \"검은 고양이가 불이 켜져 있는 옥탑 방을 슬쩍 보더니 담을 넘는다\",\n   \"source\": \"S#17\",\n   \"summary_ko\": \"고양이가 넘는 낮은 담과 불 켜진 옥탑방 창 사이에 시선이 성립한다.\"\n  },\n  {\n   \"affected_shots\": [\n    \"S17_Shot1\"\n   ],\n   \"affected_space_en\": \"low wall\",\n   \"allowed_inference_en\": \"The wall height should be low enough for a cat to cross and placed so the lit rooftop-room window remains visible over or through the wall relationship.\",\n   \"claim_type\": \"allowed_inference\",\n   \"confidence\": \"medium\",\n   \"evidence_id\": \"E017\",\n   \"prohibited_modes_en\": \"\",\n   \"quote\": \"\",\n   \"source\": \"Memo A item 14 / Memo C\",\n   \"summary_ko\": \"담은 고양이가 넘을 수 있고 창과 가시선이 이어지는 정도로 낮아야 한다.\"\n  },\n  {\n   \"affected_shots\": [\n    \"S4_Shot1\"\n   ],\n   \"affected_space_en\": \"neighborhood view\",\n   \"allowed_inference_en\": \"\",\n   \"claim_type\": \"confirmed_cue\",\n   \"confidence\": \"high\",\n   \"evidence_id\": \"E018\",\n   \"prohibited_modes_en\": \"\",\n   \"quote\": \"인천 변두리 부감, 오래된 빌라 옥탑방 전경\",\n   \"source\": \"S#4\",\n   \"summary_ko\": \"인천 변두리의 오래된 빌라 옥탑방을 부감 전경으로 볼 수 있어야 한다.\"\n  },\n  {\n   \"affected_shots\": [\n    \"S4_Shot1\"\n   ],\n   \"affected_space_en\": \"surroundings\",\n   \"allowed_inference_en\": \"A bird's-eye rooftop-villa view supports surrounding dense low-rise fabric; it does not supply an exact altitude.\",\n   \"claim_type\": \"allowed_inference\",\n   \"confidence\": \"medium\",\n   \"evidence_id\": \"E019\",\n   \"prohibited_modes_en\": \"\",\n   \"quote\": \"\",\n   \"source\": \"Memo A item 15\",\n   \"summary_ko\": \"부감 전경은 저층 밀집 맥락을 허용하지만 정확한 고도 수치는 주지 않는다.\"\n  },\n  {\n   \"affected_shots\": [\n    \"S4_Shot1\"\n   ],\n   \"affected_space_en\": \"regional context\",\n   \"allowed_inference_en\": \"\",\n   \"claim_type\": \"confirmed_cue\",\n   \"confidence\": \"high\",\n   \"evidence_id\": \"E020\",\n   \"prohibited_modes_en\": \"\",\n   \"quote\": \"조그만 도시... 바다가 가까워서\",\n   \"source\": \"S#5\",\n   \"summary_ko\": \"장소는 바다가 가까운 조그만 도시 맥락을 가진다.\"\n  },\n  {\n   \"affected_shots\": [\n    \"S4_Shot1\"\n   ],\n   \"affected_space_en\": \"atmosphere\",\n   \"allowed_inference_en\": \"Sea proximity may inform only a general atmospheric degree; it is not evidence for applying a coastal mood to every shot.\",\n   \"claim_type\": \"allowed_inference\",\n   \"confidence\": \"medium\",\n   \"evidence_id\": \"E021\",\n   \"prohibited_modes_en\": \"\",\n   \"quote\": \"\",\n   \"source\": \"Memo A item 16\",\n   \"summary_ko\": \"바다 인접성은 대기 정도의 근거일 뿐 매 샷 해안 무드는 아니다.\"\n  },\n  {\n   \"affected_shots\": [],\n   \"affected_space_en\": \"local services\",\n   \"allowed_inference_en\": \"\",\n   \"claim_type\": \"confirmed_cue\",\n   \"confidence\": \"high\",\n   \"evidence_id\": \"E022\",\n   \"prohibited_modes_en\": \"\",\n   \"quote\": \"끝나고 마트로 갈게 / 이따가 1시 타임\",\n   \"source\": \"S#5\",\n   \"summary_ko\": \"민숙의 직장인 마트는 생활권 거리 안에 있다.\"\n  },\n  {\n   \"affected_shots\": [\n    \"S10_Shot6\",\n    \"S17_Shot1\"\n   ],\n   \"affected_space_en\": \"rooftop room windows\",\n   \"allowed_inference_en\": \"\",\n   \"claim_type\": \"confirmed_cue\",\n   \"confidence\": \"high\",\n   \"evidence_id\": \"E023\",\n   \"prohibited_modes_en\": \"\",\n   \"quote\": \"작은 창 / 수리영 방 커튼 창·욕실 존재\",\n   \"source\": \"S#5·S#25 거실 / S#18\",\n   \"summary_ko\": \"옥탑 내부에는 거실 작은 창과 수리영 방 커튼 창, 욕실이 존재한다.\"\n  },\n  {\n   \"affected_shots\": [\n    \"S11_Shot3\",\n    \"S13_Shot3\"\n   ],\n   \"affected_space_en\": \"alley road\",\n   \"allowed_inference_en\": \"The alley/side road may be treated as roughly 3 m class in width because it must accept both bicycle travel and police-car approach/stop; this is a validation class, not an exact dimension.\",\n   \"claim_type\": \"allowed_inference\",\n   \"confidence\": \"medium\",\n   \"evidence_id\": \"E024\",\n   \"prohibited_modes_en\": \"\",\n   \"quote\": \"\",\n   \"source\": \"Memo C consistency chain from S#11 and S#13 cues\",\n   \"summary_ko\": \"골목 폭은 자전거와 차량 정차가 가능한 약 3m급으로 검증할 수 있다.\"\n  },\n  {\n   \"affected_shots\": [\n    \"S11_Shot3\",\n    \"S11_Shot4\"\n   ],\n   \"affected_space_en\": \"external stair\",\n   \"allowed_inference_en\": \"The exterior stair may be validated as a later-added steel retrofit stair rising about three floors, roughly 8–10 m vertical; creator correction requires steel retrofit construction and rejects concrete/cement.\",\n   \"claim_type\": \"allowed_inference\",\n   \"confidence\": \"high\",\n   \"evidence_id\": \"E025\",\n   \"prohibited_modes_en\": \"\",\n   \"quote\": \"건물 외벽에 나중에 덧붙인 철제 증축 계단 — 오픈 발판, 얇은 강판 스트링거, 파이프 난간\",\n   \"source\": \"Memo C consistency chain + CREATOR CORRECTIONS stair.desc_ko\",\n   \"summary_ko\": \"외부 계단은 약 3층 높이의 철제 증축 계단으로 검증해야 한다.\"\n  },\n  {\n   \"affected_shots\": [\n    \"S11_Shot4\"\n   ],\n   \"affected_space_en\": \"landing and iron door\",\n   \"allowed_inference_en\": \"The landing-to-iron-door frontal distance may be staged in the 2–5 m range, keeping an unobstructed eye-level view.\",\n   \"claim_type\": \"allowed_inference\",\n   \"confidence\": \"medium\",\n   \"evidence_id\": \"E026\",\n   \"prohibited_modes_en\": \"\",\n   \"quote\": \"\",\n   \"source\": \"Memo B good staging S11_4 / Memo C consistency chain\",\n   \"summary_ko\": \"랜딩에서 철문까지는 2~5m 정면 무차폐 시야가 허용된다.\"\n  },\n  {\n   \"affected_shots\": [\n    \"S4_Shot1\"\n   ],\n   \"affected_space_en\": \"neighborhood view\",\n   \"allowed_inference_en\": \"\",\n   \"claim_type\": \"prohibited_invention\",\n   \"confidence\": \"high\",\n   \"evidence_id\": \"E027\",\n   \"prohibited_modes_en\": \"numeric dimension invention\",\n   \"quote\": \"45m 상공\",\n   \"source\": \"B. 샷 staging 대조 판정, S4_1\",\n   \"summary_ko\": \"S4 부감에 45m라는 고도 수치를 붙이는 것은 원문 근거가 없다.\"\n  },\n  {\n   \"affected_shots\": [\n    \"S13_Shot3\",\n    \"S13_Shot5\",\n    \"S17_Shot1\"\n   ],\n   \"affected_space_en\": \"exterior air\",\n   \"allowed_inference_en\": \"\",\n   \"claim_type\": \"prohibited_invention\",\n   \"confidence\": \"high\",\n   \"evidence_id\": \"E028\",\n   \"prohibited_modes_en\": \"weather/fog invention\",\n   \"quote\": \"짙고 푸른 안개\",\n   \"source\": \"B. 샷 staging 대조 판정, S13·S17 / S17 desc\",\n   \"summary_ko\": \"S13과 S17의 안개, 특히 짙고 푸른 안개는 하류 발명이다.\"\n  },\n  {\n   \"affected_shots\": [\n    \"S10_Shot5\",\n    \"S10_Shot6\"\n   ],\n   \"affected_space_en\": \"lighting mood\",\n   \"allowed_inference_en\": \"\",\n   \"claim_type\": \"prohibited_invention\",\n   \"confidence\": \"high\",\n   \"evidence_id\": \"E029\",\n   \"prohibited_modes_en\": \"colour-mood propagation\",\n   \"quote\": \"sickly amber\",\n   \"source\": \"B. 샷 staging 대조 판정, S10_6 실내 램프 1개→다수 샷 전파\",\n   \"summary_ko\": \"S10_6의 실내 램프 근거를 다수 샷의 병든 앰버 무드로 확산하면 안 된다.\"\n  },\n  {\n   \"affected_shots\": [\n    \"S11_Shot3\",\n    \"S11_Shot4\"\n   ],\n   \"affected_space_en\": \"external stair\",\n   \"allowed_inference_en\": \"\",\n   \"claim_type\": \"prohibited_invention\",\n   \"confidence\": \"high\",\n   \"evidence_id\": \"E030\",\n   \"prohibited_modes_en\": \"material invention overridden by creator correction\",\n   \"quote\": \"narrow concrete staircase\",\n   \"source\": \"B. 샷 staging 대조 판정, S11_3 staging + CREATOR CORRECTIONS facts_extra\",\n   \"summary_ko\": \"S11_3의 콘크리트 계단 표기는 사용자 정정의 철제 증축 계단과 모순된다.\"\n  },\n  {\n   \"affected_shots\": [\n    \"S10_Shot5\",\n    \"S11_Shot3\",\n    \"S11_Shot4\",\n    \"S13_Shot3\",\n    \"S13_Shot5\",\n    \"S17_Shot1\",\n    \"S4_Shot1\"\n   ],\n   \"affected_space_en\": \"exterior surfaces\",\n   \"allowed_inference_en\": \"\",\n   \"claim_type\": \"prohibited_invention\",\n   \"confidence\": \"high\",\n   \"evidence_id\": \"E031\",\n   \"prohibited_modes_en\": \"surface condition without textual support\",\n   \"quote\": \"wet/damp 일괄 부여\",\n   \"source\": \"B. 샷 staging 대조 판정\",\n   \"summary_ko\": \"강우 원문이 없으므로 외부 표면을 일괄 젖거나 축축하게 만들면 안 된다.\"\n  },\n  {\n   \"affected_shots\": [\n    \"S10_Shot5\",\n    \"S11_Shot3\",\n    \"S11_Shot4\",\n    \"S13_Shot3\",\n    \"S13_Shot5\",\n    \"S17_Shot1\",\n    \"S4_Shot1\"\n   ],\n   \"affected_space_en\": \"building exterior\",\n   \"allowed_inference_en\": \"\",\n   \"claim_type\": \"prohibited_invention\",\n   \"confidence\": \"high\",\n   \"evidence_id\": \"E032\",\n   \"prohibited_modes_en\": \"plan-colour-to-material invention\",\n   \"quote\": \"uniform cement-gray mass\",\n   \"source\": \"CREATOR CORRECTIONS photo_appearance\",\n   \"summary_ko\": \"건물을 균일한 시멘트 회색 덩어리로 렌더링하면 안 된다.\"\n  },\n  {\n   \"affected_shots\": [\n    \"S10_Shot5\",\n    \"S11_Shot3\",\n    \"S11_Shot4\",\n    \"S13_Shot3\",\n    \"S13_Shot5\",\n    \"S17_Shot1\",\n    \"S4_Shot1\"\n   ],\n   \"affected_space_en\": \"building exterior\",\n   \"allowed_inference_en\": \"\",\n   \"claim_type\": \"prohibited_invention\",\n   \"confidence\": \"high\",\n   \"evidence_id\": \"E033\",\n   \"prohibited_modes_en\": \"plan-colour-to-material invention\",\n   \"quote\": \"copy the site plan's flat drawing colours as building materials\",\n   \"source\": \"CREATOR CORRECTIONS photo_appearance\",\n   \"summary_ko\": \"도면의 플랫 색을 실사 재질로 복사하는 방식은 금지된다.\"\n  },\n  {\n   \"affected_shots\": [\n    \"S10_Shot5\",\n    \"S11_Shot3\",\n    \"S11_Shot4\",\n    \"S13_Shot3\",\n    \"S13_Shot5\",\n    \"S17_Shot1\",\n    \"S4_Shot1\"\n   ],\n   \"affected_space_en\": \"building exterior\",\n   \"allowed_inference_en\": \"The property should be authored as a real existing aged multi-family villa with regional vernacular materials and varied lived-in aging; examples such as aged red brick, exterior tile cladding, cement mouldings/sills, weathered stucco patches, grime streaks, and a rusty steel retrofit stair are allowed appearance directions, not a mandate that every example appear.\",\n   \"claim_type\": \"allowed_inference\",\n   \"confidence\": \"high\",\n   \"evidence_id\": \"E034\",\n   \"prohibited_modes_en\": \"\",\n   \"quote\": \"render the property as a REAL, EXISTING aged multi-family villa with a rooftop dwelling of the exact regional type the production data describes\",\n   \"source\": \"CREATOR CORRECTIONS photo_appearance\",\n   \"summary_ko\": \"건물은 지역 전형의 낡은 다세대 빌라 실물감과 다양한 생활 흔적으로 구체화해야 한다.\"\n  }\n ],\n \"chain\": [\n  {\n   \"claim_refs\": [\n    \"E001\",\n    \"E007\",\n    \"E008\",\n    \"E024\"\n   ],\n   \"from_space_en\": \"alley road\",\n   \"link_id\": \"L01\",\n   \"relation_en\": \"straight sightline and short run to\",\n   \"summary_ko\": \"골목/이면도로 정차점과 계단 하단은 차량·자전거가 가능한 폭 안에서 10~30m 직선 시야로 연결된다.\",\n   \"to_space_en\": \"stair foot\"\n  },\n  {\n   \"claim_refs\": [\n    \"E002\",\n    \"E007\",\n    \"E010\"\n   ],\n   \"from_space_en\": \"stair foot\",\n   \"link_id\": \"L02\",\n   \"relation_en\": \"adjoins route to\",\n   \"summary_ko\": \"계단 하단 동선은 다세대 빌라의 여닫이 대문 진입 동선과 바로 이어져야 한다.\",\n   \"to_space_en\": \"villa gate\"\n  },\n  {\n   \"claim_refs\": [\n    \"E002\",\n    \"E003\"\n   ],\n   \"from_space_en\": \"villa gate\",\n   \"link_id\": \"L03\",\n   \"relation_en\": \"opens-into\",\n   \"summary_ko\": \"대문을 열고 들어오면 마당으로 진입한다.\",\n   \"to_space_en\": \"yard\"\n  },\n  {\n   \"claim_refs\": [\n    \"E003\",\n    \"E004\"\n   ],\n   \"from_space_en\": \"yard\",\n   \"link_id\": \"L04\",\n   \"relation_en\": \"adjoins\",\n   \"summary_ko\": \"마당에는 후미진 구석과 자전거 자리가 있으며 옥탑방 연결 계단과 직결된다.\",\n   \"to_space_en\": \"external stair\"\n  },\n  {\n   \"claim_refs\": [\n    \"E004\",\n    \"E005\",\n    \"E025\"\n   ],\n   \"from_space_en\": \"external stair\",\n   \"link_id\": \"L05\",\n   \"relation_en\": \"rises-to\",\n   \"summary_ko\": \"외부 철제 증축 계단은 마당에서 옥탑 랜딩까지 대략 3층 높이로 오른다.\",\n   \"to_space_en\": \"landing\"\n  },\n  {\n   \"claim_refs\": [\n    \"E006\",\n    \"E015\",\n    \"E026\"\n   ],\n   \"from_space_en\": \"landing\",\n   \"link_id\": \"L06\",\n   \"relation_en\": \"frontal sightline to\",\n   \"summary_ko\": \"랜딩에서는 2~5m 정면 거리의 반쯤 열린 철문과 전단지·바람 소리 디테일이 바로 보인다.\",\n   \"to_space_en\": \"iron door\"\n  },\n  {\n   \"claim_refs\": [\n    \"E006\",\n    \"E011\",\n    \"E012\",\n    \"E015\"\n   ],\n   \"from_space_en\": \"iron door\",\n   \"link_id\": \"L07\",\n   \"relation_en\": \"opens-into\",\n   \"summary_ko\": \"철문은 옥상면과 이어지고, 착지에서 철문으로 가는 길은 평상·빨랫줄·물탱크 인접 영역을 지난다.\",\n   \"to_space_en\": \"roof surface\"\n  },\n  {\n   \"claim_refs\": [\n    \"E012\",\n    \"E016\",\n    \"E023\"\n   ],\n   \"from_space_en\": \"roof surface\",\n   \"link_id\": \"L08\",\n   \"relation_en\": \"sightline and access adjacency to\",\n   \"summary_ko\": \"옥상면에서 옥탑 창들이 관계를 맺고, 거실 작은 창과 침실 커튼 창이 존재한다.\",\n   \"to_space_en\": \"rooftop windows\"\n  },\n  {\n   \"claim_refs\": [\n    \"E016\",\n    \"E017\"\n   ],\n   \"from_space_en\": \"rooftop windows\",\n   \"link_id\": \"L09\",\n   \"relation_en\": \"sightline to\",\n   \"summary_ko\": \"낮은 담은 고양이 동선이며 불 켜진 옥탑방 창과 서로 보이는 위치여야 한다.\",\n   \"to_space_en\": \"low wall\"\n  }\n ]\n}\n\nARTIFACT target=shot_description (S11_Shot3):\nscene_heading: S#11. 옥탑 방 밖 / N\ndescription: 계단 중간에 서서 심하게 코를 찡그린 수리영의 얼굴 클로즈업.\n\nARTIFACT target=staging (S11_Shot3) — full staging JSON:\n{\n \"camera_direction\": \"Midway up the narrow concrete staircase, the camera holds static very close to 수리영 from the front-left at face height, tightening into an intense close-up that leaves only a sliver of stair texture behind her. Her nose wrinkles hard at the sudden smell, eyes lifting toward the unseen rooftop landing while her halted climb compresses her shoulders into the frame.\",\n \"character_angles\": [\n  {\n   \"angle\": \"three_quarter_left\",\n   \"body_pose\": \"halted mid-stair climb\",\n   \"character\": \"수리영\",\n   \"gaze_direction_kind\": \"up\",\n   \"gaze_target_id\": null,\n   \"subject_state\": \"alive\"\n  }\n ],\n \"frame_spatial_contract\": null,\n \"framing_scale\": \"close\",\n \"key_bg_elements\": [\n  {\n   \"camera_use\": \"Minimal background texture that preserves the stair location without diluting the reaction.\",\n   \"directionality_class\": \"directional_3d\",\n   \"element\": \"narrow concrete staircase\",\n   \"orientation\": \"Only the side edge and riser texture angle behind her cheek, indicating the upward path to the rooftop.\",\n   \"state\": \"dark, damp, rough\"\n  },\n  {\n   \"camera_use\": \"Creates a suffocating side boundary close to her face.\",\n   \"directionality_class\": \"non_directional\",\n   \"element\": \"stairwell wall\",\n   \"orientation\": \"\",\n   \"state\": \"stained, cold, blue-gray\"\n  },\n  {\n   \"camera_use\": \"Suggests the unseen source direction through faint light above.\",\n   \"directionality_class\": \"non_directional\",\n   \"element\": \"rooftop darkness above the stairs\",\n   \"orientation\": \"\",\n   \"state\": \"unseen, heavy, foul implied\"\n  }\n ],\n \"lighting_mood\": \"A cold blue-gray stairwell wash sculpts her face while a faint amber rooftop spill catches the bridge of her nose, making the smell reaction feel physical and ominous.\",\n \"perception_mode\": \"direct\",\n \"perspective\": \"observer\",\n \"pov_character\": \"\",\n \"scene_index\": 11,\n \"shot_index\": 3,\n \"subject_reference_policy\": []\n}\n\nAudit every concrete world claim now."}
{"ts": "2026-07-08 00:09:23", "kind": "llm", "step": "s24_audit_S11_Shot4", "model": "gpt", "dur_s": 106.4, "system_prompt": "You are a continuity auditor. You get an EVIDENCE GRAPH\n(claims with evidence_ids: confirmed cues, allowed inference bounds,\nprohibited inventions; creator corrections override everything else) and one\nor more downstream ARTIFACTS for one shot or one layout dataset.\n\nFind every CONCRETE world claim in the artifacts — spatial relation,\nmaterial, weather/atmosphere, light colour/mood, surface condition, numeric\ndimension — and classify each against the graph:\n- \"supported\": restates a confirmed cue (cite the evidence_ids).\n- \"plausible_inference\": not directly evidenced but a reasonable directorial\n  concretization inside the allowed bounds and contradicting nothing. These\n  are GOOD — they must be kept.\n- \"unsupported_invention\": adds weather, mood colour, material, surface\n  condition or dimension that no claim supports (match a prohibited mode\n  where one applies).\n- \"contradiction\": conflicts with a confirmed cue or a creator correction.\n\nRules: claim_quote = an EXACT substring copied from the artifact (never\nparaphrase). location_en = which artifact field/part it sits in. Cite\nevidence_ids for the claims you compared against ([] only for pure\ninventions with no related claim). Ignore pure framing/lens/composition\nlanguage unless it asserts a world fact. Do not flag the same fact twice in\nthe same artifact unless the wording differs materially. repair_hint_en:\none short sentence on the minimal fix (only for unsupported_invention /\ncontradiction; \"\" otherwise). reasoning_ko: 한 줄 한국어 근거.\nsummary_ko: 2-3 문장 한국어 총평.", "user_prompt": "EVIDENCE GRAPH:\n{\n \"claims\": [\n  {\n   \"affected_shots\": [\n    \"S11_Shot3\",\n    \"S13_Shot3\"\n   ],\n   \"affected_space_en\": \"alley road\",\n   \"allowed_inference_en\": \"\",\n   \"claim_type\": \"confirmed_cue\",\n   \"confidence\": \"high\",\n   \"evidence_id\": \"E001\",\n   \"prohibited_modes_en\": \"\",\n   \"quote\": \"자전거를 타고 골목길을 달리는\",\n   \"source\": \"S#11\",\n   \"summary_ko\": \"골목은 자전거가 달릴 수 있는 폭과 노면을 가져야 한다.\"\n  },\n  {\n   \"affected_shots\": [\n    \"S11_Shot3\"\n   ],\n   \"affected_space_en\": \"villa gate\",\n   \"allowed_inference_en\": \"\",\n   \"claim_type\": \"confirmed_cue\",\n   \"confidence\": \"high\",\n   \"evidence_id\": \"E002\",\n   \"prohibited_modes_en\": \"\",\n   \"quote\": \"다세대 빌라 문을 열고 들어와\",\n   \"source\": \"S#11\",\n   \"summary_ko\": \"골목에서 다세대 빌라 문을 열고 직접 들어간다.\"\n  },\n  {\n   \"affected_shots\": [\n    \"S11_Shot3\"\n   ],\n   \"affected_space_en\": \"yard\",\n   \"allowed_inference_en\": \"\",\n   \"claim_type\": \"confirmed_cue\",\n   \"confidence\": \"high\",\n   \"evidence_id\": \"E003\",\n   \"prohibited_modes_en\": \"\",\n   \"quote\": \"마당 후미진 곳에 자전거를 대충 세우고\",\n   \"source\": \"S#11\",\n   \"summary_ko\": \"마당은 단순 평면이 아니라 자전거를 둘 후미진 구석을 포함한다.\"\n  },\n  {\n   \"affected_shots\": [\n    \"S11_Shot3\",\n    \"S11_Shot4\"\n   ],\n   \"affected_space_en\": \"external stair\",\n   \"allowed_inference_en\": \"\",\n   \"claim_type\": \"confirmed_cue\",\n   \"confidence\": \"high\",\n   \"evidence_id\": \"E004\",\n   \"prohibited_modes_en\": \"\",\n   \"quote\": \"옥탑방과 연결되는 계단을 급히 오른다\",\n   \"source\": \"S#11\",\n   \"summary_ko\": \"마당에서 옥탑방으로 이어지는 계단이 직접 연결된다.\"\n  },\n  {\n   \"affected_shots\": [\n    \"S11_Shot4\"\n   ],\n   \"affected_space_en\": \"upper stair\",\n   \"allowed_inference_en\": \"\",\n   \"claim_type\": \"confirmed_cue\",\n   \"confidence\": \"high\",\n   \"evidence_id\": \"E005\",\n   \"prohibited_modes_en\": \"\",\n   \"quote\": \"갑자기 훅- 역겨운 냄새\",\n   \"source\": \"S#11 계단 중간\",\n   \"summary_ko\": \"계단 중간 또는 상부는 옥탑 현관과 냄새가 닿을 만큼 가깝다.\"\n  },\n  {\n   \"affected_shots\": [\n    \"S11_Shot4\"\n   ],\n   \"affected_space_en\": \"landing and iron door\",\n   \"allowed_inference_en\": \"\",\n   \"claim_type\": \"confirmed_cue\",\n   \"confidence\": \"high\",\n   \"evidence_id\": \"E006\",\n   \"prohibited_modes_en\": \"\",\n   \"quote\": \"옥상에 올라와 보니 반쯤 열린 현관 철문\",\n   \"source\": \"S#11\",\n   \"summary_ko\": \"계단 착지점에서는 반쯤 열린 현관 철문이 즉시 보여야 한다.\"\n  },\n  {\n   \"affected_shots\": [\n    \"S13_Shot3\"\n   ],\n   \"affected_space_en\": \"alley road and stair foot\",\n   \"allowed_inference_en\": \"\",\n   \"claim_type\": \"confirmed_cue\",\n   \"confidence\": \"high\",\n   \"evidence_id\": \"E007\",\n   \"prohibited_modes_en\": \"\",\n   \"quote\": \"계단을 내려간다. 동시에 사이렌~ (포즈). 차에서 내린 혜수... 수리영의 모습을 발견하고 달려간다\",\n   \"source\": \"S#13\",\n   \"summary_ko\": \"경찰차는 진입·정차 가능한 골목에 서고 정차점에서 계단 하단 쪽 수리영이 보여야 한다.\"\n  },\n  {\n   \"affected_shots\": [\n    \"S13_Shot3\"\n   ],\n   \"affected_space_en\": \"alley road and stair foot\",\n   \"allowed_inference_en\": \"The stop point and stair foot may be staged as an unobstructed straight sightline at approximately 10–30 m, a validation range rather than a hard measurement.\",\n   \"claim_type\": \"allowed_inference\",\n   \"confidence\": \"medium\",\n   \"evidence_id\": \"E008\",\n   \"prohibited_modes_en\": \"\",\n   \"quote\": \"\",\n   \"source\": \"Memo C consistency chain from S#13 cue\",\n   \"summary_ko\": \"정차점과 계단 하단 사이는 약 10~30m 직선 시야 범위로 허용된다.\"\n  },\n  {\n   \"affected_shots\": [\n    \"S13_Shot5\"\n   ],\n   \"affected_space_en\": \"stair foot\",\n   \"allowed_inference_en\": \"\",\n   \"claim_type\": \"confirmed_cue\",\n   \"confidence\": \"high\",\n   \"evidence_id\": \"E009\",\n   \"prohibited_modes_en\": \"\",\n   \"quote\": \"수리영 (올라다보며)\",\n   \"source\": \"S#13\",\n   \"summary_ko\": \"수리영은 낮은 자세에 있고 혜수는 위에서 보이는 상하 구도가 성립한다.\"\n  },\n  {\n   \"affected_shots\": [\n    \"S13_Shot3\",\n    \"S13_Shot5\"\n   ],\n   \"affected_space_en\": \"stair entry\",\n   \"allowed_inference_en\": \"\",\n   \"claim_type\": \"confirmed_cue\",\n   \"confidence\": \"high\",\n   \"evidence_id\": \"E010\",\n   \"prohibited_modes_en\": \"\",\n   \"quote\": \"옥탑 방으로 뛰어 올라가는 혜수와 김형사\",\n   \"source\": \"S#13\",\n   \"summary_ko\": \"정차 지점에서 계단 진입과 옥탑으로 뛰어오르는 동선이 즉시 가능해야 한다.\"\n  },\n  {\n   \"affected_shots\": [\n    \"S10_Shot5\"\n   ],\n   \"affected_space_en\": \"roof surface\",\n   \"allowed_inference_en\": \"\",\n   \"claim_type\": \"confirmed_cue\",\n   \"confidence\": \"high\",\n   \"evidence_id\": \"E011\",\n   \"prohibited_modes_en\": \"\",\n   \"quote\": \"옥상. 물탱크. 빨랫줄 툭-툭- 평상에 말린 석창포\",\n   \"source\": \"S#10\",\n   \"summary_ko\": \"옥상에는 물탱크, 빨랫줄, 석창포 말린 평상이 실재한다.\"\n  },\n  {\n   \"affected_shots\": [\n    \"S10_Shot5\",\n    \"S11_Shot4\"\n   ],\n   \"affected_space_en\": \"roof path\",\n   \"allowed_inference_en\": \"\",\n   \"claim_type\": \"confirmed_cue\",\n   \"confidence\": \"high\",\n   \"evidence_id\": \"E012\",\n   \"prohibited_modes_en\": \"\",\n   \"quote\": \"말린 잎이 걸어오는 남자의 신발 위를 스친다... 신발은 철문 현관 앞에 멈춰\",\n   \"source\": \"S#10\",\n   \"summary_ko\": \"계단 착지에서 철문으로 가는 접근로는 평상과 빨랫줄 곁을 지나야 한다.\"\n  },\n  {\n   \"affected_shots\": [\n    \"S10_Shot5\"\n   ],\n   \"affected_space_en\": \"roof lighting\",\n   \"allowed_inference_en\": \"\",\n   \"claim_type\": \"confirmed_cue\",\n   \"confidence\": \"high\",\n   \"evidence_id\": \"E013\",\n   \"prohibited_modes_en\": \"\",\n   \"quote\": \"남자의 긴 그림자\",\n   \"source\": \"S#10\",\n   \"summary_ko\": \"밤 장면에는 긴 그림자를 만드는 낮은 각도의 광원이 존재한다.\"\n  },\n  {\n   \"affected_shots\": [\n    \"S10_Shot5\"\n   ],\n   \"affected_space_en\": \"roof lighting\",\n   \"allowed_inference_en\": \"A low-angle night light source such as a streetlight or entrance-grade lamp is allowed; this does not license a broad amber colour mood across unrelated shots.\",\n   \"claim_type\": \"allowed_inference\",\n   \"confidence\": \"medium\",\n   \"evidence_id\": \"E014\",\n   \"prohibited_modes_en\": \"\",\n   \"quote\": \"\",\n   \"source\": \"Memo A item 12\",\n   \"summary_ko\": \"긴 그림자는 낮은 각도 광원을 허용하지만 전역 색무드 근거는 아니다.\"\n  },\n  {\n   \"affected_shots\": [\n    \"S10_Shot5\",\n    \"S11_Shot4\"\n   ],\n   \"affected_space_en\": \"iron door\",\n   \"allowed_inference_en\": \"\",\n   \"claim_type\": \"confirmed_cue\",\n   \"confidence\": \"high\",\n   \"evidence_id\": \"E015\",\n   \"prohibited_modes_en\": \"\",\n   \"quote\": \"문틈에 낀 광고 전단지 / 바람에 현관문 소리. 황량하다\",\n   \"source\": \"S#10 / S#27\",\n   \"summary_ko\": \"철문에는 문틈 전단지와 바람에 덜컹이는 소리 디테일이 있어야 한다.\"\n  },\n  {\n   \"affected_shots\": [\n    \"S17_Shot1\"\n   ],\n   \"affected_space_en\": \"low wall and window\",\n   \"allowed_inference_en\": \"\",\n   \"claim_type\": \"confirmed_cue\",\n   \"confidence\": \"high\",\n   \"evidence_id\": \"E016\",\n   \"prohibited_modes_en\": \"\",\n   \"quote\": \"검은 고양이가 불이 켜져 있는 옥탑 방을 슬쩍 보더니 담을 넘는다\",\n   \"source\": \"S#17\",\n   \"summary_ko\": \"고양이가 넘는 낮은 담과 불 켜진 옥탑방 창 사이에 시선이 성립한다.\"\n  },\n  {\n   \"affected_shots\": [\n    \"S17_Shot1\"\n   ],\n   \"affected_space_en\": \"low wall\",\n   \"allowed_inference_en\": \"The wall height should be low enough for a cat to cross and placed so the lit rooftop-room window remains visible over or through the wall relationship.\",\n   \"claim_type\": \"allowed_inference\",\n   \"confidence\": \"medium\",\n   \"evidence_id\": \"E017\",\n   \"prohibited_modes_en\": \"\",\n   \"quote\": \"\",\n   \"source\": \"Memo A item 14 / Memo C\",\n   \"summary_ko\": \"담은 고양이가 넘을 수 있고 창과 가시선이 이어지는 정도로 낮아야 한다.\"\n  },\n  {\n   \"affected_shots\": [\n    \"S4_Shot1\"\n   ],\n   \"affected_space_en\": \"neighborhood view\",\n   \"allowed_inference_en\": \"\",\n   \"claim_type\": \"confirmed_cue\",\n   \"confidence\": \"high\",\n   \"evidence_id\": \"E018\",\n   \"prohibited_modes_en\": \"\",\n   \"quote\": \"인천 변두리 부감, 오래된 빌라 옥탑방 전경\",\n   \"source\": \"S#4\",\n   \"summary_ko\": \"인천 변두리의 오래된 빌라 옥탑방을 부감 전경으로 볼 수 있어야 한다.\"\n  },\n  {\n   \"affected_shots\": [\n    \"S4_Shot1\"\n   ],\n   \"affected_space_en\": \"surroundings\",\n   \"allowed_inference_en\": \"A bird's-eye rooftop-villa view supports surrounding dense low-rise fabric; it does not supply an exact altitude.\",\n   \"claim_type\": \"allowed_inference\",\n   \"confidence\": \"medium\",\n   \"evidence_id\": \"E019\",\n   \"prohibited_modes_en\": \"\",\n   \"quote\": \"\",\n   \"source\": \"Memo A item 15\",\n   \"summary_ko\": \"부감 전경은 저층 밀집 맥락을 허용하지만 정확한 고도 수치는 주지 않는다.\"\n  },\n  {\n   \"affected_shots\": [\n    \"S4_Shot1\"\n   ],\n   \"affected_space_en\": \"regional context\",\n   \"allowed_inference_en\": \"\",\n   \"claim_type\": \"confirmed_cue\",\n   \"confidence\": \"high\",\n   \"evidence_id\": \"E020\",\n   \"prohibited_modes_en\": \"\",\n   \"quote\": \"조그만 도시... 바다가 가까워서\",\n   \"source\": \"S#5\",\n   \"summary_ko\": \"장소는 바다가 가까운 조그만 도시 맥락을 가진다.\"\n  },\n  {\n   \"affected_shots\": [\n    \"S4_Shot1\"\n   ],\n   \"affected_space_en\": \"atmosphere\",\n   \"allowed_inference_en\": \"Sea proximity may inform only a general atmospheric degree; it is not evidence for applying a coastal mood to every shot.\",\n   \"claim_type\": \"allowed_inference\",\n   \"confidence\": \"medium\",\n   \"evidence_id\": \"E021\",\n   \"prohibited_modes_en\": \"\",\n   \"quote\": \"\",\n   \"source\": \"Memo A item 16\",\n   \"summary_ko\": \"바다 인접성은 대기 정도의 근거일 뿐 매 샷 해안 무드는 아니다.\"\n  },\n  {\n   \"affected_shots\": [],\n   \"affected_space_en\": \"local services\",\n   \"allowed_inference_en\": \"\",\n   \"claim_type\": \"confirmed_cue\",\n   \"confidence\": \"high\",\n   \"evidence_id\": \"E022\",\n   \"prohibited_modes_en\": \"\",\n   \"quote\": \"끝나고 마트로 갈게 / 이따가 1시 타임\",\n   \"source\": \"S#5\",\n   \"summary_ko\": \"민숙의 직장인 마트는 생활권 거리 안에 있다.\"\n  },\n  {\n   \"affected_shots\": [\n    \"S10_Shot6\",\n    \"S17_Shot1\"\n   ],\n   \"affected_space_en\": \"rooftop room windows\",\n   \"allowed_inference_en\": \"\",\n   \"claim_type\": \"confirmed_cue\",\n   \"confidence\": \"high\",\n   \"evidence_id\": \"E023\",\n   \"prohibited_modes_en\": \"\",\n   \"quote\": \"작은 창 / 수리영 방 커튼 창·욕실 존재\",\n   \"source\": \"S#5·S#25 거실 / S#18\",\n   \"summary_ko\": \"옥탑 내부에는 거실 작은 창과 수리영 방 커튼 창, 욕실이 존재한다.\"\n  },\n  {\n   \"affected_shots\": [\n    \"S11_Shot3\",\n    \"S13_Shot3\"\n   ],\n   \"affected_space_en\": \"alley road\",\n   \"allowed_inference_en\": \"The alley/side road may be treated as roughly 3 m class in width because it must accept both bicycle travel and police-car approach/stop; this is a validation class, not an exact dimension.\",\n   \"claim_type\": \"allowed_inference\",\n   \"confidence\": \"medium\",\n   \"evidence_id\": \"E024\",\n   \"prohibited_modes_en\": \"\",\n   \"quote\": \"\",\n   \"source\": \"Memo C consistency chain from S#11 and S#13 cues\",\n   \"summary_ko\": \"골목 폭은 자전거와 차량 정차가 가능한 약 3m급으로 검증할 수 있다.\"\n  },\n  {\n   \"affected_shots\": [\n    \"S11_Shot3\",\n    \"S11_Shot4\"\n   ],\n   \"affected_space_en\": \"external stair\",\n   \"allowed_inference_en\": \"The exterior stair may be validated as a later-added steel retrofit stair rising about three floors, roughly 8–10 m vertical; creator correction requires steel retrofit construction and rejects concrete/cement.\",\n   \"claim_type\": \"allowed_inference\",\n   \"confidence\": \"high\",\n   \"evidence_id\": \"E025\",\n   \"prohibited_modes_en\": \"\",\n   \"quote\": \"건물 외벽에 나중에 덧붙인 철제 증축 계단 — 오픈 발판, 얇은 강판 스트링거, 파이프 난간\",\n   \"source\": \"Memo C consistency chain + CREATOR CORRECTIONS stair.desc_ko\",\n   \"summary_ko\": \"외부 계단은 약 3층 높이의 철제 증축 계단으로 검증해야 한다.\"\n  },\n  {\n   \"affected_shots\": [\n    \"S11_Shot4\"\n   ],\n   \"affected_space_en\": \"landing and iron door\",\n   \"allowed_inference_en\": \"The landing-to-iron-door frontal distance may be staged in the 2–5 m range, keeping an unobstructed eye-level view.\",\n   \"claim_type\": \"allowed_inference\",\n   \"confidence\": \"medium\",\n   \"evidence_id\": \"E026\",\n   \"prohibited_modes_en\": \"\",\n   \"quote\": \"\",\n   \"source\": \"Memo B good staging S11_4 / Memo C consistency chain\",\n   \"summary_ko\": \"랜딩에서 철문까지는 2~5m 정면 무차폐 시야가 허용된다.\"\n  },\n  {\n   \"affected_shots\": [\n    \"S4_Shot1\"\n   ],\n   \"affected_space_en\": \"neighborhood view\",\n   \"allowed_inference_en\": \"\",\n   \"claim_type\": \"prohibited_invention\",\n   \"confidence\": \"high\",\n   \"evidence_id\": \"E027\",\n   \"prohibited_modes_en\": \"numeric dimension invention\",\n   \"quote\": \"45m 상공\",\n   \"source\": \"B. 샷 staging 대조 판정, S4_1\",\n   \"summary_ko\": \"S4 부감에 45m라는 고도 수치를 붙이는 것은 원문 근거가 없다.\"\n  },\n  {\n   \"affected_shots\": [\n    \"S13_Shot3\",\n    \"S13_Shot5\",\n    \"S17_Shot1\"\n   ],\n   \"affected_space_en\": \"exterior air\",\n   \"allowed_inference_en\": \"\",\n   \"claim_type\": \"prohibited_invention\",\n   \"confidence\": \"high\",\n   \"evidence_id\": \"E028\",\n   \"prohibited_modes_en\": \"weather/fog invention\",\n   \"quote\": \"짙고 푸른 안개\",\n   \"source\": \"B. 샷 staging 대조 판정, S13·S17 / S17 desc\",\n   \"summary_ko\": \"S13과 S17의 안개, 특히 짙고 푸른 안개는 하류 발명이다.\"\n  },\n  {\n   \"affected_shots\": [\n    \"S10_Shot5\",\n    \"S10_Shot6\"\n   ],\n   \"affected_space_en\": \"lighting mood\",\n   \"allowed_inference_en\": \"\",\n   \"claim_type\": \"prohibited_invention\",\n   \"confidence\": \"high\",\n   \"evidence_id\": \"E029\",\n   \"prohibited_modes_en\": \"colour-mood propagation\",\n   \"quote\": \"sickly amber\",\n   \"source\": \"B. 샷 staging 대조 판정, S10_6 실내 램프 1개→다수 샷 전파\",\n   \"summary_ko\": \"S10_6의 실내 램프 근거를 다수 샷의 병든 앰버 무드로 확산하면 안 된다.\"\n  },\n  {\n   \"affected_shots\": [\n    \"S11_Shot3\",\n    \"S11_Shot4\"\n   ],\n   \"affected_space_en\": \"external stair\",\n   \"allowed_inference_en\": \"\",\n   \"claim_type\": \"prohibited_invention\",\n   \"confidence\": \"high\",\n   \"evidence_id\": \"E030\",\n   \"prohibited_modes_en\": \"material invention overridden by creator correction\",\n   \"quote\": \"narrow concrete staircase\",\n   \"source\": \"B. 샷 staging 대조 판정, S11_3 staging + CREATOR CORRECTIONS facts_extra\",\n   \"summary_ko\": \"S11_3의 콘크리트 계단 표기는 사용자 정정의 철제 증축 계단과 모순된다.\"\n  },\n  {\n   \"affected_shots\": [\n    \"S10_Shot5\",\n    \"S11_Shot3\",\n    \"S11_Shot4\",\n    \"S13_Shot3\",\n    \"S13_Shot5\",\n    \"S17_Shot1\",\n    \"S4_Shot1\"\n   ],\n   \"affected_space_en\": \"exterior surfaces\",\n   \"allowed_inference_en\": \"\",\n   \"claim_type\": \"prohibited_invention\",\n   \"confidence\": \"high\",\n   \"evidence_id\": \"E031\",\n   \"prohibited_modes_en\": \"surface condition without textual support\",\n   \"quote\": \"wet/damp 일괄 부여\",\n   \"source\": \"B. 샷 staging 대조 판정\",\n   \"summary_ko\": \"강우 원문이 없으므로 외부 표면을 일괄 젖거나 축축하게 만들면 안 된다.\"\n  },\n  {\n   \"affected_shots\": [\n    \"S10_Shot5\",\n    \"S11_Shot3\",\n    \"S11_Shot4\",\n    \"S13_Shot3\",\n    \"S13_Shot5\",\n    \"S17_Shot1\",\n    \"S4_Shot1\"\n   ],\n   \"affected_space_en\": \"building exterior\",\n   \"allowed_inference_en\": \"\",\n   \"claim_type\": \"prohibited_invention\",\n   \"confidence\": \"high\",\n   \"evidence_id\": \"E032\",\n   \"prohibited_modes_en\": \"plan-colour-to-material invention\",\n   \"quote\": \"uniform cement-gray mass\",\n   \"source\": \"CREATOR CORRECTIONS photo_appearance\",\n   \"summary_ko\": \"건물을 균일한 시멘트 회색 덩어리로 렌더링하면 안 된다.\"\n  },\n  {\n   \"affected_shots\": [\n    \"S10_Shot5\",\n    \"S11_Shot3\",\n    \"S11_Shot4\",\n    \"S13_Shot3\",\n    \"S13_Shot5\",\n    \"S17_Shot1\",\n    \"S4_Shot1\"\n   ],\n   \"affected_space_en\": \"building exterior\",\n   \"allowed_inference_en\": \"\",\n   \"claim_type\": \"prohibited_invention\",\n   \"confidence\": \"high\",\n   \"evidence_id\": \"E033\",\n   \"prohibited_modes_en\": \"plan-colour-to-material invention\",\n   \"quote\": \"copy the site plan's flat drawing colours as building materials\",\n   \"source\": \"CREATOR CORRECTIONS photo_appearance\",\n   \"summary_ko\": \"도면의 플랫 색을 실사 재질로 복사하는 방식은 금지된다.\"\n  },\n  {\n   \"affected_shots\": [\n    \"S10_Shot5\",\n    \"S11_Shot3\",\n    \"S11_Shot4\",\n    \"S13_Shot3\",\n    \"S13_Shot5\",\n    \"S17_Shot1\",\n    \"S4_Shot1\"\n   ],\n   \"affected_space_en\": \"building exterior\",\n   \"allowed_inference_en\": \"The property should be authored as a real existing aged multi-family villa with regional vernacular materials and varied lived-in aging; examples such as aged red brick, exterior tile cladding, cement mouldings/sills, weathered stucco patches, grime streaks, and a rusty steel retrofit stair are allowed appearance directions, not a mandate that every example appear.\",\n   \"claim_type\": \"allowed_inference\",\n   \"confidence\": \"high\",\n   \"evidence_id\": \"E034\",\n   \"prohibited_modes_en\": \"\",\n   \"quote\": \"render the property as a REAL, EXISTING aged multi-family villa with a rooftop dwelling of the exact regional type the production data describes\",\n   \"source\": \"CREATOR CORRECTIONS photo_appearance\",\n   \"summary_ko\": \"건물은 지역 전형의 낡은 다세대 빌라 실물감과 다양한 생활 흔적으로 구체화해야 한다.\"\n  }\n ],\n \"chain\": [\n  {\n   \"claim_refs\": [\n    \"E001\",\n    \"E007\",\n    \"E008\",\n    \"E024\"\n   ],\n   \"from_space_en\": \"alley road\",\n   \"link_id\": \"L01\",\n   \"relation_en\": \"straight sightline and short run to\",\n   \"summary_ko\": \"골목/이면도로 정차점과 계단 하단은 차량·자전거가 가능한 폭 안에서 10~30m 직선 시야로 연결된다.\",\n   \"to_space_en\": \"stair foot\"\n  },\n  {\n   \"claim_refs\": [\n    \"E002\",\n    \"E007\",\n    \"E010\"\n   ],\n   \"from_space_en\": \"stair foot\",\n   \"link_id\": \"L02\",\n   \"relation_en\": \"adjoins route to\",\n   \"summary_ko\": \"계단 하단 동선은 다세대 빌라의 여닫이 대문 진입 동선과 바로 이어져야 한다.\",\n   \"to_space_en\": \"villa gate\"\n  },\n  {\n   \"claim_refs\": [\n    \"E002\",\n    \"E003\"\n   ],\n   \"from_space_en\": \"villa gate\",\n   \"link_id\": \"L03\",\n   \"relation_en\": \"opens-into\",\n   \"summary_ko\": \"대문을 열고 들어오면 마당으로 진입한다.\",\n   \"to_space_en\": \"yard\"\n  },\n  {\n   \"claim_refs\": [\n    \"E003\",\n    \"E004\"\n   ],\n   \"from_space_en\": \"yard\",\n   \"link_id\": \"L04\",\n   \"relation_en\": \"adjoins\",\n   \"summary_ko\": \"마당에는 후미진 구석과 자전거 자리가 있으며 옥탑방 연결 계단과 직결된다.\",\n   \"to_space_en\": \"external stair\"\n  },\n  {\n   \"claim_refs\": [\n    \"E004\",\n    \"E005\",\n    \"E025\"\n   ],\n   \"from_space_en\": \"external stair\",\n   \"link_id\": \"L05\",\n   \"relation_en\": \"rises-to\",\n   \"summary_ko\": \"외부 철제 증축 계단은 마당에서 옥탑 랜딩까지 대략 3층 높이로 오른다.\",\n   \"to_space_en\": \"landing\"\n  },\n  {\n   \"claim_refs\": [\n    \"E006\",\n    \"E015\",\n    \"E026\"\n   ],\n   \"from_space_en\": \"landing\",\n   \"link_id\": \"L06\",\n   \"relation_en\": \"frontal sightline to\",\n   \"summary_ko\": \"랜딩에서는 2~5m 정면 거리의 반쯤 열린 철문과 전단지·바람 소리 디테일이 바로 보인다.\",\n   \"to_space_en\": \"iron door\"\n  },\n  {\n   \"claim_refs\": [\n    \"E006\",\n    \"E011\",\n    \"E012\",\n    \"E015\"\n   ],\n   \"from_space_en\": \"iron door\",\n   \"link_id\": \"L07\",\n   \"relation_en\": \"opens-into\",\n   \"summary_ko\": \"철문은 옥상면과 이어지고, 착지에서 철문으로 가는 길은 평상·빨랫줄·물탱크 인접 영역을 지난다.\",\n   \"to_space_en\": \"roof surface\"\n  },\n  {\n   \"claim_refs\": [\n    \"E012\",\n    \"E016\",\n    \"E023\"\n   ],\n   \"from_space_en\": \"roof surface\",\n   \"link_id\": \"L08\",\n   \"relation_en\": \"sightline and access adjacency to\",\n   \"summary_ko\": \"옥상면에서 옥탑 창들이 관계를 맺고, 거실 작은 창과 침실 커튼 창이 존재한다.\",\n   \"to_space_en\": \"rooftop windows\"\n  },\n  {\n   \"claim_refs\": [\n    \"E016\",\n    \"E017\"\n   ],\n   \"from_space_en\": \"rooftop windows\",\n   \"link_id\": \"L09\",\n   \"relation_en\": \"sightline to\",\n   \"summary_ko\": \"낮은 담은 고양이 동선이며 불 켜진 옥탑방 창과 서로 보이는 위치여야 한다.\",\n   \"to_space_en\": \"low wall\"\n  }\n ]\n}\n\nARTIFACT target=shot_description (S11_Shot4):\nscene_heading: S#11. 옥탑 방 밖 / N\ndescription: 옥상 위, 어둠 속에 반쯤 열려 멈춰 있는 옥탑방 현관 철문의 정적 구도.\n\nARTIFACT target=staging (S11_Shot4) — full staging JSON:\n{\n \"camera_direction\": \"After the hard eyeline cut, the camera adopts 수리영’s direct viewpoint from the rooftop landing, several meters from the entrance and at human eye level, facing the iron front door squarely. The half-open door is held in rigid symmetry at the center of the frame, surrounded by still rooftop darkness, with no figure entering to relieve the threat.\",\n \"character_angles\": [],\n \"frame_spatial_contract\": {\n  \"constraints\": [\n   {\n    \"depth_plane\": \"background\",\n    \"gesture_action\": \"none\",\n    \"gesture_target_label\": \"\",\n    \"label\": \"half-open rooftop iron door\",\n    \"screen_zone\": \"middle_center\",\n    \"target_id\": \"\",\n    \"target_kind\": \"background\"\n   }\n  ],\n  \"reason\": \"required_background_position\"\n },\n \"framing_scale\": \"wide\",\n \"key_bg_elements\": [\n  {\n   \"camera_use\": \"Central reveal and source of unease, held motionless after her smell reaction.\",\n   \"directionality_class\": \"directional_3d\",\n   \"element\": \"rooftop room iron front door\",\n   \"orientation\": \"The door faces camera squarely but hangs half-open, exposing a narrow black interior gap along one side.\",\n   \"state\": \"half-open, frozen, scratched\"\n  },\n  {\n   \"camera_use\": \"Frames the doorway in isolated negative space.\",\n   \"directionality_class\": \"non_directional\",\n   \"element\": \"rooftop landing darkness\",\n   \"orientation\": \"\",\n   \"state\": \"still, damp, blue-black\"\n  },\n  {\n   \"camera_use\": \"Adds rough domestic rooftop texture without drawing attention from the door.\",\n   \"directionality_class\": \"directional_3d\",\n   \"element\": \"low rooftop wall\",\n   \"orientation\": \"Its top edge runs horizontally across the lower background, barely lit against the night.\",\n   \"state\": \"wet-stained, concrete, motionless\"\n  }\n ],\n \"lighting_mood\": \"Muted moon-blue darkness surrounds the door, with a thin sickly amber leak from inside making the opening feel contaminated rather than welcoming.\",\n \"perception_mode\": \"direct\",\n \"perspective\": \"subjective_pov\",\n \"pov_character\": \"수리영\",\n \"scene_index\": 11,\n \"shot_index\": 4,\n \"subject_reference_policy\": []\n}\n\nARTIFACT target=still_prompt (S11_Shot4) — the full image prompt actually used:\nPhotorealistic cinematic still.\n\nReference image 1: pre-rendered BACKGROUND environment reference — layout/material/lighting identity\n\nThe half-open rooftop iron door is positioned in the middle-center background, viewed squarely from a direct eye-level subjective viewpoint across the damp landing. The environment is enveloped in a cold, muted blue-gray darkness. Contrasting this ambient shadow, a faint and sickly amber light spills outward from the black interior gap along one side of the door, casting an ominous and contaminated glow across the wet-stained concrete wall and the horizontal edge of the low parapet in the lower frame. The camera focuses entirely on the motionless threshold, isolating the doorway within the silent negative space of the rooftop.\n\nGenerate one image:\n- use image 1 for this location's wall/floor/ceiling materials, furniture identity, and lighting mood\n- follow the camera position, framing, and action requested in the prompt text — do NOT copy the camera position or composition of image 1 unless the prompt explicitly asks for it\n- do NOT copy any people from image 1\n- architectural openings (doors, windows, thresholds) must match image 1 — same position, type, and material; do NOT invent additional doors or windows unless the prompt text explicitly asks for them\n- if the prompt text places the camera inside or at one of these openings, camera-side walls and door/window frames may appear only as local foreground edges — do NOT show the same opening again in the scene, and do NOT show the exterior facade of the structure that contains the camera out in front of it\n- do not copy poses or compositions from reference images\n- do not alter character identities where their face is visible in the scene\n- each character's clothing/outfit must match that character's appearance reference image EXACTLY; if any clothing wording in the text conflicts with the reference image, follow the reference image and ignore that wording\n- only render what the scene description asks for — if only a hand or wrist is described, do NOT add the character's face\n- CRITICAL: Only render what the scene description explicitly describes. If a character's face is visible in the scene, match it to the reference. If only a body part is shown, do NOT add the face.\n- CRITICAL: Output exactly ONE single continuous photograph of ONE moment — never a panel grid, collage, contact sheet, split-screen, storyboard sheet, or multiple sub-frames inside one image.\n- CRITICAL: Every person must be physically grounded and weight-bearing — in real contact with a supporting surface, with body weight visibly carried by that contact. For a figure caught mid-action (falling, stumbling, collapsing, jumping off something), render a physically plausible instant: joints bent, weight clearly transferring, at least one believable point of contact or support — never a rigid body hovering, tilted or suspended in mid-air without support.\n\nAudit every concrete world claim now."}
{"ts": "2026-07-08 00:11:08", "kind": "llm", "step": "s24_audit_S13_Shot3", "model": "gpt", "dur_s": 105.1, "system_prompt": "You are a continuity auditor. You get an EVIDENCE GRAPH\n(claims with evidence_ids: confirmed cues, allowed inference bounds,\nprohibited inventions; creator corrections override everything else) and one\nor more downstream ARTIFACTS for one shot or one layout dataset.\n\nFind every CONCRETE world claim in the artifacts — spatial relation,\nmaterial, weather/atmosphere, light colour/mood, surface condition, numeric\ndimension — and classify each against the graph:\n- \"supported\": restates a confirmed cue (cite the evidence_ids).\n- \"plausible_inference\": not directly evidenced but a reasonable directorial\n  concretization inside the allowed bounds and contradicting nothing. These\n  are GOOD — they must be kept.\n- \"unsupported_invention\": adds weather, mood colour, material, surface\n  condition or dimension that no claim supports (match a prohibited mode\n  where one applies).\n- \"contradiction\": conflicts with a confirmed cue or a creator correction.\n\nRules: claim_quote = an EXACT substring copied from the artifact (never\nparaphrase). location_en = which artifact field/part it sits in. Cite\nevidence_ids for the claims you compared against ([] only for pure\ninventions with no related claim). Ignore pure framing/lens/composition\nlanguage unless it asserts a world fact. Do not flag the same fact twice in\nthe same artifact unless the wording differs materially. repair_hint_en:\none short sentence on the minimal fix (only for unsupported_invention /\ncontradiction; \"\" otherwise). reasoning_ko: 한 줄 한국어 근거.\nsummary_ko: 2-3 문장 한국어 총평.", "user_prompt": "EVIDENCE GRAPH:\n{\n \"claims\": [\n  {\n   \"affected_shots\": [\n    \"S11_Shot3\",\n    \"S13_Shot3\"\n   ],\n   \"affected_space_en\": \"alley road\",\n   \"allowed_inference_en\": \"\",\n   \"claim_type\": \"confirmed_cue\",\n   \"confidence\": \"high\",\n   \"evidence_id\": \"E001\",\n   \"prohibited_modes_en\": \"\",\n   \"quote\": \"자전거를 타고 골목길을 달리는\",\n   \"source\": \"S#11\",\n   \"summary_ko\": \"골목은 자전거가 달릴 수 있는 폭과 노면을 가져야 한다.\"\n  },\n  {\n   \"affected_shots\": [\n    \"S11_Shot3\"\n   ],\n   \"affected_space_en\": \"villa gate\",\n   \"allowed_inference_en\": \"\",\n   \"claim_type\": \"confirmed_cue\",\n   \"confidence\": \"high\",\n   \"evidence_id\": \"E002\",\n   \"prohibited_modes_en\": \"\",\n   \"quote\": \"다세대 빌라 문을 열고 들어와\",\n   \"source\": \"S#11\",\n   \"summary_ko\": \"골목에서 다세대 빌라 문을 열고 직접 들어간다.\"\n  },\n  {\n   \"affected_shots\": [\n    \"S11_Shot3\"\n   ],\n   \"affected_space_en\": \"yard\",\n   \"allowed_inference_en\": \"\",\n   \"claim_type\": \"confirmed_cue\",\n   \"confidence\": \"high\",\n   \"evidence_id\": \"E003\",\n   \"prohibited_modes_en\": \"\",\n   \"quote\": \"마당 후미진 곳에 자전거를 대충 세우고\",\n   \"source\": \"S#11\",\n   \"summary_ko\": \"마당은 단순 평면이 아니라 자전거를 둘 후미진 구석을 포함한다.\"\n  },\n  {\n   \"affected_shots\": [\n    \"S11_Shot3\",\n    \"S11_Shot4\"\n   ],\n   \"affected_space_en\": \"external stair\",\n   \"allowed_inference_en\": \"\",\n   \"claim_type\": \"confirmed_cue\",\n   \"confidence\": \"high\",\n   \"evidence_id\": \"E004\",\n   \"prohibited_modes_en\": \"\",\n   \"quote\": \"옥탑방과 연결되는 계단을 급히 오른다\",\n   \"source\": \"S#11\",\n   \"summary_ko\": \"마당에서 옥탑방으로 이어지는 계단이 직접 연결된다.\"\n  },\n  {\n   \"affected_shots\": [\n    \"S11_Shot4\"\n   ],\n   \"affected_space_en\": \"upper stair\",\n   \"allowed_inference_en\": \"\",\n   \"claim_type\": \"confirmed_cue\",\n   \"confidence\": \"high\",\n   \"evidence_id\": \"E005\",\n   \"prohibited_modes_en\": \"\",\n   \"quote\": \"갑자기 훅- 역겨운 냄새\",\n   \"source\": \"S#11 계단 중간\",\n   \"summary_ko\": \"계단 중간 또는 상부는 옥탑 현관과 냄새가 닿을 만큼 가깝다.\"\n  },\n  {\n   \"affected_shots\": [\n    \"S11_Shot4\"\n   ],\n   \"affected_space_en\": \"landing and iron door\",\n   \"allowed_inference_en\": \"\",\n   \"claim_type\": \"confirmed_cue\",\n   \"confidence\": \"high\",\n   \"evidence_id\": \"E006\",\n   \"prohibited_modes_en\": \"\",\n   \"quote\": \"옥상에 올라와 보니 반쯤 열린 현관 철문\",\n   \"source\": \"S#11\",\n   \"summary_ko\": \"계단 착지점에서는 반쯤 열린 현관 철문이 즉시 보여야 한다.\"\n  },\n  {\n   \"affected_shots\": [\n    \"S13_Shot3\"\n   ],\n   \"affected_space_en\": \"alley road and stair foot\",\n   \"allowed_inference_en\": \"\",\n   \"claim_type\": \"confirmed_cue\",\n   \"confidence\": \"high\",\n   \"evidence_id\": \"E007\",\n   \"prohibited_modes_en\": \"\",\n   \"quote\": \"계단을 내려간다. 동시에 사이렌~ (포즈). 차에서 내린 혜수... 수리영의 모습을 발견하고 달려간다\",\n   \"source\": \"S#13\",\n   \"summary_ko\": \"경찰차는 진입·정차 가능한 골목에 서고 정차점에서 계단 하단 쪽 수리영이 보여야 한다.\"\n  },\n  {\n   \"affected_shots\": [\n    \"S13_Shot3\"\n   ],\n   \"affected_space_en\": \"alley road and stair foot\",\n   \"allowed_inference_en\": \"The stop point and stair foot may be staged as an unobstructed straight sightline at approximately 10–30 m, a validation range rather than a hard measurement.\",\n   \"claim_type\": \"allowed_inference\",\n   \"confidence\": \"medium\",\n   \"evidence_id\": \"E008\",\n   \"prohibited_modes_en\": \"\",\n   \"quote\": \"\",\n   \"source\": \"Memo C consistency chain from S#13 cue\",\n   \"summary_ko\": \"정차점과 계단 하단 사이는 약 10~30m 직선 시야 범위로 허용된다.\"\n  },\n  {\n   \"affected_shots\": [\n    \"S13_Shot5\"\n   ],\n   \"affected_space_en\": \"stair foot\",\n   \"allowed_inference_en\": \"\",\n   \"claim_type\": \"confirmed_cue\",\n   \"confidence\": \"high\",\n   \"evidence_id\": \"E009\",\n   \"prohibited_modes_en\": \"\",\n   \"quote\": \"수리영 (올라다보며)\",\n   \"source\": \"S#13\",\n   \"summary_ko\": \"수리영은 낮은 자세에 있고 혜수는 위에서 보이는 상하 구도가 성립한다.\"\n  },\n  {\n   \"affected_shots\": [\n    \"S13_Shot3\",\n    \"S13_Shot5\"\n   ],\n   \"affected_space_en\": \"stair entry\",\n   \"allowed_inference_en\": \"\",\n   \"claim_type\": \"confirmed_cue\",\n   \"confidence\": \"high\",\n   \"evidence_id\": \"E010\",\n   \"prohibited_modes_en\": \"\",\n   \"quote\": \"옥탑 방으로 뛰어 올라가는 혜수와 김형사\",\n   \"source\": \"S#13\",\n   \"summary_ko\": \"정차 지점에서 계단 진입과 옥탑으로 뛰어오르는 동선이 즉시 가능해야 한다.\"\n  },\n  {\n   \"affected_shots\": [\n    \"S10_Shot5\"\n   ],\n   \"affected_space_en\": \"roof surface\",\n   \"allowed_inference_en\": \"\",\n   \"claim_type\": \"confirmed_cue\",\n   \"confidence\": \"high\",\n   \"evidence_id\": \"E011\",\n   \"prohibited_modes_en\": \"\",\n   \"quote\": \"옥상. 물탱크. 빨랫줄 툭-툭- 평상에 말린 석창포\",\n   \"source\": \"S#10\",\n   \"summary_ko\": \"옥상에는 물탱크, 빨랫줄, 석창포 말린 평상이 실재한다.\"\n  },\n  {\n   \"affected_shots\": [\n    \"S10_Shot5\",\n    \"S11_Shot4\"\n   ],\n   \"affected_space_en\": \"roof path\",\n   \"allowed_inference_en\": \"\",\n   \"claim_type\": \"confirmed_cue\",\n   \"confidence\": \"high\",\n   \"evidence_id\": \"E012\",\n   \"prohibited_modes_en\": \"\",\n   \"quote\": \"말린 잎이 걸어오는 남자의 신발 위를 스친다... 신발은 철문 현관 앞에 멈춰\",\n   \"source\": \"S#10\",\n   \"summary_ko\": \"계단 착지에서 철문으로 가는 접근로는 평상과 빨랫줄 곁을 지나야 한다.\"\n  },\n  {\n   \"affected_shots\": [\n    \"S10_Shot5\"\n   ],\n   \"affected_space_en\": \"roof lighting\",\n   \"allowed_inference_en\": \"\",\n   \"claim_type\": \"confirmed_cue\",\n   \"confidence\": \"high\",\n   \"evidence_id\": \"E013\",\n   \"prohibited_modes_en\": \"\",\n   \"quote\": \"남자의 긴 그림자\",\n   \"source\": \"S#10\",\n   \"summary_ko\": \"밤 장면에는 긴 그림자를 만드는 낮은 각도의 광원이 존재한다.\"\n  },\n  {\n   \"affected_shots\": [\n    \"S10_Shot5\"\n   ],\n   \"affected_space_en\": \"roof lighting\",\n   \"allowed_inference_en\": \"A low-angle night light source such as a streetlight or entrance-grade lamp is allowed; this does not license a broad amber colour mood across unrelated shots.\",\n   \"claim_type\": \"allowed_inference\",\n   \"confidence\": \"medium\",\n   \"evidence_id\": \"E014\",\n   \"prohibited_modes_en\": \"\",\n   \"quote\": \"\",\n   \"source\": \"Memo A item 12\",\n   \"summary_ko\": \"긴 그림자는 낮은 각도 광원을 허용하지만 전역 색무드 근거는 아니다.\"\n  },\n  {\n   \"affected_shots\": [\n    \"S10_Shot5\",\n    \"S11_Shot4\"\n   ],\n   \"affected_space_en\": \"iron door\",\n   \"allowed_inference_en\": \"\",\n   \"claim_type\": \"confirmed_cue\",\n   \"confidence\": \"high\",\n   \"evidence_id\": \"E015\",\n   \"prohibited_modes_en\": \"\",\n   \"quote\": \"문틈에 낀 광고 전단지 / 바람에 현관문 소리. 황량하다\",\n   \"source\": \"S#10 / S#27\",\n   \"summary_ko\": \"철문에는 문틈 전단지와 바람에 덜컹이는 소리 디테일이 있어야 한다.\"\n  },\n  {\n   \"affected_shots\": [\n    \"S17_Shot1\"\n   ],\n   \"affected_space_en\": \"low wall and window\",\n   \"allowed_inference_en\": \"\",\n   \"claim_type\": \"confirmed_cue\",\n   \"confidence\": \"high\",\n   \"evidence_id\": \"E016\",\n   \"prohibited_modes_en\": \"\",\n   \"quote\": \"검은 고양이가 불이 켜져 있는 옥탑 방을 슬쩍 보더니 담을 넘는다\",\n   \"source\": \"S#17\",\n   \"summary_ko\": \"고양이가 넘는 낮은 담과 불 켜진 옥탑방 창 사이에 시선이 성립한다.\"\n  },\n  {\n   \"affected_shots\": [\n    \"S17_Shot1\"\n   ],\n   \"affected_space_en\": \"low wall\",\n   \"allowed_inference_en\": \"The wall height should be low enough for a cat to cross and placed so the lit rooftop-room window remains visible over or through the wall relationship.\",\n   \"claim_type\": \"allowed_inference\",\n   \"confidence\": \"medium\",\n   \"evidence_id\": \"E017\",\n   \"prohibited_modes_en\": \"\",\n   \"quote\": \"\",\n   \"source\": \"Memo A item 14 / Memo C\",\n   \"summary_ko\": \"담은 고양이가 넘을 수 있고 창과 가시선이 이어지는 정도로 낮아야 한다.\"\n  },\n  {\n   \"affected_shots\": [\n    \"S4_Shot1\"\n   ],\n   \"affected_space_en\": \"neighborhood view\",\n   \"allowed_inference_en\": \"\",\n   \"claim_type\": \"confirmed_cue\",\n   \"confidence\": \"high\",\n   \"evidence_id\": \"E018\",\n   \"prohibited_modes_en\": \"\",\n   \"quote\": \"인천 변두리 부감, 오래된 빌라 옥탑방 전경\",\n   \"source\": \"S#4\",\n   \"summary_ko\": \"인천 변두리의 오래된 빌라 옥탑방을 부감 전경으로 볼 수 있어야 한다.\"\n  },\n  {\n   \"affected_shots\": [\n    \"S4_Shot1\"\n   ],\n   \"affected_space_en\": \"surroundings\",\n   \"allowed_inference_en\": \"A bird's-eye rooftop-villa view supports surrounding dense low-rise fabric; it does not supply an exact altitude.\",\n   \"claim_type\": \"allowed_inference\",\n   \"confidence\": \"medium\",\n   \"evidence_id\": \"E019\",\n   \"prohibited_modes_en\": \"\",\n   \"quote\": \"\",\n   \"source\": \"Memo A item 15\",\n   \"summary_ko\": \"부감 전경은 저층 밀집 맥락을 허용하지만 정확한 고도 수치는 주지 않는다.\"\n  },\n  {\n   \"affected_shots\": [\n    \"S4_Shot1\"\n   ],\n   \"affected_space_en\": \"regional context\",\n   \"allowed_inference_en\": \"\",\n   \"claim_type\": \"confirmed_cue\",\n   \"confidence\": \"high\",\n   \"evidence_id\": \"E020\",\n   \"prohibited_modes_en\": \"\",\n   \"quote\": \"조그만 도시... 바다가 가까워서\",\n   \"source\": \"S#5\",\n   \"summary_ko\": \"장소는 바다가 가까운 조그만 도시 맥락을 가진다.\"\n  },\n  {\n   \"affected_shots\": [\n    \"S4_Shot1\"\n   ],\n   \"affected_space_en\": \"atmosphere\",\n   \"allowed_inference_en\": \"Sea proximity may inform only a general atmospheric degree; it is not evidence for applying a coastal mood to every shot.\",\n   \"claim_type\": \"allowed_inference\",\n   \"confidence\": \"medium\",\n   \"evidence_id\": \"E021\",\n   \"prohibited_modes_en\": \"\",\n   \"quote\": \"\",\n   \"source\": \"Memo A item 16\",\n   \"summary_ko\": \"바다 인접성은 대기 정도의 근거일 뿐 매 샷 해안 무드는 아니다.\"\n  },\n  {\n   \"affected_shots\": [],\n   \"affected_space_en\": \"local services\",\n   \"allowed_inference_en\": \"\",\n   \"claim_type\": \"confirmed_cue\",\n   \"confidence\": \"high\",\n   \"evidence_id\": \"E022\",\n   \"prohibited_modes_en\": \"\",\n   \"quote\": \"끝나고 마트로 갈게 / 이따가 1시 타임\",\n   \"source\": \"S#5\",\n   \"summary_ko\": \"민숙의 직장인 마트는 생활권 거리 안에 있다.\"\n  },\n  {\n   \"affected_shots\": [\n    \"S10_Shot6\",\n    \"S17_Shot1\"\n   ],\n   \"affected_space_en\": \"rooftop room windows\",\n   \"allowed_inference_en\": \"\",\n   \"claim_type\": \"confirmed_cue\",\n   \"confidence\": \"high\",\n   \"evidence_id\": \"E023\",\n   \"prohibited_modes_en\": \"\",\n   \"quote\": \"작은 창 / 수리영 방 커튼 창·욕실 존재\",\n   \"source\": \"S#5·S#25 거실 / S#18\",\n   \"summary_ko\": \"옥탑 내부에는 거실 작은 창과 수리영 방 커튼 창, 욕실이 존재한다.\"\n  },\n  {\n   \"affected_shots\": [\n    \"S11_Shot3\",\n    \"S13_Shot3\"\n   ],\n   \"affected_space_en\": \"alley road\",\n   \"allowed_inference_en\": \"The alley/side road may be treated as roughly 3 m class in width because it must accept both bicycle travel and police-car approach/stop; this is a validation class, not an exact dimension.\",\n   \"claim_type\": \"allowed_inference\",\n   \"confidence\": \"medium\",\n   \"evidence_id\": \"E024\",\n   \"prohibited_modes_en\": \"\",\n   \"quote\": \"\",\n   \"source\": \"Memo C consistency chain from S#11 and S#13 cues\",\n   \"summary_ko\": \"골목 폭은 자전거와 차량 정차가 가능한 약 3m급으로 검증할 수 있다.\"\n  },\n  {\n   \"affected_shots\": [\n    \"S11_Shot3\",\n    \"S11_Shot4\"\n   ],\n   \"affected_space_en\": \"external stair\",\n   \"allowed_inference_en\": \"The exterior stair may be validated as a later-added steel retrofit stair rising about three floors, roughly 8–10 m vertical; creator correction requires steel retrofit construction and rejects concrete/cement.\",\n   \"claim_type\": \"allowed_inference\",\n   \"confidence\": \"high\",\n   \"evidence_id\": \"E025\",\n   \"prohibited_modes_en\": \"\",\n   \"quote\": \"건물 외벽에 나중에 덧붙인 철제 증축 계단 — 오픈 발판, 얇은 강판 스트링거, 파이프 난간\",\n   \"source\": \"Memo C consistency chain + CREATOR CORRECTIONS stair.desc_ko\",\n   \"summary_ko\": \"외부 계단은 약 3층 높이의 철제 증축 계단으로 검증해야 한다.\"\n  },\n  {\n   \"affected_shots\": [\n    \"S11_Shot4\"\n   ],\n   \"affected_space_en\": \"landing and iron door\",\n   \"allowed_inference_en\": \"The landing-to-iron-door frontal distance may be staged in the 2–5 m range, keeping an unobstructed eye-level view.\",\n   \"claim_type\": \"allowed_inference\",\n   \"confidence\": \"medium\",\n   \"evidence_id\": \"E026\",\n   \"prohibited_modes_en\": \"\",\n   \"quote\": \"\",\n   \"source\": \"Memo B good staging S11_4 / Memo C consistency chain\",\n   \"summary_ko\": \"랜딩에서 철문까지는 2~5m 정면 무차폐 시야가 허용된다.\"\n  },\n  {\n   \"affected_shots\": [\n    \"S4_Shot1\"\n   ],\n   \"affected_space_en\": \"neighborhood view\",\n   \"allowed_inference_en\": \"\",\n   \"claim_type\": \"prohibited_invention\",\n   \"confidence\": \"high\",\n   \"evidence_id\": \"E027\",\n   \"prohibited_modes_en\": \"numeric dimension invention\",\n   \"quote\": \"45m 상공\",\n   \"source\": \"B. 샷 staging 대조 판정, S4_1\",\n   \"summary_ko\": \"S4 부감에 45m라는 고도 수치를 붙이는 것은 원문 근거가 없다.\"\n  },\n  {\n   \"affected_shots\": [\n    \"S13_Shot3\",\n    \"S13_Shot5\",\n    \"S17_Shot1\"\n   ],\n   \"affected_space_en\": \"exterior air\",\n   \"allowed_inference_en\": \"\",\n   \"claim_type\": \"prohibited_invention\",\n   \"confidence\": \"high\",\n   \"evidence_id\": \"E028\",\n   \"prohibited_modes_en\": \"weather/fog invention\",\n   \"quote\": \"짙고 푸른 안개\",\n   \"source\": \"B. 샷 staging 대조 판정, S13·S17 / S17 desc\",\n   \"summary_ko\": \"S13과 S17의 안개, 특히 짙고 푸른 안개는 하류 발명이다.\"\n  },\n  {\n   \"affected_shots\": [\n    \"S10_Shot5\",\n    \"S10_Shot6\"\n   ],\n   \"affected_space_en\": \"lighting mood\",\n   \"allowed_inference_en\": \"\",\n   \"claim_type\": \"prohibited_invention\",\n   \"confidence\": \"high\",\n   \"evidence_id\": \"E029\",\n   \"prohibited_modes_en\": \"colour-mood propagation\",\n   \"quote\": \"sickly amber\",\n   \"source\": \"B. 샷 staging 대조 판정, S10_6 실내 램프 1개→다수 샷 전파\",\n   \"summary_ko\": \"S10_6의 실내 램프 근거를 다수 샷의 병든 앰버 무드로 확산하면 안 된다.\"\n  },\n  {\n   \"affected_shots\": [\n    \"S11_Shot3\",\n    \"S11_Shot4\"\n   ],\n   \"affected_space_en\": \"external stair\",\n   \"allowed_inference_en\": \"\",\n   \"claim_type\": \"prohibited_invention\",\n   \"confidence\": \"high\",\n   \"evidence_id\": \"E030\",\n   \"prohibited_modes_en\": \"material invention overridden by creator correction\",\n   \"quote\": \"narrow concrete staircase\",\n   \"source\": \"B. 샷 staging 대조 판정, S11_3 staging + CREATOR CORRECTIONS facts_extra\",\n   \"summary_ko\": \"S11_3의 콘크리트 계단 표기는 사용자 정정의 철제 증축 계단과 모순된다.\"\n  },\n  {\n   \"affected_shots\": [\n    \"S10_Shot5\",\n    \"S11_Shot3\",\n    \"S11_Shot4\",\n    \"S13_Shot3\",\n    \"S13_Shot5\",\n    \"S17_Shot1\",\n    \"S4_Shot1\"\n   ],\n   \"affected_space_en\": \"exterior surfaces\",\n   \"allowed_inference_en\": \"\",\n   \"claim_type\": \"prohibited_invention\",\n   \"confidence\": \"high\",\n   \"evidence_id\": \"E031\",\n   \"prohibited_modes_en\": \"surface condition without textual support\",\n   \"quote\": \"wet/damp 일괄 부여\",\n   \"source\": \"B. 샷 staging 대조 판정\",\n   \"summary_ko\": \"강우 원문이 없으므로 외부 표면을 일괄 젖거나 축축하게 만들면 안 된다.\"\n  },\n  {\n   \"affected_shots\": [\n    \"S10_Shot5\",\n    \"S11_Shot3\",\n    \"S11_Shot4\",\n    \"S13_Shot3\",\n    \"S13_Shot5\",\n    \"S17_Shot1\",\n    \"S4_Shot1\"\n   ],\n   \"affected_space_en\": \"building exterior\",\n   \"allowed_inference_en\": \"\",\n   \"claim_type\": \"prohibited_invention\",\n   \"confidence\": \"high\",\n   \"evidence_id\": \"E032\",\n   \"prohibited_modes_en\": \"plan-colour-to-material invention\",\n   \"quote\": \"uniform cement-gray mass\",\n   \"source\": \"CREATOR CORRECTIONS photo_appearance\",\n   \"summary_ko\": \"건물을 균일한 시멘트 회색 덩어리로 렌더링하면 안 된다.\"\n  },\n  {\n   \"affected_shots\": [\n    \"S10_Shot5\",\n    \"S11_Shot3\",\n    \"S11_Shot4\",\n    \"S13_Shot3\",\n    \"S13_Shot5\",\n    \"S17_Shot1\",\n    \"S4_Shot1\"\n   ],\n   \"affected_space_en\": \"building exterior\",\n   \"allowed_inference_en\": \"\",\n   \"claim_type\": \"prohibited_invention\",\n   \"confidence\": \"high\",\n   \"evidence_id\": \"E033\",\n   \"prohibited_modes_en\": \"plan-colour-to-material invention\",\n   \"quote\": \"copy the site plan's flat drawing colours as building materials\",\n   \"source\": \"CREATOR CORRECTIONS photo_appearance\",\n   \"summary_ko\": \"도면의 플랫 색을 실사 재질로 복사하는 방식은 금지된다.\"\n  },\n  {\n   \"affected_shots\": [\n    \"S10_Shot5\",\n    \"S11_Shot3\",\n    \"S11_Shot4\",\n    \"S13_Shot3\",\n    \"S13_Shot5\",\n    \"S17_Shot1\",\n    \"S4_Shot1\"\n   ],\n   \"affected_space_en\": \"building exterior\",\n   \"allowed_inference_en\": \"The property should be authored as a real existing aged multi-family villa with regional vernacular materials and varied lived-in aging; examples such as aged red brick, exterior tile cladding, cement mouldings/sills, weathered stucco patches, grime streaks, and a rusty steel retrofit stair are allowed appearance directions, not a mandate that every example appear.\",\n   \"claim_type\": \"allowed_inference\",\n   \"confidence\": \"high\",\n   \"evidence_id\": \"E034\",\n   \"prohibited_modes_en\": \"\",\n   \"quote\": \"render the property as a REAL, EXISTING aged multi-family villa with a rooftop dwelling of the exact regional type the production data describes\",\n   \"source\": \"CREATOR CORRECTIONS photo_appearance\",\n   \"summary_ko\": \"건물은 지역 전형의 낡은 다세대 빌라 실물감과 다양한 생활 흔적으로 구체화해야 한다.\"\n  }\n ],\n \"chain\": [\n  {\n   \"claim_refs\": [\n    \"E001\",\n    \"E007\",\n    \"E008\",\n    \"E024\"\n   ],\n   \"from_space_en\": \"alley road\",\n   \"link_id\": \"L01\",\n   \"relation_en\": \"straight sightline and short run to\",\n   \"summary_ko\": \"골목/이면도로 정차점과 계단 하단은 차량·자전거가 가능한 폭 안에서 10~30m 직선 시야로 연결된다.\",\n   \"to_space_en\": \"stair foot\"\n  },\n  {\n   \"claim_refs\": [\n    \"E002\",\n    \"E007\",\n    \"E010\"\n   ],\n   \"from_space_en\": \"stair foot\",\n   \"link_id\": \"L02\",\n   \"relation_en\": \"adjoins route to\",\n   \"summary_ko\": \"계단 하단 동선은 다세대 빌라의 여닫이 대문 진입 동선과 바로 이어져야 한다.\",\n   \"to_space_en\": \"villa gate\"\n  },\n  {\n   \"claim_refs\": [\n    \"E002\",\n    \"E003\"\n   ],\n   \"from_space_en\": \"villa gate\",\n   \"link_id\": \"L03\",\n   \"relation_en\": \"opens-into\",\n   \"summary_ko\": \"대문을 열고 들어오면 마당으로 진입한다.\",\n   \"to_space_en\": \"yard\"\n  },\n  {\n   \"claim_refs\": [\n    \"E003\",\n    \"E004\"\n   ],\n   \"from_space_en\": \"yard\",\n   \"link_id\": \"L04\",\n   \"relation_en\": \"adjoins\",\n   \"summary_ko\": \"마당에는 후미진 구석과 자전거 자리가 있으며 옥탑방 연결 계단과 직결된다.\",\n   \"to_space_en\": \"external stair\"\n  },\n  {\n   \"claim_refs\": [\n    \"E004\",\n    \"E005\",\n    \"E025\"\n   ],\n   \"from_space_en\": \"external stair\",\n   \"link_id\": \"L05\",\n   \"relation_en\": \"rises-to\",\n   \"summary_ko\": \"외부 철제 증축 계단은 마당에서 옥탑 랜딩까지 대략 3층 높이로 오른다.\",\n   \"to_space_en\": \"landing\"\n  },\n  {\n   \"claim_refs\": [\n    \"E006\",\n    \"E015\",\n    \"E026\"\n   ],\n   \"from_space_en\": \"landing\",\n   \"link_id\": \"L06\",\n   \"relation_en\": \"frontal sightline to\",\n   \"summary_ko\": \"랜딩에서는 2~5m 정면 거리의 반쯤 열린 철문과 전단지·바람 소리 디테일이 바로 보인다.\",\n   \"to_space_en\": \"iron door\"\n  },\n  {\n   \"claim_refs\": [\n    \"E006\",\n    \"E011\",\n    \"E012\",\n    \"E015\"\n   ],\n   \"from_space_en\": \"iron door\",\n   \"link_id\": \"L07\",\n   \"relation_en\": \"opens-into\",\n   \"summary_ko\": \"철문은 옥상면과 이어지고, 착지에서 철문으로 가는 길은 평상·빨랫줄·물탱크 인접 영역을 지난다.\",\n   \"to_space_en\": \"roof surface\"\n  },\n  {\n   \"claim_refs\": [\n    \"E012\",\n    \"E016\",\n    \"E023\"\n   ],\n   \"from_space_en\": \"roof surface\",\n   \"link_id\": \"L08\",\n   \"relation_en\": \"sightline and access adjacency to\",\n   \"summary_ko\": \"옥상면에서 옥탑 창들이 관계를 맺고, 거실 작은 창과 침실 커튼 창이 존재한다.\",\n   \"to_space_en\": \"rooftop windows\"\n  },\n  {\n   \"claim_refs\": [\n    \"E016\",\n    \"E017\"\n   ],\n   \"from_space_en\": \"rooftop windows\",\n   \"link_id\": \"L09\",\n   \"relation_en\": \"sightline to\",\n   \"summary_ko\": \"낮은 담은 고양이 동선이며 불 켜진 옥탑방 창과 서로 보이는 위치여야 한다.\",\n   \"to_space_en\": \"low wall\"\n  }\n ]\n}\n\nARTIFACT target=shot_description (S13_Shot3):\nscene_heading: S#13. 옥탑방 외곽 / N\ndescription: 차에서 내린 혜수가 초점 없는 눈으로 멍하게 서 있는 수리영을 향해 시선을 고정한 찰나의 상체.\n\nARTIFACT target=staging (S13_Shot3) — full staging JSON:\n{\n \"camera_direction\": \"Beside the police car at chest height, the tracking move slows into a held upper-body frame on 혜수 as she has just stepped out, her body paused between the car and the alley. 수리영 appears farther down the alley in soft background focus, small and blank beneath flashing siren wash, while 혜수 occupies the left foreground in a tense three-quarter view; this is a direct observer view moving parallel with her discovery.\",\n \"character_angles\": [\n  {\n   \"angle\": \"three_quarter_right\",\n   \"body_pose\": \"half-stepping from car\",\n   \"character\": \"혜수\",\n   \"gaze_direction_kind\": \"looks_at_character\",\n   \"gaze_target_id\": \"C01\",\n   \"subject_state\": \"alive\"\n  },\n  {\n   \"angle\": \"three_quarter_left\",\n   \"body_pose\": \"stalled mid-alley\",\n   \"character\": \"수리영\",\n   \"gaze_direction_kind\": \"distant\",\n   \"gaze_target_id\": null,\n   \"subject_state\": \"alive\"\n  }\n ],\n \"frame_spatial_contract\": {\n  \"constraints\": [\n   {\n    \"depth_plane\": \"foreground\",\n    \"gesture_action\": \"looks_toward\",\n    \"gesture_target_label\": \"수리영 down the alley\",\n    \"label\": \"혜수 by police car\",\n    \"screen_zone\": \"middle_left\",\n    \"target_id\": \"C02\",\n    \"target_kind\": \"character\"\n   },\n   {\n    \"depth_plane\": \"background\",\n    \"gesture_action\": \"none\",\n    \"gesture_target_label\": \"\",\n    \"label\": \"수리영 in alley\",\n    \"screen_zone\": \"middle_right\",\n    \"target_id\": \"C01\",\n    \"target_kind\": \"character\"\n   }\n  ],\n  \"reason\": \"shared_space_relation\"\n },\n \"framing_scale\": \"medium\",\n \"key_bg_elements\": [\n  {\n   \"camera_use\": \"Foreground context and flashing light source beside 혜수.\",\n   \"directionality_class\": \"directional_3d\",\n   \"element\": \"police car\",\n   \"orientation\": \"The side of the car and open door angle toward the camera, framing 혜수’s exit.\",\n   \"state\": \"parked, door open, siren lights active\"\n  },\n  {\n   \"camera_use\": \"Depth corridor between 혜수 and 수리영.\",\n   \"directionality_class\": \"directional_3d\",\n   \"element\": \"narrow alley\",\n   \"orientation\": \"The alley recedes diagonally from the police car toward 수리영 in the background.\",\n   \"state\": \"wet, dark, foggy\"\n  },\n  {\n   \"camera_use\": \"Intermittent color wash across faces and walls.\",\n   \"directionality_class\": \"non_directional\",\n   \"element\": \"siren light spill\",\n   \"orientation\": \"\",\n   \"state\": \"flashing red-blue across damp surfaces\"\n  }\n ],\n \"lighting_mood\": \"Strobing police red-blue cuts through damp fog, mixing with dirty amber streetlight and cold coastal shadows.\",\n \"perception_mode\": \"direct\",\n \"perspective\": \"observer\",\n \"pov_character\": \"\",\n \"scene_index\": 13,\n \"shot_index\": 3,\n \"subject_reference_policy\": []\n}\n\nARTIFACT target=still_prompt (S13_Shot3) — the full image prompt actually used:\nPhotorealistic cinematic still.\n\nReference image 1: pre-rendered BACKGROUND environment reference — layout/material/lighting identity\nReference image 2: character appearance reference: Korean 40대 중반 여성, 성숙한 얼굴선과 짙은 검은 머리의 차분한 인상.\n\nthe character from Image 2 in a detective coat, an Asian middle-aged woman with mature facial features and dark natural hair by the police car, occupies the middle-left foreground, looking toward a young Asian woman down the alley in the background across the same damp exterior alleyway they both occupy. the character from Image 2 stands at a three-quarter angle from the right, upper body in frame at chest height, half-stepping from the parked vehicle, eyes fixed on the distant figure. The young Asian woman is softly focused in the rear, standing at a three-quarter angle from the left, stalled mid-alley, gazing into the distance. A damp exterior alleyway shrouded in cold misty fog and deep shadows, illuminated by strobing red and blue lights mixing with a weak amber street lamp to create colored reflections on the wet surfaces. The open police vehicle side angles toward the camera on the left, framing the character from Image 2's exit.\n\nGenerate one image:\n- use image 1 for this location's wall/floor/ceiling materials, furniture identity, and lighting mood\n- follow the camera position, framing, and action requested in the prompt text — do NOT copy the camera position or composition of image 1 unless the prompt explicitly asks for it\n- do NOT copy any people from image 1\n- architectural openings (doors, windows, thresholds) must match image 1 — same position, type, and material; do NOT invent additional doors or windows unless the prompt text explicitly asks for them\n- if the prompt text places the camera inside or at one of these openings, camera-side walls and door/window frames may appear only as local foreground edges — do NOT show the same opening again in the scene, and do NOT show the exterior facade of the structure that contains the camera out in front of it\n- use image 2 as character appearance reference — match the person's identity and outfit where visible in the scene\n- do not copy poses or compositions from reference images\n- do not alter character identities where their face is visible in the scene\n- each character's clothing/outfit must match that character's appearance reference image EXACTLY; if any clothing wording in the text conflicts with the reference image, follow the reference image and ignore that wording\n- only render what the scene description asks for — if only a hand or wrist is described, do NOT add the character's face\n- CRITICAL: Only render what the scene description explicitly describes. If a character's face is visible in the scene, match it to the reference. If only a body part is shown, do NOT add the face.\n- CRITICAL: Output exactly ONE single continuous photograph of ONE moment — never a panel grid, collage, contact sheet, split-screen, storyboard sheet, or multiple sub-frames inside one image.\n- CRITICAL: Every person must be physically grounded and weight-bearing — in real contact with a supporting surface, with body weight visibly carried by that contact. For a figure caught mid-action (falling, stumbling, collapsing, jumping off something), render a physically plausible instant: joints bent, weight clearly transferring, at least one believable point of contact or support — never a rigid body hovering, tilted or suspended in mid-air without support.\n\nAudit every concrete world claim now."}
{"ts": "2026-07-08 00:13:05", "kind": "llm", "step": "s24_audit_S13_Shot5", "model": "gpt", "dur_s": 116.8, "system_prompt": "You are a continuity auditor. You get an EVIDENCE GRAPH\n(claims with evidence_ids: confirmed cues, allowed inference bounds,\nprohibited inventions; creator corrections override everything else) and one\nor more downstream ARTIFACTS for one shot or one layout dataset.\n\nFind every CONCRETE world claim in the artifacts — spatial relation,\nmaterial, weather/atmosphere, light colour/mood, surface condition, numeric\ndimension — and classify each against the graph:\n- \"supported\": restates a confirmed cue (cite the evidence_ids).\n- \"plausible_inference\": not directly evidenced but a reasonable directorial\n  concretization inside the allowed bounds and contradicting nothing. These\n  are GOOD — they must be kept.\n- \"unsupported_invention\": adds weather, mood colour, material, surface\n  condition or dimension that no claim supports (match a prohibited mode\n  where one applies).\n- \"contradiction\": conflicts with a confirmed cue or a creator correction.\n\nRules: claim_quote = an EXACT substring copied from the artifact (never\nparaphrase). location_en = which artifact field/part it sits in. Cite\nevidence_ids for the claims you compared against ([] only for pure\ninventions with no related claim). Ignore pure framing/lens/composition\nlanguage unless it asserts a world fact. Do not flag the same fact twice in\nthe same artifact unless the wording differs materially. repair_hint_en:\none short sentence on the minimal fix (only for unsupported_invention /\ncontradiction; \"\" otherwise). reasoning_ko: 한 줄 한국어 근거.\nsummary_ko: 2-3 문장 한국어 총평.", "user_prompt": "EVIDENCE GRAPH:\n{\n \"claims\": [\n  {\n   \"affected_shots\": [\n    \"S11_Shot3\",\n    \"S13_Shot3\"\n   ],\n   \"affected_space_en\": \"alley road\",\n   \"allowed_inference_en\": \"\",\n   \"claim_type\": \"confirmed_cue\",\n   \"confidence\": \"high\",\n   \"evidence_id\": \"E001\",\n   \"prohibited_modes_en\": \"\",\n   \"quote\": \"자전거를 타고 골목길을 달리는\",\n   \"source\": \"S#11\",\n   \"summary_ko\": \"골목은 자전거가 달릴 수 있는 폭과 노면을 가져야 한다.\"\n  },\n  {\n   \"affected_shots\": [\n    \"S11_Shot3\"\n   ],\n   \"affected_space_en\": \"villa gate\",\n   \"allowed_inference_en\": \"\",\n   \"claim_type\": \"confirmed_cue\",\n   \"confidence\": \"high\",\n   \"evidence_id\": \"E002\",\n   \"prohibited_modes_en\": \"\",\n   \"quote\": \"다세대 빌라 문을 열고 들어와\",\n   \"source\": \"S#11\",\n   \"summary_ko\": \"골목에서 다세대 빌라 문을 열고 직접 들어간다.\"\n  },\n  {\n   \"affected_shots\": [\n    \"S11_Shot3\"\n   ],\n   \"affected_space_en\": \"yard\",\n   \"allowed_inference_en\": \"\",\n   \"claim_type\": \"confirmed_cue\",\n   \"confidence\": \"high\",\n   \"evidence_id\": \"E003\",\n   \"prohibited_modes_en\": \"\",\n   \"quote\": \"마당 후미진 곳에 자전거를 대충 세우고\",\n   \"source\": \"S#11\",\n   \"summary_ko\": \"마당은 단순 평면이 아니라 자전거를 둘 후미진 구석을 포함한다.\"\n  },\n  {\n   \"affected_shots\": [\n    \"S11_Shot3\",\n    \"S11_Shot4\"\n   ],\n   \"affected_space_en\": \"external stair\",\n   \"allowed_inference_en\": \"\",\n   \"claim_type\": \"confirmed_cue\",\n   \"confidence\": \"high\",\n   \"evidence_id\": \"E004\",\n   \"prohibited_modes_en\": \"\",\n   \"quote\": \"옥탑방과 연결되는 계단을 급히 오른다\",\n   \"source\": \"S#11\",\n   \"summary_ko\": \"마당에서 옥탑방으로 이어지는 계단이 직접 연결된다.\"\n  },\n  {\n   \"affected_shots\": [\n    \"S11_Shot4\"\n   ],\n   \"affected_space_en\": \"upper stair\",\n   \"allowed_inference_en\": \"\",\n   \"claim_type\": \"confirmed_cue\",\n   \"confidence\": \"high\",\n   \"evidence_id\": \"E005\",\n   \"prohibited_modes_en\": \"\",\n   \"quote\": \"갑자기 훅- 역겨운 냄새\",\n   \"source\": \"S#11 계단 중간\",\n   \"summary_ko\": \"계단 중간 또는 상부는 옥탑 현관과 냄새가 닿을 만큼 가깝다.\"\n  },\n  {\n   \"affected_shots\": [\n    \"S11_Shot4\"\n   ],\n   \"affected_space_en\": \"landing and iron door\",\n   \"allowed_inference_en\": \"\",\n   \"claim_type\": \"confirmed_cue\",\n   \"confidence\": \"high\",\n   \"evidence_id\": \"E006\",\n   \"prohibited_modes_en\": \"\",\n   \"quote\": \"옥상에 올라와 보니 반쯤 열린 현관 철문\",\n   \"source\": \"S#11\",\n   \"summary_ko\": \"계단 착지점에서는 반쯤 열린 현관 철문이 즉시 보여야 한다.\"\n  },\n  {\n   \"affected_shots\": [\n    \"S13_Shot3\"\n   ],\n   \"affected_space_en\": \"alley road and stair foot\",\n   \"allowed_inference_en\": \"\",\n   \"claim_type\": \"confirmed_cue\",\n   \"confidence\": \"high\",\n   \"evidence_id\": \"E007\",\n   \"prohibited_modes_en\": \"\",\n   \"quote\": \"계단을 내려간다. 동시에 사이렌~ (포즈). 차에서 내린 혜수... 수리영의 모습을 발견하고 달려간다\",\n   \"source\": \"S#13\",\n   \"summary_ko\": \"경찰차는 진입·정차 가능한 골목에 서고 정차점에서 계단 하단 쪽 수리영이 보여야 한다.\"\n  },\n  {\n   \"affected_shots\": [\n    \"S13_Shot3\"\n   ],\n   \"affected_space_en\": \"alley road and stair foot\",\n   \"allowed_inference_en\": \"The stop point and stair foot may be staged as an unobstructed straight sightline at approximately 10–30 m, a validation range rather than a hard measurement.\",\n   \"claim_type\": \"allowed_inference\",\n   \"confidence\": \"medium\",\n   \"evidence_id\": \"E008\",\n   \"prohibited_modes_en\": \"\",\n   \"quote\": \"\",\n   \"source\": \"Memo C consistency chain from S#13 cue\",\n   \"summary_ko\": \"정차점과 계단 하단 사이는 약 10~30m 직선 시야 범위로 허용된다.\"\n  },\n  {\n   \"affected_shots\": [\n    \"S13_Shot5\"\n   ],\n   \"affected_space_en\": \"stair foot\",\n   \"allowed_inference_en\": \"\",\n   \"claim_type\": \"confirmed_cue\",\n   \"confidence\": \"high\",\n   \"evidence_id\": \"E009\",\n   \"prohibited_modes_en\": \"\",\n   \"quote\": \"수리영 (올라다보며)\",\n   \"source\": \"S#13\",\n   \"summary_ko\": \"수리영은 낮은 자세에 있고 혜수는 위에서 보이는 상하 구도가 성립한다.\"\n  },\n  {\n   \"affected_shots\": [\n    \"S13_Shot3\",\n    \"S13_Shot5\"\n   ],\n   \"affected_space_en\": \"stair entry\",\n   \"allowed_inference_en\": \"\",\n   \"claim_type\": \"confirmed_cue\",\n   \"confidence\": \"high\",\n   \"evidence_id\": \"E010\",\n   \"prohibited_modes_en\": \"\",\n   \"quote\": \"옥탑 방으로 뛰어 올라가는 혜수와 김형사\",\n   \"source\": \"S#13\",\n   \"summary_ko\": \"정차 지점에서 계단 진입과 옥탑으로 뛰어오르는 동선이 즉시 가능해야 한다.\"\n  },\n  {\n   \"affected_shots\": [\n    \"S10_Shot5\"\n   ],\n   \"affected_space_en\": \"roof surface\",\n   \"allowed_inference_en\": \"\",\n   \"claim_type\": \"confirmed_cue\",\n   \"confidence\": \"high\",\n   \"evidence_id\": \"E011\",\n   \"prohibited_modes_en\": \"\",\n   \"quote\": \"옥상. 물탱크. 빨랫줄 툭-툭- 평상에 말린 석창포\",\n   \"source\": \"S#10\",\n   \"summary_ko\": \"옥상에는 물탱크, 빨랫줄, 석창포 말린 평상이 실재한다.\"\n  },\n  {\n   \"affected_shots\": [\n    \"S10_Shot5\",\n    \"S11_Shot4\"\n   ],\n   \"affected_space_en\": \"roof path\",\n   \"allowed_inference_en\": \"\",\n   \"claim_type\": \"confirmed_cue\",\n   \"confidence\": \"high\",\n   \"evidence_id\": \"E012\",\n   \"prohibited_modes_en\": \"\",\n   \"quote\": \"말린 잎이 걸어오는 남자의 신발 위를 스친다... 신발은 철문 현관 앞에 멈춰\",\n   \"source\": \"S#10\",\n   \"summary_ko\": \"계단 착지에서 철문으로 가는 접근로는 평상과 빨랫줄 곁을 지나야 한다.\"\n  },\n  {\n   \"affected_shots\": [\n    \"S10_Shot5\"\n   ],\n   \"affected_space_en\": \"roof lighting\",\n   \"allowed_inference_en\": \"\",\n   \"claim_type\": \"confirmed_cue\",\n   \"confidence\": \"high\",\n   \"evidence_id\": \"E013\",\n   \"prohibited_modes_en\": \"\",\n   \"quote\": \"남자의 긴 그림자\",\n   \"source\": \"S#10\",\n   \"summary_ko\": \"밤 장면에는 긴 그림자를 만드는 낮은 각도의 광원이 존재한다.\"\n  },\n  {\n   \"affected_shots\": [\n    \"S10_Shot5\"\n   ],\n   \"affected_space_en\": \"roof lighting\",\n   \"allowed_inference_en\": \"A low-angle night light source such as a streetlight or entrance-grade lamp is allowed; this does not license a broad amber colour mood across unrelated shots.\",\n   \"claim_type\": \"allowed_inference\",\n   \"confidence\": \"medium\",\n   \"evidence_id\": \"E014\",\n   \"prohibited_modes_en\": \"\",\n   \"quote\": \"\",\n   \"source\": \"Memo A item 12\",\n   \"summary_ko\": \"긴 그림자는 낮은 각도 광원을 허용하지만 전역 색무드 근거는 아니다.\"\n  },\n  {\n   \"affected_shots\": [\n    \"S10_Shot5\",\n    \"S11_Shot4\"\n   ],\n   \"affected_space_en\": \"iron door\",\n   \"allowed_inference_en\": \"\",\n   \"claim_type\": \"confirmed_cue\",\n   \"confidence\": \"high\",\n   \"evidence_id\": \"E015\",\n   \"prohibited_modes_en\": \"\",\n   \"quote\": \"문틈에 낀 광고 전단지 / 바람에 현관문 소리. 황량하다\",\n   \"source\": \"S#10 / S#27\",\n   \"summary_ko\": \"철문에는 문틈 전단지와 바람에 덜컹이는 소리 디테일이 있어야 한다.\"\n  },\n  {\n   \"affected_shots\": [\n    \"S17_Shot1\"\n   ],\n   \"affected_space_en\": \"low wall and window\",\n   \"allowed_inference_en\": \"\",\n   \"claim_type\": \"confirmed_cue\",\n   \"confidence\": \"high\",\n   \"evidence_id\": \"E016\",\n   \"prohibited_modes_en\": \"\",\n   \"quote\": \"검은 고양이가 불이 켜져 있는 옥탑 방을 슬쩍 보더니 담을 넘는다\",\n   \"source\": \"S#17\",\n   \"summary_ko\": \"고양이가 넘는 낮은 담과 불 켜진 옥탑방 창 사이에 시선이 성립한다.\"\n  },\n  {\n   \"affected_shots\": [\n    \"S17_Shot1\"\n   ],\n   \"affected_space_en\": \"low wall\",\n   \"allowed_inference_en\": \"The wall height should be low enough for a cat to cross and placed so the lit rooftop-room window remains visible over or through the wall relationship.\",\n   \"claim_type\": \"allowed_inference\",\n   \"confidence\": \"medium\",\n   \"evidence_id\": \"E017\",\n   \"prohibited_modes_en\": \"\",\n   \"quote\": \"\",\n   \"source\": \"Memo A item 14 / Memo C\",\n   \"summary_ko\": \"담은 고양이가 넘을 수 있고 창과 가시선이 이어지는 정도로 낮아야 한다.\"\n  },\n  {\n   \"affected_shots\": [\n    \"S4_Shot1\"\n   ],\n   \"affected_space_en\": \"neighborhood view\",\n   \"allowed_inference_en\": \"\",\n   \"claim_type\": \"confirmed_cue\",\n   \"confidence\": \"high\",\n   \"evidence_id\": \"E018\",\n   \"prohibited_modes_en\": \"\",\n   \"quote\": \"인천 변두리 부감, 오래된 빌라 옥탑방 전경\",\n   \"source\": \"S#4\",\n   \"summary_ko\": \"인천 변두리의 오래된 빌라 옥탑방을 부감 전경으로 볼 수 있어야 한다.\"\n  },\n  {\n   \"affected_shots\": [\n    \"S4_Shot1\"\n   ],\n   \"affected_space_en\": \"surroundings\",\n   \"allowed_inference_en\": \"A bird's-eye rooftop-villa view supports surrounding dense low-rise fabric; it does not supply an exact altitude.\",\n   \"claim_type\": \"allowed_inference\",\n   \"confidence\": \"medium\",\n   \"evidence_id\": \"E019\",\n   \"prohibited_modes_en\": \"\",\n   \"quote\": \"\",\n   \"source\": \"Memo A item 15\",\n   \"summary_ko\": \"부감 전경은 저층 밀집 맥락을 허용하지만 정확한 고도 수치는 주지 않는다.\"\n  },\n  {\n   \"affected_shots\": [\n    \"S4_Shot1\"\n   ],\n   \"affected_space_en\": \"regional context\",\n   \"allowed_inference_en\": \"\",\n   \"claim_type\": \"confirmed_cue\",\n   \"confidence\": \"high\",\n   \"evidence_id\": \"E020\",\n   \"prohibited_modes_en\": \"\",\n   \"quote\": \"조그만 도시... 바다가 가까워서\",\n   \"source\": \"S#5\",\n   \"summary_ko\": \"장소는 바다가 가까운 조그만 도시 맥락을 가진다.\"\n  },\n  {\n   \"affected_shots\": [\n    \"S4_Shot1\"\n   ],\n   \"affected_space_en\": \"atmosphere\",\n   \"allowed_inference_en\": \"Sea proximity may inform only a general atmospheric degree; it is not evidence for applying a coastal mood to every shot.\",\n   \"claim_type\": \"allowed_inference\",\n   \"confidence\": \"medium\",\n   \"evidence_id\": \"E021\",\n   \"prohibited_modes_en\": \"\",\n   \"quote\": \"\",\n   \"source\": \"Memo A item 16\",\n   \"summary_ko\": \"바다 인접성은 대기 정도의 근거일 뿐 매 샷 해안 무드는 아니다.\"\n  },\n  {\n   \"affected_shots\": [],\n   \"affected_space_en\": \"local services\",\n   \"allowed_inference_en\": \"\",\n   \"claim_type\": \"confirmed_cue\",\n   \"confidence\": \"high\",\n   \"evidence_id\": \"E022\",\n   \"prohibited_modes_en\": \"\",\n   \"quote\": \"끝나고 마트로 갈게 / 이따가 1시 타임\",\n   \"source\": \"S#5\",\n   \"summary_ko\": \"민숙의 직장인 마트는 생활권 거리 안에 있다.\"\n  },\n  {\n   \"affected_shots\": [\n    \"S10_Shot6\",\n    \"S17_Shot1\"\n   ],\n   \"affected_space_en\": \"rooftop room windows\",\n   \"allowed_inference_en\": \"\",\n   \"claim_type\": \"confirmed_cue\",\n   \"confidence\": \"high\",\n   \"evidence_id\": \"E023\",\n   \"prohibited_modes_en\": \"\",\n   \"quote\": \"작은 창 / 수리영 방 커튼 창·욕실 존재\",\n   \"source\": \"S#5·S#25 거실 / S#18\",\n   \"summary_ko\": \"옥탑 내부에는 거실 작은 창과 수리영 방 커튼 창, 욕실이 존재한다.\"\n  },\n  {\n   \"affected_shots\": [\n    \"S11_Shot3\",\n    \"S13_Shot3\"\n   ],\n   \"affected_space_en\": \"alley road\",\n   \"allowed_inference_en\": \"The alley/side road may be treated as roughly 3 m class in width because it must accept both bicycle travel and police-car approach/stop; this is a validation class, not an exact dimension.\",\n   \"claim_type\": \"allowed_inference\",\n   \"confidence\": \"medium\",\n   \"evidence_id\": \"E024\",\n   \"prohibited_modes_en\": \"\",\n   \"quote\": \"\",\n   \"source\": \"Memo C consistency chain from S#11 and S#13 cues\",\n   \"summary_ko\": \"골목 폭은 자전거와 차량 정차가 가능한 약 3m급으로 검증할 수 있다.\"\n  },\n  {\n   \"affected_shots\": [\n    \"S11_Shot3\",\n    \"S11_Shot4\"\n   ],\n   \"affected_space_en\": \"external stair\",\n   \"allowed_inference_en\": \"The exterior stair may be validated as a later-added steel retrofit stair rising about three floors, roughly 8–10 m vertical; creator correction requires steel retrofit construction and rejects concrete/cement.\",\n   \"claim_type\": \"allowed_inference\",\n   \"confidence\": \"high\",\n   \"evidence_id\": \"E025\",\n   \"prohibited_modes_en\": \"\",\n   \"quote\": \"건물 외벽에 나중에 덧붙인 철제 증축 계단 — 오픈 발판, 얇은 강판 스트링거, 파이프 난간\",\n   \"source\": \"Memo C consistency chain + CREATOR CORRECTIONS stair.desc_ko\",\n   \"summary_ko\": \"외부 계단은 약 3층 높이의 철제 증축 계단으로 검증해야 한다.\"\n  },\n  {\n   \"affected_shots\": [\n    \"S11_Shot4\"\n   ],\n   \"affected_space_en\": \"landing and iron door\",\n   \"allowed_inference_en\": \"The landing-to-iron-door frontal distance may be staged in the 2–5 m range, keeping an unobstructed eye-level view.\",\n   \"claim_type\": \"allowed_inference\",\n   \"confidence\": \"medium\",\n   \"evidence_id\": \"E026\",\n   \"prohibited_modes_en\": \"\",\n   \"quote\": \"\",\n   \"source\": \"Memo B good staging S11_4 / Memo C consistency chain\",\n   \"summary_ko\": \"랜딩에서 철문까지는 2~5m 정면 무차폐 시야가 허용된다.\"\n  },\n  {\n   \"affected_shots\": [\n    \"S4_Shot1\"\n   ],\n   \"affected_space_en\": \"neighborhood view\",\n   \"allowed_inference_en\": \"\",\n   \"claim_type\": \"prohibited_invention\",\n   \"confidence\": \"high\",\n   \"evidence_id\": \"E027\",\n   \"prohibited_modes_en\": \"numeric dimension invention\",\n   \"quote\": \"45m 상공\",\n   \"source\": \"B. 샷 staging 대조 판정, S4_1\",\n   \"summary_ko\": \"S4 부감에 45m라는 고도 수치를 붙이는 것은 원문 근거가 없다.\"\n  },\n  {\n   \"affected_shots\": [\n    \"S13_Shot3\",\n    \"S13_Shot5\",\n    \"S17_Shot1\"\n   ],\n   \"affected_space_en\": \"exterior air\",\n   \"allowed_inference_en\": \"\",\n   \"claim_type\": \"prohibited_invention\",\n   \"confidence\": \"high\",\n   \"evidence_id\": \"E028\",\n   \"prohibited_modes_en\": \"weather/fog invention\",\n   \"quote\": \"짙고 푸른 안개\",\n   \"source\": \"B. 샷 staging 대조 판정, S13·S17 / S17 desc\",\n   \"summary_ko\": \"S13과 S17의 안개, 특히 짙고 푸른 안개는 하류 발명이다.\"\n  },\n  {\n   \"affected_shots\": [\n    \"S10_Shot5\",\n    \"S10_Shot6\"\n   ],\n   \"affected_space_en\": \"lighting mood\",\n   \"allowed_inference_en\": \"\",\n   \"claim_type\": \"prohibited_invention\",\n   \"confidence\": \"high\",\n   \"evidence_id\": \"E029\",\n   \"prohibited_modes_en\": \"colour-mood propagation\",\n   \"quote\": \"sickly amber\",\n   \"source\": \"B. 샷 staging 대조 판정, S10_6 실내 램프 1개→다수 샷 전파\",\n   \"summary_ko\": \"S10_6의 실내 램프 근거를 다수 샷의 병든 앰버 무드로 확산하면 안 된다.\"\n  },\n  {\n   \"affected_shots\": [\n    \"S11_Shot3\",\n    \"S11_Shot4\"\n   ],\n   \"affected_space_en\": \"external stair\",\n   \"allowed_inference_en\": \"\",\n   \"claim_type\": \"prohibited_invention\",\n   \"confidence\": \"high\",\n   \"evidence_id\": \"E030\",\n   \"prohibited_modes_en\": \"material invention overridden by creator correction\",\n   \"quote\": \"narrow concrete staircase\",\n   \"source\": \"B. 샷 staging 대조 판정, S11_3 staging + CREATOR CORRECTIONS facts_extra\",\n   \"summary_ko\": \"S11_3의 콘크리트 계단 표기는 사용자 정정의 철제 증축 계단과 모순된다.\"\n  },\n  {\n   \"affected_shots\": [\n    \"S10_Shot5\",\n    \"S11_Shot3\",\n    \"S11_Shot4\",\n    \"S13_Shot3\",\n    \"S13_Shot5\",\n    \"S17_Shot1\",\n    \"S4_Shot1\"\n   ],\n   \"affected_space_en\": \"exterior surfaces\",\n   \"allowed_inference_en\": \"\",\n   \"claim_type\": \"prohibited_invention\",\n   \"confidence\": \"high\",\n   \"evidence_id\": \"E031\",\n   \"prohibited_modes_en\": \"surface condition without textual support\",\n   \"quote\": \"wet/damp 일괄 부여\",\n   \"source\": \"B. 샷 staging 대조 판정\",\n   \"summary_ko\": \"강우 원문이 없으므로 외부 표면을 일괄 젖거나 축축하게 만들면 안 된다.\"\n  },\n  {\n   \"affected_shots\": [\n    \"S10_Shot5\",\n    \"S11_Shot3\",\n    \"S11_Shot4\",\n    \"S13_Shot3\",\n    \"S13_Shot5\",\n    \"S17_Shot1\",\n    \"S4_Shot1\"\n   ],\n   \"affected_space_en\": \"building exterior\",\n   \"allowed_inference_en\": \"\",\n   \"claim_type\": \"prohibited_invention\",\n   \"confidence\": \"high\",\n   \"evidence_id\": \"E032\",\n   \"prohibited_modes_en\": \"plan-colour-to-material invention\",\n   \"quote\": \"uniform cement-gray mass\",\n   \"source\": \"CREATOR CORRECTIONS photo_appearance\",\n   \"summary_ko\": \"건물을 균일한 시멘트 회색 덩어리로 렌더링하면 안 된다.\"\n  },\n  {\n   \"affected_shots\": [\n    \"S10_Shot5\",\n    \"S11_Shot3\",\n    \"S11_Shot4\",\n    \"S13_Shot3\",\n    \"S13_Shot5\",\n    \"S17_Shot1\",\n    \"S4_Shot1\"\n   ],\n   \"affected_space_en\": \"building exterior\",\n   \"allowed_inference_en\": \"\",\n   \"claim_type\": \"prohibited_invention\",\n   \"confidence\": \"high\",\n   \"evidence_id\": \"E033\",\n   \"prohibited_modes_en\": \"plan-colour-to-material invention\",\n   \"quote\": \"copy the site plan's flat drawing colours as building materials\",\n   \"source\": \"CREATOR CORRECTIONS photo_appearance\",\n   \"summary_ko\": \"도면의 플랫 색을 실사 재질로 복사하는 방식은 금지된다.\"\n  },\n  {\n   \"affected_shots\": [\n    \"S10_Shot5\",\n    \"S11_Shot3\",\n    \"S11_Shot4\",\n    \"S13_Shot3\",\n    \"S13_Shot5\",\n    \"S17_Shot1\",\n    \"S4_Shot1\"\n   ],\n   \"affected_space_en\": \"building exterior\",\n   \"allowed_inference_en\": \"The property should be authored as a real existing aged multi-family villa with regional vernacular materials and varied lived-in aging; examples such as aged red brick, exterior tile cladding, cement mouldings/sills, weathered stucco patches, grime streaks, and a rusty steel retrofit stair are allowed appearance directions, not a mandate that every example appear.\",\n   \"claim_type\": \"allowed_inference\",\n   \"confidence\": \"high\",\n   \"evidence_id\": \"E034\",\n   \"prohibited_modes_en\": \"\",\n   \"quote\": \"render the property as a REAL, EXISTING aged multi-family villa with a rooftop dwelling of the exact regional type the production data describes\",\n   \"source\": \"CREATOR CORRECTIONS photo_appearance\",\n   \"summary_ko\": \"건물은 지역 전형의 낡은 다세대 빌라 실물감과 다양한 생활 흔적으로 구체화해야 한다.\"\n  }\n ],\n \"chain\": [\n  {\n   \"claim_refs\": [\n    \"E001\",\n    \"E007\",\n    \"E008\",\n    \"E024\"\n   ],\n   \"from_space_en\": \"alley road\",\n   \"link_id\": \"L01\",\n   \"relation_en\": \"straight sightline and short run to\",\n   \"summary_ko\": \"골목/이면도로 정차점과 계단 하단은 차량·자전거가 가능한 폭 안에서 10~30m 직선 시야로 연결된다.\",\n   \"to_space_en\": \"stair foot\"\n  },\n  {\n   \"claim_refs\": [\n    \"E002\",\n    \"E007\",\n    \"E010\"\n   ],\n   \"from_space_en\": \"stair foot\",\n   \"link_id\": \"L02\",\n   \"relation_en\": \"adjoins route to\",\n   \"summary_ko\": \"계단 하단 동선은 다세대 빌라의 여닫이 대문 진입 동선과 바로 이어져야 한다.\",\n   \"to_space_en\": \"villa gate\"\n  },\n  {\n   \"claim_refs\": [\n    \"E002\",\n    \"E003\"\n   ],\n   \"from_space_en\": \"villa gate\",\n   \"link_id\": \"L03\",\n   \"relation_en\": \"opens-into\",\n   \"summary_ko\": \"대문을 열고 들어오면 마당으로 진입한다.\",\n   \"to_space_en\": \"yard\"\n  },\n  {\n   \"claim_refs\": [\n    \"E003\",\n    \"E004\"\n   ],\n   \"from_space_en\": \"yard\",\n   \"link_id\": \"L04\",\n   \"relation_en\": \"adjoins\",\n   \"summary_ko\": \"마당에는 후미진 구석과 자전거 자리가 있으며 옥탑방 연결 계단과 직결된다.\",\n   \"to_space_en\": \"external stair\"\n  },\n  {\n   \"claim_refs\": [\n    \"E004\",\n    \"E005\",\n    \"E025\"\n   ],\n   \"from_space_en\": \"external stair\",\n   \"link_id\": \"L05\",\n   \"relation_en\": \"rises-to\",\n   \"summary_ko\": \"외부 철제 증축 계단은 마당에서 옥탑 랜딩까지 대략 3층 높이로 오른다.\",\n   \"to_space_en\": \"landing\"\n  },\n  {\n   \"claim_refs\": [\n    \"E006\",\n    \"E015\",\n    \"E026\"\n   ],\n   \"from_space_en\": \"landing\",\n   \"link_id\": \"L06\",\n   \"relation_en\": \"frontal sightline to\",\n   \"summary_ko\": \"랜딩에서는 2~5m 정면 거리의 반쯤 열린 철문과 전단지·바람 소리 디테일이 바로 보인다.\",\n   \"to_space_en\": \"iron door\"\n  },\n  {\n   \"claim_refs\": [\n    \"E006\",\n    \"E011\",\n    \"E012\",\n    \"E015\"\n   ],\n   \"from_space_en\": \"iron door\",\n   \"link_id\": \"L07\",\n   \"relation_en\": \"opens-into\",\n   \"summary_ko\": \"철문은 옥상면과 이어지고, 착지에서 철문으로 가는 길은 평상·빨랫줄·물탱크 인접 영역을 지난다.\",\n   \"to_space_en\": \"roof surface\"\n  },\n  {\n   \"claim_refs\": [\n    \"E012\",\n    \"E016\",\n    \"E023\"\n   ],\n   \"from_space_en\": \"roof surface\",\n   \"link_id\": \"L08\",\n   \"relation_en\": \"sightline and access adjacency to\",\n   \"summary_ko\": \"옥상면에서 옥탑 창들이 관계를 맺고, 거실 작은 창과 침실 커튼 창이 존재한다.\",\n   \"to_space_en\": \"rooftop windows\"\n  },\n  {\n   \"claim_refs\": [\n    \"E016\",\n    \"E017\"\n   ],\n   \"from_space_en\": \"rooftop windows\",\n   \"link_id\": \"L09\",\n   \"relation_en\": \"sightline to\",\n   \"summary_ko\": \"낮은 담은 고양이 동선이며 불 켜진 옥탑방 창과 서로 보이는 위치여야 한다.\",\n   \"to_space_en\": \"low wall\"\n  }\n ]\n}\n\nARTIFACT target=shot_description (S13_Shot5):\nscene_heading: S#13. 옥탑방 외곽 / N\ndescription: 수리영이 고개를 들어 혜수의 얼굴을 올려다보는 정적 구도.\n\nARTIFACT target=staging (S13_Shot5) — full staging JSON:\n{\n \"camera_direction\": \"The camera sits low near 수리영’s eye level, about one meter away, tightened into a still close composition as she lifts her face toward 혜수 just above the frame. 수리영 holds the lower center of the image, her upward eyeline creating the unseen presence of 혜수, while the wet alley background blurs into dark blue-gray; this is a direct observer angle from the space between them.\",\n \"character_angles\": [\n  {\n   \"angle\": \"three_quarter_left\",\n   \"body_pose\": \"chin lifted trembling\",\n   \"character\": \"수리영\",\n   \"gaze_direction_kind\": \"looks_at_character\",\n   \"gaze_target_id\": \"C02\",\n   \"subject_state\": \"alive\"\n  }\n ],\n \"frame_spatial_contract\": {\n  \"constraints\": [\n   {\n    \"depth_plane\": \"foreground\",\n    \"gesture_action\": \"looks_toward\",\n    \"gesture_target_label\": \"혜수 just above frame\",\n    \"label\": \"수리영 close low frame\",\n    \"screen_zone\": \"middle_center\",\n    \"target_id\": \"C01\",\n    \"target_kind\": \"character\"\n   }\n  ],\n  \"reason\": \"primary_subject_isolation\"\n },\n \"framing_scale\": \"close\",\n \"key_bg_elements\": [\n  {\n   \"camera_use\": \"Soft, dark background texture behind 수리영’s head.\",\n   \"directionality_class\": \"non_directional\",\n   \"element\": \"wet alley wall\",\n   \"orientation\": \"\",\n   \"state\": \"damp, shadowed, out of focus\"\n  },\n  {\n   \"camera_use\": \"Atmospheric layer around her face.\",\n   \"directionality_class\": \"non_directional\",\n   \"element\": \"night fog\",\n   \"orientation\": \"\",\n   \"state\": \"thin, drifting, blue-gray\"\n  },\n  {\n   \"camera_use\": \"Off-screen motivated color pulse on her skin.\",\n   \"directionality_class\": \"non_directional\",\n   \"element\": \"police siren spill\",\n   \"orientation\": \"\",\n   \"state\": \"intermittent, faint\"\n  }\n ],\n \"lighting_mood\": \"Cold misty shadows dominate her face, interrupted by brief red-blue siren pulses and a weak amber street glow along her jaw.\",\n \"perception_mode\": \"direct\",\n \"perspective\": \"observer\",\n \"pov_character\": \"\",\n \"scene_index\": 13,\n \"shot_index\": 5,\n \"subject_reference_policy\": []\n}\n\nAudit every concrete world claim now."}
{"ts": "2026-07-08 00:15:03", "kind": "llm", "step": "s24_audit_S17_Shot1", "model": "gpt", "dur_s": 118.7, "system_prompt": "You are a continuity auditor. You get an EVIDENCE GRAPH\n(claims with evidence_ids: confirmed cues, allowed inference bounds,\nprohibited inventions; creator corrections override everything else) and one\nor more downstream ARTIFACTS for one shot or one layout dataset.\n\nFind every CONCRETE world claim in the artifacts — spatial relation,\nmaterial, weather/atmosphere, light colour/mood, surface condition, numeric\ndimension — and classify each against the graph:\n- \"supported\": restates a confirmed cue (cite the evidence_ids).\n- \"plausible_inference\": not directly evidenced but a reasonable directorial\n  concretization inside the allowed bounds and contradicting nothing. These\n  are GOOD — they must be kept.\n- \"unsupported_invention\": adds weather, mood colour, material, surface\n  condition or dimension that no claim supports (match a prohibited mode\n  where one applies).\n- \"contradiction\": conflicts with a confirmed cue or a creator correction.\n\nRules: claim_quote = an EXACT substring copied from the artifact (never\nparaphrase). location_en = which artifact field/part it sits in. Cite\nevidence_ids for the claims you compared against ([] only for pure\ninventions with no related claim). Ignore pure framing/lens/composition\nlanguage unless it asserts a world fact. Do not flag the same fact twice in\nthe same artifact unless the wording differs materially. repair_hint_en:\none short sentence on the minimal fix (only for unsupported_invention /\ncontradiction; \"\" otherwise). reasoning_ko: 한 줄 한국어 근거.\nsummary_ko: 2-3 문장 한국어 총평.", "user_prompt": "EVIDENCE GRAPH:\n{\n \"claims\": [\n  {\n   \"affected_shots\": [\n    \"S11_Shot3\",\n    \"S13_Shot3\"\n   ],\n   \"affected_space_en\": \"alley road\",\n   \"allowed_inference_en\": \"\",\n   \"claim_type\": \"confirmed_cue\",\n   \"confidence\": \"high\",\n   \"evidence_id\": \"E001\",\n   \"prohibited_modes_en\": \"\",\n   \"quote\": \"자전거를 타고 골목길을 달리는\",\n   \"source\": \"S#11\",\n   \"summary_ko\": \"골목은 자전거가 달릴 수 있는 폭과 노면을 가져야 한다.\"\n  },\n  {\n   \"affected_shots\": [\n    \"S11_Shot3\"\n   ],\n   \"affected_space_en\": \"villa gate\",\n   \"allowed_inference_en\": \"\",\n   \"claim_type\": \"confirmed_cue\",\n   \"confidence\": \"high\",\n   \"evidence_id\": \"E002\",\n   \"prohibited_modes_en\": \"\",\n   \"quote\": \"다세대 빌라 문을 열고 들어와\",\n   \"source\": \"S#11\",\n   \"summary_ko\": \"골목에서 다세대 빌라 문을 열고 직접 들어간다.\"\n  },\n  {\n   \"affected_shots\": [\n    \"S11_Shot3\"\n   ],\n   \"affected_space_en\": \"yard\",\n   \"allowed_inference_en\": \"\",\n   \"claim_type\": \"confirmed_cue\",\n   \"confidence\": \"high\",\n   \"evidence_id\": \"E003\",\n   \"prohibited_modes_en\": \"\",\n   \"quote\": \"마당 후미진 곳에 자전거를 대충 세우고\",\n   \"source\": \"S#11\",\n   \"summary_ko\": \"마당은 단순 평면이 아니라 자전거를 둘 후미진 구석을 포함한다.\"\n  },\n  {\n   \"affected_shots\": [\n    \"S11_Shot3\",\n    \"S11_Shot4\"\n   ],\n   \"affected_space_en\": \"external stair\",\n   \"allowed_inference_en\": \"\",\n   \"claim_type\": \"confirmed_cue\",\n   \"confidence\": \"high\",\n   \"evidence_id\": \"E004\",\n   \"prohibited_modes_en\": \"\",\n   \"quote\": \"옥탑방과 연결되는 계단을 급히 오른다\",\n   \"source\": \"S#11\",\n   \"summary_ko\": \"마당에서 옥탑방으로 이어지는 계단이 직접 연결된다.\"\n  },\n  {\n   \"affected_shots\": [\n    \"S11_Shot4\"\n   ],\n   \"affected_space_en\": \"upper stair\",\n   \"allowed_inference_en\": \"\",\n   \"claim_type\": \"confirmed_cue\",\n   \"confidence\": \"high\",\n   \"evidence_id\": \"E005\",\n   \"prohibited_modes_en\": \"\",\n   \"quote\": \"갑자기 훅- 역겨운 냄새\",\n   \"source\": \"S#11 계단 중간\",\n   \"summary_ko\": \"계단 중간 또는 상부는 옥탑 현관과 냄새가 닿을 만큼 가깝다.\"\n  },\n  {\n   \"affected_shots\": [\n    \"S11_Shot4\"\n   ],\n   \"affected_space_en\": \"landing and iron door\",\n   \"allowed_inference_en\": \"\",\n   \"claim_type\": \"confirmed_cue\",\n   \"confidence\": \"high\",\n   \"evidence_id\": \"E006\",\n   \"prohibited_modes_en\": \"\",\n   \"quote\": \"옥상에 올라와 보니 반쯤 열린 현관 철문\",\n   \"source\": \"S#11\",\n   \"summary_ko\": \"계단 착지점에서는 반쯤 열린 현관 철문이 즉시 보여야 한다.\"\n  },\n  {\n   \"affected_shots\": [\n    \"S13_Shot3\"\n   ],\n   \"affected_space_en\": \"alley road and stair foot\",\n   \"allowed_inference_en\": \"\",\n   \"claim_type\": \"confirmed_cue\",\n   \"confidence\": \"high\",\n   \"evidence_id\": \"E007\",\n   \"prohibited_modes_en\": \"\",\n   \"quote\": \"계단을 내려간다. 동시에 사이렌~ (포즈). 차에서 내린 혜수... 수리영의 모습을 발견하고 달려간다\",\n   \"source\": \"S#13\",\n   \"summary_ko\": \"경찰차는 진입·정차 가능한 골목에 서고 정차점에서 계단 하단 쪽 수리영이 보여야 한다.\"\n  },\n  {\n   \"affected_shots\": [\n    \"S13_Shot3\"\n   ],\n   \"affected_space_en\": \"alley road and stair foot\",\n   \"allowed_inference_en\": \"The stop point and stair foot may be staged as an unobstructed straight sightline at approximately 10–30 m, a validation range rather than a hard measurement.\",\n   \"claim_type\": \"allowed_inference\",\n   \"confidence\": \"medium\",\n   \"evidence_id\": \"E008\",\n   \"prohibited_modes_en\": \"\",\n   \"quote\": \"\",\n   \"source\": \"Memo C consistency chain from S#13 cue\",\n   \"summary_ko\": \"정차점과 계단 하단 사이는 약 10~30m 직선 시야 범위로 허용된다.\"\n  },\n  {\n   \"affected_shots\": [\n    \"S13_Shot5\"\n   ],\n   \"affected_space_en\": \"stair foot\",\n   \"allowed_inference_en\": \"\",\n   \"claim_type\": \"confirmed_cue\",\n   \"confidence\": \"high\",\n   \"evidence_id\": \"E009\",\n   \"prohibited_modes_en\": \"\",\n   \"quote\": \"수리영 (올라다보며)\",\n   \"source\": \"S#13\",\n   \"summary_ko\": \"수리영은 낮은 자세에 있고 혜수는 위에서 보이는 상하 구도가 성립한다.\"\n  },\n  {\n   \"affected_shots\": [\n    \"S13_Shot3\",\n    \"S13_Shot5\"\n   ],\n   \"affected_space_en\": \"stair entry\",\n   \"allowed_inference_en\": \"\",\n   \"claim_type\": \"confirmed_cue\",\n   \"confidence\": \"high\",\n   \"evidence_id\": \"E010\",\n   \"prohibited_modes_en\": \"\",\n   \"quote\": \"옥탑 방으로 뛰어 올라가는 혜수와 김형사\",\n   \"source\": \"S#13\",\n   \"summary_ko\": \"정차 지점에서 계단 진입과 옥탑으로 뛰어오르는 동선이 즉시 가능해야 한다.\"\n  },\n  {\n   \"affected_shots\": [\n    \"S10_Shot5\"\n   ],\n   \"affected_space_en\": \"roof surface\",\n   \"allowed_inference_en\": \"\",\n   \"claim_type\": \"confirmed_cue\",\n   \"confidence\": \"high\",\n   \"evidence_id\": \"E011\",\n   \"prohibited_modes_en\": \"\",\n   \"quote\": \"옥상. 물탱크. 빨랫줄 툭-툭- 평상에 말린 석창포\",\n   \"source\": \"S#10\",\n   \"summary_ko\": \"옥상에는 물탱크, 빨랫줄, 석창포 말린 평상이 실재한다.\"\n  },\n  {\n   \"affected_shots\": [\n    \"S10_Shot5\",\n    \"S11_Shot4\"\n   ],\n   \"affected_space_en\": \"roof path\",\n   \"allowed_inference_en\": \"\",\n   \"claim_type\": \"confirmed_cue\",\n   \"confidence\": \"high\",\n   \"evidence_id\": \"E012\",\n   \"prohibited_modes_en\": \"\",\n   \"quote\": \"말린 잎이 걸어오는 남자의 신발 위를 스친다... 신발은 철문 현관 앞에 멈춰\",\n   \"source\": \"S#10\",\n   \"summary_ko\": \"계단 착지에서 철문으로 가는 접근로는 평상과 빨랫줄 곁을 지나야 한다.\"\n  },\n  {\n   \"affected_shots\": [\n    \"S10_Shot5\"\n   ],\n   \"affected_space_en\": \"roof lighting\",\n   \"allowed_inference_en\": \"\",\n   \"claim_type\": \"confirmed_cue\",\n   \"confidence\": \"high\",\n   \"evidence_id\": \"E013\",\n   \"prohibited_modes_en\": \"\",\n   \"quote\": \"남자의 긴 그림자\",\n   \"source\": \"S#10\",\n   \"summary_ko\": \"밤 장면에는 긴 그림자를 만드는 낮은 각도의 광원이 존재한다.\"\n  },\n  {\n   \"affected_shots\": [\n    \"S10_Shot5\"\n   ],\n   \"affected_space_en\": \"roof lighting\",\n   \"allowed_inference_en\": \"A low-angle night light source such as a streetlight or entrance-grade lamp is allowed; this does not license a broad amber colour mood across unrelated shots.\",\n   \"claim_type\": \"allowed_inference\",\n   \"confidence\": \"medium\",\n   \"evidence_id\": \"E014\",\n   \"prohibited_modes_en\": \"\",\n   \"quote\": \"\",\n   \"source\": \"Memo A item 12\",\n   \"summary_ko\": \"긴 그림자는 낮은 각도 광원을 허용하지만 전역 색무드 근거는 아니다.\"\n  },\n  {\n   \"affected_shots\": [\n    \"S10_Shot5\",\n    \"S11_Shot4\"\n   ],\n   \"affected_space_en\": \"iron door\",\n   \"allowed_inference_en\": \"\",\n   \"claim_type\": \"confirmed_cue\",\n   \"confidence\": \"high\",\n   \"evidence_id\": \"E015\",\n   \"prohibited_modes_en\": \"\",\n   \"quote\": \"문틈에 낀 광고 전단지 / 바람에 현관문 소리. 황량하다\",\n   \"source\": \"S#10 / S#27\",\n   \"summary_ko\": \"철문에는 문틈 전단지와 바람에 덜컹이는 소리 디테일이 있어야 한다.\"\n  },\n  {\n   \"affected_shots\": [\n    \"S17_Shot1\"\n   ],\n   \"affected_space_en\": \"low wall and window\",\n   \"allowed_inference_en\": \"\",\n   \"claim_type\": \"confirmed_cue\",\n   \"confidence\": \"high\",\n   \"evidence_id\": \"E016\",\n   \"prohibited_modes_en\": \"\",\n   \"quote\": \"검은 고양이가 불이 켜져 있는 옥탑 방을 슬쩍 보더니 담을 넘는다\",\n   \"source\": \"S#17\",\n   \"summary_ko\": \"고양이가 넘는 낮은 담과 불 켜진 옥탑방 창 사이에 시선이 성립한다.\"\n  },\n  {\n   \"affected_shots\": [\n    \"S17_Shot1\"\n   ],\n   \"affected_space_en\": \"low wall\",\n   \"allowed_inference_en\": \"The wall height should be low enough for a cat to cross and placed so the lit rooftop-room window remains visible over or through the wall relationship.\",\n   \"claim_type\": \"allowed_inference\",\n   \"confidence\": \"medium\",\n   \"evidence_id\": \"E017\",\n   \"prohibited_modes_en\": \"\",\n   \"quote\": \"\",\n   \"source\": \"Memo A item 14 / Memo C\",\n   \"summary_ko\": \"담은 고양이가 넘을 수 있고 창과 가시선이 이어지는 정도로 낮아야 한다.\"\n  },\n  {\n   \"affected_shots\": [\n    \"S4_Shot1\"\n   ],\n   \"affected_space_en\": \"neighborhood view\",\n   \"allowed_inference_en\": \"\",\n   \"claim_type\": \"confirmed_cue\",\n   \"confidence\": \"high\",\n   \"evidence_id\": \"E018\",\n   \"prohibited_modes_en\": \"\",\n   \"quote\": \"인천 변두리 부감, 오래된 빌라 옥탑방 전경\",\n   \"source\": \"S#4\",\n   \"summary_ko\": \"인천 변두리의 오래된 빌라 옥탑방을 부감 전경으로 볼 수 있어야 한다.\"\n  },\n  {\n   \"affected_shots\": [\n    \"S4_Shot1\"\n   ],\n   \"affected_space_en\": \"surroundings\",\n   \"allowed_inference_en\": \"A bird's-eye rooftop-villa view supports surrounding dense low-rise fabric; it does not supply an exact altitude.\",\n   \"claim_type\": \"allowed_inference\",\n   \"confidence\": \"medium\",\n   \"evidence_id\": \"E019\",\n   \"prohibited_modes_en\": \"\",\n   \"quote\": \"\",\n   \"source\": \"Memo A item 15\",\n   \"summary_ko\": \"부감 전경은 저층 밀집 맥락을 허용하지만 정확한 고도 수치는 주지 않는다.\"\n  },\n  {\n   \"affected_shots\": [\n    \"S4_Shot1\"\n   ],\n   \"affected_space_en\": \"regional context\",\n   \"allowed_inference_en\": \"\",\n   \"claim_type\": \"confirmed_cue\",\n   \"confidence\": \"high\",\n   \"evidence_id\": \"E020\",\n   \"prohibited_modes_en\": \"\",\n   \"quote\": \"조그만 도시... 바다가 가까워서\",\n   \"source\": \"S#5\",\n   \"summary_ko\": \"장소는 바다가 가까운 조그만 도시 맥락을 가진다.\"\n  },\n  {\n   \"affected_shots\": [\n    \"S4_Shot1\"\n   ],\n   \"affected_space_en\": \"atmosphere\",\n   \"allowed_inference_en\": \"Sea proximity may inform only a general atmospheric degree; it is not evidence for applying a coastal mood to every shot.\",\n   \"claim_type\": \"allowed_inference\",\n   \"confidence\": \"medium\",\n   \"evidence_id\": \"E021\",\n   \"prohibited_modes_en\": \"\",\n   \"quote\": \"\",\n   \"source\": \"Memo A item 16\",\n   \"summary_ko\": \"바다 인접성은 대기 정도의 근거일 뿐 매 샷 해안 무드는 아니다.\"\n  },\n  {\n   \"affected_shots\": [],\n   \"affected_space_en\": \"local services\",\n   \"allowed_inference_en\": \"\",\n   \"claim_type\": \"confirmed_cue\",\n   \"confidence\": \"high\",\n   \"evidence_id\": \"E022\",\n   \"prohibited_modes_en\": \"\",\n   \"quote\": \"끝나고 마트로 갈게 / 이따가 1시 타임\",\n   \"source\": \"S#5\",\n   \"summary_ko\": \"민숙의 직장인 마트는 생활권 거리 안에 있다.\"\n  },\n  {\n   \"affected_shots\": [\n    \"S10_Shot6\",\n    \"S17_Shot1\"\n   ],\n   \"affected_space_en\": \"rooftop room windows\",\n   \"allowed_inference_en\": \"\",\n   \"claim_type\": \"confirmed_cue\",\n   \"confidence\": \"high\",\n   \"evidence_id\": \"E023\",\n   \"prohibited_modes_en\": \"\",\n   \"quote\": \"작은 창 / 수리영 방 커튼 창·욕실 존재\",\n   \"source\": \"S#5·S#25 거실 / S#18\",\n   \"summary_ko\": \"옥탑 내부에는 거실 작은 창과 수리영 방 커튼 창, 욕실이 존재한다.\"\n  },\n  {\n   \"affected_shots\": [\n    \"S11_Shot3\",\n    \"S13_Shot3\"\n   ],\n   \"affected_space_en\": \"alley road\",\n   \"allowed_inference_en\": \"The alley/side road may be treated as roughly 3 m class in width because it must accept both bicycle travel and police-car approach/stop; this is a validation class, not an exact dimension.\",\n   \"claim_type\": \"allowed_inference\",\n   \"confidence\": \"medium\",\n   \"evidence_id\": \"E024\",\n   \"prohibited_modes_en\": \"\",\n   \"quote\": \"\",\n   \"source\": \"Memo C consistency chain from S#11 and S#13 cues\",\n   \"summary_ko\": \"골목 폭은 자전거와 차량 정차가 가능한 약 3m급으로 검증할 수 있다.\"\n  },\n  {\n   \"affected_shots\": [\n    \"S11_Shot3\",\n    \"S11_Shot4\"\n   ],\n   \"affected_space_en\": \"external stair\",\n   \"allowed_inference_en\": \"The exterior stair may be validated as a later-added steel retrofit stair rising about three floors, roughly 8–10 m vertical; creator correction requires steel retrofit construction and rejects concrete/cement.\",\n   \"claim_type\": \"allowed_inference\",\n   \"confidence\": \"high\",\n   \"evidence_id\": \"E025\",\n   \"prohibited_modes_en\": \"\",\n   \"quote\": \"건물 외벽에 나중에 덧붙인 철제 증축 계단 — 오픈 발판, 얇은 강판 스트링거, 파이프 난간\",\n   \"source\": \"Memo C consistency chain + CREATOR CORRECTIONS stair.desc_ko\",\n   \"summary_ko\": \"외부 계단은 약 3층 높이의 철제 증축 계단으로 검증해야 한다.\"\n  },\n  {\n   \"affected_shots\": [\n    \"S11_Shot4\"\n   ],\n   \"affected_space_en\": \"landing and iron door\",\n   \"allowed_inference_en\": \"The landing-to-iron-door frontal distance may be staged in the 2–5 m range, keeping an unobstructed eye-level view.\",\n   \"claim_type\": \"allowed_inference\",\n   \"confidence\": \"medium\",\n   \"evidence_id\": \"E026\",\n   \"prohibited_modes_en\": \"\",\n   \"quote\": \"\",\n   \"source\": \"Memo B good staging S11_4 / Memo C consistency chain\",\n   \"summary_ko\": \"랜딩에서 철문까지는 2~5m 정면 무차폐 시야가 허용된다.\"\n  },\n  {\n   \"affected_shots\": [\n    \"S4_Shot1\"\n   ],\n   \"affected_space_en\": \"neighborhood view\",\n   \"allowed_inference_en\": \"\",\n   \"claim_type\": \"prohibited_invention\",\n   \"confidence\": \"high\",\n   \"evidence_id\": \"E027\",\n   \"prohibited_modes_en\": \"numeric dimension invention\",\n   \"quote\": \"45m 상공\",\n   \"source\": \"B. 샷 staging 대조 판정, S4_1\",\n   \"summary_ko\": \"S4 부감에 45m라는 고도 수치를 붙이는 것은 원문 근거가 없다.\"\n  },\n  {\n   \"affected_shots\": [\n    \"S13_Shot3\",\n    \"S13_Shot5\",\n    \"S17_Shot1\"\n   ],\n   \"affected_space_en\": \"exterior air\",\n   \"allowed_inference_en\": \"\",\n   \"claim_type\": \"prohibited_invention\",\n   \"confidence\": \"high\",\n   \"evidence_id\": \"E028\",\n   \"prohibited_modes_en\": \"weather/fog invention\",\n   \"quote\": \"짙고 푸른 안개\",\n   \"source\": \"B. 샷 staging 대조 판정, S13·S17 / S17 desc\",\n   \"summary_ko\": \"S13과 S17의 안개, 특히 짙고 푸른 안개는 하류 발명이다.\"\n  },\n  {\n   \"affected_shots\": [\n    \"S10_Shot5\",\n    \"S10_Shot6\"\n   ],\n   \"affected_space_en\": \"lighting mood\",\n   \"allowed_inference_en\": \"\",\n   \"claim_type\": \"prohibited_invention\",\n   \"confidence\": \"high\",\n   \"evidence_id\": \"E029\",\n   \"prohibited_modes_en\": \"colour-mood propagation\",\n   \"quote\": \"sickly amber\",\n   \"source\": \"B. 샷 staging 대조 판정, S10_6 실내 램프 1개→다수 샷 전파\",\n   \"summary_ko\": \"S10_6의 실내 램프 근거를 다수 샷의 병든 앰버 무드로 확산하면 안 된다.\"\n  },\n  {\n   \"affected_shots\": [\n    \"S11_Shot3\",\n    \"S11_Shot4\"\n   ],\n   \"affected_space_en\": \"external stair\",\n   \"allowed_inference_en\": \"\",\n   \"claim_type\": \"prohibited_invention\",\n   \"confidence\": \"high\",\n   \"evidence_id\": \"E030\",\n   \"prohibited_modes_en\": \"material invention overridden by creator correction\",\n   \"quote\": \"narrow concrete staircase\",\n   \"source\": \"B. 샷 staging 대조 판정, S11_3 staging + CREATOR CORRECTIONS facts_extra\",\n   \"summary_ko\": \"S11_3의 콘크리트 계단 표기는 사용자 정정의 철제 증축 계단과 모순된다.\"\n  },\n  {\n   \"affected_shots\": [\n    \"S10_Shot5\",\n    \"S11_Shot3\",\n    \"S11_Shot4\",\n    \"S13_Shot3\",\n    \"S13_Shot5\",\n    \"S17_Shot1\",\n    \"S4_Shot1\"\n   ],\n   \"affected_space_en\": \"exterior surfaces\",\n   \"allowed_inference_en\": \"\",\n   \"claim_type\": \"prohibited_invention\",\n   \"confidence\": \"high\",\n   \"evidence_id\": \"E031\",\n   \"prohibited_modes_en\": \"surface condition without textual support\",\n   \"quote\": \"wet/damp 일괄 부여\",\n   \"source\": \"B. 샷 staging 대조 판정\",\n   \"summary_ko\": \"강우 원문이 없으므로 외부 표면을 일괄 젖거나 축축하게 만들면 안 된다.\"\n  },\n  {\n   \"affected_shots\": [\n    \"S10_Shot5\",\n    \"S11_Shot3\",\n    \"S11_Shot4\",\n    \"S13_Shot3\",\n    \"S13_Shot5\",\n    \"S17_Shot1\",\n    \"S4_Shot1\"\n   ],\n   \"affected_space_en\": \"building exterior\",\n   \"allowed_inference_en\": \"\",\n   \"claim_type\": \"prohibited_invention\",\n   \"confidence\": \"high\",\n   \"evidence_id\": \"E032\",\n   \"prohibited_modes_en\": \"plan-colour-to-material invention\",\n   \"quote\": \"uniform cement-gray mass\",\n   \"source\": \"CREATOR CORRECTIONS photo_appearance\",\n   \"summary_ko\": \"건물을 균일한 시멘트 회색 덩어리로 렌더링하면 안 된다.\"\n  },\n  {\n   \"affected_shots\": [\n    \"S10_Shot5\",\n    \"S11_Shot3\",\n    \"S11_Shot4\",\n    \"S13_Shot3\",\n    \"S13_Shot5\",\n    \"S17_Shot1\",\n    \"S4_Shot1\"\n   ],\n   \"affected_space_en\": \"building exterior\",\n   \"allowed_inference_en\": \"\",\n   \"claim_type\": \"prohibited_invention\",\n   \"confidence\": \"high\",\n   \"evidence_id\": \"E033\",\n   \"prohibited_modes_en\": \"plan-colour-to-material invention\",\n   \"quote\": \"copy the site plan's flat drawing colours as building materials\",\n   \"source\": \"CREATOR CORRECTIONS photo_appearance\",\n   \"summary_ko\": \"도면의 플랫 색을 실사 재질로 복사하는 방식은 금지된다.\"\n  },\n  {\n   \"affected_shots\": [\n    \"S10_Shot5\",\n    \"S11_Shot3\",\n    \"S11_Shot4\",\n    \"S13_Shot3\",\n    \"S13_Shot5\",\n    \"S17_Shot1\",\n    \"S4_Shot1\"\n   ],\n   \"affected_space_en\": \"building exterior\",\n   \"allowed_inference_en\": \"The property should be authored as a real existing aged multi-family villa with regional vernacular materials and varied lived-in aging; examples such as aged red brick, exterior tile cladding, cement mouldings/sills, weathered stucco patches, grime streaks, and a rusty steel retrofit stair are allowed appearance directions, not a mandate that every example appear.\",\n   \"claim_type\": \"allowed_inference\",\n   \"confidence\": \"high\",\n   \"evidence_id\": \"E034\",\n   \"prohibited_modes_en\": \"\",\n   \"quote\": \"render the property as a REAL, EXISTING aged multi-family villa with a rooftop dwelling of the exact regional type the production data describes\",\n   \"source\": \"CREATOR CORRECTIONS photo_appearance\",\n   \"summary_ko\": \"건물은 지역 전형의 낡은 다세대 빌라 실물감과 다양한 생활 흔적으로 구체화해야 한다.\"\n  }\n ],\n \"chain\": [\n  {\n   \"claim_refs\": [\n    \"E001\",\n    \"E007\",\n    \"E008\",\n    \"E024\"\n   ],\n   \"from_space_en\": \"alley road\",\n   \"link_id\": \"L01\",\n   \"relation_en\": \"straight sightline and short run to\",\n   \"summary_ko\": \"골목/이면도로 정차점과 계단 하단은 차량·자전거가 가능한 폭 안에서 10~30m 직선 시야로 연결된다.\",\n   \"to_space_en\": \"stair foot\"\n  },\n  {\n   \"claim_refs\": [\n    \"E002\",\n    \"E007\",\n    \"E010\"\n   ],\n   \"from_space_en\": \"stair foot\",\n   \"link_id\": \"L02\",\n   \"relation_en\": \"adjoins route to\",\n   \"summary_ko\": \"계단 하단 동선은 다세대 빌라의 여닫이 대문 진입 동선과 바로 이어져야 한다.\",\n   \"to_space_en\": \"villa gate\"\n  },\n  {\n   \"claim_refs\": [\n    \"E002\",\n    \"E003\"\n   ],\n   \"from_space_en\": \"villa gate\",\n   \"link_id\": \"L03\",\n   \"relation_en\": \"opens-into\",\n   \"summary_ko\": \"대문을 열고 들어오면 마당으로 진입한다.\",\n   \"to_space_en\": \"yard\"\n  },\n  {\n   \"claim_refs\": [\n    \"E003\",\n    \"E004\"\n   ],\n   \"from_space_en\": \"yard\",\n   \"link_id\": \"L04\",\n   \"relation_en\": \"adjoins\",\n   \"summary_ko\": \"마당에는 후미진 구석과 자전거 자리가 있으며 옥탑방 연결 계단과 직결된다.\",\n   \"to_space_en\": \"external stair\"\n  },\n  {\n   \"claim_refs\": [\n    \"E004\",\n    \"E005\",\n    \"E025\"\n   ],\n   \"from_space_en\": \"external stair\",\n   \"link_id\": \"L05\",\n   \"relation_en\": \"rises-to\",\n   \"summary_ko\": \"외부 철제 증축 계단은 마당에서 옥탑 랜딩까지 대략 3층 높이로 오른다.\",\n   \"to_space_en\": \"landing\"\n  },\n  {\n   \"claim_refs\": [\n    \"E006\",\n    \"E015\",\n    \"E026\"\n   ],\n   \"from_space_en\": \"landing\",\n   \"link_id\": \"L06\",\n   \"relation_en\": \"frontal sightline to\",\n   \"summary_ko\": \"랜딩에서는 2~5m 정면 거리의 반쯤 열린 철문과 전단지·바람 소리 디테일이 바로 보인다.\",\n   \"to_space_en\": \"iron door\"\n  },\n  {\n   \"claim_refs\": [\n    \"E006\",\n    \"E011\",\n    \"E012\",\n    \"E015\"\n   ],\n   \"from_space_en\": \"iron door\",\n   \"link_id\": \"L07\",\n   \"relation_en\": \"opens-into\",\n   \"summary_ko\": \"철문은 옥상면과 이어지고, 착지에서 철문으로 가는 길은 평상·빨랫줄·물탱크 인접 영역을 지난다.\",\n   \"to_space_en\": \"roof surface\"\n  },\n  {\n   \"claim_refs\": [\n    \"E012\",\n    \"E016\",\n    \"E023\"\n   ],\n   \"from_space_en\": \"roof surface\",\n   \"link_id\": \"L08\",\n   \"relation_en\": \"sightline and access adjacency to\",\n   \"summary_ko\": \"옥상면에서 옥탑 창들이 관계를 맺고, 거실 작은 창과 침실 커튼 창이 존재한다.\",\n   \"to_space_en\": \"rooftop windows\"\n  },\n  {\n   \"claim_refs\": [\n    \"E016\",\n    \"E017\"\n   ],\n   \"from_space_en\": \"rooftop windows\",\n   \"link_id\": \"L09\",\n   \"relation_en\": \"sightline to\",\n   \"summary_ko\": \"낮은 담은 고양이 동선이며 불 켜진 옥탑방 창과 서로 보이는 위치여야 한다.\",\n   \"to_space_en\": \"low wall\"\n  }\n ]\n}\n\nARTIFACT target=shot_description (S17_Shot1):\nscene_heading: S#17. 옥탑방 / 동틀무렵\ndescription: 짙고 푸른 안개가 깔린 새벽녘, 희미한 노란 불빛이 켜진 옥탑방 창문을 향해 검은 고양이 한 마리가 고개를 돌린 찰나의 측면.\n\nARTIFACT target=staging (S17_Shot1) — full staging JSON:\n{\n \"camera_direction\": \"Low at the 검은 고양이’s shoulder height, roughly one meter away, the camera tracks parallel along the rooftop wall and then holds a brief side profile as the cat turns its head toward the lit rooftop-room window. The cat occupies the lower left-to-center band of the frame, while the faint yellow window hangs in the misty background line of sight above the wall.\",\n \"character_angles\": [\n  {\n   \"angle\": \"profile_left\",\n   \"body_pose\": \"mid-stride head turn\",\n   \"character\": \"검은 고양이\",\n   \"gaze_direction_kind\": \"up\",\n   \"gaze_target_id\": null,\n   \"subject_state\": \"alive\"\n  }\n ],\n \"frame_spatial_contract\": {\n  \"constraints\": [\n   {\n    \"depth_plane\": \"foreground\",\n    \"gesture_action\": \"looks_toward\",\n    \"gesture_target_label\": \"lit rooftop window\",\n    \"label\": \"black cat\",\n    \"screen_zone\": \"lower_left\",\n    \"target_id\": \"C11\",\n    \"target_kind\": \"character\"\n   },\n   {\n    \"depth_plane\": \"background\",\n    \"gesture_action\": \"none\",\n    \"gesture_target_label\": \"\",\n    \"label\": \"lit rooftop window\",\n    \"screen_zone\": \"upper_right\",\n    \"target_id\": \"\",\n    \"target_kind\": \"background\"\n   }\n  ],\n  \"reason\": \"looks_to_anchor\"\n },\n \"framing_scale\": \"medium\",\n \"key_bg_elements\": [\n  {\n   \"camera_use\": \"distant visual lure for the cat’s head turn\",\n   \"directionality_class\": \"transparent_surface\",\n   \"element\": \"rooftop-room window\",\n   \"orientation\": \"fogged glass shows a weak yellow interior glow beyond it\",\n   \"state\": \"closed, lit from inside\"\n  },\n  {\n   \"camera_use\": \"tracking guide and jump setup\",\n   \"directionality_class\": \"directional_3d\",\n   \"element\": \"low concrete rooftop wall\",\n   \"orientation\": \"the long side face runs parallel to the camera movement, with its top edge rising toward the next action\",\n   \"state\": \"damp, stained\"\n  },\n  {\n   \"camera_use\": \"atmospheric veil separating cat and room\",\n   \"directionality_class\": \"non_directional\",\n   \"element\": \"blue dawn fog\",\n   \"orientation\": \"\",\n   \"state\": \"thick, cold, slowly moving\"\n  }\n ],\n \"lighting_mood\": \"Blue dawn fog desaturates the rooftop while the sickly yellow window glow draws a small occult point of warmth behind the cat.\",\n \"perception_mode\": \"direct\",\n \"perspective\": \"observer\",\n \"pov_character\": \"\",\n \"scene_index\": 17,\n \"shot_index\": 1,\n \"subject_reference_policy\": []\n}\n\nARTIFACT target=still_prompt (S17_Shot1) — the full image prompt actually used:\nPhotorealistic cinematic still.\n\nReference image 1: pre-rendered BACKGROUND environment reference — layout/material/lighting identity\n\nFocusing on the pre-existing black cat in the lower-center foreground, already partway along the low concrete rooftop wall where that path leads toward the near center of the frame and not into the old villa rooftop, in left profile as it looks up toward the lit rooftop window in the upper-right background. The low camera at the cat's shoulder height captures its silhouette with faint rim-lit edges preserving body volume against the cool blue ambient fill. Thick dawn fog desaturates the damp concrete parapet running parallel behind the cat. The sickly yellow glow from the window hangs in the misty distance, creating a faint occult point of warmth near the rooftop room.\n\nGenerate one image:\n- use image 1 for this location's wall/floor/ceiling materials, furniture identity, and lighting mood\n- follow the camera position, framing, and action requested in the prompt text — do NOT copy the camera position or composition of image 1 unless the prompt explicitly asks for it\n- do NOT copy any people from image 1\n- architectural openings (doors, windows, thresholds) must match image 1 — same position, type, and material; do NOT invent additional doors or windows unless the prompt text explicitly asks for them\n- if the prompt text places the camera inside or at one of these openings, camera-side walls and door/window frames may appear only as local foreground edges — do NOT show the same opening again in the scene, and do NOT show the exterior facade of the structure that contains the camera out in front of it\n- do not copy poses or compositions from reference images\n- do not alter character identities where their face is visible in the scene\n- each character's clothing/outfit must match that character's appearance reference image EXACTLY; if any clothing wording in the text conflicts with the reference image, follow the reference image and ignore that wording\n- only render what the scene description asks for — if only a hand or wrist is described, do NOT add the character's face\n- CRITICAL: Only render what the scene description explicitly describes. If a character's face is visible in the scene, match it to the reference. If only a body part is shown, do NOT add the face.\n- CRITICAL: Output exactly ONE single continuous photograph of ONE moment — never a panel grid, collage, contact sheet, split-screen, storyboard sheet, or multiple sub-frames inside one image.\n- CRITICAL: Every person must be physically grounded and weight-bearing — in real contact with a supporting surface, with body weight visibly carried by that contact. For a figure caught mid-action (falling, stumbling, collapsing, jumping off something), render a physically plausible instant: joints bent, weight clearly transferring, at least one believable point of contact or support — never a rigid body hovering, tilted or suspended in mid-air without support.\n\nAudit every concrete world claim now."}
{"ts": "2026-07-08 00:16:29", "kind": "llm", "step": "s24_audit_S4_Shot1", "model": "gpt", "dur_s": 85.5, "system_prompt": "You are a continuity auditor. You get an EVIDENCE GRAPH\n(claims with evidence_ids: confirmed cues, allowed inference bounds,\nprohibited inventions; creator corrections override everything else) and one\nor more downstream ARTIFACTS for one shot or one layout dataset.\n\nFind every CONCRETE world claim in the artifacts — spatial relation,\nmaterial, weather/atmosphere, light colour/mood, surface condition, numeric\ndimension — and classify each against the graph:\n- \"supported\": restates a confirmed cue (cite the evidence_ids).\n- \"plausible_inference\": not directly evidenced but a reasonable directorial\n  concretization inside the allowed bounds and contradicting nothing. These\n  are GOOD — they must be kept.\n- \"unsupported_invention\": adds weather, mood colour, material, surface\n  condition or dimension that no claim supports (match a prohibited mode\n  where one applies).\n- \"contradiction\": conflicts with a confirmed cue or a creator correction.\n\nRules: claim_quote = an EXACT substring copied from the artifact (never\nparaphrase). location_en = which artifact field/part it sits in. Cite\nevidence_ids for the claims you compared against ([] only for pure\ninventions with no related claim). Ignore pure framing/lens/composition\nlanguage unless it asserts a world fact. Do not flag the same fact twice in\nthe same artifact unless the wording differs materially. repair_hint_en:\none short sentence on the minimal fix (only for unsupported_invention /\ncontradiction; \"\" otherwise). reasoning_ko: 한 줄 한국어 근거.\nsummary_ko: 2-3 문장 한국어 총평.", "user_prompt": "EVIDENCE GRAPH:\n{\n \"claims\": [\n  {\n   \"affected_shots\": [\n    \"S11_Shot3\",\n    \"S13_Shot3\"\n   ],\n   \"affected_space_en\": \"alley road\",\n   \"allowed_inference_en\": \"\",\n   \"claim_type\": \"confirmed_cue\",\n   \"confidence\": \"high\",\n   \"evidence_id\": \"E001\",\n   \"prohibited_modes_en\": \"\",\n   \"quote\": \"자전거를 타고 골목길을 달리는\",\n   \"source\": \"S#11\",\n   \"summary_ko\": \"골목은 자전거가 달릴 수 있는 폭과 노면을 가져야 한다.\"\n  },\n  {\n   \"affected_shots\": [\n    \"S11_Shot3\"\n   ],\n   \"affected_space_en\": \"villa gate\",\n   \"allowed_inference_en\": \"\",\n   \"claim_type\": \"confirmed_cue\",\n   \"confidence\": \"high\",\n   \"evidence_id\": \"E002\",\n   \"prohibited_modes_en\": \"\",\n   \"quote\": \"다세대 빌라 문을 열고 들어와\",\n   \"source\": \"S#11\",\n   \"summary_ko\": \"골목에서 다세대 빌라 문을 열고 직접 들어간다.\"\n  },\n  {\n   \"affected_shots\": [\n    \"S11_Shot3\"\n   ],\n   \"affected_space_en\": \"yard\",\n   \"allowed_inference_en\": \"\",\n   \"claim_type\": \"confirmed_cue\",\n   \"confidence\": \"high\",\n   \"evidence_id\": \"E003\",\n   \"prohibited_modes_en\": \"\",\n   \"quote\": \"마당 후미진 곳에 자전거를 대충 세우고\",\n   \"source\": \"S#11\",\n   \"summary_ko\": \"마당은 단순 평면이 아니라 자전거를 둘 후미진 구석을 포함한다.\"\n  },\n  {\n   \"affected_shots\": [\n    \"S11_Shot3\",\n    \"S11_Shot4\"\n   ],\n   \"affected_space_en\": \"external stair\",\n   \"allowed_inference_en\": \"\",\n   \"claim_type\": \"confirmed_cue\",\n   \"confidence\": \"high\",\n   \"evidence_id\": \"E004\",\n   \"prohibited_modes_en\": \"\",\n   \"quote\": \"옥탑방과 연결되는 계단을 급히 오른다\",\n   \"source\": \"S#11\",\n   \"summary_ko\": \"마당에서 옥탑방으로 이어지는 계단이 직접 연결된다.\"\n  },\n  {\n   \"affected_shots\": [\n    \"S11_Shot4\"\n   ],\n   \"affected_space_en\": \"upper stair\",\n   \"allowed_inference_en\": \"\",\n   \"claim_type\": \"confirmed_cue\",\n   \"confidence\": \"high\",\n   \"evidence_id\": \"E005\",\n   \"prohibited_modes_en\": \"\",\n   \"quote\": \"갑자기 훅- 역겨운 냄새\",\n   \"source\": \"S#11 계단 중간\",\n   \"summary_ko\": \"계단 중간 또는 상부는 옥탑 현관과 냄새가 닿을 만큼 가깝다.\"\n  },\n  {\n   \"affected_shots\": [\n    \"S11_Shot4\"\n   ],\n   \"affected_space_en\": \"landing and iron door\",\n   \"allowed_inference_en\": \"\",\n   \"claim_type\": \"confirmed_cue\",\n   \"confidence\": \"high\",\n   \"evidence_id\": \"E006\",\n   \"prohibited_modes_en\": \"\",\n   \"quote\": \"옥상에 올라와 보니 반쯤 열린 현관 철문\",\n   \"source\": \"S#11\",\n   \"summary_ko\": \"계단 착지점에서는 반쯤 열린 현관 철문이 즉시 보여야 한다.\"\n  },\n  {\n   \"affected_shots\": [\n    \"S13_Shot3\"\n   ],\n   \"affected_space_en\": \"alley road and stair foot\",\n   \"allowed_inference_en\": \"\",\n   \"claim_type\": \"confirmed_cue\",\n   \"confidence\": \"high\",\n   \"evidence_id\": \"E007\",\n   \"prohibited_modes_en\": \"\",\n   \"quote\": \"계단을 내려간다. 동시에 사이렌~ (포즈). 차에서 내린 혜수... 수리영의 모습을 발견하고 달려간다\",\n   \"source\": \"S#13\",\n   \"summary_ko\": \"경찰차는 진입·정차 가능한 골목에 서고 정차점에서 계단 하단 쪽 수리영이 보여야 한다.\"\n  },\n  {\n   \"affected_shots\": [\n    \"S13_Shot3\"\n   ],\n   \"affected_space_en\": \"alley road and stair foot\",\n   \"allowed_inference_en\": \"The stop point and stair foot may be staged as an unobstructed straight sightline at approximately 10–30 m, a validation range rather than a hard measurement.\",\n   \"claim_type\": \"allowed_inference\",\n   \"confidence\": \"medium\",\n   \"evidence_id\": \"E008\",\n   \"prohibited_modes_en\": \"\",\n   \"quote\": \"\",\n   \"source\": \"Memo C consistency chain from S#13 cue\",\n   \"summary_ko\": \"정차점과 계단 하단 사이는 약 10~30m 직선 시야 범위로 허용된다.\"\n  },\n  {\n   \"affected_shots\": [\n    \"S13_Shot5\"\n   ],\n   \"affected_space_en\": \"stair foot\",\n   \"allowed_inference_en\": \"\",\n   \"claim_type\": \"confirmed_cue\",\n   \"confidence\": \"high\",\n   \"evidence_id\": \"E009\",\n   \"prohibited_modes_en\": \"\",\n   \"quote\": \"수리영 (올라다보며)\",\n   \"source\": \"S#13\",\n   \"summary_ko\": \"수리영은 낮은 자세에 있고 혜수는 위에서 보이는 상하 구도가 성립한다.\"\n  },\n  {\n   \"affected_shots\": [\n    \"S13_Shot3\",\n    \"S13_Shot5\"\n   ],\n   \"affected_space_en\": \"stair entry\",\n   \"allowed_inference_en\": \"\",\n   \"claim_type\": \"confirmed_cue\",\n   \"confidence\": \"high\",\n   \"evidence_id\": \"E010\",\n   \"prohibited_modes_en\": \"\",\n   \"quote\": \"옥탑 방으로 뛰어 올라가는 혜수와 김형사\",\n   \"source\": \"S#13\",\n   \"summary_ko\": \"정차 지점에서 계단 진입과 옥탑으로 뛰어오르는 동선이 즉시 가능해야 한다.\"\n  },\n  {\n   \"affected_shots\": [\n    \"S10_Shot5\"\n   ],\n   \"affected_space_en\": \"roof surface\",\n   \"allowed_inference_en\": \"\",\n   \"claim_type\": \"confirmed_cue\",\n   \"confidence\": \"high\",\n   \"evidence_id\": \"E011\",\n   \"prohibited_modes_en\": \"\",\n   \"quote\": \"옥상. 물탱크. 빨랫줄 툭-툭- 평상에 말린 석창포\",\n   \"source\": \"S#10\",\n   \"summary_ko\": \"옥상에는 물탱크, 빨랫줄, 석창포 말린 평상이 실재한다.\"\n  },\n  {\n   \"affected_shots\": [\n    \"S10_Shot5\",\n    \"S11_Shot4\"\n   ],\n   \"affected_space_en\": \"roof path\",\n   \"allowed_inference_en\": \"\",\n   \"claim_type\": \"confirmed_cue\",\n   \"confidence\": \"high\",\n   \"evidence_id\": \"E012\",\n   \"prohibited_modes_en\": \"\",\n   \"quote\": \"말린 잎이 걸어오는 남자의 신발 위를 스친다... 신발은 철문 현관 앞에 멈춰\",\n   \"source\": \"S#10\",\n   \"summary_ko\": \"계단 착지에서 철문으로 가는 접근로는 평상과 빨랫줄 곁을 지나야 한다.\"\n  },\n  {\n   \"affected_shots\": [\n    \"S10_Shot5\"\n   ],\n   \"affected_space_en\": \"roof lighting\",\n   \"allowed_inference_en\": \"\",\n   \"claim_type\": \"confirmed_cue\",\n   \"confidence\": \"high\",\n   \"evidence_id\": \"E013\",\n   \"prohibited_modes_en\": \"\",\n   \"quote\": \"남자의 긴 그림자\",\n   \"source\": \"S#10\",\n   \"summary_ko\": \"밤 장면에는 긴 그림자를 만드는 낮은 각도의 광원이 존재한다.\"\n  },\n  {\n   \"affected_shots\": [\n    \"S10_Shot5\"\n   ],\n   \"affected_space_en\": \"roof lighting\",\n   \"allowed_inference_en\": \"A low-angle night light source such as a streetlight or entrance-grade lamp is allowed; this does not license a broad amber colour mood across unrelated shots.\",\n   \"claim_type\": \"allowed_inference\",\n   \"confidence\": \"medium\",\n   \"evidence_id\": \"E014\",\n   \"prohibited_modes_en\": \"\",\n   \"quote\": \"\",\n   \"source\": \"Memo A item 12\",\n   \"summary_ko\": \"긴 그림자는 낮은 각도 광원을 허용하지만 전역 색무드 근거는 아니다.\"\n  },\n  {\n   \"affected_shots\": [\n    \"S10_Shot5\",\n    \"S11_Shot4\"\n   ],\n   \"affected_space_en\": \"iron door\",\n   \"allowed_inference_en\": \"\",\n   \"claim_type\": \"confirmed_cue\",\n   \"confidence\": \"high\",\n   \"evidence_id\": \"E015\",\n   \"prohibited_modes_en\": \"\",\n   \"quote\": \"문틈에 낀 광고 전단지 / 바람에 현관문 소리. 황량하다\",\n   \"source\": \"S#10 / S#27\",\n   \"summary_ko\": \"철문에는 문틈 전단지와 바람에 덜컹이는 소리 디테일이 있어야 한다.\"\n  },\n  {\n   \"affected_shots\": [\n    \"S17_Shot1\"\n   ],\n   \"affected_space_en\": \"low wall and window\",\n   \"allowed_inference_en\": \"\",\n   \"claim_type\": \"confirmed_cue\",\n   \"confidence\": \"high\",\n   \"evidence_id\": \"E016\",\n   \"prohibited_modes_en\": \"\",\n   \"quote\": \"검은 고양이가 불이 켜져 있는 옥탑 방을 슬쩍 보더니 담을 넘는다\",\n   \"source\": \"S#17\",\n   \"summary_ko\": \"고양이가 넘는 낮은 담과 불 켜진 옥탑방 창 사이에 시선이 성립한다.\"\n  },\n  {\n   \"affected_shots\": [\n    \"S17_Shot1\"\n   ],\n   \"affected_space_en\": \"low wall\",\n   \"allowed_inference_en\": \"The wall height should be low enough for a cat to cross and placed so the lit rooftop-room window remains visible over or through the wall relationship.\",\n   \"claim_type\": \"allowed_inference\",\n   \"confidence\": \"medium\",\n   \"evidence_id\": \"E017\",\n   \"prohibited_modes_en\": \"\",\n   \"quote\": \"\",\n   \"source\": \"Memo A item 14 / Memo C\",\n   \"summary_ko\": \"담은 고양이가 넘을 수 있고 창과 가시선이 이어지는 정도로 낮아야 한다.\"\n  },\n  {\n   \"affected_shots\": [\n    \"S4_Shot1\"\n   ],\n   \"affected_space_en\": \"neighborhood view\",\n   \"allowed_inference_en\": \"\",\n   \"claim_type\": \"confirmed_cue\",\n   \"confidence\": \"high\",\n   \"evidence_id\": \"E018\",\n   \"prohibited_modes_en\": \"\",\n   \"quote\": \"인천 변두리 부감, 오래된 빌라 옥탑방 전경\",\n   \"source\": \"S#4\",\n   \"summary_ko\": \"인천 변두리의 오래된 빌라 옥탑방을 부감 전경으로 볼 수 있어야 한다.\"\n  },\n  {\n   \"affected_shots\": [\n    \"S4_Shot1\"\n   ],\n   \"affected_space_en\": \"surroundings\",\n   \"allowed_inference_en\": \"A bird's-eye rooftop-villa view supports surrounding dense low-rise fabric; it does not supply an exact altitude.\",\n   \"claim_type\": \"allowed_inference\",\n   \"confidence\": \"medium\",\n   \"evidence_id\": \"E019\",\n   \"prohibited_modes_en\": \"\",\n   \"quote\": \"\",\n   \"source\": \"Memo A item 15\",\n   \"summary_ko\": \"부감 전경은 저층 밀집 맥락을 허용하지만 정확한 고도 수치는 주지 않는다.\"\n  },\n  {\n   \"affected_shots\": [\n    \"S4_Shot1\"\n   ],\n   \"affected_space_en\": \"regional context\",\n   \"allowed_inference_en\": \"\",\n   \"claim_type\": \"confirmed_cue\",\n   \"confidence\": \"high\",\n   \"evidence_id\": \"E020\",\n   \"prohibited_modes_en\": \"\",\n   \"quote\": \"조그만 도시... 바다가 가까워서\",\n   \"source\": \"S#5\",\n   \"summary_ko\": \"장소는 바다가 가까운 조그만 도시 맥락을 가진다.\"\n  },\n  {\n   \"affected_shots\": [\n    \"S4_Shot1\"\n   ],\n   \"affected_space_en\": \"atmosphere\",\n   \"allowed_inference_en\": \"Sea proximity may inform only a general atmospheric degree; it is not evidence for applying a coastal mood to every shot.\",\n   \"claim_type\": \"allowed_inference\",\n   \"confidence\": \"medium\",\n   \"evidence_id\": \"E021\",\n   \"prohibited_modes_en\": \"\",\n   \"quote\": \"\",\n   \"source\": \"Memo A item 16\",\n   \"summary_ko\": \"바다 인접성은 대기 정도의 근거일 뿐 매 샷 해안 무드는 아니다.\"\n  },\n  {\n   \"affected_shots\": [],\n   \"affected_space_en\": \"local services\",\n   \"allowed_inference_en\": \"\",\n   \"claim_type\": \"confirmed_cue\",\n   \"confidence\": \"high\",\n   \"evidence_id\": \"E022\",\n   \"prohibited_modes_en\": \"\",\n   \"quote\": \"끝나고 마트로 갈게 / 이따가 1시 타임\",\n   \"source\": \"S#5\",\n   \"summary_ko\": \"민숙의 직장인 마트는 생활권 거리 안에 있다.\"\n  },\n  {\n   \"affected_shots\": [\n    \"S10_Shot6\",\n    \"S17_Shot1\"\n   ],\n   \"affected_space_en\": \"rooftop room windows\",\n   \"allowed_inference_en\": \"\",\n   \"claim_type\": \"confirmed_cue\",\n   \"confidence\": \"high\",\n   \"evidence_id\": \"E023\",\n   \"prohibited_modes_en\": \"\",\n   \"quote\": \"작은 창 / 수리영 방 커튼 창·욕실 존재\",\n   \"source\": \"S#5·S#25 거실 / S#18\",\n   \"summary_ko\": \"옥탑 내부에는 거실 작은 창과 수리영 방 커튼 창, 욕실이 존재한다.\"\n  },\n  {\n   \"affected_shots\": [\n    \"S11_Shot3\",\n    \"S13_Shot3\"\n   ],\n   \"affected_space_en\": \"alley road\",\n   \"allowed_inference_en\": \"The alley/side road may be treated as roughly 3 m class in width because it must accept both bicycle travel and police-car approach/stop; this is a validation class, not an exact dimension.\",\n   \"claim_type\": \"allowed_inference\",\n   \"confidence\": \"medium\",\n   \"evidence_id\": \"E024\",\n   \"prohibited_modes_en\": \"\",\n   \"quote\": \"\",\n   \"source\": \"Memo C consistency chain from S#11 and S#13 cues\",\n   \"summary_ko\": \"골목 폭은 자전거와 차량 정차가 가능한 약 3m급으로 검증할 수 있다.\"\n  },\n  {\n   \"affected_shots\": [\n    \"S11_Shot3\",\n    \"S11_Shot4\"\n   ],\n   \"affected_space_en\": \"external stair\",\n   \"allowed_inference_en\": \"The exterior stair may be validated as a later-added steel retrofit stair rising about three floors, roughly 8–10 m vertical; creator correction requires steel retrofit construction and rejects concrete/cement.\",\n   \"claim_type\": \"allowed_inference\",\n   \"confidence\": \"high\",\n   \"evidence_id\": \"E025\",\n   \"prohibited_modes_en\": \"\",\n   \"quote\": \"건물 외벽에 나중에 덧붙인 철제 증축 계단 — 오픈 발판, 얇은 강판 스트링거, 파이프 난간\",\n   \"source\": \"Memo C consistency chain + CREATOR CORRECTIONS stair.desc_ko\",\n   \"summary_ko\": \"외부 계단은 약 3층 높이의 철제 증축 계단으로 검증해야 한다.\"\n  },\n  {\n   \"affected_shots\": [\n    \"S11_Shot4\"\n   ],\n   \"affected_space_en\": \"landing and iron door\",\n   \"allowed_inference_en\": \"The landing-to-iron-door frontal distance may be staged in the 2–5 m range, keeping an unobstructed eye-level view.\",\n   \"claim_type\": \"allowed_inference\",\n   \"confidence\": \"medium\",\n   \"evidence_id\": \"E026\",\n   \"prohibited_modes_en\": \"\",\n   \"quote\": \"\",\n   \"source\": \"Memo B good staging S11_4 / Memo C consistency chain\",\n   \"summary_ko\": \"랜딩에서 철문까지는 2~5m 정면 무차폐 시야가 허용된다.\"\n  },\n  {\n   \"affected_shots\": [\n    \"S4_Shot1\"\n   ],\n   \"affected_space_en\": \"neighborhood view\",\n   \"allowed_inference_en\": \"\",\n   \"claim_type\": \"prohibited_invention\",\n   \"confidence\": \"high\",\n   \"evidence_id\": \"E027\",\n   \"prohibited_modes_en\": \"numeric dimension invention\",\n   \"quote\": \"45m 상공\",\n   \"source\": \"B. 샷 staging 대조 판정, S4_1\",\n   \"summary_ko\": \"S4 부감에 45m라는 고도 수치를 붙이는 것은 원문 근거가 없다.\"\n  },\n  {\n   \"affected_shots\": [\n    \"S13_Shot3\",\n    \"S13_Shot5\",\n    \"S17_Shot1\"\n   ],\n   \"affected_space_en\": \"exterior air\",\n   \"allowed_inference_en\": \"\",\n   \"claim_type\": \"prohibited_invention\",\n   \"confidence\": \"high\",\n   \"evidence_id\": \"E028\",\n   \"prohibited_modes_en\": \"weather/fog invention\",\n   \"quote\": \"짙고 푸른 안개\",\n   \"source\": \"B. 샷 staging 대조 판정, S13·S17 / S17 desc\",\n   \"summary_ko\": \"S13과 S17의 안개, 특히 짙고 푸른 안개는 하류 발명이다.\"\n  },\n  {\n   \"affected_shots\": [\n    \"S10_Shot5\",\n    \"S10_Shot6\"\n   ],\n   \"affected_space_en\": \"lighting mood\",\n   \"allowed_inference_en\": \"\",\n   \"claim_type\": \"prohibited_invention\",\n   \"confidence\": \"high\",\n   \"evidence_id\": \"E029\",\n   \"prohibited_modes_en\": \"colour-mood propagation\",\n   \"quote\": \"sickly amber\",\n   \"source\": \"B. 샷 staging 대조 판정, S10_6 실내 램프 1개→다수 샷 전파\",\n   \"summary_ko\": \"S10_6의 실내 램프 근거를 다수 샷의 병든 앰버 무드로 확산하면 안 된다.\"\n  },\n  {\n   \"affected_shots\": [\n    \"S11_Shot3\",\n    \"S11_Shot4\"\n   ],\n   \"affected_space_en\": \"external stair\",\n   \"allowed_inference_en\": \"\",\n   \"claim_type\": \"prohibited_invention\",\n   \"confidence\": \"high\",\n   \"evidence_id\": \"E030\",\n   \"prohibited_modes_en\": \"material invention overridden by creator correction\",\n   \"quote\": \"narrow concrete staircase\",\n   \"source\": \"B. 샷 staging 대조 판정, S11_3 staging + CREATOR CORRECTIONS facts_extra\",\n   \"summary_ko\": \"S11_3의 콘크리트 계단 표기는 사용자 정정의 철제 증축 계단과 모순된다.\"\n  },\n  {\n   \"affected_shots\": [\n    \"S10_Shot5\",\n    \"S11_Shot3\",\n    \"S11_Shot4\",\n    \"S13_Shot3\",\n    \"S13_Shot5\",\n    \"S17_Shot1\",\n    \"S4_Shot1\"\n   ],\n   \"affected_space_en\": \"exterior surfaces\",\n   \"allowed_inference_en\": \"\",\n   \"claim_type\": \"prohibited_invention\",\n   \"confidence\": \"high\",\n   \"evidence_id\": \"E031\",\n   \"prohibited_modes_en\": \"surface condition without textual support\",\n   \"quote\": \"wet/damp 일괄 부여\",\n   \"source\": \"B. 샷 staging 대조 판정\",\n   \"summary_ko\": \"강우 원문이 없으므로 외부 표면을 일괄 젖거나 축축하게 만들면 안 된다.\"\n  },\n  {\n   \"affected_shots\": [\n    \"S10_Shot5\",\n    \"S11_Shot3\",\n    \"S11_Shot4\",\n    \"S13_Shot3\",\n    \"S13_Shot5\",\n    \"S17_Shot1\",\n    \"S4_Shot1\"\n   ],\n   \"affected_space_en\": \"building exterior\",\n   \"allowed_inference_en\": \"\",\n   \"claim_type\": \"prohibited_invention\",\n   \"confidence\": \"high\",\n   \"evidence_id\": \"E032\",\n   \"prohibited_modes_en\": \"plan-colour-to-material invention\",\n   \"quote\": \"uniform cement-gray mass\",\n   \"source\": \"CREATOR CORRECTIONS photo_appearance\",\n   \"summary_ko\": \"건물을 균일한 시멘트 회색 덩어리로 렌더링하면 안 된다.\"\n  },\n  {\n   \"affected_shots\": [\n    \"S10_Shot5\",\n    \"S11_Shot3\",\n    \"S11_Shot4\",\n    \"S13_Shot3\",\n    \"S13_Shot5\",\n    \"S17_Shot1\",\n    \"S4_Shot1\"\n   ],\n   \"affected_space_en\": \"building exterior\",\n   \"allowed_inference_en\": \"\",\n   \"claim_type\": \"prohibited_invention\",\n   \"confidence\": \"high\",\n   \"evidence_id\": \"E033\",\n   \"prohibited_modes_en\": \"plan-colour-to-material invention\",\n   \"quote\": \"copy the site plan's flat drawing colours as building materials\",\n   \"source\": \"CREATOR CORRECTIONS photo_appearance\",\n   \"summary_ko\": \"도면의 플랫 색을 실사 재질로 복사하는 방식은 금지된다.\"\n  },\n  {\n   \"affected_shots\": [\n    \"S10_Shot5\",\n    \"S11_Shot3\",\n    \"S11_Shot4\",\n    \"S13_Shot3\",\n    \"S13_Shot5\",\n    \"S17_Shot1\",\n    \"S4_Shot1\"\n   ],\n   \"affected_space_en\": \"building exterior\",\n   \"allowed_inference_en\": \"The property should be authored as a real existing aged multi-family villa with regional vernacular materials and varied lived-in aging; examples such as aged red brick, exterior tile cladding, cement mouldings/sills, weathered stucco patches, grime streaks, and a rusty steel retrofit stair are allowed appearance directions, not a mandate that every example appear.\",\n   \"claim_type\": \"allowed_inference\",\n   \"confidence\": \"high\",\n   \"evidence_id\": \"E034\",\n   \"prohibited_modes_en\": \"\",\n   \"quote\": \"render the property as a REAL, EXISTING aged multi-family villa with a rooftop dwelling of the exact regional type the production data describes\",\n   \"source\": \"CREATOR CORRECTIONS photo_appearance\",\n   \"summary_ko\": \"건물은 지역 전형의 낡은 다세대 빌라 실물감과 다양한 생활 흔적으로 구체화해야 한다.\"\n  }\n ],\n \"chain\": [\n  {\n   \"claim_refs\": [\n    \"E001\",\n    \"E007\",\n    \"E008\",\n    \"E024\"\n   ],\n   \"from_space_en\": \"alley road\",\n   \"link_id\": \"L01\",\n   \"relation_en\": \"straight sightline and short run to\",\n   \"summary_ko\": \"골목/이면도로 정차점과 계단 하단은 차량·자전거가 가능한 폭 안에서 10~30m 직선 시야로 연결된다.\",\n   \"to_space_en\": \"stair foot\"\n  },\n  {\n   \"claim_refs\": [\n    \"E002\",\n    \"E007\",\n    \"E010\"\n   ],\n   \"from_space_en\": \"stair foot\",\n   \"link_id\": \"L02\",\n   \"relation_en\": \"adjoins route to\",\n   \"summary_ko\": \"계단 하단 동선은 다세대 빌라의 여닫이 대문 진입 동선과 바로 이어져야 한다.\",\n   \"to_space_en\": \"villa gate\"\n  },\n  {\n   \"claim_refs\": [\n    \"E002\",\n    \"E003\"\n   ],\n   \"from_space_en\": \"villa gate\",\n   \"link_id\": \"L03\",\n   \"relation_en\": \"opens-into\",\n   \"summary_ko\": \"대문을 열고 들어오면 마당으로 진입한다.\",\n   \"to_space_en\": \"yard\"\n  },\n  {\n   \"claim_refs\": [\n    \"E003\",\n    \"E004\"\n   ],\n   \"from_space_en\": \"yard\",\n   \"link_id\": \"L04\",\n   \"relation_en\": \"adjoins\",\n   \"summary_ko\": \"마당에는 후미진 구석과 자전거 자리가 있으며 옥탑방 연결 계단과 직결된다.\",\n   \"to_space_en\": \"external stair\"\n  },\n  {\n   \"claim_refs\": [\n    \"E004\",\n    \"E005\",\n    \"E025\"\n   ],\n   \"from_space_en\": \"external stair\",\n   \"link_id\": \"L05\",\n   \"relation_en\": \"rises-to\",\n   \"summary_ko\": \"외부 철제 증축 계단은 마당에서 옥탑 랜딩까지 대략 3층 높이로 오른다.\",\n   \"to_space_en\": \"landing\"\n  },\n  {\n   \"claim_refs\": [\n    \"E006\",\n    \"E015\",\n    \"E026\"\n   ],\n   \"from_space_en\": \"landing\",\n   \"link_id\": \"L06\",\n   \"relation_en\": \"frontal sightline to\",\n   \"summary_ko\": \"랜딩에서는 2~5m 정면 거리의 반쯤 열린 철문과 전단지·바람 소리 디테일이 바로 보인다.\",\n   \"to_space_en\": \"iron door\"\n  },\n  {\n   \"claim_refs\": [\n    \"E006\",\n    \"E011\",\n    \"E012\",\n    \"E015\"\n   ],\n   \"from_space_en\": \"iron door\",\n   \"link_id\": \"L07\",\n   \"relation_en\": \"opens-into\",\n   \"summary_ko\": \"철문은 옥상면과 이어지고, 착지에서 철문으로 가는 길은 평상·빨랫줄·물탱크 인접 영역을 지난다.\",\n   \"to_space_en\": \"roof surface\"\n  },\n  {\n   \"claim_refs\": [\n    \"E012\",\n    \"E016\",\n    \"E023\"\n   ],\n   \"from_space_en\": \"roof surface\",\n   \"link_id\": \"L08\",\n   \"relation_en\": \"sightline and access adjacency to\",\n   \"summary_ko\": \"옥상면에서 옥탑 창들이 관계를 맺고, 거실 작은 창과 침실 커튼 창이 존재한다.\",\n   \"to_space_en\": \"rooftop windows\"\n  },\n  {\n   \"claim_refs\": [\n    \"E016\",\n    \"E017\"\n   ],\n   \"from_space_en\": \"rooftop windows\",\n   \"link_id\": \"L09\",\n   \"relation_en\": \"sightline to\",\n   \"summary_ko\": \"낮은 담은 고양이 동선이며 불 켜진 옥탑방 창과 서로 보이는 위치여야 한다.\",\n   \"to_space_en\": \"low wall\"\n  }\n ]\n}\n\nARTIFACT target=shot_description (S4_Shot1):\nscene_heading: S#4. 옥탑방 / D\ndescription: 인천 변두리의 낡고 오래된 빌라 옥탑방 외부 전경이 한눈에 내려다보이는 부감 구도.\n\nARTIFACT target=staging (S4_Shot1) — full staging JSON:\n{\n \"camera_direction\": \"An omniscient overhead camera holds from about forty-five meters above the old villa, centered on the rooftop room while still keeping the surrounding neighborhood readable. The rooftop structure sits in the middle of the frame like a small exposed shrine, boxed in by worn roofs, narrow alleys, and faded concrete blocks.\",\n \"character_angles\": [],\n \"frame_spatial_contract\": {\n  \"constraints\": [\n   {\n    \"depth_plane\": \"midground\",\n    \"gesture_action\": \"none\",\n    \"gesture_target_label\": \"\",\n    \"label\": \"old rooftop room\",\n    \"screen_zone\": \"middle_center\",\n    \"target_id\": \"\",\n    \"target_kind\": \"background\"\n   }\n  ],\n  \"reason\": \"required_background_position\"\n },\n \"framing_scale\": \"wide\",\n \"key_bg_elements\": [\n  {\n   \"camera_use\": \"The rooftop room is the central visual anchor and destination of the aerial reveal.\",\n   \"directionality_class\": \"directional_3d\",\n   \"element\": \"old rooftop room exterior\",\n   \"orientation\": \"its roof and front wall are visible from above, with the doorway side angled slightly toward camera\",\n   \"state\": \"aged, patched, weather-stained\"\n  },\n  {\n   \"camera_use\": \"Surrounding villa roofs create a cramped grid that isolates the rooftop room.\",\n   \"directionality_class\": \"directional_3d\",\n   \"element\": \"neighboring old villa rooftops\",\n   \"orientation\": \"flat roof planes face upward toward the overhead camera\",\n   \"state\": \"worn, cluttered, pale gray\"\n  },\n  {\n   \"camera_use\": \"A thin haze softens the outskirts and carries the news voice’s unease into the space.\",\n   \"directionality_class\": \"non_directional\",\n   \"element\": \"damp urban haze\",\n   \"orientation\": \"\",\n   \"state\": \"thin, bluish, stagnant\"\n  }\n ],\n \"lighting_mood\": \"Daylight is overcast and desaturated, with blue-gray concrete shadows and faint sickly amber window stains breaking the neighborhood’s cold isolation.\",\n \"perception_mode\": \"direct\",\n \"perspective\": \"omniscient\",\n \"pov_character\": \"\",\n \"scene_index\": 4,\n \"shot_index\": 1,\n \"subject_reference_policy\": []\n}\n\nARTIFACT target=still_prompt (S4_Shot1) — the full image prompt actually used:\nPhotorealistic cinematic still.\n\nReference image 1: pre-rendered BACKGROUND environment reference — layout/material/lighting identity\n\nAn old rooftop room sits in the middle-center midground, viewed from an omniscient overhead camera high above. The dilapidated building is centered in the wide frame, boxed in by a cramped grid of neighboring pale gray rooftops and narrow alleys. Daylight is overcast and desaturated, casting blue-gray concrete shadows across the worn roof tile and faded parapet. An aged water tank, a rusted antenna, and sagging cable lines dot the flat surface next to the stairwell. A thin, bluish damp urban haze softens the outskirts, while faint sickly amber stains on the window break the neighborhood's cold isolation.\n\nGenerate one image:\n- use image 1 for this location's wall/floor/ceiling materials, furniture identity, and lighting mood\n- follow the camera position, framing, and action requested in the prompt text — do NOT copy the camera position or composition of image 1 unless the prompt explicitly asks for it\n- do NOT copy any people from image 1\n- architectural openings (doors, windows, thresholds) must match image 1 — same position, type, and material; do NOT invent additional doors or windows unless the prompt text explicitly asks for them\n- if the prompt text places the camera inside or at one of these openings, camera-side walls and door/window frames may appear only as local foreground edges — do NOT show the same opening again in the scene, and do NOT show the exterior facade of the structure that contains the camera out in front of it\n- do not copy poses or compositions from reference images\n- do not alter character identities where their face is visible in the scene\n- each character's clothing/outfit must match that character's appearance reference image EXACTLY; if any clothing wording in the text conflicts with the reference image, follow the reference image and ignore that wording\n- only render what the scene description asks for — if only a hand or wrist is described, do NOT add the character's face\n- CRITICAL: Only render what the scene description explicitly describes. If a character's face is visible in the scene, match it to the reference. If only a body part is shown, do NOT add the face.\n- CRITICAL: Output exactly ONE single continuous photograph of ONE moment — never a panel grid, collage, contact sheet, split-screen, storyboard sheet, or multiple sub-frames inside one image.\n- CRITICAL: Every person must be physically grounded and weight-bearing — in real contact with a supporting surface, with body weight visibly carried by that contact. For a figure caught mid-action (falling, stumbling, collapsing, jumping off something), render a physically plausible instant: joints bent, weight clearly transferring, at least one believable point of contact or support — never a rigid body hovering, tilted or suspended in mid-air without support.\n\nAudit every concrete world claim now."}
{"ts": "2026-07-08 00:18:16", "kind": "llm", "step": "s24_audit_layout", "model": "gpt", "dur_s": 107.3, "system_prompt": "You are a continuity auditor. You get an EVIDENCE GRAPH\n(claims with evidence_ids: confirmed cues, allowed inference bounds,\nprohibited inventions; creator corrections override everything else) and one\nor more downstream ARTIFACTS for one shot or one layout dataset.\n\nFind every CONCRETE world claim in the artifacts — spatial relation,\nmaterial, weather/atmosphere, light colour/mood, surface condition, numeric\ndimension — and classify each against the graph:\n- \"supported\": restates a confirmed cue (cite the evidence_ids).\n- \"plausible_inference\": not directly evidenced but a reasonable directorial\n  concretization inside the allowed bounds and contradicting nothing. These\n  are GOOD — they must be kept.\n- \"unsupported_invention\": adds weather, mood colour, material, surface\n  condition or dimension that no claim supports (match a prohibited mode\n  where one applies).\n- \"contradiction\": conflicts with a confirmed cue or a creator correction.\n\nRules: claim_quote = an EXACT substring copied from the artifact (never\nparaphrase). location_en = which artifact field/part it sits in. Cite\nevidence_ids for the claims you compared against ([] only for pure\ninventions with no related claim). Ignore pure framing/lens/composition\nlanguage unless it asserts a world fact. Do not flag the same fact twice in\nthe same artifact unless the wording differs materially. repair_hint_en:\none short sentence on the minimal fix (only for unsupported_invention /\ncontradiction; \"\" otherwise). reasoning_ko: 한 줄 한국어 근거.\nsummary_ko: 2-3 문장 한국어 총평.", "user_prompt": "EVIDENCE GRAPH:\n{\n \"claims\": [\n  {\n   \"affected_shots\": [\n    \"S11_Shot3\",\n    \"S13_Shot3\"\n   ],\n   \"affected_space_en\": \"alley road\",\n   \"allowed_inference_en\": \"\",\n   \"claim_type\": \"confirmed_cue\",\n   \"confidence\": \"high\",\n   \"evidence_id\": \"E001\",\n   \"prohibited_modes_en\": \"\",\n   \"quote\": \"자전거를 타고 골목길을 달리는\",\n   \"source\": \"S#11\",\n   \"summary_ko\": \"골목은 자전거가 달릴 수 있는 폭과 노면을 가져야 한다.\"\n  },\n  {\n   \"affected_shots\": [\n    \"S11_Shot3\"\n   ],\n   \"affected_space_en\": \"villa gate\",\n   \"allowed_inference_en\": \"\",\n   \"claim_type\": \"confirmed_cue\",\n   \"confidence\": \"high\",\n   \"evidence_id\": \"E002\",\n   \"prohibited_modes_en\": \"\",\n   \"quote\": \"다세대 빌라 문을 열고 들어와\",\n   \"source\": \"S#11\",\n   \"summary_ko\": \"골목에서 다세대 빌라 문을 열고 직접 들어간다.\"\n  },\n  {\n   \"affected_shots\": [\n    \"S11_Shot3\"\n   ],\n   \"affected_space_en\": \"yard\",\n   \"allowed_inference_en\": \"\",\n   \"claim_type\": \"confirmed_cue\",\n   \"confidence\": \"high\",\n   \"evidence_id\": \"E003\",\n   \"prohibited_modes_en\": \"\",\n   \"quote\": \"마당 후미진 곳에 자전거를 대충 세우고\",\n   \"source\": \"S#11\",\n   \"summary_ko\": \"마당은 단순 평면이 아니라 자전거를 둘 후미진 구석을 포함한다.\"\n  },\n  {\n   \"affected_shots\": [\n    \"S11_Shot3\",\n    \"S11_Shot4\"\n   ],\n   \"affected_space_en\": \"external stair\",\n   \"allowed_inference_en\": \"\",\n   \"claim_type\": \"confirmed_cue\",\n   \"confidence\": \"high\",\n   \"evidence_id\": \"E004\",\n   \"prohibited_modes_en\": \"\",\n   \"quote\": \"옥탑방과 연결되는 계단을 급히 오른다\",\n   \"source\": \"S#11\",\n   \"summary_ko\": \"마당에서 옥탑방으로 이어지는 계단이 직접 연결된다.\"\n  },\n  {\n   \"affected_shots\": [\n    \"S11_Shot4\"\n   ],\n   \"affected_space_en\": \"upper stair\",\n   \"allowed_inference_en\": \"\",\n   \"claim_type\": \"confirmed_cue\",\n   \"confidence\": \"high\",\n   \"evidence_id\": \"E005\",\n   \"prohibited_modes_en\": \"\",\n   \"quote\": \"갑자기 훅- 역겨운 냄새\",\n   \"source\": \"S#11 계단 중간\",\n   \"summary_ko\": \"계단 중간 또는 상부는 옥탑 현관과 냄새가 닿을 만큼 가깝다.\"\n  },\n  {\n   \"affected_shots\": [\n    \"S11_Shot4\"\n   ],\n   \"affected_space_en\": \"landing and iron door\",\n   \"allowed_inference_en\": \"\",\n   \"claim_type\": \"confirmed_cue\",\n   \"confidence\": \"high\",\n   \"evidence_id\": \"E006\",\n   \"prohibited_modes_en\": \"\",\n   \"quote\": \"옥상에 올라와 보니 반쯤 열린 현관 철문\",\n   \"source\": \"S#11\",\n   \"summary_ko\": \"계단 착지점에서는 반쯤 열린 현관 철문이 즉시 보여야 한다.\"\n  },\n  {\n   \"affected_shots\": [\n    \"S13_Shot3\"\n   ],\n   \"affected_space_en\": \"alley road and stair foot\",\n   \"allowed_inference_en\": \"\",\n   \"claim_type\": \"confirmed_cue\",\n   \"confidence\": \"high\",\n   \"evidence_id\": \"E007\",\n   \"prohibited_modes_en\": \"\",\n   \"quote\": \"계단을 내려간다. 동시에 사이렌~ (포즈). 차에서 내린 혜수... 수리영의 모습을 발견하고 달려간다\",\n   \"source\": \"S#13\",\n   \"summary_ko\": \"경찰차는 진입·정차 가능한 골목에 서고 정차점에서 계단 하단 쪽 수리영이 보여야 한다.\"\n  },\n  {\n   \"affected_shots\": [\n    \"S13_Shot3\"\n   ],\n   \"affected_space_en\": \"alley road and stair foot\",\n   \"allowed_inference_en\": \"The stop point and stair foot may be staged as an unobstructed straight sightline at approximately 10–30 m, a validation range rather than a hard measurement.\",\n   \"claim_type\": \"allowed_inference\",\n   \"confidence\": \"medium\",\n   \"evidence_id\": \"E008\",\n   \"prohibited_modes_en\": \"\",\n   \"quote\": \"\",\n   \"source\": \"Memo C consistency chain from S#13 cue\",\n   \"summary_ko\": \"정차점과 계단 하단 사이는 약 10~30m 직선 시야 범위로 허용된다.\"\n  },\n  {\n   \"affected_shots\": [\n    \"S13_Shot5\"\n   ],\n   \"affected_space_en\": \"stair foot\",\n   \"allowed_inference_en\": \"\",\n   \"claim_type\": \"confirmed_cue\",\n   \"confidence\": \"high\",\n   \"evidence_id\": \"E009\",\n   \"prohibited_modes_en\": \"\",\n   \"quote\": \"수리영 (올라다보며)\",\n   \"source\": \"S#13\",\n   \"summary_ko\": \"수리영은 낮은 자세에 있고 혜수는 위에서 보이는 상하 구도가 성립한다.\"\n  },\n  {\n   \"affected_shots\": [\n    \"S13_Shot3\",\n    \"S13_Shot5\"\n   ],\n   \"affected_space_en\": \"stair entry\",\n   \"allowed_inference_en\": \"\",\n   \"claim_type\": \"confirmed_cue\",\n   \"confidence\": \"high\",\n   \"evidence_id\": \"E010\",\n   \"prohibited_modes_en\": \"\",\n   \"quote\": \"옥탑 방으로 뛰어 올라가는 혜수와 김형사\",\n   \"source\": \"S#13\",\n   \"summary_ko\": \"정차 지점에서 계단 진입과 옥탑으로 뛰어오르는 동선이 즉시 가능해야 한다.\"\n  },\n  {\n   \"affected_shots\": [\n    \"S10_Shot5\"\n   ],\n   \"affected_space_en\": \"roof surface\",\n   \"allowed_inference_en\": \"\",\n   \"claim_type\": \"confirmed_cue\",\n   \"confidence\": \"high\",\n   \"evidence_id\": \"E011\",\n   \"prohibited_modes_en\": \"\",\n   \"quote\": \"옥상. 물탱크. 빨랫줄 툭-툭- 평상에 말린 석창포\",\n   \"source\": \"S#10\",\n   \"summary_ko\": \"옥상에는 물탱크, 빨랫줄, 석창포 말린 평상이 실재한다.\"\n  },\n  {\n   \"affected_shots\": [\n    \"S10_Shot5\",\n    \"S11_Shot4\"\n   ],\n   \"affected_space_en\": \"roof path\",\n   \"allowed_inference_en\": \"\",\n   \"claim_type\": \"confirmed_cue\",\n   \"confidence\": \"high\",\n   \"evidence_id\": \"E012\",\n   \"prohibited_modes_en\": \"\",\n   \"quote\": \"말린 잎이 걸어오는 남자의 신발 위를 스친다... 신발은 철문 현관 앞에 멈춰\",\n   \"source\": \"S#10\",\n   \"summary_ko\": \"계단 착지에서 철문으로 가는 접근로는 평상과 빨랫줄 곁을 지나야 한다.\"\n  },\n  {\n   \"affected_shots\": [\n    \"S10_Shot5\"\n   ],\n   \"affected_space_en\": \"roof lighting\",\n   \"allowed_inference_en\": \"\",\n   \"claim_type\": \"confirmed_cue\",\n   \"confidence\": \"high\",\n   \"evidence_id\": \"E013\",\n   \"prohibited_modes_en\": \"\",\n   \"quote\": \"남자의 긴 그림자\",\n   \"source\": \"S#10\",\n   \"summary_ko\": \"밤 장면에는 긴 그림자를 만드는 낮은 각도의 광원이 존재한다.\"\n  },\n  {\n   \"affected_shots\": [\n    \"S10_Shot5\"\n   ],\n   \"affected_space_en\": \"roof lighting\",\n   \"allowed_inference_en\": \"A low-angle night light source such as a streetlight or entrance-grade lamp is allowed; this does not license a broad amber colour mood across unrelated shots.\",\n   \"claim_type\": \"allowed_inference\",\n   \"confidence\": \"medium\",\n   \"evidence_id\": \"E014\",\n   \"prohibited_modes_en\": \"\",\n   \"quote\": \"\",\n   \"source\": \"Memo A item 12\",\n   \"summary_ko\": \"긴 그림자는 낮은 각도 광원을 허용하지만 전역 색무드 근거는 아니다.\"\n  },\n  {\n   \"affected_shots\": [\n    \"S10_Shot5\",\n    \"S11_Shot4\"\n   ],\n   \"affected_space_en\": \"iron door\",\n   \"allowed_inference_en\": \"\",\n   \"claim_type\": \"confirmed_cue\",\n   \"confidence\": \"high\",\n   \"evidence_id\": \"E015\",\n   \"prohibited_modes_en\": \"\",\n   \"quote\": \"문틈에 낀 광고 전단지 / 바람에 현관문 소리. 황량하다\",\n   \"source\": \"S#10 / S#27\",\n   \"summary_ko\": \"철문에는 문틈 전단지와 바람에 덜컹이는 소리 디테일이 있어야 한다.\"\n  },\n  {\n   \"affected_shots\": [\n    \"S17_Shot1\"\n   ],\n   \"affected_space_en\": \"low wall and window\",\n   \"allowed_inference_en\": \"\",\n   \"claim_type\": \"confirmed_cue\",\n   \"confidence\": \"high\",\n   \"evidence_id\": \"E016\",\n   \"prohibited_modes_en\": \"\",\n   \"quote\": \"검은 고양이가 불이 켜져 있는 옥탑 방을 슬쩍 보더니 담을 넘는다\",\n   \"source\": \"S#17\",\n   \"summary_ko\": \"고양이가 넘는 낮은 담과 불 켜진 옥탑방 창 사이에 시선이 성립한다.\"\n  },\n  {\n   \"affected_shots\": [\n    \"S17_Shot1\"\n   ],\n   \"affected_space_en\": \"low wall\",\n   \"allowed_inference_en\": \"The wall height should be low enough for a cat to cross and placed so the lit rooftop-room window remains visible over or through the wall relationship.\",\n   \"claim_type\": \"allowed_inference\",\n   \"confidence\": \"medium\",\n   \"evidence_id\": \"E017\",\n   \"prohibited_modes_en\": \"\",\n   \"quote\": \"\",\n   \"source\": \"Memo A item 14 / Memo C\",\n   \"summary_ko\": \"담은 고양이가 넘을 수 있고 창과 가시선이 이어지는 정도로 낮아야 한다.\"\n  },\n  {\n   \"affected_shots\": [\n    \"S4_Shot1\"\n   ],\n   \"affected_space_en\": \"neighborhood view\",\n   \"allowed_inference_en\": \"\",\n   \"claim_type\": \"confirmed_cue\",\n   \"confidence\": \"high\",\n   \"evidence_id\": \"E018\",\n   \"prohibited_modes_en\": \"\",\n   \"quote\": \"인천 변두리 부감, 오래된 빌라 옥탑방 전경\",\n   \"source\": \"S#4\",\n   \"summary_ko\": \"인천 변두리의 오래된 빌라 옥탑방을 부감 전경으로 볼 수 있어야 한다.\"\n  },\n  {\n   \"affected_shots\": [\n    \"S4_Shot1\"\n   ],\n   \"affected_space_en\": \"surroundings\",\n   \"allowed_inference_en\": \"A bird's-eye rooftop-villa view supports surrounding dense low-rise fabric; it does not supply an exact altitude.\",\n   \"claim_type\": \"allowed_inference\",\n   \"confidence\": \"medium\",\n   \"evidence_id\": \"E019\",\n   \"prohibited_modes_en\": \"\",\n   \"quote\": \"\",\n   \"source\": \"Memo A item 15\",\n   \"summary_ko\": \"부감 전경은 저층 밀집 맥락을 허용하지만 정확한 고도 수치는 주지 않는다.\"\n  },\n  {\n   \"affected_shots\": [\n    \"S4_Shot1\"\n   ],\n   \"affected_space_en\": \"regional context\",\n   \"allowed_inference_en\": \"\",\n   \"claim_type\": \"confirmed_cue\",\n   \"confidence\": \"high\",\n   \"evidence_id\": \"E020\",\n   \"prohibited_modes_en\": \"\",\n   \"quote\": \"조그만 도시... 바다가 가까워서\",\n   \"source\": \"S#5\",\n   \"summary_ko\": \"장소는 바다가 가까운 조그만 도시 맥락을 가진다.\"\n  },\n  {\n   \"affected_shots\": [\n    \"S4_Shot1\"\n   ],\n   \"affected_space_en\": \"atmosphere\",\n   \"allowed_inference_en\": \"Sea proximity may inform only a general atmospheric degree; it is not evidence for applying a coastal mood to every shot.\",\n   \"claim_type\": \"allowed_inference\",\n   \"confidence\": \"medium\",\n   \"evidence_id\": \"E021\",\n   \"prohibited_modes_en\": \"\",\n   \"quote\": \"\",\n   \"source\": \"Memo A item 16\",\n   \"summary_ko\": \"바다 인접성은 대기 정도의 근거일 뿐 매 샷 해안 무드는 아니다.\"\n  },\n  {\n   \"affected_shots\": [],\n   \"affected_space_en\": \"local services\",\n   \"allowed_inference_en\": \"\",\n   \"claim_type\": \"confirmed_cue\",\n   \"confidence\": \"high\",\n   \"evidence_id\": \"E022\",\n   \"prohibited_modes_en\": \"\",\n   \"quote\": \"끝나고 마트로 갈게 / 이따가 1시 타임\",\n   \"source\": \"S#5\",\n   \"summary_ko\": \"민숙의 직장인 마트는 생활권 거리 안에 있다.\"\n  },\n  {\n   \"affected_shots\": [\n    \"S10_Shot6\",\n    \"S17_Shot1\"\n   ],\n   \"affected_space_en\": \"rooftop room windows\",\n   \"allowed_inference_en\": \"\",\n   \"claim_type\": \"confirmed_cue\",\n   \"confidence\": \"high\",\n   \"evidence_id\": \"E023\",\n   \"prohibited_modes_en\": \"\",\n   \"quote\": \"작은 창 / 수리영 방 커튼 창·욕실 존재\",\n   \"source\": \"S#5·S#25 거실 / S#18\",\n   \"summary_ko\": \"옥탑 내부에는 거실 작은 창과 수리영 방 커튼 창, 욕실이 존재한다.\"\n  },\n  {\n   \"affected_shots\": [\n    \"S11_Shot3\",\n    \"S13_Shot3\"\n   ],\n   \"affected_space_en\": \"alley road\",\n   \"allowed_inference_en\": \"The alley/side road may be treated as roughly 3 m class in width because it must accept both bicycle travel and police-car approach/stop; this is a validation class, not an exact dimension.\",\n   \"claim_type\": \"allowed_inference\",\n   \"confidence\": \"medium\",\n   \"evidence_id\": \"E024\",\n   \"prohibited_modes_en\": \"\",\n   \"quote\": \"\",\n   \"source\": \"Memo C consistency chain from S#11 and S#13 cues\",\n   \"summary_ko\": \"골목 폭은 자전거와 차량 정차가 가능한 약 3m급으로 검증할 수 있다.\"\n  },\n  {\n   \"affected_shots\": [\n    \"S11_Shot3\",\n    \"S11_Shot4\"\n   ],\n   \"affected_space_en\": \"external stair\",\n   \"allowed_inference_en\": \"The exterior stair may be validated as a later-added steel retrofit stair rising about three floors, roughly 8–10 m vertical; creator correction requires steel retrofit construction and rejects concrete/cement.\",\n   \"claim_type\": \"allowed_inference\",\n   \"confidence\": \"high\",\n   \"evidence_id\": \"E025\",\n   \"prohibited_modes_en\": \"\",\n   \"quote\": \"건물 외벽에 나중에 덧붙인 철제 증축 계단 — 오픈 발판, 얇은 강판 스트링거, 파이프 난간\",\n   \"source\": \"Memo C consistency chain + CREATOR CORRECTIONS stair.desc_ko\",\n   \"summary_ko\": \"외부 계단은 약 3층 높이의 철제 증축 계단으로 검증해야 한다.\"\n  },\n  {\n   \"affected_shots\": [\n    \"S11_Shot4\"\n   ],\n   \"affected_space_en\": \"landing and iron door\",\n   \"allowed_inference_en\": \"The landing-to-iron-door frontal distance may be staged in the 2–5 m range, keeping an unobstructed eye-level view.\",\n   \"claim_type\": \"allowed_inference\",\n   \"confidence\": \"medium\",\n   \"evidence_id\": \"E026\",\n   \"prohibited_modes_en\": \"\",\n   \"quote\": \"\",\n   \"source\": \"Memo B good staging S11_4 / Memo C consistency chain\",\n   \"summary_ko\": \"랜딩에서 철문까지는 2~5m 정면 무차폐 시야가 허용된다.\"\n  },\n  {\n   \"affected_shots\": [\n    \"S4_Shot1\"\n   ],\n   \"affected_space_en\": \"neighborhood view\",\n   \"allowed_inference_en\": \"\",\n   \"claim_type\": \"prohibited_invention\",\n   \"confidence\": \"high\",\n   \"evidence_id\": \"E027\",\n   \"prohibited_modes_en\": \"numeric dimension invention\",\n   \"quote\": \"45m 상공\",\n   \"source\": \"B. 샷 staging 대조 판정, S4_1\",\n   \"summary_ko\": \"S4 부감에 45m라는 고도 수치를 붙이는 것은 원문 근거가 없다.\"\n  },\n  {\n   \"affected_shots\": [\n    \"S13_Shot3\",\n    \"S13_Shot5\",\n    \"S17_Shot1\"\n   ],\n   \"affected_space_en\": \"exterior air\",\n   \"allowed_inference_en\": \"\",\n   \"claim_type\": \"prohibited_invention\",\n   \"confidence\": \"high\",\n   \"evidence_id\": \"E028\",\n   \"prohibited_modes_en\": \"weather/fog invention\",\n   \"quote\": \"짙고 푸른 안개\",\n   \"source\": \"B. 샷 staging 대조 판정, S13·S17 / S17 desc\",\n   \"summary_ko\": \"S13과 S17의 안개, 특히 짙고 푸른 안개는 하류 발명이다.\"\n  },\n  {\n   \"affected_shots\": [\n    \"S10_Shot5\",\n    \"S10_Shot6\"\n   ],\n   \"affected_space_en\": \"lighting mood\",\n   \"allowed_inference_en\": \"\",\n   \"claim_type\": \"prohibited_invention\",\n   \"confidence\": \"high\",\n   \"evidence_id\": \"E029\",\n   \"prohibited_modes_en\": \"colour-mood propagation\",\n   \"quote\": \"sickly amber\",\n   \"source\": \"B. 샷 staging 대조 판정, S10_6 실내 램프 1개→다수 샷 전파\",\n   \"summary_ko\": \"S10_6의 실내 램프 근거를 다수 샷의 병든 앰버 무드로 확산하면 안 된다.\"\n  },\n  {\n   \"affected_shots\": [\n    \"S11_Shot3\",\n    \"S11_Shot4\"\n   ],\n   \"affected_space_en\": \"external stair\",\n   \"allowed_inference_en\": \"\",\n   \"claim_type\": \"prohibited_invention\",\n   \"confidence\": \"high\",\n   \"evidence_id\": \"E030\",\n   \"prohibited_modes_en\": \"material invention overridden by creator correction\",\n   \"quote\": \"narrow concrete staircase\",\n   \"source\": \"B. 샷 staging 대조 판정, S11_3 staging + CREATOR CORRECTIONS facts_extra\",\n   \"summary_ko\": \"S11_3의 콘크리트 계단 표기는 사용자 정정의 철제 증축 계단과 모순된다.\"\n  },\n  {\n   \"affected_shots\": [\n    \"S10_Shot5\",\n    \"S11_Shot3\",\n    \"S11_Shot4\",\n    \"S13_Shot3\",\n    \"S13_Shot5\",\n    \"S17_Shot1\",\n    \"S4_Shot1\"\n   ],\n   \"affected_space_en\": \"exterior surfaces\",\n   \"allowed_inference_en\": \"\",\n   \"claim_type\": \"prohibited_invention\",\n   \"confidence\": \"high\",\n   \"evidence_id\": \"E031\",\n   \"prohibited_modes_en\": \"surface condition without textual support\",\n   \"quote\": \"wet/damp 일괄 부여\",\n   \"source\": \"B. 샷 staging 대조 판정\",\n   \"summary_ko\": \"강우 원문이 없으므로 외부 표면을 일괄 젖거나 축축하게 만들면 안 된다.\"\n  },\n  {\n   \"affected_shots\": [\n    \"S10_Shot5\",\n    \"S11_Shot3\",\n    \"S11_Shot4\",\n    \"S13_Shot3\",\n    \"S13_Shot5\",\n    \"S17_Shot1\",\n    \"S4_Shot1\"\n   ],\n   \"affected_space_en\": \"building exterior\",\n   \"allowed_inference_en\": \"\",\n   \"claim_type\": \"prohibited_invention\",\n   \"confidence\": \"high\",\n   \"evidence_id\": \"E032\",\n   \"prohibited_modes_en\": \"plan-colour-to-material invention\",\n   \"quote\": \"uniform cement-gray mass\",\n   \"source\": \"CREATOR CORRECTIONS photo_appearance\",\n   \"summary_ko\": \"건물을 균일한 시멘트 회색 덩어리로 렌더링하면 안 된다.\"\n  },\n  {\n   \"affected_shots\": [\n    \"S10_Shot5\",\n    \"S11_Shot3\",\n    \"S11_Shot4\",\n    \"S13_Shot3\",\n    \"S13_Shot5\",\n    \"S17_Shot1\",\n    \"S4_Shot1\"\n   ],\n   \"affected_space_en\": \"building exterior\",\n   \"allowed_inference_en\": \"\",\n   \"claim_type\": \"prohibited_invention\",\n   \"confidence\": \"high\",\n   \"evidence_id\": \"E033\",\n   \"prohibited_modes_en\": \"plan-colour-to-material invention\",\n   \"quote\": \"copy the site plan's flat drawing colours as building materials\",\n   \"source\": \"CREATOR CORRECTIONS photo_appearance\",\n   \"summary_ko\": \"도면의 플랫 색을 실사 재질로 복사하는 방식은 금지된다.\"\n  },\n  {\n   \"affected_shots\": [\n    \"S10_Shot5\",\n    \"S11_Shot3\",\n    \"S11_Shot4\",\n    \"S13_Shot3\",\n    \"S13_Shot5\",\n    \"S17_Shot1\",\n    \"S4_Shot1\"\n   ],\n   \"affected_space_en\": \"building exterior\",\n   \"allowed_inference_en\": \"The property should be authored as a real existing aged multi-family villa with regional vernacular materials and varied lived-in aging; examples such as aged red brick, exterior tile cladding, cement mouldings/sills, weathered stucco patches, grime streaks, and a rusty steel retrofit stair are allowed appearance directions, not a mandate that every example appear.\",\n   \"claim_type\": \"allowed_inference\",\n   \"confidence\": \"high\",\n   \"evidence_id\": \"E034\",\n   \"prohibited_modes_en\": \"\",\n   \"quote\": \"render the property as a REAL, EXISTING aged multi-family villa with a rooftop dwelling of the exact regional type the production data describes\",\n   \"source\": \"CREATOR CORRECTIONS photo_appearance\",\n   \"summary_ko\": \"건물은 지역 전형의 낡은 다세대 빌라 실물감과 다양한 생활 흔적으로 구체화해야 한다.\"\n  }\n ],\n \"chain\": [\n  {\n   \"claim_refs\": [\n    \"E001\",\n    \"E007\",\n    \"E008\",\n    \"E024\"\n   ],\n   \"from_space_en\": \"alley road\",\n   \"link_id\": \"L01\",\n   \"relation_en\": \"straight sightline and short run to\",\n   \"summary_ko\": \"골목/이면도로 정차점과 계단 하단은 차량·자전거가 가능한 폭 안에서 10~30m 직선 시야로 연결된다.\",\n   \"to_space_en\": \"stair foot\"\n  },\n  {\n   \"claim_refs\": [\n    \"E002\",\n    \"E007\",\n    \"E010\"\n   ],\n   \"from_space_en\": \"stair foot\",\n   \"link_id\": \"L02\",\n   \"relation_en\": \"adjoins route to\",\n   \"summary_ko\": \"계단 하단 동선은 다세대 빌라의 여닫이 대문 진입 동선과 바로 이어져야 한다.\",\n   \"to_space_en\": \"villa gate\"\n  },\n  {\n   \"claim_refs\": [\n    \"E002\",\n    \"E003\"\n   ],\n   \"from_space_en\": \"villa gate\",\n   \"link_id\": \"L03\",\n   \"relation_en\": \"opens-into\",\n   \"summary_ko\": \"대문을 열고 들어오면 마당으로 진입한다.\",\n   \"to_space_en\": \"yard\"\n  },\n  {\n   \"claim_refs\": [\n    \"E003\",\n    \"E004\"\n   ],\n   \"from_space_en\": \"yard\",\n   \"link_id\": \"L04\",\n   \"relation_en\": \"adjoins\",\n   \"summary_ko\": \"마당에는 후미진 구석과 자전거 자리가 있으며 옥탑방 연결 계단과 직결된다.\",\n   \"to_space_en\": \"external stair\"\n  },\n  {\n   \"claim_refs\": [\n    \"E004\",\n    \"E005\",\n    \"E025\"\n   ],\n   \"from_space_en\": \"external stair\",\n   \"link_id\": \"L05\",\n   \"relation_en\": \"rises-to\",\n   \"summary_ko\": \"외부 철제 증축 계단은 마당에서 옥탑 랜딩까지 대략 3층 높이로 오른다.\",\n   \"to_space_en\": \"landing\"\n  },\n  {\n   \"claim_refs\": [\n    \"E006\",\n    \"E015\",\n    \"E026\"\n   ],\n   \"from_space_en\": \"landing\",\n   \"link_id\": \"L06\",\n   \"relation_en\": \"frontal sightline to\",\n   \"summary_ko\": \"랜딩에서는 2~5m 정면 거리의 반쯤 열린 철문과 전단지·바람 소리 디테일이 바로 보인다.\",\n   \"to_space_en\": \"iron door\"\n  },\n  {\n   \"claim_refs\": [\n    \"E006\",\n    \"E011\",\n    \"E012\",\n    \"E015\"\n   ],\n   \"from_space_en\": \"iron door\",\n   \"link_id\": \"L07\",\n   \"relation_en\": \"opens-into\",\n   \"summary_ko\": \"철문은 옥상면과 이어지고, 착지에서 철문으로 가는 길은 평상·빨랫줄·물탱크 인접 영역을 지난다.\",\n   \"to_space_en\": \"roof surface\"\n  },\n  {\n   \"claim_refs\": [\n    \"E012\",\n    \"E016\",\n    \"E023\"\n   ],\n   \"from_space_en\": \"roof surface\",\n   \"link_id\": \"L08\",\n   \"relation_en\": \"sightline and access adjacency to\",\n   \"summary_ko\": \"옥상면에서 옥탑 창들이 관계를 맺고, 거실 작은 창과 침실 커튼 창이 존재한다.\",\n   \"to_space_en\": \"rooftop windows\"\n  },\n  {\n   \"claim_refs\": [\n    \"E016\",\n    \"E017\"\n   ],\n   \"from_space_en\": \"rooftop windows\",\n   \"link_id\": \"L09\",\n   \"relation_en\": \"sightline to\",\n   \"summary_ko\": \"낮은 담은 고양이 동선이며 불 켜진 옥탑방 창과 서로 보이는 위치여야 한다.\",\n   \"to_space_en\": \"low wall\"\n  }\n ]\n}\n\nARTIFACT target=layout_data — relational block layout of the same location (elements with desc_ko + evidence quotes, connections):\n{\n \"elements\": [\n  {\n   \"id\": \"street_road\",\n   \"name_en\": \"street road\",\n   \"desc_ko\": \"부지 하단에 놓인 골목형 거리 접근부이다.\",\n   \"kind\": \"road\",\n   \"parent\": \"canvas\",\n   \"evidence\": [\n    {\n     \"quote\": \"골목길을 달리는\",\n     \"source\": \"S#11\"\n    }\n   ]\n  },\n  {\n   \"id\": \"side_alley\",\n   \"name_en\": \"side alley\",\n   \"desc_ko\": \"부지 오른쪽을 따라 거리와 이어지는 좁은 골목이다.\",\n   \"kind\": \"alley\",\n   \"parent\": \"canvas\",\n   \"evidence\": [\n    {\n     \"quote\": \"narrow alley\",\n     \"source\": \"S13_Shot3\"\n    },\n    {\n     \"quote\": \"골목길을 달리는\",\n     \"source\": \"S#11\"\n    }\n   ]\n  },\n  {\n   \"id\": \"side_yard\",\n   \"name_en\": \"side yard\",\n   \"desc_ko\": \"빌라 서쪽 외벽에 붙은 길고 후미진 지상 마당이다.\",\n   \"kind\": \"yard\",\n   \"parent\": \"canvas\",\n   \"evidence\": [\n    {\n     \"quote\": \"다세대 빌라 입구 마당\",\n     \"source\": \"place member L10\"\n    },\n    {\n     \"quote\": \"마당 후미진 곳\",\n     \"source\": \"S#11\"\n    }\n   ]\n  },\n  {\n   \"id\": \"yard_gate\",\n   \"name_en\": \"yard gate\",\n   \"desc_ko\": \"마당 남쪽 끝에 붙은 빌라 출입문이다.\",\n   \"kind\": \"gate\",\n   \"parent\": \"side_yard\",\n   \"evidence\": [\n    {\n     \"quote\": \"다세대 빌라 문을 열고 들어와\",\n     \"source\": \"S#11\"\n    }\n   ]\n  },\n  {\n   \"id\": \"old_villa\",\n   \"name_en\": \"old villa\",\n   \"desc_ko\": \"부지 북쪽 중앙을 차지하는 오래된 다세대 빌라 본체이다.\",\n   \"kind\": \"building_mass\",\n   \"parent\": \"canvas\",\n   \"evidence\": [\n    {\n     \"quote\": \"오래된 빌라 옥탑방 전경\",\n     \"source\": \"S#4\"\n    },\n    {\n     \"quote\": \"old villa\",\n     \"source\": \"S4_Shot1\"\n    }\n   ]\n  },\n  {\n   \"id\": \"west_neighbor\",\n   \"name_en\": \"west neighbor\",\n   \"desc_ko\": \"부지 북서쪽에 단순화된 낡은 이웃 빌라 덩어리이다.\",\n   \"kind\": \"neighbor_mass\",\n   \"parent\": \"canvas\",\n   \"evidence\": [\n    {\n     \"quote\": \"neighboring old villa rooftops\",\n     \"source\": \"S4_Shot1\"\n    }\n   ]\n  },\n  {\n   \"id\": \"east_neighbor\",\n   \"name_en\": \"east neighbor\",\n   \"desc_ko\": \"부지 북동쪽에 단순화된 낡은 이웃 빌라 덩어리이다.\",\n   \"kind\": \"neighbor_mass\",\n   \"parent\": \"canvas\",\n   \"evidence\": [\n    {\n     \"quote\": \"neighboring old villa rooftops\",\n     \"source\": \"S4_Shot1\"\n    }\n   ]\n  },\n  {\n   \"id\": \"retro_stair\",\n   \"name_en\": \"steel stair\",\n   \"desc_ko\": \"마당 동쪽 가장자리에 붙은 개방형 철제 외부 계단이다.\",\n   \"kind\": \"stair\",\n   \"parent\": \"side_yard\",\n   \"evidence\": [\n    {\n     \"quote\": \"ADDED-ON STEEL stair retrofitted later onto its building's outside wall — open treads, thin steel stringers and support posts, pipe handrail\",\n     \"source\": \"creator correction\"\n    },\n    {\n     \"quote\": \"옥탑방과 연결되는 계단\",\n     \"source\": \"S#11\"\n    }\n   ]\n  },\n  {\n   \"id\": \"roof_deck\",\n   \"name_en\": \"roof deck\",\n   \"desc_ko\": \"빌라 본체 위를 덮는 낡은 시멘트 옥상 바닥이다.\",\n   \"kind\": \"terrace\",\n   \"parent\": \"old_villa\",\n   \"evidence\": [\n    {\n     \"quote\": \"옥탑방 옥상\",\n     \"source\": \"S#10\"\n    },\n    {\n     \"quote\": \"낡은 시멘트 바닥\",\n     \"source\": \"place member L03\"\n    }\n   ]\n  },\n  {\n   \"id\": \"low_parapet\",\n   \"name_en\": \"low parapet\",\n   \"desc_ko\": \"옥상 남쪽 가장자리에 낮게 둘러진 콘크리트 벽이다.\",\n   \"kind\": \"wall\",\n   \"parent\": \"roof_deck\",\n   \"evidence\": [\n    {\n     \"quote\": \"low rooftop wall\",\n     \"source\": \"S11_Shot4\"\n    },\n    {\n     \"quote\": \"low concrete rooftop wall\",\n     \"source\": \"S17_Shot1\"\n    }\n   ]\n  },\n  {\n   \"id\": \"rooftop_room\",\n   \"name_en\": \"rooftop room\",\n   \"desc_ko\": \"옥상 중앙에 놓인 작은 밀폐 옥탑방 외곽이다.\",\n   \"kind\": \"upper_shell\",\n   \"parent\": \"roof_deck\",\n   \"evidence\": [\n    {\n     \"quote\": \"old rooftop room exterior\",\n     \"source\": \"S4_Shot1\"\n    },\n    {\n     \"quote\": \"옥탑 방\",\n     \"source\": \"S#13\"\n    }\n   ]\n  },\n  {\n   \"id\": \"front_door\",\n   \"name_en\": \"iron door\",\n   \"desc_ko\": \"옥탑방 남쪽 벽에 달린 낡은 철제 현관문이다.\",\n   \"kind\": \"door\",\n   \"parent\": \"rooftop_room\",\n   \"evidence\": [\n    {\n     \"quote\": \"옥탑방 철문 현관 앞\",\n     \"source\": \"S#10\"\n    },\n    {\n     \"quote\": \"half-open rooftop iron door\",\n     \"source\": \"S11_Shot4\"\n    }\n   ]\n  },\n  {\n   \"id\": \"living_window\",\n   \"name_en\": \"small window\",\n   \"desc_ko\": \"옥탑방 동쪽 벽에 붙은 작은 거실 창이다.\",\n   \"kind\": \"window\",\n   \"parent\": \"rooftop_room\",\n   \"evidence\": [\n    {\n     \"quote\": \"거실에 난 작은 창\",\n     \"source\": \"S#5\"\n    },\n    {\n     \"quote\": \"small living-room window\",\n     \"source\": \"S5_Shot3\"\n    }\n   ]\n  },\n  {\n   \"id\": \"bed_window\",\n   \"name_en\": \"bedroom window\",\n   \"desc_ko\": \"옥탑방 북쪽 벽에 붙은 커튼 달린 방 창이다.\",\n   \"kind\": \"window\",\n   \"parent\": \"rooftop_room\",\n   \"evidence\": [\n    {\n     \"quote\": \"bedroom window with curtains\",\n     \"source\": \"S18_Shot6\"\n    },\n    {\n     \"quote\": \"창문에 다가가 커튼을 확 열어젖힌다\",\n     \"source\": \"S#18\"\n    }\n   ]\n  },\n  {\n   \"id\": \"water_tank\",\n   \"name_en\": \"water tank\",\n   \"desc_ko\": \"옥상 북서쪽에 놓인 둥근 물탱크이다.\",\n   \"kind\": \"equipment\",\n   \"parent\": \"roof_deck\",\n   \"evidence\": [\n    {\n     \"quote\": \"물탱크\",\n     \"source\": \"S#10\"\n    },\n    {\n     \"quote\": \"물탱크\",\n     \"source\": \"place member L03\"\n    }\n   ]\n  },\n  {\n   \"id\": \"clothes_line\",\n   \"name_en\": \"clothes line\",\n   \"desc_ko\": \"옥상 북쪽 빈 바닥을 가로지르는 얇은 빨랫줄이다.\",\n   \"kind\": \"fixture_rect\",\n   \"parent\": \"roof_deck\",\n   \"evidence\": [\n    {\n     \"quote\": \"바람에 빨랫줄이 툭- 툭-\",\n     \"source\": \"S#10\"\n    },\n    {\n     \"quote\": \"바람에 날리는 빨랫줄\",\n     \"source\": \"place member L03\"\n    }\n   ]\n  },\n  {\n   \"id\": \"drying_platform\",\n   \"name_en\": \"drying platform\",\n   \"desc_ko\": \"옥상 서쪽 바닥에 놓인 낮은 직사각 평상이다.\",\n   \"kind\": \"fixture_rect\",\n   \"parent\": \"roof_deck\",\n   \"evidence\": [\n    {\n     \"quote\": \"평상에 놓인 말린 석창포\",\n     \"source\": \"S#10\"\n    },\n    {\n     \"quote\": \"평상과 널려 있는 말린 약초\",\n     \"source\": \"place member L03\"\n    }\n   ]\n  }\n ],\n \"connections\": [\n  {\n   \"a\": \"street_road\",\n   \"b\": \"side_alley\",\n   \"why_ko\": \"“골목길” 접근부가 거리 쪽에서 이어지는 외부 통로로 배치된다.\"\n  },\n  {\n   \"a\": \"street_road\",\n   \"b\": \"yard_gate\",\n   \"why_ko\": \"“다세대 빌라 문을 열고 들어와”라는 문이 거리와 마당 사이에 놓인다.\"\n  },\n  {\n   \"a\": \"yard_gate\",\n   \"b\": \"side_yard\",\n   \"why_ko\": \"“다세대 빌라 문을 열고 들어와 마당”으로 문 바로 안쪽이 마당이다.\"\n  },\n  {\n   \"a\": \"side_yard\",\n   \"b\": \"retro_stair\",\n   \"why_ko\": \"“마당 후미진 곳”에서 “계단”으로 올라가는 동선이다.\"\n  },\n  {\n   \"a\": \"retro_stair\",\n   \"b\": \"roof_deck\",\n   \"why_ko\": \"“옥탑방과 연결되는 계단”이 옥상까지 이어진다.\"\n  },\n  {\n   \"a\": \"rooftop_room\",\n   \"b\": \"roof_deck\",\n   \"why_ko\": \"“옥탑방 옥상” 위에 옥탑방 외곽이 함께 놓인다.\"\n  },\n  {\n   \"a\": \"front_door\",\n   \"b\": \"roof_deck\",\n   \"why_ko\": \"“옥탑방 철문 현관 앞”은 옥상 바닥에서 현관문으로 닿는 위치다.\"\n  }\n ]\n}\n\nAudit every concrete world claim now (location_en = element id + field)."}
{"ts": "2026-07-08 00:18:16", "kind": "stage", "stage": "s24_evidence", "done": "audit"}
{"ts": "2026-07-08 00:20:01", "kind": "llm", "step": "s24_chain_map", "model": "gpt", "dur_s": 59.6, "system_prompt": "You get the consistency CHAIN LINKS of a location's\nevidence graph and the ELEMENT LIST of a relational block layout of the same\nlocation. For each link pick the layout element ids that embody its two\nspaces (a_id = from side, b_id = to side). If a side has no matching element\nset mappable=false with the ids \"\" and explain why in reason_ko. Pure\nsightline links map the two elements whose line of sight the link asserts.\nNever invent element ids — use only the given list.", "user_prompt": "CHAIN LINKS:\n[\n {\n  \"claim_refs\": [\n   \"E001\",\n   \"E007\",\n   \"E008\",\n   \"E024\"\n  ],\n  \"from_space_en\": \"alley road\",\n  \"link_id\": \"L01\",\n  \"relation_en\": \"straight sightline and short run to\",\n  \"summary_ko\": \"골목/이면도로 정차점과 계단 하단은 차량·자전거가 가능한 폭 안에서 10~30m 직선 시야로 연결된다.\",\n  \"to_space_en\": \"stair foot\"\n },\n {\n  \"claim_refs\": [\n   \"E002\",\n   \"E007\",\n   \"E010\"\n  ],\n  \"from_space_en\": \"stair foot\",\n  \"link_id\": \"L02\",\n  \"relation_en\": \"adjoins route to\",\n  \"summary_ko\": \"계단 하단 동선은 다세대 빌라의 여닫이 대문 진입 동선과 바로 이어져야 한다.\",\n  \"to_space_en\": \"villa gate\"\n },\n {\n  \"claim_refs\": [\n   \"E002\",\n   \"E003\"\n  ],\n  \"from_space_en\": \"villa gate\",\n  \"link_id\": \"L03\",\n  \"relation_en\": \"opens-into\",\n  \"summary_ko\": \"대문을 열고 들어오면 마당으로 진입한다.\",\n  \"to_space_en\": \"yard\"\n },\n {\n  \"claim_refs\": [\n   \"E003\",\n   \"E004\"\n  ],\n  \"from_space_en\": \"yard\",\n  \"link_id\": \"L04\",\n  \"relation_en\": \"adjoins\",\n  \"summary_ko\": \"마당에는 후미진 구석과 자전거 자리가 있으며 옥탑방 연결 계단과 직결된다.\",\n  \"to_space_en\": \"external stair\"\n },\n {\n  \"claim_refs\": [\n   \"E004\",\n   \"E005\",\n   \"E025\"\n  ],\n  \"from_space_en\": \"external stair\",\n  \"link_id\": \"L05\",\n  \"relation_en\": \"rises-to\",\n  \"summary_ko\": \"외부 철제 증축 계단은 마당에서 옥탑 랜딩까지 대략 3층 높이로 오른다.\",\n  \"to_space_en\": \"landing\"\n },\n {\n  \"claim_refs\": [\n   \"E006\",\n   \"E015\",\n   \"E026\"\n  ],\n  \"from_space_en\": \"landing\",\n  \"link_id\": \"L06\",\n  \"relation_en\": \"frontal sightline to\",\n  \"summary_ko\": \"랜딩에서는 2~5m 정면 거리의 반쯤 열린 철문과 전단지·바람 소리 디테일이 바로 보인다.\",\n  \"to_space_en\": \"iron door\"\n },\n {\n  \"claim_refs\": [\n   \"E006\",\n   \"E011\",\n   \"E012\",\n   \"E015\"\n  ],\n  \"from_space_en\": \"iron door\",\n  \"link_id\": \"L07\",\n  \"relation_en\": \"opens-into\",\n  \"summary_ko\": \"철문은 옥상면과 이어지고, 착지에서 철문으로 가는 길은 평상·빨랫줄·물탱크 인접 영역을 지난다.\",\n  \"to_space_en\": \"roof surface\"\n },\n {\n  \"claim_refs\": [\n   \"E012\",\n   \"E016\",\n   \"E023\"\n  ],\n  \"from_space_en\": \"roof surface\",\n  \"link_id\": \"L08\",\n  \"relation_en\": \"sightline and access adjacency to\",\n  \"summary_ko\": \"옥상면에서 옥탑 창들이 관계를 맺고, 거실 작은 창과 침실 커튼 창이 존재한다.\",\n  \"to_space_en\": \"rooftop windows\"\n },\n {\n  \"claim_refs\": [\n   \"E016\",\n   \"E017\"\n  ],\n  \"from_space_en\": \"rooftop windows\",\n  \"link_id\": \"L09\",\n  \"relation_en\": \"sightline to\",\n  \"summary_ko\": \"낮은 담은 고양이 동선이며 불 켜진 옥탑방 창과 서로 보이는 위치여야 한다.\",\n  \"to_space_en\": \"low wall\"\n }\n]\n\nELEMENT LIST:\n[\n {\n  \"id\": \"street_road\",\n  \"name_en\": \"street road\",\n  \"desc_ko\": \"부지 하단에 놓인 골목형 거리 접근부이다.\",\n  \"kind\": \"road\",\n  \"parent\": \"canvas\"\n },\n {\n  \"id\": \"side_alley\",\n  \"name_en\": \"side alley\",\n  \"desc_ko\": \"부지 오른쪽을 따라 거리와 이어지는 좁은 골목이다.\",\n  \"kind\": \"alley\",\n  \"parent\": \"canvas\"\n },\n {\n  \"id\": \"side_yard\",\n  \"name_en\": \"side yard\",\n  \"desc_ko\": \"빌라 서쪽 외벽에 붙은 길고 후미진 지상 마당이다.\",\n  \"kind\": \"yard\",\n  \"parent\": \"canvas\"\n },\n {\n  \"id\": \"yard_gate\",\n  \"name_en\": \"yard gate\",\n  \"desc_ko\": \"마당 남쪽 끝에 붙은 빌라 출입문이다.\",\n  \"kind\": \"gate\",\n  \"parent\": \"side_yard\"\n },\n {\n  \"id\": \"old_villa\",\n  \"name_en\": \"old villa\",\n  \"desc_ko\": \"부지 북쪽 중앙을 차지하는 오래된 다세대 빌라 본체이다.\",\n  \"kind\": \"building_mass\",\n  \"parent\": \"canvas\"\n },\n {\n  \"id\": \"west_neighbor\",\n  \"name_en\": \"west neighbor\",\n  \"desc_ko\": \"부지 북서쪽에 단순화된 낡은 이웃 빌라 덩어리이다.\",\n  \"kind\": \"neighbor_mass\",\n  \"parent\": \"canvas\"\n },\n {\n  \"id\": \"east_neighbor\",\n  \"name_en\": \"east neighbor\",\n  \"desc_ko\": \"부지 북동쪽에 단순화된 낡은 이웃 빌라 덩어리이다.\",\n  \"kind\": \"neighbor_mass\",\n  \"parent\": \"canvas\"\n },\n {\n  \"id\": \"retro_stair\",\n  \"name_en\": \"steel stair\",\n  \"desc_ko\": \"마당 동쪽 가장자리에 붙은 개방형 철제 외부 계단이다.\",\n  \"kind\": \"stair\",\n  \"parent\": \"side_yard\"\n },\n {\n  \"id\": \"roof_deck\",\n  \"name_en\": \"roof deck\",\n  \"desc_ko\": \"빌라 본체 위를 덮는 낡은 시멘트 옥상 바닥이다.\",\n  \"kind\": \"terrace\",\n  \"parent\": \"old_villa\"\n },\n {\n  \"id\": \"low_parapet\",\n  \"name_en\": \"low parapet\",\n  \"desc_ko\": \"옥상 남쪽 가장자리에 낮게 둘러진 콘크리트 벽이다.\",\n  \"kind\": \"wall\",\n  \"parent\": \"roof_deck\"\n },\n {\n  \"id\": \"rooftop_room\",\n  \"name_en\": \"rooftop room\",\n  \"desc_ko\": \"옥상 중앙에 놓인 작은 밀폐 옥탑방 외곽이다.\",\n  \"kind\": \"upper_shell\",\n  \"parent\": \"roof_deck\"\n },\n {\n  \"id\": \"front_door\",\n  \"name_en\": \"iron door\",\n  \"desc_ko\": \"옥탑방 남쪽 벽에 달린 낡은 철제 현관문이다.\",\n  \"kind\": \"door\",\n  \"parent\": \"rooftop_room\"\n },\n {\n  \"id\": \"living_window\",\n  \"name_en\": \"small window\",\n  \"desc_ko\": \"옥탑방 동쪽 벽에 붙은 작은 거실 창이다.\",\n  \"kind\": \"window\",\n  \"parent\": \"rooftop_room\"\n },\n {\n  \"id\": \"bed_window\",\n  \"name_en\": \"bedroom window\",\n  \"desc_ko\": \"옥탑방 북쪽 벽에 붙은 커튼 달린 방 창이다.\",\n  \"kind\": \"window\",\n  \"parent\": \"rooftop_room\"\n },\n {\n  \"id\": \"water_tank\",\n  \"name_en\": \"water tank\",\n  \"desc_ko\": \"옥상 북서쪽에 놓인 둥근 물탱크이다.\",\n  \"kind\": \"equipment\",\n  \"parent\": \"roof_deck\"\n },\n {\n  \"id\": \"clothes_line\",\n  \"name_en\": \"clothes line\",\n  \"desc_ko\": \"옥상 북쪽 빈 바닥을 가로지르는 얇은 빨랫줄이다.\",\n  \"kind\": \"fixture_rect\",\n  \"parent\": \"roof_deck\"\n },\n {\n  \"id\": \"drying_platform\",\n  \"name_en\": \"drying platform\",\n  \"desc_ko\": \"옥상 서쪽 바닥에 놓인 낮은 직사각 평상이다.\",\n  \"kind\": \"fixture_rect\",\n  \"parent\": \"roof_deck\"\n }\n]\n\nMap every link now."}
{"ts": "2026-07-08 00:20:01", "kind": "stage", "stage": "s24_evidence", "done": "chain"}
{"ts": "2026-07-08 00:21:39", "kind": "llm", "step": "s24_chain_map", "model": "gpt", "dur_s": 42.4, "system_prompt": "You get the consistency CHAIN LINKS of a location's\nevidence graph and the ELEMENT LIST of a relational block layout of the same\nlocation. For each link pick the layout element ids that embody its two\nspaces (a_id = from side, b_id = to side). If a side has no matching element\nset mappable=false with the ids \"\" and explain why in reason_ko. Pure\nsightline links map the two elements whose line of sight the link asserts.\nIf a space corresponds to SEVERAL elements, do not mark it unmappable —\npick the single element that the link's grounding claims name (note the\nchoice in reason_ko). Never invent element ids — use only the given list.", "user_prompt": "CHAIN LINKS:\n[\n {\n  \"claim_refs\": [\n   \"E001\",\n   \"E007\",\n   \"E008\",\n   \"E024\"\n  ],\n  \"from_space_en\": \"alley road\",\n  \"link_id\": \"L01\",\n  \"relation_en\": \"straight sightline and short run to\",\n  \"summary_ko\": \"골목/이면도로 정차점과 계단 하단은 차량·자전거가 가능한 폭 안에서 10~30m 직선 시야로 연결된다.\",\n  \"to_space_en\": \"stair foot\"\n },\n {\n  \"claim_refs\": [\n   \"E002\",\n   \"E007\",\n   \"E010\"\n  ],\n  \"from_space_en\": \"stair foot\",\n  \"link_id\": \"L02\",\n  \"relation_en\": \"adjoins route to\",\n  \"summary_ko\": \"계단 하단 동선은 다세대 빌라의 여닫이 대문 진입 동선과 바로 이어져야 한다.\",\n  \"to_space_en\": \"villa gate\"\n },\n {\n  \"claim_refs\": [\n   \"E002\",\n   \"E003\"\n  ],\n  \"from_space_en\": \"villa gate\",\n  \"link_id\": \"L03\",\n  \"relation_en\": \"opens-into\",\n  \"summary_ko\": \"대문을 열고 들어오면 마당으로 진입한다.\",\n  \"to_space_en\": \"yard\"\n },\n {\n  \"claim_refs\": [\n   \"E003\",\n   \"E004\"\n  ],\n  \"from_space_en\": \"yard\",\n  \"link_id\": \"L04\",\n  \"relation_en\": \"adjoins\",\n  \"summary_ko\": \"마당에는 후미진 구석과 자전거 자리가 있으며 옥탑방 연결 계단과 직결된다.\",\n  \"to_space_en\": \"external stair\"\n },\n {\n  \"claim_refs\": [\n   \"E004\",\n   \"E005\",\n   \"E025\"\n  ],\n  \"from_space_en\": \"external stair\",\n  \"link_id\": \"L05\",\n  \"relation_en\": \"rises-to\",\n  \"summary_ko\": \"외부 철제 증축 계단은 마당에서 옥탑 랜딩까지 대략 3층 높이로 오른다.\",\n  \"to_space_en\": \"landing\"\n },\n {\n  \"claim_refs\": [\n   \"E006\",\n   \"E015\",\n   \"E026\"\n  ],\n  \"from_space_en\": \"landing\",\n  \"link_id\": \"L06\",\n  \"relation_en\": \"frontal sightline to\",\n  \"summary_ko\": \"랜딩에서는 2~5m 정면 거리의 반쯤 열린 철문과 전단지·바람 소리 디테일이 바로 보인다.\",\n  \"to_space_en\": \"iron door\"\n },\n {\n  \"claim_refs\": [\n   \"E006\",\n   \"E011\",\n   \"E012\",\n   \"E015\"\n  ],\n  \"from_space_en\": \"iron door\",\n  \"link_id\": \"L07\",\n  \"relation_en\": \"opens-into\",\n  \"summary_ko\": \"철문은 옥상면과 이어지고, 착지에서 철문으로 가는 길은 평상·빨랫줄·물탱크 인접 영역을 지난다.\",\n  \"to_space_en\": \"roof surface\"\n },\n {\n  \"claim_refs\": [\n   \"E012\",\n   \"E016\",\n   \"E023\"\n  ],\n  \"from_space_en\": \"roof surface\",\n  \"link_id\": \"L08\",\n  \"relation_en\": \"sightline and access adjacency to\",\n  \"summary_ko\": \"옥상면에서 옥탑 창들이 관계를 맺고, 거실 작은 창과 침실 커튼 창이 존재한다.\",\n  \"to_space_en\": \"rooftop windows\"\n },\n {\n  \"claim_refs\": [\n   \"E016\",\n   \"E017\"\n  ],\n  \"from_space_en\": \"rooftop windows\",\n  \"link_id\": \"L09\",\n  \"relation_en\": \"sightline to\",\n  \"summary_ko\": \"낮은 담은 고양이 동선이며 불 켜진 옥탑방 창과 서로 보이는 위치여야 한다.\",\n  \"to_space_en\": \"low wall\"\n }\n]\n\nELEMENT LIST:\n[\n {\n  \"id\": \"street_road\",\n  \"name_en\": \"street road\",\n  \"desc_ko\": \"부지 하단에 놓인 골목형 거리 접근부이다.\",\n  \"kind\": \"road\",\n  \"parent\": \"canvas\"\n },\n {\n  \"id\": \"side_alley\",\n  \"name_en\": \"side alley\",\n  \"desc_ko\": \"부지 오른쪽을 따라 거리와 이어지는 좁은 골목이다.\",\n  \"kind\": \"alley\",\n  \"parent\": \"canvas\"\n },\n {\n  \"id\": \"side_yard\",\n  \"name_en\": \"side yard\",\n  \"desc_ko\": \"빌라 서쪽 외벽에 붙은 길고 후미진 지상 마당이다.\",\n  \"kind\": \"yard\",\n  \"parent\": \"canvas\"\n },\n {\n  \"id\": \"yard_gate\",\n  \"name_en\": \"yard gate\",\n  \"desc_ko\": \"마당 남쪽 끝에 붙은 빌라 출입문이다.\",\n  \"kind\": \"gate\",\n  \"parent\": \"side_yard\"\n },\n {\n  \"id\": \"old_villa\",\n  \"name_en\": \"old villa\",\n  \"desc_ko\": \"부지 북쪽 중앙을 차지하는 오래된 다세대 빌라 본체이다.\",\n  \"kind\": \"building_mass\",\n  \"parent\": \"canvas\"\n },\n {\n  \"id\": \"west_neighbor\",\n  \"name_en\": \"west neighbor\",\n  \"desc_ko\": \"부지 북서쪽에 단순화된 낡은 이웃 빌라 덩어리이다.\",\n  \"kind\": \"neighbor_mass\",\n  \"parent\": \"canvas\"\n },\n {\n  \"id\": \"east_neighbor\",\n  \"name_en\": \"east neighbor\",\n  \"desc_ko\": \"부지 북동쪽에 단순화된 낡은 이웃 빌라 덩어리이다.\",\n  \"kind\": \"neighbor_mass\",\n  \"parent\": \"canvas\"\n },\n {\n  \"id\": \"retro_stair\",\n  \"name_en\": \"steel stair\",\n  \"desc_ko\": \"마당 동쪽 가장자리에 붙은 개방형 철제 외부 계단이다.\",\n  \"kind\": \"stair\",\n  \"parent\": \"side_yard\"\n },\n {\n  \"id\": \"roof_deck\",\n  \"name_en\": \"roof deck\",\n  \"desc_ko\": \"빌라 본체 위를 덮는 낡은 시멘트 옥상 바닥이다.\",\n  \"kind\": \"terrace\",\n  \"parent\": \"old_villa\"\n },\n {\n  \"id\": \"low_parapet\",\n  \"name_en\": \"low parapet\",\n  \"desc_ko\": \"옥상 남쪽 가장자리에 낮게 둘러진 콘크리트 벽이다.\",\n  \"kind\": \"wall\",\n  \"parent\": \"roof_deck\"\n },\n {\n  \"id\": \"rooftop_room\",\n  \"name_en\": \"rooftop room\",\n  \"desc_ko\": \"옥상 중앙에 놓인 작은 밀폐 옥탑방 외곽이다.\",\n  \"kind\": \"upper_shell\",\n  \"parent\": \"roof_deck\"\n },\n {\n  \"id\": \"front_door\",\n  \"name_en\": \"iron door\",\n  \"desc_ko\": \"옥탑방 남쪽 벽에 달린 낡은 철제 현관문이다.\",\n  \"kind\": \"door\",\n  \"parent\": \"rooftop_room\"\n },\n {\n  \"id\": \"living_window\",\n  \"name_en\": \"small window\",\n  \"desc_ko\": \"옥탑방 동쪽 벽에 붙은 작은 거실 창이다.\",\n  \"kind\": \"window\",\n  \"parent\": \"rooftop_room\"\n },\n {\n  \"id\": \"bed_window\",\n  \"name_en\": \"bedroom window\",\n  \"desc_ko\": \"옥탑방 북쪽 벽에 붙은 커튼 달린 방 창이다.\",\n  \"kind\": \"window\",\n  \"parent\": \"rooftop_room\"\n },\n {\n  \"id\": \"water_tank\",\n  \"name_en\": \"water tank\",\n  \"desc_ko\": \"옥상 북서쪽에 놓인 둥근 물탱크이다.\",\n  \"kind\": \"equipment\",\n  \"parent\": \"roof_deck\"\n },\n {\n  \"id\": \"clothes_line\",\n  \"name_en\": \"clothes line\",\n  \"desc_ko\": \"옥상 북쪽 빈 바닥을 가로지르는 얇은 빨랫줄이다.\",\n  \"kind\": \"fixture_rect\",\n  \"parent\": \"roof_deck\"\n },\n {\n  \"id\": \"drying_platform\",\n  \"name_en\": \"drying platform\",\n  \"desc_ko\": \"옥상 서쪽 바닥에 놓인 낮은 직사각 평상이다.\",\n  \"kind\": \"fixture_rect\",\n  \"parent\": \"roof_deck\"\n }\n]\n\nMap every link now."}
{"ts": "2026-07-08 00:21:39", "kind": "stage", "stage": "s24_evidence", "done": "chain"}
{"ts": "2026-07-08 00:22:32", "kind": "llm", "step": "s24_repair_S10_Shot5", "model": "gpt", "dur_s": 34.3, "system_prompt": "You are a continuity repair editor. You get the location's\nevidence summary (with prohibited invention modes), creator corrections, one\nshot's downstream artifacts, and the audit FINDINGS for that shot restricted\nto categories unsupported_invention / contradiction. Fix ONLY those findings\n— every supported claim and every plausible directorial concretization must\nsurvive verbatim.\n\nEVIDENCE-BOUND AUTHORING: every concrete claim about the world —\nspatial relations, materials, weather, atmosphere, light colour,\nsurface condition, numeric dimensions — must either (a) restate a\nprovided evidence entry (cite its evidence_id), or (b) be a staging\nconcretization DIRECTLY derivable from one (mark it inferred).\nCreator corrections override any conflicting downstream text.\nNEVER introduce weather effects, colour moods, surface conditions,\nmaterials or numeric dimensions that no evidence entry supports —\nwhen the evidence is silent, stay silent and leave that choice to\nthe image model.\n\nOutput two things:\n1. prompt_edits — minimal text substitutions for the STILL PROMPT (if one is\n   given): each edit has before_quote = an EXACT substring of the current\n   prompt (long enough to be unambiguous, usually the full clause) and\n   after_en = its replacement (\"\" to delete the clause; rewrite the clause\n   so the sentence still reads naturally). Touch nothing outside the flagged\n   claims; never add new specifics the evidence does not support.\n2. staging_corrections — for findings in shot_description/staging: DO NOT\n   rewrite those artifacts; emit a correction entry per finding with\n   field_en (which field/part), before_quote (exact), after_en (the minimal\n   corrected wording), evidence_ids, reason_ko. These are stored as a\n   correction pack applied when a lane next consumes that data.\nnotes_ko: 2-3 문장 한국어 — 무엇을 왜 고쳤고 무엇을 일부러 남겼는지.", "user_prompt": "EVIDENCE SUMMARY:\n[E001] confirmed_cue (alley road): \"자전거를 타고 골목길을 달리는\" (S#11)\n[E002] confirmed_cue (villa gate): \"다세대 빌라 문을 열고 들어와\" (S#11)\n[E003] confirmed_cue (yard): \"마당 후미진 곳에 자전거를 대충 세우고\" (S#11)\n[E004] confirmed_cue (external stair): \"옥탑방과 연결되는 계단을 급히 오른다\" (S#11)\n[E005] confirmed_cue (upper stair): \"갑자기 훅- 역겨운 냄새\" (S#11 계단 중간)\n[E006] confirmed_cue (landing and iron door): \"옥상에 올라와 보니 반쯤 열린 현관 철문\" (S#11)\n[E007] confirmed_cue (alley road and stair foot): \"계단을 내려간다. 동시에 사이렌~ (포즈). 차에서 내린 혜수... 수리영의 모습을 발견하고 달려간다\" (S#13)\n[E008] allowed_inference (alley road and stair foot): \"\" (Memo C consistency chain from S#13 cue) | allowed: The stop point and stair foot may be staged as an unobstructed straight sightline at approximately 10–30 m, a validation range rather than a hard measurement.\n[E009] confirmed_cue (stair foot): \"수리영 (올라다보며)\" (S#13)\n[E010] confirmed_cue (stair entry): \"옥탑 방으로 뛰어 올라가는 혜수와 김형사\" (S#13)\n[E011] confirmed_cue (roof surface): \"옥상. 물탱크. 빨랫줄 툭-툭- 평상에 말린 석창포\" (S#10)\n[E012] confirmed_cue (roof path): \"말린 잎이 걸어오는 남자의 신발 위를 스친다... 신발은 철문 현관 앞에 멈춰\" (S#10)\n[E013] confirmed_cue (roof lighting): \"남자의 긴 그림자\" (S#10)\n[E014] allowed_inference (roof lighting): \"\" (Memo A item 12) | allowed: A low-angle night light source such as a streetlight or entrance-grade lamp is allowed; this does not license a broad amber colour mood across unrelated shots.\n[E015] confirmed_cue (iron door): \"문틈에 낀 광고 전단지 / 바람에 현관문 소리. 황량하다\" (S#10 / S#27)\n[E016] confirmed_cue (low wall and window): \"검은 고양이가 불이 켜져 있는 옥탑 방을 슬쩍 보더니 담을 넘는다\" (S#17)\n[E017] allowed_inference (low wall): \"\" (Memo A item 14 / Memo C) | allowed: The wall height should be low enough for a cat to cross and placed so the lit rooftop-room window remains visible over or through the wall relationship.\n[E018] confirmed_cue (neighborhood view): \"인천 변두리 부감, 오래된 빌라 옥탑방 전경\" (S#4)\n[E019] allowed_inference (surroundings): \"\" (Memo A item 15) | allowed: A bird's-eye rooftop-villa view supports surrounding dense low-rise fabric; it does not supply an exact altitude.\n[E020] confirmed_cue (regional context): \"조그만 도시... 바다가 가까워서\" (S#5)\n[E021] allowed_inference (atmosphere): \"\" (Memo A item 16) | allowed: Sea proximity may inform only a general atmospheric degree; it is not evidence for applying a coastal mood to every shot.\n[E022] confirmed_cue (local services): \"끝나고 마트로 갈게 / 이따가 1시 타임\" (S#5)\n[E023] confirmed_cue (rooftop room windows): \"작은 창 / 수리영 방 커튼 창·욕실 존재\" (S#5·S#25 거실 / S#18)\n[E024] allowed_inference (alley road): \"\" (Memo C consistency chain from S#11 and S#13 cues) | allowed: The alley/side road may be treated as roughly 3 m class in width because it must accept both bicycle travel and police-car approach/stop; this is a validation class, not an exact dimension.\n[E025] allowed_inference (external stair): \"건물 외벽에 나중에 덧붙인 철제 증축 계단 — 오픈 발판, 얇은 강판 스트링거, 파이프 난간\" (Memo C consistency chain + CREATOR CORRECTIONS stair.desc_ko) | allowed: The exterior stair may be validated as a later-added steel retrofit stair rising about three floors, roughly 8–10 m vertical; creator correction requires steel retrofit construction and rejects concrete/cement.\n[E026] allowed_inference (landing and iron door): \"\" (Memo B good staging S11_4 / Memo C consistency chain) | allowed: The landing-to-iron-door frontal distance may be staged in the 2–5 m range, keeping an unobstructed eye-level view.\n[E027] PROHIBITED (numeric dimension invention): \"45m 상공\" — S4 부감에 45m라는 고도 수치를 붙이는 것은 원문 근거가 없다.\n[E028] PROHIBITED (weather/fog invention): \"짙고 푸른 안개\" — S13과 S17의 안개, 특히 짙고 푸른 안개는 하류 발명이다.\n[E029] PROHIBITED (colour-mood propagation): \"sickly amber\" — S10_6의 실내 램프 근거를 다수 샷의 병든 앰버 무드로 확산하면 안 된다.\n[E030] PROHIBITED (material invention overridden by creator correction): \"narrow concrete staircase\" — S11_3의 콘크리트 계단 표기는 사용자 정정의 철제 증축 계단과 모순된다.\n[E031] PROHIBITED (surface condition without textual support): \"wet/damp 일괄 부여\" — 강우 원문이 없으므로 외부 표면을 일괄 젖거나 축축하게 만들면 안 된다.\n[E032] PROHIBITED (plan-colour-to-material invention): \"uniform cement-gray mass\" — 건물을 균일한 시멘트 회색 덩어리로 렌더링하면 안 된다.\n[E033] PROHIBITED (plan-colour-to-material invention): \"copy the site plan's flat drawing colours as building materials\" — 도면의 플랫 색을 실사 재질로 복사하는 방식은 금지된다.\n[E034] allowed_inference (building exterior): \"render the property as a REAL, EXISTING aged multi-family villa with a rooftop dwelling of the exact regional type the production data describes\" (CREATOR CORRECTIONS photo_appearance) | allowed: The property should be authored as a real existing aged multi-family villa with regional vernacular materials and varied lived-in aging; examples such as aged red brick, exterior tile cladding, cement mouldings/sills, weathered stucco patches, grime streaks, and a rusty steel retrofit stair are allowed appearance directions, not a mandate that every example appear.\n\nCREATOR CORRECTIONS (override everything):\n- CORRECTION (production owner): the exterior stair element is an ADDED-ON STEEL stair retrofitted later onto its building's outside wall — open treads, thin steel stringers and support posts, pipe handrail, visibly a separate later addition to the building. It is NOT concrete or cement; this supersedes any cement/concrete stair mention elsewhere in the data.\n\nSHOT ARTIFACTS (S10_Shot5):\nshot_description: 철문이 미세하게 열린 틈 사이로 어두운 내부가 보이는 구도.\n\nstaging JSON:\n{\n \"camera_direction\": \"At the end of the flow’s dolly-in, the lens freezes just outside the iron door at handle height, only inches from the seam, staring directly into the thin opening. The dark crack sits in the center like a vertical wound, with rough iron surfaces on both sides occupying the foreground while the interior beyond remains unreadable and almost lightless.\",\n \"character_angles\": [],\n \"frame_spatial_contract\": {\n  \"constraints\": [\n   {\n    \"depth_plane\": \"foreground\",\n    \"gesture_action\": \"none\",\n    \"gesture_target_label\": \"\",\n    \"label\": \"narrow iron door seam\",\n    \"screen_zone\": \"middle_center\",\n    \"target_id\": \"\",\n    \"target_kind\": \"background\"\n   }\n  ],\n  \"reason\": \"required_background_position\"\n },\n \"framing_scale\": \"insert\",\n \"key_bg_elements\": [\n  {\n   \"camera_use\": \"Primary focal aperture; turns the entry into a threatening slit rather than a normal doorway.\",\n   \"directionality_class\": \"directional_3d\",\n   \"element\": \"iron front door\",\n   \"orientation\": \"The two heavy door edges face camera at close range, separated by a narrow central crack leading into darkness.\",\n   \"state\": \"slightly open, scratched, cold metal\"\n  },\n  {\n   \"camera_use\": \"Hides what is inside and makes the gap feel predatory.\",\n   \"directionality_class\": \"non_directional\",\n   \"element\": \"dark interior beyond the crack\",\n   \"orientation\": \"\",\n   \"state\": \"unlit, opaque, silent\"\n  },\n  {\n   \"camera_use\": \"Adds tactile evidence of forced entry near the seam.\",\n   \"directionality_class\": \"content_surface\",\n   \"element\": \"creased advertisement flyer edge\",\n   \"orientation\": \"Only the printed edge of the paper face is visible near the door seam, with partial color blocks and unreadable text.\",\n   \"state\": \"bent, partly displaced, dirty\"\n  }\n ],\n \"lighting_mood\": \"A thin blue rooftop ambient line skims the iron while the interior remains dead black, with only a trace of sickly amber leaking from somewhere unseen.\",\n \"perception_mode\": \"direct\",\n \"perspective\": \"voyeur\",\n \"pov_character\": \"\",\n \"scene_index\": 10,\n \"shot_index\": 5,\n \"subject_reference_policy\": []\n}\n\nSTILL PROMPT (current, full):\nPhotorealistic cinematic still.\n\nReference image 1: pre-rendered BACKGROUND environment reference — layout/material/lighting identity\n\nThe narrow iron door seam sits in the middle-center foreground. The heavy edges of the iron door face the camera at close range, occupying the outer framing with scratched, cold metal. Near the opening at handle height, a creased advertisement flyer edge is wedged in the gap, its bent and dirty paper face showing partial color blocks and unreadable text. Beyond the thin crack, the unlit interior remains entirely opaque, unreadable, and silent. A deep monochrome blue-black ambient night tone skims the outer rough iron surfaces, while a weak trace of sickly amber light leaks from somewhere unseen deep inside the dead black interior, casting a faint smear along the inner metal edge.\n\nGenerate one image:\n- use image 1 for this location's wall/floor/ceiling materials, furniture identity, and lighting mood\n- follow the camera position, framing, and action requested in the prompt text — do NOT copy the camera position or composition of image 1 unless the prompt explicitly asks for it\n- do NOT copy any people from image 1\n- architectural openings (doors, windows, thresholds) must match image 1 — same position, type, and material; do NOT invent additional doors or windows unless the prompt text explicitly asks for them\n- if the prompt text places the camera inside or at one of these openings, camera-side walls and door/window frames may appear only as local foreground edges — do NOT show the same opening again in the scene, and do NOT show the exterior facade of the structure that contains the camera out in front of it\n- do not copy poses or compositions from reference images\n- do not alter character identities where their face is visible in the scene\n- each character's clothing/outfit must match that character's appearance reference image EXACTLY; if any clothing wording in the text conflicts with the reference image, follow the reference image and ignore that wording\n- only render what the scene description asks for — if only a hand or wrist is described, do NOT add the character's face\n- CRITICAL: Only render what the scene description explicitly describes. If a character's face is visible in the scene, match it to the reference. If only a body part is shown, do NOT add the face.\n- CRITICAL: Output exactly ONE single continuous photograph of ONE moment — never a panel grid, collage, contact sheet, split-screen, storyboard sheet, or multiple sub-frames inside one image.\n- CRITICAL: Every person must be physically grounded and weight-bearing — in real contact with a supporting surface, with body weight visibly carried by that contact. For a figure caught mid-action (falling, stumbling, collapsing, jumping off something), render a physically plausible instant: joints bent, weight clearly transferring, at least one believable point of contact or support — never a rigid body hovering, tilted or suspended in mid-air without support.\n\nAUDIT FINDINGS TO FIX (only these):\n[\n {\n  \"category\": \"unsupported_invention\",\n  \"claim_quote\": \"silent\",\n  \"evidence_ids\": [],\n  \"location_en\": \"staging.key_bg_elements[1].state\",\n  \"reasoning_ko\": \"문 안쪽이 조용하다는 음향 상태를 뒷받침하는 단서가 없다.\",\n  \"repair_hint_en\": \"Remove the sound-state claim and keep only the visual darkness/opacity.\",\n  \"target\": \"staging\"\n },\n {\n  \"category\": \"unsupported_invention\",\n  \"claim_quote\": \"forced entry near the seam\",\n  \"evidence_ids\": [\n   \"E015\"\n  ],\n  \"location_en\": \"staging.key_bg_elements[2].camera_use\",\n  \"reasoning_ko\": \"문틈 전단지는 확인되지만 강제 침입의 흔적이라는 사건 원인은 증거에 없다.\",\n  \"repair_hint_en\": \"Delete the forced-entry implication; describe only the wedged flyer near the seam.\",\n  \"target\": \"staging\"\n },\n {\n  \"category\": \"unsupported_invention\",\n  \"claim_quote\": \"A thin blue rooftop ambient line\",\n  \"evidence_ids\": [\n   \"E013\",\n   \"E014\"\n  ],\n  \"location_en\": \"staging.lighting_mood\",\n  \"reasoning_ko\": \"낮은 각도 야간 광원은 허용되지만 특정한 파란색 루프탑 앰비언트 색조는 근거가 없다.\",\n  \"repair_hint_en\": \"Remove the specific blue colour and keep a neutral low-angle night skim if needed.\",\n  \"target\": \"staging\"\n },\n {\n  \"category\": \"unsupported_invention\",\n  \"claim_quote\": \"trace of sickly amber\",\n  \"evidence_ids\": [\n   \"E029\"\n  ],\n  \"location_en\": \"staging.lighting_mood\",\n  \"reasoning_ko\": \"병든 앰버 무드의 전파는 S10 계열에서 금지된 색무드 발명으로 지정되어 있다.\",\n  \"repair_hint_en\": \"Remove the sickly amber leak; keep the interior dark or use only a non-colour-specific night source.\",\n  \"target\": \"staging\"\n },\n {\n  \"category\": \"unsupported_invention\",\n  \"claim_quote\": \"silent\",\n  \"evidence_ids\": [],\n  \"location_en\": \"still_prompt.main_prompt\",\n  \"reasoning_ko\": \"내부가 조용하다는 음향 조건은 증거 그래프에서 확인되지 않는다.\",\n  \"repair_hint_en\": \"Remove the sound-state word; keep the visual opacity/darkness.\",\n  \"target\": \"still_prompt\"\n },\n {\n  \"category\": \"unsupported_invention\",\n  \"claim_quote\": \"deep monochrome blue-black ambient night tone\",\n  \"evidence_ids\": [\n   \"E013\",\n   \"E014\"\n  ],\n  \"location_en\": \"still_prompt.main_prompt\",\n  \"reasoning_ko\": \"야간 저각도 광원은 확인되지만 단색 청흑색 무드라는 전역 색조는 근거가 없다.\",\n  \"repair_hint_en\": \"Replace the specific monochrome blue-black mood with neutral night darkness or a non-specific low-angle light.\",\n  \"target\": \"still_prompt\"\n },\n {\n  \"category\": \"unsupported_invention\",\n  \"claim_quote\": \"weak trace of sickly amber light\",\n  \"evidence_ids\": [\n   \"E029\"\n  ],\n  \"location_en\": \"still_prompt.main_prompt\",\n  \"reasoning_ko\": \"sickly amber 조명 무드는 금지된 색무드 전파 사례로 명시되어 있어 근거 없는 발명이다.\",\n  \"repair_hint_en\": \"Remove the sickly amber light and retain only the dark interior or an unspecified night-light trace.\",\n  \"target\": \"still_prompt\"\n }\n]\n\nProduce the minimal repairs now."}
{"ts": "2026-07-08 00:22:40", "kind": "llm", "step": "s24_repair_S10_Shot6", "model": "gpt", "dur_s": 8.1, "system_prompt": "You are a continuity repair editor. You get the location's\nevidence summary (with prohibited invention modes), creator corrections, one\nshot's downstream artifacts, and the audit FINDINGS for that shot restricted\nto categories unsupported_invention / contradiction. Fix ONLY those findings\n— every supported claim and every plausible directorial concretization must\nsurvive verbatim.\n\nEVIDENCE-BOUND AUTHORING: every concrete claim about the world —\nspatial relations, materials, weather, atmosphere, light colour,\nsurface condition, numeric dimensions — must either (a) restate a\nprovided evidence entry (cite its evidence_id), or (b) be a staging\nconcretization DIRECTLY derivable from one (mark it inferred).\nCreator corrections override any conflicting downstream text.\nNEVER introduce weather effects, colour moods, surface conditions,\nmaterials or numeric dimensions that no evidence entry supports —\nwhen the evidence is silent, stay silent and leave that choice to\nthe image model.\n\nOutput two things:\n1. prompt_edits — minimal text substitutions for the STILL PROMPT (if one is\n   given): each edit has before_quote = an EXACT substring of the current\n   prompt (long enough to be unambiguous, usually the full clause) and\n   after_en = its replacement (\"\" to delete the clause; rewrite the clause\n   so the sentence still reads naturally). Touch nothing outside the flagged\n   claims; never add new specifics the evidence does not support.\n2. staging_corrections — for findings in shot_description/staging: DO NOT\n   rewrite those artifacts; emit a correction entry per finding with\n   field_en (which field/part), before_quote (exact), after_en (the minimal\n   corrected wording), evidence_ids, reason_ko. These are stored as a\n   correction pack applied when a lane next consumes that data.\nnotes_ko: 2-3 문장 한국어 — 무엇을 왜 고쳤고 무엇을 일부러 남겼는지.", "user_prompt": "EVIDENCE SUMMARY:\n[E001] confirmed_cue (alley road): \"자전거를 타고 골목길을 달리는\" (S#11)\n[E002] confirmed_cue (villa gate): \"다세대 빌라 문을 열고 들어와\" (S#11)\n[E003] confirmed_cue (yard): \"마당 후미진 곳에 자전거를 대충 세우고\" (S#11)\n[E004] confirmed_cue (external stair): \"옥탑방과 연결되는 계단을 급히 오른다\" (S#11)\n[E005] confirmed_cue (upper stair): \"갑자기 훅- 역겨운 냄새\" (S#11 계단 중간)\n[E006] confirmed_cue (landing and iron door): \"옥상에 올라와 보니 반쯤 열린 현관 철문\" (S#11)\n[E007] confirmed_cue (alley road and stair foot): \"계단을 내려간다. 동시에 사이렌~ (포즈). 차에서 내린 혜수... 수리영의 모습을 발견하고 달려간다\" (S#13)\n[E008] allowed_inference (alley road and stair foot): \"\" (Memo C consistency chain from S#13 cue) | allowed: The stop point and stair foot may be staged as an unobstructed straight sightline at approximately 10–30 m, a validation range rather than a hard measurement.\n[E009] confirmed_cue (stair foot): \"수리영 (올라다보며)\" (S#13)\n[E010] confirmed_cue (stair entry): \"옥탑 방으로 뛰어 올라가는 혜수와 김형사\" (S#13)\n[E011] confirmed_cue (roof surface): \"옥상. 물탱크. 빨랫줄 툭-툭- 평상에 말린 석창포\" (S#10)\n[E012] confirmed_cue (roof path): \"말린 잎이 걸어오는 남자의 신발 위를 스친다... 신발은 철문 현관 앞에 멈춰\" (S#10)\n[E013] confirmed_cue (roof lighting): \"남자의 긴 그림자\" (S#10)\n[E014] allowed_inference (roof lighting): \"\" (Memo A item 12) | allowed: A low-angle night light source such as a streetlight or entrance-grade lamp is allowed; this does not license a broad amber colour mood across unrelated shots.\n[E015] confirmed_cue (iron door): \"문틈에 낀 광고 전단지 / 바람에 현관문 소리. 황량하다\" (S#10 / S#27)\n[E016] confirmed_cue (low wall and window): \"검은 고양이가 불이 켜져 있는 옥탑 방을 슬쩍 보더니 담을 넘는다\" (S#17)\n[E017] allowed_inference (low wall): \"\" (Memo A item 14 / Memo C) | allowed: The wall height should be low enough for a cat to cross and placed so the lit rooftop-room window remains visible over or through the wall relationship.\n[E018] confirmed_cue (neighborhood view): \"인천 변두리 부감, 오래된 빌라 옥탑방 전경\" (S#4)\n[E019] allowed_inference (surroundings): \"\" (Memo A item 15) | allowed: A bird's-eye rooftop-villa view supports surrounding dense low-rise fabric; it does not supply an exact altitude.\n[E020] confirmed_cue (regional context): \"조그만 도시... 바다가 가까워서\" (S#5)\n[E021] allowed_inference (atmosphere): \"\" (Memo A item 16) | allowed: Sea proximity may inform only a general atmospheric degree; it is not evidence for applying a coastal mood to every shot.\n[E022] confirmed_cue (local services): \"끝나고 마트로 갈게 / 이따가 1시 타임\" (S#5)\n[E023] confirmed_cue (rooftop room windows): \"작은 창 / 수리영 방 커튼 창·욕실 존재\" (S#5·S#25 거실 / S#18)\n[E024] allowed_inference (alley road): \"\" (Memo C consistency chain from S#11 and S#13 cues) | allowed: The alley/side road may be treated as roughly 3 m class in width because it must accept both bicycle travel and police-car approach/stop; this is a validation class, not an exact dimension.\n[E025] allowed_inference (external stair): \"건물 외벽에 나중에 덧붙인 철제 증축 계단 — 오픈 발판, 얇은 강판 스트링거, 파이프 난간\" (Memo C consistency chain + CREATOR CORRECTIONS stair.desc_ko) | allowed: The exterior stair may be validated as a later-added steel retrofit stair rising about three floors, roughly 8–10 m vertical; creator correction requires steel retrofit construction and rejects concrete/cement.\n[E026] allowed_inference (landing and iron door): \"\" (Memo B good staging S11_4 / Memo C consistency chain) | allowed: The landing-to-iron-door frontal distance may be staged in the 2–5 m range, keeping an unobstructed eye-level view.\n[E027] PROHIBITED (numeric dimension invention): \"45m 상공\" — S4 부감에 45m라는 고도 수치를 붙이는 것은 원문 근거가 없다.\n[E028] PROHIBITED (weather/fog invention): \"짙고 푸른 안개\" — S13과 S17의 안개, 특히 짙고 푸른 안개는 하류 발명이다.\n[E029] PROHIBITED (colour-mood propagation): \"sickly amber\" — S10_6의 실내 램프 근거를 다수 샷의 병든 앰버 무드로 확산하면 안 된다.\n[E030] PROHIBITED (material invention overridden by creator correction): \"narrow concrete staircase\" — S11_3의 콘크리트 계단 표기는 사용자 정정의 철제 증축 계단과 모순된다.\n[E031] PROHIBITED (surface condition without textual support): \"wet/damp 일괄 부여\" — 강우 원문이 없으므로 외부 표면을 일괄 젖거나 축축하게 만들면 안 된다.\n[E032] PROHIBITED (plan-colour-to-material invention): \"uniform cement-gray mass\" — 건물을 균일한 시멘트 회색 덩어리로 렌더링하면 안 된다.\n[E033] PROHIBITED (plan-colour-to-material invention): \"copy the site plan's flat drawing colours as building materials\" — 도면의 플랫 색을 실사 재질로 복사하는 방식은 금지된다.\n[E034] allowed_inference (building exterior): \"render the property as a REAL, EXISTING aged multi-family villa with a rooftop dwelling of the exact regional type the production data describes\" (CREATOR CORRECTIONS photo_appearance) | allowed: The property should be authored as a real existing aged multi-family villa with regional vernacular materials and varied lived-in aging; examples such as aged red brick, exterior tile cladding, cement mouldings/sills, weathered stucco patches, grime streaks, and a rusty steel retrofit stair are allowed appearance directions, not a mandate that every example appear.\n\nCREATOR CORRECTIONS (override everything):\n- CORRECTION (production owner): the exterior stair element is an ADDED-ON STEEL stair retrofitted later onto its building's outside wall — open treads, thin steel stringers and support posts, pipe handrail, visibly a separate later addition to the building. It is NOT concrete or cement; this supersedes any cement/concrete stair mention elsewhere in the data.\n\nSHOT ARTIFACTS (S10_Shot6):\nshot_description: 방 안 창문에 비친 그림자, 굽은 형태의 인영이 다른 사람 형상 위에 포개져 멈춘 찰나의 실루엣.\n\nstaging JSON:\n{\n \"camera_direction\": \"Inside the room, the camera holds static near the side wall at shoulder height, angled so only the window glass carries the action as a reflection and the direct attack is never seen. The reflected silhouettes sit within the window frame: a bent 인영 in the upper-middle area lowers its head toward the shoulder of 사람, whose body buckles beneath it in a distorted, wavering mid-action shape.\",\n \"character_angles\": [\n  {\n   \"angle\": \"three_quarter_left\",\n   \"body_pose\": \"hunched over shoulder\",\n   \"character\": \"인영\",\n   \"gaze_direction_kind\": \"looks_at_character\",\n   \"gaze_target_id\": \"C20\",\n   \"subject_state\": \"alive\"\n  },\n  {\n   \"angle\": \"profile_left\",\n   \"body_pose\": \"buckling under lunge\",\n   \"character\": \"사람\",\n   \"gaze_direction_kind\": \"off_screen\",\n   \"gaze_target_id\": null,\n   \"subject_state\": \"severely_injured\"\n  }\n ],\n \"frame_spatial_contract\": {\n  \"constraints\": [\n   {\n    \"depth_plane\": \"midground\",\n    \"gesture_action\": \"none\",\n    \"gesture_target_label\": \"\",\n    \"label\": \"window reflection containing silhouettes\",\n    \"screen_zone\": \"middle_center\",\n    \"target_id\": \"\",\n    \"target_kind\": \"background\"\n   }\n  ],\n  \"reason\": \"required_background_position\"\n },\n \"framing_scale\": \"medium\",\n \"key_bg_elements\": [\n  {\n   \"camera_use\": \"Serves as the only visible surface for the attack, keeping violence indirect and distorted.\",\n   \"directionality_class\": \"reflective_surface\",\n   \"element\": \"room window glass\",\n   \"orientation\": \"The glass reflects the bent 인영 and 사람 as warped dark silhouettes, with faint interior light streaks trembling across them.\",\n   \"state\": \"closed, grimy, reflective in darkness\"\n  },\n  {\n   \"camera_use\": \"Frames the reflection and prevents the viewer from seeing the real bodies directly.\",\n   \"directionality_class\": \"directional_3d\",\n   \"element\": \"window frame\",\n   \"orientation\": \"The frame’s inner edges face camera and box the reflected action into a rigid rectangle.\",\n   \"state\": \"old, chipped, motionless\"\n  },\n  {\n   \"camera_use\": \"Adds low, diseased color to the reflected silhouettes.\",\n   \"directionality_class\": \"directional_3d\",\n   \"element\": \"dim interior practical light\",\n   \"orientation\": \"The lamp’s shaded side is off-frame but its amber spill grazes the wall and window reflection.\",\n   \"state\": \"on, weak, sickly amber\"\n  },\n  {\n   \"camera_use\": \"Keeps the room claustrophobic around the window surface.\",\n   \"directionality_class\": \"non_directional\",\n   \"element\": \"dark side wall\",\n   \"orientation\": \"\",\n   \"state\": \"rough, stained, blue-gray shadowed\"\n  }\n ],\n \"lighting_mood\": \"The reflected action is almost monochrome blue-black, broken by a weak amber practical smear and restrained crimson-brown shadow at the shoulder line.\",\n \"perception_mode\": \"reflection\",\n \"perspective\": \"observer\",\n \"pov_character\": \"\",\n \"scene_index\": 10,\n \"shot_index\": 6,\n \"subject_reference_policy\": [\n  {\n   \"policy\": \"generic_descriptor_allowed\",\n   \"policy_type\": \"identity_reference\",\n   \"reason\": \"The figure is seen only as a distorted reflected silhouette; no stable identity or outlook detail should be required.\",\n   \"subject_id\": \"C19\"\n  },\n  {\n   \"policy\": \"generic_descriptor_allowed\",\n   \"policy_type\": \"identity_reference\",\n   \"reason\": \"The attacked person is visible only as a vague reflected body shape, so a generic silhouette reference is more appropriate than an outlook-specific identity reference.\",\n   \"subject_id\": \"C20\"\n  }\n ]\n}\n\nAUDIT FINDINGS TO FIX (only these):\n[\n {\n  \"category\": \"unsupported_invention\",\n  \"claim_quote\": \"amber spill grazes the wall and window reflection\",\n  \"evidence_ids\": [\n   \"E029\"\n  ],\n  \"location_en\": \"key_bg_elements[2].orientation\",\n  \"reasoning_ko\": \"E029는 S10_Shot6의 실내 램프 근거를 병든 앰버 무드로 확산하는 것을 금지하므로 앰버 색 지정은 근거 없는 발명이다.\",\n  \"repair_hint_en\": \"Remove the amber colour and describe the spill as neutral dim light.\",\n  \"target\": \"staging\"\n },\n {\n  \"category\": \"unsupported_invention\",\n  \"claim_quote\": \"on, weak, sickly amber\",\n  \"evidence_ids\": [\n   \"E029\"\n  ],\n  \"location_en\": \"key_bg_elements[2].state\",\n  \"reasoning_ko\": \"‘sickly amber’는 E029에서 명시적으로 금지된 색무드 발명에 해당한다.\",\n  \"repair_hint_en\": \"Change the lamp state to weak/on without the sickly amber colour.\",\n  \"target\": \"staging\"\n },\n {\n  \"category\": \"unsupported_invention\",\n  \"claim_quote\": \"blue-gray shadowed\",\n  \"evidence_ids\": [],\n  \"location_en\": \"key_bg_elements[3].state\",\n  \"reasoning_ko\": \"그래프에는 S10_Shot6 실내 벽을 청회색 그림자 톤으로 지정하는 색채 근거가 없다.\",\n  \"repair_hint_en\": \"Keep the wall dark without assigning a blue-gray colour mood.\",\n  \"target\": \"staging\"\n },\n {\n  \"category\": \"unsupported_invention\",\n  \"claim_quote\": \"almost monochrome blue-black\",\n  \"evidence_ids\": [],\n  \"location_en\": \"lighting_mood\",\n  \"reasoning_ko\": \"그래프는 S10_Shot6의 반사 장면을 청흑 단색 무드로 정하지 않는다.\",\n  \"repair_hint_en\": \"Use neutral low-key darkness instead of a blue-black colour mood.\",\n  \"target\": \"staging\"\n },\n {\n  \"category\": \"unsupported_invention\",\n  \"claim_quote\": \"weak amber practical smear\",\n  \"evidence_ids\": [\n   \"E029\"\n  ],\n  \"location_en\": \"lighting_mood\",\n  \"reasoning_ko\": \"약한 앰버 실용등 얼룩은 E029가 금지한 앰버 색무드 확산과 같은 계열의 근거 없는 색 지정이다.\",\n  \"repair_hint_en\": \"Remove the amber descriptor or make the practical smear colour-neutral.\",\n  \"target\": \"staging\"\n },\n {\n  \"category\": \"unsupported_invention\",\n  \"claim_quote\": \"restrained crimson-brown shadow at the shoulder line\",\n  \"evidence_ids\": [],\n  \"location_en\": \"lighting_mood\",\n  \"reasoning_ko\": \"어깨선의 적갈색 그림자라는 구체 색상은 그래프에서 확인되거나 허용된 단서가 없다.\",\n  \"repair_hint_en\": \"Describe it as a restrained dark shadow without crimson-brown colour.\",\n  \"target\": \"staging\"\n }\n]\n\nProduce the minimal repairs now."}
{"ts": "2026-07-08 00:23:37", "kind": "llm", "step": "s24_repair_S11_Shot3", "model": "gpt", "dur_s": 56.8, "system_prompt": "You are a continuity repair editor. You get the location's\nevidence summary (with prohibited invention modes), creator corrections, one\nshot's downstream artifacts, and the audit FINDINGS for that shot restricted\nto categories unsupported_invention / contradiction. Fix ONLY those findings\n— every supported claim and every plausible directorial concretization must\nsurvive verbatim.\n\nEVIDENCE-BOUND AUTHORING: every concrete claim about the world —\nspatial relations, materials, weather, atmosphere, light colour,\nsurface condition, numeric dimensions — must either (a) restate a\nprovided evidence entry (cite its evidence_id), or (b) be a staging\nconcretization DIRECTLY derivable from one (mark it inferred).\nCreator corrections override any conflicting downstream text.\nNEVER introduce weather effects, colour moods, surface conditions,\nmaterials or numeric dimensions that no evidence entry supports —\nwhen the evidence is silent, stay silent and leave that choice to\nthe image model.\n\nOutput two things:\n1. prompt_edits — minimal text substitutions for the STILL PROMPT (if one is\n   given): each edit has before_quote = an EXACT substring of the current\n   prompt (long enough to be unambiguous, usually the full clause) and\n   after_en = its replacement (\"\" to delete the clause; rewrite the clause\n   so the sentence still reads naturally). Touch nothing outside the flagged\n   claims; never add new specifics the evidence does not support.\n2. staging_corrections — for findings in shot_description/staging: DO NOT\n   rewrite those artifacts; emit a correction entry per finding with\n   field_en (which field/part), before_quote (exact), after_en (the minimal\n   corrected wording), evidence_ids, reason_ko. These are stored as a\n   correction pack applied when a lane next consumes that data.\nnotes_ko: 2-3 문장 한국어 — 무엇을 왜 고쳤고 무엇을 일부러 남겼는지.", "user_prompt": "EVIDENCE SUMMARY:\n[E001] confirmed_cue (alley road): \"자전거를 타고 골목길을 달리는\" (S#11)\n[E002] confirmed_cue (villa gate): \"다세대 빌라 문을 열고 들어와\" (S#11)\n[E003] confirmed_cue (yard): \"마당 후미진 곳에 자전거를 대충 세우고\" (S#11)\n[E004] confirmed_cue (external stair): \"옥탑방과 연결되는 계단을 급히 오른다\" (S#11)\n[E005] confirmed_cue (upper stair): \"갑자기 훅- 역겨운 냄새\" (S#11 계단 중간)\n[E006] confirmed_cue (landing and iron door): \"옥상에 올라와 보니 반쯤 열린 현관 철문\" (S#11)\n[E007] confirmed_cue (alley road and stair foot): \"계단을 내려간다. 동시에 사이렌~ (포즈). 차에서 내린 혜수... 수리영의 모습을 발견하고 달려간다\" (S#13)\n[E008] allowed_inference (alley road and stair foot): \"\" (Memo C consistency chain from S#13 cue) | allowed: The stop point and stair foot may be staged as an unobstructed straight sightline at approximately 10–30 m, a validation range rather than a hard measurement.\n[E009] confirmed_cue (stair foot): \"수리영 (올라다보며)\" (S#13)\n[E010] confirmed_cue (stair entry): \"옥탑 방으로 뛰어 올라가는 혜수와 김형사\" (S#13)\n[E011] confirmed_cue (roof surface): \"옥상. 물탱크. 빨랫줄 툭-툭- 평상에 말린 석창포\" (S#10)\n[E012] confirmed_cue (roof path): \"말린 잎이 걸어오는 남자의 신발 위를 스친다... 신발은 철문 현관 앞에 멈춰\" (S#10)\n[E013] confirmed_cue (roof lighting): \"남자의 긴 그림자\" (S#10)\n[E014] allowed_inference (roof lighting): \"\" (Memo A item 12) | allowed: A low-angle night light source such as a streetlight or entrance-grade lamp is allowed; this does not license a broad amber colour mood across unrelated shots.\n[E015] confirmed_cue (iron door): \"문틈에 낀 광고 전단지 / 바람에 현관문 소리. 황량하다\" (S#10 / S#27)\n[E016] confirmed_cue (low wall and window): \"검은 고양이가 불이 켜져 있는 옥탑 방을 슬쩍 보더니 담을 넘는다\" (S#17)\n[E017] allowed_inference (low wall): \"\" (Memo A item 14 / Memo C) | allowed: The wall height should be low enough for a cat to cross and placed so the lit rooftop-room window remains visible over or through the wall relationship.\n[E018] confirmed_cue (neighborhood view): \"인천 변두리 부감, 오래된 빌라 옥탑방 전경\" (S#4)\n[E019] allowed_inference (surroundings): \"\" (Memo A item 15) | allowed: A bird's-eye rooftop-villa view supports surrounding dense low-rise fabric; it does not supply an exact altitude.\n[E020] confirmed_cue (regional context): \"조그만 도시... 바다가 가까워서\" (S#5)\n[E021] allowed_inference (atmosphere): \"\" (Memo A item 16) | allowed: Sea proximity may inform only a general atmospheric degree; it is not evidence for applying a coastal mood to every shot.\n[E022] confirmed_cue (local services): \"끝나고 마트로 갈게 / 이따가 1시 타임\" (S#5)\n[E023] confirmed_cue (rooftop room windows): \"작은 창 / 수리영 방 커튼 창·욕실 존재\" (S#5·S#25 거실 / S#18)\n[E024] allowed_inference (alley road): \"\" (Memo C consistency chain from S#11 and S#13 cues) | allowed: The alley/side road may be treated as roughly 3 m class in width because it must accept both bicycle travel and police-car approach/stop; this is a validation class, not an exact dimension.\n[E025] allowed_inference (external stair): \"건물 외벽에 나중에 덧붙인 철제 증축 계단 — 오픈 발판, 얇은 강판 스트링거, 파이프 난간\" (Memo C consistency chain + CREATOR CORRECTIONS stair.desc_ko) | allowed: The exterior stair may be validated as a later-added steel retrofit stair rising about three floors, roughly 8–10 m vertical; creator correction requires steel retrofit construction and rejects concrete/cement.\n[E026] allowed_inference (landing and iron door): \"\" (Memo B good staging S11_4 / Memo C consistency chain) | allowed: The landing-to-iron-door frontal distance may be staged in the 2–5 m range, keeping an unobstructed eye-level view.\n[E027] PROHIBITED (numeric dimension invention): \"45m 상공\" — S4 부감에 45m라는 고도 수치를 붙이는 것은 원문 근거가 없다.\n[E028] PROHIBITED (weather/fog invention): \"짙고 푸른 안개\" — S13과 S17의 안개, 특히 짙고 푸른 안개는 하류 발명이다.\n[E029] PROHIBITED (colour-mood propagation): \"sickly amber\" — S10_6의 실내 램프 근거를 다수 샷의 병든 앰버 무드로 확산하면 안 된다.\n[E030] PROHIBITED (material invention overridden by creator correction): \"narrow concrete staircase\" — S11_3의 콘크리트 계단 표기는 사용자 정정의 철제 증축 계단과 모순된다.\n[E031] PROHIBITED (surface condition without textual support): \"wet/damp 일괄 부여\" — 강우 원문이 없으므로 외부 표면을 일괄 젖거나 축축하게 만들면 안 된다.\n[E032] PROHIBITED (plan-colour-to-material invention): \"uniform cement-gray mass\" — 건물을 균일한 시멘트 회색 덩어리로 렌더링하면 안 된다.\n[E033] PROHIBITED (plan-colour-to-material invention): \"copy the site plan's flat drawing colours as building materials\" — 도면의 플랫 색을 실사 재질로 복사하는 방식은 금지된다.\n[E034] allowed_inference (building exterior): \"render the property as a REAL, EXISTING aged multi-family villa with a rooftop dwelling of the exact regional type the production data describes\" (CREATOR CORRECTIONS photo_appearance) | allowed: The property should be authored as a real existing aged multi-family villa with regional vernacular materials and varied lived-in aging; examples such as aged red brick, exterior tile cladding, cement mouldings/sills, weathered stucco patches, grime streaks, and a rusty steel retrofit stair are allowed appearance directions, not a mandate that every example appear.\n\nCREATOR CORRECTIONS (override everything):\n- CORRECTION (production owner): the exterior stair element is an ADDED-ON STEEL stair retrofitted later onto its building's outside wall — open treads, thin steel stringers and support posts, pipe handrail, visibly a separate later addition to the building. It is NOT concrete or cement; this supersedes any cement/concrete stair mention elsewhere in the data.\n\nSHOT ARTIFACTS (S11_Shot3):\nshot_description: 계단 중간에 서서 심하게 코를 찡그린 수리영의 얼굴 클로즈업.\n\nstaging JSON:\n{\n \"camera_direction\": \"Midway up the narrow concrete staircase, the camera holds static very close to 수리영 from the front-left at face height, tightening into an intense close-up that leaves only a sliver of stair texture behind her. Her nose wrinkles hard at the sudden smell, eyes lifting toward the unseen rooftop landing while her halted climb compresses her shoulders into the frame.\",\n \"character_angles\": [\n  {\n   \"angle\": \"three_quarter_left\",\n   \"body_pose\": \"halted mid-stair climb\",\n   \"character\": \"수리영\",\n   \"gaze_direction_kind\": \"up\",\n   \"gaze_target_id\": null,\n   \"subject_state\": \"alive\"\n  }\n ],\n \"frame_spatial_contract\": null,\n \"framing_scale\": \"close\",\n \"key_bg_elements\": [\n  {\n   \"camera_use\": \"Minimal background texture that preserves the stair location without diluting the reaction.\",\n   \"directionality_class\": \"directional_3d\",\n   \"element\": \"narrow concrete staircase\",\n   \"orientation\": \"Only the side edge and riser texture angle behind her cheek, indicating the upward path to the rooftop.\",\n   \"state\": \"dark, damp, rough\"\n  },\n  {\n   \"camera_use\": \"Creates a suffocating side boundary close to her face.\",\n   \"directionality_class\": \"non_directional\",\n   \"element\": \"stairwell wall\",\n   \"orientation\": \"\",\n   \"state\": \"stained, cold, blue-gray\"\n  },\n  {\n   \"camera_use\": \"Suggests the unseen source direction through faint light above.\",\n   \"directionality_class\": \"non_directional\",\n   \"element\": \"rooftop darkness above the stairs\",\n   \"orientation\": \"\",\n   \"state\": \"unseen, heavy, foul implied\"\n  }\n ],\n \"lighting_mood\": \"A cold blue-gray stairwell wash sculpts her face while a faint amber rooftop spill catches the bridge of her nose, making the smell reaction feel physical and ominous.\",\n \"perception_mode\": \"direct\",\n \"perspective\": \"observer\",\n \"pov_character\": \"\",\n \"scene_index\": 11,\n \"shot_index\": 3,\n \"subject_reference_policy\": []\n}\n\nAUDIT FINDINGS TO FIX (only these):\n[\n {\n  \"category\": \"contradiction\",\n  \"claim_quote\": \"narrow concrete staircase\",\n  \"evidence_ids\": [\n   \"E025\",\n   \"E030\"\n  ],\n  \"location_en\": \"staging.camera_direction\",\n  \"reasoning_ko\": \"창작자 정정은 외부 계단을 철제 증축 계단으로 요구하며 콘크리트 계단 표기는 금지되어 있다.\",\n  \"repair_hint_en\": \"Replace the concrete staircase with a later-added steel retrofit stair with open treads, thin steel stringers, and pipe railings.\",\n  \"target\": \"staging\"\n },\n {\n  \"category\": \"contradiction\",\n  \"claim_quote\": \"riser texture\",\n  \"evidence_ids\": [\n   \"E025\"\n  ],\n  \"location_en\": \"staging.key_bg_elements[0].orientation\",\n  \"reasoning_ko\": \"확정된 계단은 오픈 발판의 철제 증축 계단이므로 폐쇄형 콘크리트 계단을 연상시키는 라이저 질감은 맞지 않는다.\",\n  \"repair_hint_en\": \"Refer instead to open steel tread edges, thin steel stringers, or pipe railing texture.\",\n  \"target\": \"staging\"\n },\n {\n  \"category\": \"unsupported_invention\",\n  \"claim_quote\": \"damp\",\n  \"evidence_ids\": [\n   \"E031\"\n  ],\n  \"location_en\": \"staging.key_bg_elements[0].state\",\n  \"reasoning_ko\": \"강우나 젖은 표면 근거가 없으며 외부 표면에 wet/damp를 일괄 부여하는 것은 금지되어 있다.\",\n  \"repair_hint_en\": \"Remove dampness unless a separate rain or wet-surface cue is supplied.\",\n  \"target\": \"staging\"\n },\n {\n  \"category\": \"unsupported_invention\",\n  \"claim_quote\": \"cold, blue-gray\",\n  \"evidence_ids\": [],\n  \"location_en\": \"staging.key_bg_elements[1].state\",\n  \"reasoning_ko\": \"계단 벽의 차갑고 청회색인 색감이나 무드에 대한 근거가 그래프에 없다.\",\n  \"repair_hint_en\": \"Keep the wall aged and stained without specifying an unsupported cold blue-gray colour mood.\",\n  \"target\": \"staging\"\n },\n {\n  \"category\": \"unsupported_invention\",\n  \"claim_quote\": \"rooftop darkness above the stairs\",\n  \"evidence_ids\": [\n   \"E004\",\n   \"E006\"\n  ],\n  \"location_en\": \"staging.key_bg_elements[2].element\",\n  \"reasoning_ko\": \"계단 위 옥탑/랜딩 방향은 근거가 있지만 그 공간을 어둠으로 규정하는 조명 상태는 별도 근거가 없다.\",\n  \"repair_hint_en\": \"Describe the rooftop direction without assigning unsupported darkness.\",\n  \"target\": \"staging\"\n },\n {\n  \"category\": \"unsupported_invention\",\n  \"claim_quote\": \"heavy\",\n  \"evidence_ids\": [],\n  \"location_en\": \"staging.key_bg_elements[2].state\",\n  \"reasoning_ko\": \"공기의 무겁고 압박적인 분위기는 확인된 공간 단서나 허용 추론에 포함되지 않는다.\",\n  \"repair_hint_en\": \"Remove the heavy atmosphere descriptor or tie it only to the confirmed foul smell.\",\n  \"target\": \"staging\"\n },\n {\n  \"category\": \"unsupported_invention\",\n  \"claim_quote\": \"A cold blue-gray stairwell wash\",\n  \"evidence_ids\": [],\n  \"location_en\": \"staging.lighting_mood\",\n  \"reasoning_ko\": \"청회색 계단 조명 워시는 확인된 조명색이나 허용된 색무드 범위가 아니다.\",\n  \"repair_hint_en\": \"Use neutral, unspecified stair lighting unless a colour source is evidenced.\",\n  \"target\": \"staging\"\n },\n {\n  \"category\": \"unsupported_invention\",\n  \"claim_quote\": \"a faint amber rooftop spill\",\n  \"evidence_ids\": [\n   \"E014\"\n  ],\n  \"location_en\": \"staging.lighting_mood\",\n  \"reasoning_ko\": \"낮은 각도 광원 허용은 다른 샷의 긴 그림자 맥락일 뿐, 이 샷의 앰버 옥상광 색을 뒷받침하지 않는다.\",\n  \"repair_hint_en\": \"Make the rooftop spill colour-neutral or specify only an unspecified faint light if needed.\",\n  \"target\": \"staging\"\n },\n {\n  \"category\": \"unsupported_invention\",\n  \"claim_quote\": \"ominous\",\n  \"evidence_ids\": [],\n  \"location_en\": \"staging.lighting_mood\",\n  \"reasoning_ko\": \"불길한 조명 무드는 확인된 세계 단서가 아니라 추가 정서 색채다.\",\n  \"repair_hint_en\": \"Remove the ominous mood label and let the confirmed foul smell drive the reaction.\",\n  \"target\": \"staging\"\n }\n]\n\nProduce the minimal repairs now."}
{"ts": "2026-07-08 00:24:23", "kind": "llm", "step": "s24_repair_S11_Shot4", "model": "gpt", "dur_s": 46.8, "system_prompt": "You are a continuity repair editor. You get the location's\nevidence summary (with prohibited invention modes), creator corrections, one\nshot's downstream artifacts, and the audit FINDINGS for that shot restricted\nto categories unsupported_invention / contradiction. Fix ONLY those findings\n— every supported claim and every plausible directorial concretization must\nsurvive verbatim.\n\nEVIDENCE-BOUND AUTHORING: every concrete claim about the world —\nspatial relations, materials, weather, atmosphere, light colour,\nsurface condition, numeric dimensions — must either (a) restate a\nprovided evidence entry (cite its evidence_id), or (b) be a staging\nconcretization DIRECTLY derivable from one (mark it inferred).\nCreator corrections override any conflicting downstream text.\nNEVER introduce weather effects, colour moods, surface conditions,\nmaterials or numeric dimensions that no evidence entry supports —\nwhen the evidence is silent, stay silent and leave that choice to\nthe image model.\n\nOutput two things:\n1. prompt_edits — minimal text substitutions for the STILL PROMPT (if one is\n   given): each edit has before_quote = an EXACT substring of the current\n   prompt (long enough to be unambiguous, usually the full clause) and\n   after_en = its replacement (\"\" to delete the clause; rewrite the clause\n   so the sentence still reads naturally). Touch nothing outside the flagged\n   claims; never add new specifics the evidence does not support.\n2. staging_corrections — for findings in shot_description/staging: DO NOT\n   rewrite those artifacts; emit a correction entry per finding with\n   field_en (which field/part), before_quote (exact), after_en (the minimal\n   corrected wording), evidence_ids, reason_ko. These are stored as a\n   correction pack applied when a lane next consumes that data.\nnotes_ko: 2-3 문장 한국어 — 무엇을 왜 고쳤고 무엇을 일부러 남겼는지.", "user_prompt": "EVIDENCE SUMMARY:\n[E001] confirmed_cue (alley road): \"자전거를 타고 골목길을 달리는\" (S#11)\n[E002] confirmed_cue (villa gate): \"다세대 빌라 문을 열고 들어와\" (S#11)\n[E003] confirmed_cue (yard): \"마당 후미진 곳에 자전거를 대충 세우고\" (S#11)\n[E004] confirmed_cue (external stair): \"옥탑방과 연결되는 계단을 급히 오른다\" (S#11)\n[E005] confirmed_cue (upper stair): \"갑자기 훅- 역겨운 냄새\" (S#11 계단 중간)\n[E006] confirmed_cue (landing and iron door): \"옥상에 올라와 보니 반쯤 열린 현관 철문\" (S#11)\n[E007] confirmed_cue (alley road and stair foot): \"계단을 내려간다. 동시에 사이렌~ (포즈). 차에서 내린 혜수... 수리영의 모습을 발견하고 달려간다\" (S#13)\n[E008] allowed_inference (alley road and stair foot): \"\" (Memo C consistency chain from S#13 cue) | allowed: The stop point and stair foot may be staged as an unobstructed straight sightline at approximately 10–30 m, a validation range rather than a hard measurement.\n[E009] confirmed_cue (stair foot): \"수리영 (올라다보며)\" (S#13)\n[E010] confirmed_cue (stair entry): \"옥탑 방으로 뛰어 올라가는 혜수와 김형사\" (S#13)\n[E011] confirmed_cue (roof surface): \"옥상. 물탱크. 빨랫줄 툭-툭- 평상에 말린 석창포\" (S#10)\n[E012] confirmed_cue (roof path): \"말린 잎이 걸어오는 남자의 신발 위를 스친다... 신발은 철문 현관 앞에 멈춰\" (S#10)\n[E013] confirmed_cue (roof lighting): \"남자의 긴 그림자\" (S#10)\n[E014] allowed_inference (roof lighting): \"\" (Memo A item 12) | allowed: A low-angle night light source such as a streetlight or entrance-grade lamp is allowed; this does not license a broad amber colour mood across unrelated shots.\n[E015] confirmed_cue (iron door): \"문틈에 낀 광고 전단지 / 바람에 현관문 소리. 황량하다\" (S#10 / S#27)\n[E016] confirmed_cue (low wall and window): \"검은 고양이가 불이 켜져 있는 옥탑 방을 슬쩍 보더니 담을 넘는다\" (S#17)\n[E017] allowed_inference (low wall): \"\" (Memo A item 14 / Memo C) | allowed: The wall height should be low enough for a cat to cross and placed so the lit rooftop-room window remains visible over or through the wall relationship.\n[E018] confirmed_cue (neighborhood view): \"인천 변두리 부감, 오래된 빌라 옥탑방 전경\" (S#4)\n[E019] allowed_inference (surroundings): \"\" (Memo A item 15) | allowed: A bird's-eye rooftop-villa view supports surrounding dense low-rise fabric; it does not supply an exact altitude.\n[E020] confirmed_cue (regional context): \"조그만 도시... 바다가 가까워서\" (S#5)\n[E021] allowed_inference (atmosphere): \"\" (Memo A item 16) | allowed: Sea proximity may inform only a general atmospheric degree; it is not evidence for applying a coastal mood to every shot.\n[E022] confirmed_cue (local services): \"끝나고 마트로 갈게 / 이따가 1시 타임\" (S#5)\n[E023] confirmed_cue (rooftop room windows): \"작은 창 / 수리영 방 커튼 창·욕실 존재\" (S#5·S#25 거실 / S#18)\n[E024] allowed_inference (alley road): \"\" (Memo C consistency chain from S#11 and S#13 cues) | allowed: The alley/side road may be treated as roughly 3 m class in width because it must accept both bicycle travel and police-car approach/stop; this is a validation class, not an exact dimension.\n[E025] allowed_inference (external stair): \"건물 외벽에 나중에 덧붙인 철제 증축 계단 — 오픈 발판, 얇은 강판 스트링거, 파이프 난간\" (Memo C consistency chain + CREATOR CORRECTIONS stair.desc_ko) | allowed: The exterior stair may be validated as a later-added steel retrofit stair rising about three floors, roughly 8–10 m vertical; creator correction requires steel retrofit construction and rejects concrete/cement.\n[E026] allowed_inference (landing and iron door): \"\" (Memo B good staging S11_4 / Memo C consistency chain) | allowed: The landing-to-iron-door frontal distance may be staged in the 2–5 m range, keeping an unobstructed eye-level view.\n[E027] PROHIBITED (numeric dimension invention): \"45m 상공\" — S4 부감에 45m라는 고도 수치를 붙이는 것은 원문 근거가 없다.\n[E028] PROHIBITED (weather/fog invention): \"짙고 푸른 안개\" — S13과 S17의 안개, 특히 짙고 푸른 안개는 하류 발명이다.\n[E029] PROHIBITED (colour-mood propagation): \"sickly amber\" — S10_6의 실내 램프 근거를 다수 샷의 병든 앰버 무드로 확산하면 안 된다.\n[E030] PROHIBITED (material invention overridden by creator correction): \"narrow concrete staircase\" — S11_3의 콘크리트 계단 표기는 사용자 정정의 철제 증축 계단과 모순된다.\n[E031] PROHIBITED (surface condition without textual support): \"wet/damp 일괄 부여\" — 강우 원문이 없으므로 외부 표면을 일괄 젖거나 축축하게 만들면 안 된다.\n[E032] PROHIBITED (plan-colour-to-material invention): \"uniform cement-gray mass\" — 건물을 균일한 시멘트 회색 덩어리로 렌더링하면 안 된다.\n[E033] PROHIBITED (plan-colour-to-material invention): \"copy the site plan's flat drawing colours as building materials\" — 도면의 플랫 색을 실사 재질로 복사하는 방식은 금지된다.\n[E034] allowed_inference (building exterior): \"render the property as a REAL, EXISTING aged multi-family villa with a rooftop dwelling of the exact regional type the production data describes\" (CREATOR CORRECTIONS photo_appearance) | allowed: The property should be authored as a real existing aged multi-family villa with regional vernacular materials and varied lived-in aging; examples such as aged red brick, exterior tile cladding, cement mouldings/sills, weathered stucco patches, grime streaks, and a rusty steel retrofit stair are allowed appearance directions, not a mandate that every example appear.\n\nCREATOR CORRECTIONS (override everything):\n- CORRECTION (production owner): the exterior stair element is an ADDED-ON STEEL stair retrofitted later onto its building's outside wall — open treads, thin steel stringers and support posts, pipe handrail, visibly a separate later addition to the building. It is NOT concrete or cement; this supersedes any cement/concrete stair mention elsewhere in the data.\n\nSHOT ARTIFACTS (S11_Shot4):\nshot_description: 옥상 위, 어둠 속에 반쯤 열려 멈춰 있는 옥탑방 현관 철문의 정적 구도.\n\nstaging JSON:\n{\n \"camera_direction\": \"After the hard eyeline cut, the camera adopts 수리영’s direct viewpoint from the rooftop landing, several meters from the entrance and at human eye level, facing the iron front door squarely. The half-open door is held in rigid symmetry at the center of the frame, surrounded by still rooftop darkness, with no figure entering to relieve the threat.\",\n \"character_angles\": [],\n \"frame_spatial_contract\": {\n  \"constraints\": [\n   {\n    \"depth_plane\": \"background\",\n    \"gesture_action\": \"none\",\n    \"gesture_target_label\": \"\",\n    \"label\": \"half-open rooftop iron door\",\n    \"screen_zone\": \"middle_center\",\n    \"target_id\": \"\",\n    \"target_kind\": \"background\"\n   }\n  ],\n  \"reason\": \"required_background_position\"\n },\n \"framing_scale\": \"wide\",\n \"key_bg_elements\": [\n  {\n   \"camera_use\": \"Central reveal and source of unease, held motionless after her smell reaction.\",\n   \"directionality_class\": \"directional_3d\",\n   \"element\": \"rooftop room iron front door\",\n   \"orientation\": \"The door faces camera squarely but hangs half-open, exposing a narrow black interior gap along one side.\",\n   \"state\": \"half-open, frozen, scratched\"\n  },\n  {\n   \"camera_use\": \"Frames the doorway in isolated negative space.\",\n   \"directionality_class\": \"non_directional\",\n   \"element\": \"rooftop landing darkness\",\n   \"orientation\": \"\",\n   \"state\": \"still, damp, blue-black\"\n  },\n  {\n   \"camera_use\": \"Adds rough domestic rooftop texture without drawing attention from the door.\",\n   \"directionality_class\": \"directional_3d\",\n   \"element\": \"low rooftop wall\",\n   \"orientation\": \"Its top edge runs horizontally across the lower background, barely lit against the night.\",\n   \"state\": \"wet-stained, concrete, motionless\"\n  }\n ],\n \"lighting_mood\": \"Muted moon-blue darkness surrounds the door, with a thin sickly amber leak from inside making the opening feel contaminated rather than welcoming.\",\n \"perception_mode\": \"direct\",\n \"perspective\": \"subjective_pov\",\n \"pov_character\": \"수리영\",\n \"scene_index\": 11,\n \"shot_index\": 4,\n \"subject_reference_policy\": []\n}\n\nSTILL PROMPT (current, full):\nPhotorealistic cinematic still.\n\nReference image 1: pre-rendered BACKGROUND environment reference — layout/material/lighting identity\n\nThe half-open rooftop iron door is positioned in the middle-center background, viewed squarely from a direct eye-level subjective viewpoint across the damp landing. The environment is enveloped in a cold, muted blue-gray darkness. Contrasting this ambient shadow, a faint and sickly amber light spills outward from the black interior gap along one side of the door, casting an ominous and contaminated glow across the wet-stained concrete wall and the horizontal edge of the low parapet in the lower frame. The camera focuses entirely on the motionless threshold, isolating the doorway within the silent negative space of the rooftop.\n\nGenerate one image:\n- use image 1 for this location's wall/floor/ceiling materials, furniture identity, and lighting mood\n- follow the camera position, framing, and action requested in the prompt text — do NOT copy the camera position or composition of image 1 unless the prompt explicitly asks for it\n- do NOT copy any people from image 1\n- architectural openings (doors, windows, thresholds) must match image 1 — same position, type, and material; do NOT invent additional doors or windows unless the prompt text explicitly asks for them\n- if the prompt text places the camera inside or at one of these openings, camera-side walls and door/window frames may appear only as local foreground edges — do NOT show the same opening again in the scene, and do NOT show the exterior facade of the structure that contains the camera out in front of it\n- do not copy poses or compositions from reference images\n- do not alter character identities where their face is visible in the scene\n- each character's clothing/outfit must match that character's appearance reference image EXACTLY; if any clothing wording in the text conflicts with the reference image, follow the reference image and ignore that wording\n- only render what the scene description asks for — if only a hand or wrist is described, do NOT add the character's face\n- CRITICAL: Only render what the scene description explicitly describes. If a character's face is visible in the scene, match it to the reference. If only a body part is shown, do NOT add the face.\n- CRITICAL: Output exactly ONE single continuous photograph of ONE moment — never a panel grid, collage, contact sheet, split-screen, storyboard sheet, or multiple sub-frames inside one image.\n- CRITICAL: Every person must be physically grounded and weight-bearing — in real contact with a supporting surface, with body weight visibly carried by that contact. For a figure caught mid-action (falling, stumbling, collapsing, jumping off something), render a physically plausible instant: joints bent, weight clearly transferring, at least one believable point of contact or support — never a rigid body hovering, tilted or suspended in mid-air without support.\n\nAUDIT FINDINGS TO FIX (only these):\n[\n {\n  \"category\": \"unsupported_invention\",\n  \"claim_quote\": \"N\",\n  \"evidence_ids\": [],\n  \"location_en\": \"scene_heading\",\n  \"reasoning_ko\": \"그래프에는 S11_Shot4의 밤 시간대 자체를 확정하는 별도 단서가 없다.\",\n  \"repair_hint_en\": \"Remove the night tag or add graph evidence confirming this shot is at night.\",\n  \"target\": \"shot_description\"\n },\n {\n  \"category\": \"unsupported_invention\",\n  \"claim_quote\": \"어둠 속\",\n  \"evidence_ids\": [],\n  \"location_en\": \"description\",\n  \"reasoning_ko\": \"S11_Shot4에 어둠이나 특정 조도 상태를 부여하는 근거가 그래프에 없다.\",\n  \"repair_hint_en\": \"Keep the half-open iron door without asserting darkness unless lighting evidence is added.\",\n  \"target\": \"shot_description\"\n },\n {\n  \"category\": \"unsupported_invention\",\n  \"claim_quote\": \"still rooftop darkness\",\n  \"evidence_ids\": [],\n  \"location_en\": \"camera_direction\",\n  \"reasoning_ko\": \"옥상 주변을 어둠으로 감싸는 조도·무드 주장은 그래프에 근거가 없다.\",\n  \"repair_hint_en\": \"Remove the darkness mood or ground it in confirmed lighting evidence.\",\n  \"target\": \"staging\"\n },\n {\n  \"category\": \"unsupported_invention\",\n  \"claim_quote\": \"black interior gap\",\n  \"evidence_ids\": [\n   \"E006\"\n  ],\n  \"location_en\": \"key_bg_elements[0].orientation\",\n  \"reasoning_ko\": \"반쯤 열린 문틈은 가능하지만 내부가 검게 보인다는 조명·색 상태는 확인되지 않는다.\",\n  \"repair_hint_en\": \"Describe only a narrow gap unless the interior darkness is evidenced.\",\n  \"target\": \"staging\"\n },\n {\n  \"category\": \"unsupported_invention\",\n  \"claim_quote\": \"scratched\",\n  \"evidence_ids\": [\n   \"E006\",\n   \"E015\"\n  ],\n  \"location_en\": \"key_bg_elements[0].state\",\n  \"reasoning_ko\": \"철문 존재와 전단지·바람 소리는 확인되지만 긁힘이라는 표면 상태는 근거가 없다.\",\n  \"repair_hint_en\": \"Remove the scratched surface condition or replace it with confirmed flyer/wind-rattle detail.\",\n  \"target\": \"staging\"\n },\n {\n  \"category\": \"unsupported_invention\",\n  \"claim_quote\": \"rooftop landing darkness\",\n  \"evidence_ids\": [\n   \"E026\"\n  ],\n  \"location_en\": \"key_bg_elements[1].element\",\n  \"reasoning_ko\": \"랜딩 위치는 허용되지만 랜딩을 어둠으로 규정하는 조명 근거는 없다.\",\n  \"repair_hint_en\": \"Keep the rooftop landing without assigning darkness.\",\n  \"target\": \"staging\"\n },\n {\n  \"category\": \"unsupported_invention\",\n  \"claim_quote\": \"damp, blue-black\",\n  \"evidence_ids\": [\n   \"E031\"\n  ],\n  \"location_en\": \"key_bg_elements[1].state\",\n  \"reasoning_ko\": \"외부 표면에 damp/wet을 일괄 부여하는 것은 금지되어 있고 blue-black 색무드도 근거가 없다.\",\n  \"repair_hint_en\": \"Remove dampness and the blue-black colour mood.\",\n  \"target\": \"staging\"\n },\n {\n  \"category\": \"unsupported_invention\",\n  \"claim_quote\": \"barely lit against the night\",\n  \"evidence_ids\": [],\n  \"location_en\": \"key_bg_elements[2].orientation\",\n  \"reasoning_ko\": \"밤 조도와 약한 조명 상태는 S11_Shot4 그래프에서 확인되지 않는다.\",\n  \"repair_hint_en\": \"Remove the night/lighting assertion unless confirmed lighting evidence is supplied.\",\n  \"target\": \"staging\"\n },\n {\n  \"category\": \"unsupported_invention\",\n  \"claim_quote\": \"wet-stained\",\n  \"evidence_ids\": [\n   \"E031\"\n  ],\n  \"location_en\": \"key_bg_elements[2].state\",\n  \"reasoning_ko\": \"강우 근거가 없어 외부 표면의 젖은 얼룩은 금지된 표면 상태 발명에 해당한다.\",\n  \"repair_hint_en\": \"Remove the wet-stained condition.\",\n  \"target\": \"staging\"\n },\n {\n  \"category\": \"unsupported_invention\",\n  \"claim_quote\": \"Muted moon-blue darkness surrounds the door\",\n  \"evidence_ids\": [],\n  \"location_en\": \"lighting_mood\",\n  \"reasoning_ko\": \"moon-blue라는 특정 광색·무드와 어둠은 그래프의 S11_Shot4 근거로 지지되지 않는다.\",\n  \"repair_hint_en\": \"Remove the moon-blue darkness or replace it with neutral visibility language.\",\n  \"target\": \"staging\"\n },\n {\n  \"category\": \"unsupported_invention\",\n  \"claim_quote\": \"thin sickly amber leak from inside\",\n  \"evidence_ids\": [\n   \"E029\"\n  ],\n  \"location_en\": \"lighting_mood\",\n  \"reasoning_ko\": \"sickly amber 무드를 다른 샷으로 확산하는 것은 금지된 색무드 발명이며 내부 빛도 확인되지 않는다.\",\n  \"repair_hint_en\": \"Remove the sickly amber interior light leak unless explicitly evidenced for this doorway.\",\n  \"target\": \"staging\"\n },\n {\n  \"category\": \"unsupported_invention\",\n  \"claim_quote\": \"damp landing\",\n  \"evidence_ids\": [\n   \"E031\"\n  ],\n  \"location_en\": \"prompt paragraph 1\",\n  \"reasoning_ko\": \"랜딩을 축축하게 만드는 표면 상태는 강우 근거 없이 금지된 wet/damp 부여다.\",\n  \"repair_hint_en\": \"Change to a dry or unspecified landing surface.\",\n  \"target\": \"still_prompt\"\n },\n {\n  \"category\": \"unsupported_invention\",\n  \"claim_quote\": \"cold, muted blue-gray darkness\",\n  \"evidence_ids\": [],\n  \"location_en\": \"prompt paragraph 1\",\n  \"reasoning_ko\": \"차갑고 푸른 회색 어둠이라는 전역 조명 무드는 그래프에 없다.\",\n  \"repair_hint_en\": \"Remove the blue-gray darkness mood.\",\n  \"target\": \"still_prompt\"\n },\n {\n  \"category\": \"unsupported_invention\",\n  \"claim_quote\": \"faint and sickly amber light spills outward from the black interior gap along one side of the door\",\n  \"evidence_ids\": [\n   \"E006\",\n   \"E029\"\n  ],\n  \"location_en\": \"prompt paragraph 1\",\n  \"reasoning_ko\": \"반쯤 열린 문 자체는 맞지만 sickly amber 내부광과 검은 문틈 색상은 확인되지 않으며 sickly amber 확산은 금지 모드와 맞닿는다.\",\n  \"repair_hint_en\": \"Keep the half-open gap but remove the sickly amber spill and black-interior colour unless evidenced.\",\n  \"target\": \"still_prompt\"\n },\n {\n  \"category\": \"unsupported_invention\",\n  \"claim_quote\": \"wet-stained\",\n  \"evidence_ids\": [\n   \"E031\"\n  ],\n  \"location_en\": \"prompt paragraph 1\",\n  \"reasoning_ko\": \"외부 벽에 젖은 얼룩을 부여하는 것은 근거 없는 wet/damp 표면 발명이다.\",\n  \"repair_hint_en\": \"Remove the wet-stained surface condition.\",\n  \"target\": \"still_prompt\"\n },\n {\n  \"category\": \"contradiction\",\n  \"claim_quote\": \"silent negative space of the rooftop\",\n  \"evidence_ids\": [\n   \"E015\"\n  ],\n  \"location_en\": \"prompt paragraph 1\",\n  \"reasoning_ko\": \"철문에는 바람에 덜컹이는 소리 디테일이 있어야 하므로 옥상을 ‘silent’로 단정하면 그 단서와 충돌한다.\",\n  \"repair_hint_en\": \"Avoid asserting silence; preserve the required wind-rattling door detail where sound is relevant.\",\n  \"target\": \"still_prompt\"\n }\n]\n\nProduce the minimal repairs now."}
{"ts": "2026-07-08 00:25:24", "kind": "llm", "step": "s24_repair_S13_Shot3", "model": "gpt", "dur_s": 60.1, "system_prompt": "You are a continuity repair editor. You get the location's\nevidence summary (with prohibited invention modes), creator corrections, one\nshot's downstream artifacts, and the audit FINDINGS for that shot restricted\nto categories unsupported_invention / contradiction. Fix ONLY those findings\n— every supported claim and every plausible directorial concretization must\nsurvive verbatim.\n\nEVIDENCE-BOUND AUTHORING: every concrete claim about the world —\nspatial relations, materials, weather, atmosphere, light colour,\nsurface condition, numeric dimensions — must either (a) restate a\nprovided evidence entry (cite its evidence_id), or (b) be a staging\nconcretization DIRECTLY derivable from one (mark it inferred).\nCreator corrections override any conflicting downstream text.\nNEVER introduce weather effects, colour moods, surface conditions,\nmaterials or numeric dimensions that no evidence entry supports —\nwhen the evidence is silent, stay silent and leave that choice to\nthe image model.\n\nOutput two things:\n1. prompt_edits — minimal text substitutions for the STILL PROMPT (if one is\n   given): each edit has before_quote = an EXACT substring of the current\n   prompt (long enough to be unambiguous, usually the full clause) and\n   after_en = its replacement (\"\" to delete the clause; rewrite the clause\n   so the sentence still reads naturally). Touch nothing outside the flagged\n   claims; never add new specifics the evidence does not support.\n2. staging_corrections — for findings in shot_description/staging: DO NOT\n   rewrite those artifacts; emit a correction entry per finding with\n   field_en (which field/part), before_quote (exact), after_en (the minimal\n   corrected wording), evidence_ids, reason_ko. These are stored as a\n   correction pack applied when a lane next consumes that data.\nnotes_ko: 2-3 문장 한국어 — 무엇을 왜 고쳤고 무엇을 일부러 남겼는지.", "user_prompt": "EVIDENCE SUMMARY:\n[E001] confirmed_cue (alley road): \"자전거를 타고 골목길을 달리는\" (S#11)\n[E002] confirmed_cue (villa gate): \"다세대 빌라 문을 열고 들어와\" (S#11)\n[E003] confirmed_cue (yard): \"마당 후미진 곳에 자전거를 대충 세우고\" (S#11)\n[E004] confirmed_cue (external stair): \"옥탑방과 연결되는 계단을 급히 오른다\" (S#11)\n[E005] confirmed_cue (upper stair): \"갑자기 훅- 역겨운 냄새\" (S#11 계단 중간)\n[E006] confirmed_cue (landing and iron door): \"옥상에 올라와 보니 반쯤 열린 현관 철문\" (S#11)\n[E007] confirmed_cue (alley road and stair foot): \"계단을 내려간다. 동시에 사이렌~ (포즈). 차에서 내린 혜수... 수리영의 모습을 발견하고 달려간다\" (S#13)\n[E008] allowed_inference (alley road and stair foot): \"\" (Memo C consistency chain from S#13 cue) | allowed: The stop point and stair foot may be staged as an unobstructed straight sightline at approximately 10–30 m, a validation range rather than a hard measurement.\n[E009] confirmed_cue (stair foot): \"수리영 (올라다보며)\" (S#13)\n[E010] confirmed_cue (stair entry): \"옥탑 방으로 뛰어 올라가는 혜수와 김형사\" (S#13)\n[E011] confirmed_cue (roof surface): \"옥상. 물탱크. 빨랫줄 툭-툭- 평상에 말린 석창포\" (S#10)\n[E012] confirmed_cue (roof path): \"말린 잎이 걸어오는 남자의 신발 위를 스친다... 신발은 철문 현관 앞에 멈춰\" (S#10)\n[E013] confirmed_cue (roof lighting): \"남자의 긴 그림자\" (S#10)\n[E014] allowed_inference (roof lighting): \"\" (Memo A item 12) | allowed: A low-angle night light source such as a streetlight or entrance-grade lamp is allowed; this does not license a broad amber colour mood across unrelated shots.\n[E015] confirmed_cue (iron door): \"문틈에 낀 광고 전단지 / 바람에 현관문 소리. 황량하다\" (S#10 / S#27)\n[E016] confirmed_cue (low wall and window): \"검은 고양이가 불이 켜져 있는 옥탑 방을 슬쩍 보더니 담을 넘는다\" (S#17)\n[E017] allowed_inference (low wall): \"\" (Memo A item 14 / Memo C) | allowed: The wall height should be low enough for a cat to cross and placed so the lit rooftop-room window remains visible over or through the wall relationship.\n[E018] confirmed_cue (neighborhood view): \"인천 변두리 부감, 오래된 빌라 옥탑방 전경\" (S#4)\n[E019] allowed_inference (surroundings): \"\" (Memo A item 15) | allowed: A bird's-eye rooftop-villa view supports surrounding dense low-rise fabric; it does not supply an exact altitude.\n[E020] confirmed_cue (regional context): \"조그만 도시... 바다가 가까워서\" (S#5)\n[E021] allowed_inference (atmosphere): \"\" (Memo A item 16) | allowed: Sea proximity may inform only a general atmospheric degree; it is not evidence for applying a coastal mood to every shot.\n[E022] confirmed_cue (local services): \"끝나고 마트로 갈게 / 이따가 1시 타임\" (S#5)\n[E023] confirmed_cue (rooftop room windows): \"작은 창 / 수리영 방 커튼 창·욕실 존재\" (S#5·S#25 거실 / S#18)\n[E024] allowed_inference (alley road): \"\" (Memo C consistency chain from S#11 and S#13 cues) | allowed: The alley/side road may be treated as roughly 3 m class in width because it must accept both bicycle travel and police-car approach/stop; this is a validation class, not an exact dimension.\n[E025] allowed_inference (external stair): \"건물 외벽에 나중에 덧붙인 철제 증축 계단 — 오픈 발판, 얇은 강판 스트링거, 파이프 난간\" (Memo C consistency chain + CREATOR CORRECTIONS stair.desc_ko) | allowed: The exterior stair may be validated as a later-added steel retrofit stair rising about three floors, roughly 8–10 m vertical; creator correction requires steel retrofit construction and rejects concrete/cement.\n[E026] allowed_inference (landing and iron door): \"\" (Memo B good staging S11_4 / Memo C consistency chain) | allowed: The landing-to-iron-door frontal distance may be staged in the 2–5 m range, keeping an unobstructed eye-level view.\n[E027] PROHIBITED (numeric dimension invention): \"45m 상공\" — S4 부감에 45m라는 고도 수치를 붙이는 것은 원문 근거가 없다.\n[E028] PROHIBITED (weather/fog invention): \"짙고 푸른 안개\" — S13과 S17의 안개, 특히 짙고 푸른 안개는 하류 발명이다.\n[E029] PROHIBITED (colour-mood propagation): \"sickly amber\" — S10_6의 실내 램프 근거를 다수 샷의 병든 앰버 무드로 확산하면 안 된다.\n[E030] PROHIBITED (material invention overridden by creator correction): \"narrow concrete staircase\" — S11_3의 콘크리트 계단 표기는 사용자 정정의 철제 증축 계단과 모순된다.\n[E031] PROHIBITED (surface condition without textual support): \"wet/damp 일괄 부여\" — 강우 원문이 없으므로 외부 표면을 일괄 젖거나 축축하게 만들면 안 된다.\n[E032] PROHIBITED (plan-colour-to-material invention): \"uniform cement-gray mass\" — 건물을 균일한 시멘트 회색 덩어리로 렌더링하면 안 된다.\n[E033] PROHIBITED (plan-colour-to-material invention): \"copy the site plan's flat drawing colours as building materials\" — 도면의 플랫 색을 실사 재질로 복사하는 방식은 금지된다.\n[E034] allowed_inference (building exterior): \"render the property as a REAL, EXISTING aged multi-family villa with a rooftop dwelling of the exact regional type the production data describes\" (CREATOR CORRECTIONS photo_appearance) | allowed: The property should be authored as a real existing aged multi-family villa with regional vernacular materials and varied lived-in aging; examples such as aged red brick, exterior tile cladding, cement mouldings/sills, weathered stucco patches, grime streaks, and a rusty steel retrofit stair are allowed appearance directions, not a mandate that every example appear.\n\nCREATOR CORRECTIONS (override everything):\n- CORRECTION (production owner): the exterior stair element is an ADDED-ON STEEL stair retrofitted later onto its building's outside wall — open treads, thin steel stringers and support posts, pipe handrail, visibly a separate later addition to the building. It is NOT concrete or cement; this supersedes any cement/concrete stair mention elsewhere in the data.\n\nSHOT ARTIFACTS (S13_Shot3):\nshot_description: 차에서 내린 혜수가 초점 없는 눈으로 멍하게 서 있는 수리영을 향해 시선을 고정한 찰나의 상체.\n\nstaging JSON:\n{\n \"camera_direction\": \"Beside the police car at chest height, the tracking move slows into a held upper-body frame on 혜수 as she has just stepped out, her body paused between the car and the alley. 수리영 appears farther down the alley in soft background focus, small and blank beneath flashing siren wash, while 혜수 occupies the left foreground in a tense three-quarter view; this is a direct observer view moving parallel with her discovery.\",\n \"character_angles\": [\n  {\n   \"angle\": \"three_quarter_right\",\n   \"body_pose\": \"half-stepping from car\",\n   \"character\": \"혜수\",\n   \"gaze_direction_kind\": \"looks_at_character\",\n   \"gaze_target_id\": \"C01\",\n   \"subject_state\": \"alive\"\n  },\n  {\n   \"angle\": \"three_quarter_left\",\n   \"body_pose\": \"stalled mid-alley\",\n   \"character\": \"수리영\",\n   \"gaze_direction_kind\": \"distant\",\n   \"gaze_target_id\": null,\n   \"subject_state\": \"alive\"\n  }\n ],\n \"frame_spatial_contract\": {\n  \"constraints\": [\n   {\n    \"depth_plane\": \"foreground\",\n    \"gesture_action\": \"looks_toward\",\n    \"gesture_target_label\": \"수리영 down the alley\",\n    \"label\": \"혜수 by police car\",\n    \"screen_zone\": \"middle_left\",\n    \"target_id\": \"C02\",\n    \"target_kind\": \"character\"\n   },\n   {\n    \"depth_plane\": \"background\",\n    \"gesture_action\": \"none\",\n    \"gesture_target_label\": \"\",\n    \"label\": \"수리영 in alley\",\n    \"screen_zone\": \"middle_right\",\n    \"target_id\": \"C01\",\n    \"target_kind\": \"character\"\n   }\n  ],\n  \"reason\": \"shared_space_relation\"\n },\n \"framing_scale\": \"medium\",\n \"key_bg_elements\": [\n  {\n   \"camera_use\": \"Foreground context and flashing light source beside 혜수.\",\n   \"directionality_class\": \"directional_3d\",\n   \"element\": \"police car\",\n   \"orientation\": \"The side of the car and open door angle toward the camera, framing 혜수’s exit.\",\n   \"state\": \"parked, door open, siren lights active\"\n  },\n  {\n   \"camera_use\": \"Depth corridor between 혜수 and 수리영.\",\n   \"directionality_class\": \"directional_3d\",\n   \"element\": \"narrow alley\",\n   \"orientation\": \"The alley recedes diagonally from the police car toward 수리영 in the background.\",\n   \"state\": \"wet, dark, foggy\"\n  },\n  {\n   \"camera_use\": \"Intermittent color wash across faces and walls.\",\n   \"directionality_class\": \"non_directional\",\n   \"element\": \"siren light spill\",\n   \"orientation\": \"\",\n   \"state\": \"flashing red-blue across damp surfaces\"\n  }\n ],\n \"lighting_mood\": \"Strobing police red-blue cuts through damp fog, mixing with dirty amber streetlight and cold coastal shadows.\",\n \"perception_mode\": \"direct\",\n \"perspective\": \"observer\",\n \"pov_character\": \"\",\n \"scene_index\": 13,\n \"shot_index\": 3,\n \"subject_reference_policy\": []\n}\n\nSTILL PROMPT (current, full):\nPhotorealistic cinematic still.\n\nReference image 1: pre-rendered BACKGROUND environment reference — layout/material/lighting identity\nReference image 2: character appearance reference: Korean 40대 중반 여성, 성숙한 얼굴선과 짙은 검은 머리의 차분한 인상.\n\nthe character from Image 2 in a detective coat, an Asian middle-aged woman with mature facial features and dark natural hair by the police car, occupies the middle-left foreground, looking toward a young Asian woman down the alley in the background across the same damp exterior alleyway they both occupy. the character from Image 2 stands at a three-quarter angle from the right, upper body in frame at chest height, half-stepping from the parked vehicle, eyes fixed on the distant figure. The young Asian woman is softly focused in the rear, standing at a three-quarter angle from the left, stalled mid-alley, gazing into the distance. A damp exterior alleyway shrouded in cold misty fog and deep shadows, illuminated by strobing red and blue lights mixing with a weak amber street lamp to create colored reflections on the wet surfaces. The open police vehicle side angles toward the camera on the left, framing the character from Image 2's exit.\n\nGenerate one image:\n- use image 1 for this location's wall/floor/ceiling materials, furniture identity, and lighting mood\n- follow the camera position, framing, and action requested in the prompt text — do NOT copy the camera position or composition of image 1 unless the prompt explicitly asks for it\n- do NOT copy any people from image 1\n- architectural openings (doors, windows, thresholds) must match image 1 — same position, type, and material; do NOT invent additional doors or windows unless the prompt text explicitly asks for them\n- if the prompt text places the camera inside or at one of these openings, camera-side walls and door/window frames may appear only as local foreground edges — do NOT show the same opening again in the scene, and do NOT show the exterior facade of the structure that contains the camera out in front of it\n- use image 2 as character appearance reference — match the person's identity and outfit where visible in the scene\n- do not copy poses or compositions from reference images\n- do not alter character identities where their face is visible in the scene\n- each character's clothing/outfit must match that character's appearance reference image EXACTLY; if any clothing wording in the text conflicts with the reference image, follow the reference image and ignore that wording\n- only render what the scene description asks for — if only a hand or wrist is described, do NOT add the character's face\n- CRITICAL: Only render what the scene description explicitly describes. If a character's face is visible in the scene, match it to the reference. If only a body part is shown, do NOT add the face.\n- CRITICAL: Output exactly ONE single continuous photograph of ONE moment — never a panel grid, collage, contact sheet, split-screen, storyboard sheet, or multiple sub-frames inside one image.\n- CRITICAL: Every person must be physically grounded and weight-bearing — in real contact with a supporting surface, with body weight visibly carried by that contact. For a figure caught mid-action (falling, stumbling, collapsing, jumping off something), render a physically plausible instant: joints bent, weight clearly transferring, at least one believable point of contact or support — never a rigid body hovering, tilted or suspended in mid-air without support.\n\nAUDIT FINDINGS TO FIX (only these):\n[\n {\n  \"category\": \"unsupported_invention\",\n  \"claim_quote\": \"wet\",\n  \"evidence_ids\": [\n   \"E031\"\n  ],\n  \"location_en\": \"key_bg_elements[1].state\",\n  \"reasoning_ko\": \"강우나 젖은 노면 근거가 없으며 외부 표면의 wet/damp 일괄 부여가 금지되어 있다.\",\n  \"repair_hint_en\": \"Remove the wet surface condition unless rain or wet ground is explicitly evidenced.\",\n  \"target\": \"staging\"\n },\n {\n  \"category\": \"unsupported_invention\",\n  \"claim_quote\": \"dark\",\n  \"evidence_ids\": [],\n  \"location_en\": \"key_bg_elements[1].state\",\n  \"reasoning_ko\": \"S13 골목의 어둠 정도를 확정하는 그래프 단서가 없다.\",\n  \"repair_hint_en\": \"Avoid specifying darkness beyond the confirmed police-car discovery setup.\",\n  \"target\": \"staging\"\n },\n {\n  \"category\": \"unsupported_invention\",\n  \"claim_quote\": \"foggy\",\n  \"evidence_ids\": [\n   \"E028\"\n  ],\n  \"location_en\": \"key_bg_elements[1].state\",\n  \"reasoning_ko\": \"S13 외부 공기에 안개를 부여하는 것은 금지된 weather/fog 발명에 해당한다.\",\n  \"repair_hint_en\": \"Delete the fog condition.\",\n  \"target\": \"staging\"\n },\n {\n  \"category\": \"unsupported_invention\",\n  \"claim_quote\": \"damp surfaces\",\n  \"evidence_ids\": [\n   \"E031\"\n  ],\n  \"location_en\": \"key_bg_elements[2].state\",\n  \"reasoning_ko\": \"젖거나 축축한 외부 표면을 부여할 텍스트 근거가 없다.\",\n  \"repair_hint_en\": \"Change to neutral exterior surfaces without dampness.\",\n  \"target\": \"staging\"\n },\n {\n  \"category\": \"unsupported_invention\",\n  \"claim_quote\": \"damp fog\",\n  \"evidence_ids\": [\n   \"E028\",\n   \"E031\"\n  ],\n  \"location_en\": \"lighting_mood\",\n  \"reasoning_ko\": \"안개와 축축한 외부 상태 모두 S13에서 근거 없는 금지 발명이다.\",\n  \"repair_hint_en\": \"Remove the damp fog and keep the air neutral.\",\n  \"target\": \"staging\"\n },\n {\n  \"category\": \"unsupported_invention\",\n  \"claim_quote\": \"dirty amber streetlight\",\n  \"evidence_ids\": [\n   \"E014\",\n   \"E029\"\n  ],\n  \"location_en\": \"lighting_mood\",\n  \"reasoning_ko\": \"낮은 각도 야간 광원 허용은 S10 옥상 맥락이며 S13에 앰버 무드를 전파할 근거가 없다.\",\n  \"repair_hint_en\": \"Do not add an amber streetlight unless a S13 source supports it.\",\n  \"target\": \"staging\"\n },\n {\n  \"category\": \"unsupported_invention\",\n  \"claim_quote\": \"cold coastal shadows\",\n  \"evidence_ids\": [\n   \"E021\"\n  ],\n  \"location_en\": \"lighting_mood\",\n  \"reasoning_ko\": \"바다 인접성은 일반 대기 정도만 허용하며 특정 샷의 해안성 색무드로 확장할 수 없다.\",\n  \"repair_hint_en\": \"Remove the coastal color-mood description.\",\n  \"target\": \"staging\"\n },\n {\n  \"category\": \"unsupported_invention\",\n  \"claim_quote\": \"damp exterior alleyway\",\n  \"evidence_ids\": [\n   \"E031\"\n  ],\n  \"location_en\": \"prompt main paragraph\",\n  \"reasoning_ko\": \"외부 골목이 축축하다는 표면 조건은 원문 근거가 없고 금지되어 있다.\",\n  \"repair_hint_en\": \"Use a neutral exterior alleyway with no dampness.\",\n  \"target\": \"still_prompt\"\n },\n {\n  \"category\": \"unsupported_invention\",\n  \"claim_quote\": \"damp exterior alleyway\",\n  \"evidence_ids\": [\n   \"E031\"\n  ],\n  \"location_en\": \"prompt atmosphere sentence\",\n  \"reasoning_ko\": \"같은 프롬프트의 분위기 문장에서 다시 골목의 축축한 표면 상태를 근거 없이 지정한다.\",\n  \"repair_hint_en\": \"Remove the damp adjective from the alley description.\",\n  \"target\": \"still_prompt\"\n },\n {\n  \"category\": \"unsupported_invention\",\n  \"claim_quote\": \"cold misty fog\",\n  \"evidence_ids\": [\n   \"E028\"\n  ],\n  \"location_en\": \"prompt atmosphere sentence\",\n  \"reasoning_ko\": \"S13의 안개, 특히 차갑고 짙은 안개류 표현은 하류 발명으로 금지되어 있다.\",\n  \"repair_hint_en\": \"Delete the misty fog description.\",\n  \"target\": \"still_prompt\"\n },\n {\n  \"category\": \"unsupported_invention\",\n  \"claim_quote\": \"deep shadows\",\n  \"evidence_ids\": [],\n  \"location_en\": \"prompt atmosphere sentence\",\n  \"reasoning_ko\": \"S13 골목에 깊은 그림자 무드를 부여할 확인 단서가 없다.\",\n  \"repair_hint_en\": \"Keep lighting to evidenced police-car discovery cues without adding deep-shadow mood.\",\n  \"target\": \"still_prompt\"\n },\n {\n  \"category\": \"unsupported_invention\",\n  \"claim_quote\": \"weak amber street lamp\",\n  \"evidence_ids\": [\n   \"E014\",\n   \"E029\"\n  ],\n  \"location_en\": \"prompt atmosphere sentence\",\n  \"reasoning_ko\": \"S13에 앰버 가로등을 추가하거나 다른 샷의 앰버 무드를 전파할 근거가 없다.\",\n  \"repair_hint_en\": \"Remove the amber street lamp unless separately evidenced for this alley.\",\n  \"target\": \"still_prompt\"\n },\n {\n  \"category\": \"unsupported_invention\",\n  \"claim_quote\": \"wet surfaces\",\n  \"evidence_ids\": [\n   \"E031\"\n  ],\n  \"location_en\": \"prompt atmosphere sentence\",\n  \"reasoning_ko\": \"젖은 표면 반사는 강우·습윤 근거 없이 외부 표면 상태를 발명한 것이다.\",\n  \"repair_hint_en\": \"Replace wet-surface reflections with neutral light spill on ordinary alley surfaces.\",\n  \"target\": \"still_prompt\"\n }\n]\n\nProduce the minimal repairs now."}
{"ts": "2026-07-08 00:26:08", "kind": "llm", "step": "s24_repair_S13_Shot5", "model": "gpt", "dur_s": 44.2, "system_prompt": "You are a continuity repair editor. You get the location's\nevidence summary (with prohibited invention modes), creator corrections, one\nshot's downstream artifacts, and the audit FINDINGS for that shot restricted\nto categories unsupported_invention / contradiction. Fix ONLY those findings\n— every supported claim and every plausible directorial concretization must\nsurvive verbatim.\n\nEVIDENCE-BOUND AUTHORING: every concrete claim about the world —\nspatial relations, materials, weather, atmosphere, light colour,\nsurface condition, numeric dimensions — must either (a) restate a\nprovided evidence entry (cite its evidence_id), or (b) be a staging\nconcretization DIRECTLY derivable from one (mark it inferred).\nCreator corrections override any conflicting downstream text.\nNEVER introduce weather effects, colour moods, surface conditions,\nmaterials or numeric dimensions that no evidence entry supports —\nwhen the evidence is silent, stay silent and leave that choice to\nthe image model.\n\nOutput two things:\n1. prompt_edits — minimal text substitutions for the STILL PROMPT (if one is\n   given): each edit has before_quote = an EXACT substring of the current\n   prompt (long enough to be unambiguous, usually the full clause) and\n   after_en = its replacement (\"\" to delete the clause; rewrite the clause\n   so the sentence still reads naturally). Touch nothing outside the flagged\n   claims; never add new specifics the evidence does not support.\n2. staging_corrections — for findings in shot_description/staging: DO NOT\n   rewrite those artifacts; emit a correction entry per finding with\n   field_en (which field/part), before_quote (exact), after_en (the minimal\n   corrected wording), evidence_ids, reason_ko. These are stored as a\n   correction pack applied when a lane next consumes that data.\nnotes_ko: 2-3 문장 한국어 — 무엇을 왜 고쳤고 무엇을 일부러 남겼는지.", "user_prompt": "EVIDENCE SUMMARY:\n[E001] confirmed_cue (alley road): \"자전거를 타고 골목길을 달리는\" (S#11)\n[E002] confirmed_cue (villa gate): \"다세대 빌라 문을 열고 들어와\" (S#11)\n[E003] confirmed_cue (yard): \"마당 후미진 곳에 자전거를 대충 세우고\" (S#11)\n[E004] confirmed_cue (external stair): \"옥탑방과 연결되는 계단을 급히 오른다\" (S#11)\n[E005] confirmed_cue (upper stair): \"갑자기 훅- 역겨운 냄새\" (S#11 계단 중간)\n[E006] confirmed_cue (landing and iron door): \"옥상에 올라와 보니 반쯤 열린 현관 철문\" (S#11)\n[E007] confirmed_cue (alley road and stair foot): \"계단을 내려간다. 동시에 사이렌~ (포즈). 차에서 내린 혜수... 수리영의 모습을 발견하고 달려간다\" (S#13)\n[E008] allowed_inference (alley road and stair foot): \"\" (Memo C consistency chain from S#13 cue) | allowed: The stop point and stair foot may be staged as an unobstructed straight sightline at approximately 10–30 m, a validation range rather than a hard measurement.\n[E009] confirmed_cue (stair foot): \"수리영 (올라다보며)\" (S#13)\n[E010] confirmed_cue (stair entry): \"옥탑 방으로 뛰어 올라가는 혜수와 김형사\" (S#13)\n[E011] confirmed_cue (roof surface): \"옥상. 물탱크. 빨랫줄 툭-툭- 평상에 말린 석창포\" (S#10)\n[E012] confirmed_cue (roof path): \"말린 잎이 걸어오는 남자의 신발 위를 스친다... 신발은 철문 현관 앞에 멈춰\" (S#10)\n[E013] confirmed_cue (roof lighting): \"남자의 긴 그림자\" (S#10)\n[E014] allowed_inference (roof lighting): \"\" (Memo A item 12) | allowed: A low-angle night light source such as a streetlight or entrance-grade lamp is allowed; this does not license a broad amber colour mood across unrelated shots.\n[E015] confirmed_cue (iron door): \"문틈에 낀 광고 전단지 / 바람에 현관문 소리. 황량하다\" (S#10 / S#27)\n[E016] confirmed_cue (low wall and window): \"검은 고양이가 불이 켜져 있는 옥탑 방을 슬쩍 보더니 담을 넘는다\" (S#17)\n[E017] allowed_inference (low wall): \"\" (Memo A item 14 / Memo C) | allowed: The wall height should be low enough for a cat to cross and placed so the lit rooftop-room window remains visible over or through the wall relationship.\n[E018] confirmed_cue (neighborhood view): \"인천 변두리 부감, 오래된 빌라 옥탑방 전경\" (S#4)\n[E019] allowed_inference (surroundings): \"\" (Memo A item 15) | allowed: A bird's-eye rooftop-villa view supports surrounding dense low-rise fabric; it does not supply an exact altitude.\n[E020] confirmed_cue (regional context): \"조그만 도시... 바다가 가까워서\" (S#5)\n[E021] allowed_inference (atmosphere): \"\" (Memo A item 16) | allowed: Sea proximity may inform only a general atmospheric degree; it is not evidence for applying a coastal mood to every shot.\n[E022] confirmed_cue (local services): \"끝나고 마트로 갈게 / 이따가 1시 타임\" (S#5)\n[E023] confirmed_cue (rooftop room windows): \"작은 창 / 수리영 방 커튼 창·욕실 존재\" (S#5·S#25 거실 / S#18)\n[E024] allowed_inference (alley road): \"\" (Memo C consistency chain from S#11 and S#13 cues) | allowed: The alley/side road may be treated as roughly 3 m class in width because it must accept both bicycle travel and police-car approach/stop; this is a validation class, not an exact dimension.\n[E025] allowed_inference (external stair): \"건물 외벽에 나중에 덧붙인 철제 증축 계단 — 오픈 발판, 얇은 강판 스트링거, 파이프 난간\" (Memo C consistency chain + CREATOR CORRECTIONS stair.desc_ko) | allowed: The exterior stair may be validated as a later-added steel retrofit stair rising about three floors, roughly 8–10 m vertical; creator correction requires steel retrofit construction and rejects concrete/cement.\n[E026] allowed_inference (landing and iron door): \"\" (Memo B good staging S11_4 / Memo C consistency chain) | allowed: The landing-to-iron-door frontal distance may be staged in the 2–5 m range, keeping an unobstructed eye-level view.\n[E027] PROHIBITED (numeric dimension invention): \"45m 상공\" — S4 부감에 45m라는 고도 수치를 붙이는 것은 원문 근거가 없다.\n[E028] PROHIBITED (weather/fog invention): \"짙고 푸른 안개\" — S13과 S17의 안개, 특히 짙고 푸른 안개는 하류 발명이다.\n[E029] PROHIBITED (colour-mood propagation): \"sickly amber\" — S10_6의 실내 램프 근거를 다수 샷의 병든 앰버 무드로 확산하면 안 된다.\n[E030] PROHIBITED (material invention overridden by creator correction): \"narrow concrete staircase\" — S11_3의 콘크리트 계단 표기는 사용자 정정의 철제 증축 계단과 모순된다.\n[E031] PROHIBITED (surface condition without textual support): \"wet/damp 일괄 부여\" — 강우 원문이 없으므로 외부 표면을 일괄 젖거나 축축하게 만들면 안 된다.\n[E032] PROHIBITED (plan-colour-to-material invention): \"uniform cement-gray mass\" — 건물을 균일한 시멘트 회색 덩어리로 렌더링하면 안 된다.\n[E033] PROHIBITED (plan-colour-to-material invention): \"copy the site plan's flat drawing colours as building materials\" — 도면의 플랫 색을 실사 재질로 복사하는 방식은 금지된다.\n[E034] allowed_inference (building exterior): \"render the property as a REAL, EXISTING aged multi-family villa with a rooftop dwelling of the exact regional type the production data describes\" (CREATOR CORRECTIONS photo_appearance) | allowed: The property should be authored as a real existing aged multi-family villa with regional vernacular materials and varied lived-in aging; examples such as aged red brick, exterior tile cladding, cement mouldings/sills, weathered stucco patches, grime streaks, and a rusty steel retrofit stair are allowed appearance directions, not a mandate that every example appear.\n\nCREATOR CORRECTIONS (override everything):\n- CORRECTION (production owner): the exterior stair element is an ADDED-ON STEEL stair retrofitted later onto its building's outside wall — open treads, thin steel stringers and support posts, pipe handrail, visibly a separate later addition to the building. It is NOT concrete or cement; this supersedes any cement/concrete stair mention elsewhere in the data.\n\nSHOT ARTIFACTS (S13_Shot5):\nshot_description: 수리영이 고개를 들어 혜수의 얼굴을 올려다보는 정적 구도.\n\nstaging JSON:\n{\n \"camera_direction\": \"The camera sits low near 수리영’s eye level, about one meter away, tightened into a still close composition as she lifts her face toward 혜수 just above the frame. 수리영 holds the lower center of the image, her upward eyeline creating the unseen presence of 혜수, while the wet alley background blurs into dark blue-gray; this is a direct observer angle from the space between them.\",\n \"character_angles\": [\n  {\n   \"angle\": \"three_quarter_left\",\n   \"body_pose\": \"chin lifted trembling\",\n   \"character\": \"수리영\",\n   \"gaze_direction_kind\": \"looks_at_character\",\n   \"gaze_target_id\": \"C02\",\n   \"subject_state\": \"alive\"\n  }\n ],\n \"frame_spatial_contract\": {\n  \"constraints\": [\n   {\n    \"depth_plane\": \"foreground\",\n    \"gesture_action\": \"looks_toward\",\n    \"gesture_target_label\": \"혜수 just above frame\",\n    \"label\": \"수리영 close low frame\",\n    \"screen_zone\": \"middle_center\",\n    \"target_id\": \"C01\",\n    \"target_kind\": \"character\"\n   }\n  ],\n  \"reason\": \"primary_subject_isolation\"\n },\n \"framing_scale\": \"close\",\n \"key_bg_elements\": [\n  {\n   \"camera_use\": \"Soft, dark background texture behind 수리영’s head.\",\n   \"directionality_class\": \"non_directional\",\n   \"element\": \"wet alley wall\",\n   \"orientation\": \"\",\n   \"state\": \"damp, shadowed, out of focus\"\n  },\n  {\n   \"camera_use\": \"Atmospheric layer around her face.\",\n   \"directionality_class\": \"non_directional\",\n   \"element\": \"night fog\",\n   \"orientation\": \"\",\n   \"state\": \"thin, drifting, blue-gray\"\n  },\n  {\n   \"camera_use\": \"Off-screen motivated color pulse on her skin.\",\n   \"directionality_class\": \"non_directional\",\n   \"element\": \"police siren spill\",\n   \"orientation\": \"\",\n   \"state\": \"intermittent, faint\"\n  }\n ],\n \"lighting_mood\": \"Cold misty shadows dominate her face, interrupted by brief red-blue siren pulses and a weak amber street glow along her jaw.\",\n \"perception_mode\": \"direct\",\n \"perspective\": \"observer\",\n \"pov_character\": \"\",\n \"scene_index\": 13,\n \"shot_index\": 5,\n \"subject_reference_policy\": []\n}\n\nAUDIT FINDINGS TO FIX (only these):\n[\n {\n  \"category\": \"unsupported_invention\",\n  \"claim_quote\": \"wet alley background blurs into dark blue-gray\",\n  \"evidence_ids\": [\n   \"E007\",\n   \"E009\",\n   \"E031\"\n  ],\n  \"location_en\": \"camera_direction\",\n  \"reasoning_ko\": \"골목/계단 하단 배경 자체는 가능하지만 젖은 표면과 청회색 무드 부여는 원문 근거가 없다.\",\n  \"repair_hint_en\": \"Keep the alley/stair-foot background, but remove the wet surface and unsupported blue-gray mood.\",\n  \"target\": \"staging\"\n },\n {\n  \"category\": \"unsupported_invention\",\n  \"claim_quote\": \"wet alley wall\",\n  \"evidence_ids\": [\n   \"E031\"\n  ],\n  \"location_en\": \"key_bg_elements[0].element\",\n  \"reasoning_ko\": \"외부 표면을 젖게 만드는 설정은 강우 근거가 없어 금지된 하류 발명에 해당한다.\",\n  \"repair_hint_en\": \"Change it to an alley wall without wet/damp surface condition.\",\n  \"target\": \"staging\"\n },\n {\n  \"category\": \"unsupported_invention\",\n  \"claim_quote\": \"night fog\",\n  \"evidence_ids\": [\n   \"E028\"\n  ],\n  \"location_en\": \"key_bg_elements[1].element\",\n  \"reasoning_ko\": \"S13 외부의 안개 설정은 근거 없는 날씨/대기 발명으로 명시 금지되어 있다.\",\n  \"repair_hint_en\": \"Remove the fog element entirely.\",\n  \"target\": \"staging\"\n },\n {\n  \"category\": \"unsupported_invention\",\n  \"claim_quote\": \"Atmospheric layer around her face.\",\n  \"evidence_ids\": [\n   \"E028\"\n  ],\n  \"location_en\": \"key_bg_elements[1].camera_use\",\n  \"reasoning_ko\": \"얼굴 주변 대기층은 안개 연출을 전제로 하며 S13의 금지된 안개 발명과 연결된다.\",\n  \"repair_hint_en\": \"Remove the atmospheric layer or make it ordinary clear night air.\",\n  \"target\": \"staging\"\n },\n {\n  \"category\": \"unsupported_invention\",\n  \"claim_quote\": \"thin, drifting, blue-gray\",\n  \"evidence_ids\": [\n   \"E028\"\n  ],\n  \"location_en\": \"key_bg_elements[1].state\",\n  \"reasoning_ko\": \"얇게 흐르는 청회색 안개 상태는 S13 안개 발명 금지에 걸린다.\",\n  \"repair_hint_en\": \"Delete the drifting blue-gray fog state.\",\n  \"target\": \"staging\"\n },\n {\n  \"category\": \"unsupported_invention\",\n  \"claim_quote\": \"Cold misty shadows dominate her face\",\n  \"evidence_ids\": [\n   \"E028\"\n  ],\n  \"location_en\": \"lighting_mood\",\n  \"reasoning_ko\": \"‘misty’한 그림자는 금지된 안개 대기 설정을 포함하며 차가운 무드도 별도 근거가 없다.\",\n  \"repair_hint_en\": \"Remove the misty/cold atmosphere and use neutral shadowing if needed.\",\n  \"target\": \"staging\"\n },\n {\n  \"category\": \"unsupported_invention\",\n  \"claim_quote\": \"weak amber street glow along her jaw\",\n  \"evidence_ids\": [\n   \"E014\",\n   \"E029\"\n  ],\n  \"location_en\": \"lighting_mood\",\n  \"reasoning_ko\": \"앰버 계열 거리빛은 이 샷에 근거가 없고, 다른 샷의 광원/무드를 전파하면 안 된다는 제한과도 맞지 않는다.\",\n  \"repair_hint_en\": \"Remove the amber street glow unless a separate source is established for this shot.\",\n  \"target\": \"staging\"\n }\n]\n\nProduce the minimal repairs now."}
{"ts": "2026-07-08 00:26:58", "kind": "llm", "step": "s24_repair_S17_Shot1", "model": "gpt", "dur_s": 50.0, "system_prompt": "You are a continuity repair editor. You get the location's\nevidence summary (with prohibited invention modes), creator corrections, one\nshot's downstream artifacts, and the audit FINDINGS for that shot restricted\nto categories unsupported_invention / contradiction. Fix ONLY those findings\n— every supported claim and every plausible directorial concretization must\nsurvive verbatim.\n\nEVIDENCE-BOUND AUTHORING: every concrete claim about the world —\nspatial relations, materials, weather, atmosphere, light colour,\nsurface condition, numeric dimensions — must either (a) restate a\nprovided evidence entry (cite its evidence_id), or (b) be a staging\nconcretization DIRECTLY derivable from one (mark it inferred).\nCreator corrections override any conflicting downstream text.\nNEVER introduce weather effects, colour moods, surface conditions,\nmaterials or numeric dimensions that no evidence entry supports —\nwhen the evidence is silent, stay silent and leave that choice to\nthe image model.\n\nOutput two things:\n1. prompt_edits — minimal text substitutions for the STILL PROMPT (if one is\n   given): each edit has before_quote = an EXACT substring of the current\n   prompt (long enough to be unambiguous, usually the full clause) and\n   after_en = its replacement (\"\" to delete the clause; rewrite the clause\n   so the sentence still reads naturally). Touch nothing outside the flagged\n   claims; never add new specifics the evidence does not support.\n2. staging_corrections — for findings in shot_description/staging: DO NOT\n   rewrite those artifacts; emit a correction entry per finding with\n   field_en (which field/part), before_quote (exact), after_en (the minimal\n   corrected wording), evidence_ids, reason_ko. These are stored as a\n   correction pack applied when a lane next consumes that data.\nnotes_ko: 2-3 문장 한국어 — 무엇을 왜 고쳤고 무엇을 일부러 남겼는지.", "user_prompt": "EVIDENCE SUMMARY:\n[E001] confirmed_cue (alley road): \"자전거를 타고 골목길을 달리는\" (S#11)\n[E002] confirmed_cue (villa gate): \"다세대 빌라 문을 열고 들어와\" (S#11)\n[E003] confirmed_cue (yard): \"마당 후미진 곳에 자전거를 대충 세우고\" (S#11)\n[E004] confirmed_cue (external stair): \"옥탑방과 연결되는 계단을 급히 오른다\" (S#11)\n[E005] confirmed_cue (upper stair): \"갑자기 훅- 역겨운 냄새\" (S#11 계단 중간)\n[E006] confirmed_cue (landing and iron door): \"옥상에 올라와 보니 반쯤 열린 현관 철문\" (S#11)\n[E007] confirmed_cue (alley road and stair foot): \"계단을 내려간다. 동시에 사이렌~ (포즈). 차에서 내린 혜수... 수리영의 모습을 발견하고 달려간다\" (S#13)\n[E008] allowed_inference (alley road and stair foot): \"\" (Memo C consistency chain from S#13 cue) | allowed: The stop point and stair foot may be staged as an unobstructed straight sightline at approximately 10–30 m, a validation range rather than a hard measurement.\n[E009] confirmed_cue (stair foot): \"수리영 (올라다보며)\" (S#13)\n[E010] confirmed_cue (stair entry): \"옥탑 방으로 뛰어 올라가는 혜수와 김형사\" (S#13)\n[E011] confirmed_cue (roof surface): \"옥상. 물탱크. 빨랫줄 툭-툭- 평상에 말린 석창포\" (S#10)\n[E012] confirmed_cue (roof path): \"말린 잎이 걸어오는 남자의 신발 위를 스친다... 신발은 철문 현관 앞에 멈춰\" (S#10)\n[E013] confirmed_cue (roof lighting): \"남자의 긴 그림자\" (S#10)\n[E014] allowed_inference (roof lighting): \"\" (Memo A item 12) | allowed: A low-angle night light source such as a streetlight or entrance-grade lamp is allowed; this does not license a broad amber colour mood across unrelated shots.\n[E015] confirmed_cue (iron door): \"문틈에 낀 광고 전단지 / 바람에 현관문 소리. 황량하다\" (S#10 / S#27)\n[E016] confirmed_cue (low wall and window): \"검은 고양이가 불이 켜져 있는 옥탑 방을 슬쩍 보더니 담을 넘는다\" (S#17)\n[E017] allowed_inference (low wall): \"\" (Memo A item 14 / Memo C) | allowed: The wall height should be low enough for a cat to cross and placed so the lit rooftop-room window remains visible over or through the wall relationship.\n[E018] confirmed_cue (neighborhood view): \"인천 변두리 부감, 오래된 빌라 옥탑방 전경\" (S#4)\n[E019] allowed_inference (surroundings): \"\" (Memo A item 15) | allowed: A bird's-eye rooftop-villa view supports surrounding dense low-rise fabric; it does not supply an exact altitude.\n[E020] confirmed_cue (regional context): \"조그만 도시... 바다가 가까워서\" (S#5)\n[E021] allowed_inference (atmosphere): \"\" (Memo A item 16) | allowed: Sea proximity may inform only a general atmospheric degree; it is not evidence for applying a coastal mood to every shot.\n[E022] confirmed_cue (local services): \"끝나고 마트로 갈게 / 이따가 1시 타임\" (S#5)\n[E023] confirmed_cue (rooftop room windows): \"작은 창 / 수리영 방 커튼 창·욕실 존재\" (S#5·S#25 거실 / S#18)\n[E024] allowed_inference (alley road): \"\" (Memo C consistency chain from S#11 and S#13 cues) | allowed: The alley/side road may be treated as roughly 3 m class in width because it must accept both bicycle travel and police-car approach/stop; this is a validation class, not an exact dimension.\n[E025] allowed_inference (external stair): \"건물 외벽에 나중에 덧붙인 철제 증축 계단 — 오픈 발판, 얇은 강판 스트링거, 파이프 난간\" (Memo C consistency chain + CREATOR CORRECTIONS stair.desc_ko) | allowed: The exterior stair may be validated as a later-added steel retrofit stair rising about three floors, roughly 8–10 m vertical; creator correction requires steel retrofit construction and rejects concrete/cement.\n[E026] allowed_inference (landing and iron door): \"\" (Memo B good staging S11_4 / Memo C consistency chain) | allowed: The landing-to-iron-door frontal distance may be staged in the 2–5 m range, keeping an unobstructed eye-level view.\n[E027] PROHIBITED (numeric dimension invention): \"45m 상공\" — S4 부감에 45m라는 고도 수치를 붙이는 것은 원문 근거가 없다.\n[E028] PROHIBITED (weather/fog invention): \"짙고 푸른 안개\" — S13과 S17의 안개, 특히 짙고 푸른 안개는 하류 발명이다.\n[E029] PROHIBITED (colour-mood propagation): \"sickly amber\" — S10_6의 실내 램프 근거를 다수 샷의 병든 앰버 무드로 확산하면 안 된다.\n[E030] PROHIBITED (material invention overridden by creator correction): \"narrow concrete staircase\" — S11_3의 콘크리트 계단 표기는 사용자 정정의 철제 증축 계단과 모순된다.\n[E031] PROHIBITED (surface condition without textual support): \"wet/damp 일괄 부여\" — 강우 원문이 없으므로 외부 표면을 일괄 젖거나 축축하게 만들면 안 된다.\n[E032] PROHIBITED (plan-colour-to-material invention): \"uniform cement-gray mass\" — 건물을 균일한 시멘트 회색 덩어리로 렌더링하면 안 된다.\n[E033] PROHIBITED (plan-colour-to-material invention): \"copy the site plan's flat drawing colours as building materials\" — 도면의 플랫 색을 실사 재질로 복사하는 방식은 금지된다.\n[E034] allowed_inference (building exterior): \"render the property as a REAL, EXISTING aged multi-family villa with a rooftop dwelling of the exact regional type the production data describes\" (CREATOR CORRECTIONS photo_appearance) | allowed: The property should be authored as a real existing aged multi-family villa with regional vernacular materials and varied lived-in aging; examples such as aged red brick, exterior tile cladding, cement mouldings/sills, weathered stucco patches, grime streaks, and a rusty steel retrofit stair are allowed appearance directions, not a mandate that every example appear.\n\nCREATOR CORRECTIONS (override everything):\n- CORRECTION (production owner): the exterior stair element is an ADDED-ON STEEL stair retrofitted later onto its building's outside wall — open treads, thin steel stringers and support posts, pipe handrail, visibly a separate later addition to the building. It is NOT concrete or cement; this supersedes any cement/concrete stair mention elsewhere in the data.\n\nSHOT ARTIFACTS (S17_Shot1):\nshot_description: 짙고 푸른 안개가 깔린 새벽녘, 희미한 노란 불빛이 켜진 옥탑방 창문을 향해 검은 고양이 한 마리가 고개를 돌린 찰나의 측면.\n\nstaging JSON:\n{\n \"camera_direction\": \"Low at the 검은 고양이’s shoulder height, roughly one meter away, the camera tracks parallel along the rooftop wall and then holds a brief side profile as the cat turns its head toward the lit rooftop-room window. The cat occupies the lower left-to-center band of the frame, while the faint yellow window hangs in the misty background line of sight above the wall.\",\n \"character_angles\": [\n  {\n   \"angle\": \"profile_left\",\n   \"body_pose\": \"mid-stride head turn\",\n   \"character\": \"검은 고양이\",\n   \"gaze_direction_kind\": \"up\",\n   \"gaze_target_id\": null,\n   \"subject_state\": \"alive\"\n  }\n ],\n \"frame_spatial_contract\": {\n  \"constraints\": [\n   {\n    \"depth_plane\": \"foreground\",\n    \"gesture_action\": \"looks_toward\",\n    \"gesture_target_label\": \"lit rooftop window\",\n    \"label\": \"black cat\",\n    \"screen_zone\": \"lower_left\",\n    \"target_id\": \"C11\",\n    \"target_kind\": \"character\"\n   },\n   {\n    \"depth_plane\": \"background\",\n    \"gesture_action\": \"none\",\n    \"gesture_target_label\": \"\",\n    \"label\": \"lit rooftop window\",\n    \"screen_zone\": \"upper_right\",\n    \"target_id\": \"\",\n    \"target_kind\": \"background\"\n   }\n  ],\n  \"reason\": \"looks_to_anchor\"\n },\n \"framing_scale\": \"medium\",\n \"key_bg_elements\": [\n  {\n   \"camera_use\": \"distant visual lure for the cat’s head turn\",\n   \"directionality_class\": \"transparent_surface\",\n   \"element\": \"rooftop-room window\",\n   \"orientation\": \"fogged glass shows a weak yellow interior glow beyond it\",\n   \"state\": \"closed, lit from inside\"\n  },\n  {\n   \"camera_use\": \"tracking guide and jump setup\",\n   \"directionality_class\": \"directional_3d\",\n   \"element\": \"low concrete rooftop wall\",\n   \"orientation\": \"the long side face runs parallel to the camera movement, with its top edge rising toward the next action\",\n   \"state\": \"damp, stained\"\n  },\n  {\n   \"camera_use\": \"atmospheric veil separating cat and room\",\n   \"directionality_class\": \"non_directional\",\n   \"element\": \"blue dawn fog\",\n   \"orientation\": \"\",\n   \"state\": \"thick, cold, slowly moving\"\n  }\n ],\n \"lighting_mood\": \"Blue dawn fog desaturates the rooftop while the sickly yellow window glow draws a small occult point of warmth behind the cat.\",\n \"perception_mode\": \"direct\",\n \"perspective\": \"observer\",\n \"pov_character\": \"\",\n \"scene_index\": 17,\n \"shot_index\": 1,\n \"subject_reference_policy\": []\n}\n\nSTILL PROMPT (current, full):\nPhotorealistic cinematic still.\n\nReference image 1: pre-rendered BACKGROUND environment reference — layout/material/lighting identity\n\nFocusing on the pre-existing black cat in the lower-center foreground, already partway along the low concrete rooftop wall where that path leads toward the near center of the frame and not into the old villa rooftop, in left profile as it looks up toward the lit rooftop window in the upper-right background. The low camera at the cat's shoulder height captures its silhouette with faint rim-lit edges preserving body volume against the cool blue ambient fill. Thick dawn fog desaturates the damp concrete parapet running parallel behind the cat. The sickly yellow glow from the window hangs in the misty distance, creating a faint occult point of warmth near the rooftop room.\n\nGenerate one image:\n- use image 1 for this location's wall/floor/ceiling materials, furniture identity, and lighting mood\n- follow the camera position, framing, and action requested in the prompt text — do NOT copy the camera position or composition of image 1 unless the prompt explicitly asks for it\n- do NOT copy any people from image 1\n- architectural openings (doors, windows, thresholds) must match image 1 — same position, type, and material; do NOT invent additional doors or windows unless the prompt text explicitly asks for them\n- if the prompt text places the camera inside or at one of these openings, camera-side walls and door/window frames may appear only as local foreground edges — do NOT show the same opening again in the scene, and do NOT show the exterior facade of the structure that contains the camera out in front of it\n- do not copy poses or compositions from reference images\n- do not alter character identities where their face is visible in the scene\n- each character's clothing/outfit must match that character's appearance reference image EXACTLY; if any clothing wording in the text conflicts with the reference image, follow the reference image and ignore that wording\n- only render what the scene description asks for — if only a hand or wrist is described, do NOT add the character's face\n- CRITICAL: Only render what the scene description explicitly describes. If a character's face is visible in the scene, match it to the reference. If only a body part is shown, do NOT add the face.\n- CRITICAL: Output exactly ONE single continuous photograph of ONE moment — never a panel grid, collage, contact sheet, split-screen, storyboard sheet, or multiple sub-frames inside one image.\n- CRITICAL: Every person must be physically grounded and weight-bearing — in real contact with a supporting surface, with body weight visibly carried by that contact. For a figure caught mid-action (falling, stumbling, collapsing, jumping off something), render a physically plausible instant: joints bent, weight clearly transferring, at least one believable point of contact or support — never a rigid body hovering, tilted or suspended in mid-air without support.\n\nAUDIT FINDINGS TO FIX (only these):\n[\n {\n  \"category\": \"unsupported_invention\",\n  \"claim_quote\": \"동틀무렵\",\n  \"evidence_ids\": [],\n  \"location_en\": \"shot_description.scene_heading\",\n  \"reasoning_ko\": \"그래프에는 S17의 시간대를 동틀 무렵으로 정하는 근거가 없다.\",\n  \"repair_hint_en\": \"Remove the daybreak timing unless separately evidenced.\",\n  \"target\": \"shot_description\"\n },\n {\n  \"category\": \"unsupported_invention\",\n  \"claim_quote\": \"짙고 푸른 안개가 깔린 새벽녘\",\n  \"evidence_ids\": [\n   \"E028\"\n  ],\n  \"location_en\": \"shot_description.description\",\n  \"reasoning_ko\": \"S17의 짙고 푸른 안개는 금지된 하류 발명으로 명시되어 있고 새벽 대기도 근거가 없다.\",\n  \"repair_hint_en\": \"Remove the thick blue fog and unevidenced dawn atmosphere.\",\n  \"target\": \"shot_description\"\n },\n {\n  \"category\": \"unsupported_invention\",\n  \"claim_quote\": \"희미한 노란 불빛\",\n  \"evidence_ids\": [\n   \"E016\"\n  ],\n  \"location_en\": \"shot_description.description\",\n  \"reasoning_ko\": \"불이 켜진 창은 확인되지만 희미함과 노란 색조는 근거 없는 조명 구체화다.\",\n  \"repair_hint_en\": \"Keep the window lit, but drop the faint yellow colour/intensity.\",\n  \"target\": \"shot_description\"\n },\n {\n  \"category\": \"unsupported_invention\",\n  \"claim_quote\": \"faint yellow window\",\n  \"evidence_ids\": [\n   \"E016\"\n  ],\n  \"location_en\": \"staging.camera_direction\",\n  \"reasoning_ko\": \"창이 켜져 있다는 근거는 있지만 노란색과 희미한 밝기 설정은 그래프에 없다.\",\n  \"repair_hint_en\": \"Describe it simply as a lit rooftop-room window.\",\n  \"target\": \"staging\"\n },\n {\n  \"category\": \"unsupported_invention\",\n  \"claim_quote\": \"misty background line of sight\",\n  \"evidence_ids\": [\n   \"E028\"\n  ],\n  \"location_en\": \"staging.camera_direction\",\n  \"reasoning_ko\": \"S17의 안개·미스트 대기는 금지된 날씨 발명에 해당한다.\",\n  \"repair_hint_en\": \"Remove the mist from the sightline.\",\n  \"target\": \"staging\"\n },\n {\n  \"category\": \"unsupported_invention\",\n  \"claim_quote\": \"fogged glass\",\n  \"evidence_ids\": [\n   \"E028\"\n  ],\n  \"location_en\": \"staging.key_bg_elements[0].orientation\",\n  \"reasoning_ko\": \"유리창 자체는 창의 자연스러운 구체화일 수 있으나 fogged 표면 상태는 S17 안개 발명과 결합된 근거 없는 조건이다.\",\n  \"repair_hint_en\": \"Use plain window glass without fogging.\",\n  \"target\": \"staging\"\n },\n {\n  \"category\": \"unsupported_invention\",\n  \"claim_quote\": \"weak yellow interior glow\",\n  \"evidence_ids\": [\n   \"E016\"\n  ],\n  \"location_en\": \"staging.key_bg_elements[0].orientation\",\n  \"reasoning_ko\": \"실내 불빛은 가능하지만 약한 노란색 광색과 강도는 확인되지 않았다.\",\n  \"repair_hint_en\": \"Keep only an interior light visible through the window.\",\n  \"target\": \"staging\"\n },\n {\n  \"category\": \"unsupported_invention\",\n  \"claim_quote\": \"damp\",\n  \"evidence_ids\": [\n   \"E031\"\n  ],\n  \"location_en\": \"staging.key_bg_elements[1].state\",\n  \"reasoning_ko\": \"강우 근거가 없으므로 외부 표면을 젖거나 축축하게 만드는 것은 금지된 표면 상태 발명이다.\",\n  \"repair_hint_en\": \"Remove the damp surface condition.\",\n  \"target\": \"staging\"\n },\n {\n  \"category\": \"unsupported_invention\",\n  \"claim_quote\": \"blue dawn fog\",\n  \"evidence_ids\": [\n   \"E028\"\n  ],\n  \"location_en\": \"staging.key_bg_elements[2].element\",\n  \"reasoning_ko\": \"S17의 푸른 안개는 금지된 날씨 발명이며 새벽 색조도 별도 근거가 없다.\",\n  \"repair_hint_en\": \"Remove the blue dawn fog element.\",\n  \"target\": \"staging\"\n },\n {\n  \"category\": \"unsupported_invention\",\n  \"claim_quote\": \"thick, cold, slowly moving\",\n  \"evidence_ids\": [\n   \"E028\"\n  ],\n  \"location_en\": \"staging.key_bg_elements[2].state\",\n  \"reasoning_ko\": \"안개의 두께·차가움·이동 상태는 금지된 안개 설정을 더 구체화한 근거 없는 대기 묘사다.\",\n  \"repair_hint_en\": \"Delete these fog-state attributes.\",\n  \"target\": \"staging\"\n },\n {\n  \"category\": \"unsupported_invention\",\n  \"claim_quote\": \"Blue dawn fog desaturates the rooftop\",\n  \"evidence_ids\": [\n   \"E028\"\n  ],\n  \"location_en\": \"staging.lighting_mood\",\n  \"reasoning_ko\": \"푸른 새벽 안개와 그로 인한 탈채도 조명 무드는 S17 근거가 아니라 금지된 안개 발명에 기대고 있다.\",\n  \"repair_hint_en\": \"Remove the blue fog desaturation mood.\",\n  \"target\": \"staging\"\n },\n {\n  \"category\": \"unsupported_invention\",\n  \"claim_quote\": \"sickly yellow window glow\",\n  \"evidence_ids\": [\n   \"E016\"\n  ],\n  \"location_en\": \"staging.lighting_mood\",\n  \"reasoning_ko\": \"창의 점등은 확인되지만 sickly yellow라는 병색 조명 무드는 근거 없이 추가되었다.\",\n  \"repair_hint_en\": \"Keep a lit window without the sickly yellow mood.\",\n  \"target\": \"staging\"\n },\n {\n  \"category\": \"unsupported_invention\",\n  \"claim_quote\": \"small occult point of warmth\",\n  \"evidence_ids\": [\n   \"E016\"\n  ],\n  \"location_en\": \"staging.lighting_mood\",\n  \"reasoning_ko\": \"불 켜진 창을 occult하고 따뜻한 무드 포인트로 해석하는 것은 확인 단서 밖의 분위기 발명이다.\",\n  \"repair_hint_en\": \"Remove the occult warmth mood language.\",\n  \"target\": \"staging\"\n },\n {\n  \"category\": \"unsupported_invention\",\n  \"claim_quote\": \"not into the old villa rooftop\",\n  \"evidence_ids\": [\n   \"E016\",\n   \"E017\",\n   \"E034\"\n  ],\n  \"location_en\": \"still_prompt.main_prompt\",\n  \"reasoning_ko\": \"낡은 빌라 맥락은 가능하지만 고양이 동선이 옥상으로 들어가지 않는다는 배제 방향은 그래프에 없다.\",\n  \"repair_hint_en\": \"Remove the unevidenced route exclusion.\",\n  \"target\": \"still_prompt\"\n },\n {\n  \"category\": \"unsupported_invention\",\n  \"claim_quote\": \"cool blue ambient fill\",\n  \"evidence_ids\": [],\n  \"location_en\": \"still_prompt.main_prompt\",\n  \"reasoning_ko\": \"S17 외부 조명에 푸른 주변광을 부여할 근거가 없다.\",\n  \"repair_hint_en\": \"Remove the cool blue ambient fill.\",\n  \"target\": \"still_prompt\"\n },\n {\n  \"category\": \"unsupported_invention\",\n  \"claim_quote\": \"Thick dawn fog\",\n  \"evidence_ids\": [\n   \"E028\"\n  ],\n  \"location_en\": \"still_prompt.main_prompt\",\n  \"reasoning_ko\": \"S17의 짙은 안개는 금지된 날씨 발명이고 dawn 설정도 확인되지 않았다.\",\n  \"repair_hint_en\": \"Remove the thick dawn fog.\",\n  \"target\": \"still_prompt\"\n },\n {\n  \"category\": \"unsupported_invention\",\n  \"claim_quote\": \"damp\",\n  \"evidence_ids\": [\n   \"E031\"\n  ],\n  \"location_en\": \"still_prompt.main_prompt\",\n  \"reasoning_ko\": \"외부 표면을 축축하게 만드는 것은 강우 근거가 없어 금지된 표면 상태 발명이다.\",\n  \"repair_hint_en\": \"Remove the damp condition from the parapet.\",\n  \"target\": \"still_prompt\"\n },\n {\n  \"category\": \"unsupported_invention\",\n  \"claim_quote\": \"sickly yellow glow\",\n  \"evidence_ids\": [\n   \"E016\"\n  ],\n  \"location_en\": \"still_prompt.main_prompt\",\n  \"reasoning_ko\": \"창이 켜졌다는 근거는 있으나 병적인 노란 조명 색감은 확인되지 않았다.\",\n  \"repair_hint_en\": \"Use a neutral lit window instead of sickly yellow glow.\",\n  \"target\": \"still_prompt\"\n },\n {\n  \"category\": \"unsupported_invention\",\n  \"claim_quote\": \"misty distance\",\n  \"evidence_ids\": [\n   \"E028\"\n  ],\n  \"location_en\": \"still_prompt.main_prompt\",\n  \"reasoning_ko\": \"S17의 미스트·안개 대기는 금지된 하류 발명이다.\",\n  \"repair_hint_en\": \"Remove the misty-distance atmosphere.\",\n  \"target\": \"still_prompt\"\n },\n {\n  \"category\": \"unsupported_invention\",\n  \"claim_quote\": \"faint occult point of warmth\",\n  \"evidence_ids\": [\n   \"E016\"\n  ],\n  \"location_en\": \"still_prompt.main_prompt\",\n  \"reasoning_ko\": \"불 켜진 창을 희미하고 오컬트한 온기 포인트로 규정하는 무드 설정은 그래프에 없다.\",\n  \"repair_hint_en\": \"Remove the occult warmth characterization.\",\n  \"target\": \"still_prompt\"\n }\n]\n\nProduce the minimal repairs now."}
{"ts": "2026-07-08 00:28:02", "kind": "llm", "step": "s24_repair_S4_Shot1", "model": "gpt", "dur_s": 63.8, "system_prompt": "You are a continuity repair editor. You get the location's\nevidence summary (with prohibited invention modes), creator corrections, one\nshot's downstream artifacts, and the audit FINDINGS for that shot restricted\nto categories unsupported_invention / contradiction. Fix ONLY those findings\n— every supported claim and every plausible directorial concretization must\nsurvive verbatim.\n\nEVIDENCE-BOUND AUTHORING: every concrete claim about the world —\nspatial relations, materials, weather, atmosphere, light colour,\nsurface condition, numeric dimensions — must either (a) restate a\nprovided evidence entry (cite its evidence_id), or (b) be a staging\nconcretization DIRECTLY derivable from one (mark it inferred).\nCreator corrections override any conflicting downstream text.\nNEVER introduce weather effects, colour moods, surface conditions,\nmaterials or numeric dimensions that no evidence entry supports —\nwhen the evidence is silent, stay silent and leave that choice to\nthe image model.\n\nOutput two things:\n1. prompt_edits — minimal text substitutions for the STILL PROMPT (if one is\n   given): each edit has before_quote = an EXACT substring of the current\n   prompt (long enough to be unambiguous, usually the full clause) and\n   after_en = its replacement (\"\" to delete the clause; rewrite the clause\n   so the sentence still reads naturally). Touch nothing outside the flagged\n   claims; never add new specifics the evidence does not support.\n2. staging_corrections — for findings in shot_description/staging: DO NOT\n   rewrite those artifacts; emit a correction entry per finding with\n   field_en (which field/part), before_quote (exact), after_en (the minimal\n   corrected wording), evidence_ids, reason_ko. These are stored as a\n   correction pack applied when a lane next consumes that data.\nnotes_ko: 2-3 문장 한국어 — 무엇을 왜 고쳤고 무엇을 일부러 남겼는지.", "user_prompt": "EVIDENCE SUMMARY:\n[E001] confirmed_cue (alley road): \"자전거를 타고 골목길을 달리는\" (S#11)\n[E002] confirmed_cue (villa gate): \"다세대 빌라 문을 열고 들어와\" (S#11)\n[E003] confirmed_cue (yard): \"마당 후미진 곳에 자전거를 대충 세우고\" (S#11)\n[E004] confirmed_cue (external stair): \"옥탑방과 연결되는 계단을 급히 오른다\" (S#11)\n[E005] confirmed_cue (upper stair): \"갑자기 훅- 역겨운 냄새\" (S#11 계단 중간)\n[E006] confirmed_cue (landing and iron door): \"옥상에 올라와 보니 반쯤 열린 현관 철문\" (S#11)\n[E007] confirmed_cue (alley road and stair foot): \"계단을 내려간다. 동시에 사이렌~ (포즈). 차에서 내린 혜수... 수리영의 모습을 발견하고 달려간다\" (S#13)\n[E008] allowed_inference (alley road and stair foot): \"\" (Memo C consistency chain from S#13 cue) | allowed: The stop point and stair foot may be staged as an unobstructed straight sightline at approximately 10–30 m, a validation range rather than a hard measurement.\n[E009] confirmed_cue (stair foot): \"수리영 (올라다보며)\" (S#13)\n[E010] confirmed_cue (stair entry): \"옥탑 방으로 뛰어 올라가는 혜수와 김형사\" (S#13)\n[E011] confirmed_cue (roof surface): \"옥상. 물탱크. 빨랫줄 툭-툭- 평상에 말린 석창포\" (S#10)\n[E012] confirmed_cue (roof path): \"말린 잎이 걸어오는 남자의 신발 위를 스친다... 신발은 철문 현관 앞에 멈춰\" (S#10)\n[E013] confirmed_cue (roof lighting): \"남자의 긴 그림자\" (S#10)\n[E014] allowed_inference (roof lighting): \"\" (Memo A item 12) | allowed: A low-angle night light source such as a streetlight or entrance-grade lamp is allowed; this does not license a broad amber colour mood across unrelated shots.\n[E015] confirmed_cue (iron door): \"문틈에 낀 광고 전단지 / 바람에 현관문 소리. 황량하다\" (S#10 / S#27)\n[E016] confirmed_cue (low wall and window): \"검은 고양이가 불이 켜져 있는 옥탑 방을 슬쩍 보더니 담을 넘는다\" (S#17)\n[E017] allowed_inference (low wall): \"\" (Memo A item 14 / Memo C) | allowed: The wall height should be low enough for a cat to cross and placed so the lit rooftop-room window remains visible over or through the wall relationship.\n[E018] confirmed_cue (neighborhood view): \"인천 변두리 부감, 오래된 빌라 옥탑방 전경\" (S#4)\n[E019] allowed_inference (surroundings): \"\" (Memo A item 15) | allowed: A bird's-eye rooftop-villa view supports surrounding dense low-rise fabric; it does not supply an exact altitude.\n[E020] confirmed_cue (regional context): \"조그만 도시... 바다가 가까워서\" (S#5)\n[E021] allowed_inference (atmosphere): \"\" (Memo A item 16) | allowed: Sea proximity may inform only a general atmospheric degree; it is not evidence for applying a coastal mood to every shot.\n[E022] confirmed_cue (local services): \"끝나고 마트로 갈게 / 이따가 1시 타임\" (S#5)\n[E023] confirmed_cue (rooftop room windows): \"작은 창 / 수리영 방 커튼 창·욕실 존재\" (S#5·S#25 거실 / S#18)\n[E024] allowed_inference (alley road): \"\" (Memo C consistency chain from S#11 and S#13 cues) | allowed: The alley/side road may be treated as roughly 3 m class in width because it must accept both bicycle travel and police-car approach/stop; this is a validation class, not an exact dimension.\n[E025] allowed_inference (external stair): \"건물 외벽에 나중에 덧붙인 철제 증축 계단 — 오픈 발판, 얇은 강판 스트링거, 파이프 난간\" (Memo C consistency chain + CREATOR CORRECTIONS stair.desc_ko) | allowed: The exterior stair may be validated as a later-added steel retrofit stair rising about three floors, roughly 8–10 m vertical; creator correction requires steel retrofit construction and rejects concrete/cement.\n[E026] allowed_inference (landing and iron door): \"\" (Memo B good staging S11_4 / Memo C consistency chain) | allowed: The landing-to-iron-door frontal distance may be staged in the 2–5 m range, keeping an unobstructed eye-level view.\n[E027] PROHIBITED (numeric dimension invention): \"45m 상공\" — S4 부감에 45m라는 고도 수치를 붙이는 것은 원문 근거가 없다.\n[E028] PROHIBITED (weather/fog invention): \"짙고 푸른 안개\" — S13과 S17의 안개, 특히 짙고 푸른 안개는 하류 발명이다.\n[E029] PROHIBITED (colour-mood propagation): \"sickly amber\" — S10_6의 실내 램프 근거를 다수 샷의 병든 앰버 무드로 확산하면 안 된다.\n[E030] PROHIBITED (material invention overridden by creator correction): \"narrow concrete staircase\" — S11_3의 콘크리트 계단 표기는 사용자 정정의 철제 증축 계단과 모순된다.\n[E031] PROHIBITED (surface condition without textual support): \"wet/damp 일괄 부여\" — 강우 원문이 없으므로 외부 표면을 일괄 젖거나 축축하게 만들면 안 된다.\n[E032] PROHIBITED (plan-colour-to-material invention): \"uniform cement-gray mass\" — 건물을 균일한 시멘트 회색 덩어리로 렌더링하면 안 된다.\n[E033] PROHIBITED (plan-colour-to-material invention): \"copy the site plan's flat drawing colours as building materials\" — 도면의 플랫 색을 실사 재질로 복사하는 방식은 금지된다.\n[E034] allowed_inference (building exterior): \"render the property as a REAL, EXISTING aged multi-family villa with a rooftop dwelling of the exact regional type the production data describes\" (CREATOR CORRECTIONS photo_appearance) | allowed: The property should be authored as a real existing aged multi-family villa with regional vernacular materials and varied lived-in aging; examples such as aged red brick, exterior tile cladding, cement mouldings/sills, weathered stucco patches, grime streaks, and a rusty steel retrofit stair are allowed appearance directions, not a mandate that every example appear.\n\nCREATOR CORRECTIONS (override everything):\n- CORRECTION (production owner): the exterior stair element is an ADDED-ON STEEL stair retrofitted later onto its building's outside wall — open treads, thin steel stringers and support posts, pipe handrail, visibly a separate later addition to the building. It is NOT concrete or cement; this supersedes any cement/concrete stair mention elsewhere in the data.\n\nSHOT ARTIFACTS (S4_Shot1):\nshot_description: 인천 변두리의 낡고 오래된 빌라 옥탑방 외부 전경이 한눈에 내려다보이는 부감 구도.\n\nstaging JSON:\n{\n \"camera_direction\": \"An omniscient overhead camera holds from about forty-five meters above the old villa, centered on the rooftop room while still keeping the surrounding neighborhood readable. The rooftop structure sits in the middle of the frame like a small exposed shrine, boxed in by worn roofs, narrow alleys, and faded concrete blocks.\",\n \"character_angles\": [],\n \"frame_spatial_contract\": {\n  \"constraints\": [\n   {\n    \"depth_plane\": \"midground\",\n    \"gesture_action\": \"none\",\n    \"gesture_target_label\": \"\",\n    \"label\": \"old rooftop room\",\n    \"screen_zone\": \"middle_center\",\n    \"target_id\": \"\",\n    \"target_kind\": \"background\"\n   }\n  ],\n  \"reason\": \"required_background_position\"\n },\n \"framing_scale\": \"wide\",\n \"key_bg_elements\": [\n  {\n   \"camera_use\": \"The rooftop room is the central visual anchor and destination of the aerial reveal.\",\n   \"directionality_class\": \"directional_3d\",\n   \"element\": \"old rooftop room exterior\",\n   \"orientation\": \"its roof and front wall are visible from above, with the doorway side angled slightly toward camera\",\n   \"state\": \"aged, patched, weather-stained\"\n  },\n  {\n   \"camera_use\": \"Surrounding villa roofs create a cramped grid that isolates the rooftop room.\",\n   \"directionality_class\": \"directional_3d\",\n   \"element\": \"neighboring old villa rooftops\",\n   \"orientation\": \"flat roof planes face upward toward the overhead camera\",\n   \"state\": \"worn, cluttered, pale gray\"\n  },\n  {\n   \"camera_use\": \"A thin haze softens the outskirts and carries the news voice’s unease into the space.\",\n   \"directionality_class\": \"non_directional\",\n   \"element\": \"damp urban haze\",\n   \"orientation\": \"\",\n   \"state\": \"thin, bluish, stagnant\"\n  }\n ],\n \"lighting_mood\": \"Daylight is overcast and desaturated, with blue-gray concrete shadows and faint sickly amber window stains breaking the neighborhood’s cold isolation.\",\n \"perception_mode\": \"direct\",\n \"perspective\": \"omniscient\",\n \"pov_character\": \"\",\n \"scene_index\": 4,\n \"shot_index\": 1,\n \"subject_reference_policy\": []\n}\n\nSTILL PROMPT (current, full):\nPhotorealistic cinematic still.\n\nReference image 1: pre-rendered BACKGROUND environment reference — layout/material/lighting identity\n\nAn old rooftop room sits in the middle-center midground, viewed from an omniscient overhead camera high above. The dilapidated building is centered in the wide frame, boxed in by a cramped grid of neighboring pale gray rooftops and narrow alleys. Daylight is overcast and desaturated, casting blue-gray concrete shadows across the worn roof tile and faded parapet. An aged water tank, a rusted antenna, and sagging cable lines dot the flat surface next to the stairwell. A thin, bluish damp urban haze softens the outskirts, while faint sickly amber stains on the window break the neighborhood's cold isolation.\n\nGenerate one image:\n- use image 1 for this location's wall/floor/ceiling materials, furniture identity, and lighting mood\n- follow the camera position, framing, and action requested in the prompt text — do NOT copy the camera position or composition of image 1 unless the prompt explicitly asks for it\n- do NOT copy any people from image 1\n- architectural openings (doors, windows, thresholds) must match image 1 — same position, type, and material; do NOT invent additional doors or windows unless the prompt text explicitly asks for them\n- if the prompt text places the camera inside or at one of these openings, camera-side walls and door/window frames may appear only as local foreground edges — do NOT show the same opening again in the scene, and do NOT show the exterior facade of the structure that contains the camera out in front of it\n- do not copy poses or compositions from reference images\n- do not alter character identities where their face is visible in the scene\n- each character's clothing/outfit must match that character's appearance reference image EXACTLY; if any clothing wording in the text conflicts with the reference image, follow the reference image and ignore that wording\n- only render what the scene description asks for — if only a hand or wrist is described, do NOT add the character's face\n- CRITICAL: Only render what the scene description explicitly describes. If a character's face is visible in the scene, match it to the reference. If only a body part is shown, do NOT add the face.\n- CRITICAL: Output exactly ONE single continuous photograph of ONE moment — never a panel grid, collage, contact sheet, split-screen, storyboard sheet, or multiple sub-frames inside one image.\n- CRITICAL: Every person must be physically grounded and weight-bearing — in real contact with a supporting surface, with body weight visibly carried by that contact. For a figure caught mid-action (falling, stumbling, collapsing, jumping off something), render a physically plausible instant: joints bent, weight clearly transferring, at least one believable point of contact or support — never a rigid body hovering, tilted or suspended in mid-air without support.\n\nAUDIT FINDINGS TO FIX (only these):\n[\n {\n  \"category\": \"unsupported_invention\",\n  \"claim_quote\": \"about forty-five meters above the old villa\",\n  \"evidence_ids\": [\n   \"E019\",\n   \"E027\"\n  ],\n  \"location_en\": \"camera_direction\",\n  \"reasoning_ko\": \"부감은 허용되지만 정확한 고도 수치는 주어지지 않았고, 45m 고도 부여는 금지된 수치 발명으로 명시되어 있다.\",\n  \"repair_hint_en\": \"Remove the exact altitude and say only that the view is overhead/high above.\",\n  \"target\": \"staging\"\n },\n {\n  \"category\": \"unsupported_invention\",\n  \"claim_quote\": \"faded concrete blocks\",\n  \"evidence_ids\": [\n   \"E032\",\n   \"E033\",\n   \"E034\"\n  ],\n  \"location_en\": \"camera_direction\",\n  \"reasoning_ko\": \"실재감 있는 다양한 노후 재질은 허용되지만, 근거 없이 콘크리트 블록 재질·색을 특정하면 도면색/시멘트 회색 물성 발명 쪽으로 기운다.\",\n  \"repair_hint_en\": \"Replace with varied aged villa materials without specifying unsupported concrete-block masses.\",\n  \"target\": \"staging\"\n },\n {\n  \"category\": \"unsupported_invention\",\n  \"claim_quote\": \"worn, cluttered, pale gray\",\n  \"evidence_ids\": [\n   \"E032\",\n   \"E033\",\n   \"E034\"\n  ],\n  \"location_en\": \"key_bg_elements[1].state\",\n  \"reasoning_ko\": \"낡고 생활감 있는 상태는 가능하지만, 근거 없이 주변 지붕을 창백한 회색 톤으로 고정하는 것은 금지된 시멘트 회색/도면색 물성화와 맞닿는다.\",\n  \"repair_hint_en\": \"Keep the worn lived-in quality but remove the unsupported pale-gray uniformity.\",\n  \"target\": \"staging\"\n },\n {\n  \"category\": \"unsupported_invention\",\n  \"claim_quote\": \"carries the news voice’s unease into the space\",\n  \"evidence_ids\": [],\n  \"location_en\": \"key_bg_elements[2].camera_use\",\n  \"reasoning_ko\": \"뉴스 음성의 불안감을 공간의 대기 무드로 전이한다는 근거는 그래프에 없다.\",\n  \"repair_hint_en\": \"Remove the unease mood attribution from the physical environment.\",\n  \"target\": \"staging\"\n },\n {\n  \"category\": \"unsupported_invention\",\n  \"claim_quote\": \"damp urban haze\",\n  \"evidence_ids\": [\n   \"E021\",\n   \"E031\"\n  ],\n  \"location_en\": \"key_bg_elements[2].element\",\n  \"reasoning_ko\": \"해안 인접성은 일반적 대기감만 허용할 뿐, 샷에 축축한 대기를 확정하는 근거는 없다.\",\n  \"repair_hint_en\": \"Use a neutral thin atmospheric haze, without specifying dampness.\",\n  \"target\": \"staging\"\n },\n {\n  \"category\": \"unsupported_invention\",\n  \"claim_quote\": \"thin, bluish, stagnant\",\n  \"evidence_ids\": [\n   \"E021\",\n   \"E028\"\n  ],\n  \"location_en\": \"key_bg_elements[2].state\",\n  \"reasoning_ko\": \"얇은 대기감은 가능하지만 푸른색·정체된 안개성 분위기는 색/날씨 발명에 해당한다.\",\n  \"repair_hint_en\": \"Keep only a subtle neutral haze if needed; remove bluish and stagnant.\",\n  \"target\": \"staging\"\n },\n {\n  \"category\": \"unsupported_invention\",\n  \"claim_quote\": \"Daylight is overcast and desaturated\",\n  \"evidence_ids\": [],\n  \"location_en\": \"lighting_mood\",\n  \"reasoning_ko\": \"낮 장면임은 보이나 흐림 날씨와 탈채도 조명은 확인 단서가 없다.\",\n  \"repair_hint_en\": \"State daylight without adding overcast or desaturated conditions.\",\n  \"target\": \"staging\"\n },\n {\n  \"category\": \"unsupported_invention\",\n  \"claim_quote\": \"blue-gray concrete shadows\",\n  \"evidence_ids\": [\n   \"E032\",\n   \"E033\"\n  ],\n  \"location_en\": \"lighting_mood\",\n  \"reasoning_ko\": \"푸른 회색 그림자와 콘크리트 물성 톤은 근거 없는 색무드·재질화이며 회색 시멘트 덩어리화 금지와도 관련된다.\",\n  \"repair_hint_en\": \"Remove the blue-gray concrete color specification.\",\n  \"target\": \"staging\"\n },\n {\n  \"category\": \"unsupported_invention\",\n  \"claim_quote\": \"faint sickly amber window stains\",\n  \"evidence_ids\": [\n   \"E014\",\n   \"E029\"\n  ],\n  \"location_en\": \"lighting_mood\",\n  \"reasoning_ko\": \"낮은 각도 야간 광원이나 다른 샷의 실내 램프 근거를 S4의 병든 앰버 창 무드로 확산할 수 없다.\",\n  \"repair_hint_en\": \"Remove the sickly amber window-stain lighting detail.\",\n  \"target\": \"staging\"\n },\n {\n  \"category\": \"unsupported_invention\",\n  \"claim_quote\": \"cold isolation\",\n  \"evidence_ids\": [],\n  \"location_en\": \"lighting_mood\",\n  \"reasoning_ko\": \"차가운 고립감이라는 조명·무드 설정은 확인된 세계 단서로 뒷받침되지 않는다.\",\n  \"repair_hint_en\": \"Keep the neighborhood view neutral unless a supported mood cue is supplied.\",\n  \"target\": \"staging\"\n },\n {\n  \"category\": \"unsupported_invention\",\n  \"claim_quote\": \"Daylight is overcast and desaturated\",\n  \"evidence_ids\": [],\n  \"location_en\": \"prompt paragraph 1\",\n  \"reasoning_ko\": \"낮 외부라는 정보만 있을 뿐 흐림과 탈채도 날씨·조명 조건은 확인되지 않았다.\",\n  \"repair_hint_en\": \"Use neutral daylight without overcast/desaturated qualifiers.\",\n  \"target\": \"still_prompt\"\n },\n {\n  \"category\": \"unsupported_invention\",\n  \"claim_quote\": \"blue-gray concrete shadows\",\n  \"evidence_ids\": [\n   \"E032\",\n   \"E033\"\n  ],\n  \"location_en\": \"prompt paragraph 1\",\n  \"reasoning_ko\": \"푸른 회색 콘크리트 그림자는 근거 없는 색무드와 재질 발명이다.\",\n  \"repair_hint_en\": \"Remove the blue-gray concrete shadow description.\",\n  \"target\": \"still_prompt\"\n },\n {\n  \"category\": \"unsupported_invention\",\n  \"claim_quote\": \"faint sickly amber stains on the window\",\n  \"evidence_ids\": [\n   \"E014\",\n   \"E023\",\n   \"E029\"\n  ],\n  \"location_en\": \"prompt paragraph 1\",\n  \"reasoning_ko\": \"창 존재는 가능하지만 sickly amber 색무드는 다른 근거의 부적절한 전파로 금지되어 있다.\",\n  \"repair_hint_en\": \"Remove the sickly amber stain from the window description.\",\n  \"target\": \"still_prompt\"\n },\n {\n  \"category\": \"unsupported_invention\",\n  \"claim_quote\": \"cold isolation\",\n  \"evidence_ids\": [],\n  \"location_en\": \"prompt paragraph 1\",\n  \"reasoning_ko\": \"차가운 고립감이라는 분위기 효과는 S4 세계 단서에서 확인되지 않는다.\",\n  \"repair_hint_en\": \"Do not encode an unsupported cold-isolation mood into the environment.\",\n  \"target\": \"still_prompt\"\n }\n]\n\nProduce the minimal repairs now."}
{"ts": "2026-07-08 00:28:02", "kind": "stage", "stage": "s24_evidence", "done": "repair"}
{"ts": "2026-07-08 00:29:26", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s24_repairstill_S10_Shot5", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/stairfix_nb2.png"], "ref_labels": ["background chain ref (L03B04 for L03) — match wall/floor/ceiling/lighting"], "attempt": 1, "dur_s": 20.4, "bytes": 2337887, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/shots_outdoor/repair/S10_Shot5_repairstill.png", "prompt": "Photorealistic cinematic still.\n\nReference image 1: pre-rendered BACKGROUND environment reference — layout/material/lighting identity\n\nThe narrow iron door seam sits in the middle-center foreground. The heavy edges of the iron door face the camera at close range, occupying the outer framing with scratched, cold metal. Near the opening at handle height, a creased advertisement flyer edge is wedged in the gap, its bent and dirty paper face showing partial color blocks and unreadable text. Beyond the thin crack, the unlit interior remains entirely opaque and unreadable. A low-angle night light skims the outer rough iron surfaces.\n\nGenerate one image:\n- use image 1 for this location's wall/floor/ceiling materials, furniture identity, and lighting mood\n- follow the camera position, framing, and action requested in the prompt text — do NOT copy the camera position or composition of image 1 unless the prompt explicitly asks for it\n- do NOT copy any people from image 1\n- architectural openings (doors, windows, thresholds) must match image 1 — same position, type, and material; do NOT invent additional doors or windows unless the prompt text explicitly asks for them\n- if the prompt text places the camera inside or at one of these openings, camera-side walls and door/window frames may appear only as local foreground edges — do NOT show the same opening again in the scene, and do NOT show the exterior facade of the structure that contains the camera out in front of it\n- do not copy poses or compositions from reference images\n- do not alter character identities where their face is visible in the scene\n- each character's clothing/outfit must match that character's appearance reference image EXACTLY; if any clothing wording in the text conflicts with the reference image, follow the reference image and ignore that wording\n- only render what the scene description asks for — if only a hand or wrist is described, do NOT add the character's face\n- CRITICAL: Only render what the scene description explicitly describes. If a character's face is visible in the scene, match it to the reference. If only a body part is shown, do NOT add the face.\n- CRITICAL: Output exactly ONE single continuous photograph of ONE moment — never a panel grid, collage, contact sheet, split-screen, storyboard sheet, or multiple sub-frames inside one image.\n- CRITICAL: Every person must be physically grounded and weight-bearing — in real contact with a supporting surface, with body weight visibly carried by that contact. For a figure caught mid-action (falling, stumbling, collapsing, jumping off something), render a physically plausible instant: joints bent, weight clearly transferring, at least one believable point of contact or support — never a rigid body hovering, tilted or suspended in mid-air without support."}
{"ts": "2026-07-08 00:29:45", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s24_repairstill_S11_Shot4", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/stairfix_nb2.png"], "ref_labels": ["background chain ref (L10B02 for L10) — match wall/floor/ceiling/lighting"], "attempt": 1, "dur_s": 19.2, "bytes": 3520614, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/shots_outdoor/repair/S11_Shot4_repairstill.png", "prompt": "Photorealistic cinematic still.\n\nReference image 1: pre-rendered BACKGROUND environment reference — layout/material/lighting identity\n\nThe half-open rooftop iron door is positioned in the middle-center background, viewed squarely from a direct eye-level subjective viewpoint across the landing. The half-open door leaves a narrow gap along one side, with the concrete wall and the horizontal edge of the low parapet in the lower frame. The camera focuses entirely on the motionless threshold, isolating the doorway within the negative space of the rooftop.\n\nGenerate one image:\n- use image 1 for this location's wall/floor/ceiling materials, furniture identity, and lighting mood\n- follow the camera position, framing, and action requested in the prompt text — do NOT copy the camera position or composition of image 1 unless the prompt explicitly asks for it\n- do NOT copy any people from image 1\n- architectural openings (doors, windows, thresholds) must match image 1 — same position, type, and material; do NOT invent additional doors or windows unless the prompt text explicitly asks for them\n- if the prompt text places the camera inside or at one of these openings, camera-side walls and door/window frames may appear only as local foreground edges — do NOT show the same opening again in the scene, and do NOT show the exterior facade of the structure that contains the camera out in front of it\n- do not copy poses or compositions from reference images\n- do not alter character identities where their face is visible in the scene\n- each character's clothing/outfit must match that character's appearance reference image EXACTLY; if any clothing wording in the text conflicts with the reference image, follow the reference image and ignore that wording\n- only render what the scene description asks for — if only a hand or wrist is described, do NOT add the character's face\n- CRITICAL: Only render what the scene description explicitly describes. If a character's face is visible in the scene, match it to the reference. If only a body part is shown, do NOT add the face.\n- CRITICAL: Output exactly ONE single continuous photograph of ONE moment — never a panel grid, collage, contact sheet, split-screen, storyboard sheet, or multiple sub-frames inside one image.\n- CRITICAL: Every person must be physically grounded and weight-bearing — in real contact with a supporting surface, with body weight visibly carried by that contact. For a figure caught mid-action (falling, stumbling, collapsing, jumping off something), render a physically plausible instant: joints bent, weight clearly transferring, at least one believable point of contact or support — never a rigid body hovering, tilted or suspended in mid-air without support."}
{"ts": "2026-07-08 00:30:05", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s24_repairstill_S13_Shot3", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/stairfix_nb2.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/b0ad5c18-5140-4022-a2b0-805de0e5a385/images/0d30302a-51c8-4ac9-98e2-6cd9180512bf/reference/61da9a20-bea4-4a7b-8913-6ba2feafd83f.png"], "ref_labels": ["background chain ref (L03B03 for L03) — match wall/floor/ceiling/lighting", "character appearance reference: Korean 40대 중반 여성, 성숙한 얼굴선과 짙은 검은 머리의 차분한 인상."], "attempt": 1, "dur_s": 20.2, "bytes": 2600369, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/shots_outdoor/repair/S13_Shot3_repairstill.png", "prompt": "Photorealistic cinematic still.\n\nReference image 1: pre-rendered BACKGROUND environment reference — layout/material/lighting identity\nReference image 2: character appearance reference: Korean 40대 중반 여성, 성숙한 얼굴선과 짙은 검은 머리의 차분한 인상.\n\nthe character from Image 2 in a detective coat, an Asian middle-aged woman with mature facial features and dark natural hair by the police car, occupies the middle-left foreground, looking toward a young Asian woman down the alley in the background across the same exterior alleyway they both occupy. the character from Image 2 stands at a three-quarter angle from the right, upper body in frame at chest height, half-stepping from the parked vehicle, eyes fixed on the distant figure. The young Asian woman is softly focused in the rear, standing at a three-quarter angle from the left, stalled mid-alley, gazing into the distance. An exterior alleyway illuminated by strobing red and blue lights. The open police vehicle side angles toward the camera on the left, framing the character from Image 2's exit.\n\nGenerate one image:\n- use image 1 for this location's wall/floor/ceiling materials, furniture identity, and lighting mood\n- follow the camera position, framing, and action requested in the prompt text — do NOT copy the camera position or composition of image 1 unless the prompt explicitly asks for it\n- do NOT copy any people from image 1\n- architectural openings (doors, windows, thresholds) must match image 1 — same position, type, and material; do NOT invent additional doors or windows unless the prompt text explicitly asks for them\n- if the prompt text places the camera inside or at one of these openings, camera-side walls and door/window frames may appear only as local foreground edges — do NOT show the same opening again in the scene, and do NOT show the exterior facade of the structure that contains the camera out in front of it\n- use image 2 as character appearance reference — match the person's identity and outfit where visible in the scene\n- do not copy poses or compositions from reference images\n- do not alter character identities where their face is visible in the scene\n- each character's clothing/outfit must match that character's appearance reference image EXACTLY; if any clothing wording in the text conflicts with the reference image, follow the reference image and ignore that wording\n- only render what the scene description asks for — if only a hand or wrist is described, do NOT add the character's face\n- CRITICAL: Only render what the scene description explicitly describes. If a character's face is visible in the scene, match it to the reference. If only a body part is shown, do NOT add the face.\n- CRITICAL: Output exactly ONE single continuous photograph of ONE moment — never a panel grid, collage, contact sheet, split-screen, storyboard sheet, or multiple sub-frames inside one image.\n- CRITICAL: Every person must be physically grounded and weight-bearing — in real contact with a supporting surface, with body weight visibly carried by that contact. For a figure caught mid-action (falling, stumbling, collapsing, jumping off something), render a physically plausible instant: joints bent, weight clearly transferring, at least one believable point of contact or support — never a rigid body hovering, tilted or suspended in mid-air without support."}
{"ts": "2026-07-08 00:30:29", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s24_repairstill_S17_Shot1", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/stairfix_nb2.png"], "ref_labels": ["background chain ref (L03B01 for L03) — match wall/floor/ceiling/lighting"], "attempt": 1, "dur_s": 23.3, "bytes": 2705067, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/shots_outdoor/repair/S17_Shot1_repairstill.png", "prompt": "Photorealistic cinematic still.\n\nReference image 1: pre-rendered BACKGROUND environment reference — layout/material/lighting identity\n\nFocusing on the pre-existing black cat in the lower-center foreground, already partway along the low concrete rooftop wall where that path leads toward the near center of the frame, in left profile as it looks up toward the lit rooftop window in the upper-right background. The low camera at the cat's shoulder height captures its silhouette with faint rim-lit edges preserving body volume. The concrete parapet runs parallel behind the cat. \n\nGenerate one image:\n- use image 1 for this location's wall/floor/ceiling materials, furniture identity, and lighting mood\n- follow the camera position, framing, and action requested in the prompt text — do NOT copy the camera position or composition of image 1 unless the prompt explicitly asks for it\n- do NOT copy any people from image 1\n- architectural openings (doors, windows, thresholds) must match image 1 — same position, type, and material; do NOT invent additional doors or windows unless the prompt text explicitly asks for them\n- if the prompt text places the camera inside or at one of these openings, camera-side walls and door/window frames may appear only as local foreground edges — do NOT show the same opening again in the scene, and do NOT show the exterior facade of the structure that contains the camera out in front of it\n- do not copy poses or compositions from reference images\n- do not alter character identities where their face is visible in the scene\n- each character's clothing/outfit must match that character's appearance reference image EXACTLY; if any clothing wording in the text conflicts with the reference image, follow the reference image and ignore that wording\n- only render what the scene description asks for — if only a hand or wrist is described, do NOT add the character's face\n- CRITICAL: Only render what the scene description explicitly describes. If a character's face is visible in the scene, match it to the reference. If only a body part is shown, do NOT add the face.\n- CRITICAL: Output exactly ONE single continuous photograph of ONE moment — never a panel grid, collage, contact sheet, split-screen, storyboard sheet, or multiple sub-frames inside one image.\n- CRITICAL: Every person must be physically grounded and weight-bearing — in real contact with a supporting surface, with body weight visibly carried by that contact. For a figure caught mid-action (falling, stumbling, collapsing, jumping off something), render a physically plausible instant: joints bent, weight clearly transferring, at least one believable point of contact or support — never a rigid body hovering, tilted or suspended in mid-air without support."}
{"ts": "2026-07-08 00:30:50", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s24_repairstill_S4_Shot1", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/blockset/stairfix_nb2.png"], "ref_labels": ["background chain ref (L03B02 for L03) — match wall/floor/ceiling/lighting"], "attempt": 1, "dur_s": 21.2, "bytes": 3679809, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/shots_outdoor/repair/S4_Shot1_repairstill.png", "prompt": "Photorealistic cinematic still.\n\nReference image 1: pre-rendered BACKGROUND environment reference — layout/material/lighting identity\n\nAn old rooftop room sits in the middle-center midground, viewed from an omniscient overhead camera high above. The dilapidated building is centered in the wide frame, boxed in by a cramped grid of neighboring pale gray rooftops and narrow alleys. Daylight falls across the worn roof tile and faded parapet. An aged water tank, a rusted antenna, and sagging cable lines dot the flat surface next to the stairwell. A thin, bluish damp urban haze softens the outskirts.\n\nGenerate one image:\n- use image 1 for this location's wall/floor/ceiling materials, furniture identity, and lighting mood\n- follow the camera position, framing, and action requested in the prompt text — do NOT copy the camera position or composition of image 1 unless the prompt explicitly asks for it\n- do NOT copy any people from image 1\n- architectural openings (doors, windows, thresholds) must match image 1 — same position, type, and material; do NOT invent additional doors or windows unless the prompt text explicitly asks for them\n- if the prompt text places the camera inside or at one of these openings, camera-side walls and door/window frames may appear only as local foreground edges — do NOT show the same opening again in the scene, and do NOT show the exterior facade of the structure that contains the camera out in front of it\n- do not copy poses or compositions from reference images\n- do not alter character identities where their face is visible in the scene\n- each character's clothing/outfit must match that character's appearance reference image EXACTLY; if any clothing wording in the text conflicts with the reference image, follow the reference image and ignore that wording\n- only render what the scene description asks for — if only a hand or wrist is described, do NOT add the character's face\n- CRITICAL: Only render what the scene description explicitly describes. If a character's face is visible in the scene, match it to the reference. If only a body part is shown, do NOT add the face.\n- CRITICAL: Output exactly ONE single continuous photograph of ONE moment — never a panel grid, collage, contact sheet, split-screen, storyboard sheet, or multiple sub-frames inside one image.\n- CRITICAL: Every person must be physically grounded and weight-bearing — in real contact with a supporting surface, with body weight visibly carried by that contact. For a figure caught mid-action (falling, stumbling, collapsing, jumping off something), render a physically plausible instant: joints bent, weight clearly transferring, at least one believable point of contact or support — never a rigid body hovering, tilted or suspended in mid-air without support."}
{"ts": "2026-07-08 00:30:50", "kind": "stage", "stage": "s24_evidence", "done": "still"}
{"ts": "2026-07-08 05:11:44", "kind": "llm", "step": "s25_staging_canary", "shots": 6}
{"ts": "2026-07-08 05:12:06", "kind": "llm", "step": "s25_extract_canary", "dur_s": 21.9, "system_prompt": "당신은 시나리오를 **정지 순간(still moment)**으로 분해하는 전문가입니다.\n각 씬을 최대한 잘게 쪼개어, 카메라 셔터가 한 번 눌린 1/1000초의 찰나만을 각 Shot에 담습니다.\n\n## 역할\n한 씬 안에서 시각적으로 뚜렷한 모든 정지 순간을 찾아 개별 Shot으로 추출합니다.\n이후 단계(shot_selection)에서 이미지로 생성할 샷만 별도로 선별하므로, 이 단계에서는 **샷의 수를 줄이려 하지 마세요**. 오히려 의심스러우면 더 잘게 나누세요.\n\n## 핵심 원칙\n1. **한 Shot = 한 찰나**. 시간 폭은 셔터가 열린 1/1000초. 그 전후 1초는 별개의 Shot입니다.\n2. **연속 동작을 한 Shot에 몰아넣지 마세요**. 손을 뻗는 것과 잡는 것, 잡는 것과 당기는 것, 당기는 것과 멈춘 상태는 모두 다른 Shot입니다.\n3. **한 beat 안에서도 여러 정지 순간이 시각적으로 구분되면 각각을 별개 Shot으로 추출**하세요. beat와 shot은 1:N 관계입니다.\n4. **샷 수 상한 없음**. 씬이 시각적으로 많이 움직이면 20개든 50개든 만드세요. 이후 단계가 필요한 것만 선별합니다.\n\n## 시간 연결어 절대 금지\ndescription이 시간적으로 분리된 두 개 이상의 동작·순간을 잇고 있으면 **두 개 이상의 순간이 섞인 것**입니다 — 순차·전후·동시진행·인과 등 시간 흐름을 나타내는 표현(언어·형태 불문)은 한 찰나 원칙 위반이므로 절대 사용 금지.\n\n하나의 Shot description은 **단일 동사/상태**로만 표현되어야 합니다.\n\n## 분해 기준\n한 동작은 최소 아래 단계 중 하나로 쪼갤 수 있습니다. 시각적으로 구분 가능한 단계가 있으면 각각을 별도 Shot으로:\n- **before**: 동작 직전의 정지 상태 (손이 아직 물체에 닿기 전)\n- **during**: 동작 중의 정지 한 컷 (손이 물체를 막 쥔 순간)\n- **after**: 동작 직후의 정지 상태 (물체가 움직인 뒤 인물이 멈춘 상태)\n- **reaction**: 동작을 목격한 다른 인물의 반응 한 컷\n- **pov**: 그 순간 누군가의 시점 쇼트\n\n## description 묘사 규칙\n- 카메라에 찍히는 **정적 구도**만 묘사. 인물의 자세, 시선, 얼굴 표정, 손 위치, 물체의 상태.\n- 행동 진행형 금지. \"당기고 있는\" X → \"손이 물체를 쥔 채 멈춘\" O\n- 등장 인물과 중요 배경, 핵심 물체를 구체적으로 포함\n- 인물은 인물 목록의 이름을 그대로 사용\n- 인물 목록에 없는 인물(엑스트라)을 묘사할 때, 인간형(인간 또는 인간을 닮은 형상의 존재)이면 인종/국적을 반드시 포함\n- 복장/의상 절대 적지 마세요 — 별도 시스템이 처리\n- 배경의 시각적 특징은 **원문에 실재하는 것만** 포함 — 원문이 명시한 날씨·대기·조명·장소 상태는 그대로 담되, 원문에 없는 날씨·대기 효과(안개/비/김 등)·광원 색·재질·표면 상태(젖음/얼룩)를 새로 만들어 넣지 마세요. 근거가 없으면 배경 상태는 언급하지 않습니다 (하류 단계의 재량으로 남김)\n- 엔티티 ID(C##, L##, P##) 사용 금지 — 인물 이름과 보통명사로만\n\n## 변형 기준 (괄호 표기)\n변형이란 얼굴이 크게 달라지거나, 얼굴과 몸을 구분할 수 없는 형태로 바뀌는 경우만:\n- 얼굴이 크게 달라지는 변화: 인물의 정체를 다시 인식해야 할 만큼 얼굴 외형이 근본적으로 바뀌는 경우 (원문에 명시된 경우만)\n- 완전변형: 종·형상 자체의 변화 (원문에 명시된 경우만)\n\n**괄호 표기하지 않는 것** (절대 포함 금지):\n- 일시적·가역적 신체 상태 (장면 단위로 나타났다 사라지는 표면적 외형 변화)\n- 부분적 변화: 신체 일부에 국한된 일시적 외형 변화\n- 비유적 표현\n- 복장/의상/감정 변화\n- 일시적 능력·이펙트 묘사\n\n## based_on_beat\n- 반드시 해당 Shot의 근거가 된 Beat의 beat_index를 명시\n- beat 없이 원문에서 직접 추출한 경우에만 0\n- 한 beat에서 여러 샷을 뽑는 것은 정상이며 권장됩니다\n\n## characters\n- 반드시 인물 목록에 있는 이름만 사용\n- 목록에 없는 이름, 괄호를 붙인 이름, 변형한 이름은 절대 넣지 마세요\n- 변형 묘사는 description에서만 표현\n\n## 씬 간 연속성\n- 이전 씬의 Shot 결과가 주어진 경우, 인물 호칭과 존재 방식의 일관성을 유지하세요\n- 앞 씬에서 사용된 인물 묘사 방식을 현재 씬에서도 동일하게 따르세요", "user_prompt": "아래 씬들의 원문과 beat 분석 결과를 참고하여, 각 씬에서 \"Shot\"을 추출하라.\n\n[Shot 정의]\nShot은 **카메라 셔터가 한 번 눌린 1/1000초의 정지 순간**이다.\n- 한 Shot = 한 시공간, 한 찰나, 단일 동사/상태\n- 각 씬에서 최소 1개 이상의 Shot을 추출한다\n- 한 beat 안에서도 시각적으로 구분되는 여러 정지 순간이 있으면 각각을 개별 Shot으로 추출한다 (beat → N개 shot 권장)\n- Shot의 순서는 시나리오 시간 순서를 따른다\n\n[샷 수 — 상한 없음]\n- 샷을 \"줄이려\" 하지 마세요. 이후 단계가 필요한 것만 선별합니다.\n- 의심스러우면 더 잘게 나누세요.\n- 한 동작을 before / during / after / reaction / pov 로 분해할 수 있으면 분해하세요.\n- beat가 0개인 씬도 최소 1개의 Shot 추출 (상황 묘사 기반)\n\n[절대 규칙 — 단일 정지 순간]\n한 Shot의 description에는 **하나의 동사 또는 하나의 상태**만 담긴다.\n- 시간적으로 분리된 두 개 이상의 동작·순간을 한 description에 잇지 마세요 — 순차·전후·동시진행·인과 등 시간 흐름을 나타내는 표현(언어·형태 불문)은 한 찰나 원칙 위반입니다\n- 진행형 묘사 금지: \"당기고 있는\" → \"쥔 채 멈춘\"\n- 한 프레임에 담길 수 있는 오직 하나의 동작/상태만 묘사\n\n[좋은 예 vs 나쁜 예]\n나쁜 예 1: \"한 인물이 문을 열자 다른 인물이 돌아보는 순간\"\n  → 두 동작(열다+돌아보다)이 섞임. 분해:\n     Shot A: \"한 인물의 손이 문고리를 쥔 채 멈춘 정면 구도\"\n     Shot B: \"다른 인물이 어깨를 돌려 입구 쪽을 바라보는 옆얼굴\"\n\n나쁜 예 2: \"인물이 물체를 집어 들고 살펴보는 모습\"\n  → 집다+살피다 = 2순간. 분해:\n     Shot A: \"인물의 손이 물체 위에 막 닿은 순간\"\n     Shot B: \"인물이 물체를 눈높이까지 올려 들여다보는 측면\"\n\n나쁜 예 3: \"인물이 달려가 다른 인물을 끌어안는 장면\"\n  → 달리다+안다 = 2순간. 분해:\n     Shot A: \"인물이 상대를 향해 팔을 벌린 채 달려오는 전신\"\n     Shot B: \"두 인물이 맞닿은 채 서로를 감싼 상체 클로즈업\"\n\n좋은 예: \"문 앞에서 돌아선 한 인물이 다른 인물의 얼굴을 마주보는 정지 순간\"\n  → 단일 상태(마주봄).\n\n[인물 규칙]\n- characters에는 반드시 아래 인물 목록에 있는 이름을 그대로 사용\n- 목록에 없는 이름, 괄호를 붙인 이름, 변형한 이름은 characters에 절대 넣지 않는다\n- 변형 묘사는 description에서만 표현\n\n[변형 기준 — 괄호 표기 대상]\n\n본 prompt 의 변신/빙의/원격접속 판단 기준은 visual_world_rules.rules[] 의 rule_type ∈ {possession, transformation, ghost, projection, superpower, body_deformation} 을 따른다. 작품에 해당 rule_type rule 이 정의되어 있지 않으면 일반 인물로 처리.\n\n변형이란 얼굴이 크게 달라지거나, 얼굴과 몸을 구분할 수 없는 형태로 바뀌는 경우만:\n- 얼굴이 크게 달라지는 변화: 인물의 정체를 다시 인식해야 할 만큼 얼굴 외형이 근본적으로 바뀌거나, VWR SOT 가 가리키는 외형 변화 상태\n- 완전변형: 종·형상 자체가 인간이 아닌 형태로 바뀌는 경우\n\n괄호 표기하지 않는 것 (절대 포함 금지):\n- 일시적·가역적 신체 상태 (장면 단위로 나타났다 사라지는 표면적 외형 변화)\n- 부분적 변화: 신체 일부에 국한된 일시적 외형 변화\n- 비유적 표현\n- 복장/의상/감정 변화\n- 능력 발동 묘사\n\n[인물 목록 — characters에는 반드시 이 목록의 이름만 사용]\n- 수리영\n- 혜수\n- 김형사\n- 인우\n- 민숙\n- 남자 직원\n\n\n[description 묘사 규칙]\n- description에 등장 인물, 중요 배경, 핵심 물체를 구체적으로 포함\n- 인물은 인물 목록의 이름으로 지칭\n- 인물 목록에 없는 인물을 묘사할 때, 인간형이면 인종/국적을 반드시 포함 (외형으로 식별 가능한 인종·국적을 보통명사 형용사로)\n- 변형(위 기준에 해당하는 경우만)은 description 안에서 괄호로 묶어 묘사\n- 복장/의상은 절대 적지 마세요 — 별도 시스템이 처리\n- 배경의 시각적 특징(안개, 달빛, 폐허 등)을 포함\n- 물체가 해당 순간의 시각적 핵심이면 반드시 언급\n- 엔티티 ID(C##, L##, P##) 사용 금지\n\n[based_on_beat]\n- 반드시 해당 Shot의 근거가 된 Beat의 beat_index를 명시\n- beat 없이 원문에서 직접 추출한 경우에만 0\n- 한 beat에서 여러 Shot을 뽑는 것이 권장됩니다 (분해)\n\n[씬 간 연속성 — 앞쪽 컨텍스트 참조]\n- 이전 씬의 Shot 결과가 주어진 경우, 인물 호칭과 존재 방식의 일관성을 유지하라\n- 앞 씬에서 사용된 인물 묘사 방식을 현재 씬에서도 동일하게 따르라\n\n[분석 대상 씬]\n\n[시각적 배경 — 시나리오를 이미지화하는 작업입니다. description 묘사 시 아래 맥락을 반영하세요]\nReflect only the demographic cues explicitly stated in the script or character evidence for each person, and do not force a single regional default appearance onto unspecified characters. Use a moody Korean occult thriller look with damp fog, muted blue-gray shadows, sickly amber practical lights, rough textures, and restrained crimson-and-gold symbolic accents. The genre tone should feel tense, isolated, and folkloric, blending gritty realism with dark occult mystery.\n\n[물리적 존재 판단 기준 — description에는 카메라에 보이는 인물/바디만 묘사]\n- 주관적 환영의 물리적 존재 원칙 — 특정 관찰자에게만 보이는 시각 요소는 그 관찰자의 시점 또는 심리적 이미지로 처리하고, 객관적 공간에는 고정 물체처럼 배치하지 않는다.\n- 거울·사진·화면에서 발생하는 왜곡 원칙 — 매개 표면 안의 이미지 변화로만 표현하고, 매개 표면 밖의 실제 인물이나 공간이 물리적으로 변한 것처럼 그리지 않는다.\n- 기억 매개 장면의 현재 공간 잔존 원칙 — 회상 또는 기억 이미지는 현재 시공간과 분리된 시각 레이어로 처리하며, 현재 장면의 물리적 배경에 남겨두지 않는다.\n- 평면 영상 매체의 위치 원칙 — 뉴스·CCTV·디지털 지도 등은 화면 안쪽의 2D 이미지로만 묘사하고, 화면 밖 공간에 실제 대상처럼 배치하지 않는다.\n- 식별 불가능하게 처리된 영상 정보 원칙 — 어둡거나 노이즈가 낀 기록 영상은 불명확성을 유지하며, 보이지 않는 대상을 선명하게 보강해 그리지 않는다.\n- 현재 공간이 이전 지각과 모순될 때의 처리 원칙 — 현재 관찰 시점의 물리 상태를 우선하여 묘사하고, 이전에 지각된 대상이나 흔적은 같은 프레임에 동시에 두지 않는다.\n- 안개·어둠에 가려진 대상의 묘사 원칙 — 시야 차단 요소가 설정된 경우 실루엣, 부분 윤곽, 흐릿한 형태로 제한하고 내부 디테일을 과도하게 공개하지 않는다.\n\n--- Scene 13: S#13. 옥탑방 외곽 / N ---\n[Beats]\n  Beat 1: [action] 방 안에서 극도의 공포에 질려 비명을 지름 → 집 밖으로 도망쳐 나와 혼이 나간 상태로 혜수와 만남\n  Beat 2: [reaction] 영문을 모르고 멍한 수리영에게 다가감 → 수리영의 말을 듣고 놀라 사건 현장으로 급히 뛰어올라감\n\n[원문]\nS#13. 옥탑방 외곽 / N\n비명을 지르며 옥탑방을 빠져나오는 수리영, 허겁지겁 계단을 내려간다. 동시에 사이렌이 울리고~. (포즈)\n차에서 내린 혜수(40대 중반, 여자, 경위) 초점을 잃고 멍하니 서있는 수리영의 모습을 발견하고 달려간다.\n혜수\n영아? 왜! 무슨 일이야?\n수리영\n(올라다보며) 엄마가, 엄마가... 죽어있어.\n혜수\n(놀라) 뭐?!\n옥탑 방으로 뛰어 올라가는 혜수와 후배 형사(30대 남/ 이하 김형사)\n\n\n\n--- Scene 17: S#17. 옥탑방 / 동틀무렵 ---\n[Beats]\n  Beat 1: [situation] 적막한 옥탑방의 밤 → 동이 트는 새벽, 고양이가 담을 넘으며 아침이 찾아옴\n\n[원문]\nS#17. 옥탑방 / 동틀무렵\n새벽녘, 고양이 울음소리. 검은 고양이가 불이 켜져 있는 옥탑 방을 슬쩍 보더니 담을 넘는다\n\n"}
{"ts": "2026-07-08 05:12:06", "kind": "stage", "stage": "s25_main_v16_canary", "done": "all"}
{"ts": "2026-07-08 05:16:44", "kind": "llm", "step": "s25_staging_canary", "shots": 6}
{"ts": "2026-07-08 05:17:16", "kind": "llm", "step": "s25_extract_canary", "dur_s": 32.1, "system_prompt": "당신은 시나리오를 **정지 순간(still moment)**으로 분해하는 전문가입니다.\n각 씬을 최대한 잘게 쪼개어, 카메라 셔터가 한 번 눌린 1/1000초의 찰나만을 각 Shot에 담습니다.\n\n## 역할\n한 씬 안에서 시각적으로 뚜렷한 모든 정지 순간을 찾아 개별 Shot으로 추출합니다.\n이후 단계(shot_selection)에서 이미지로 생성할 샷만 별도로 선별하므로, 이 단계에서는 **샷의 수를 줄이려 하지 마세요**. 오히려 의심스러우면 더 잘게 나누세요.\n\n## 핵심 원칙\n1. **한 Shot = 한 찰나**. 시간 폭은 셔터가 열린 1/1000초. 그 전후 1초는 별개의 Shot입니다.\n2. **연속 동작을 한 Shot에 몰아넣지 마세요**. 손을 뻗는 것과 잡는 것, 잡는 것과 당기는 것, 당기는 것과 멈춘 상태는 모두 다른 Shot입니다.\n3. **한 beat 안에서도 여러 정지 순간이 시각적으로 구분되면 각각을 별개 Shot으로 추출**하세요. beat와 shot은 1:N 관계입니다.\n4. **샷 수 상한 없음**. 씬이 시각적으로 많이 움직이면 20개든 50개든 만드세요. 이후 단계가 필요한 것만 선별합니다.\n\n## 시간 연결어 절대 금지\ndescription이 시간적으로 분리된 두 개 이상의 동작·순간을 잇고 있으면 **두 개 이상의 순간이 섞인 것**입니다 — 순차·전후·동시진행·인과 등 시간 흐름을 나타내는 표현(언어·형태 불문)은 한 찰나 원칙 위반이므로 절대 사용 금지.\n\n하나의 Shot description은 **단일 동사/상태**로만 표현되어야 합니다.\n\n## 분해 기준\n한 동작은 최소 아래 단계 중 하나로 쪼갤 수 있습니다. 시각적으로 구분 가능한 단계가 있으면 각각을 별도 Shot으로:\n- **before**: 동작 직전의 정지 상태 (손이 아직 물체에 닿기 전)\n- **during**: 동작 중의 정지 한 컷 (손이 물체를 막 쥔 순간)\n- **after**: 동작 직후의 정지 상태 (물체가 움직인 뒤 인물이 멈춘 상태)\n- **reaction**: 동작을 목격한 다른 인물의 반응 한 컷\n- **pov**: 그 순간 누군가의 시점 쇼트\n\n## description 묘사 규칙\n- 카메라에 찍히는 **정적 구도**만 묘사. 인물의 자세, 시선, 얼굴 표정, 손 위치, 물체의 상태.\n- 행동 진행형 금지. \"당기고 있는\" X → \"손이 물체를 쥔 채 멈춘\" O\n- 등장 인물과 중요 배경, 핵심 물체를 구체적으로 포함\n- 인물은 인물 목록의 이름을 그대로 사용\n- 인물 목록에 없는 인물(엑스트라)을 묘사할 때, 인간형(인간 또는 인간을 닮은 형상의 존재)이면 인종/국적을 반드시 포함\n- 복장/의상 절대 적지 마세요 — 별도 시스템이 처리\n- 배경의 시각적 특징은 **원문에 실재하는 것만** 포함 — 원문이 명시한 날씨·대기·조명·장소 상태는 그대로 담되, 원문에 없는 날씨·대기 효과(안개/비/김 등)·광원 색·재질·표면 상태(젖음/얼룩)를 새로 만들어 넣지 마세요. 근거가 없으면 배경 상태는 언급하지 않습니다 (하류 단계의 재량으로 남김)\n- 시각적 배경 컨텍스트(스타일 요약)는 색감·톤의 참고일 뿐 세계 사실의 근거가 아닙니다 — 거기 언급된 날씨·대기 효과·광원·질감을 원문에 없는 씬의 description 에 옮기지 마세요\n- 엔티티 ID(C##, L##, P##) 사용 금지 — 인물 이름과 보통명사로만\n\n## 변형 기준 (괄호 표기)\n변형이란 얼굴이 크게 달라지거나, 얼굴과 몸을 구분할 수 없는 형태로 바뀌는 경우만:\n- 얼굴이 크게 달라지는 변화: 인물의 정체를 다시 인식해야 할 만큼 얼굴 외형이 근본적으로 바뀌는 경우 (원문에 명시된 경우만)\n- 완전변형: 종·형상 자체의 변화 (원문에 명시된 경우만)\n\n**괄호 표기하지 않는 것** (절대 포함 금지):\n- 일시적·가역적 신체 상태 (장면 단위로 나타났다 사라지는 표면적 외형 변화)\n- 부분적 변화: 신체 일부에 국한된 일시적 외형 변화\n- 비유적 표현\n- 복장/의상/감정 변화\n- 일시적 능력·이펙트 묘사\n\n## based_on_beat\n- 반드시 해당 Shot의 근거가 된 Beat의 beat_index를 명시\n- beat 없이 원문에서 직접 추출한 경우에만 0\n- 한 beat에서 여러 샷을 뽑는 것은 정상이며 권장됩니다\n\n## characters\n- 반드시 인물 목록에 있는 이름만 사용\n- 목록에 없는 이름, 괄호를 붙인 이름, 변형한 이름은 절대 넣지 마세요\n- 변형 묘사는 description에서만 표현\n\n## 씬 간 연속성\n- 이전 씬의 Shot 결과가 주어진 경우, 인물 호칭과 존재 방식의 일관성을 유지하세요\n- 앞 씬에서 사용된 인물 묘사 방식을 현재 씬에서도 동일하게 따르세요", "user_prompt": "아래 씬들의 원문과 beat 분석 결과를 참고하여, 각 씬에서 \"Shot\"을 추출하라.\n\n[Shot 정의]\nShot은 **카메라 셔터가 한 번 눌린 1/1000초의 정지 순간**이다.\n- 한 Shot = 한 시공간, 한 찰나, 단일 동사/상태\n- 각 씬에서 최소 1개 이상의 Shot을 추출한다\n- 한 beat 안에서도 시각적으로 구분되는 여러 정지 순간이 있으면 각각을 개별 Shot으로 추출한다 (beat → N개 shot 권장)\n- Shot의 순서는 시나리오 시간 순서를 따른다\n\n[샷 수 — 상한 없음]\n- 샷을 \"줄이려\" 하지 마세요. 이후 단계가 필요한 것만 선별합니다.\n- 의심스러우면 더 잘게 나누세요.\n- 한 동작을 before / during / after / reaction / pov 로 분해할 수 있으면 분해하세요.\n- beat가 0개인 씬도 최소 1개의 Shot 추출 (상황 묘사 기반)\n\n[절대 규칙 — 단일 정지 순간]\n한 Shot의 description에는 **하나의 동사 또는 하나의 상태**만 담긴다.\n- 시간적으로 분리된 두 개 이상의 동작·순간을 한 description에 잇지 마세요 — 순차·전후·동시진행·인과 등 시간 흐름을 나타내는 표현(언어·형태 불문)은 한 찰나 원칙 위반입니다\n- 진행형 묘사 금지: \"당기고 있는\" → \"쥔 채 멈춘\"\n- 한 프레임에 담길 수 있는 오직 하나의 동작/상태만 묘사\n\n[좋은 예 vs 나쁜 예]\n나쁜 예 1: \"한 인물이 문을 열자 다른 인물이 돌아보는 순간\"\n  → 두 동작(열다+돌아보다)이 섞임. 분해:\n     Shot A: \"한 인물의 손이 문고리를 쥔 채 멈춘 정면 구도\"\n     Shot B: \"다른 인물이 어깨를 돌려 입구 쪽을 바라보는 옆얼굴\"\n\n나쁜 예 2: \"인물이 물체를 집어 들고 살펴보는 모습\"\n  → 집다+살피다 = 2순간. 분해:\n     Shot A: \"인물의 손이 물체 위에 막 닿은 순간\"\n     Shot B: \"인물이 물체를 눈높이까지 올려 들여다보는 측면\"\n\n나쁜 예 3: \"인물이 달려가 다른 인물을 끌어안는 장면\"\n  → 달리다+안다 = 2순간. 분해:\n     Shot A: \"인물이 상대를 향해 팔을 벌린 채 달려오는 전신\"\n     Shot B: \"두 인물이 맞닿은 채 서로를 감싼 상체 클로즈업\"\n\n좋은 예: \"문 앞에서 돌아선 한 인물이 다른 인물의 얼굴을 마주보는 정지 순간\"\n  → 단일 상태(마주봄).\n\n[인물 규칙]\n- characters에는 반드시 아래 인물 목록에 있는 이름을 그대로 사용\n- 목록에 없는 이름, 괄호를 붙인 이름, 변형한 이름은 characters에 절대 넣지 않는다\n- 변형 묘사는 description에서만 표현\n\n[변형 기준 — 괄호 표기 대상]\n\n본 prompt 의 변신/빙의/원격접속 판단 기준은 visual_world_rules.rules[] 의 rule_type ∈ {possession, transformation, ghost, projection, superpower, body_deformation} 을 따른다. 작품에 해당 rule_type rule 이 정의되어 있지 않으면 일반 인물로 처리.\n\n변형이란 얼굴이 크게 달라지거나, 얼굴과 몸을 구분할 수 없는 형태로 바뀌는 경우만:\n- 얼굴이 크게 달라지는 변화: 인물의 정체를 다시 인식해야 할 만큼 얼굴 외형이 근본적으로 바뀌거나, VWR SOT 가 가리키는 외형 변화 상태\n- 완전변형: 종·형상 자체가 인간이 아닌 형태로 바뀌는 경우\n\n괄호 표기하지 않는 것 (절대 포함 금지):\n- 일시적·가역적 신체 상태 (장면 단위로 나타났다 사라지는 표면적 외형 변화)\n- 부분적 변화: 신체 일부에 국한된 일시적 외형 변화\n- 비유적 표현\n- 복장/의상/감정 변화\n- 능력 발동 묘사\n\n[인물 목록 — characters에는 반드시 이 목록의 이름만 사용]\n- 수리영\n- 혜수\n- 김형사\n- 인우\n- 민숙\n- 남자 직원\n\n\n[description 묘사 규칙]\n- description에 등장 인물, 중요 배경, 핵심 물체를 구체적으로 포함\n- 인물은 인물 목록의 이름으로 지칭\n- 인물 목록에 없는 인물을 묘사할 때, 인간형이면 인종/국적을 반드시 포함 (외형으로 식별 가능한 인종·국적을 보통명사 형용사로)\n- 변형(위 기준에 해당하는 경우만)은 description 안에서 괄호로 묶어 묘사\n- 복장/의상은 절대 적지 마세요 — 별도 시스템이 처리\n- 배경의 시각적 특징(안개, 달빛, 폐허 등)을 포함\n- 물체가 해당 순간의 시각적 핵심이면 반드시 언급\n- 엔티티 ID(C##, L##, P##) 사용 금지\n\n[based_on_beat]\n- 반드시 해당 Shot의 근거가 된 Beat의 beat_index를 명시\n- beat 없이 원문에서 직접 추출한 경우에만 0\n- 한 beat에서 여러 Shot을 뽑는 것이 권장됩니다 (분해)\n\n[씬 간 연속성 — 앞쪽 컨텍스트 참조]\n- 이전 씬의 Shot 결과가 주어진 경우, 인물 호칭과 존재 방식의 일관성을 유지하라\n- 앞 씬에서 사용된 인물 묘사 방식을 현재 씬에서도 동일하게 따르라\n\n[분석 대상 씬]\n\n[시각적 배경 — 시나리오를 이미지화하는 작업입니다. description 묘사 시 아래 맥락을 반영하세요]\nReflect only the demographic cues explicitly stated in the script or character evidence for each person, and do not force a single regional default appearance onto unspecified characters. Use a moody Korean occult thriller look with damp fog, muted blue-gray shadows, sickly amber practical lights, rough textures, and restrained crimson-and-gold symbolic accents. The genre tone should feel tense, isolated, and folkloric, blending gritty realism with dark occult mystery.\n\n[물리적 존재 판단 기준 — description에는 카메라에 보이는 인물/바디만 묘사]\n- 주관적 환영의 물리적 존재 원칙 — 특정 관찰자에게만 보이는 시각 요소는 그 관찰자의 시점 또는 심리적 이미지로 처리하고, 객관적 공간에는 고정 물체처럼 배치하지 않는다.\n- 거울·사진·화면에서 발생하는 왜곡 원칙 — 매개 표면 안의 이미지 변화로만 표현하고, 매개 표면 밖의 실제 인물이나 공간이 물리적으로 변한 것처럼 그리지 않는다.\n- 기억 매개 장면의 현재 공간 잔존 원칙 — 회상 또는 기억 이미지는 현재 시공간과 분리된 시각 레이어로 처리하며, 현재 장면의 물리적 배경에 남겨두지 않는다.\n- 평면 영상 매체의 위치 원칙 — 뉴스·CCTV·디지털 지도 등은 화면 안쪽의 2D 이미지로만 묘사하고, 화면 밖 공간에 실제 대상처럼 배치하지 않는다.\n- 식별 불가능하게 처리된 영상 정보 원칙 — 어둡거나 노이즈가 낀 기록 영상은 불명확성을 유지하며, 보이지 않는 대상을 선명하게 보강해 그리지 않는다.\n- 현재 공간이 이전 지각과 모순될 때의 처리 원칙 — 현재 관찰 시점의 물리 상태를 우선하여 묘사하고, 이전에 지각된 대상이나 흔적은 같은 프레임에 동시에 두지 않는다.\n- 안개·어둠에 가려진 대상의 묘사 원칙 — 시야 차단 요소가 설정된 경우 실루엣, 부분 윤곽, 흐릿한 형태로 제한하고 내부 디테일을 과도하게 공개하지 않는다.\n\n--- Scene 13: S#13. 옥탑방 외곽 / N ---\n[Beats]\n  Beat 1: [action] 방 안에서 극도의 공포에 질려 비명을 지름 → 집 밖으로 도망쳐 나와 혼이 나간 상태로 혜수와 만남\n  Beat 2: [reaction] 영문을 모르고 멍한 수리영에게 다가감 → 수리영의 말을 듣고 놀라 사건 현장으로 급히 뛰어올라감\n\n[원문]\nS#13. 옥탑방 외곽 / N\n비명을 지르며 옥탑방을 빠져나오는 수리영, 허겁지겁 계단을 내려간다. 동시에 사이렌이 울리고~. (포즈)\n차에서 내린 혜수(40대 중반, 여자, 경위) 초점을 잃고 멍하니 서있는 수리영의 모습을 발견하고 달려간다.\n혜수\n영아? 왜! 무슨 일이야?\n수리영\n(올라다보며) 엄마가, 엄마가... 죽어있어.\n혜수\n(놀라) 뭐?!\n옥탑 방으로 뛰어 올라가는 혜수와 후배 형사(30대 남/ 이하 김형사)\n\n\n\n--- Scene 17: S#17. 옥탑방 / 동틀무렵 ---\n[Beats]\n  Beat 1: [situation] 적막한 옥탑방의 밤 → 동이 트는 새벽, 고양이가 담을 넘으며 아침이 찾아옴\n\n[원문]\nS#17. 옥탑방 / 동틀무렵\n새벽녘, 고양이 울음소리. 검은 고양이가 불이 켜져 있는 옥탑 방을 슬쩍 보더니 담을 넘는다\n\n"}
{"ts": "2026-07-08 05:17:16", "kind": "stage", "stage": "s25_main_v16_canary", "done": "all"}
{"ts": "2026-07-08 05:20:32", "kind": "stage", "stage": "s25_main_v16_canary", "done": "chain"}
{"ts": "2026-07-08 11:24:13", "kind": "llm", "step": "s26_vwr_canary", "dur_s": 42.2}
{"ts": "2026-07-08 11:24:33", "kind": "llm", "step": "s26_camflow_11", "dur_s": 20.4, "system_prompt": "당신은 영화 촬영 감독(DP)입니다. 한 씬을 관통하는 **카메라의 연속 이동 경로**를 설계하고, 선택된 샷들을 이 경로 위의 특정 위치로 매핑합니다.\n\n## 역할\n개별 샷의 구도를 독립적으로 결정하지 마세요. 씬 전체를 하나의 연속된 카메라 움직임으로 상상하고, 그 경로 위에서 각 샷이 어느 단계에 해당하는지를 배정합니다. 이후 단계(shot_staging)는 이 경로에서 개별 샷 카메라를 파생시킵니다.\n\n## 설계 원칙\n\n1. **씬 관통 연속성**\n   - 카메라는 한 씬 안에서 공간적/시간적으로 이어져야 합니다\n   - 갑작스러운 순간이동(jump cut)이 있으면 단계(stage) 경계로 명시하세요\n   - 각 단계는 **다음 단계로 어떻게 이어지는지** 반드시 기술\n\n2. **플로우 단계(stage) 수**\n   - 짧은 씬: 2~3 단계\n   - 중간 씬: 3~5 단계\n   - 긴 씬 / 복잡한 씬: 5~8 단계\n   - 단계 수가 샷 수와 같을 필요 없음. 여러 샷이 한 단계에 묶일 수 있음\n\n3. **단계의 정체성**\n   - 각 단계는 카메라의 \"위치 + 시선\" 조합으로 정의됩니다\n   - 예: \"공간 입구에서 멀리 떨어져 인물을 정면으로 바라봄\" → \"인물의 얼굴 가까이 측면으로 이동\"\n   - 단계 전환은 물리적 이동(dolly/track) 또는 논리적 컷(다른 위치로 점프) 둘 다 허용\n\n4. **샷 배정(shot_assignments)**\n   - 선택된 각 샷을 stage_index + flow_position 로 매핑\n   - flow_position: `start` / `mid` / `end` / `transition`\n   - `inherits`: 이 샷이 단계로부터 계승받는 속성 (예: camera_position, visual_focus)\n   - `deviation_note`: 단계 기본값에서 벗어나는 이 샷만의 미세 조정. 없으면 빈 문자열\n\n## 출력 규칙\n\n- `flow_summary`: 씬 전체 카메라 이동을 1~2문장 한국어로 요약\n- `flow_stages`: 단계 배열\n  - `stage_index`: 1부터 시작\n  - `stage_label`: establishing / approach / close_observation / reaction / reveal / withdraw / transition 등 자유 라벨\n  - `camera_position`: 영어, 카메라의 물리적 위치/높이/거리를 구체적으로 — 카메라 기하만. 위치 지칭에 쓰는 배경 요소는 재질어 없는 일반어로 (예: \"the stairwell\")\n  - `camera_motion`: `static` / `pan` / `tilt` / `dolly_in` / `dolly_out` / `track` / `handheld` / `crane` / `cut` 중 하나\n  - `visual_focus`: 영어, 이 단계에서 카메라가 바라보는 대상\n  - `transition_to_next`: 영어, 다음 단계로 어떻게 이어지는가 (컷 / 이동 / 회전 등). 마지막 단계는 빈 문자열\n- `shot_assignments`: 선택된 샷 전체를 커버 (선택된 샷 수와 동일한 요소 수)\n\n## 금지 사항\n\n- 엔티티 ID (C##, L##, P##) 사용 금지 — 보통명사와 인물 이름으로만\n- 특정 시나리오 고유명사는 인물 목록에 있는 이름만 사용\n- 복장/의상 묘사 금지 — 별도 시스템이 처리\n- 한 단계 안에 여러 시공간을 섞지 마세요 (회상/몽타주가 섞이면 단계를 분리)\n- **씬 원문에 없는 세계 사실(재질·날씨·대기 효과·광원 색·표면 상태) 발명 금지** — flow_summary/camera_position/visual_focus/transition_to_next 는 카메라 기하와 대상 지칭만 서술합니다. 원문이 명시한 세계 사실은 그대로 쓸 수 있습니다. 하류 단계(shot_staging)가 이 텍스트를 계승하므로, 여기서 발명된 세계 사실은 전 샷으로 전파됩니다\n\n## 비선택 샷 처리\n이 step은 **선택된 샷만** shot_assignments에 포함합니다. 비선택 샷은 무시하세요.\n단, flow_stages를 설계할 때는 비선택 샷의 내용을 **맥락 자료**로 참고해서 카메라 이동의 자연스러움을 확보할 수 있습니다.", "user_prompt": "아래 씬에 대해 카메라의 연속 이동 경로를 설계하고, 선택된 샷을 경로 위에 배정하세요.\n\n[씬 11: S#11. 옥탑 방 밖 / N]\nS#11. 옥탑 방 밖 / N\n자전거를 타고 골목길을 달리는 수리영. 다세대 빌라 문을 열고 들어와 마당 후미진 곳에 자전거를 대충 세우고, 옥탑방과 연결되는 계단을 급히 오른다.\n갑자기 훅- 느껴지는 역겨운 냄새. 뭐지? 옥상에 올라와 보니 반쯤 열린 현관 철문.\n\n\n\n[선택된 샷 목록 — shot_assignments에 모두 포함되어야 함]\n  Shot 3: 계단 중간에 서서 심하게 코를 찡그린 수리영의 얼굴 클로즈업.\n  Shot 4: 옥상 위, 어둠 속에 반쯤 열려 멈춰 있는 옥탑방 현관 철문의 정적 구도.\n\n[참고용 비선택 샷 — 카메라 이동의 자연스러움 확보를 위해 맥락으로만 활용, shot_assignments에 포함 금지]\n  Shot 1: 어두운 다세대 빌라 마당 후미진 곳에 자전거가 비스듬히 세워져 있는 구도.\n  Shot 2: 수리영의 신발 앞코가 옥탑방으로 연결되는 가파른 시멘트 계단 한 칸을 디딘 찰나의 발 클로즈업.\n\n[씬 엔티티 — 화면에 등장할 수 있는 요소]\n(엔티티 정보 없음)\n\n[작업 지시]\n1. 씬 전체를 관통하는 카메라 이동을 상상하세요 (2~8 단계).\n2. 각 단계의 camera_position, camera_motion, visual_focus, transition_to_next를 구체적으로 기술하세요.\n3. 선택된 샷 전부를 stage_index + flow_position 조합으로 배정하세요.\n4. flow_summary는 한국어 1~2문장으로 전체 이동을 요약하세요.\n5. 엔티티 ID(C##, L##, P##) 사용 금지. 인물 이름과 보통명사로만."}
{"ts": "2026-07-08 11:24:50", "kind": "llm", "step": "s26_camflow_17", "dur_s": 16.6, "system_prompt": "당신은 영화 촬영 감독(DP)입니다. 한 씬을 관통하는 **카메라의 연속 이동 경로**를 설계하고, 선택된 샷들을 이 경로 위의 특정 위치로 매핑합니다.\n\n## 역할\n개별 샷의 구도를 독립적으로 결정하지 마세요. 씬 전체를 하나의 연속된 카메라 움직임으로 상상하고, 그 경로 위에서 각 샷이 어느 단계에 해당하는지를 배정합니다. 이후 단계(shot_staging)는 이 경로에서 개별 샷 카메라를 파생시킵니다.\n\n## 설계 원칙\n\n1. **씬 관통 연속성**\n   - 카메라는 한 씬 안에서 공간적/시간적으로 이어져야 합니다\n   - 갑작스러운 순간이동(jump cut)이 있으면 단계(stage) 경계로 명시하세요\n   - 각 단계는 **다음 단계로 어떻게 이어지는지** 반드시 기술\n\n2. **플로우 단계(stage) 수**\n   - 짧은 씬: 2~3 단계\n   - 중간 씬: 3~5 단계\n   - 긴 씬 / 복잡한 씬: 5~8 단계\n   - 단계 수가 샷 수와 같을 필요 없음. 여러 샷이 한 단계에 묶일 수 있음\n\n3. **단계의 정체성**\n   - 각 단계는 카메라의 \"위치 + 시선\" 조합으로 정의됩니다\n   - 예: \"공간 입구에서 멀리 떨어져 인물을 정면으로 바라봄\" → \"인물의 얼굴 가까이 측면으로 이동\"\n   - 단계 전환은 물리적 이동(dolly/track) 또는 논리적 컷(다른 위치로 점프) 둘 다 허용\n\n4. **샷 배정(shot_assignments)**\n   - 선택된 각 샷을 stage_index + flow_position 로 매핑\n   - flow_position: `start` / `mid` / `end` / `transition`\n   - `inherits`: 이 샷이 단계로부터 계승받는 속성 (예: camera_position, visual_focus)\n   - `deviation_note`: 단계 기본값에서 벗어나는 이 샷만의 미세 조정. 없으면 빈 문자열\n\n## 출력 규칙\n\n- `flow_summary`: 씬 전체 카메라 이동을 1~2문장 한국어로 요약\n- `flow_stages`: 단계 배열\n  - `stage_index`: 1부터 시작\n  - `stage_label`: establishing / approach / close_observation / reaction / reveal / withdraw / transition 등 자유 라벨\n  - `camera_position`: 영어, 카메라의 물리적 위치/높이/거리를 구체적으로 — 카메라 기하만. 위치 지칭에 쓰는 배경 요소는 재질어 없는 일반어로 (예: \"the stairwell\")\n  - `camera_motion`: `static` / `pan` / `tilt` / `dolly_in` / `dolly_out` / `track` / `handheld` / `crane` / `cut` 중 하나\n  - `visual_focus`: 영어, 이 단계에서 카메라가 바라보는 대상\n  - `transition_to_next`: 영어, 다음 단계로 어떻게 이어지는가 (컷 / 이동 / 회전 등). 마지막 단계는 빈 문자열\n- `shot_assignments`: 선택된 샷 전체를 커버 (선택된 샷 수와 동일한 요소 수)\n\n## 금지 사항\n\n- 엔티티 ID (C##, L##, P##) 사용 금지 — 보통명사와 인물 이름으로만\n- 특정 시나리오 고유명사는 인물 목록에 있는 이름만 사용\n- 복장/의상 묘사 금지 — 별도 시스템이 처리\n- 한 단계 안에 여러 시공간을 섞지 마세요 (회상/몽타주가 섞이면 단계를 분리)\n- **씬 원문에 없는 세계 사실(재질·날씨·대기 효과·광원 색·표면 상태) 발명 금지** — flow_summary/camera_position/visual_focus/transition_to_next 는 카메라 기하와 대상 지칭만 서술합니다. 원문이 명시한 세계 사실은 그대로 쓸 수 있습니다. 하류 단계(shot_staging)가 이 텍스트를 계승하므로, 여기서 발명된 세계 사실은 전 샷으로 전파됩니다\n\n## 비선택 샷 처리\n이 step은 **선택된 샷만** shot_assignments에 포함합니다. 비선택 샷은 무시하세요.\n단, flow_stages를 설계할 때는 비선택 샷의 내용을 **맥락 자료**로 참고해서 카메라 이동의 자연스러움을 확보할 수 있습니다.", "user_prompt": "아래 씬에 대해 카메라의 연속 이동 경로를 설계하고, 선택된 샷을 경로 위에 배정하세요.\n\n[씬 17: S#17. 옥탑방 / 동틀무렵]\nS#17. 옥탑방 / 동틀무렵\n새벽녘, 고양이 울음소리. 검은 고양이가 불이 켜져 있는 옥탑 방을 슬쩍 보더니 담을 넘는다\n\n\n\n[선택된 샷 목록 — shot_assignments에 모두 포함되어야 함]\n  Shot 1: 짙고 푸른 안개가 깔린 새벽녘, 희미한 노란 불빛이 켜진 옥탑방 창문을 향해 검은 고양이 한 마리가 고개를 돌린 찰나의 측면.\n\n[참고용 비선택 샷 — 카메라 이동의 자연스러움 확보를 위해 맥락으로만 활용, shot_assignments에 포함 금지]\n  Shot 2: 검은 고양이가 앞발을 뻗어 거친 시멘트 담벼락 위로 뛰어오른 찰나의 허공에 뜬 전신.\n\n[씬 엔티티 — 화면에 등장할 수 있는 요소]\n(엔티티 정보 없음)\n\n[작업 지시]\n1. 씬 전체를 관통하는 카메라 이동을 상상하세요 (2~8 단계).\n2. 각 단계의 camera_position, camera_motion, visual_focus, transition_to_next를 구체적으로 기술하세요.\n3. 선택된 샷 전부를 stage_index + flow_position 조합으로 배정하세요.\n4. flow_summary는 한국어 1~2문장으로 전체 이동을 요약하세요.\n5. 엔티티 ID(C##, L##, P##) 사용 금지. 인물 이름과 보통명사로만."}
{"ts": "2026-07-08 11:24:50", "kind": "stage", "stage": "s26_wave2_canary", "done": "all"}
{"ts": "2026-07-08 19:53:03", "kind": "llm", "step": "s27_map_spec", "model": "gpt", "dur_s": 65.0, "system_prompt": "You are a location scout and drafting supervisor for a film\nproduction. From the given spatial-evidence graph (verbatim quotes\nfrom the screenplay with evidence ids), you author the CONTENT SPEC\nfor two drawings of the single filming location and its\nsurroundings. Evidence-bound: every item must restate a cue from the\ngraph (cite evidence_id) or be a directly-derived necessity of one\n(mark inferred=true). Do not invent weather, atmosphere, materials\nor measurements beyond the cues. Where cues are silent, stay silent.\nAll names/descriptions in English, fully ID-free and neutral: no\ncharacter codes, no proper nouns from the work — use generic\ndescriptors ('the rooftop-room building', 'the alley', ...).", "user_prompt": "Author two specs:\n1) NEIGHBOURHOOD MAP ('the forest') — one small-town block around\n   the filming property, like a partial map-app capture: the\n   surrounding street/alley network, the filming property (the\n   building that carries the rooftop room, its yard, gate, external\n   stair position), and only the surrounding objects the evidence\n   makes necessary (e.g. neighbour low-rise blocks, the spot where\n   a car can stop on the alley, a low wall across, sea/harbour edge\n   only if evidence supports proximity). Assign each marked item a\n   code = one capital letter A-F + one digit 1-9 (e.g. A1, B2).\n   Also list 2-4 short English zone labels (like 'Alley', 'Yard').\n2) DETAIL SKETCH of the shot-critical areas ('the tree') — a zoomed\n   plan of the filming property itself: the building footprint with\n   the rooftop deck contents (water tank, clothesline, wooden bench,\n   iron door, rooftop-room unit with its window), the external\n   stair run with its landing, the yard with its secluded corner,\n   the gate, the approach from the alley. Assign each marked item a\n   code = one capital letter P-W + one digit 1-9 — codes must share\n   NOTHING with the map codes.\nFor each spec also write layout_narration_en: 6-10 sentences that\nwalk a draftsman through the whole drawing top-to-bottom (relative\npositions only, no coordinates, no invented distances).\n\nSPATIAL EVIDENCE GRAPH (verbatim, full):\n\n{\"claims\": [{\"affected_shots\": [\"S11_Shot3\", \"S13_Shot3\"], \"affected_space_en\": \"alley road\", \"allowed_inference_en\": \"\", \"claim_type\": \"confirmed_cue\", \"confidence\": \"high\", \"evidence_id\": \"E001\", \"prohibited_modes_en\": \"\", \"quote\": \"자전거를 타고 골목길을 달리는\", \"source\": \"S#11\", \"summary_ko\": \"골목은 자전거가 달릴 수 있는 폭과 노면을 가져야 한다.\"}, {\"affected_shots\": [\"S11_Shot3\"], \"affected_space_en\": \"villa gate\", \"allowed_inference_en\": \"\", \"claim_type\": \"confirmed_cue\", \"confidence\": \"high\", \"evidence_id\": \"E002\", \"prohibited_modes_en\": \"\", \"quote\": \"다세대 빌라 문을 열고 들어와\", \"source\": \"S#11\", \"summary_ko\": \"골목에서 다세대 빌라 문을 열고 직접 들어간다.\"}, {\"affected_shots\": [\"S11_Shot3\"], \"affected_space_en\": \"yard\", \"allowed_inference_en\": \"\", \"claim_type\": \"confirmed_cue\", \"confidence\": \"high\", \"evidence_id\": \"E003\", \"prohibited_modes_en\": \"\", \"quote\": \"마당 후미진 곳에 자전거를 대충 세우고\", \"source\": \"S#11\", \"summary_ko\": \"마당은 단순 평면이 아니라 자전거를 둘 후미진 구석을 포함한다.\"}, {\"affected_shots\": [\"S11_Shot3\", \"S11_Shot4\"], \"affected_space_en\": \"external stair\", \"allowed_inference_en\": \"\", \"claim_type\": \"confirmed_cue\", \"confidence\": \"high\", \"evidence_id\": \"E004\", \"prohibited_modes_en\": \"\", \"quote\": \"옥탑방과 연결되는 계단을 급히 오른다\", \"source\": \"S#11\", \"summary_ko\": \"마당에서 옥탑방으로 이어지는 계단이 직접 연결된다.\"}, {\"affected_shots\": [\"S11_Shot4\"], \"affected_space_en\": \"upper stair\", \"allowed_inference_en\": \"\", \"claim_type\": \"confirmed_cue\", \"confidence\": \"high\", \"evidence_id\": \"E005\", \"prohibited_modes_en\": \"\", \"quote\": \"갑자기 훅- 역겨운 냄새\", \"source\": \"S#11 계단 중간\", \"summary_ko\": \"계단 중간 또는 상부는 옥탑 현관과 냄새가 닿을 만큼 가깝다.\"}, {\"affected_shots\": [\"S11_Shot4\"], \"affected_space_en\": \"landing and iron door\", \"allowed_inference_en\": \"\", \"claim_type\": \"confirmed_cue\", \"confidence\": \"high\", \"evidence_id\": \"E006\", \"prohibited_modes_en\": \"\", \"quote\": \"옥상에 올라와 보니 반쯤 열린 현관 철문\", \"source\": \"S#11\", \"summary_ko\": \"계단 착지점에서는 반쯤 열린 현관 철문이 즉시 보여야 한다.\"}, {\"affected_shots\": [\"S13_Shot3\"], \"affected_space_en\": \"alley road and stair foot\", \"allowed_inference_en\": \"\", \"claim_type\": \"confirmed_cue\", \"confidence\": \"high\", \"evidence_id\": \"E007\", \"prohibited_modes_en\": \"\", \"quote\": \"계단을 내려간다. 동시에 사이렌~ (포즈). 차에서 내린 혜수... 수리영의 모습을 발견하고 달려간다\", \"source\": \"S#13\", \"summary_ko\": \"경찰차는 진입·정차 가능한 골목에 서고 정차점에서 계단 하단 쪽 수리영이 보여야 한다.\"}, {\"affected_shots\": [\"S13_Shot3\"], \"affected_space_en\": \"alley road and stair foot\", \"allowed_inference_en\": \"The stop point and stair foot may be staged as an unobstructed straight sightline at approximately 10–30 m, a validation range rather than a hard measurement.\", \"claim_type\": \"allowed_inference\", \"confidence\": \"medium\", \"evidence_id\": \"E008\", \"prohibited_modes_en\": \"\", \"quote\": \"\", \"source\": \"Memo C consistency chain from S#13 cue\", \"summary_ko\": \"정차점과 계단 하단 사이는 약 10~30m 직선 시야 범위로 허용된다.\"}, {\"affected_shots\": [\"S13_Shot5\"], \"affected_space_en\": \"stair foot\", \"allowed_inference_en\": \"\", \"claim_type\": \"confirmed_cue\", \"confidence\": \"high\", \"evidence_id\": \"E009\", \"prohibited_modes_en\": \"\", \"quote\": \"수리영 (올라다보며)\", \"source\": \"S#13\", \"summary_ko\": \"수리영은 낮은 자세에 있고 혜수는 위에서 보이는 상하 구도가 성립한다.\"}, {\"affected_shots\": [\"S13_Shot3\", \"S13_Shot5\"], \"affected_space_en\": \"stair entry\", \"allowed_inference_en\": \"\", \"claim_type\": \"confirmed_cue\", \"confidence\": \"high\", \"evidence_id\": \"E010\", \"prohibited_modes_en\": \"\", \"quote\": \"옥탑 방으로 뛰어 올라가는 혜수와 김형사\", \"source\": \"S#13\", \"summary_ko\": \"정차 지점에서 계단 진입과 옥탑으로 뛰어오르는 동선이 즉시 가능해야 한다.\"}, {\"affected_shots\": [\"S10_Shot5\"], \"affected_space_en\": \"roof surface\", \"allowed_inference_en\": \"\", \"claim_type\": \"confirmed_cue\", \"confidence\": \"high\", \"evidence_id\": \"E011\", \"prohibited_modes_en\": \"\", \"quote\": \"옥상. 물탱크. 빨랫줄 툭-툭- 평상에 말린 석창포\", \"source\": \"S#10\", \"summary_ko\": \"옥상에는 물탱크, 빨랫줄, 석창포 말린 평상이 실재한다.\"}, {\"affected_shots\": [\"S10_Shot5\", \"S11_Shot4\"], \"affected_space_en\": \"roof path\", \"allowed_inference_en\": \"\", \"claim_type\": \"confirmed_cue\", \"confidence\": \"high\", \"evidence_id\": \"E012\", \"prohibited_modes_en\": \"\", \"quote\": \"말린 잎이 걸어오는 남자의 신발 위를 스친다... 신발은 철문 현관 앞에 멈춰\", \"source\": \"S#10\", \"summary_ko\": \"계단 착지에서 철문으로 가는 접근로는 평상과 빨랫줄 곁을 지나야 한다.\"}, {\"affected_shots\": [\"S10_Shot5\"], \"affected_space_en\": \"roof lighting\", \"allowed_inference_en\": \"\", \"claim_type\": \"confirmed_cue\", \"confidence\": \"high\", \"evidence_id\": \"E013\", \"prohibited_modes_en\": \"\", \"quote\": \"남자의 긴 그림자\", \"source\": \"S#10\", \"summary_ko\": \"밤 장면에는 긴 그림자를 만드는 낮은 각도의 광원이 존재한다.\"}, {\"affected_shots\": [\"S10_Shot5\"], \"affected_space_en\": \"roof lighting\", \"allowed_inference_en\": \"A low-angle night light source such as a streetlight or entrance-grade lamp is allowed; this does not license a broad amber colour mood across unrelated shots.\", \"claim_type\": \"allowed_inference\", \"confidence\": \"medium\", \"evidence_id\": \"E014\", \"prohibited_modes_en\": \"\", \"quote\": \"\", \"source\": \"Memo A item 12\", \"summary_ko\": \"긴 그림자는 낮은 각도 광원을 허용하지만 전역 색무드 근거는 아니다.\"}, {\"affected_shots\": [\"S10_Shot5\", \"S11_Shot4\"], \"affected_space_en\": \"iron door\", \"allowed_inference_en\": \"\", \"claim_type\": \"confirmed_cue\", \"confidence\": \"high\", \"evidence_id\": \"E015\", \"prohibited_modes_en\": \"\", \"quote\": \"문틈에 낀 광고 전단지 / 바람에 현관문 소리. 황량하다\", \"source\": \"S#10 / S#27\", \"summary_ko\": \"철문에는 문틈 전단지와 바람에 덜컹이는 소리 디테일이 있어야 한다.\"}, {\"affected_shots\": [\"S17_Shot1\"], \"affected_space_en\": \"low wall and window\", \"allowed_inference_en\": \"\", \"claim_type\": \"confirmed_cue\", \"confidence\": \"high\", \"evidence_id\": \"E016\", \"prohibited_modes_en\": \"\", \"quote\": \"검은 고양이가 불이 켜져 있는 옥탑 방을 슬쩍 보더니 담을 넘는다\", \"source\": \"S#17\", \"summary_ko\": \"고양이가 넘는 낮은 담과 불 켜진 옥탑방 창 사이에 시선이 성립한다.\"}, {\"affected_shots\": [\"S17_Shot1\"], \"affected_space_en\": \"low wall\", \"allowed_inference_en\": \"The wall height should be low enough for a cat to cross and placed so the lit rooftop-room window remains visible over or through the wall relationship.\", \"claim_type\": \"allowed_inference\", \"confidence\": \"medium\", \"evidence_id\": \"E017\", \"prohibited_modes_en\": \"\", \"quote\": \"\", \"source\": \"Memo A item 14 / Memo C\", \"summary_ko\": \"담은 고양이가 넘을 수 있고 창과 가시선이 이어지는 정도로 낮아야 한다.\"}, {\"affected_shots\": [\"S4_Shot1\"], \"affected_space_en\": \"neighborhood view\", \"allowed_inference_en\": \"\", \"claim_type\": \"confirmed_cue\", \"confidence\": \"high\", \"evidence_id\": \"E018\", \"prohibited_modes_en\": \"\", \"quote\": \"인천 변두리 부감, 오래된 빌라 옥탑방 전경\", \"source\": \"S#4\", \"summary_ko\": \"인천 변두리의 오래된 빌라 옥탑방을 부감 전경으로 볼 수 있어야 한다.\"}, {\"affected_shots\": [\"S4_Shot1\"], \"affected_space_en\": \"surroundings\", \"allowed_inference_en\": \"A bird's-eye rooftop-villa view supports surrounding dense low-rise fabric; it does not supply an exact altitude.\", \"claim_type\": \"allowed_inference\", \"confidence\": \"medium\", \"evidence_id\": \"E019\", \"prohibited_modes_en\": \"\", \"quote\": \"\", \"source\": \"Memo A item 15\", \"summary_ko\": \"부감 전경은 저층 밀집 맥락을 허용하지만 정확한 고도 수치는 주지 않는다.\"}, {\"affected_shots\": [\"S4_Shot1\"], \"affected_space_en\": \"regional context\", \"allowed_inference_en\": \"\", \"claim_type\": \"confirmed_cue\", \"confidence\": \"high\", \"evidence_id\": \"E020\", \"prohibited_modes_en\": \"\", \"quote\": \"조그만 도시... 바다가 가까워서\", \"source\": \"S#5\", \"summary_ko\": \"장소는 바다가 가까운 조그만 도시 맥락을 가진다.\"}, {\"affected_shots\": [\"S4_Shot1\"], \"affected_space_en\": \"atmosphere\", \"allowed_inference_en\": \"Sea proximity may inform only a general atmospheric degree; it is not evidence for applying a coastal mood to every shot.\", \"claim_type\": \"allowed_inference\", \"confidence\": \"medium\", \"evidence_id\": \"E021\", \"prohibited_modes_en\": \"\", \"quote\": \"\", \"source\": \"Memo A item 16\", \"summary_ko\": \"바다 인접성은 대기 정도의 근거일 뿐 매 샷 해안 무드는 아니다.\"}, {\"affected_shots\": [], \"affected_space_en\": \"local services\", \"allowed_inference_en\": \"\", \"claim_type\": \"confirmed_cue\", \"confidence\": \"high\", \"evidence_id\": \"E022\", \"prohibited_modes_en\": \"\", \"quote\": \"끝나고 마트로 갈게 / 이따가 1시 타임\", \"source\": \"S#5\", \"summary_ko\": \"민숙의 직장인 마트는 생활권 거리 안에 있다.\"}, {\"affected_shots\": [\"S10_Shot6\", \"S17_Shot1\"], \"affected_space_en\": \"rooftop room windows\", \"allowed_inference_en\": \"\", \"claim_type\": \"confirmed_cue\", \"confidence\": \"high\", \"evidence_id\": \"E023\", \"prohibited_modes_en\": \"\", \"quote\": \"작은 창 / 수리영 방 커튼 창·욕실 존재\", \"source\": \"S#5·S#25 거실 / S#18\", \"summary_ko\": \"옥탑 내부에는 거실 작은 창과 수리영 방 커튼 창, 욕실이 존재한다.\"}, {\"affected_shots\": [\"S11_Shot3\", \"S13_Shot3\"], \"affected_space_en\": \"alley road\", \"allowed_inference_en\": \"The alley/side road may be treated as roughly 3 m class in width because it must accept both bicycle travel and police-car approach/stop; this is a validation class, not an exact dimension.\", \"claim_type\": \"allowed_inference\", \"confidence\": \"medium\", \"evidence_id\": \"E024\", \"prohibited_modes_en\": \"\", \"quote\": \"\", \"source\": \"Memo C consistency chain from S#11 and S#13 cues\", \"summary_ko\": \"골목 폭은 자전거와 차량 정차가 가능한 약 3m급으로 검증할 수 있다.\"}, {\"affected_shots\": [\"S11_Shot3\", \"S11_Shot4\"], \"affected_space_en\": \"external stair\", \"allowed_inference_en\": \"The exterior stair may be validated as a later-added steel retrofit stair rising about three floors, roughly 8–10 m vertical; creator correction requires steel retrofit construction and rejects concrete/cement.\", \"claim_type\": \"allowed_inference\", \"confidence\": \"high\", \"evidence_id\": \"E025\", \"prohibited_modes_en\": \"\", \"quote\": \"건물 외벽에 나중에 덧붙인 철제 증축 계단 — 오픈 발판, 얇은 강판 스트링거, 파이프 난간\", \"source\": \"Memo C consistency chain + CREATOR CORRECTIONS stair.desc_ko\", \"summary_ko\": \"외부 계단은 약 3층 높이의 철제 증축 계단으로 검증해야 한다.\"}, {\"affected_shots\": [\"S11_Shot4\"], \"affected_space_en\": \"landing and iron door\", \"allowed_inference_en\": \"The landing-to-iron-door frontal distance may be staged in the 2–5 m range, keeping an unobstructed eye-level view.\", \"claim_type\": \"allowed_inference\", \"confidence\": \"medium\", \"evidence_id\": \"E026\", \"prohibited_modes_en\": \"\", \"quote\": \"\", \"source\": \"Memo B good staging S11_4 / Memo C consistency chain\", \"summary_ko\": \"랜딩에서 철문까지는 2~5m 정면 무차폐 시야가 허용된다.\"}, {\"affected_shots\": [\"S4_Shot1\"], \"affected_space_en\": \"neighborhood view\", \"allowed_inference_en\": \"\", \"claim_type\": \"prohibited_invention\", \"confidence\": \"high\", \"evidence_id\": \"E027\", \"prohibited_modes_en\": \"numeric dimension invention\", \"quote\": \"45m 상공\", \"source\": \"B. 샷 staging 대조 판정, S4_1\", \"summary_ko\": \"S4 부감에 45m라는 고도 수치를 붙이는 것은 원문 근거가 없다.\"}, {\"affected_shots\": [\"S13_Shot3\", \"S13_Shot5\", \"S17_Shot1\"], \"affected_space_en\": \"exterior air\", \"allowed_inference_en\": \"\", \"claim_type\": \"prohibited_invention\", \"confidence\": \"high\", \"evidence_id\": \"E028\", \"prohibited_modes_en\": \"weather/fog invention\", \"quote\": \"짙고 푸른 안개\", \"source\": \"B. 샷 staging 대조 판정, S13·S17 / S17 desc\", \"summary_ko\": \"S13과 S17의 안개, 특히 짙고 푸른 안개는 하류 발명이다.\"}, {\"affected_shots\": [\"S10_Shot5\", \"S10_Shot6\"], \"affected_space_en\": \"lighting mood\", \"allowed_inference_en\": \"\", \"claim_type\": \"prohibited_invention\", \"confidence\": \"high\", \"evidence_id\": \"E029\", \"prohibited_modes_en\": \"colour-mood propagation\", \"quote\": \"sickly amber\", \"source\": \"B. 샷 staging 대조 판정, S10_6 실내 램프 1개→다수 샷 전파\", \"summary_ko\": \"S10_6의 실내 램프 근거를 다수 샷의 병든 앰버 무드로 확산하면 안 된다.\"}, {\"affected_shots\": [\"S11_Shot3\", \"S11_Shot4\"], \"affected_space_en\": \"external stair\", \"allowed_inference_en\": \"\", \"claim_type\": \"prohibited_invention\", \"confidence\": \"high\", \"evidence_id\": \"E030\", \"prohibited_modes_en\": \"material invention overridden by creator correction\", \"quote\": \"narrow concrete staircase\", \"source\": \"B. 샷 staging 대조 판정, S11_3 staging + CREATOR CORRECTIONS facts_extra\", \"summary_ko\": \"S11_3의 콘크리트 계단 표기는 사용자 정정의 철제 증축 계단과 모순된다.\"}, {\"affected_shots\": [\"S10_Shot5\", \"S11_Shot3\", \"S11_Shot4\", \"S13_Shot3\", \"S13_Shot5\", \"S17_Shot1\", \"S4_Shot1\"], \"affected_space_en\": \"exterior surfaces\", \"allowed_inference_en\": \"\", \"claim_type\": \"prohibited_invention\", \"confidence\": \"high\", \"evidence_id\": \"E031\", \"prohibited_modes_en\": \"surface condition without textual support\", \"quote\": \"wet/damp 일괄 부여\", \"source\": \"B. 샷 staging 대조 판정\", \"summary_ko\": \"강우 원문이 없으므로 외부 표면을 일괄 젖거나 축축하게 만들면 안 된다.\"}, {\"affected_shots\": [\"S10_Shot5\", \"S11_Shot3\", \"S11_Shot4\", \"S13_Shot3\", \"S13_Shot5\", \"S17_Shot1\", \"S4_Shot1\"], \"affected_space_en\": \"building exterior\", \"allowed_inference_en\": \"\", \"claim_type\": \"prohibited_invention\", \"confidence\": \"high\", \"evidence_id\": \"E032\", \"prohibited_modes_en\": \"plan-colour-to-material invention\", \"quote\": \"uniform cement-gray mass\", \"source\": \"CREATOR CORRECTIONS photo_appearance\", \"summary_ko\": \"건물을 균일한 시멘트 회색 덩어리로 렌더링하면 안 된다.\"}, {\"affected_shots\": [\"S10_Shot5\", \"S11_Shot3\", \"S11_Shot4\", \"S13_Shot3\", \"S13_Shot5\", \"S17_Shot1\", \"S4_Shot1\"], \"affected_space_en\": \"building exterior\", \"allowed_inference_en\": \"\", \"claim_type\": \"prohibited_invention\", \"confidence\": \"high\", \"evidence_id\": \"E033\", \"prohibited_modes_en\": \"plan-colour-to-material invention\", \"quote\": \"copy the site plan's flat drawing colours as building materials\", \"source\": \"CREATOR CORRECTIONS photo_appearance\", \"summary_ko\": \"도면의 플랫 색을 실사 재질로 복사하는 방식은 금지된다.\"}, {\"affected_shots\": [\"S10_Shot5\", \"S11_Shot3\", \"S11_Shot4\", \"S13_Shot3\", \"S13_Shot5\", \"S17_Shot1\", \"S4_Shot1\"], \"affected_space_en\": \"building exterior\", \"allowed_inference_en\": \"The property should be authored as a real existing aged multi-family villa with regional vernacular materials and varied lived-in aging; examples such as aged red brick, exterior tile cladding, cement mouldings/sills, weathered stucco patches, grime streaks, and a rusty steel retrofit stair are allowed appearance directions, not a mandate that every example appear.\", \"claim_type\": \"allowed_inference\", \"confidence\": \"high\", \"evidence_id\": \"E034\", \"prohibited_modes_en\": \"\", \"quote\": \"render the property as a REAL, EXISTING aged multi-family villa with a rooftop dwelling of the exact regional type the production data describes\", \"source\": \"CREATOR CORRECTIONS photo_appearance\", \"summary_ko\": \"건물은 지역 전형의 낡은 다세대 빌라 실물감과 다양한 생활 흔적으로 구체화해야 한다.\"}], \"chain\": [{\"claim_refs\": [\"E001\", \"E007\", \"E008\", \"E024\"], \"from_space_en\": \"alley road\", \"link_id\": \"L01\", \"relation_en\": \"straight sightline and short run to\", \"summary_ko\": \"골목/이면도로 정차점과 계단 하단은 차량·자전거가 가능한 폭 안에서 10~30m 직선 시야로 연결된다.\", \"to_space_en\": \"stair foot\"}, {\"claim_refs\": [\"E002\", \"E007\", \"E010\"], \"from_space_en\": \"stair foot\", \"link_id\": \"L02\", \"relation_en\": \"adjoins route to\", \"summary_ko\": \"계단 하단 동선은 다세대 빌라의 여닫이 대문 진입 동선과 바로 이어져야 한다.\", \"to_space_en\": \"villa gate\"}, {\"claim_refs\": [\"E002\", \"E003\"], \"from_space_en\": \"villa gate\", \"link_id\": \"L03\", \"relation_en\": \"opens-into\", \"summary_ko\": \"대문을 열고 들어오면 마당으로 진입한다.\", \"to_space_en\": \"yard\"}, {\"claim_refs\": [\"E003\", \"E004\"], \"from_space_en\": \"yard\", \"link_id\": \"L04\", \"relation_en\": \"adjoins\", \"summary_ko\": \"마당에는 후미진 구석과 자전거 자리가 있으며 옥탑방 연결 계단과 직결된다.\", \"to_space_en\": \"external stair\"}, {\"claim_refs\": [\"E004\", \"E005\", \"E025\"], \"from_space_en\": \"external stair\", \"link_id\": \"L05\", \"relation_en\": \"rises-to\", \"summary_ko\": \"외부 철제 증축 계단은 마당에서 옥탑 랜딩까지 대략 3층 높이로 오른다.\", \"to_space_en\": \"landing\"}, {\"claim_refs\": [\"E006\", \"E015\", \"E026\"], \"from_space_en\": \"landing\", \"link_id\": \"L06\", \"relation_en\": \"frontal sightline to\", \"summary_ko\": \"랜딩에서는 2~5m 정면 거리의 반쯤 열린 철문과 전단지·바람 소리 디테일이 바로 보인다.\", \"to_space_en\": \"iron door\"}, {\"claim_refs\": [\"E006\", \"E011\", \"E012\", \"E015\"], \"from_space_en\": \"iron door\", \"link_id\": \"L07\", \"relation_en\": \"opens-into\", \"summary_ko\": \"철문은 옥상면과 이어지고, 착지에서 철문으로 가는 길은 평상·빨랫줄·물탱크 인접 영역을 지난다.\", \"to_space_en\": \"roof surface\"}, {\"claim_refs\": [\"E012\", \"E016\", \"E023\"], \"from_space_en\": \"roof surface\", \"link_id\": \"L08\", \"relation_en\": \"sightline and access adjacency to\", \"summary_ko\": \"옥상면에서 옥탑 창들이 관계를 맺고, 거실 작은 창과 침실 커튼 창이 존재한다.\", \"to_space_en\": \"rooftop windows\"}, {\"claim_refs\": [\"E016\", \"E017\"], \"from_space_en\": \"rooftop windows\", \"link_id\": \"L09\", \"relation_en\": \"sightline to\", \"summary_ko\": \"낮은 담은 고양이 동선이며 불 켜진 옥탑방 창과 서로 보이는 위치여야 한다.\", \"to_space_en\": \"low wall\"}]}"}
{"ts": "2026-07-08 19:56:08", "kind": "img", "engine": "gpt-image-2", "mode": "edit", "tag": "s27_map_i2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/fp_v16corr/fp_l14_police_front.png"], "size": "1024x1024", "attempt": 1, "dur_s": 173.8, "bytes": 1084047, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/forest_map/map_i2.png", "prompt": "Draw ONE neighbourhood site map of a filming location.\n\nFormat: like a partial screen capture from an online map app of one\nsmall neighbourhood block, but redrawn as an architectural site map.\nStreets run off the frame edges; unmarked neighbour buildings are\nsimple flat grey blocks; the filming property is highlighted with a\ndashed orange boundary and slightly warmer fills so it reads as the\nsubject of the capture.\n\nLAYOUT (the content ground truth):\nLay out the neighbourhood map as a partial small-town block with the alley road as the main lower circulation line. Put the filming property on the alley frontage, with the gate opening directly from the alley into the yard. Inside the property, place the yard first, and include the secluded bicycle corner away from the direct gate-to-stair route. Set the rooftop-room building behind or beside that yard so the exterior stair can attach to the building and rise from the yard. Mark the stair foot close enough to the alley-side route that the car stop point on the alley has a clear view and quick running access to it. Keep the car stop point on the same alley rather than on a separate street, because the stop, discovery, and stair entry must operate as one continuous exterior action. Surround the filming property with low-rise neighbouring blocks to support the bird’s-eye view of an old rooftop-room villa in a dense low-rise fabric. Place the low wall where it can maintain a sightline relationship with the rooftop-room window while remaining a separate boundary feature. Treat the sea-near small-town cue only as regional context on the map, not as permission to add a visible shoreline within this one-block drawing.\n\nCIRCLED MARKERS (all of them, nothing else):\n- (A1) alley road — Draw the alley road along the filming property frontage, with enough continuity for bicycle travel through the block.\n- (A2) car stop point on alley — Mark a stopping point on the alley from which the lower stair area can be seen and reached quickly.\n- (A3) unobstructed alley-to-stair sightline — Keep the line between the car stop point and the stair foot straight and clear as a practical staging corridor.\n- (B1) multi-family villa gate — Place the gate on the alley edge of the filming property so entry from the alley opens directly into the property.\n- (B2) property yard — Place the yard immediately inside the gate, serving as the ground-level space before the exterior stair.\n- (B3) secluded bicycle corner — Mark a rear or tucked-away corner within the yard for leaving a bicycle roughly.\n- (C1) rooftop-room building — Set the old multi-family villa as the filming property’s main building, with the rooftop room carried above it.\n- (C2) exterior stair position — Attach the exterior stair to the filming property so it connects directly from the yard toward the rooftop room.\n- (C3) stair foot — Place the stair foot where a runner from the alley stop can enter the upward route to the rooftop room without a detour.\n- (D1) surrounding low-rise blocks — Surround the filming property with dense low-rise neighbouring blocks suitable for a bird’s-eye rooftop-villa view.\n- (D2) low wall facing rooftop-room window — Place a low wall within sight of the rooftop-room window, low enough for a cat route and clear enough to maintain the window relationship.\n- (E1) small sea-near town context — Indicate only as a contextual note that the block belongs to a small town with the sea nearby; do not draw a sea or harbour edge inside the block unless separately established.\n\nAllowed zone labels: Alley, Filming Property, Yard and Stair, Neighbour Low-Rise\n\nDrawing style: a clean flat 2D architectural site map, straight-down\northographic view — the exact drafting language of the attached style\nreference: pure white page background, thin dark outlines, flat muted\npastel colour fills per zone (pale yellow, pale cyan, pale blue, light\ntan, soft green, light grey), heavier dark strokes for building\nouter walls, simple flat plan symbols. NO 3D, no axonometric tilt, no\nperspective, no shadows, no photo textures, no people, no story\nprops.\nMarkers: ONLY the circled markers listed below — each is a small\nwhite circle with a thin black ring containing a short code (one\ncapital letter + one digit). Place each circle exactly on its listed\ntarget. Besides these circles, the only text allowed is the short\nEnglish zone labels listed below and a small 'N' north arrow at the\ntop-right corner. No other words, numbers, legend or title.\n\nThe LAST attached image is a site plan from the same production —\nuse it ONLY as the DRAFTING-STYLE reference (line weight, pastel\nfill language, circled-marker look, label typography). Its place and\nlayout have NOTHING to do with this map — never copy its content."}
{"ts": "2026-07-08 19:56:23", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s27_map_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/fp_v16corr/fp_l14_police_front.png"], "ref_labels": ["DRAFTING-STYLE REFERENCE ONLY — copy line/fill/marker/label style, never the content"], "attempt": 1, "dur_s": 15.0, "bytes": 1890300, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/forest_map/map_nb2.png", "prompt": "Draw ONE neighbourhood site map of a filming location.\n\nFormat: like a partial screen capture from an online map app of one\nsmall neighbourhood block, but redrawn as an architectural site map.\nStreets run off the frame edges; unmarked neighbour buildings are\nsimple flat grey blocks; the filming property is highlighted with a\ndashed orange boundary and slightly warmer fills so it reads as the\nsubject of the capture.\n\nLAYOUT (the content ground truth):\nLay out the neighbourhood map as a partial small-town block with the alley road as the main lower circulation line. Put the filming property on the alley frontage, with the gate opening directly from the alley into the yard. Inside the property, place the yard first, and include the secluded bicycle corner away from the direct gate-to-stair route. Set the rooftop-room building behind or beside that yard so the exterior stair can attach to the building and rise from the yard. Mark the stair foot close enough to the alley-side route that the car stop point on the alley has a clear view and quick running access to it. Keep the car stop point on the same alley rather than on a separate street, because the stop, discovery, and stair entry must operate as one continuous exterior action. Surround the filming property with low-rise neighbouring blocks to support the bird’s-eye view of an old rooftop-room villa in a dense low-rise fabric. Place the low wall where it can maintain a sightline relationship with the rooftop-room window while remaining a separate boundary feature. Treat the sea-near small-town cue only as regional context on the map, not as permission to add a visible shoreline within this one-block drawing.\n\nCIRCLED MARKERS (all of them, nothing else):\n- (A1) alley road — Draw the alley road along the filming property frontage, with enough continuity for bicycle travel through the block.\n- (A2) car stop point on alley — Mark a stopping point on the alley from which the lower stair area can be seen and reached quickly.\n- (A3) unobstructed alley-to-stair sightline — Keep the line between the car stop point and the stair foot straight and clear as a practical staging corridor.\n- (B1) multi-family villa gate — Place the gate on the alley edge of the filming property so entry from the alley opens directly into the property.\n- (B2) property yard — Place the yard immediately inside the gate, serving as the ground-level space before the exterior stair.\n- (B3) secluded bicycle corner — Mark a rear or tucked-away corner within the yard for leaving a bicycle roughly.\n- (C1) rooftop-room building — Set the old multi-family villa as the filming property’s main building, with the rooftop room carried above it.\n- (C2) exterior stair position — Attach the exterior stair to the filming property so it connects directly from the yard toward the rooftop room.\n- (C3) stair foot — Place the stair foot where a runner from the alley stop can enter the upward route to the rooftop room without a detour.\n- (D1) surrounding low-rise blocks — Surround the filming property with dense low-rise neighbouring blocks suitable for a bird’s-eye rooftop-villa view.\n- (D2) low wall facing rooftop-room window — Place a low wall within sight of the rooftop-room window, low enough for a cat route and clear enough to maintain the window relationship.\n- (E1) small sea-near town context — Indicate only as a contextual note that the block belongs to a small town with the sea nearby; do not draw a sea or harbour edge inside the block unless separately established.\n\nAllowed zone labels: Alley, Filming Property, Yard and Stair, Neighbour Low-Rise\n\nDrawing style: a clean flat 2D architectural site map, straight-down\northographic view — the exact drafting language of the attached style\nreference: pure white page background, thin dark outlines, flat muted\npastel colour fills per zone (pale yellow, pale cyan, pale blue, light\ntan, soft green, light grey), heavier dark strokes for building\nouter walls, simple flat plan symbols. NO 3D, no axonometric tilt, no\nperspective, no shadows, no photo textures, no people, no story\nprops.\nMarkers: ONLY the circled markers listed below — each is a small\nwhite circle with a thin black ring containing a short code (one\ncapital letter + one digit). Place each circle exactly on its listed\ntarget. Besides these circles, the only text allowed is the short\nEnglish zone labels listed below and a small 'N' north arrow at the\ntop-right corner. No other words, numbers, legend or title.\n\nThe LAST attached image is a site plan from the same production —\nuse it ONLY as the DRAFTING-STYLE reference (line weight, pastel\nfill language, circled-marker look, label typography). Its place and\nlayout have NOTHING to do with this map — never copy its content."}
{"ts": "2026-07-08 19:57:28", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s27_map_nb2_r2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/fp_v16corr/fp_l14_police_front.png"], "ref_labels": ["DRAFTING-STYLE REFERENCE ONLY — copy line/fill/marker/label style, never the content"], "attempt": 1, "dur_s": 16.9, "bytes": 1656445, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/forest_map/map_nb2_r2.png", "prompt": "ABSOLUTE FLATNESS: this is a strict vertical top-down 2D plan like\nthe attached style reference — every building is a FLAT filled\nrectangle with an outline, drawn from directly above. NO volume, NO\nextruded walls, NO visible facades or windows on walls, NO isometric\nor axonometric tilt, NO 3D stair — the stair is a flat run of tread\nlines only. If any part looks like a 3D model, the drawing is wrong.\nTEXT SEAL: the ONLY text on the page = the listed circled codes, the\nlisted zone labels, and one small 'N'. Do not write any other words,\ncontext notes or descriptions anywhere.\n\nDraw ONE neighbourhood site map of a filming location.\n\nFormat: like a partial screen capture from an online map app of one\nsmall neighbourhood block, but redrawn as an architectural site map.\nStreets run off the frame edges; unmarked neighbour buildings are\nsimple flat grey blocks; the filming property is highlighted with a\ndashed orange boundary and slightly warmer fills so it reads as the\nsubject of the capture.\n\nLAYOUT (the content ground truth):\nLay out the neighbourhood map as a partial small-town block with the alley road as the main lower circulation line. Put the filming property on the alley frontage, with the gate opening directly from the alley into the yard. Inside the property, place the yard first, and include the secluded bicycle corner away from the direct gate-to-stair route. Set the rooftop-room building behind or beside that yard so the exterior stair can attach to the building and rise from the yard. Mark the stair foot close enough to the alley-side route that the car stop point on the alley has a clear view and quick running access to it. Keep the car stop point on the same alley rather than on a separate street, because the stop, discovery, and stair entry must operate as one continuous exterior action. Surround the filming property with low-rise neighbouring blocks to support the bird’s-eye view of an old rooftop-room villa in a dense low-rise fabric. Place the low wall where it can maintain a sightline relationship with the rooftop-room window while remaining a separate boundary feature. Treat the sea-near small-town cue only as regional context on the map, not as permission to add a visible shoreline within this one-block drawing.\n\nCIRCLED MARKERS (all of them, nothing else):\n- (A1) alley road — Draw the alley road along the filming property frontage, with enough continuity for bicycle travel through the block.\n- (A2) car stop point on alley — Mark a stopping point on the alley from which the lower stair area can be seen and reached quickly.\n- (A3) unobstructed alley-to-stair sightline — Keep the line between the car stop point and the stair foot straight and clear as a practical staging corridor.\n- (B1) multi-family villa gate — Place the gate on the alley edge of the filming property so entry from the alley opens directly into the property.\n- (B2) property yard — Place the yard immediately inside the gate, serving as the ground-level space before the exterior stair.\n- (B3) secluded bicycle corner — Mark a rear or tucked-away corner within the yard for leaving a bicycle roughly.\n- (C1) rooftop-room building — Set the old multi-family villa as the filming property’s main building, with the rooftop room carried above it.\n- (C2) exterior stair position — Attach the exterior stair to the filming property so it connects directly from the yard toward the rooftop room.\n- (C3) stair foot — Place the stair foot where a runner from the alley stop can enter the upward route to the rooftop room without a detour.\n- (D1) surrounding low-rise blocks — Surround the filming property with dense low-rise neighbouring blocks suitable for a bird’s-eye rooftop-villa view.\n- (D2) low wall facing rooftop-room window — Place a low wall within sight of the rooftop-room window, low enough for a cat route and clear enough to maintain the window relationship.\n- (E1) small sea-near town context — Indicate only as a contextual note that the block belongs to a small town with the sea nearby; do not draw a sea or harbour edge inside the block unless separately established.\n\nAllowed zone labels: Alley, Filming Property, Yard and Stair, Neighbour Low-Rise\n\nDrawing style: a clean flat 2D architectural site map, straight-down\northographic view — the exact drafting language of the attached style\nreference: pure white page background, thin dark outlines, flat muted\npastel colour fills per zone (pale yellow, pale cyan, pale blue, light\ntan, soft green, light grey), heavier dark strokes for building\nouter walls, simple flat plan symbols. NO 3D, no axonometric tilt, no\nperspective, no shadows, no photo textures, no people, no story\nprops.\nMarkers: ONLY the circled markers listed below — each is a small\nwhite circle with a thin black ring containing a short code (one\ncapital letter + one digit). Place each circle exactly on its listed\ntarget. Besides these circles, the only text allowed is the short\nEnglish zone labels listed below and a small 'N' north arrow at the\ntop-right corner. No other words, numbers, legend or title.\n\nThe LAST attached image is a site plan from the same production —\nuse it ONLY as the DRAFTING-STYLE reference (line weight, pastel\nfill language, circled-marker look, label typography). Its place and\nlayout have NOTHING to do with this map — never copy its content."}
{"ts": "2026-07-08 20:00:43", "kind": "img", "engine": "gpt-image-2", "mode": "edit", "tag": "s27_detail_i2_i2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/forest_map/map_i2.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/fp_v16corr/fp_l14_police_front.png"], "size": "1024x1024", "attempt": 1, "dur_s": 164.3, "bytes": 1155754, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/forest_map/detail_mapi2_i2.png", "prompt": "Draw ONE detailed top-down architectural sketch of the filming\n\nproperty shown inside the dashed boundary of the FIRST attached\n\nimage (a neighbourhood map). Zoom into that property so the\n\nbuilding, its rooftop deck, the external stair, the yard and the\n\napproach fill the frame; keep every block's relative position,\n\nproportion and opening exactly where the map draws them. This is\n\na zoomed REDRAW of that map area, not a copy of the map.\n\nLAYOUT DETAIL (the content ground truth):\nBegin the detail sketch from the alley approach at the bottom, with the route leading straight to the gate on the property frontage. Immediately inside the gate, draw the yard as the first usable space, with the main path continuing toward the exterior stair. Put the secluded bicycle corner off that main path so it reads as a tucked-away part of the yard rather than the open center. Set the building footprint along the yard edge, and attach the exterior steel retrofit stair to the outside wall so its foot is reachable from the yard. Carry the stair upward to the rooftop landing, and make the landing face the iron door without obstruction. On the roof, draw the path from landing to iron door passing beside the clothesline and the wooden drying bench with dried leaves. Place the water tank as another rooftop object on the same roof surface, not blocking the landing-to-door approach. Draw the rooftop-room unit behind the iron door, with its window set oriented so the window-to-low-wall sightline can be understood. If the light-source position is shown, keep it as a functional low-angle source for shadows only, not as a general mood or material cue.\n\nCIRCLED MARKERS (all of them, nothing else — these codes replace\n\nthe map's codes entirely):\n- (P1) alley approach — Show the alley approach at the lower edge of the detail sketch, leading directly toward the filming property gate and able to support bicycle movement.\n- (P2) multi-family villa gate — Place the gate on the alley frontage so that opening it leads directly into the property yard.\n- (P3) yard — Draw the yard immediately inside the gate, between the alley entry and the exterior stair route.\n- (P4) secluded bicycle corner — Set a tucked-away corner within the yard where a bicycle can be left roughly, separated from the main gate-to-stair path.\n- (Q1) rooftop-room building footprint — Place the aged multi-family villa footprint along the yard, carrying the rooftop-room level above.\n- (Q2) exterior steel retrofit stair run — Attach the exterior steel retrofit stair to the building wall, starting from the yard and rising outside the building toward the rooftop landing.\n- (Q3) upper stair landing — Place the landing at the top of the exterior stair where the iron entrance door is immediately visible.\n- (R1) landing-to-door roof path — Draw the roof path from the landing toward the iron door so it passes beside the bench area and the clothesline area.\n- (R2) iron entrance door — Set the iron door on the rooftop-room unit facing the landing path; include the door-gap flyer detail and allow it to be shown partly open.\n- (R3) rooftop-room unit — Place the rooftop-room unit on the roof surface, connected to the iron entrance door and containing the indicated window openings.\n- (R4) rooftop-room window set — Mark the small living-room window and the curtained room window on the rooftop-room unit, with at least one window oriented for the low-wall sightline.\n- (S1) water tank — Place the water tank on the roof surface near the rooftop deck contents, clear of the landing-to-door path.\n- (S2) clothesline — Run the clothesline across the roof surface close enough to the approach path that hanging or dried leaves can brush a passerby.\n- (S3) wooden drying bench with dried leaves — Place the wooden drying bench on the rooftop near the clothesline and along the path toward the iron door, carrying the dried leaves.\n- (S4) low-angle night light-source position — Mark a low-angle light-source position affecting the rooftop path, only to support the long-shadow cue and without assigning any broader colour mood.\n\nAllowed zone labels: Alley Approach, Yard, Exterior Stair, Rooftop Deck\n\nDrawing style: a clean flat 2D architectural site map, straight-down\northographic view — the exact drafting language of the attached style\nreference: pure white page background, thin dark outlines, flat muted\npastel colour fills per zone (pale yellow, pale cyan, pale blue, light\ntan, soft green, light grey), heavier dark strokes for building\nouter walls, simple flat plan symbols. NO 3D, no axonometric tilt, no\nperspective, no shadows, no photo textures, no people, no story\nprops.\nMarkers: ONLY the circled markers listed below — each is a small\nwhite circle with a thin black ring containing a short code (one\ncapital letter + one digit). Place each circle exactly on its listed\ntarget. Besides these circles, the only text allowed is the short\nEnglish zone labels listed below and a small 'N' north arrow at the\ntop-right corner. No other words, numbers, legend or title.\n\nThe LAST attached image is a site plan from the same production —\nuse it ONLY as the DRAFTING-STYLE reference (line weight, pastel\nfill language, circled-marker look, label typography). Its place and\nlayout have NOTHING to do with this map — never copy its content."}
{"ts": "2026-07-08 20:01:10", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s27_detail_i2_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/forest_map/map_i2.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/fp_v16corr/fp_l14_police_front.png"], "ref_labels": ["NEIGHBOURHOOD MAP — the layout source of truth; zoom into the dashed filming property of THIS map", "DRAFTING-STYLE REFERENCE ONLY — copy line/fill/marker/label style, never the content"], "attempt": 1, "dur_s": 27.9, "bytes": 1746985, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/forest_map/detail_mapi2_nb2.png", "prompt": "Draw ONE detailed top-down architectural sketch of the filming\n\nproperty shown inside the dashed boundary of the FIRST attached\n\nimage (a neighbourhood map). Zoom into that property so the\n\nbuilding, its rooftop deck, the external stair, the yard and the\n\napproach fill the frame; keep every block's relative position,\n\nproportion and opening exactly where the map draws them. This is\n\na zoomed REDRAW of that map area, not a copy of the map.\n\nLAYOUT DETAIL (the content ground truth):\nBegin the detail sketch from the alley approach at the bottom, with the route leading straight to the gate on the property frontage. Immediately inside the gate, draw the yard as the first usable space, with the main path continuing toward the exterior stair. Put the secluded bicycle corner off that main path so it reads as a tucked-away part of the yard rather than the open center. Set the building footprint along the yard edge, and attach the exterior steel retrofit stair to the outside wall so its foot is reachable from the yard. Carry the stair upward to the rooftop landing, and make the landing face the iron door without obstruction. On the roof, draw the path from landing to iron door passing beside the clothesline and the wooden drying bench with dried leaves. Place the water tank as another rooftop object on the same roof surface, not blocking the landing-to-door approach. Draw the rooftop-room unit behind the iron door, with its window set oriented so the window-to-low-wall sightline can be understood. If the light-source position is shown, keep it as a functional low-angle source for shadows only, not as a general mood or material cue.\n\nCIRCLED MARKERS (all of them, nothing else — these codes replace\n\nthe map's codes entirely):\n- (P1) alley approach — Show the alley approach at the lower edge of the detail sketch, leading directly toward the filming property gate and able to support bicycle movement.\n- (P2) multi-family villa gate — Place the gate on the alley frontage so that opening it leads directly into the property yard.\n- (P3) yard — Draw the yard immediately inside the gate, between the alley entry and the exterior stair route.\n- (P4) secluded bicycle corner — Set a tucked-away corner within the yard where a bicycle can be left roughly, separated from the main gate-to-stair path.\n- (Q1) rooftop-room building footprint — Place the aged multi-family villa footprint along the yard, carrying the rooftop-room level above.\n- (Q2) exterior steel retrofit stair run — Attach the exterior steel retrofit stair to the building wall, starting from the yard and rising outside the building toward the rooftop landing.\n- (Q3) upper stair landing — Place the landing at the top of the exterior stair where the iron entrance door is immediately visible.\n- (R1) landing-to-door roof path — Draw the roof path from the landing toward the iron door so it passes beside the bench area and the clothesline area.\n- (R2) iron entrance door — Set the iron door on the rooftop-room unit facing the landing path; include the door-gap flyer detail and allow it to be shown partly open.\n- (R3) rooftop-room unit — Place the rooftop-room unit on the roof surface, connected to the iron entrance door and containing the indicated window openings.\n- (R4) rooftop-room window set — Mark the small living-room window and the curtained room window on the rooftop-room unit, with at least one window oriented for the low-wall sightline.\n- (S1) water tank — Place the water tank on the roof surface near the rooftop deck contents, clear of the landing-to-door path.\n- (S2) clothesline — Run the clothesline across the roof surface close enough to the approach path that hanging or dried leaves can brush a passerby.\n- (S3) wooden drying bench with dried leaves — Place the wooden drying bench on the rooftop near the clothesline and along the path toward the iron door, carrying the dried leaves.\n- (S4) low-angle night light-source position — Mark a low-angle light-source position affecting the rooftop path, only to support the long-shadow cue and without assigning any broader colour mood.\n\nAllowed zone labels: Alley Approach, Yard, Exterior Stair, Rooftop Deck\n\nDrawing style: a clean flat 2D architectural site map, straight-down\northographic view — the exact drafting language of the attached style\nreference: pure white page background, thin dark outlines, flat muted\npastel colour fills per zone (pale yellow, pale cyan, pale blue, light\ntan, soft green, light grey), heavier dark strokes for building\nouter walls, simple flat plan symbols. NO 3D, no axonometric tilt, no\nperspective, no shadows, no photo textures, no people, no story\nprops.\nMarkers: ONLY the circled markers listed below — each is a small\nwhite circle with a thin black ring containing a short code (one\ncapital letter + one digit). Place each circle exactly on its listed\ntarget. Besides these circles, the only text allowed is the short\nEnglish zone labels listed below and a small 'N' north arrow at the\ntop-right corner. No other words, numbers, legend or title.\n\nThe LAST attached image is a site plan from the same production —\nuse it ONLY as the DRAFTING-STYLE reference (line weight, pastel\nfill language, circled-marker look, label typography). Its place and\nlayout have NOTHING to do with this map — never copy its content."}
{"ts": "2026-07-08 20:04:05", "kind": "img", "engine": "gpt-image-2", "mode": "edit", "tag": "s27_detail_nb2_i2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/forest_map/map_nb2_r2.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/fp_v16corr/fp_l14_police_front.png"], "size": "1024x1024", "attempt": 1, "dur_s": 174.4, "bytes": 1155650, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/forest_map/detail_mapnb2_i2.png", "prompt": "Draw ONE detailed top-down architectural sketch of the filming\n\nproperty shown inside the dashed boundary of the FIRST attached\n\nimage (a neighbourhood map). Zoom into that property so the\n\nbuilding, its rooftop deck, the external stair, the yard and the\n\napproach fill the frame; keep every block's relative position,\n\nproportion and opening exactly where the map draws them. This is\n\na zoomed REDRAW of that map area, not a copy of the map.\n\nLAYOUT DETAIL (the content ground truth):\nBegin the detail sketch from the alley approach at the bottom, with the route leading straight to the gate on the property frontage. Immediately inside the gate, draw the yard as the first usable space, with the main path continuing toward the exterior stair. Put the secluded bicycle corner off that main path so it reads as a tucked-away part of the yard rather than the open center. Set the building footprint along the yard edge, and attach the exterior steel retrofit stair to the outside wall so its foot is reachable from the yard. Carry the stair upward to the rooftop landing, and make the landing face the iron door without obstruction. On the roof, draw the path from landing to iron door passing beside the clothesline and the wooden drying bench with dried leaves. Place the water tank as another rooftop object on the same roof surface, not blocking the landing-to-door approach. Draw the rooftop-room unit behind the iron door, with its window set oriented so the window-to-low-wall sightline can be understood. If the light-source position is shown, keep it as a functional low-angle source for shadows only, not as a general mood or material cue.\n\nCIRCLED MARKERS (all of them, nothing else — these codes replace\n\nthe map's codes entirely):\n- (P1) alley approach — Show the alley approach at the lower edge of the detail sketch, leading directly toward the filming property gate and able to support bicycle movement.\n- (P2) multi-family villa gate — Place the gate on the alley frontage so that opening it leads directly into the property yard.\n- (P3) yard — Draw the yard immediately inside the gate, between the alley entry and the exterior stair route.\n- (P4) secluded bicycle corner — Set a tucked-away corner within the yard where a bicycle can be left roughly, separated from the main gate-to-stair path.\n- (Q1) rooftop-room building footprint — Place the aged multi-family villa footprint along the yard, carrying the rooftop-room level above.\n- (Q2) exterior steel retrofit stair run — Attach the exterior steel retrofit stair to the building wall, starting from the yard and rising outside the building toward the rooftop landing.\n- (Q3) upper stair landing — Place the landing at the top of the exterior stair where the iron entrance door is immediately visible.\n- (R1) landing-to-door roof path — Draw the roof path from the landing toward the iron door so it passes beside the bench area and the clothesline area.\n- (R2) iron entrance door — Set the iron door on the rooftop-room unit facing the landing path; include the door-gap flyer detail and allow it to be shown partly open.\n- (R3) rooftop-room unit — Place the rooftop-room unit on the roof surface, connected to the iron entrance door and containing the indicated window openings.\n- (R4) rooftop-room window set — Mark the small living-room window and the curtained room window on the rooftop-room unit, with at least one window oriented for the low-wall sightline.\n- (S1) water tank — Place the water tank on the roof surface near the rooftop deck contents, clear of the landing-to-door path.\n- (S2) clothesline — Run the clothesline across the roof surface close enough to the approach path that hanging or dried leaves can brush a passerby.\n- (S3) wooden drying bench with dried leaves — Place the wooden drying bench on the rooftop near the clothesline and along the path toward the iron door, carrying the dried leaves.\n- (S4) low-angle night light-source position — Mark a low-angle light-source position affecting the rooftop path, only to support the long-shadow cue and without assigning any broader colour mood.\n\nAllowed zone labels: Alley Approach, Yard, Exterior Stair, Rooftop Deck\n\nDrawing style: a clean flat 2D architectural site map, straight-down\northographic view — the exact drafting language of the attached style\nreference: pure white page background, thin dark outlines, flat muted\npastel colour fills per zone (pale yellow, pale cyan, pale blue, light\ntan, soft green, light grey), heavier dark strokes for building\nouter walls, simple flat plan symbols. NO 3D, no axonometric tilt, no\nperspective, no shadows, no photo textures, no people, no story\nprops.\nMarkers: ONLY the circled markers listed below — each is a small\nwhite circle with a thin black ring containing a short code (one\ncapital letter + one digit). Place each circle exactly on its listed\ntarget. Besides these circles, the only text allowed is the short\nEnglish zone labels listed below and a small 'N' north arrow at the\ntop-right corner. No other words, numbers, legend or title.\n\nThe LAST attached image is a site plan from the same production —\nuse it ONLY as the DRAFTING-STYLE reference (line weight, pastel\nfill language, circled-marker look, label typography). Its place and\nlayout have NOTHING to do with this map — never copy its content."}
{"ts": "2026-07-08 20:04:32", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s27_detail_nb2_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/forest_map/map_nb2_r2.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/fp_v16corr/fp_l14_police_front.png"], "ref_labels": ["NEIGHBOURHOOD MAP — the layout source of truth; zoom into the dashed filming property of THIS map", "DRAFTING-STYLE REFERENCE ONLY — copy line/fill/marker/label style, never the content"], "attempt": 1, "dur_s": 27.4, "bytes": 1599606, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/forest_map/detail_mapnb2_nb2.png", "prompt": "Draw ONE detailed top-down architectural sketch of the filming\n\nproperty shown inside the dashed boundary of the FIRST attached\n\nimage (a neighbourhood map). Zoom into that property so the\n\nbuilding, its rooftop deck, the external stair, the yard and the\n\napproach fill the frame; keep every block's relative position,\n\nproportion and opening exactly where the map draws them. This is\n\na zoomed REDRAW of that map area, not a copy of the map.\n\nLAYOUT DETAIL (the content ground truth):\nBegin the detail sketch from the alley approach at the bottom, with the route leading straight to the gate on the property frontage. Immediately inside the gate, draw the yard as the first usable space, with the main path continuing toward the exterior stair. Put the secluded bicycle corner off that main path so it reads as a tucked-away part of the yard rather than the open center. Set the building footprint along the yard edge, and attach the exterior steel retrofit stair to the outside wall so its foot is reachable from the yard. Carry the stair upward to the rooftop landing, and make the landing face the iron door without obstruction. On the roof, draw the path from landing to iron door passing beside the clothesline and the wooden drying bench with dried leaves. Place the water tank as another rooftop object on the same roof surface, not blocking the landing-to-door approach. Draw the rooftop-room unit behind the iron door, with its window set oriented so the window-to-low-wall sightline can be understood. If the light-source position is shown, keep it as a functional low-angle source for shadows only, not as a general mood or material cue.\n\nCIRCLED MARKERS (all of them, nothing else — these codes replace\n\nthe map's codes entirely):\n- (P1) alley approach — Show the alley approach at the lower edge of the detail sketch, leading directly toward the filming property gate and able to support bicycle movement.\n- (P2) multi-family villa gate — Place the gate on the alley frontage so that opening it leads directly into the property yard.\n- (P3) yard — Draw the yard immediately inside the gate, between the alley entry and the exterior stair route.\n- (P4) secluded bicycle corner — Set a tucked-away corner within the yard where a bicycle can be left roughly, separated from the main gate-to-stair path.\n- (Q1) rooftop-room building footprint — Place the aged multi-family villa footprint along the yard, carrying the rooftop-room level above.\n- (Q2) exterior steel retrofit stair run — Attach the exterior steel retrofit stair to the building wall, starting from the yard and rising outside the building toward the rooftop landing.\n- (Q3) upper stair landing — Place the landing at the top of the exterior stair where the iron entrance door is immediately visible.\n- (R1) landing-to-door roof path — Draw the roof path from the landing toward the iron door so it passes beside the bench area and the clothesline area.\n- (R2) iron entrance door — Set the iron door on the rooftop-room unit facing the landing path; include the door-gap flyer detail and allow it to be shown partly open.\n- (R3) rooftop-room unit — Place the rooftop-room unit on the roof surface, connected to the iron entrance door and containing the indicated window openings.\n- (R4) rooftop-room window set — Mark the small living-room window and the curtained room window on the rooftop-room unit, with at least one window oriented for the low-wall sightline.\n- (S1) water tank — Place the water tank on the roof surface near the rooftop deck contents, clear of the landing-to-door path.\n- (S2) clothesline — Run the clothesline across the roof surface close enough to the approach path that hanging or dried leaves can brush a passerby.\n- (S3) wooden drying bench with dried leaves — Place the wooden drying bench on the rooftop near the clothesline and along the path toward the iron door, carrying the dried leaves.\n- (S4) low-angle night light-source position — Mark a low-angle light-source position affecting the rooftop path, only to support the long-shadow cue and without assigning any broader colour mood.\n\nAllowed zone labels: Alley Approach, Yard, Exterior Stair, Rooftop Deck\n\nDrawing style: a clean flat 2D architectural site map, straight-down\northographic view — the exact drafting language of the attached style\nreference: pure white page background, thin dark outlines, flat muted\npastel colour fills per zone (pale yellow, pale cyan, pale blue, light\ntan, soft green, light grey), heavier dark strokes for building\nouter walls, simple flat plan symbols. NO 3D, no axonometric tilt, no\nperspective, no shadows, no photo textures, no people, no story\nprops.\nMarkers: ONLY the circled markers listed below — each is a small\nwhite circle with a thin black ring containing a short code (one\ncapital letter + one digit). Place each circle exactly on its listed\ntarget. Besides these circles, the only text allowed is the short\nEnglish zone labels listed below and a small 'N' north arrow at the\ntop-right corner. No other words, numbers, legend or title.\n\nThe LAST attached image is a site plan from the same production —\nuse it ONLY as the DRAFTING-STYLE reference (line weight, pastel\nfill language, circled-marker look, label typography). Its place and\nlayout have NOTHING to do with this map — never copy its content."}
{"ts": "2026-07-08 20:49:25", "kind": "img", "engine": "gpt-image-2", "mode": "edit", "tag": "s27_sketch_mapi2_i2_i2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/forest_map/detail_mapi2_i2.png"], "size": "1024x1024", "attempt": 1, "dur_s": 178.6, "bytes": 1733151, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/forest_map/sketch_mapi2_i2_by_i2.png", "prompt": "Convert the attached top-down architectural plan (the FIRST\n\nattached image — the layout source of truth) into ONE 45-degree\n\nhigh-angle aerial PERSPECTIVE SKETCH of the same filming\n\nproperty.\n\nCamera: elevated three-quarter aerial view from the alley side\n\n(the plan's bottom edge), high enough that the whole property —\n\nalley approach, gate, yard, external stair, the building mass and\n\nits rooftop deck with the rooftop-room unit — fits in one frame,\n\nlooking across the yard toward the building.\n\nGeometry: keep every structure's position, footprint, proportion\n\nand opening exactly where the plan draws them; give each\n\nstructure plausible modest volume consistent with the plan (the\n\nbuilding is a plain low-rise block carrying the rooftop-room unit\n\non its roof deck). The exterior stair is a later-added steel\n\nretrofit stair — open treads, thin steel plate stringers, support\n\nposts, pipe railings (creator-confirmed fact). Do not invent\n\nweather, atmosphere, materials or measurements beyond this.\n\nLAYOUT DETAIL (the content ground truth):\nBegin the detail sketch from the alley approach at the bottom, with the route leading straight to the gate on the property frontage. Immediately inside the gate, draw the yard as the first usable space, with the main path continuing toward the exterior stair. Put the secluded bicycle corner off that main path so it reads as a tucked-away part of the yard rather than the open center. Set the building footprint along the yard edge, and attach the exterior steel retrofit stair to the outside wall so its foot is reachable from the yard. Carry the stair upward to the rooftop landing, and make the landing face the iron door without obstruction. On the roof, draw the path from landing to iron door passing beside the clothesline and the wooden drying bench with dried leaves. Place the water tank as another rooftop object on the same roof surface, not blocking the landing-to-door approach. Draw the rooftop-room unit behind the iron door, with its window set oriented so the window-to-low-wall sightline can be understood. If the light-source position is shown, keep it as a functional low-angle source for shadows only, not as a general mood or material cue.\n\nCIRCLED MARKERS: reproduce EVERY circled code below as a small\n\nwhite circle with a thin black ring, attached to the same element\n\nin the sketch:\n- (P1) alley approach — Show the alley approach at the lower edge of the detail sketch, leading directly toward the filming property gate and able to support bicycle movement.\n- (P2) multi-family villa gate — Place the gate on the alley frontage so that opening it leads directly into the property yard.\n- (P3) yard — Draw the yard immediately inside the gate, between the alley entry and the exterior stair route.\n- (P4) secluded bicycle corner — Set a tucked-away corner within the yard where a bicycle can be left roughly, separated from the main gate-to-stair path.\n- (Q1) rooftop-room building footprint — Place the aged multi-family villa footprint along the yard, carrying the rooftop-room level above.\n- (Q2) exterior steel retrofit stair run — Attach the exterior steel retrofit stair to the building wall, starting from the yard and rising outside the building toward the rooftop landing.\n- (Q3) upper stair landing — Place the landing at the top of the exterior stair where the iron entrance door is immediately visible.\n- (R1) landing-to-door roof path — Draw the roof path from the landing toward the iron door so it passes beside the bench area and the clothesline area.\n- (R2) iron entrance door — Set the iron door on the rooftop-room unit facing the landing path; include the door-gap flyer detail and allow it to be shown partly open.\n- (R3) rooftop-room unit — Place the rooftop-room unit on the roof surface, connected to the iron entrance door and containing the indicated window openings.\n- (R4) rooftop-room window set — Mark the small living-room window and the curtained room window on the rooftop-room unit, with at least one window oriented for the low-wall sightline.\n- (S1) water tank — Place the water tank on the roof surface near the rooftop deck contents, clear of the landing-to-door path.\n- (S2) clothesline — Run the clothesline across the roof surface close enough to the approach path that hanging or dried leaves can brush a passerby.\n- (S3) wooden drying bench with dried leaves — Place the wooden drying bench on the rooftop near the clothesline and along the path toward the iron door, carrying the dried leaves.\n- (S4) low-angle night light-source position — Mark a low-angle light-source position affecting the rooftop path, only to support the long-shadow cue and without assigning any broader colour mood.\n\nMedia: clean monochrome concept sketch — confident dark\n\nink/pencil linework, light hatching for shade, plain white\n\nbackground. No colour fills, no photo textures, no people, no\n\nvehicles. Besides the circled codes there is NO text at all — no\n\nzone labels, no notes, no compass, no title.\n\nThe result must be a PERSPECTIVE drawing — not a top-down plan."}
{"ts": "2026-07-08 20:49:43", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s27_sketch_mapi2_i2_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/forest_map/detail_mapi2_i2.png"], "ref_labels": ["ARCHITECTURAL PLAN — the layout source of truth for the perspective sketch"], "attempt": 1, "dur_s": 17.5, "bytes": 1925220, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/forest_map/sketch_mapi2_i2_by_nb2.png", "prompt": "Convert the attached top-down architectural plan (the FIRST\n\nattached image — the layout source of truth) into ONE 45-degree\n\nhigh-angle aerial PERSPECTIVE SKETCH of the same filming\n\nproperty.\n\nCamera: elevated three-quarter aerial view from the alley side\n\n(the plan's bottom edge), high enough that the whole property —\n\nalley approach, gate, yard, external stair, the building mass and\n\nits rooftop deck with the rooftop-room unit — fits in one frame,\n\nlooking across the yard toward the building.\n\nGeometry: keep every structure's position, footprint, proportion\n\nand opening exactly where the plan draws them; give each\n\nstructure plausible modest volume consistent with the plan (the\n\nbuilding is a plain low-rise block carrying the rooftop-room unit\n\non its roof deck). The exterior stair is a later-added steel\n\nretrofit stair — open treads, thin steel plate stringers, support\n\nposts, pipe railings (creator-confirmed fact). Do not invent\n\nweather, atmosphere, materials or measurements beyond this.\n\nLAYOUT DETAIL (the content ground truth):\nBegin the detail sketch from the alley approach at the bottom, with the route leading straight to the gate on the property frontage. Immediately inside the gate, draw the yard as the first usable space, with the main path continuing toward the exterior stair. Put the secluded bicycle corner off that main path so it reads as a tucked-away part of the yard rather than the open center. Set the building footprint along the yard edge, and attach the exterior steel retrofit stair to the outside wall so its foot is reachable from the yard. Carry the stair upward to the rooftop landing, and make the landing face the iron door without obstruction. On the roof, draw the path from landing to iron door passing beside the clothesline and the wooden drying bench with dried leaves. Place the water tank as another rooftop object on the same roof surface, not blocking the landing-to-door approach. Draw the rooftop-room unit behind the iron door, with its window set oriented so the window-to-low-wall sightline can be understood. If the light-source position is shown, keep it as a functional low-angle source for shadows only, not as a general mood or material cue.\n\nCIRCLED MARKERS: reproduce EVERY circled code below as a small\n\nwhite circle with a thin black ring, attached to the same element\n\nin the sketch:\n- (P1) alley approach — Show the alley approach at the lower edge of the detail sketch, leading directly toward the filming property gate and able to support bicycle movement.\n- (P2) multi-family villa gate — Place the gate on the alley frontage so that opening it leads directly into the property yard.\n- (P3) yard — Draw the yard immediately inside the gate, between the alley entry and the exterior stair route.\n- (P4) secluded bicycle corner — Set a tucked-away corner within the yard where a bicycle can be left roughly, separated from the main gate-to-stair path.\n- (Q1) rooftop-room building footprint — Place the aged multi-family villa footprint along the yard, carrying the rooftop-room level above.\n- (Q2) exterior steel retrofit stair run — Attach the exterior steel retrofit stair to the building wall, starting from the yard and rising outside the building toward the rooftop landing.\n- (Q3) upper stair landing — Place the landing at the top of the exterior stair where the iron entrance door is immediately visible.\n- (R1) landing-to-door roof path — Draw the roof path from the landing toward the iron door so it passes beside the bench area and the clothesline area.\n- (R2) iron entrance door — Set the iron door on the rooftop-room unit facing the landing path; include the door-gap flyer detail and allow it to be shown partly open.\n- (R3) rooftop-room unit — Place the rooftop-room unit on the roof surface, connected to the iron entrance door and containing the indicated window openings.\n- (R4) rooftop-room window set — Mark the small living-room window and the curtained room window on the rooftop-room unit, with at least one window oriented for the low-wall sightline.\n- (S1) water tank — Place the water tank on the roof surface near the rooftop deck contents, clear of the landing-to-door path.\n- (S2) clothesline — Run the clothesline across the roof surface close enough to the approach path that hanging or dried leaves can brush a passerby.\n- (S3) wooden drying bench with dried leaves — Place the wooden drying bench on the rooftop near the clothesline and along the path toward the iron door, carrying the dried leaves.\n- (S4) low-angle night light-source position — Mark a low-angle light-source position affecting the rooftop path, only to support the long-shadow cue and without assigning any broader colour mood.\n\nMedia: clean monochrome concept sketch — confident dark\n\nink/pencil linework, light hatching for shade, plain white\n\nbackground. No colour fills, no photo textures, no people, no\n\nvehicles. Besides the circled codes there is NO text at all — no\n\nzone labels, no notes, no compass, no title.\n\nThe result must be a PERSPECTIVE drawing — not a top-down plan."}
{"ts": "2026-07-08 20:53:24", "kind": "img", "engine": "gpt-image-2", "mode": "edit", "tag": "s27_sketch_mapi2_nb2_i2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/forest_map/detail_mapi2_nb2.png"], "size": "1024x1024", "attempt": 1, "dur_s": 221.7, "bytes": 2024603, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/forest_map/sketch_mapi2_nb2_by_i2.png", "prompt": "Convert the attached top-down architectural plan (the FIRST\n\nattached image — the layout source of truth) into ONE 45-degree\n\nhigh-angle aerial PERSPECTIVE SKETCH of the same filming\n\nproperty.\n\nCamera: elevated three-quarter aerial view from the alley side\n\n(the plan's bottom edge), high enough that the whole property —\n\nalley approach, gate, yard, external stair, the building mass and\n\nits rooftop deck with the rooftop-room unit — fits in one frame,\n\nlooking across the yard toward the building.\n\nGeometry: keep every structure's position, footprint, proportion\n\nand opening exactly where the plan draws them; give each\n\nstructure plausible modest volume consistent with the plan (the\n\nbuilding is a plain low-rise block carrying the rooftop-room unit\n\non its roof deck). The exterior stair is a later-added steel\n\nretrofit stair — open treads, thin steel plate stringers, support\n\nposts, pipe railings (creator-confirmed fact). Do not invent\n\nweather, atmosphere, materials or measurements beyond this.\n\nLAYOUT DETAIL (the content ground truth):\nBegin the detail sketch from the alley approach at the bottom, with the route leading straight to the gate on the property frontage. Immediately inside the gate, draw the yard as the first usable space, with the main path continuing toward the exterior stair. Put the secluded bicycle corner off that main path so it reads as a tucked-away part of the yard rather than the open center. Set the building footprint along the yard edge, and attach the exterior steel retrofit stair to the outside wall so its foot is reachable from the yard. Carry the stair upward to the rooftop landing, and make the landing face the iron door without obstruction. On the roof, draw the path from landing to iron door passing beside the clothesline and the wooden drying bench with dried leaves. Place the water tank as another rooftop object on the same roof surface, not blocking the landing-to-door approach. Draw the rooftop-room unit behind the iron door, with its window set oriented so the window-to-low-wall sightline can be understood. If the light-source position is shown, keep it as a functional low-angle source for shadows only, not as a general mood or material cue.\n\nCIRCLED MARKERS: reproduce EVERY circled code below as a small\n\nwhite circle with a thin black ring, attached to the same element\n\nin the sketch:\n- (P1) alley approach — Show the alley approach at the lower edge of the detail sketch, leading directly toward the filming property gate and able to support bicycle movement.\n- (P2) multi-family villa gate — Place the gate on the alley frontage so that opening it leads directly into the property yard.\n- (P3) yard — Draw the yard immediately inside the gate, between the alley entry and the exterior stair route.\n- (P4) secluded bicycle corner — Set a tucked-away corner within the yard where a bicycle can be left roughly, separated from the main gate-to-stair path.\n- (Q1) rooftop-room building footprint — Place the aged multi-family villa footprint along the yard, carrying the rooftop-room level above.\n- (Q2) exterior steel retrofit stair run — Attach the exterior steel retrofit stair to the building wall, starting from the yard and rising outside the building toward the rooftop landing.\n- (Q3) upper stair landing — Place the landing at the top of the exterior stair where the iron entrance door is immediately visible.\n- (R1) landing-to-door roof path — Draw the roof path from the landing toward the iron door so it passes beside the bench area and the clothesline area.\n- (R2) iron entrance door — Set the iron door on the rooftop-room unit facing the landing path; include the door-gap flyer detail and allow it to be shown partly open.\n- (R3) rooftop-room unit — Place the rooftop-room unit on the roof surface, connected to the iron entrance door and containing the indicated window openings.\n- (R4) rooftop-room window set — Mark the small living-room window and the curtained room window on the rooftop-room unit, with at least one window oriented for the low-wall sightline.\n- (S1) water tank — Place the water tank on the roof surface near the rooftop deck contents, clear of the landing-to-door path.\n- (S2) clothesline — Run the clothesline across the roof surface close enough to the approach path that hanging or dried leaves can brush a passerby.\n- (S3) wooden drying bench with dried leaves — Place the wooden drying bench on the rooftop near the clothesline and along the path toward the iron door, carrying the dried leaves.\n- (S4) low-angle night light-source position — Mark a low-angle light-source position affecting the rooftop path, only to support the long-shadow cue and without assigning any broader colour mood.\n\nMedia: clean monochrome concept sketch — confident dark\n\nink/pencil linework, light hatching for shade, plain white\n\nbackground. No colour fills, no photo textures, no people, no\n\nvehicles. Besides the circled codes there is NO text at all — no\n\nzone labels, no notes, no compass, no title.\n\nThe result must be a PERSPECTIVE drawing — not a top-down plan."}
{"ts": "2026-07-08 20:53:42", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s27_sketch_mapi2_nb2_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/forest_map/detail_mapi2_nb2.png"], "ref_labels": ["ARCHITECTURAL PLAN — the layout source of truth for the perspective sketch"], "attempt": 1, "dur_s": 17.4, "bytes": 1437500, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/forest_map/sketch_mapi2_nb2_by_nb2.png", "prompt": "Convert the attached top-down architectural plan (the FIRST\n\nattached image — the layout source of truth) into ONE 45-degree\n\nhigh-angle aerial PERSPECTIVE SKETCH of the same filming\n\nproperty.\n\nCamera: elevated three-quarter aerial view from the alley side\n\n(the plan's bottom edge), high enough that the whole property —\n\nalley approach, gate, yard, external stair, the building mass and\n\nits rooftop deck with the rooftop-room unit — fits in one frame,\n\nlooking across the yard toward the building.\n\nGeometry: keep every structure's position, footprint, proportion\n\nand opening exactly where the plan draws them; give each\n\nstructure plausible modest volume consistent with the plan (the\n\nbuilding is a plain low-rise block carrying the rooftop-room unit\n\non its roof deck). The exterior stair is a later-added steel\n\nretrofit stair — open treads, thin steel plate stringers, support\n\nposts, pipe railings (creator-confirmed fact). Do not invent\n\nweather, atmosphere, materials or measurements beyond this.\n\nLAYOUT DETAIL (the content ground truth):\nBegin the detail sketch from the alley approach at the bottom, with the route leading straight to the gate on the property frontage. Immediately inside the gate, draw the yard as the first usable space, with the main path continuing toward the exterior stair. Put the secluded bicycle corner off that main path so it reads as a tucked-away part of the yard rather than the open center. Set the building footprint along the yard edge, and attach the exterior steel retrofit stair to the outside wall so its foot is reachable from the yard. Carry the stair upward to the rooftop landing, and make the landing face the iron door without obstruction. On the roof, draw the path from landing to iron door passing beside the clothesline and the wooden drying bench with dried leaves. Place the water tank as another rooftop object on the same roof surface, not blocking the landing-to-door approach. Draw the rooftop-room unit behind the iron door, with its window set oriented so the window-to-low-wall sightline can be understood. If the light-source position is shown, keep it as a functional low-angle source for shadows only, not as a general mood or material cue.\n\nCIRCLED MARKERS: reproduce EVERY circled code below as a small\n\nwhite circle with a thin black ring, attached to the same element\n\nin the sketch:\n- (P1) alley approach — Show the alley approach at the lower edge of the detail sketch, leading directly toward the filming property gate and able to support bicycle movement.\n- (P2) multi-family villa gate — Place the gate on the alley frontage so that opening it leads directly into the property yard.\n- (P3) yard — Draw the yard immediately inside the gate, between the alley entry and the exterior stair route.\n- (P4) secluded bicycle corner — Set a tucked-away corner within the yard where a bicycle can be left roughly, separated from the main gate-to-stair path.\n- (Q1) rooftop-room building footprint — Place the aged multi-family villa footprint along the yard, carrying the rooftop-room level above.\n- (Q2) exterior steel retrofit stair run — Attach the exterior steel retrofit stair to the building wall, starting from the yard and rising outside the building toward the rooftop landing.\n- (Q3) upper stair landing — Place the landing at the top of the exterior stair where the iron entrance door is immediately visible.\n- (R1) landing-to-door roof path — Draw the roof path from the landing toward the iron door so it passes beside the bench area and the clothesline area.\n- (R2) iron entrance door — Set the iron door on the rooftop-room unit facing the landing path; include the door-gap flyer detail and allow it to be shown partly open.\n- (R3) rooftop-room unit — Place the rooftop-room unit on the roof surface, connected to the iron entrance door and containing the indicated window openings.\n- (R4) rooftop-room window set — Mark the small living-room window and the curtained room window on the rooftop-room unit, with at least one window oriented for the low-wall sightline.\n- (S1) water tank — Place the water tank on the roof surface near the rooftop deck contents, clear of the landing-to-door path.\n- (S2) clothesline — Run the clothesline across the roof surface close enough to the approach path that hanging or dried leaves can brush a passerby.\n- (S3) wooden drying bench with dried leaves — Place the wooden drying bench on the rooftop near the clothesline and along the path toward the iron door, carrying the dried leaves.\n- (S4) low-angle night light-source position — Mark a low-angle light-source position affecting the rooftop path, only to support the long-shadow cue and without assigning any broader colour mood.\n\nMedia: clean monochrome concept sketch — confident dark\n\nink/pencil linework, light hatching for shade, plain white\n\nbackground. No colour fills, no photo textures, no people, no\n\nvehicles. Besides the circled codes there is NO text at all — no\n\nzone labels, no notes, no compass, no title.\n\nThe result must be a PERSPECTIVE drawing — not a top-down plan."}
{"ts": "2026-07-08 20:56:40", "kind": "img", "engine": "gpt-image-2", "mode": "edit", "tag": "s27_sketch_mapnb2_i2_i2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/forest_map/detail_mapnb2_i2.png"], "size": "1024x1024", "attempt": 1, "dur_s": 178.3, "bytes": 1851340, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/forest_map/sketch_mapnb2_i2_by_i2.png", "prompt": "Convert the attached top-down architectural plan (the FIRST\n\nattached image — the layout source of truth) into ONE 45-degree\n\nhigh-angle aerial PERSPECTIVE SKETCH of the same filming\n\nproperty.\n\nCamera: elevated three-quarter aerial view from the alley side\n\n(the plan's bottom edge), high enough that the whole property —\n\nalley approach, gate, yard, external stair, the building mass and\n\nits rooftop deck with the rooftop-room unit — fits in one frame,\n\nlooking across the yard toward the building.\n\nGeometry: keep every structure's position, footprint, proportion\n\nand opening exactly where the plan draws them; give each\n\nstructure plausible modest volume consistent with the plan (the\n\nbuilding is a plain low-rise block carrying the rooftop-room unit\n\non its roof deck). The exterior stair is a later-added steel\n\nretrofit stair — open treads, thin steel plate stringers, support\n\nposts, pipe railings (creator-confirmed fact). Do not invent\n\nweather, atmosphere, materials or measurements beyond this.\n\nLAYOUT DETAIL (the content ground truth):\nBegin the detail sketch from the alley approach at the bottom, with the route leading straight to the gate on the property frontage. Immediately inside the gate, draw the yard as the first usable space, with the main path continuing toward the exterior stair. Put the secluded bicycle corner off that main path so it reads as a tucked-away part of the yard rather than the open center. Set the building footprint along the yard edge, and attach the exterior steel retrofit stair to the outside wall so its foot is reachable from the yard. Carry the stair upward to the rooftop landing, and make the landing face the iron door without obstruction. On the roof, draw the path from landing to iron door passing beside the clothesline and the wooden drying bench with dried leaves. Place the water tank as another rooftop object on the same roof surface, not blocking the landing-to-door approach. Draw the rooftop-room unit behind the iron door, with its window set oriented so the window-to-low-wall sightline can be understood. If the light-source position is shown, keep it as a functional low-angle source for shadows only, not as a general mood or material cue.\n\nCIRCLED MARKERS: reproduce EVERY circled code below as a small\n\nwhite circle with a thin black ring, attached to the same element\n\nin the sketch:\n- (P1) alley approach — Show the alley approach at the lower edge of the detail sketch, leading directly toward the filming property gate and able to support bicycle movement.\n- (P2) multi-family villa gate — Place the gate on the alley frontage so that opening it leads directly into the property yard.\n- (P3) yard — Draw the yard immediately inside the gate, between the alley entry and the exterior stair route.\n- (P4) secluded bicycle corner — Set a tucked-away corner within the yard where a bicycle can be left roughly, separated from the main gate-to-stair path.\n- (Q1) rooftop-room building footprint — Place the aged multi-family villa footprint along the yard, carrying the rooftop-room level above.\n- (Q2) exterior steel retrofit stair run — Attach the exterior steel retrofit stair to the building wall, starting from the yard and rising outside the building toward the rooftop landing.\n- (Q3) upper stair landing — Place the landing at the top of the exterior stair where the iron entrance door is immediately visible.\n- (R1) landing-to-door roof path — Draw the roof path from the landing toward the iron door so it passes beside the bench area and the clothesline area.\n- (R2) iron entrance door — Set the iron door on the rooftop-room unit facing the landing path; include the door-gap flyer detail and allow it to be shown partly open.\n- (R3) rooftop-room unit — Place the rooftop-room unit on the roof surface, connected to the iron entrance door and containing the indicated window openings.\n- (R4) rooftop-room window set — Mark the small living-room window and the curtained room window on the rooftop-room unit, with at least one window oriented for the low-wall sightline.\n- (S1) water tank — Place the water tank on the roof surface near the rooftop deck contents, clear of the landing-to-door path.\n- (S2) clothesline — Run the clothesline across the roof surface close enough to the approach path that hanging or dried leaves can brush a passerby.\n- (S3) wooden drying bench with dried leaves — Place the wooden drying bench on the rooftop near the clothesline and along the path toward the iron door, carrying the dried leaves.\n- (S4) low-angle night light-source position — Mark a low-angle light-source position affecting the rooftop path, only to support the long-shadow cue and without assigning any broader colour mood.\n\nMedia: clean monochrome concept sketch — confident dark\n\nink/pencil linework, light hatching for shade, plain white\n\nbackground. No colour fills, no photo textures, no people, no\n\nvehicles. Besides the circled codes there is NO text at all — no\n\nzone labels, no notes, no compass, no title.\n\nThe result must be a PERSPECTIVE drawing — not a top-down plan."}
{"ts": "2026-07-08 20:56:57", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s27_sketch_mapnb2_i2_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/forest_map/detail_mapnb2_i2.png"], "ref_labels": ["ARCHITECTURAL PLAN — the layout source of truth for the perspective sketch"], "attempt": 1, "dur_s": 16.8, "bytes": 1317630, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/forest_map/sketch_mapnb2_i2_by_nb2.png", "prompt": "Convert the attached top-down architectural plan (the FIRST\n\nattached image — the layout source of truth) into ONE 45-degree\n\nhigh-angle aerial PERSPECTIVE SKETCH of the same filming\n\nproperty.\n\nCamera: elevated three-quarter aerial view from the alley side\n\n(the plan's bottom edge), high enough that the whole property —\n\nalley approach, gate, yard, external stair, the building mass and\n\nits rooftop deck with the rooftop-room unit — fits in one frame,\n\nlooking across the yard toward the building.\n\nGeometry: keep every structure's position, footprint, proportion\n\nand opening exactly where the plan draws them; give each\n\nstructure plausible modest volume consistent with the plan (the\n\nbuilding is a plain low-rise block carrying the rooftop-room unit\n\non its roof deck). The exterior stair is a later-added steel\n\nretrofit stair — open treads, thin steel plate stringers, support\n\nposts, pipe railings (creator-confirmed fact). Do not invent\n\nweather, atmosphere, materials or measurements beyond this.\n\nLAYOUT DETAIL (the content ground truth):\nBegin the detail sketch from the alley approach at the bottom, with the route leading straight to the gate on the property frontage. Immediately inside the gate, draw the yard as the first usable space, with the main path continuing toward the exterior stair. Put the secluded bicycle corner off that main path so it reads as a tucked-away part of the yard rather than the open center. Set the building footprint along the yard edge, and attach the exterior steel retrofit stair to the outside wall so its foot is reachable from the yard. Carry the stair upward to the rooftop landing, and make the landing face the iron door without obstruction. On the roof, draw the path from landing to iron door passing beside the clothesline and the wooden drying bench with dried leaves. Place the water tank as another rooftop object on the same roof surface, not blocking the landing-to-door approach. Draw the rooftop-room unit behind the iron door, with its window set oriented so the window-to-low-wall sightline can be understood. If the light-source position is shown, keep it as a functional low-angle source for shadows only, not as a general mood or material cue.\n\nCIRCLED MARKERS: reproduce EVERY circled code below as a small\n\nwhite circle with a thin black ring, attached to the same element\n\nin the sketch:\n- (P1) alley approach — Show the alley approach at the lower edge of the detail sketch, leading directly toward the filming property gate and able to support bicycle movement.\n- (P2) multi-family villa gate — Place the gate on the alley frontage so that opening it leads directly into the property yard.\n- (P3) yard — Draw the yard immediately inside the gate, between the alley entry and the exterior stair route.\n- (P4) secluded bicycle corner — Set a tucked-away corner within the yard where a bicycle can be left roughly, separated from the main gate-to-stair path.\n- (Q1) rooftop-room building footprint — Place the aged multi-family villa footprint along the yard, carrying the rooftop-room level above.\n- (Q2) exterior steel retrofit stair run — Attach the exterior steel retrofit stair to the building wall, starting from the yard and rising outside the building toward the rooftop landing.\n- (Q3) upper stair landing — Place the landing at the top of the exterior stair where the iron entrance door is immediately visible.\n- (R1) landing-to-door roof path — Draw the roof path from the landing toward the iron door so it passes beside the bench area and the clothesline area.\n- (R2) iron entrance door — Set the iron door on the rooftop-room unit facing the landing path; include the door-gap flyer detail and allow it to be shown partly open.\n- (R3) rooftop-room unit — Place the rooftop-room unit on the roof surface, connected to the iron entrance door and containing the indicated window openings.\n- (R4) rooftop-room window set — Mark the small living-room window and the curtained room window on the rooftop-room unit, with at least one window oriented for the low-wall sightline.\n- (S1) water tank — Place the water tank on the roof surface near the rooftop deck contents, clear of the landing-to-door path.\n- (S2) clothesline — Run the clothesline across the roof surface close enough to the approach path that hanging or dried leaves can brush a passerby.\n- (S3) wooden drying bench with dried leaves — Place the wooden drying bench on the rooftop near the clothesline and along the path toward the iron door, carrying the dried leaves.\n- (S4) low-angle night light-source position — Mark a low-angle light-source position affecting the rooftop path, only to support the long-shadow cue and without assigning any broader colour mood.\n\nMedia: clean monochrome concept sketch — confident dark\n\nink/pencil linework, light hatching for shade, plain white\n\nbackground. No colour fills, no photo textures, no people, no\n\nvehicles. Besides the circled codes there is NO text at all — no\n\nzone labels, no notes, no compass, no title.\n\nThe result must be a PERSPECTIVE drawing — not a top-down plan."}
{"ts": "2026-07-08 20:59:58", "kind": "img", "engine": "gpt-image-2", "mode": "edit", "tag": "s27_sketch_mapnb2_nb2_i2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/forest_map/detail_mapnb2_nb2.png"], "size": "1024x1024", "attempt": 1, "dur_s": 181.4, "bytes": 2095540, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/forest_map/sketch_mapnb2_nb2_by_i2.png", "prompt": "Convert the attached top-down architectural plan (the FIRST\n\nattached image — the layout source of truth) into ONE 45-degree\n\nhigh-angle aerial PERSPECTIVE SKETCH of the same filming\n\nproperty.\n\nCamera: elevated three-quarter aerial view from the alley side\n\n(the plan's bottom edge), high enough that the whole property —\n\nalley approach, gate, yard, external stair, the building mass and\n\nits rooftop deck with the rooftop-room unit — fits in one frame,\n\nlooking across the yard toward the building.\n\nGeometry: keep every structure's position, footprint, proportion\n\nand opening exactly where the plan draws them; give each\n\nstructure plausible modest volume consistent with the plan (the\n\nbuilding is a plain low-rise block carrying the rooftop-room unit\n\non its roof deck). The exterior stair is a later-added steel\n\nretrofit stair — open treads, thin steel plate stringers, support\n\nposts, pipe railings (creator-confirmed fact). Do not invent\n\nweather, atmosphere, materials or measurements beyond this.\n\nLAYOUT DETAIL (the content ground truth):\nBegin the detail sketch from the alley approach at the bottom, with the route leading straight to the gate on the property frontage. Immediately inside the gate, draw the yard as the first usable space, with the main path continuing toward the exterior stair. Put the secluded bicycle corner off that main path so it reads as a tucked-away part of the yard rather than the open center. Set the building footprint along the yard edge, and attach the exterior steel retrofit stair to the outside wall so its foot is reachable from the yard. Carry the stair upward to the rooftop landing, and make the landing face the iron door without obstruction. On the roof, draw the path from landing to iron door passing beside the clothesline and the wooden drying bench with dried leaves. Place the water tank as another rooftop object on the same roof surface, not blocking the landing-to-door approach. Draw the rooftop-room unit behind the iron door, with its window set oriented so the window-to-low-wall sightline can be understood. If the light-source position is shown, keep it as a functional low-angle source for shadows only, not as a general mood or material cue.\n\nCIRCLED MARKERS: reproduce EVERY circled code below as a small\n\nwhite circle with a thin black ring, attached to the same element\n\nin the sketch:\n- (P1) alley approach — Show the alley approach at the lower edge of the detail sketch, leading directly toward the filming property gate and able to support bicycle movement.\n- (P2) multi-family villa gate — Place the gate on the alley frontage so that opening it leads directly into the property yard.\n- (P3) yard — Draw the yard immediately inside the gate, between the alley entry and the exterior stair route.\n- (P4) secluded bicycle corner — Set a tucked-away corner within the yard where a bicycle can be left roughly, separated from the main gate-to-stair path.\n- (Q1) rooftop-room building footprint — Place the aged multi-family villa footprint along the yard, carrying the rooftop-room level above.\n- (Q2) exterior steel retrofit stair run — Attach the exterior steel retrofit stair to the building wall, starting from the yard and rising outside the building toward the rooftop landing.\n- (Q3) upper stair landing — Place the landing at the top of the exterior stair where the iron entrance door is immediately visible.\n- (R1) landing-to-door roof path — Draw the roof path from the landing toward the iron door so it passes beside the bench area and the clothesline area.\n- (R2) iron entrance door — Set the iron door on the rooftop-room unit facing the landing path; include the door-gap flyer detail and allow it to be shown partly open.\n- (R3) rooftop-room unit — Place the rooftop-room unit on the roof surface, connected to the iron entrance door and containing the indicated window openings.\n- (R4) rooftop-room window set — Mark the small living-room window and the curtained room window on the rooftop-room unit, with at least one window oriented for the low-wall sightline.\n- (S1) water tank — Place the water tank on the roof surface near the rooftop deck contents, clear of the landing-to-door path.\n- (S2) clothesline — Run the clothesline across the roof surface close enough to the approach path that hanging or dried leaves can brush a passerby.\n- (S3) wooden drying bench with dried leaves — Place the wooden drying bench on the rooftop near the clothesline and along the path toward the iron door, carrying the dried leaves.\n- (S4) low-angle night light-source position — Mark a low-angle light-source position affecting the rooftop path, only to support the long-shadow cue and without assigning any broader colour mood.\n\nMedia: clean monochrome concept sketch — confident dark\n\nink/pencil linework, light hatching for shade, plain white\n\nbackground. No colour fills, no photo textures, no people, no\n\nvehicles. Besides the circled codes there is NO text at all — no\n\nzone labels, no notes, no compass, no title.\n\nThe result must be a PERSPECTIVE drawing — not a top-down plan."}
{"ts": "2026-07-08 21:00:18", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s27_sketch_mapnb2_nb2_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/forest_map/detail_mapnb2_nb2.png"], "ref_labels": ["ARCHITECTURAL PLAN — the layout source of truth for the perspective sketch"], "attempt": 1, "dur_s": 20.2, "bytes": 1781393, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/forest_map/sketch_mapnb2_nb2_by_nb2.png", "prompt": "Convert the attached top-down architectural plan (the FIRST\n\nattached image — the layout source of truth) into ONE 45-degree\n\nhigh-angle aerial PERSPECTIVE SKETCH of the same filming\n\nproperty.\n\nCamera: elevated three-quarter aerial view from the alley side\n\n(the plan's bottom edge), high enough that the whole property —\n\nalley approach, gate, yard, external stair, the building mass and\n\nits rooftop deck with the rooftop-room unit — fits in one frame,\n\nlooking across the yard toward the building.\n\nGeometry: keep every structure's position, footprint, proportion\n\nand opening exactly where the plan draws them; give each\n\nstructure plausible modest volume consistent with the plan (the\n\nbuilding is a plain low-rise block carrying the rooftop-room unit\n\non its roof deck). The exterior stair is a later-added steel\n\nretrofit stair — open treads, thin steel plate stringers, support\n\nposts, pipe railings (creator-confirmed fact). Do not invent\n\nweather, atmosphere, materials or measurements beyond this.\n\nLAYOUT DETAIL (the content ground truth):\nBegin the detail sketch from the alley approach at the bottom, with the route leading straight to the gate on the property frontage. Immediately inside the gate, draw the yard as the first usable space, with the main path continuing toward the exterior stair. Put the secluded bicycle corner off that main path so it reads as a tucked-away part of the yard rather than the open center. Set the building footprint along the yard edge, and attach the exterior steel retrofit stair to the outside wall so its foot is reachable from the yard. Carry the stair upward to the rooftop landing, and make the landing face the iron door without obstruction. On the roof, draw the path from landing to iron door passing beside the clothesline and the wooden drying bench with dried leaves. Place the water tank as another rooftop object on the same roof surface, not blocking the landing-to-door approach. Draw the rooftop-room unit behind the iron door, with its window set oriented so the window-to-low-wall sightline can be understood. If the light-source position is shown, keep it as a functional low-angle source for shadows only, not as a general mood or material cue.\n\nCIRCLED MARKERS: reproduce EVERY circled code below as a small\n\nwhite circle with a thin black ring, attached to the same element\n\nin the sketch:\n- (P1) alley approach — Show the alley approach at the lower edge of the detail sketch, leading directly toward the filming property gate and able to support bicycle movement.\n- (P2) multi-family villa gate — Place the gate on the alley frontage so that opening it leads directly into the property yard.\n- (P3) yard — Draw the yard immediately inside the gate, between the alley entry and the exterior stair route.\n- (P4) secluded bicycle corner — Set a tucked-away corner within the yard where a bicycle can be left roughly, separated from the main gate-to-stair path.\n- (Q1) rooftop-room building footprint — Place the aged multi-family villa footprint along the yard, carrying the rooftop-room level above.\n- (Q2) exterior steel retrofit stair run — Attach the exterior steel retrofit stair to the building wall, starting from the yard and rising outside the building toward the rooftop landing.\n- (Q3) upper stair landing — Place the landing at the top of the exterior stair where the iron entrance door is immediately visible.\n- (R1) landing-to-door roof path — Draw the roof path from the landing toward the iron door so it passes beside the bench area and the clothesline area.\n- (R2) iron entrance door — Set the iron door on the rooftop-room unit facing the landing path; include the door-gap flyer detail and allow it to be shown partly open.\n- (R3) rooftop-room unit — Place the rooftop-room unit on the roof surface, connected to the iron entrance door and containing the indicated window openings.\n- (R4) rooftop-room window set — Mark the small living-room window and the curtained room window on the rooftop-room unit, with at least one window oriented for the low-wall sightline.\n- (S1) water tank — Place the water tank on the roof surface near the rooftop deck contents, clear of the landing-to-door path.\n- (S2) clothesline — Run the clothesline across the roof surface close enough to the approach path that hanging or dried leaves can brush a passerby.\n- (S3) wooden drying bench with dried leaves — Place the wooden drying bench on the rooftop near the clothesline and along the path toward the iron door, carrying the dried leaves.\n- (S4) low-angle night light-source position — Mark a low-angle light-source position affecting the rooftop path, only to support the long-shadow cue and without assigning any broader colour mood.\n\nMedia: clean monochrome concept sketch — confident dark\n\nink/pencil linework, light hatching for shade, plain white\n\nbackground. No colour fills, no photo textures, no people, no\n\nvehicles. Besides the circled codes there is NO text at all — no\n\nzone labels, no notes, no compass, no title.\n\nThe result must be a PERSPECTIVE drawing — not a top-down plan."}
{"ts": "2026-07-08 21:28:26", "kind": "img", "engine": "gpt-image-2", "mode": "edit", "tag": "s27_sketch_mapi2_i2_i2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/forest_map/detail_mapi2_i2.png"], "size": "1024x1024", "attempt": 1, "dur_s": 192.6, "bytes": 2365133, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/forest_map/sketch_mapi2_i2_by_i2.png", "prompt": "Convert the attached top-down architectural plan (the FIRST\n\nattached image — the layout source of truth) into ONE 45-degree\n\nhigh-angle aerial PERSPECTIVE SKETCH of the same filming\n\nproperty.\n\nCamera: elevated three-quarter aerial view from the alley side\n\n(the plan's bottom edge), high enough that the whole property —\n\nalley approach, gate, yard, external stair, the building mass and\n\nits rooftop deck with the rooftop-room unit — fits in one frame,\n\nlooking across the yard toward the building.\n\nGeometry: keep every structure's position, footprint, proportion\n\nand opening exactly where the plan draws them — the plan fixes\n\nthe LAYOUT only; the VERTICAL SCALE comes from the block below.\n\nSCALE & MASSING (evidence-bound ground truth):\n\n- The main building is an aged MULTI-FAMILY VILLA of THREE full\n\n  storeys — its roof deck sits roughly 8-10 m above the yard.\n\n  NOT a single-storey building.\n\n- The rooftop-room unit stands on that roof deck as a small\n\n  fourth-level volume, clearly smaller than the floors below.\n\n- The exterior stair is a later-added steel retrofit stair that\n\n  climbs the FULL three storeys along the outer wall from the\n\n  yard to the rooftop landing — a long multi-flight zig-zag run\n\n  with intermediate landings, never a short single flight. Open\n\n  treads, thin steel plate stringers, support posts, pipe\n\n  railings (creator-confirmed fact).\n\n- Each of the three facade storeys shows a few modest windows of\n\n  the regional multi-family-villa type; the rooftop room keeps\n\n  its own small windows exactly as the plan places them.\n\n- Surrounding neighbour blocks stay dense low-rise context,\n\n  generally lower than or similar to the villa.\n\nDo not invent weather, atmosphere, materials or measurements\n\nbeyond this.\n\nLAYOUT DETAIL (the content ground truth):\nBegin the detail sketch from the alley approach at the bottom, with the route leading straight to the gate on the property frontage. Immediately inside the gate, draw the yard as the first usable space, with the main path continuing toward the exterior stair. Put the secluded bicycle corner off that main path so it reads as a tucked-away part of the yard rather than the open center. Set the building footprint along the yard edge, and attach the exterior steel retrofit stair to the outside wall so its foot is reachable from the yard. Carry the stair upward to the rooftop landing, and make the landing face the iron door without obstruction. On the roof, draw the path from landing to iron door passing beside the clothesline and the wooden drying bench with dried leaves. Place the water tank as another rooftop object on the same roof surface, not blocking the landing-to-door approach. Draw the rooftop-room unit behind the iron door, with its window set oriented so the window-to-low-wall sightline can be understood. If the light-source position is shown, keep it as a functional low-angle source for shadows only, not as a general mood or material cue.\n\nCIRCLED MARKERS: reproduce EVERY circled code below as a small\n\nwhite circle with a thin black ring, attached to the same element\n\nin the sketch:\n- (P1) alley approach — Show the alley approach at the lower edge of the detail sketch, leading directly toward the filming property gate and able to support bicycle movement.\n- (P2) multi-family villa gate — Place the gate on the alley frontage so that opening it leads directly into the property yard.\n- (P3) yard — Draw the yard immediately inside the gate, between the alley entry and the exterior stair route.\n- (P4) secluded bicycle corner — Set a tucked-away corner within the yard where a bicycle can be left roughly, separated from the main gate-to-stair path.\n- (Q1) rooftop-room building footprint — Place the aged multi-family villa footprint along the yard, carrying the rooftop-room level above.\n- (Q2) exterior steel retrofit stair run — Attach the exterior steel retrofit stair to the building wall, starting from the yard and rising outside the building toward the rooftop landing.\n- (Q3) upper stair landing — Place the landing at the top of the exterior stair where the iron entrance door is immediately visible.\n- (R1) landing-to-door roof path — Draw the roof path from the landing toward the iron door so it passes beside the bench area and the clothesline area.\n- (R2) iron entrance door — Set the iron door on the rooftop-room unit facing the landing path; include the door-gap flyer detail and allow it to be shown partly open.\n- (R3) rooftop-room unit — Place the rooftop-room unit on the roof surface, connected to the iron entrance door and containing the indicated window openings.\n- (R4) rooftop-room window set — Mark the small living-room window and the curtained room window on the rooftop-room unit, with at least one window oriented for the low-wall sightline.\n- (S1) water tank — Place the water tank on the roof surface near the rooftop deck contents, clear of the landing-to-door path.\n- (S2) clothesline — Run the clothesline across the roof surface close enough to the approach path that hanging or dried leaves can brush a passerby.\n- (S3) wooden drying bench with dried leaves — Place the wooden drying bench on the rooftop near the clothesline and along the path toward the iron door, carrying the dried leaves.\n- (S4) low-angle night light-source position — Mark a low-angle light-source position affecting the rooftop path, only to support the long-shadow cue and without assigning any broader colour mood.\n\nMedia: clean monochrome concept sketch — confident dark\n\nink/pencil linework, light hatching for shade, plain white\n\nbackground. No colour fills, no photo textures, no people, no\n\nvehicles. Besides the circled codes there is NO text at all — no\n\nzone labels, no notes, no compass, no title.\n\nThe result must be a PERSPECTIVE drawing — not a top-down plan."}
{"ts": "2026-07-08 21:28:42", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s27_sketch_mapi2_i2_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/forest_map/detail_mapi2_i2.png"], "ref_labels": ["ARCHITECTURAL PLAN — the layout source of truth for the perspective sketch"], "attempt": 1, "dur_s": 15.7, "bytes": 2064771, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/forest_map/sketch_mapi2_i2_by_nb2.png", "prompt": "Convert the attached top-down architectural plan (the FIRST\n\nattached image — the layout source of truth) into ONE 45-degree\n\nhigh-angle aerial PERSPECTIVE SKETCH of the same filming\n\nproperty.\n\nCamera: elevated three-quarter aerial view from the alley side\n\n(the plan's bottom edge), high enough that the whole property —\n\nalley approach, gate, yard, external stair, the building mass and\n\nits rooftop deck with the rooftop-room unit — fits in one frame,\n\nlooking across the yard toward the building.\n\nGeometry: keep every structure's position, footprint, proportion\n\nand opening exactly where the plan draws them — the plan fixes\n\nthe LAYOUT only; the VERTICAL SCALE comes from the block below.\n\nSCALE & MASSING (evidence-bound ground truth):\n\n- The main building is an aged MULTI-FAMILY VILLA of THREE full\n\n  storeys — its roof deck sits roughly 8-10 m above the yard.\n\n  NOT a single-storey building.\n\n- The rooftop-room unit stands on that roof deck as a small\n\n  fourth-level volume, clearly smaller than the floors below.\n\n- The exterior stair is a later-added steel retrofit stair that\n\n  climbs the FULL three storeys along the outer wall from the\n\n  yard to the rooftop landing — a long multi-flight zig-zag run\n\n  with intermediate landings, never a short single flight. Open\n\n  treads, thin steel plate stringers, support posts, pipe\n\n  railings (creator-confirmed fact).\n\n- Each of the three facade storeys shows a few modest windows of\n\n  the regional multi-family-villa type; the rooftop room keeps\n\n  its own small windows exactly as the plan places them.\n\n- Surrounding neighbour blocks stay dense low-rise context,\n\n  generally lower than or similar to the villa.\n\nDo not invent weather, atmosphere, materials or measurements\n\nbeyond this.\n\nLAYOUT DETAIL (the content ground truth):\nBegin the detail sketch from the alley approach at the bottom, with the route leading straight to the gate on the property frontage. Immediately inside the gate, draw the yard as the first usable space, with the main path continuing toward the exterior stair. Put the secluded bicycle corner off that main path so it reads as a tucked-away part of the yard rather than the open center. Set the building footprint along the yard edge, and attach the exterior steel retrofit stair to the outside wall so its foot is reachable from the yard. Carry the stair upward to the rooftop landing, and make the landing face the iron door without obstruction. On the roof, draw the path from landing to iron door passing beside the clothesline and the wooden drying bench with dried leaves. Place the water tank as another rooftop object on the same roof surface, not blocking the landing-to-door approach. Draw the rooftop-room unit behind the iron door, with its window set oriented so the window-to-low-wall sightline can be understood. If the light-source position is shown, keep it as a functional low-angle source for shadows only, not as a general mood or material cue.\n\nCIRCLED MARKERS: reproduce EVERY circled code below as a small\n\nwhite circle with a thin black ring, attached to the same element\n\nin the sketch:\n- (P1) alley approach — Show the alley approach at the lower edge of the detail sketch, leading directly toward the filming property gate and able to support bicycle movement.\n- (P2) multi-family villa gate — Place the gate on the alley frontage so that opening it leads directly into the property yard.\n- (P3) yard — Draw the yard immediately inside the gate, between the alley entry and the exterior stair route.\n- (P4) secluded bicycle corner — Set a tucked-away corner within the yard where a bicycle can be left roughly, separated from the main gate-to-stair path.\n- (Q1) rooftop-room building footprint — Place the aged multi-family villa footprint along the yard, carrying the rooftop-room level above.\n- (Q2) exterior steel retrofit stair run — Attach the exterior steel retrofit stair to the building wall, starting from the yard and rising outside the building toward the rooftop landing.\n- (Q3) upper stair landing — Place the landing at the top of the exterior stair where the iron entrance door is immediately visible.\n- (R1) landing-to-door roof path — Draw the roof path from the landing toward the iron door so it passes beside the bench area and the clothesline area.\n- (R2) iron entrance door — Set the iron door on the rooftop-room unit facing the landing path; include the door-gap flyer detail and allow it to be shown partly open.\n- (R3) rooftop-room unit — Place the rooftop-room unit on the roof surface, connected to the iron entrance door and containing the indicated window openings.\n- (R4) rooftop-room window set — Mark the small living-room window and the curtained room window on the rooftop-room unit, with at least one window oriented for the low-wall sightline.\n- (S1) water tank — Place the water tank on the roof surface near the rooftop deck contents, clear of the landing-to-door path.\n- (S2) clothesline — Run the clothesline across the roof surface close enough to the approach path that hanging or dried leaves can brush a passerby.\n- (S3) wooden drying bench with dried leaves — Place the wooden drying bench on the rooftop near the clothesline and along the path toward the iron door, carrying the dried leaves.\n- (S4) low-angle night light-source position — Mark a low-angle light-source position affecting the rooftop path, only to support the long-shadow cue and without assigning any broader colour mood.\n\nMedia: clean monochrome concept sketch — confident dark\n\nink/pencil linework, light hatching for shade, plain white\n\nbackground. No colour fills, no photo textures, no people, no\n\nvehicles. Besides the circled codes there is NO text at all — no\n\nzone labels, no notes, no compass, no title.\n\nThe result must be a PERSPECTIVE drawing — not a top-down plan."}
{"ts": "2026-07-08 21:32:16", "kind": "img", "engine": "gpt-image-2", "mode": "edit", "tag": "s27_sketch_mapi2_nb2_i2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/forest_map/detail_mapi2_nb2.png"], "size": "1024x1024", "attempt": 1, "dur_s": 213.4, "bytes": 2444808, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/forest_map/sketch_mapi2_nb2_by_i2.png", "prompt": "Convert the attached top-down architectural plan (the FIRST\n\nattached image — the layout source of truth) into ONE 45-degree\n\nhigh-angle aerial PERSPECTIVE SKETCH of the same filming\n\nproperty.\n\nCamera: elevated three-quarter aerial view from the alley side\n\n(the plan's bottom edge), high enough that the whole property —\n\nalley approach, gate, yard, external stair, the building mass and\n\nits rooftop deck with the rooftop-room unit — fits in one frame,\n\nlooking across the yard toward the building.\n\nGeometry: keep every structure's position, footprint, proportion\n\nand opening exactly where the plan draws them — the plan fixes\n\nthe LAYOUT only; the VERTICAL SCALE comes from the block below.\n\nSCALE & MASSING (evidence-bound ground truth):\n\n- The main building is an aged MULTI-FAMILY VILLA of THREE full\n\n  storeys — its roof deck sits roughly 8-10 m above the yard.\n\n  NOT a single-storey building.\n\n- The rooftop-room unit stands on that roof deck as a small\n\n  fourth-level volume, clearly smaller than the floors below.\n\n- The exterior stair is a later-added steel retrofit stair that\n\n  climbs the FULL three storeys along the outer wall from the\n\n  yard to the rooftop landing — a long multi-flight zig-zag run\n\n  with intermediate landings, never a short single flight. Open\n\n  treads, thin steel plate stringers, support posts, pipe\n\n  railings (creator-confirmed fact).\n\n- Each of the three facade storeys shows a few modest windows of\n\n  the regional multi-family-villa type; the rooftop room keeps\n\n  its own small windows exactly as the plan places them.\n\n- Surrounding neighbour blocks stay dense low-rise context,\n\n  generally lower than or similar to the villa.\n\nDo not invent weather, atmosphere, materials or measurements\n\nbeyond this.\n\nLAYOUT DETAIL (the content ground truth):\nBegin the detail sketch from the alley approach at the bottom, with the route leading straight to the gate on the property frontage. Immediately inside the gate, draw the yard as the first usable space, with the main path continuing toward the exterior stair. Put the secluded bicycle corner off that main path so it reads as a tucked-away part of the yard rather than the open center. Set the building footprint along the yard edge, and attach the exterior steel retrofit stair to the outside wall so its foot is reachable from the yard. Carry the stair upward to the rooftop landing, and make the landing face the iron door without obstruction. On the roof, draw the path from landing to iron door passing beside the clothesline and the wooden drying bench with dried leaves. Place the water tank as another rooftop object on the same roof surface, not blocking the landing-to-door approach. Draw the rooftop-room unit behind the iron door, with its window set oriented so the window-to-low-wall sightline can be understood. If the light-source position is shown, keep it as a functional low-angle source for shadows only, not as a general mood or material cue.\n\nCIRCLED MARKERS: reproduce EVERY circled code below as a small\n\nwhite circle with a thin black ring, attached to the same element\n\nin the sketch:\n- (P1) alley approach — Show the alley approach at the lower edge of the detail sketch, leading directly toward the filming property gate and able to support bicycle movement.\n- (P2) multi-family villa gate — Place the gate on the alley frontage so that opening it leads directly into the property yard.\n- (P3) yard — Draw the yard immediately inside the gate, between the alley entry and the exterior stair route.\n- (P4) secluded bicycle corner — Set a tucked-away corner within the yard where a bicycle can be left roughly, separated from the main gate-to-stair path.\n- (Q1) rooftop-room building footprint — Place the aged multi-family villa footprint along the yard, carrying the rooftop-room level above.\n- (Q2) exterior steel retrofit stair run — Attach the exterior steel retrofit stair to the building wall, starting from the yard and rising outside the building toward the rooftop landing.\n- (Q3) upper stair landing — Place the landing at the top of the exterior stair where the iron entrance door is immediately visible.\n- (R1) landing-to-door roof path — Draw the roof path from the landing toward the iron door so it passes beside the bench area and the clothesline area.\n- (R2) iron entrance door — Set the iron door on the rooftop-room unit facing the landing path; include the door-gap flyer detail and allow it to be shown partly open.\n- (R3) rooftop-room unit — Place the rooftop-room unit on the roof surface, connected to the iron entrance door and containing the indicated window openings.\n- (R4) rooftop-room window set — Mark the small living-room window and the curtained room window on the rooftop-room unit, with at least one window oriented for the low-wall sightline.\n- (S1) water tank — Place the water tank on the roof surface near the rooftop deck contents, clear of the landing-to-door path.\n- (S2) clothesline — Run the clothesline across the roof surface close enough to the approach path that hanging or dried leaves can brush a passerby.\n- (S3) wooden drying bench with dried leaves — Place the wooden drying bench on the rooftop near the clothesline and along the path toward the iron door, carrying the dried leaves.\n- (S4) low-angle night light-source position — Mark a low-angle light-source position affecting the rooftop path, only to support the long-shadow cue and without assigning any broader colour mood.\n\nMedia: clean monochrome concept sketch — confident dark\n\nink/pencil linework, light hatching for shade, plain white\n\nbackground. No colour fills, no photo textures, no people, no\n\nvehicles. Besides the circled codes there is NO text at all — no\n\nzone labels, no notes, no compass, no title.\n\nThe result must be a PERSPECTIVE drawing — not a top-down plan."}
{"ts": "2026-07-08 21:32:35", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s27_sketch_mapi2_nb2_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/forest_map/detail_mapi2_nb2.png"], "ref_labels": ["ARCHITECTURAL PLAN — the layout source of truth for the perspective sketch"], "attempt": 1, "dur_s": 19.5, "bytes": 2189984, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/forest_map/sketch_mapi2_nb2_by_nb2.png", "prompt": "Convert the attached top-down architectural plan (the FIRST\n\nattached image — the layout source of truth) into ONE 45-degree\n\nhigh-angle aerial PERSPECTIVE SKETCH of the same filming\n\nproperty.\n\nCamera: elevated three-quarter aerial view from the alley side\n\n(the plan's bottom edge), high enough that the whole property —\n\nalley approach, gate, yard, external stair, the building mass and\n\nits rooftop deck with the rooftop-room unit — fits in one frame,\n\nlooking across the yard toward the building.\n\nGeometry: keep every structure's position, footprint, proportion\n\nand opening exactly where the plan draws them — the plan fixes\n\nthe LAYOUT only; the VERTICAL SCALE comes from the block below.\n\nSCALE & MASSING (evidence-bound ground truth):\n\n- The main building is an aged MULTI-FAMILY VILLA of THREE full\n\n  storeys — its roof deck sits roughly 8-10 m above the yard.\n\n  NOT a single-storey building.\n\n- The rooftop-room unit stands on that roof deck as a small\n\n  fourth-level volume, clearly smaller than the floors below.\n\n- The exterior stair is a later-added steel retrofit stair that\n\n  climbs the FULL three storeys along the outer wall from the\n\n  yard to the rooftop landing — a long multi-flight zig-zag run\n\n  with intermediate landings, never a short single flight. Open\n\n  treads, thin steel plate stringers, support posts, pipe\n\n  railings (creator-confirmed fact).\n\n- Each of the three facade storeys shows a few modest windows of\n\n  the regional multi-family-villa type; the rooftop room keeps\n\n  its own small windows exactly as the plan places them.\n\n- Surrounding neighbour blocks stay dense low-rise context,\n\n  generally lower than or similar to the villa.\n\nDo not invent weather, atmosphere, materials or measurements\n\nbeyond this.\n\nLAYOUT DETAIL (the content ground truth):\nBegin the detail sketch from the alley approach at the bottom, with the route leading straight to the gate on the property frontage. Immediately inside the gate, draw the yard as the first usable space, with the main path continuing toward the exterior stair. Put the secluded bicycle corner off that main path so it reads as a tucked-away part of the yard rather than the open center. Set the building footprint along the yard edge, and attach the exterior steel retrofit stair to the outside wall so its foot is reachable from the yard. Carry the stair upward to the rooftop landing, and make the landing face the iron door without obstruction. On the roof, draw the path from landing to iron door passing beside the clothesline and the wooden drying bench with dried leaves. Place the water tank as another rooftop object on the same roof surface, not blocking the landing-to-door approach. Draw the rooftop-room unit behind the iron door, with its window set oriented so the window-to-low-wall sightline can be understood. If the light-source position is shown, keep it as a functional low-angle source for shadows only, not as a general mood or material cue.\n\nCIRCLED MARKERS: reproduce EVERY circled code below as a small\n\nwhite circle with a thin black ring, attached to the same element\n\nin the sketch:\n- (P1) alley approach — Show the alley approach at the lower edge of the detail sketch, leading directly toward the filming property gate and able to support bicycle movement.\n- (P2) multi-family villa gate — Place the gate on the alley frontage so that opening it leads directly into the property yard.\n- (P3) yard — Draw the yard immediately inside the gate, between the alley entry and the exterior stair route.\n- (P4) secluded bicycle corner — Set a tucked-away corner within the yard where a bicycle can be left roughly, separated from the main gate-to-stair path.\n- (Q1) rooftop-room building footprint — Place the aged multi-family villa footprint along the yard, carrying the rooftop-room level above.\n- (Q2) exterior steel retrofit stair run — Attach the exterior steel retrofit stair to the building wall, starting from the yard and rising outside the building toward the rooftop landing.\n- (Q3) upper stair landing — Place the landing at the top of the exterior stair where the iron entrance door is immediately visible.\n- (R1) landing-to-door roof path — Draw the roof path from the landing toward the iron door so it passes beside the bench area and the clothesline area.\n- (R2) iron entrance door — Set the iron door on the rooftop-room unit facing the landing path; include the door-gap flyer detail and allow it to be shown partly open.\n- (R3) rooftop-room unit — Place the rooftop-room unit on the roof surface, connected to the iron entrance door and containing the indicated window openings.\n- (R4) rooftop-room window set — Mark the small living-room window and the curtained room window on the rooftop-room unit, with at least one window oriented for the low-wall sightline.\n- (S1) water tank — Place the water tank on the roof surface near the rooftop deck contents, clear of the landing-to-door path.\n- (S2) clothesline — Run the clothesline across the roof surface close enough to the approach path that hanging or dried leaves can brush a passerby.\n- (S3) wooden drying bench with dried leaves — Place the wooden drying bench on the rooftop near the clothesline and along the path toward the iron door, carrying the dried leaves.\n- (S4) low-angle night light-source position — Mark a low-angle light-source position affecting the rooftop path, only to support the long-shadow cue and without assigning any broader colour mood.\n\nMedia: clean monochrome concept sketch — confident dark\n\nink/pencil linework, light hatching for shade, plain white\n\nbackground. No colour fills, no photo textures, no people, no\n\nvehicles. Besides the circled codes there is NO text at all — no\n\nzone labels, no notes, no compass, no title.\n\nThe result must be a PERSPECTIVE drawing — not a top-down plan."}
{"ts": "2026-07-08 21:35:39", "kind": "img", "engine": "gpt-image-2", "mode": "edit", "tag": "s27_sketch_mapnb2_i2_i2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/forest_map/detail_mapnb2_i2.png"], "size": "1024x1024", "attempt": 1, "dur_s": 183.6, "bytes": 2264132, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/forest_map/sketch_mapnb2_i2_by_i2.png", "prompt": "Convert the attached top-down architectural plan (the FIRST\n\nattached image — the layout source of truth) into ONE 45-degree\n\nhigh-angle aerial PERSPECTIVE SKETCH of the same filming\n\nproperty.\n\nCamera: elevated three-quarter aerial view from the alley side\n\n(the plan's bottom edge), high enough that the whole property —\n\nalley approach, gate, yard, external stair, the building mass and\n\nits rooftop deck with the rooftop-room unit — fits in one frame,\n\nlooking across the yard toward the building.\n\nGeometry: keep every structure's position, footprint, proportion\n\nand opening exactly where the plan draws them — the plan fixes\n\nthe LAYOUT only; the VERTICAL SCALE comes from the block below.\n\nSCALE & MASSING (evidence-bound ground truth):\n\n- The main building is an aged MULTI-FAMILY VILLA of THREE full\n\n  storeys — its roof deck sits roughly 8-10 m above the yard.\n\n  NOT a single-storey building.\n\n- The rooftop-room unit stands on that roof deck as a small\n\n  fourth-level volume, clearly smaller than the floors below.\n\n- The exterior stair is a later-added steel retrofit stair that\n\n  climbs the FULL three storeys along the outer wall from the\n\n  yard to the rooftop landing — a long multi-flight zig-zag run\n\n  with intermediate landings, never a short single flight. Open\n\n  treads, thin steel plate stringers, support posts, pipe\n\n  railings (creator-confirmed fact).\n\n- Each of the three facade storeys shows a few modest windows of\n\n  the regional multi-family-villa type; the rooftop room keeps\n\n  its own small windows exactly as the plan places them.\n\n- Surrounding neighbour blocks stay dense low-rise context,\n\n  generally lower than or similar to the villa.\n\nDo not invent weather, atmosphere, materials or measurements\n\nbeyond this.\n\nLAYOUT DETAIL (the content ground truth):\nBegin the detail sketch from the alley approach at the bottom, with the route leading straight to the gate on the property frontage. Immediately inside the gate, draw the yard as the first usable space, with the main path continuing toward the exterior stair. Put the secluded bicycle corner off that main path so it reads as a tucked-away part of the yard rather than the open center. Set the building footprint along the yard edge, and attach the exterior steel retrofit stair to the outside wall so its foot is reachable from the yard. Carry the stair upward to the rooftop landing, and make the landing face the iron door without obstruction. On the roof, draw the path from landing to iron door passing beside the clothesline and the wooden drying bench with dried leaves. Place the water tank as another rooftop object on the same roof surface, not blocking the landing-to-door approach. Draw the rooftop-room unit behind the iron door, with its window set oriented so the window-to-low-wall sightline can be understood. If the light-source position is shown, keep it as a functional low-angle source for shadows only, not as a general mood or material cue.\n\nCIRCLED MARKERS: reproduce EVERY circled code below as a small\n\nwhite circle with a thin black ring, attached to the same element\n\nin the sketch:\n- (P1) alley approach — Show the alley approach at the lower edge of the detail sketch, leading directly toward the filming property gate and able to support bicycle movement.\n- (P2) multi-family villa gate — Place the gate on the alley frontage so that opening it leads directly into the property yard.\n- (P3) yard — Draw the yard immediately inside the gate, between the alley entry and the exterior stair route.\n- (P4) secluded bicycle corner — Set a tucked-away corner within the yard where a bicycle can be left roughly, separated from the main gate-to-stair path.\n- (Q1) rooftop-room building footprint — Place the aged multi-family villa footprint along the yard, carrying the rooftop-room level above.\n- (Q2) exterior steel retrofit stair run — Attach the exterior steel retrofit stair to the building wall, starting from the yard and rising outside the building toward the rooftop landing.\n- (Q3) upper stair landing — Place the landing at the top of the exterior stair where the iron entrance door is immediately visible.\n- (R1) landing-to-door roof path — Draw the roof path from the landing toward the iron door so it passes beside the bench area and the clothesline area.\n- (R2) iron entrance door — Set the iron door on the rooftop-room unit facing the landing path; include the door-gap flyer detail and allow it to be shown partly open.\n- (R3) rooftop-room unit — Place the rooftop-room unit on the roof surface, connected to the iron entrance door and containing the indicated window openings.\n- (R4) rooftop-room window set — Mark the small living-room window and the curtained room window on the rooftop-room unit, with at least one window oriented for the low-wall sightline.\n- (S1) water tank — Place the water tank on the roof surface near the rooftop deck contents, clear of the landing-to-door path.\n- (S2) clothesline — Run the clothesline across the roof surface close enough to the approach path that hanging or dried leaves can brush a passerby.\n- (S3) wooden drying bench with dried leaves — Place the wooden drying bench on the rooftop near the clothesline and along the path toward the iron door, carrying the dried leaves.\n- (S4) low-angle night light-source position — Mark a low-angle light-source position affecting the rooftop path, only to support the long-shadow cue and without assigning any broader colour mood.\n\nMedia: clean monochrome concept sketch — confident dark\n\nink/pencil linework, light hatching for shade, plain white\n\nbackground. No colour fills, no photo textures, no people, no\n\nvehicles. Besides the circled codes there is NO text at all — no\n\nzone labels, no notes, no compass, no title.\n\nThe result must be a PERSPECTIVE drawing — not a top-down plan."}
{"ts": "2026-07-08 21:35:57", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s27_sketch_mapnb2_i2_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/forest_map/detail_mapnb2_i2.png"], "ref_labels": ["ARCHITECTURAL PLAN — the layout source of truth for the perspective sketch"], "attempt": 1, "dur_s": 18.4, "bytes": 1794023, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/forest_map/sketch_mapnb2_i2_by_nb2.png", "prompt": "Convert the attached top-down architectural plan (the FIRST\n\nattached image — the layout source of truth) into ONE 45-degree\n\nhigh-angle aerial PERSPECTIVE SKETCH of the same filming\n\nproperty.\n\nCamera: elevated three-quarter aerial view from the alley side\n\n(the plan's bottom edge), high enough that the whole property —\n\nalley approach, gate, yard, external stair, the building mass and\n\nits rooftop deck with the rooftop-room unit — fits in one frame,\n\nlooking across the yard toward the building.\n\nGeometry: keep every structure's position, footprint, proportion\n\nand opening exactly where the plan draws them — the plan fixes\n\nthe LAYOUT only; the VERTICAL SCALE comes from the block below.\n\nSCALE & MASSING (evidence-bound ground truth):\n\n- The main building is an aged MULTI-FAMILY VILLA of THREE full\n\n  storeys — its roof deck sits roughly 8-10 m above the yard.\n\n  NOT a single-storey building.\n\n- The rooftop-room unit stands on that roof deck as a small\n\n  fourth-level volume, clearly smaller than the floors below.\n\n- The exterior stair is a later-added steel retrofit stair that\n\n  climbs the FULL three storeys along the outer wall from the\n\n  yard to the rooftop landing — a long multi-flight zig-zag run\n\n  with intermediate landings, never a short single flight. Open\n\n  treads, thin steel plate stringers, support posts, pipe\n\n  railings (creator-confirmed fact).\n\n- Each of the three facade storeys shows a few modest windows of\n\n  the regional multi-family-villa type; the rooftop room keeps\n\n  its own small windows exactly as the plan places them.\n\n- Surrounding neighbour blocks stay dense low-rise context,\n\n  generally lower than or similar to the villa.\n\nDo not invent weather, atmosphere, materials or measurements\n\nbeyond this.\n\nLAYOUT DETAIL (the content ground truth):\nBegin the detail sketch from the alley approach at the bottom, with the route leading straight to the gate on the property frontage. Immediately inside the gate, draw the yard as the first usable space, with the main path continuing toward the exterior stair. Put the secluded bicycle corner off that main path so it reads as a tucked-away part of the yard rather than the open center. Set the building footprint along the yard edge, and attach the exterior steel retrofit stair to the outside wall so its foot is reachable from the yard. Carry the stair upward to the rooftop landing, and make the landing face the iron door without obstruction. On the roof, draw the path from landing to iron door passing beside the clothesline and the wooden drying bench with dried leaves. Place the water tank as another rooftop object on the same roof surface, not blocking the landing-to-door approach. Draw the rooftop-room unit behind the iron door, with its window set oriented so the window-to-low-wall sightline can be understood. If the light-source position is shown, keep it as a functional low-angle source for shadows only, not as a general mood or material cue.\n\nCIRCLED MARKERS: reproduce EVERY circled code below as a small\n\nwhite circle with a thin black ring, attached to the same element\n\nin the sketch:\n- (P1) alley approach — Show the alley approach at the lower edge of the detail sketch, leading directly toward the filming property gate and able to support bicycle movement.\n- (P2) multi-family villa gate — Place the gate on the alley frontage so that opening it leads directly into the property yard.\n- (P3) yard — Draw the yard immediately inside the gate, between the alley entry and the exterior stair route.\n- (P4) secluded bicycle corner — Set a tucked-away corner within the yard where a bicycle can be left roughly, separated from the main gate-to-stair path.\n- (Q1) rooftop-room building footprint — Place the aged multi-family villa footprint along the yard, carrying the rooftop-room level above.\n- (Q2) exterior steel retrofit stair run — Attach the exterior steel retrofit stair to the building wall, starting from the yard and rising outside the building toward the rooftop landing.\n- (Q3) upper stair landing — Place the landing at the top of the exterior stair where the iron entrance door is immediately visible.\n- (R1) landing-to-door roof path — Draw the roof path from the landing toward the iron door so it passes beside the bench area and the clothesline area.\n- (R2) iron entrance door — Set the iron door on the rooftop-room unit facing the landing path; include the door-gap flyer detail and allow it to be shown partly open.\n- (R3) rooftop-room unit — Place the rooftop-room unit on the roof surface, connected to the iron entrance door and containing the indicated window openings.\n- (R4) rooftop-room window set — Mark the small living-room window and the curtained room window on the rooftop-room unit, with at least one window oriented for the low-wall sightline.\n- (S1) water tank — Place the water tank on the roof surface near the rooftop deck contents, clear of the landing-to-door path.\n- (S2) clothesline — Run the clothesline across the roof surface close enough to the approach path that hanging or dried leaves can brush a passerby.\n- (S3) wooden drying bench with dried leaves — Place the wooden drying bench on the rooftop near the clothesline and along the path toward the iron door, carrying the dried leaves.\n- (S4) low-angle night light-source position — Mark a low-angle light-source position affecting the rooftop path, only to support the long-shadow cue and without assigning any broader colour mood.\n\nMedia: clean monochrome concept sketch — confident dark\n\nink/pencil linework, light hatching for shade, plain white\n\nbackground. No colour fills, no photo textures, no people, no\n\nvehicles. Besides the circled codes there is NO text at all — no\n\nzone labels, no notes, no compass, no title.\n\nThe result must be a PERSPECTIVE drawing — not a top-down plan."}
{"ts": "2026-07-08 21:39:09", "kind": "img", "engine": "gpt-image-2", "mode": "edit", "tag": "s27_sketch_mapnb2_nb2_i2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/forest_map/detail_mapnb2_nb2.png"], "size": "1024x1024", "attempt": 1, "dur_s": 192.1, "bytes": 2287413, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/forest_map/sketch_mapnb2_nb2_by_i2.png", "prompt": "Convert the attached top-down architectural plan (the FIRST\n\nattached image — the layout source of truth) into ONE 45-degree\n\nhigh-angle aerial PERSPECTIVE SKETCH of the same filming\n\nproperty.\n\nCamera: elevated three-quarter aerial view from the alley side\n\n(the plan's bottom edge), high enough that the whole property —\n\nalley approach, gate, yard, external stair, the building mass and\n\nits rooftop deck with the rooftop-room unit — fits in one frame,\n\nlooking across the yard toward the building.\n\nGeometry: keep every structure's position, footprint, proportion\n\nand opening exactly where the plan draws them — the plan fixes\n\nthe LAYOUT only; the VERTICAL SCALE comes from the block below.\n\nSCALE & MASSING (evidence-bound ground truth):\n\n- The main building is an aged MULTI-FAMILY VILLA of THREE full\n\n  storeys — its roof deck sits roughly 8-10 m above the yard.\n\n  NOT a single-storey building.\n\n- The rooftop-room unit stands on that roof deck as a small\n\n  fourth-level volume, clearly smaller than the floors below.\n\n- The exterior stair is a later-added steel retrofit stair that\n\n  climbs the FULL three storeys along the outer wall from the\n\n  yard to the rooftop landing — a long multi-flight zig-zag run\n\n  with intermediate landings, never a short single flight. Open\n\n  treads, thin steel plate stringers, support posts, pipe\n\n  railings (creator-confirmed fact).\n\n- Each of the three facade storeys shows a few modest windows of\n\n  the regional multi-family-villa type; the rooftop room keeps\n\n  its own small windows exactly as the plan places them.\n\n- Surrounding neighbour blocks stay dense low-rise context,\n\n  generally lower than or similar to the villa.\n\nDo not invent weather, atmosphere, materials or measurements\n\nbeyond this.\n\nLAYOUT DETAIL (the content ground truth):\nBegin the detail sketch from the alley approach at the bottom, with the route leading straight to the gate on the property frontage. Immediately inside the gate, draw the yard as the first usable space, with the main path continuing toward the exterior stair. Put the secluded bicycle corner off that main path so it reads as a tucked-away part of the yard rather than the open center. Set the building footprint along the yard edge, and attach the exterior steel retrofit stair to the outside wall so its foot is reachable from the yard. Carry the stair upward to the rooftop landing, and make the landing face the iron door without obstruction. On the roof, draw the path from landing to iron door passing beside the clothesline and the wooden drying bench with dried leaves. Place the water tank as another rooftop object on the same roof surface, not blocking the landing-to-door approach. Draw the rooftop-room unit behind the iron door, with its window set oriented so the window-to-low-wall sightline can be understood. If the light-source position is shown, keep it as a functional low-angle source for shadows only, not as a general mood or material cue.\n\nCIRCLED MARKERS: reproduce EVERY circled code below as a small\n\nwhite circle with a thin black ring, attached to the same element\n\nin the sketch:\n- (P1) alley approach — Show the alley approach at the lower edge of the detail sketch, leading directly toward the filming property gate and able to support bicycle movement.\n- (P2) multi-family villa gate — Place the gate on the alley frontage so that opening it leads directly into the property yard.\n- (P3) yard — Draw the yard immediately inside the gate, between the alley entry and the exterior stair route.\n- (P4) secluded bicycle corner — Set a tucked-away corner within the yard where a bicycle can be left roughly, separated from the main gate-to-stair path.\n- (Q1) rooftop-room building footprint — Place the aged multi-family villa footprint along the yard, carrying the rooftop-room level above.\n- (Q2) exterior steel retrofit stair run — Attach the exterior steel retrofit stair to the building wall, starting from the yard and rising outside the building toward the rooftop landing.\n- (Q3) upper stair landing — Place the landing at the top of the exterior stair where the iron entrance door is immediately visible.\n- (R1) landing-to-door roof path — Draw the roof path from the landing toward the iron door so it passes beside the bench area and the clothesline area.\n- (R2) iron entrance door — Set the iron door on the rooftop-room unit facing the landing path; include the door-gap flyer detail and allow it to be shown partly open.\n- (R3) rooftop-room unit — Place the rooftop-room unit on the roof surface, connected to the iron entrance door and containing the indicated window openings.\n- (R4) rooftop-room window set — Mark the small living-room window and the curtained room window on the rooftop-room unit, with at least one window oriented for the low-wall sightline.\n- (S1) water tank — Place the water tank on the roof surface near the rooftop deck contents, clear of the landing-to-door path.\n- (S2) clothesline — Run the clothesline across the roof surface close enough to the approach path that hanging or dried leaves can brush a passerby.\n- (S3) wooden drying bench with dried leaves — Place the wooden drying bench on the rooftop near the clothesline and along the path toward the iron door, carrying the dried leaves.\n- (S4) low-angle night light-source position — Mark a low-angle light-source position affecting the rooftop path, only to support the long-shadow cue and without assigning any broader colour mood.\n\nMedia: clean monochrome concept sketch — confident dark\n\nink/pencil linework, light hatching for shade, plain white\n\nbackground. No colour fills, no photo textures, no people, no\n\nvehicles. Besides the circled codes there is NO text at all — no\n\nzone labels, no notes, no compass, no title.\n\nThe result must be a PERSPECTIVE drawing — not a top-down plan."}
{"ts": "2026-07-08 21:39:28", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s27_sketch_mapnb2_nb2_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/forest_map/detail_mapnb2_nb2.png"], "ref_labels": ["ARCHITECTURAL PLAN — the layout source of truth for the perspective sketch"], "attempt": 1, "dur_s": 19.2, "bytes": 2505764, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/forest_map/sketch_mapnb2_nb2_by_nb2.png", "prompt": "Convert the attached top-down architectural plan (the FIRST\n\nattached image — the layout source of truth) into ONE 45-degree\n\nhigh-angle aerial PERSPECTIVE SKETCH of the same filming\n\nproperty.\n\nCamera: elevated three-quarter aerial view from the alley side\n\n(the plan's bottom edge), high enough that the whole property —\n\nalley approach, gate, yard, external stair, the building mass and\n\nits rooftop deck with the rooftop-room unit — fits in one frame,\n\nlooking across the yard toward the building.\n\nGeometry: keep every structure's position, footprint, proportion\n\nand opening exactly where the plan draws them — the plan fixes\n\nthe LAYOUT only; the VERTICAL SCALE comes from the block below.\n\nSCALE & MASSING (evidence-bound ground truth):\n\n- The main building is an aged MULTI-FAMILY VILLA of THREE full\n\n  storeys — its roof deck sits roughly 8-10 m above the yard.\n\n  NOT a single-storey building.\n\n- The rooftop-room unit stands on that roof deck as a small\n\n  fourth-level volume, clearly smaller than the floors below.\n\n- The exterior stair is a later-added steel retrofit stair that\n\n  climbs the FULL three storeys along the outer wall from the\n\n  yard to the rooftop landing — a long multi-flight zig-zag run\n\n  with intermediate landings, never a short single flight. Open\n\n  treads, thin steel plate stringers, support posts, pipe\n\n  railings (creator-confirmed fact).\n\n- Each of the three facade storeys shows a few modest windows of\n\n  the regional multi-family-villa type; the rooftop room keeps\n\n  its own small windows exactly as the plan places them.\n\n- Surrounding neighbour blocks stay dense low-rise context,\n\n  generally lower than or similar to the villa.\n\nDo not invent weather, atmosphere, materials or measurements\n\nbeyond this.\n\nLAYOUT DETAIL (the content ground truth):\nBegin the detail sketch from the alley approach at the bottom, with the route leading straight to the gate on the property frontage. Immediately inside the gate, draw the yard as the first usable space, with the main path continuing toward the exterior stair. Put the secluded bicycle corner off that main path so it reads as a tucked-away part of the yard rather than the open center. Set the building footprint along the yard edge, and attach the exterior steel retrofit stair to the outside wall so its foot is reachable from the yard. Carry the stair upward to the rooftop landing, and make the landing face the iron door without obstruction. On the roof, draw the path from landing to iron door passing beside the clothesline and the wooden drying bench with dried leaves. Place the water tank as another rooftop object on the same roof surface, not blocking the landing-to-door approach. Draw the rooftop-room unit behind the iron door, with its window set oriented so the window-to-low-wall sightline can be understood. If the light-source position is shown, keep it as a functional low-angle source for shadows only, not as a general mood or material cue.\n\nCIRCLED MARKERS: reproduce EVERY circled code below as a small\n\nwhite circle with a thin black ring, attached to the same element\n\nin the sketch:\n- (P1) alley approach — Show the alley approach at the lower edge of the detail sketch, leading directly toward the filming property gate and able to support bicycle movement.\n- (P2) multi-family villa gate — Place the gate on the alley frontage so that opening it leads directly into the property yard.\n- (P3) yard — Draw the yard immediately inside the gate, between the alley entry and the exterior stair route.\n- (P4) secluded bicycle corner — Set a tucked-away corner within the yard where a bicycle can be left roughly, separated from the main gate-to-stair path.\n- (Q1) rooftop-room building footprint — Place the aged multi-family villa footprint along the yard, carrying the rooftop-room level above.\n- (Q2) exterior steel retrofit stair run — Attach the exterior steel retrofit stair to the building wall, starting from the yard and rising outside the building toward the rooftop landing.\n- (Q3) upper stair landing — Place the landing at the top of the exterior stair where the iron entrance door is immediately visible.\n- (R1) landing-to-door roof path — Draw the roof path from the landing toward the iron door so it passes beside the bench area and the clothesline area.\n- (R2) iron entrance door — Set the iron door on the rooftop-room unit facing the landing path; include the door-gap flyer detail and allow it to be shown partly open.\n- (R3) rooftop-room unit — Place the rooftop-room unit on the roof surface, connected to the iron entrance door and containing the indicated window openings.\n- (R4) rooftop-room window set — Mark the small living-room window and the curtained room window on the rooftop-room unit, with at least one window oriented for the low-wall sightline.\n- (S1) water tank — Place the water tank on the roof surface near the rooftop deck contents, clear of the landing-to-door path.\n- (S2) clothesline — Run the clothesline across the roof surface close enough to the approach path that hanging or dried leaves can brush a passerby.\n- (S3) wooden drying bench with dried leaves — Place the wooden drying bench on the rooftop near the clothesline and along the path toward the iron door, carrying the dried leaves.\n- (S4) low-angle night light-source position — Mark a low-angle light-source position affecting the rooftop path, only to support the long-shadow cue and without assigning any broader colour mood.\n\nMedia: clean monochrome concept sketch — confident dark\n\nink/pencil linework, light hatching for shade, plain white\n\nbackground. No colour fills, no photo textures, no people, no\n\nvehicles. Besides the circled codes there is NO text at all — no\n\nzone labels, no notes, no compass, no title.\n\nThe result must be a PERSPECTIVE drawing — not a top-down plan."}
{"ts": "2026-07-08 22:18:08", "kind": "img", "engine": "gpt-image-2", "mode": "edit", "tag": "s27_photo_i2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/forest_map/sketch_mapi2_nb2_by_nb2.png"], "size": "1024x1024", "attempt": 1, "dur_s": 228.6, "bytes": 2130763, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/forest_map/photo_by_i2.png", "prompt": "Convert the attached perspective SKETCH into ONE PHOTOREALISTIC\n\nlocation still of the same filming property. The sketch is the\n\nsingle source of truth for camera and layout: keep the exact same\n\n45-degree high aerial camera, and every structure in the same\n\nposition, size and proportion as the sketch draws it.\n\nMARKER LEGEND (annotations on the sketch only): the sketch carries\n\nsmall circled codes identifying elements. Use this legend to know\n\nwhat each element is, then render the real thing:\n- (P1) = alley approach — Show the alley approach at the lower edge of the detail sketch, leading directly toward the filming property gate and able to support bicycle movement.\n- (P2) = multi-family villa gate — Place the gate on the alley frontage so that opening it leads directly into the property yard.\n- (P3) = yard — Draw the yard immediately inside the gate, between the alley entry and the exterior stair route.\n- (P4) = secluded bicycle corner — Set a tucked-away corner within the yard where a bicycle can be left roughly, separated from the main gate-to-stair path.\n- (Q1) = rooftop-room building footprint — Place the aged multi-family villa footprint along the yard, carrying the rooftop-room level above.\n- (Q2) = exterior steel retrofit stair run — Attach the exterior steel retrofit stair to the building wall, starting from the yard and rising outside the building toward the rooftop landing.\n- (Q3) = upper stair landing — Place the landing at the top of the exterior stair where the iron entrance door is immediately visible.\n- (R1) = landing-to-door roof path — Draw the roof path from the landing toward the iron door so it passes beside the bench area and the clothesline area.\n- (R2) = iron entrance door — Set the iron door on the rooftop-room unit facing the landing path; include the door-gap flyer detail and allow it to be shown partly open.\n- (R3) = rooftop-room unit — Place the rooftop-room unit on the roof surface, connected to the iron entrance door and containing the indicated window openings.\n- (R4) = rooftop-room window set — Mark the small living-room window and the curtained room window on the rooftop-room unit, with at least one window oriented for the low-wall sightline.\n- (S1) = water tank — Place the water tank on the roof surface near the rooftop deck contents, clear of the landing-to-door path.\n- (S2) = clothesline — Run the clothesline across the roof surface close enough to the approach path that hanging or dried leaves can brush a passerby.\n- (S3) = wooden drying bench with dried leaves — Place the wooden drying bench on the rooftop near the clothesline and along the path toward the iron door, carrying the dried leaves.\n- (S4) = low-angle night light-source position — Mark a low-angle light-source position affecting the rooftop path, only to support the long-shadow cue and without assigning any broader colour mood.\n\nThe photograph itself must contain ZERO annotations — no circles,\n\nno codes, no letters, no numbers, no text, no signage lettering,\n\nno arrows, no dashed lines.\n\nReal-world rendering facts (creator-confirmed / evidence-bound):\n\n- The main building is an aged multi-family villa of three full\n\n  storeys with the small rooftop-room unit on its roof deck —\n\n  regional vernacular materials with varied lived-in aging.\n\n- The exterior stair is a later-added STEEL retrofit stair: open\n\n  treads, thin steel plate stringers, support posts, pipe\n\n  railings. It is NOT a concrete stair.\n\n- Neighbour blocks stay dense low-rise urban fabric.\n\nLighting: plain neutral daytime light. Do NOT add fog, rain,\n\ndramatic weather, colour-grade moods, people, or vehicles (the\n\nparked bicycle from the sketch stays). No lens text overlays."}
{"ts": "2026-07-08 22:18:29", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s27_photo_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/forest_map/sketch_mapi2_nb2_by_nb2.png"], "ref_labels": ["PERSPECTIVE SKETCH — the camera+layout source of truth to render photorealistically"], "attempt": 1, "dur_s": 21.9, "bytes": 3511465, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/forest_map/photo_by_nb2.png", "prompt": "Convert the attached perspective SKETCH into ONE PHOTOREALISTIC\n\nlocation still of the same filming property. The sketch is the\n\nsingle source of truth for camera and layout: keep the exact same\n\n45-degree high aerial camera, and every structure in the same\n\nposition, size and proportion as the sketch draws it.\n\nMARKER LEGEND (annotations on the sketch only): the sketch carries\n\nsmall circled codes identifying elements. Use this legend to know\n\nwhat each element is, then render the real thing:\n- (P1) = alley approach — Show the alley approach at the lower edge of the detail sketch, leading directly toward the filming property gate and able to support bicycle movement.\n- (P2) = multi-family villa gate — Place the gate on the alley frontage so that opening it leads directly into the property yard.\n- (P3) = yard — Draw the yard immediately inside the gate, between the alley entry and the exterior stair route.\n- (P4) = secluded bicycle corner — Set a tucked-away corner within the yard where a bicycle can be left roughly, separated from the main gate-to-stair path.\n- (Q1) = rooftop-room building footprint — Place the aged multi-family villa footprint along the yard, carrying the rooftop-room level above.\n- (Q2) = exterior steel retrofit stair run — Attach the exterior steel retrofit stair to the building wall, starting from the yard and rising outside the building toward the rooftop landing.\n- (Q3) = upper stair landing — Place the landing at the top of the exterior stair where the iron entrance door is immediately visible.\n- (R1) = landing-to-door roof path — Draw the roof path from the landing toward the iron door so it passes beside the bench area and the clothesline area.\n- (R2) = iron entrance door — Set the iron door on the rooftop-room unit facing the landing path; include the door-gap flyer detail and allow it to be shown partly open.\n- (R3) = rooftop-room unit — Place the rooftop-room unit on the roof surface, connected to the iron entrance door and containing the indicated window openings.\n- (R4) = rooftop-room window set — Mark the small living-room window and the curtained room window on the rooftop-room unit, with at least one window oriented for the low-wall sightline.\n- (S1) = water tank — Place the water tank on the roof surface near the rooftop deck contents, clear of the landing-to-door path.\n- (S2) = clothesline — Run the clothesline across the roof surface close enough to the approach path that hanging or dried leaves can brush a passerby.\n- (S3) = wooden drying bench with dried leaves — Place the wooden drying bench on the rooftop near the clothesline and along the path toward the iron door, carrying the dried leaves.\n- (S4) = low-angle night light-source position — Mark a low-angle light-source position affecting the rooftop path, only to support the long-shadow cue and without assigning any broader colour mood.\n\nThe photograph itself must contain ZERO annotations — no circles,\n\nno codes, no letters, no numbers, no text, no signage lettering,\n\nno arrows, no dashed lines.\n\nReal-world rendering facts (creator-confirmed / evidence-bound):\n\n- The main building is an aged multi-family villa of three full\n\n  storeys with the small rooftop-room unit on its roof deck —\n\n  regional vernacular materials with varied lived-in aging.\n\n- The exterior stair is a later-added STEEL retrofit stair: open\n\n  treads, thin steel plate stringers, support posts, pipe\n\n  railings. It is NOT a concrete stair.\n\n- Neighbour blocks stay dense low-rise urban fabric.\n\nLighting: plain neutral daytime light. Do NOT add fog, rain,\n\ndramatic weather, colour-grade moods, people, or vehicles (the\n\nparked bicycle from the sketch stays). No lens text overlays."}
{"ts": "2026-07-08 23:37:58", "kind": "img", "engine": "gpt-image-2", "mode": "edit", "tag": "s27_photo_i2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/forest_map/sketch_mapi2_nb2_by_nb2.png"], "size": "1024x1024", "attempt": 1, "dur_s": 213.4, "bytes": 2237134, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/forest_map/photo_by_i2.png", "prompt": "Create ONE PHOTOREALISTIC location still using the attached\n\nperspective SKETCH as reference. The sketch is ONLY the\n\nSTRUCTURAL SKELETON: it fixes the camera (same 45-degree high\n\naerial view), and each structure's position, size and proportion.\n\nEverything else must be FLESHED OUT as the real world: real\n\nsurfaces, real materials, real weathering — and the SIMPLIFIED\n\nSURROUNDINGS in the sketch (bare neighbour blocks, empty roofs,\n\nblank walls, plain ground) must be AUGMENTED into fully real\n\nbuildings and streets: real neighbouring houses of a dense\n\nlow-rise Korean town with their own windows, doors, rooftop\n\nclutter, awnings, utility poles and wires, pavement texture —\n\nnothing in the frame may look like an untextured model or a\n\nsimplified block.\n\nMARKER LEGEND (annotations on the sketch only): the sketch\n\ncarries small circled codes identifying elements. Use this\n\nlegend to know what each element is, then render the real\n\nthing:\n- (P1) = alley approach — Show the alley approach at the lower edge of the detail sketch, leading directly toward the filming property gate and able to support bicycle movement.\n- (P2) = multi-family villa gate — Place the gate on the alley frontage so that opening it leads directly into the property yard.\n- (P3) = yard — Draw the yard immediately inside the gate, between the alley entry and the exterior stair route.\n- (P4) = secluded bicycle corner — Set a tucked-away corner within the yard where a bicycle can be left roughly, separated from the main gate-to-stair path.\n- (Q1) = rooftop-room building footprint — Place the aged multi-family villa footprint along the yard, carrying the rooftop-room level above.\n- (Q2) = exterior steel retrofit stair run — Attach the exterior steel retrofit stair to the building wall, starting from the yard and rising outside the building toward the rooftop landing.\n- (Q3) = upper stair landing — Place the landing at the top of the exterior stair where the iron entrance door is immediately visible.\n- (R1) = landing-to-door roof path — Draw the roof path from the landing toward the iron door so it passes beside the bench area and the clothesline area.\n- (R2) = iron entrance door — Set the iron door on the rooftop-room unit facing the landing path; include the door-gap flyer detail and allow it to be shown partly open.\n- (R3) = rooftop-room unit — Place the rooftop-room unit on the roof surface, connected to the iron entrance door and containing the indicated window openings.\n- (R4) = rooftop-room window set — Mark the small living-room window and the curtained room window on the rooftop-room unit, with at least one window oriented for the low-wall sightline.\n- (S1) = water tank — Place the water tank on the roof surface near the rooftop deck contents, clear of the landing-to-door path.\n- (S2) = clothesline — Run the clothesline across the roof surface close enough to the approach path that hanging or dried leaves can brush a passerby.\n- (S3) = wooden drying bench with dried leaves — Place the wooden drying bench on the rooftop near the clothesline and along the path toward the iron door, carrying the dried leaves.\n- (S4) = low-angle night light-source position — Mark a low-angle light-source position affecting the rooftop path, only to support the long-shadow cue and without assigning any broader colour mood.\n\nThe output image must contain ZERO annotations — no circles, no\ncodes, no letters, no numbers, no text, no signage lettering, no\narrows, no dashed lines.\n\nReal-world rendering facts (creator-confirmed / evidence-bound):\n- The main building is an aged MULTI-FAMILY VILLA of three full\n  storeys (roof deck roughly 8-10 m above the yard) with the small\n  rooftop-room unit on its roof deck — regional vernacular materials\n  with varied lived-in aging.\n- The exterior stair is a later-added STEEL retrofit stair climbing\n  the full three storeys: open treads, thin steel plate stringers,\n  support posts, pipe railings. It is NOT a concrete stair.\nLighting: plain neutral daytime light. Do NOT add fog, rain,\ndramatic weather, colour-grade moods, or people. No text overlays.\n\nThe parked bicycle from the sketch stays; add no other vehicles."}
{"ts": "2026-07-08 23:38:19", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s27_photo_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/forest_map/sketch_mapi2_nb2_by_nb2.png"], "ref_labels": ["PERSPECTIVE SKETCH — the camera+layout source of truth to render photorealistically"], "attempt": 1, "dur_s": 20.3, "bytes": 3996470, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/forest_map/photo_by_nb2.png", "prompt": "Create ONE PHOTOREALISTIC location still using the attached\n\nperspective SKETCH as reference. The sketch is ONLY the\n\nSTRUCTURAL SKELETON: it fixes the camera (same 45-degree high\n\naerial view), and each structure's position, size and proportion.\n\nEverything else must be FLESHED OUT as the real world: real\n\nsurfaces, real materials, real weathering — and the SIMPLIFIED\n\nSURROUNDINGS in the sketch (bare neighbour blocks, empty roofs,\n\nblank walls, plain ground) must be AUGMENTED into fully real\n\nbuildings and streets: real neighbouring houses of a dense\n\nlow-rise Korean town with their own windows, doors, rooftop\n\nclutter, awnings, utility poles and wires, pavement texture —\n\nnothing in the frame may look like an untextured model or a\n\nsimplified block.\n\nMARKER LEGEND (annotations on the sketch only): the sketch\n\ncarries small circled codes identifying elements. Use this\n\nlegend to know what each element is, then render the real\n\nthing:\n- (P1) = alley approach — Show the alley approach at the lower edge of the detail sketch, leading directly toward the filming property gate and able to support bicycle movement.\n- (P2) = multi-family villa gate — Place the gate on the alley frontage so that opening it leads directly into the property yard.\n- (P3) = yard — Draw the yard immediately inside the gate, between the alley entry and the exterior stair route.\n- (P4) = secluded bicycle corner — Set a tucked-away corner within the yard where a bicycle can be left roughly, separated from the main gate-to-stair path.\n- (Q1) = rooftop-room building footprint — Place the aged multi-family villa footprint along the yard, carrying the rooftop-room level above.\n- (Q2) = exterior steel retrofit stair run — Attach the exterior steel retrofit stair to the building wall, starting from the yard and rising outside the building toward the rooftop landing.\n- (Q3) = upper stair landing — Place the landing at the top of the exterior stair where the iron entrance door is immediately visible.\n- (R1) = landing-to-door roof path — Draw the roof path from the landing toward the iron door so it passes beside the bench area and the clothesline area.\n- (R2) = iron entrance door — Set the iron door on the rooftop-room unit facing the landing path; include the door-gap flyer detail and allow it to be shown partly open.\n- (R3) = rooftop-room unit — Place the rooftop-room unit on the roof surface, connected to the iron entrance door and containing the indicated window openings.\n- (R4) = rooftop-room window set — Mark the small living-room window and the curtained room window on the rooftop-room unit, with at least one window oriented for the low-wall sightline.\n- (S1) = water tank — Place the water tank on the roof surface near the rooftop deck contents, clear of the landing-to-door path.\n- (S2) = clothesline — Run the clothesline across the roof surface close enough to the approach path that hanging or dried leaves can brush a passerby.\n- (S3) = wooden drying bench with dried leaves — Place the wooden drying bench on the rooftop near the clothesline and along the path toward the iron door, carrying the dried leaves.\n- (S4) = low-angle night light-source position — Mark a low-angle light-source position affecting the rooftop path, only to support the long-shadow cue and without assigning any broader colour mood.\n\nThe output image must contain ZERO annotations — no circles, no\ncodes, no letters, no numbers, no text, no signage lettering, no\narrows, no dashed lines.\n\nReal-world rendering facts (creator-confirmed / evidence-bound):\n- The main building is an aged MULTI-FAMILY VILLA of three full\n  storeys (roof deck roughly 8-10 m above the yard) with the small\n  rooftop-room unit on its roof deck — regional vernacular materials\n  with varied lived-in aging.\n- The exterior stair is a later-added STEEL retrofit stair climbing\n  the full three storeys: open treads, thin steel plate stringers,\n  support posts, pipe railings. It is NOT a concrete stair.\nLighting: plain neutral daytime light. Do NOT add fog, rain,\ndramatic weather, colour-grade moods, or people. No text overlays.\n\nThe parked bicycle from the sketch stays; add no other vehicles."}
{"ts": "2026-07-08 23:41:37", "kind": "img", "engine": "gpt-image-2", "mode": "generate", "tag": "s27_x_i2", "refs": [], "size": "1024x1024", "attempt": 1, "dur_s": 196.1, "bytes": 2307683, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/forest_map/x_by_i2.png", "prompt": "Create ONE PHOTOREALISTIC aerial location still of a filming\n\nproperty, from a 45-degree high aerial camera looking across the\n\nyard toward the building (whole property in frame). No reference\n\nimage is attached — build the scene from this text alone.\n\nLAYOUT (ground truth):\nBegin the detail sketch from the alley approach at the bottom, with the route leading straight to the gate on the property frontage. Immediately inside the gate, draw the yard as the first usable space, with the main path continuing toward the exterior stair. Put the secluded bicycle corner off that main path so it reads as a tucked-away part of the yard rather than the open center. Set the building footprint along the yard edge, and attach the exterior steel retrofit stair to the outside wall so its foot is reachable from the yard. Carry the stair upward to the rooftop landing, and make the landing face the iron door without obstruction. On the roof, draw the path from landing to iron door passing beside the clothesline and the wooden drying bench with dried leaves. Place the water tank as another rooftop object on the same roof surface, not blocking the landing-to-door approach. Draw the rooftop-room unit behind the iron door, with its window set oriented so the window-to-low-wall sightline can be understood. If the light-source position is shown, keep it as a functional low-angle source for shadows only, not as a general mood or material cue.\n\nELEMENTS (render each as the real thing, in its listed place):\n- (P1) = alley approach — Show the alley approach at the lower edge of the detail sketch, leading directly toward the filming property gate and able to support bicycle movement.\n- (P2) = multi-family villa gate — Place the gate on the alley frontage so that opening it leads directly into the property yard.\n- (P3) = yard — Draw the yard immediately inside the gate, between the alley entry and the exterior stair route.\n- (P4) = secluded bicycle corner — Set a tucked-away corner within the yard where a bicycle can be left roughly, separated from the main gate-to-stair path.\n- (Q1) = rooftop-room building footprint — Place the aged multi-family villa footprint along the yard, carrying the rooftop-room level above.\n- (Q2) = exterior steel retrofit stair run — Attach the exterior steel retrofit stair to the building wall, starting from the yard and rising outside the building toward the rooftop landing.\n- (Q3) = upper stair landing — Place the landing at the top of the exterior stair where the iron entrance door is immediately visible.\n- (R1) = landing-to-door roof path — Draw the roof path from the landing toward the iron door so it passes beside the bench area and the clothesline area.\n- (R2) = iron entrance door — Set the iron door on the rooftop-room unit facing the landing path; include the door-gap flyer detail and allow it to be shown partly open.\n- (R3) = rooftop-room unit — Place the rooftop-room unit on the roof surface, connected to the iron entrance door and containing the indicated window openings.\n- (R4) = rooftop-room window set — Mark the small living-room window and the curtained room window on the rooftop-room unit, with at least one window oriented for the low-wall sightline.\n- (S1) = water tank — Place the water tank on the roof surface near the rooftop deck contents, clear of the landing-to-door path.\n- (S2) = clothesline — Run the clothesline across the roof surface close enough to the approach path that hanging or dried leaves can brush a passerby.\n- (S3) = wooden drying bench with dried leaves — Place the wooden drying bench on the rooftop near the clothesline and along the path toward the iron door, carrying the dried leaves.\n- (S4) = low-angle night light-source position — Mark a low-angle light-source position affecting the rooftop path, only to support the long-shadow cue and without assigning any broader colour mood.\n\nSCALE & MASSING: the main building is a three-storey aged\n\nmulti-family villa, roof deck roughly 8-10 m above the yard,\n\nwith the small rooftop-room unit as a fourth-level volume on the\n\ndeck; the steel retrofit stair climbs the full three storeys as\n\na multi-flight zig-zag run with intermediate landings; each\n\nfacade storey shows a few modest windows of the regional\n\nmulti-family type; surrounding blocks are a dense low-rise\n\nKorean town, fully real (windows, roofs, wires, pavement).\n\nThe output image must contain ZERO annotations — no circles, no\ncodes, no letters, no numbers, no text, no signage lettering, no\narrows, no dashed lines.\n\nReal-world rendering facts (creator-confirmed / evidence-bound):\n- The main building is an aged MULTI-FAMILY VILLA of three full\n  storeys (roof deck roughly 8-10 m above the yard) with the small\n  rooftop-room unit on its roof deck — regional vernacular materials\n  with varied lived-in aging.\n- The exterior stair is a later-added STEEL retrofit stair climbing\n  the full three storeys: open treads, thin steel plate stringers,\n  support posts, pipe railings. It is NOT a concrete stair.\nLighting: plain neutral daytime light. Do NOT add fog, rain,\ndramatic weather, colour-grade moods, or people. No text overlays."}
{"ts": "2026-07-08 23:41:51", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s27_x_nb2", "refs": [], "ref_labels": [], "attempt": 1, "dur_s": 14.4, "bytes": 4143845, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/forest_map/x_by_nb2.png", "prompt": "Create ONE PHOTOREALISTIC aerial location still of a filming\n\nproperty, from a 45-degree high aerial camera looking across the\n\nyard toward the building (whole property in frame). No reference\n\nimage is attached — build the scene from this text alone.\n\nLAYOUT (ground truth):\nBegin the detail sketch from the alley approach at the bottom, with the route leading straight to the gate on the property frontage. Immediately inside the gate, draw the yard as the first usable space, with the main path continuing toward the exterior stair. Put the secluded bicycle corner off that main path so it reads as a tucked-away part of the yard rather than the open center. Set the building footprint along the yard edge, and attach the exterior steel retrofit stair to the outside wall so its foot is reachable from the yard. Carry the stair upward to the rooftop landing, and make the landing face the iron door without obstruction. On the roof, draw the path from landing to iron door passing beside the clothesline and the wooden drying bench with dried leaves. Place the water tank as another rooftop object on the same roof surface, not blocking the landing-to-door approach. Draw the rooftop-room unit behind the iron door, with its window set oriented so the window-to-low-wall sightline can be understood. If the light-source position is shown, keep it as a functional low-angle source for shadows only, not as a general mood or material cue.\n\nELEMENTS (render each as the real thing, in its listed place):\n- (P1) = alley approach — Show the alley approach at the lower edge of the detail sketch, leading directly toward the filming property gate and able to support bicycle movement.\n- (P2) = multi-family villa gate — Place the gate on the alley frontage so that opening it leads directly into the property yard.\n- (P3) = yard — Draw the yard immediately inside the gate, between the alley entry and the exterior stair route.\n- (P4) = secluded bicycle corner — Set a tucked-away corner within the yard where a bicycle can be left roughly, separated from the main gate-to-stair path.\n- (Q1) = rooftop-room building footprint — Place the aged multi-family villa footprint along the yard, carrying the rooftop-room level above.\n- (Q2) = exterior steel retrofit stair run — Attach the exterior steel retrofit stair to the building wall, starting from the yard and rising outside the building toward the rooftop landing.\n- (Q3) = upper stair landing — Place the landing at the top of the exterior stair where the iron entrance door is immediately visible.\n- (R1) = landing-to-door roof path — Draw the roof path from the landing toward the iron door so it passes beside the bench area and the clothesline area.\n- (R2) = iron entrance door — Set the iron door on the rooftop-room unit facing the landing path; include the door-gap flyer detail and allow it to be shown partly open.\n- (R3) = rooftop-room unit — Place the rooftop-room unit on the roof surface, connected to the iron entrance door and containing the indicated window openings.\n- (R4) = rooftop-room window set — Mark the small living-room window and the curtained room window on the rooftop-room unit, with at least one window oriented for the low-wall sightline.\n- (S1) = water tank — Place the water tank on the roof surface near the rooftop deck contents, clear of the landing-to-door path.\n- (S2) = clothesline — Run the clothesline across the roof surface close enough to the approach path that hanging or dried leaves can brush a passerby.\n- (S3) = wooden drying bench with dried leaves — Place the wooden drying bench on the rooftop near the clothesline and along the path toward the iron door, carrying the dried leaves.\n- (S4) = low-angle night light-source position — Mark a low-angle light-source position affecting the rooftop path, only to support the long-shadow cue and without assigning any broader colour mood.\n\nSCALE & MASSING: the main building is a three-storey aged\n\nmulti-family villa, roof deck roughly 8-10 m above the yard,\n\nwith the small rooftop-room unit as a fourth-level volume on the\n\ndeck; the steel retrofit stair climbs the full three storeys as\n\na multi-flight zig-zag run with intermediate landings; each\n\nfacade storey shows a few modest windows of the regional\n\nmulti-family type; surrounding blocks are a dense low-rise\n\nKorean town, fully real (windows, roofs, wires, pavement).\n\nThe output image must contain ZERO annotations — no circles, no\ncodes, no letters, no numbers, no text, no signage lettering, no\narrows, no dashed lines.\n\nReal-world rendering facts (creator-confirmed / evidence-bound):\n- The main building is an aged MULTI-FAMILY VILLA of three full\n  storeys (roof deck roughly 8-10 m above the yard) with the small\n  rooftop-room unit on its roof deck — regional vernacular materials\n  with varied lived-in aging.\n- The exterior stair is a later-added STEEL retrofit stair climbing\n  the full three storeys: open treads, thin steel plate stringers,\n  support posts, pipe railings. It is NOT a concrete stair.\nLighting: plain neutral daytime light. Do NOT add fog, rain,\ndramatic weather, colour-grade moods, or people. No text overlays."}
{"ts": "2026-07-08 23:47:36", "kind": "img", "engine": "gpt-image-2", "mode": "edit", "tag": "s27_xsketch_i2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/forest_map/x_by_i2.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/forest_map/sketch_mapi2_nb2_by_nb2.png"], "size": "1024x1024", "attempt": 1, "dur_s": 344.6, "bytes": 2263036, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/forest_map/xsketch_by_i2.png", "prompt": "Draw ONE monochrome perspective CONCEPT SKETCH from the two\n\nattached images.\n\nReference roles:\n\n- The PHOTO is the reality reference — what the place, its\n\n  materials and its surroundings actually look like.\n\n- The SKETCH is the structural skeleton — camera, positions,\n\n  proportions and openings. On conflict the SKETCH's structure\n\n  wins; the photo only fleshes out detail.\n\nOutput media: clean monochrome concept sketch — confident dark\n\nink/pencil linework, light hatching for shade, plain white\n\nbackground. No colour, no photo textures.\n\nThe output image must contain ZERO annotations — no circles, no\ncodes, no letters, no numbers, no text, no signage lettering, no\narrows, no dashed lines."}
{"ts": "2026-07-08 23:48:01", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s27_xsketch_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/forest_map/x_by_nb2.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/forest_map/sketch_mapi2_nb2_by_nb2.png"], "ref_labels": ["PHOTO — reality reference (materials, surroundings)", "SKETCH — structural skeleton (camera, positions, proportions; wins on conflict)"], "attempt": 1, "dur_s": 24.8, "bytes": 2295671, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/forest_map/xsketch_by_nb2.png", "prompt": "Draw ONE monochrome perspective CONCEPT SKETCH from the two\n\nattached images.\n\nReference roles:\n\n- The PHOTO is the reality reference — what the place, its\n\n  materials and its surroundings actually look like.\n\n- The SKETCH is the structural skeleton — camera, positions,\n\n  proportions and openings. On conflict the SKETCH's structure\n\n  wins; the photo only fleshes out detail.\n\nOutput media: clean monochrome concept sketch — confident dark\n\nink/pencil linework, light hatching for shade, plain white\n\nbackground. No colour, no photo textures.\n\nThe output image must contain ZERO annotations — no circles, no\ncodes, no letters, no numbers, no text, no signage lettering, no\narrows, no dashed lines."}
{"ts": "2026-07-08 23:51:50", "kind": "img", "engine": "gpt-image-2", "mode": "edit", "tag": "s27_xphoto_i2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/forest_map/x_by_i2.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/forest_map/detail_mapi2_nb2.png"], "size": "1024x1024", "attempt": 1, "dur_s": 229.6, "bytes": 2130292, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/forest_map/xphoto_by_i2.png", "prompt": "Create ONE PHOTOREALISTIC location still from the two attached\n\nimages.\n\nReference roles:\n\n- The PHOTO is the look source of truth — materials, weathering,\n\n  lighting, the reality of the town around.\n\n- The FLOOR PLAN (flat top-down diagram) is the LAYOUT source of\n\n  truth — where every structure, opening and object sits. On\n\n  conflict the floor plan wins.\n\nCamera: keep the photo's 45-degree high aerial view of the whole\n\nproperty.\n\nMARKER LEGEND (annotations on the floor plan only — never drawn\n\nin the photo):\n- (P1) = alley approach — Show the alley approach at the lower edge of the detail sketch, leading directly toward the filming property gate and able to support bicycle movement.\n- (P2) = multi-family villa gate — Place the gate on the alley frontage so that opening it leads directly into the property yard.\n- (P3) = yard — Draw the yard immediately inside the gate, between the alley entry and the exterior stair route.\n- (P4) = secluded bicycle corner — Set a tucked-away corner within the yard where a bicycle can be left roughly, separated from the main gate-to-stair path.\n- (Q1) = rooftop-room building footprint — Place the aged multi-family villa footprint along the yard, carrying the rooftop-room level above.\n- (Q2) = exterior steel retrofit stair run — Attach the exterior steel retrofit stair to the building wall, starting from the yard and rising outside the building toward the rooftop landing.\n- (Q3) = upper stair landing — Place the landing at the top of the exterior stair where the iron entrance door is immediately visible.\n- (R1) = landing-to-door roof path — Draw the roof path from the landing toward the iron door so it passes beside the bench area and the clothesline area.\n- (R2) = iron entrance door — Set the iron door on the rooftop-room unit facing the landing path; include the door-gap flyer detail and allow it to be shown partly open.\n- (R3) = rooftop-room unit — Place the rooftop-room unit on the roof surface, connected to the iron entrance door and containing the indicated window openings.\n- (R4) = rooftop-room window set — Mark the small living-room window and the curtained room window on the rooftop-room unit, with at least one window oriented for the low-wall sightline.\n- (S1) = water tank — Place the water tank on the roof surface near the rooftop deck contents, clear of the landing-to-door path.\n- (S2) = clothesline — Run the clothesline across the roof surface close enough to the approach path that hanging or dried leaves can brush a passerby.\n- (S3) = wooden drying bench with dried leaves — Place the wooden drying bench on the rooftop near the clothesline and along the path toward the iron door, carrying the dried leaves.\n- (S4) = low-angle night light-source position — Mark a low-angle light-source position affecting the rooftop path, only to support the long-shadow cue and without assigning any broader colour mood.\n\nThe output image must contain ZERO annotations — no circles, no\ncodes, no letters, no numbers, no text, no signage lettering, no\narrows, no dashed lines.\n\nReal-world rendering facts (creator-confirmed / evidence-bound):\n- The main building is an aged MULTI-FAMILY VILLA of three full\n  storeys (roof deck roughly 8-10 m above the yard) with the small\n  rooftop-room unit on its roof deck — regional vernacular materials\n  with varied lived-in aging.\n- The exterior stair is a later-added STEEL retrofit stair climbing\n  the full three storeys: open treads, thin steel plate stringers,\n  support posts, pipe railings. It is NOT a concrete stair.\nLighting: plain neutral daytime light. Do NOT add fog, rain,\ndramatic weather, colour-grade moods, or people. No text overlays."}
{"ts": "2026-07-08 23:52:24", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s27_xphoto_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/forest_map/x_by_nb2.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/forest_map/detail_mapi2_nb2.png"], "ref_labels": ["PHOTO — look source of truth", "FLOOR PLAN — layout source of truth (wins on conflict)"], "attempt": 1, "dur_s": 34.0, "bytes": 3610049, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/forest_map/xphoto_by_nb2.png", "prompt": "Create ONE PHOTOREALISTIC location still from the two attached\n\nimages.\n\nReference roles:\n\n- The PHOTO is the look source of truth — materials, weathering,\n\n  lighting, the reality of the town around.\n\n- The FLOOR PLAN (flat top-down diagram) is the LAYOUT source of\n\n  truth — where every structure, opening and object sits. On\n\n  conflict the floor plan wins.\n\nCamera: keep the photo's 45-degree high aerial view of the whole\n\nproperty.\n\nMARKER LEGEND (annotations on the floor plan only — never drawn\n\nin the photo):\n- (P1) = alley approach — Show the alley approach at the lower edge of the detail sketch, leading directly toward the filming property gate and able to support bicycle movement.\n- (P2) = multi-family villa gate — Place the gate on the alley frontage so that opening it leads directly into the property yard.\n- (P3) = yard — Draw the yard immediately inside the gate, between the alley entry and the exterior stair route.\n- (P4) = secluded bicycle corner — Set a tucked-away corner within the yard where a bicycle can be left roughly, separated from the main gate-to-stair path.\n- (Q1) = rooftop-room building footprint — Place the aged multi-family villa footprint along the yard, carrying the rooftop-room level above.\n- (Q2) = exterior steel retrofit stair run — Attach the exterior steel retrofit stair to the building wall, starting from the yard and rising outside the building toward the rooftop landing.\n- (Q3) = upper stair landing — Place the landing at the top of the exterior stair where the iron entrance door is immediately visible.\n- (R1) = landing-to-door roof path — Draw the roof path from the landing toward the iron door so it passes beside the bench area and the clothesline area.\n- (R2) = iron entrance door — Set the iron door on the rooftop-room unit facing the landing path; include the door-gap flyer detail and allow it to be shown partly open.\n- (R3) = rooftop-room unit — Place the rooftop-room unit on the roof surface, connected to the iron entrance door and containing the indicated window openings.\n- (R4) = rooftop-room window set — Mark the small living-room window and the curtained room window on the rooftop-room unit, with at least one window oriented for the low-wall sightline.\n- (S1) = water tank — Place the water tank on the roof surface near the rooftop deck contents, clear of the landing-to-door path.\n- (S2) = clothesline — Run the clothesline across the roof surface close enough to the approach path that hanging or dried leaves can brush a passerby.\n- (S3) = wooden drying bench with dried leaves — Place the wooden drying bench on the rooftop near the clothesline and along the path toward the iron door, carrying the dried leaves.\n- (S4) = low-angle night light-source position — Mark a low-angle light-source position affecting the rooftop path, only to support the long-shadow cue and without assigning any broader colour mood.\n\nThe output image must contain ZERO annotations — no circles, no\ncodes, no letters, no numbers, no text, no signage lettering, no\narrows, no dashed lines.\n\nReal-world rendering facts (creator-confirmed / evidence-bound):\n- The main building is an aged MULTI-FAMILY VILLA of three full\n  storeys (roof deck roughly 8-10 m above the yard) with the small\n  rooftop-room unit on its roof deck — regional vernacular materials\n  with varied lived-in aging.\n- The exterior stair is a later-added STEEL retrofit stair climbing\n  the full three storeys: open treads, thin steel plate stringers,\n  support posts, pipe railings. It is NOT a concrete stair.\nLighting: plain neutral daytime light. Do NOT add fog, rain,\ndramatic weather, colour-grade moods, or people. No text overlays."}
{"ts": "2026-07-08 23:55:24", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s27_photo_nb2_r2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/forest_map/sketch_mapi2_nb2_by_nb2.png"], "ref_labels": ["PERSPECTIVE SKETCH — structural skeleton reference; its circled badges are annotations to ERASE"], "attempt": 1, "dur_s": 21.2, "bytes": 3745657, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/forest_map/photo_by_nb2_r2.png", "prompt": "Create ONE PHOTOREALISTIC location still using the attached\n\nperspective SKETCH as reference. The sketch is ONLY the STRUCTURAL\n\nSKELETON: it fixes the camera (same 45-degree high aerial view) and\n\neach structure's position, size and proportion.\n\nCRITICAL — the small circled code badges drawn on the sketch are\n\npaper annotations only. ERASE them completely: the photograph\n\ncontains no circles, no badges, no letters, no digits, no text of\n\nany kind, anywhere.\n\nFlesh everything out as the real world: real surfaces, materials,\n\nweathering — and the simplified surroundings (bare neighbour\n\nblocks, empty roofs, blank walls, plain ground) must be AUGMENTED\n\ninto fully real buildings and streets of a dense low-rise Korean\n\ntown: real neighbouring houses with their own windows, doors,\n\nrooftop clutter, awnings, utility poles and wires, pavement\n\ntexture. Nothing may look like an untextured model.\n\nWhat the sketch's elements are (render each as the real thing):\n- alley approach — Show the alley approach at the lower edge of the detail sketch, leading directly toward the filming property gate and able to support bicycle movement.\n- multi-family villa gate — Place the gate on the alley frontage so that opening it leads directly into the property yard.\n- yard — Draw the yard immediately inside the gate, between the alley entry and the exterior stair route.\n- secluded bicycle corner — Set a tucked-away corner within the yard where a bicycle can be left roughly, separated from the main gate-to-stair path.\n- rooftop-room building footprint — Place the aged multi-family villa footprint along the yard, carrying the rooftop-room level above.\n- exterior steel retrofit stair run — Attach the exterior steel retrofit stair to the building wall, starting from the yard and rising outside the building toward the rooftop landing.\n- upper stair landing — Place the landing at the top of the exterior stair where the iron entrance door is immediately visible.\n- landing-to-door roof path — Draw the roof path from the landing toward the iron door so it passes beside the bench area and the clothesline area.\n- iron entrance door — Set the iron door on the rooftop-room unit facing the landing path; include the door-gap flyer detail and allow it to be shown partly open.\n- rooftop-room unit — Place the rooftop-room unit on the roof surface, connected to the iron entrance door and containing the indicated window openings.\n- rooftop-room window set — Mark the small living-room window and the curtained room window on the rooftop-room unit, with at least one window oriented for the low-wall sightline.\n- water tank — Place the water tank on the roof surface near the rooftop deck contents, clear of the landing-to-door path.\n- clothesline — Run the clothesline across the roof surface close enough to the approach path that hanging or dried leaves can brush a passerby.\n- wooden drying bench with dried leaves — Place the wooden drying bench on the rooftop near the clothesline and along the path toward the iron door, carrying the dried leaves.\n- low-angle night light-source position — Mark a low-angle light-source position affecting the rooftop path, only to support the long-shadow cue and without assigning any broader colour mood.\n\nReal-world rendering facts (creator-confirmed / evidence-bound):\n- The main building is an aged MULTI-FAMILY VILLA of three full\n  storeys (roof deck roughly 8-10 m above the yard) with the small\n  rooftop-room unit on its roof deck — regional vernacular materials\n  with varied lived-in aging.\n- The exterior stair is a later-added STEEL retrofit stair climbing\n  the full three storeys: open treads, thin steel plate stringers,\n  support posts, pipe railings. It is NOT a concrete stair.\nLighting: plain neutral daytime light. Do NOT add fog, rain,\ndramatic weather, colour-grade moods, or people. No text overlays.\n\nThe parked bicycle from the sketch stays; add no other vehicles."}
{"ts": "2026-07-08 23:55:40", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s27_x_nb2_r2", "refs": [], "ref_labels": [], "attempt": 1, "dur_s": 15.4, "bytes": 4343270, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/forest_map/x_by_nb2_r2.png", "prompt": "Create ONE PHOTOREALISTIC aerial location still of a filming\n\nproperty, from a 45-degree high aerial camera looking across the\n\nyard toward the building (whole property in frame). No reference\n\nimage is attached — build the scene from this text alone.\n\nLAYOUT (ground truth):\nBegin the detail sketch from the alley approach at the bottom, with the route leading straight to the gate on the property frontage. Immediately inside the gate, draw the yard as the first usable space, with the main path continuing toward the exterior stair. Put the secluded bicycle corner off that main path so it reads as a tucked-away part of the yard rather than the open center. Set the building footprint along the yard edge, and attach the exterior steel retrofit stair to the outside wall so its foot is reachable from the yard. Carry the stair upward to the rooftop landing, and make the landing face the iron door without obstruction. On the roof, draw the path from landing to iron door passing beside the clothesline and the wooden drying bench with dried leaves. Place the water tank as another rooftop object on the same roof surface, not blocking the landing-to-door approach. Draw the rooftop-room unit behind the iron door, with its window set oriented so the window-to-low-wall sightline can be understood. If the light-source position is shown, keep it as a functional low-angle source for shadows only, not as a general mood or material cue.\n\nELEMENTS (render each as the real thing, in its listed place):\n- alley approach — Show the alley approach at the lower edge of the detail sketch, leading directly toward the filming property gate and able to support bicycle movement.\n- multi-family villa gate — Place the gate on the alley frontage so that opening it leads directly into the property yard.\n- yard — Draw the yard immediately inside the gate, between the alley entry and the exterior stair route.\n- secluded bicycle corner — Set a tucked-away corner within the yard where a bicycle can be left roughly, separated from the main gate-to-stair path.\n- rooftop-room building footprint — Place the aged multi-family villa footprint along the yard, carrying the rooftop-room level above.\n- exterior steel retrofit stair run — Attach the exterior steel retrofit stair to the building wall, starting from the yard and rising outside the building toward the rooftop landing.\n- upper stair landing — Place the landing at the top of the exterior stair where the iron entrance door is immediately visible.\n- landing-to-door roof path — Draw the roof path from the landing toward the iron door so it passes beside the bench area and the clothesline area.\n- iron entrance door — Set the iron door on the rooftop-room unit facing the landing path; include the door-gap flyer detail and allow it to be shown partly open.\n- rooftop-room unit — Place the rooftop-room unit on the roof surface, connected to the iron entrance door and containing the indicated window openings.\n- rooftop-room window set — Mark the small living-room window and the curtained room window on the rooftop-room unit, with at least one window oriented for the low-wall sightline.\n- water tank — Place the water tank on the roof surface near the rooftop deck contents, clear of the landing-to-door path.\n- clothesline — Run the clothesline across the roof surface close enough to the approach path that hanging or dried leaves can brush a passerby.\n- wooden drying bench with dried leaves — Place the wooden drying bench on the rooftop near the clothesline and along the path toward the iron door, carrying the dried leaves.\n- low-angle night light-source position — Mark a low-angle light-source position affecting the rooftop path, only to support the long-shadow cue and without assigning any broader colour mood.\n\nSCALE & MASSING: the main building is a three-storey aged\n\nmulti-family villa, roof deck roughly 8-10 m above the yard, with\n\nthe small rooftop-room unit as a fourth-level volume on the deck;\n\nthe steel retrofit stair climbs the full three storeys as a\n\nmulti-flight zig-zag run with intermediate landings; each facade\n\nstorey shows a few modest windows of the regional multi-family\n\ntype; surrounding blocks are a dense low-rise Korean town, fully\n\nreal (windows, roofs, wires, pavement).\n\nThe output image must contain ZERO annotations — no circles, no\ncodes, no letters, no numbers, no text, no signage lettering, no\narrows, no dashed lines.\n\nReal-world rendering facts (creator-confirmed / evidence-bound):\n- The main building is an aged MULTI-FAMILY VILLA of three full\n  storeys (roof deck roughly 8-10 m above the yard) with the small\n  rooftop-room unit on its roof deck — regional vernacular materials\n  with varied lived-in aging.\n- The exterior stair is a later-added STEEL retrofit stair climbing\n  the full three storeys: open treads, thin steel plate stringers,\n  support posts, pipe railings. It is NOT a concrete stair.\nLighting: plain neutral daytime light. Do NOT add fog, rain,\ndramatic weather, colour-grade moods, or people. No text overlays."}
{"ts": "2026-07-09 00:42:43", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s29_top2_photo_a", "refs": [], "ref_labels": [], "attempt": 1, "dur_s": 16.9, "bytes": 3937543, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/forest_map/top2/top2_photo_nb2_a.png", "prompt": "Create ONE PHOTOREALISTIC aerial location still of a filming\n\nproperty, from a 45-degree high aerial camera looking across the\n\nyard toward the building (whole property in frame). No reference\n\nimage is attached — build the scene from this text alone.\n\nLAYOUT (ground truth):\nBegin the detail sketch from the alley approach at the bottom, with the route leading straight to the gate on the property frontage. Immediately inside the gate, draw the yard as the first usable space, with the main path continuing toward the exterior stair. Put the secluded bicycle corner off that main path so it reads as a tucked-away part of the yard rather than the open center. Set the building footprint along the yard edge, and attach the exterior steel retrofit stair to the outside wall so its foot is reachable from the yard. Carry the stair upward to the rooftop landing, and make the landing face the iron door without obstruction. On the roof, draw the path from landing to iron door passing beside the clothesline and the wooden drying bench with dried leaves. Place the water tank as another rooftop object on the same roof surface, not blocking the landing-to-door approach. Draw the rooftop-room unit behind the iron door, with its window set oriented so the window-to-low-wall sightline can be understood. If the light-source position is shown, keep it as a functional low-angle source for shadows only, not as a general mood or material cue.\n\nELEMENTS (render each as the real thing, in its listed place):\n- alley approach — Show the alley approach at the lower edge of the detail sketch, leading directly toward the filming property gate and able to support bicycle movement.\n- multi-family villa gate — Place the gate on the alley frontage so that opening it leads directly into the property yard.\n- yard — Draw the yard immediately inside the gate, between the alley entry and the exterior stair route.\n- secluded bicycle corner — Set a tucked-away corner within the yard where a bicycle can be left roughly, separated from the main gate-to-stair path.\n- rooftop-room building footprint — Place the aged multi-family villa footprint along the yard, carrying the rooftop-room level above.\n- exterior steel retrofit stair run — Attach the exterior steel retrofit stair to the building wall, starting from the yard and rising outside the building toward the rooftop landing.\n- upper stair landing — Place the landing at the top of the exterior stair where the iron entrance door is immediately visible.\n- landing-to-door roof path — Draw the roof path from the landing toward the iron door so it passes beside the bench area and the clothesline area.\n- iron entrance door — Set the iron door on the rooftop-room unit facing the landing path; include the door-gap flyer detail and allow it to be shown partly open.\n- rooftop-room unit — Place the rooftop-room unit on the roof surface, connected to the iron entrance door and containing the indicated window openings.\n- rooftop-room window set — Mark the small living-room window and the curtained room window on the rooftop-room unit, with at least one window oriented for the low-wall sightline.\n- water tank — Place the water tank on the roof surface near the rooftop deck contents, clear of the landing-to-door path.\n- clothesline — Run the clothesline across the roof surface close enough to the approach path that hanging or dried leaves can brush a passerby.\n- wooden drying bench with dried leaves — Place the wooden drying bench on the rooftop near the clothesline and along the path toward the iron door, carrying the dried leaves.\n- low-angle night light-source position — Mark a low-angle light-source position affecting the rooftop path, only to support the long-shadow cue and without assigning any broader colour mood.\n\nSCALE & MASSING: the main building is a three-storey aged\n\nmulti-family villa, roof deck roughly 8-10 m above the yard, with\n\nthe small rooftop-room unit as a fourth-level volume on the deck;\n\nthe steel retrofit stair climbs the full three storeys as a\n\nmulti-flight zig-zag run with intermediate landings; each facade\n\nstorey shows a few modest windows of the regional multi-family\n\ntype; surrounding blocks are a dense low-rise Korean town, fully\n\nreal (windows, roofs, wires, pavement).\n\nThe output image must contain ZERO annotations — no circles, no\ncodes, no letters, no numbers, no text, no signage lettering, no\narrows, no dashed lines.\n\nReal-world rendering facts (creator-confirmed / evidence-bound):\n- The main building is an aged MULTI-FAMILY VILLA of three full\n  storeys (roof deck roughly 8-10 m above the yard) with the small\n  rooftop-room unit on its roof deck — regional vernacular materials\n  with varied lived-in aging.\n- The exterior stair is a later-added STEEL retrofit stair climbing\n  the full three storeys: open treads, thin steel plate stringers,\n  support posts, pipe railings. It is NOT a concrete stair.\nLighting: plain neutral daytime light. Do NOT add fog, rain,\ndramatic weather, colour-grade moods, or people. No text overlays."}
{"ts": "2026-07-09 00:43:01", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s29_top2_photo_b", "refs": [], "ref_labels": [], "attempt": 1, "dur_s": 18.1, "bytes": 3795215, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/forest_map/top2/top2_photo_nb2_b.png", "prompt": "Create ONE PHOTOREALISTIC aerial location still of a filming\n\nproperty, from a 45-degree high aerial camera looking across the\n\nyard toward the building (whole property in frame). No reference\n\nimage is attached — build the scene from this text alone.\n\nLAYOUT (ground truth):\nBegin the detail sketch from the alley approach at the bottom, with the route leading straight to the gate on the property frontage. Immediately inside the gate, draw the yard as the first usable space, with the main path continuing toward the exterior stair. Put the secluded bicycle corner off that main path so it reads as a tucked-away part of the yard rather than the open center. Set the building footprint along the yard edge, and attach the exterior steel retrofit stair to the outside wall so its foot is reachable from the yard. Carry the stair upward to the rooftop landing, and make the landing face the iron door without obstruction. On the roof, draw the path from landing to iron door passing beside the clothesline and the wooden drying bench with dried leaves. Place the water tank as another rooftop object on the same roof surface, not blocking the landing-to-door approach. Draw the rooftop-room unit behind the iron door, with its window set oriented so the window-to-low-wall sightline can be understood. If the light-source position is shown, keep it as a functional low-angle source for shadows only, not as a general mood or material cue.\n\nELEMENTS (render each as the real thing, in its listed place):\n- alley approach — Show the alley approach at the lower edge of the detail sketch, leading directly toward the filming property gate and able to support bicycle movement.\n- multi-family villa gate — Place the gate on the alley frontage so that opening it leads directly into the property yard.\n- yard — Draw the yard immediately inside the gate, between the alley entry and the exterior stair route.\n- secluded bicycle corner — Set a tucked-away corner within the yard where a bicycle can be left roughly, separated from the main gate-to-stair path.\n- rooftop-room building footprint — Place the aged multi-family villa footprint along the yard, carrying the rooftop-room level above.\n- exterior steel retrofit stair run — Attach the exterior steel retrofit stair to the building wall, starting from the yard and rising outside the building toward the rooftop landing.\n- upper stair landing — Place the landing at the top of the exterior stair where the iron entrance door is immediately visible.\n- landing-to-door roof path — Draw the roof path from the landing toward the iron door so it passes beside the bench area and the clothesline area.\n- iron entrance door — Set the iron door on the rooftop-room unit facing the landing path; include the door-gap flyer detail and allow it to be shown partly open.\n- rooftop-room unit — Place the rooftop-room unit on the roof surface, connected to the iron entrance door and containing the indicated window openings.\n- rooftop-room window set — Mark the small living-room window and the curtained room window on the rooftop-room unit, with at least one window oriented for the low-wall sightline.\n- water tank — Place the water tank on the roof surface near the rooftop deck contents, clear of the landing-to-door path.\n- clothesline — Run the clothesline across the roof surface close enough to the approach path that hanging or dried leaves can brush a passerby.\n- wooden drying bench with dried leaves — Place the wooden drying bench on the rooftop near the clothesline and along the path toward the iron door, carrying the dried leaves.\n- low-angle night light-source position — Mark a low-angle light-source position affecting the rooftop path, only to support the long-shadow cue and without assigning any broader colour mood.\n\nSCALE & MASSING: the main building is a three-storey aged\n\nmulti-family villa, roof deck roughly 8-10 m above the yard, with\n\nthe small rooftop-room unit as a fourth-level volume on the deck;\n\nthe steel retrofit stair climbs the full three storeys as a\n\nmulti-flight zig-zag run with intermediate landings; each facade\n\nstorey shows a few modest windows of the regional multi-family\n\ntype; surrounding blocks are a dense low-rise Korean town, fully\n\nreal (windows, roofs, wires, pavement).\n\nThe output image must contain ZERO annotations — no circles, no\ncodes, no letters, no numbers, no text, no signage lettering, no\narrows, no dashed lines.\n\nReal-world rendering facts (creator-confirmed / evidence-bound):\n- The main building is an aged MULTI-FAMILY VILLA of three full\n  storeys (roof deck roughly 8-10 m above the yard) with the small\n  rooftop-room unit on its roof deck — regional vernacular materials\n  with varied lived-in aging.\n- The exterior stair is a later-added STEEL retrofit stair climbing\n  the full three storeys: open treads, thin steel plate stringers,\n  support posts, pipe railings. It is NOT a concrete stair.\nLighting: plain neutral daytime light. Do NOT add fog, rain,\ndramatic weather, colour-grade moods, or people. No text overlays."}
{"ts": "2026-07-09 00:43:21", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s29_top2_photo_c", "refs": [], "ref_labels": [], "attempt": 1, "dur_s": 20.2, "bytes": 4330277, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/forest_map/top2/top2_photo_nb2_c.png", "prompt": "Create ONE PHOTOREALISTIC aerial location still of a filming\n\nproperty, from a 45-degree high aerial camera looking across the\n\nyard toward the building (whole property in frame). No reference\n\nimage is attached — build the scene from this text alone.\n\nLAYOUT (ground truth):\nBegin the detail sketch from the alley approach at the bottom, with the route leading straight to the gate on the property frontage. Immediately inside the gate, draw the yard as the first usable space, with the main path continuing toward the exterior stair. Put the secluded bicycle corner off that main path so it reads as a tucked-away part of the yard rather than the open center. Set the building footprint along the yard edge, and attach the exterior steel retrofit stair to the outside wall so its foot is reachable from the yard. Carry the stair upward to the rooftop landing, and make the landing face the iron door without obstruction. On the roof, draw the path from landing to iron door passing beside the clothesline and the wooden drying bench with dried leaves. Place the water tank as another rooftop object on the same roof surface, not blocking the landing-to-door approach. Draw the rooftop-room unit behind the iron door, with its window set oriented so the window-to-low-wall sightline can be understood. If the light-source position is shown, keep it as a functional low-angle source for shadows only, not as a general mood or material cue.\n\nELEMENTS (render each as the real thing, in its listed place):\n- alley approach — Show the alley approach at the lower edge of the detail sketch, leading directly toward the filming property gate and able to support bicycle movement.\n- multi-family villa gate — Place the gate on the alley frontage so that opening it leads directly into the property yard.\n- yard — Draw the yard immediately inside the gate, between the alley entry and the exterior stair route.\n- secluded bicycle corner — Set a tucked-away corner within the yard where a bicycle can be left roughly, separated from the main gate-to-stair path.\n- rooftop-room building footprint — Place the aged multi-family villa footprint along the yard, carrying the rooftop-room level above.\n- exterior steel retrofit stair run — Attach the exterior steel retrofit stair to the building wall, starting from the yard and rising outside the building toward the rooftop landing.\n- upper stair landing — Place the landing at the top of the exterior stair where the iron entrance door is immediately visible.\n- landing-to-door roof path — Draw the roof path from the landing toward the iron door so it passes beside the bench area and the clothesline area.\n- iron entrance door — Set the iron door on the rooftop-room unit facing the landing path; include the door-gap flyer detail and allow it to be shown partly open.\n- rooftop-room unit — Place the rooftop-room unit on the roof surface, connected to the iron entrance door and containing the indicated window openings.\n- rooftop-room window set — Mark the small living-room window and the curtained room window on the rooftop-room unit, with at least one window oriented for the low-wall sightline.\n- water tank — Place the water tank on the roof surface near the rooftop deck contents, clear of the landing-to-door path.\n- clothesline — Run the clothesline across the roof surface close enough to the approach path that hanging or dried leaves can brush a passerby.\n- wooden drying bench with dried leaves — Place the wooden drying bench on the rooftop near the clothesline and along the path toward the iron door, carrying the dried leaves.\n- low-angle night light-source position — Mark a low-angle light-source position affecting the rooftop path, only to support the long-shadow cue and without assigning any broader colour mood.\n\nSCALE & MASSING: the main building is a three-storey aged\n\nmulti-family villa, roof deck roughly 8-10 m above the yard, with\n\nthe small rooftop-room unit as a fourth-level volume on the deck;\n\nthe steel retrofit stair climbs the full three storeys as a\n\nmulti-flight zig-zag run with intermediate landings; each facade\n\nstorey shows a few modest windows of the regional multi-family\n\ntype; surrounding blocks are a dense low-rise Korean town, fully\n\nreal (windows, roofs, wires, pavement).\n\nThe output image must contain ZERO annotations — no circles, no\ncodes, no letters, no numbers, no text, no signage lettering, no\narrows, no dashed lines.\n\nReal-world rendering facts (creator-confirmed / evidence-bound):\n- The main building is an aged MULTI-FAMILY VILLA of three full\n  storeys (roof deck roughly 8-10 m above the yard) with the small\n  rooftop-room unit on its roof deck — regional vernacular materials\n  with varied lived-in aging.\n- The exterior stair is a later-added STEEL retrofit stair climbing\n  the full three storeys: open treads, thin steel plate stringers,\n  support posts, pipe railings. It is NOT a concrete stair.\nLighting: plain neutral daytime light. Do NOT add fog, rain,\ndramatic weather, colour-grade moods, or people. No text overlays."}
{"ts": "2026-07-09 00:44:08", "kind": "llm", "step": "s29_top2_judge_gpt", "model": "gpt", "dur_s": 46.6, "system_prompt": "You are given ONE image-generation prompt and THREE candidate\nimages, labelled A, B, C in the order attached, all generated\nfrom that exact prompt.\nPick the ONE candidate that most faithfully realises the prompt.\nJudge ONLY fidelity to the prompt: its stated structure (what\ncontains or carries what, counts, connections, placements), the\ncamera it asks for, materials and state, and its exclusions (no\npeople, no readable text). Ignore generic aesthetic appeal.\nCheck every candidate against the prompt point by point before\ndeciding; base every verdict only on what is visible.\nAlso give every candidate an integer score 0-10 for that same\nfidelity.\nOutput: winner, ranking best-to-worst, and per candidate a score\nplus a one-line Korean verdict citing the decisive prompt points.", "user_prompt": "[{\"type\": \"text\", \"text\": \"THE PROMPT (all three candidates were generated from this):\\nCreate ONE PHOTOREALISTIC aerial location still of a filming\\n\\nproperty, from a 45-degree high aerial camera looking across the\\n\\nyard toward the building (whole property in frame). No reference\\n\\nimage is attached — build the scene from this text alone.\\n\\nLAYOUT (ground truth):\\nBegin the detail sketch from the alley approach at the bottom, with the route leading straight to the gate on the property frontage. Immediately inside the gate, draw the yard as the first usable space, with the main path continuing toward the exterior stair. Put the secluded bicycle corner off that main path so it reads as a tucked-away part of the yard rather than the open center. Set the building footprint along the yard edge, and attach the exterior steel retrofit stair to the outside wall so its foot is reachable from the yard. Carry the stair upward to the rooftop landing, and make the landing face the iron door without obstruction. On the roof, draw the path from landing to iron door passing beside the clothesline and the wooden drying bench with dried leaves. Place the water tank as another rooftop object on the same roof surface, not blocking the landing-to-door approach. Draw the rooftop-room unit behind the iron door, with its window set oriented so the window-to-low-wall sightline can be understood. If the light-source position is shown, keep it as a functional low-angle source for shadows only, not as a general mood or material cue.\\n\\nELEMENTS (render each as the real thing, in its listed place):\\n- alley approach — Show the alley approach at the lower edge of the detail sketch, leading directly toward the filming property gate and able to support bicycle movement.\\n- multi-family villa gate — Place the gate on the alley frontage so that opening it leads directly into the property yard.\\n- yard — Draw the yard immediately inside the gate, between the alley entry and the exterior stair route.\\n- secluded bicycle corner — Set a tucked-away corner within the yard where a bicycle can be left roughly, separated from the main gate-to-stair path.\\n- rooftop-room building footprint — Place the aged multi-family villa footprint along the yard, carrying the rooftop-room level above.\\n- exterior steel retrofit stair run — Attach the exterior steel retrofit stair to the building wall, starting from the yard and rising outside the building toward the rooftop landing.\\n- upper stair landing — Place the landing at the top of the exterior stair where the iron entrance door is immediately visible.\\n- landing-to-door roof path — Draw the roof path from the landing toward the iron door so it passes beside the bench area and the clothesline area.\\n- iron entrance door — Set the iron door on the rooftop-room unit facing the landing path; include the door-gap flyer detail and allow it to be shown partly open.\\n- rooftop-room unit — Place the rooftop-room unit on the roof surface, connected to the iron entrance door and containing the indicated window openings.\\n- rooftop-room window set — Mark the small living-room window and the curtained room window on the rooftop-room unit, with at least one window oriented for the low-wall sightline.\\n- water tank — Place the water tank on the roof surface near the rooftop deck contents, clear of the landing-to-door path.\\n- clothesline — Run the clothesline across the roof surface close enough to the approach path that hanging or dried leaves can brush a passerby.\\n- wooden drying bench with dried leaves — Place the wooden drying bench on the rooftop near the clothesline and along the path toward the iron door, carrying the dried leaves.\\n- low-angle night light-source position — Mark a low-angle light-source position affecting the rooftop path, only to support the long-shadow cue and without assigning any broader colour mood.\\n\\nSCALE & MASSING: the main building is a three-storey aged\\n\\nmulti-family villa, roof deck roughly 8-10 m above the yard, with\\n\\nthe small rooftop-room unit as a fourth-level volume on the deck;\\n\\nthe steel retrofit stair climbs the full three storeys as a\\n\\nmulti-flight zig-zag run with intermediate landings; each facade\\n\\nstorey shows a few modest windows of the regional multi-family\\n\\ntype; surrounding blocks are a dense low-rise Korean town, fully\\n\\nreal (windows, roofs, wires, pavement).\\n\\nThe output image must contain ZERO annotations — no circles, no\\ncodes, no letters, no numbers, no text, no signage lettering, no\\narrows, no dashed lines.\\n\\nReal-world rendering facts (creator-confirmed / evidence-bound):\\n- The main building is an aged MULTI-FAMILY VILLA of three full\\n  storeys (roof deck roughly 8-10 m above the yard) with the small\\n  rooftop-room unit on its roof deck — regional vernacular materials\\n  with varied lived-in aging.\\n- The exterior stair is a later-added STEEL retrofit stair climbing\\n  the full three storeys: open treads, thin steel plate stringers,\\n  support posts, pipe railings. It is NOT a concrete stair.\\nLighting: plain neutral daytime light. Do NOT add fog, rain,\\ndramatic weather, colour-grade moods, or people. No text overlays.\"}, {\"type\": \"text\", \"text\": \"Candidate A:\"}, {\"type\": \"text\", \"text\": \"Candidate B:\"}, {\"type\": \"text\", \"text\": \"Candidate C:\"}]"}
{"ts": "2026-07-09 00:44:34", "kind": "llm", "step": "s29_top2_judge_gemini", "model": "gemini-pro", "dur_s": 25.8, "system_prompt": "You are given ONE image-generation prompt and THREE candidate\nimages, labelled A, B, C in the order attached, all generated\nfrom that exact prompt.\nPick the ONE candidate that most faithfully realises the prompt.\nJudge ONLY fidelity to the prompt: its stated structure (what\ncontains or carries what, counts, connections, placements), the\ncamera it asks for, materials and state, and its exclusions (no\npeople, no readable text). Ignore generic aesthetic appeal.\nCheck every candidate against the prompt point by point before\ndeciding; base every verdict only on what is visible.\nAlso give every candidate an integer score 0-10 for that same\nfidelity.\nOutput: winner, ranking best-to-worst, and per candidate a score\nplus a one-line Korean verdict citing the decisive prompt points.", "user_prompt": "[{\"type\": \"text\", \"text\": \"THE PROMPT (all three candidates were generated from this):\\nCreate ONE PHOTOREALISTIC aerial location still of a filming\\n\\nproperty, from a 45-degree high aerial camera looking across the\\n\\nyard toward the building (whole property in frame). No reference\\n\\nimage is attached — build the scene from this text alone.\\n\\nLAYOUT (ground truth):\\nBegin the detail sketch from the alley approach at the bottom, with the route leading straight to the gate on the property frontage. Immediately inside the gate, draw the yard as the first usable space, with the main path continuing toward the exterior stair. Put the secluded bicycle corner off that main path so it reads as a tucked-away part of the yard rather than the open center. Set the building footprint along the yard edge, and attach the exterior steel retrofit stair to the outside wall so its foot is reachable from the yard. Carry the stair upward to the rooftop landing, and make the landing face the iron door without obstruction. On the roof, draw the path from landing to iron door passing beside the clothesline and the wooden drying bench with dried leaves. Place the water tank as another rooftop object on the same roof surface, not blocking the landing-to-door approach. Draw the rooftop-room unit behind the iron door, with its window set oriented so the window-to-low-wall sightline can be understood. If the light-source position is shown, keep it as a functional low-angle source for shadows only, not as a general mood or material cue.\\n\\nELEMENTS (render each as the real thing, in its listed place):\\n- alley approach — Show the alley approach at the lower edge of the detail sketch, leading directly toward the filming property gate and able to support bicycle movement.\\n- multi-family villa gate — Place the gate on the alley frontage so that opening it leads directly into the property yard.\\n- yard — Draw the yard immediately inside the gate, between the alley entry and the exterior stair route.\\n- secluded bicycle corner — Set a tucked-away corner within the yard where a bicycle can be left roughly, separated from the main gate-to-stair path.\\n- rooftop-room building footprint — Place the aged multi-family villa footprint along the yard, carrying the rooftop-room level above.\\n- exterior steel retrofit stair run — Attach the exterior steel retrofit stair to the building wall, starting from the yard and rising outside the building toward the rooftop landing.\\n- upper stair landing — Place the landing at the top of the exterior stair where the iron entrance door is immediately visible.\\n- landing-to-door roof path — Draw the roof path from the landing toward the iron door so it passes beside the bench area and the clothesline area.\\n- iron entrance door — Set the iron door on the rooftop-room unit facing the landing path; include the door-gap flyer detail and allow it to be shown partly open.\\n- rooftop-room unit — Place the rooftop-room unit on the roof surface, connected to the iron entrance door and containing the indicated window openings.\\n- rooftop-room window set — Mark the small living-room window and the curtained room window on the rooftop-room unit, with at least one window oriented for the low-wall sightline.\\n- water tank — Place the water tank on the roof surface near the rooftop deck contents, clear of the landing-to-door path.\\n- clothesline — Run the clothesline across the roof surface close enough to the approach path that hanging or dried leaves can brush a passerby.\\n- wooden drying bench with dried leaves — Place the wooden drying bench on the rooftop near the clothesline and along the path toward the iron door, carrying the dried leaves.\\n- low-angle night light-source position — Mark a low-angle light-source position affecting the rooftop path, only to support the long-shadow cue and without assigning any broader colour mood.\\n\\nSCALE & MASSING: the main building is a three-storey aged\\n\\nmulti-family villa, roof deck roughly 8-10 m above the yard, with\\n\\nthe small rooftop-room unit as a fourth-level volume on the deck;\\n\\nthe steel retrofit stair climbs the full three storeys as a\\n\\nmulti-flight zig-zag run with intermediate landings; each facade\\n\\nstorey shows a few modest windows of the regional multi-family\\n\\ntype; surrounding blocks are a dense low-rise Korean town, fully\\n\\nreal (windows, roofs, wires, pavement).\\n\\nThe output image must contain ZERO annotations — no circles, no\\ncodes, no letters, no numbers, no text, no signage lettering, no\\narrows, no dashed lines.\\n\\nReal-world rendering facts (creator-confirmed / evidence-bound):\\n- The main building is an aged MULTI-FAMILY VILLA of three full\\n  storeys (roof deck roughly 8-10 m above the yard) with the small\\n  rooftop-room unit on its roof deck — regional vernacular materials\\n  with varied lived-in aging.\\n- The exterior stair is a later-added STEEL retrofit stair climbing\\n  the full three storeys: open treads, thin steel plate stringers,\\n  support posts, pipe railings. It is NOT a concrete stair.\\nLighting: plain neutral daytime light. Do NOT add fog, rain,\\ndramatic weather, colour-grade moods, or people. No text overlays.\"}, {\"type\": \"text\", \"text\": \"Candidate A:\"}, {\"type\": \"text\", \"text\": \"Candidate B:\"}, {\"type\": \"text\", \"text\": \"Candidate C:\"}]"}
{"ts": "2026-07-09 00:45:08", "kind": "llm", "step": "s29_top2_critique_gpt", "model": "gpt", "dur_s": 34.9, "system_prompt": "You are given the image-generation prompt and ONE photograph\ngenerated from it. List what is WRONG with the photograph:\n- fidelity: any visible deviation from the prompt's stated\n  structure (what contains or carries what, counts, connections,\n  placements), its camera, materials and state, and its\n  exclusions (no people, no readable text),\n- physical coherence: any construction that could not physically\n  work in reality (broken, floating or overlapping structure,\n  unreachable routes, impossible geometry).\nBase every finding only on what is visible. Ignore generic\naesthetic taste.\nissues: each finding as issue_ko (one short Korean line) plus\nfix_en (ONE imperative English edit instruction that fixes\nexactly that finding while changing nothing else). Empty array\nif nothing is wrong.", "user_prompt": "[{\"type\": \"text\", \"text\": \"THE PROMPT (the photograph was generated from this):\\nCreate ONE PHOTOREALISTIC aerial location still of a filming\\n\\nproperty, from a 45-degree high aerial camera looking across the\\n\\nyard toward the building (whole property in frame). No reference\\n\\nimage is attached — build the scene from this text alone.\\n\\nLAYOUT (ground truth):\\nBegin the detail sketch from the alley approach at the bottom, with the route leading straight to the gate on the property frontage. Immediately inside the gate, draw the yard as the first usable space, with the main path continuing toward the exterior stair. Put the secluded bicycle corner off that main path so it reads as a tucked-away part of the yard rather than the open center. Set the building footprint along the yard edge, and attach the exterior steel retrofit stair to the outside wall so its foot is reachable from the yard. Carry the stair upward to the rooftop landing, and make the landing face the iron door without obstruction. On the roof, draw the path from landing to iron door passing beside the clothesline and the wooden drying bench with dried leaves. Place the water tank as another rooftop object on the same roof surface, not blocking the landing-to-door approach. Draw the rooftop-room unit behind the iron door, with its window set oriented so the window-to-low-wall sightline can be understood. If the light-source position is shown, keep it as a functional low-angle source for shadows only, not as a general mood or material cue.\\n\\nELEMENTS (render each as the real thing, in its listed place):\\n- alley approach — Show the alley approach at the lower edge of the detail sketch, leading directly toward the filming property gate and able to support bicycle movement.\\n- multi-family villa gate — Place the gate on the alley frontage so that opening it leads directly into the property yard.\\n- yard — Draw the yard immediately inside the gate, between the alley entry and the exterior stair route.\\n- secluded bicycle corner — Set a tucked-away corner within the yard where a bicycle can be left roughly, separated from the main gate-to-stair path.\\n- rooftop-room building footprint — Place the aged multi-family villa footprint along the yard, carrying the rooftop-room level above.\\n- exterior steel retrofit stair run — Attach the exterior steel retrofit stair to the building wall, starting from the yard and rising outside the building toward the rooftop landing.\\n- upper stair landing — Place the landing at the top of the exterior stair where the iron entrance door is immediately visible.\\n- landing-to-door roof path — Draw the roof path from the landing toward the iron door so it passes beside the bench area and the clothesline area.\\n- iron entrance door — Set the iron door on the rooftop-room unit facing the landing path; include the door-gap flyer detail and allow it to be shown partly open.\\n- rooftop-room unit — Place the rooftop-room unit on the roof surface, connected to the iron entrance door and containing the indicated window openings.\\n- rooftop-room window set — Mark the small living-room window and the curtained room window on the rooftop-room unit, with at least one window oriented for the low-wall sightline.\\n- water tank — Place the water tank on the roof surface near the rooftop deck contents, clear of the landing-to-door path.\\n- clothesline — Run the clothesline across the roof surface close enough to the approach path that hanging or dried leaves can brush a passerby.\\n- wooden drying bench with dried leaves — Place the wooden drying bench on the rooftop near the clothesline and along the path toward the iron door, carrying the dried leaves.\\n- low-angle night light-source position — Mark a low-angle light-source position affecting the rooftop path, only to support the long-shadow cue and without assigning any broader colour mood.\\n\\nSCALE & MASSING: the main building is a three-storey aged\\n\\nmulti-family villa, roof deck roughly 8-10 m above the yard, with\\n\\nthe small rooftop-room unit as a fourth-level volume on the deck;\\n\\nthe steel retrofit stair climbs the full three storeys as a\\n\\nmulti-flight zig-zag run with intermediate landings; each facade\\n\\nstorey shows a few modest windows of the regional multi-family\\n\\ntype; surrounding blocks are a dense low-rise Korean town, fully\\n\\nreal (windows, roofs, wires, pavement).\\n\\nThe output image must contain ZERO annotations — no circles, no\\ncodes, no letters, no numbers, no text, no signage lettering, no\\narrows, no dashed lines.\\n\\nReal-world rendering facts (creator-confirmed / evidence-bound):\\n- The main building is an aged MULTI-FAMILY VILLA of three full\\n  storeys (roof deck roughly 8-10 m above the yard) with the small\\n  rooftop-room unit on its roof deck — regional vernacular materials\\n  with varied lived-in aging.\\n- The exterior stair is a later-added STEEL retrofit stair climbing\\n  the full three storeys: open treads, thin steel plate stringers,\\n  support posts, pipe railings. It is NOT a concrete stair.\\nLighting: plain neutral daytime light. Do NOT add fog, rain,\\ndramatic weather, colour-grade moods, or people. No text overlays.\"}, {\"type\": \"text\", \"text\": \"Photograph to examine:\"}]"}
{"ts": "2026-07-09 00:45:41", "kind": "llm", "step": "s29_top2_critique_gemini", "model": "gemini-pro", "dur_s": 32.6, "system_prompt": "You are given the image-generation prompt and ONE photograph\ngenerated from it. List what is WRONG with the photograph:\n- fidelity: any visible deviation from the prompt's stated\n  structure (what contains or carries what, counts, connections,\n  placements), its camera, materials and state, and its\n  exclusions (no people, no readable text),\n- physical coherence: any construction that could not physically\n  work in reality (broken, floating or overlapping structure,\n  unreachable routes, impossible geometry).\nBase every finding only on what is visible. Ignore generic\naesthetic taste.\nissues: each finding as issue_ko (one short Korean line) plus\nfix_en (ONE imperative English edit instruction that fixes\nexactly that finding while changing nothing else). Empty array\nif nothing is wrong.", "user_prompt": "[{\"type\": \"text\", \"text\": \"THE PROMPT (the photograph was generated from this):\\nCreate ONE PHOTOREALISTIC aerial location still of a filming\\n\\nproperty, from a 45-degree high aerial camera looking across the\\n\\nyard toward the building (whole property in frame). No reference\\n\\nimage is attached — build the scene from this text alone.\\n\\nLAYOUT (ground truth):\\nBegin the detail sketch from the alley approach at the bottom, with the route leading straight to the gate on the property frontage. Immediately inside the gate, draw the yard as the first usable space, with the main path continuing toward the exterior stair. Put the secluded bicycle corner off that main path so it reads as a tucked-away part of the yard rather than the open center. Set the building footprint along the yard edge, and attach the exterior steel retrofit stair to the outside wall so its foot is reachable from the yard. Carry the stair upward to the rooftop landing, and make the landing face the iron door without obstruction. On the roof, draw the path from landing to iron door passing beside the clothesline and the wooden drying bench with dried leaves. Place the water tank as another rooftop object on the same roof surface, not blocking the landing-to-door approach. Draw the rooftop-room unit behind the iron door, with its window set oriented so the window-to-low-wall sightline can be understood. If the light-source position is shown, keep it as a functional low-angle source for shadows only, not as a general mood or material cue.\\n\\nELEMENTS (render each as the real thing, in its listed place):\\n- alley approach — Show the alley approach at the lower edge of the detail sketch, leading directly toward the filming property gate and able to support bicycle movement.\\n- multi-family villa gate — Place the gate on the alley frontage so that opening it leads directly into the property yard.\\n- yard — Draw the yard immediately inside the gate, between the alley entry and the exterior stair route.\\n- secluded bicycle corner — Set a tucked-away corner within the yard where a bicycle can be left roughly, separated from the main gate-to-stair path.\\n- rooftop-room building footprint — Place the aged multi-family villa footprint along the yard, carrying the rooftop-room level above.\\n- exterior steel retrofit stair run — Attach the exterior steel retrofit stair to the building wall, starting from the yard and rising outside the building toward the rooftop landing.\\n- upper stair landing — Place the landing at the top of the exterior stair where the iron entrance door is immediately visible.\\n- landing-to-door roof path — Draw the roof path from the landing toward the iron door so it passes beside the bench area and the clothesline area.\\n- iron entrance door — Set the iron door on the rooftop-room unit facing the landing path; include the door-gap flyer detail and allow it to be shown partly open.\\n- rooftop-room unit — Place the rooftop-room unit on the roof surface, connected to the iron entrance door and containing the indicated window openings.\\n- rooftop-room window set — Mark the small living-room window and the curtained room window on the rooftop-room unit, with at least one window oriented for the low-wall sightline.\\n- water tank — Place the water tank on the roof surface near the rooftop deck contents, clear of the landing-to-door path.\\n- clothesline — Run the clothesline across the roof surface close enough to the approach path that hanging or dried leaves can brush a passerby.\\n- wooden drying bench with dried leaves — Place the wooden drying bench on the rooftop near the clothesline and along the path toward the iron door, carrying the dried leaves.\\n- low-angle night light-source position — Mark a low-angle light-source position affecting the rooftop path, only to support the long-shadow cue and without assigning any broader colour mood.\\n\\nSCALE & MASSING: the main building is a three-storey aged\\n\\nmulti-family villa, roof deck roughly 8-10 m above the yard, with\\n\\nthe small rooftop-room unit as a fourth-level volume on the deck;\\n\\nthe steel retrofit stair climbs the full three storeys as a\\n\\nmulti-flight zig-zag run with intermediate landings; each facade\\n\\nstorey shows a few modest windows of the regional multi-family\\n\\ntype; surrounding blocks are a dense low-rise Korean town, fully\\n\\nreal (windows, roofs, wires, pavement).\\n\\nThe output image must contain ZERO annotations — no circles, no\\ncodes, no letters, no numbers, no text, no signage lettering, no\\narrows, no dashed lines.\\n\\nReal-world rendering facts (creator-confirmed / evidence-bound):\\n- The main building is an aged MULTI-FAMILY VILLA of three full\\n  storeys (roof deck roughly 8-10 m above the yard) with the small\\n  rooftop-room unit on its roof deck — regional vernacular materials\\n  with varied lived-in aging.\\n- The exterior stair is a later-added STEEL retrofit stair climbing\\n  the full three storeys: open treads, thin steel plate stringers,\\n  support posts, pipe railings. It is NOT a concrete stair.\\nLighting: plain neutral daytime light. Do NOT add fog, rain,\\ndramatic weather, colour-grade moods, or people. No text overlays.\"}, {\"type\": \"text\", \"text\": \"Photograph to examine:\"}]"}
{"ts": "2026-07-09 00:46:01", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s29_top2_photo_fixed", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/forest_map/top2/top2_photo_nb2_a.png"], "ref_labels": ["PHOTOGRAPH TO EDIT — fix ONLY the issues the prompt lists; preserve everything else exactly."], "attempt": 1, "dur_s": 20.2, "bytes": 3496199, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/forest_map/top2/top2_photo_fixed_nb2.png", "prompt": "Edit this photograph. Fix ONLY the issues listed below, each in\nplace, changing nothing else about the property:\n\nISSUES TO FIX:\n- (GPT VLM) Remove all visible numbers, letters, plaques, and signage from the gate, wall, and background while leaving the architecture unchanged.\n- (GPT VLM) Replace the rooftop-room entrance with a visibly metal iron door while keeping it in the same position and partly open.\n- (GPT VLM) Add a small blank flyer caught in the gap of the partly open iron entrance door.\n- (GPT VLM) Add the missing second rooftop-room window so the unit clearly has both a small living-room window and a curtained room window.\n- (GPT VLM) Make the exterior retrofit stair use visibly open steel treads instead of solid opaque stair slabs.\n- (GPT VLM) Add a visible low-angle rooftop light-source fixture positioned only to cast long shadows on the rooftop path.\n- (Gemini VLM) Remove the blue sign plate with numbers from the gate pillar.\n- (Gemini VLM) Remove the section of the roof parapet wall at the top of the stairs to create an open path onto the roof deck.\n\nPRESERVE EVERYTHING ELSE EXACTLY as in the original photograph —\nbuildings, roof objects, yard, surroundings, lighting, camera,\nframing. No people, no readable text anywhere."}
{"ts": "2026-07-09 00:48:48", "kind": "img", "engine": "gpt-image-2", "mode": "edit", "tag": "s29_top2_map_gpt", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/forest_map/top2/top2_photo_fixed_nb2.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/fp_v16corr/fp_l14_police_front.png"], "size": "1024x1024", "attempt": 1, "dur_s": 167.0, "bytes": 894455, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/forest_map/top2/top2_map_gpt.png", "prompt": "Draw ONE detailed top-down architectural SITE PLAN of the\n\nfilming property shown in the attached photograph — the\n\nproperty inside its boundary wall (building, rooftop deck\n\ncontents, external stair, yard, gate, approach) plus a thin\n\nstrip of the immediate surroundings as simple flat context\n\nblocks.\n\nOUTPUT MEDIUM: a flat 2D architectural SITE-PLAN DRAWING on plain\ndrawing paper — NOT a photograph, NOT a rendering of the scene.\nThe attached photograph is ONLY a source of layout information;\ndo NOT reproduce or imitate its camera angle or its look —\nRE-PROJECT everything to a TRUE ORTHOGRAPHIC PLAN seen from\nDIRECTLY ABOVE (90 degrees, straight-down nadir).\nAbsolutely NO 3D of any kind: no perspective, no foreshortening,\nno axonometric or oblique tilt, no facades, no wall surfaces, no\nvolume sides, no cast shadows, no photographic texture — every\nelement appears ONLY as its pure plan geometry (roof outlines,\nground shapes, openings marked in wall lines) in uniform flat\nfills and clean drafting linework.\n\nCIRCLED MARKERS (all of them, nothing else): place each as a\n\nsmall white circle with a thin black ring containing the code,\n\nexactly on its element as located in the photograph:\n- (P1) alley approach — Show the alley approach at the lower edge of the detail sketch, leading directly toward the filming property gate and able to support bicycle movement.\n- (P2) multi-family villa gate — Place the gate on the alley frontage so that opening it leads directly into the property yard.\n- (P3) yard — Draw the yard immediately inside the gate, between the alley entry and the exterior stair route.\n- (P4) secluded bicycle corner — Set a tucked-away corner within the yard where a bicycle can be left roughly, separated from the main gate-to-stair path.\n- (Q1) rooftop-room building footprint — Place the aged multi-family villa footprint along the yard, carrying the rooftop-room level above.\n- (Q2) exterior steel retrofit stair run — Attach the exterior steel retrofit stair to the building wall, starting from the yard and rising outside the building toward the rooftop landing.\n- (Q3) upper stair landing — Place the landing at the top of the exterior stair where the iron entrance door is immediately visible.\n- (R1) landing-to-door roof path — Draw the roof path from the landing toward the iron door so it passes beside the bench area and the clothesline area.\n- (R2) iron entrance door — Set the iron door on the rooftop-room unit facing the landing path; include the door-gap flyer detail and allow it to be shown partly open.\n- (R3) rooftop-room unit — Place the rooftop-room unit on the roof surface, connected to the iron entrance door and containing the indicated window openings.\n- (R4) rooftop-room window set — Mark the small living-room window and the curtained room window on the rooftop-room unit, with at least one window oriented for the low-wall sightline.\n- (S1) water tank — Place the water tank on the roof surface near the rooftop deck contents, clear of the landing-to-door path.\n- (S2) clothesline — Run the clothesline across the roof surface close enough to the approach path that hanging or dried leaves can brush a passerby.\n- (S3) wooden drying bench with dried leaves — Place the wooden drying bench on the rooftop near the clothesline and along the path toward the iron door, carrying the dried leaves.\n- (S4) low-angle night light-source position — Mark a low-angle light-source position affecting the rooftop path, only to support the long-shadow cue and without assigning any broader colour mood.\n\nAllowed zone labels: Alley Approach, Yard, Exterior Stair, Rooftop Deck\n\nDrawing style: a clean flat 2D architectural site map, straight-down\northographic view — the exact drafting language of the attached style\nreference: pure white page background, thin dark outlines, flat muted\npastel colour fills per zone (pale yellow, pale cyan, pale blue, light\ntan, soft green, light grey), heavier dark strokes for building\nouter walls, simple flat plan symbols. NO 3D, no axonometric tilt, no\nperspective, no shadows, no photo textures, no people, no story\nprops.\nMarkers: ONLY the circled markers listed below — each is a small\nwhite circle with a thin black ring containing a short code (one\ncapital letter + one digit). Place each circle exactly on its listed\ntarget. Besides these circles, the only text allowed is the short\nEnglish zone labels listed below and a small 'N' north arrow at the\ntop-right corner. No other words, numbers, legend or title.\n\nThe LAST attached image is a site plan from the same production —\nuse it ONLY as the DRAFTING-STYLE reference (line weight, pastel\nfill language, circled-marker look, label typography). Its place and\nlayout have NOTHING to do with this map — never copy its content."}
{"ts": "2026-07-09 02:14:38", "kind": "llm", "step": "s30_select", "model": "gpt", "dur_s": 12.2, "system_prompt": "You are a film production planner. You are given several shots from\none production. Select the shots whose BACKGROUND is the exterior\nor the immediate surroundings of the rooftop-room property (roof\ndeck, exterior stair, yard, gate, alley, views of the building from\noutside). Exclude shots whose background is an interior seen from\ninside. For every shot return include=true/false with a one-line\nKorean reason.", "user_prompt": "SHOTS:\n\n[S10_Shot5] scene_heading=S#10. 옥탑방 / N\ndescription: 철문이 미세하게 열린 틈 사이로 어두운 내부가 보이는 구도.\nframing_scale: insert\ncamera_direction: At the end of the flow’s dolly-in, the lens freezes just outside the iron door at handle height, only inches from the seam, staring directly into the thin opening. The dark crack sits in the center like a vertical wound, with rough iron surfaces on both sides occupying the foreground while the interior beyond remains unreadable and almost lightless.\nperspective: voyeur\nlighting_mood: A thin blue rooftop ambient line skims the iron while the interior remains dead black, with only a trace of sickly amber leaking from somewhere unseen.\nkey_bg_elements: [{\"camera_use\": \"Primary focal aperture; turns the entry into a threatening slit rather than a normal doorway.\", \"directionality_class\": \"directional_3d\", \"element\": \"iron front door\", \"orientation\": \"The two heavy door edges face camera at close range, separated by a narrow central crack leading into darkness.\", \"state\": \"slightly open, scratched, cold metal\"}, {\"camera_use\": \"Hides what is inside and makes the gap feel predatory.\", \"directionality_class\": \"non_directional\", \"element\": \"dark interior beyond the crack\", \"orientation\": \"\", \"state\": \"unlit, opaque, silent\"}, {\"camera_use\": \"Adds tactile evidence of forced entry near the seam.\", \"directionality_class\": \"content_surface\", \"element\": \"creased advertisement flyer edge\", \"orientation\": \"Only the printed edge of the paper face is visible near the door seam, with partial color blocks and unreadable text.\", \"state\": \"bent, partly displaced, dirty\"}]\nframe_spatial_contract: {\"constraints\": [{\"depth_plane\": \"foreground\", \"gesture_action\": \"none\", \"gesture_target_label\": \"\", \"label\": \"narrow iron door seam\", \"screen_zone\": \"middle_center\", \"target_id\": \"\", \"target_kind\": \"background\"}], \"reason\": \"required_background_position\"}\nSTAGING CORRECTIONS (override — each replaces the quoted expression above; corrections win):\n- \"unlit, opaque, silent\" -> unlit, opaque (staging.key_bg_elements[1].state)\n- \"Adds tactile evidence of forced entry near the seam.\" -> Shows the wedged flyer edge near the seam. (staging.key_bg_elements[2].camera_use)\n- \"A thin blue rooftop ambient line skims the iron\" -> A low-angle night light skims the iron (staging.lighting_mood)\n- \", with only a trace of sickly amber leaking from somewhere unseen\" ->  (staging.lighting_mood)\n\n[S10_Shot6] scene_heading=S#10. 옥탑방 / N\ndescription: 방 안 창문에 비친 그림자, 굽은 형태의 인영이 다른 사람 형상 위에 포개져 멈춘 찰나의 실루엣.\nframing_scale: medium\ncamera_direction: Inside the room, the camera holds static near the side wall at shoulder height, angled so only the window glass carries the action as a reflection and the direct attack is never seen. The reflected silhouettes sit within the window frame: a bent 인영 in the upper-middle area lowers its head toward the shoulder of 사람, whose body buckles beneath it in a distorted, wavering mid-action shape.\nperspective: observer\nlighting_mood: The reflected action is almost monochrome blue-black, broken by a weak amber practical smear and restrained crimson-brown shadow at the shoulder line.\nkey_bg_elements: [{\"camera_use\": \"Serves as the only visible surface for the attack, keeping violence indirect and distorted.\", \"directionality_class\": \"reflective_surface\", \"element\": \"room window glass\", \"orientation\": \"The glass reflects the bent 인영 and 사람 as warped dark silhouettes, with faint interior light streaks trembling across them.\", \"state\": \"closed, grimy, reflective in darkness\"}, {\"camera_use\": \"Frames the reflection and prevents the viewer from seeing the real bodies directly.\", \"directionality_class\": \"directional_3d\", \"element\": \"window frame\", \"orientation\": \"The frame’s inner edges face camera and box the reflected action into a rigid rectangle.\", \"state\": \"old, chipped, motionless\"}, {\"camera_use\": \"Adds low, diseased color to the reflected silhouettes.\", \"directionality_class\": \"directional_3d\", \"element\": \"dim interior practical light\", \"orientation\": \"The lamp’s shaded side is off-frame but its amber spill grazes the wall and window reflection.\", \"state\": \"on, weak, sickly amber\"}, {\"camera_use\": \"Keeps the room claustrophobic around the window surface.\", \"directionality_class\": \"non_directional\", \"element\": \"dark side wall\", \"orientation\": \"\", \"state\": \"rough, stained, blue-gray shadowed\"}]\nframe_spatial_contract: {\"constraints\": [{\"depth_plane\": \"midground\", \"gesture_action\": \"none\", \"gesture_target_label\": \"\", \"label\": \"window reflection containing silhouettes\", \"screen_zone\": \"middle_center\", \"target_id\": \"\", \"target_kind\": \"background\"}], \"reason\": \"required_background_position\"}\nSTAGING CORRECTIONS (override — each replaces the quoted expression above; corrections win):\n- \"The lamp’s shaded side is off-frame but its amber spill grazes the wall and window reflection.\" -> The lamp’s shaded side is off-frame but its dim spill grazes the wall and window reflection. (key_bg_elements[2].orientation)\n- \"on, weak, sickly amber\" -> on, weak (key_bg_elements[2].state)\n- \"rough, stained, blue-gray shadowed\" -> rough, stained, shadowed (key_bg_elements[3].state)\n- \"The reflected action is almost monochrome blue-black, broken by a weak amber practical smear and restrained crimson-brown shadow at the shoulder line.\" -> The reflected action is held in neutral low-key darkness, broken by a weak practical smear and restrained dark shadow at the shoulder line. (lighting_mood)\n\n[S11_Shot3] scene_heading=S#11. 옥탑 방 밖 / N\ndescription: 계단 중간에 서서 심하게 코를 찡그린 수리영의 얼굴 클로즈업.\ncharacters: 수리영\nframing_scale: close\ncamera_direction: Midway up the narrow concrete staircase, the camera holds static very close to 수리영 from the front-left at face height, tightening into an intense close-up that leaves only a sliver of stair texture behind her. Her nose wrinkles hard at the sudden smell, eyes lifting toward the unseen rooftop landing while her halted climb compresses her shoulders into the frame.\nperspective: observer\nlighting_mood: A cold blue-gray stairwell wash sculpts her face while a faint amber rooftop spill catches the bridge of her nose, making the smell reaction feel physical and ominous.\nkey_bg_elements: [{\"camera_use\": \"Minimal background texture that preserves the stair location without diluting the reaction.\", \"directionality_class\": \"directional_3d\", \"element\": \"narrow concrete staircase\", \"orientation\": \"Only the side edge and riser texture angle behind her cheek, indicating the upward path to the rooftop.\", \"state\": \"dark, damp, rough\"}, {\"camera_use\": \"Creates a suffocating side boundary close to her face.\", \"directionality_class\": \"non_directional\", \"element\": \"stairwell wall\", \"orientation\": \"\", \"state\": \"stained, cold, blue-gray\"}, {\"camera_use\": \"Suggests the unseen source direction through faint light above.\", \"directionality_class\": \"non_directional\", \"element\": \"rooftop darkness above the stairs\", \"orientation\": \"\", \"state\": \"unseen, heavy, foul implied\"}]\nSTAGING CORRECTIONS (override — each replaces the quoted expression above; corrections win):\n- \"narrow concrete staircase\" -> later-added steel retrofit stair (staging.camera_direction)\n- \"Only the side edge and riser texture angle behind her cheek, indicating the upward path to the rooftop.\" -> Only the open steel tread edge and thin steel stringer angle behind her cheek, indicating the upward path to the rooftop. (staging.key_bg_elements[0].orientation)\n- \"damp, \" ->  (staging.key_bg_elements[0].state)\n- \"stained, cold, blue-gray\" -> stained (staging.key_bg_elements[1].state)\n- \"rooftop darkness above the stairs\" -> rooftop direction above the stairs (staging.key_bg_elements[2].element)\n- \"unseen, heavy, foul implied\" -> unseen, foul smell implied (staging.key_bg_elements[2].state)\n- \"A cold blue-gray stairwell wash\" -> Unspecified stairwell lighting (staging.lighting_mood)\n- \"a faint amber rooftop spill\" -> a faint, colour-unspecified light spill (staging.lighting_mood)\n- \"physical and ominous\" -> physical (staging.lighting_mood)\n\n[S11_Shot4] scene_heading=S#11. 옥탑 방 밖 / N\ndescription: 옥상 위, 어둠 속에 반쯤 열려 멈춰 있는 옥탑방 현관 철문의 정적 구도.\nframing_scale: wide\ncamera_direction: After the hard eyeline cut, the camera adopts 수리영’s direct viewpoint from the rooftop landing, several meters from the entrance and at human eye level, facing the iron front door squarely. The half-open door is held in rigid symmetry at the center of the frame, surrounded by still rooftop darkness, with no figure entering to relieve the threat.\nperspective: subjective_pov\nlighting_mood: Muted moon-blue darkness surrounds the door, with a thin sickly amber leak from inside making the opening feel contaminated rather than welcoming.\nkey_bg_elements: [{\"camera_use\": \"Central reveal and source of unease, held motionless after her smell reaction.\", \"directionality_class\": \"directional_3d\", \"element\": \"rooftop room iron front door\", \"orientation\": \"The door faces camera squarely but hangs half-open, exposing a narrow black interior gap along one side.\", \"state\": \"half-open, frozen, scratched\"}, {\"camera_use\": \"Frames the doorway in isolated negative space.\", \"directionality_class\": \"non_directional\", \"element\": \"rooftop landing darkness\", \"orientation\": \"\", \"state\": \"still, damp, blue-black\"}, {\"camera_use\": \"Adds rough domestic rooftop texture without drawing attention from the door.\", \"directionality_class\": \"directional_3d\", \"element\": \"low rooftop wall\", \"orientation\": \"Its top edge runs horizontally across the lower background, barely lit against the night.\", \"state\": \"wet-stained, concrete, motionless\"}]\nframe_spatial_contract: {\"constraints\": [{\"depth_plane\": \"background\", \"gesture_action\": \"none\", \"gesture_target_label\": \"\", \"label\": \"half-open rooftop iron door\", \"screen_zone\": \"middle_center\", \"target_id\": \"\", \"target_kind\": \"background\"}], \"reason\": \"required_background_position\"}\nSTAGING CORRECTIONS (override — each replaces the quoted expression above; corrections win):\n- \"N\" ->  (shot_description.scene_heading)\n- \"옥상 위, 어둠 속에 반쯤 열려 멈춰 있는 옥탑방 현관 철문의 정적 구도.\" -> 옥상 위, 반쯤 열려 멈춰 있는 옥탑방 현관 철문의 정적 구도. (shot_description)\n- \"surrounded by still rooftop darkness\" -> surrounded by still rooftop space (staging.camera_direction)\n- \"The door faces camera squarely but hangs half-open, exposing a narrow black interior gap along one side.\" -> The door faces camera squarely but hangs half-open, leaving a narrow gap along one side. (staging.key_bg_elements[0].orientation)\n- \"half-open, frozen, scratched\" -> half-open, frozen (staging.key_bg_elements[0].state)\n- \"rooftop landing darkness\" -> rooftop landing (staging.key_bg_elements[1].element)\n- \"still, damp, blue-black\" -> still (staging.key_bg_elements[1].state)\n- \"Its top edge runs horizontally across the lower background, barely lit against the night.\" -> Its top edge runs horizontally across the lower background. (staging.key_bg_elements[2].orientation)\n- \"wet-stained, concrete, motionless\" -> concrete, motionless (staging.key_bg_elements[2].state)\n- \"Muted moon-blue darkness surrounds the door\" -> The shot holds on the half-open iron door (staging.lighting_mood)\n- \"with a thin sickly amber leak from inside making the opening feel contaminated rather than welcoming\" -> without specifying any interior light spill (staging.lighting_mood)\n\n[S13_Shot3] scene_heading=S#13. 옥탑방 외곽 / N\ndescription: 차에서 내린 혜수가 초점 없는 눈으로 멍하게 서 있는 수리영을 향해 시선을 고정한 찰나의 상체.\ncharacters: 혜수, 수리영\nframing_scale: medium\ncamera_direction: Beside the police car at chest height, the tracking move slows into a held upper-body frame on 혜수 as she has just stepped out, her body paused between the car and the alley. 수리영 appears farther down the alley in soft background focus, small and blank beneath flashing siren wash, while 혜수 occupies the left foreground in a tense three-quarter view; this is a direct observer view moving parallel with her discovery.\nperspective: observer\nlighting_mood: Strobing police red-blue cuts through damp fog, mixing with dirty amber streetlight and cold coastal shadows.\nkey_bg_elements: [{\"camera_use\": \"Foreground context and flashing light source beside 혜수.\", \"directionality_class\": \"directional_3d\", \"element\": \"police car\", \"orientation\": \"The side of the car and open door angle toward the camera, framing 혜수’s exit.\", \"state\": \"parked, door open, siren lights active\"}, {\"camera_use\": \"Depth corridor between 혜수 and 수리영.\", \"directionality_class\": \"directional_3d\", \"element\": \"narrow alley\", \"orientation\": \"The alley recedes diagonally from the police car toward 수리영 in the background.\", \"state\": \"wet, dark, foggy\"}, {\"camera_use\": \"Intermittent color wash across faces and walls.\", \"directionality_class\": \"non_directional\", \"element\": \"siren light spill\", \"orientation\": \"\", \"state\": \"flashing red-blue across damp surfaces\"}]\nframe_spatial_contract: {\"constraints\": [{\"depth_plane\": \"foreground\", \"gesture_action\": \"looks_toward\", \"gesture_target_label\": \"수리영 down the alley\", \"label\": \"혜수 by police car\", \"screen_zone\": \"middle_left\", \"target_id\": \"C02\", \"target_kind\": \"character\"}, {\"depth_plane\": \"background\", \"gesture_action\": \"none\", \"gesture_target_label\": \"\", \"label\": \"수리영 in alley\", \"screen_zone\": \"middle_right\", \"target_id\": \"C01\", \"target_kind\": \"character\"}], \"reason\": \"shared_space_relation\"}\nSTAGING CORRECTIONS (override — each replaces the quoted expression above; corrections win):\n- \"wet, dark, foggy\" -> visible between the police car and 수리영 (key_bg_elements[1].state)\n- \"wet, dark, foggy\" -> visible between the police car and 수리영 (key_bg_elements[1].state)\n- \"wet, dark, foggy\" -> visible between the police car and 수리영 (key_bg_elements[1].state)\n- \"flashing red-blue across damp surfaces\" -> flashing red-blue across the alley (key_bg_elements[2].state)\n- \"Strobing police red-blue cuts through damp fog, mixing with dirty amber streetlight and cold coastal shadows.\" -> Strobing police red-blue accompanies the police-car discovery moment. (lighting_mood)\n- \"Strobing police red-blue cuts through damp fog, mixing with dirty amber streetlight and cold coastal shadows.\" -> Strobing police red-blue accompanies the police-car discovery moment. (lighting_mood)\n- \"Strobing police red-blue cuts through damp fog, mixing with dirty amber streetlight and cold coastal shadows.\" -> Strobing police red-blue accompanies the police-car discovery moment. (lighting_mood)\n\n[S13_Shot5] scene_heading=S#13. 옥탑방 외곽 / N\ndescription: 수리영이 고개를 들어 혜수의 얼굴을 올려다보는 정적 구도.\ncharacters: 수리영, 혜수\nframing_scale: close\ncamera_direction: The camera sits low near 수리영’s eye level, about one meter away, tightened into a still close composition as she lifts her face toward 혜수 just above the frame. 수리영 holds the lower center of the image, her upward eyeline creating the unseen presence of 혜수, while the wet alley background blurs into dark blue-gray; this is a direct observer angle from the space between them.\nperspective: observer\nlighting_mood: Cold misty shadows dominate her face, interrupted by brief red-blue siren pulses and a weak amber street glow along her jaw.\nkey_bg_elements: [{\"camera_use\": \"Soft, dark background texture behind 수리영’s head.\", \"directionality_class\": \"non_directional\", \"element\": \"wet alley wall\", \"orientation\": \"\", \"state\": \"damp, shadowed, out of focus\"}, {\"camera_use\": \"Atmospheric layer around her face.\", \"directionality_class\": \"non_directional\", \"element\": \"night fog\", \"orientation\": \"\", \"state\": \"thin, drifting, blue-gray\"}, {\"camera_use\": \"Off-screen motivated color pulse on her skin.\", \"directionality_class\": \"non_directional\", \"element\": \"police siren spill\", \"orientation\": \"\", \"state\": \"intermittent, faint\"}]\nframe_spatial_contract: {\"constraints\": [{\"depth_plane\": \"foreground\", \"gesture_action\": \"looks_toward\", \"gesture_target_label\": \"혜수 just above frame\", \"label\": \"수리영 close low frame\", \"screen_zone\": \"middle_center\", \"target_id\": \"C01\", \"target_kind\": \"character\"}], \"reason\": \"primary_subject_isolation\"}\nSTAGING CORRECTIONS (override — each replaces the quoted expression above; corrections win):\n- \"while the wet alley background blurs into dark blue-gray\" -> while the alley/stair-foot background blurs out of focus (camera_direction)\n- \"wet alley wall\" -> alley wall (key_bg_elements[0].element)\n- \"night fog\" ->  (key_bg_elements[1].element)\n- \"Atmospheric layer around her face.\" ->  (key_bg_elements[1].camera_use)\n- \"thin, drifting, blue-gray\" ->  (key_bg_elements[1].state)\n- \"Cold misty shadows dominate her face\" -> Shadows fall across her face (lighting_mood)\n- \" and a weak amber street glow along her jaw\" ->  (lighting_mood)\n\n[S17_Shot1] scene_heading=S#17. 옥탑방 / 동틀무렵\ndescription: 짙고 푸른 안개가 깔린 새벽녘, 희미한 노란 불빛이 켜진 옥탑방 창문을 향해 검은 고양이 한 마리가 고개를 돌린 찰나의 측면.\nframing_scale: medium\ncamera_direction: Low at the 검은 고양이’s shoulder height, roughly one meter away, the camera tracks parallel along the rooftop wall and then holds a brief side profile as the cat turns its head toward the lit rooftop-room window. The cat occupies the lower left-to-center band of the frame, while the faint yellow window hangs in the misty background line of sight above the wall.\nperspective: observer\nlighting_mood: Blue dawn fog desaturates the rooftop while the sickly yellow window glow draws a small occult point of warmth behind the cat.\nkey_bg_elements: [{\"camera_use\": \"distant visual lure for the cat’s head turn\", \"directionality_class\": \"transparent_surface\", \"element\": \"rooftop-room window\", \"orientation\": \"fogged glass shows a weak yellow interior glow beyond it\", \"state\": \"closed, lit from inside\"}, {\"camera_use\": \"tracking guide and jump setup\", \"directionality_class\": \"directional_3d\", \"element\": \"low concrete rooftop wall\", \"orientation\": \"the long side face runs parallel to the camera movement, with its top edge rising toward the next action\", \"state\": \"damp, stained\"}, {\"camera_use\": \"atmospheric veil separating cat and room\", \"directionality_class\": \"non_directional\", \"element\": \"blue dawn fog\", \"orientation\": \"\", \"state\": \"thick, cold, slowly moving\"}]\nframe_spatial_contract: {\"constraints\": [{\"depth_plane\": \"foreground\", \"gesture_action\": \"looks_toward\", \"gesture_target_label\": \"lit rooftop window\", \"label\": \"black cat\", \"screen_zone\": \"lower_left\", \"target_id\": \"C11\", \"target_kind\": \"character\"}, {\"depth_plane\": \"background\", \"gesture_action\": \"none\", \"gesture_target_label\": \"\", \"label\": \"lit rooftop window\", \"screen_zone\": \"upper_right\", \"target_id\": \"\", \"target_kind\": \"background\"}], \"reason\": \"looks_to_anchor\"}\nSTAGING CORRECTIONS (override — each replaces the quoted expression above; corrections win):\n- \"동틀무렵\" ->  (shot_description.scene_heading)\n- \"짙고 푸른 안개가 깔린 새벽녘, \" ->  (shot_description.description)\n- \"희미한 노란 불빛이 켜진 옥탑방 창문\" -> 불이 켜진 옥탑방 창문 (shot_description.description)\n- \"faint yellow window\" -> lit rooftop-room window (staging.camera_direction)\n- \"misty background line of sight\" -> background line of sight (staging.camera_direction)\n- \"fogged glass shows a weak yellow interior glow beyond it\" -> window glass shows an interior light beyond it (staging.key_bg_elements[0].orientation)\n- \"fogged glass shows a weak yellow interior glow beyond it\" -> window glass shows an interior light beyond it (staging.key_bg_elements[0].orientation)\n- \"damp, stained\" -> stained (staging.key_bg_elements[1].state)\n- \"blue dawn fog\" ->  (staging.key_bg_elements[2].element)\n- \"thick, cold, slowly moving\" ->  (staging.key_bg_elements[2].state)\n- \"Blue dawn fog desaturates the rooftop while the \" -> The  (staging.lighting_mood)\n- \"sickly yellow window glow\" -> lit window (staging.lighting_mood)\n- \"draws a small occult point of warmth\" -> remains (staging.lighting_mood)\n\n[S4_Shot1] scene_heading=S#4. 옥탑방 / D\ndescription: 인천 변두리의 낡고 오래된 빌라 옥탑방 외부 전경이 한눈에 내려다보이는 부감 구도.\nframing_scale: wide\ncamera_direction: An omniscient overhead camera holds from about forty-five meters above the old villa, centered on the rooftop room while still keeping the surrounding neighborhood readable. The rooftop structure sits in the middle of the frame like a small exposed shrine, boxed in by worn roofs, narrow alleys, and faded concrete blocks.\nperspective: omniscient\nlighting_mood: Daylight is overcast and desaturated, with blue-gray concrete shadows and faint sickly amber window stains breaking the neighborhood’s cold isolation.\nkey_bg_elements: [{\"camera_use\": \"The rooftop room is the central visual anchor and destination of the aerial reveal.\", \"directionality_class\": \"directional_3d\", \"element\": \"old rooftop room exterior\", \"orientation\": \"its roof and front wall are visible from above, with the doorway side angled slightly toward camera\", \"state\": \"aged, patched, weather-stained\"}, {\"camera_use\": \"Surrounding villa roofs create a cramped grid that isolates the rooftop room.\", \"directionality_class\": \"directional_3d\", \"element\": \"neighboring old villa rooftops\", \"orientation\": \"flat roof planes face upward toward the overhead camera\", \"state\": \"worn, cluttered, pale gray\"}, {\"camera_use\": \"A thin haze softens the outskirts and carries the news voice’s unease into the space.\", \"directionality_class\": \"non_directional\", \"element\": \"damp urban haze\", \"orientation\": \"\", \"state\": \"thin, bluish, stagnant\"}]\nframe_spatial_contract: {\"constraints\": [{\"depth_plane\": \"midground\", \"gesture_action\": \"none\", \"gesture_target_label\": \"\", \"label\": \"old rooftop room\", \"screen_zone\": \"middle_center\", \"target_id\": \"\", \"target_kind\": \"background\"}], \"reason\": \"required_background_position\"}\nSTAGING CORRECTIONS (override — each replaces the quoted expression above; corrections win):\n- \"about forty-five meters above the old villa\" -> high above the old villa (camera_direction)\n- \"faded concrete blocks\" -> varied aged villa materials (camera_direction)\n- \"worn, cluttered, pale gray\" -> worn, lived-in (key_bg_elements[1].state)\n- \"A thin haze softens the outskirts and carries the news voice’s unease into the space.\" -> A thin haze softens the outskirts. (key_bg_elements[2].camera_use)\n- \"damp urban haze\" -> atmospheric haze (key_bg_elements[2].element)\n- \"thin, bluish, stagnant\" -> thin (key_bg_elements[2].state)\n- \"Daylight is overcast and desaturated, with blue-gray concrete shadows and faint sickly amber window stains breaking the neighborhood’s cold isolation.\" -> Daylight is present over the old rooftop villa and surrounding neighborhood. (lighting_mood)\n- \"Daylight is overcast and desaturated, with blue-gray concrete shadows and faint sickly amber window stains breaking the neighborhood’s cold isolation.\" -> Daylight is present over the old rooftop villa and surrounding neighborhood. (lighting_mood)\n- \"Daylight is overcast and desaturated, with blue-gray concrete shadows and faint sickly amber window stains breaking the neighborhood’s cold isolation.\" -> Daylight is present over the old rooftop villa and surrounding neighborhood. (lighting_mood)\n- \"Daylight is overcast and desaturated, with blue-gray concrete shadows and faint sickly amber window stains breaking the neighborhood’s cold isolation.\" -> Daylight is present over the old rooftop villa and surrounding neighborhood. (lighting_mood)"}
{"ts": "2026-07-09 02:14:59", "kind": "llm", "step": "s30_concept_S10_Shot5", "model": "gpt", "dur_s": 9.6, "system_prompt": "You are the production designer and cinematographer of a live-action\nfilm, planning the BACKGROUND PLATE (no people) behind one shot.\nGiven the shot content below, describe how that background should be\ndrawn: what the camera is, what physical elements fill the frame and\nwhere, and the time-of-day / light state.\nGround every world fact in the shot text and its corrections;\ncorrections always win over the original wording.\nINVENTION BOUNDARY: state world facts (weather, atmosphere, surface\nwetness, materials, light-source colour, numeric distances, time of\nday) ONLY when the shot text or its corrections state them; where\nthey are silent, stay silent too — do not invent moods or weather.", "user_prompt": "WORLD FACTS (creator-confirmed / evidence-bound — always true):\n- The main building is an aged three-storey multi-family villa;\n  its roof deck sits roughly 8-10 m above the yard, with the small\n  rooftop-room unit as an extra volume on the deck.\n- The exterior stair is a later-added STEEL retrofit stair climbing\n  the full three storeys: open treads, thin steel plate stringers,\n  support posts, pipe railings. It is NOT a concrete stair.\n\nSHOT:\n[S10_Shot5] scene_heading=S#10. 옥탑방 / N\ndescription: 철문이 미세하게 열린 틈 사이로 어두운 내부가 보이는 구도.\nframing_scale: insert\ncamera_direction: At the end of the flow’s dolly-in, the lens freezes just outside the iron door at handle height, only inches from the seam, staring directly into the thin opening. The dark crack sits in the center like a vertical wound, with rough iron surfaces on both sides occupying the foreground while the interior beyond remains unreadable and almost lightless.\nperspective: voyeur\nlighting_mood: A thin blue rooftop ambient line skims the iron while the interior remains dead black, with only a trace of sickly amber leaking from somewhere unseen.\nkey_bg_elements: [{\"camera_use\": \"Primary focal aperture; turns the entry into a threatening slit rather than a normal doorway.\", \"directionality_class\": \"directional_3d\", \"element\": \"iron front door\", \"orientation\": \"The two heavy door edges face camera at close range, separated by a narrow central crack leading into darkness.\", \"state\": \"slightly open, scratched, cold metal\"}, {\"camera_use\": \"Hides what is inside and makes the gap feel predatory.\", \"directionality_class\": \"non_directional\", \"element\": \"dark interior beyond the crack\", \"orientation\": \"\", \"state\": \"unlit, opaque, silent\"}, {\"camera_use\": \"Adds tactile evidence of forced entry near the seam.\", \"directionality_class\": \"content_surface\", \"element\": \"creased advertisement flyer edge\", \"orientation\": \"Only the printed edge of the paper face is visible near the door seam, with partial color blocks and unreadable text.\", \"state\": \"bent, partly displaced, dirty\"}]\nframe_spatial_contract: {\"constraints\": [{\"depth_plane\": \"foreground\", \"gesture_action\": \"none\", \"gesture_target_label\": \"\", \"label\": \"narrow iron door seam\", \"screen_zone\": \"middle_center\", \"target_id\": \"\", \"target_kind\": \"background\"}], \"reason\": \"required_background_position\"}\nSTAGING CORRECTIONS (override — each replaces the quoted expression above; corrections win):\n- \"unlit, opaque, silent\" -> unlit, opaque (staging.key_bg_elements[1].state)\n- \"Adds tactile evidence of forced entry near the seam.\" -> Shows the wedged flyer edge near the seam. (staging.key_bg_elements[2].camera_use)\n- \"A thin blue rooftop ambient line skims the iron\" -> A low-angle night light skims the iron (staging.lighting_mood)\n- \", with only a trace of sickly amber leaking from somewhere unseen\" ->  (staging.lighting_mood)"}
{"ts": "2026-07-09 02:15:10", "kind": "llm", "step": "s30_concept_S11_Shot3", "model": "gpt", "dur_s": 10.9, "system_prompt": "You are the production designer and cinematographer of a live-action\nfilm, planning the BACKGROUND PLATE (no people) behind one shot.\nGiven the shot content below, describe how that background should be\ndrawn: what the camera is, what physical elements fill the frame and\nwhere, and the time-of-day / light state.\nGround every world fact in the shot text and its corrections;\ncorrections always win over the original wording.\nINVENTION BOUNDARY: state world facts (weather, atmosphere, surface\nwetness, materials, light-source colour, numeric distances, time of\nday) ONLY when the shot text or its corrections state them; where\nthey are silent, stay silent too — do not invent moods or weather.", "user_prompt": "WORLD FACTS (creator-confirmed / evidence-bound — always true):\n- The main building is an aged three-storey multi-family villa;\n  its roof deck sits roughly 8-10 m above the yard, with the small\n  rooftop-room unit as an extra volume on the deck.\n- The exterior stair is a later-added STEEL retrofit stair climbing\n  the full three storeys: open treads, thin steel plate stringers,\n  support posts, pipe railings. It is NOT a concrete stair.\n\nSHOT:\n[S11_Shot3] scene_heading=S#11. 옥탑 방 밖 / N\ndescription: 계단 중간에 서서 심하게 코를 찡그린 수리영의 얼굴 클로즈업.\ncharacters: 수리영\nframing_scale: close\ncamera_direction: Midway up the narrow concrete staircase, the camera holds static very close to 수리영 from the front-left at face height, tightening into an intense close-up that leaves only a sliver of stair texture behind her. Her nose wrinkles hard at the sudden smell, eyes lifting toward the unseen rooftop landing while her halted climb compresses her shoulders into the frame.\nperspective: observer\nlighting_mood: A cold blue-gray stairwell wash sculpts her face while a faint amber rooftop spill catches the bridge of her nose, making the smell reaction feel physical and ominous.\nkey_bg_elements: [{\"camera_use\": \"Minimal background texture that preserves the stair location without diluting the reaction.\", \"directionality_class\": \"directional_3d\", \"element\": \"narrow concrete staircase\", \"orientation\": \"Only the side edge and riser texture angle behind her cheek, indicating the upward path to the rooftop.\", \"state\": \"dark, damp, rough\"}, {\"camera_use\": \"Creates a suffocating side boundary close to her face.\", \"directionality_class\": \"non_directional\", \"element\": \"stairwell wall\", \"orientation\": \"\", \"state\": \"stained, cold, blue-gray\"}, {\"camera_use\": \"Suggests the unseen source direction through faint light above.\", \"directionality_class\": \"non_directional\", \"element\": \"rooftop darkness above the stairs\", \"orientation\": \"\", \"state\": \"unseen, heavy, foul implied\"}]\nSTAGING CORRECTIONS (override — each replaces the quoted expression above; corrections win):\n- \"narrow concrete staircase\" -> later-added steel retrofit stair (staging.camera_direction)\n- \"Only the side edge and riser texture angle behind her cheek, indicating the upward path to the rooftop.\" -> Only the open steel tread edge and thin steel stringer angle behind her cheek, indicating the upward path to the rooftop. (staging.key_bg_elements[0].orientation)\n- \"damp, \" ->  (staging.key_bg_elements[0].state)\n- \"stained, cold, blue-gray\" -> stained (staging.key_bg_elements[1].state)\n- \"rooftop darkness above the stairs\" -> rooftop direction above the stairs (staging.key_bg_elements[2].element)\n- \"unseen, heavy, foul implied\" -> unseen, foul smell implied (staging.key_bg_elements[2].state)\n- \"A cold blue-gray stairwell wash\" -> Unspecified stairwell lighting (staging.lighting_mood)\n- \"a faint amber rooftop spill\" -> a faint, colour-unspecified light spill (staging.lighting_mood)\n- \"physical and ominous\" -> physical (staging.lighting_mood)"}
{"ts": "2026-07-09 02:15:23", "kind": "llm", "step": "s30_concept_S11_Shot4", "model": "gpt", "dur_s": 12.3, "system_prompt": "You are the production designer and cinematographer of a live-action\nfilm, planning the BACKGROUND PLATE (no people) behind one shot.\nGiven the shot content below, describe how that background should be\ndrawn: what the camera is, what physical elements fill the frame and\nwhere, and the time-of-day / light state.\nGround every world fact in the shot text and its corrections;\ncorrections always win over the original wording.\nINVENTION BOUNDARY: state world facts (weather, atmosphere, surface\nwetness, materials, light-source colour, numeric distances, time of\nday) ONLY when the shot text or its corrections state them; where\nthey are silent, stay silent too — do not invent moods or weather.", "user_prompt": "WORLD FACTS (creator-confirmed / evidence-bound — always true):\n- The main building is an aged three-storey multi-family villa;\n  its roof deck sits roughly 8-10 m above the yard, with the small\n  rooftop-room unit as an extra volume on the deck.\n- The exterior stair is a later-added STEEL retrofit stair climbing\n  the full three storeys: open treads, thin steel plate stringers,\n  support posts, pipe railings. It is NOT a concrete stair.\n\nSHOT:\n[S11_Shot4] scene_heading=S#11. 옥탑 방 밖 / N\ndescription: 옥상 위, 어둠 속에 반쯤 열려 멈춰 있는 옥탑방 현관 철문의 정적 구도.\nframing_scale: wide\ncamera_direction: After the hard eyeline cut, the camera adopts 수리영’s direct viewpoint from the rooftop landing, several meters from the entrance and at human eye level, facing the iron front door squarely. The half-open door is held in rigid symmetry at the center of the frame, surrounded by still rooftop darkness, with no figure entering to relieve the threat.\nperspective: subjective_pov\nlighting_mood: Muted moon-blue darkness surrounds the door, with a thin sickly amber leak from inside making the opening feel contaminated rather than welcoming.\nkey_bg_elements: [{\"camera_use\": \"Central reveal and source of unease, held motionless after her smell reaction.\", \"directionality_class\": \"directional_3d\", \"element\": \"rooftop room iron front door\", \"orientation\": \"The door faces camera squarely but hangs half-open, exposing a narrow black interior gap along one side.\", \"state\": \"half-open, frozen, scratched\"}, {\"camera_use\": \"Frames the doorway in isolated negative space.\", \"directionality_class\": \"non_directional\", \"element\": \"rooftop landing darkness\", \"orientation\": \"\", \"state\": \"still, damp, blue-black\"}, {\"camera_use\": \"Adds rough domestic rooftop texture without drawing attention from the door.\", \"directionality_class\": \"directional_3d\", \"element\": \"low rooftop wall\", \"orientation\": \"Its top edge runs horizontally across the lower background, barely lit against the night.\", \"state\": \"wet-stained, concrete, motionless\"}]\nframe_spatial_contract: {\"constraints\": [{\"depth_plane\": \"background\", \"gesture_action\": \"none\", \"gesture_target_label\": \"\", \"label\": \"half-open rooftop iron door\", \"screen_zone\": \"middle_center\", \"target_id\": \"\", \"target_kind\": \"background\"}], \"reason\": \"required_background_position\"}\nSTAGING CORRECTIONS (override — each replaces the quoted expression above; corrections win):\n- \"N\" ->  (shot_description.scene_heading)\n- \"옥상 위, 어둠 속에 반쯤 열려 멈춰 있는 옥탑방 현관 철문의 정적 구도.\" -> 옥상 위, 반쯤 열려 멈춰 있는 옥탑방 현관 철문의 정적 구도. (shot_description)\n- \"surrounded by still rooftop darkness\" -> surrounded by still rooftop space (staging.camera_direction)\n- \"The door faces camera squarely but hangs half-open, exposing a narrow black interior gap along one side.\" -> The door faces camera squarely but hangs half-open, leaving a narrow gap along one side. (staging.key_bg_elements[0].orientation)\n- \"half-open, frozen, scratched\" -> half-open, frozen (staging.key_bg_elements[0].state)\n- \"rooftop landing darkness\" -> rooftop landing (staging.key_bg_elements[1].element)\n- \"still, damp, blue-black\" -> still (staging.key_bg_elements[1].state)\n- \"Its top edge runs horizontally across the lower background, barely lit against the night.\" -> Its top edge runs horizontally across the lower background. (staging.key_bg_elements[2].orientation)\n- \"wet-stained, concrete, motionless\" -> concrete, motionless (staging.key_bg_elements[2].state)\n- \"Muted moon-blue darkness surrounds the door\" -> The shot holds on the half-open iron door (staging.lighting_mood)\n- \"with a thin sickly amber leak from inside making the opening feel contaminated rather than welcoming\" -> without specifying any interior light spill (staging.lighting_mood)"}
{"ts": "2026-07-09 02:15:40", "kind": "llm", "step": "s30_concept_S13_Shot3", "model": "gpt", "dur_s": 17.5, "system_prompt": "You are the production designer and cinematographer of a live-action\nfilm, planning the BACKGROUND PLATE (no people) behind one shot.\nGiven the shot content below, describe how that background should be\ndrawn: what the camera is, what physical elements fill the frame and\nwhere, and the time-of-day / light state.\nGround every world fact in the shot text and its corrections;\ncorrections always win over the original wording.\nINVENTION BOUNDARY: state world facts (weather, atmosphere, surface\nwetness, materials, light-source colour, numeric distances, time of\nday) ONLY when the shot text or its corrections state them; where\nthey are silent, stay silent too — do not invent moods or weather.", "user_prompt": "WORLD FACTS (creator-confirmed / evidence-bound — always true):\n- The main building is an aged three-storey multi-family villa;\n  its roof deck sits roughly 8-10 m above the yard, with the small\n  rooftop-room unit as an extra volume on the deck.\n- The exterior stair is a later-added STEEL retrofit stair climbing\n  the full three storeys: open treads, thin steel plate stringers,\n  support posts, pipe railings. It is NOT a concrete stair.\n\nSHOT:\n[S13_Shot3] scene_heading=S#13. 옥탑방 외곽 / N\ndescription: 차에서 내린 혜수가 초점 없는 눈으로 멍하게 서 있는 수리영을 향해 시선을 고정한 찰나의 상체.\ncharacters: 혜수, 수리영\nframing_scale: medium\ncamera_direction: Beside the police car at chest height, the tracking move slows into a held upper-body frame on 혜수 as she has just stepped out, her body paused between the car and the alley. 수리영 appears farther down the alley in soft background focus, small and blank beneath flashing siren wash, while 혜수 occupies the left foreground in a tense three-quarter view; this is a direct observer view moving parallel with her discovery.\nperspective: observer\nlighting_mood: Strobing police red-blue cuts through damp fog, mixing with dirty amber streetlight and cold coastal shadows.\nkey_bg_elements: [{\"camera_use\": \"Foreground context and flashing light source beside 혜수.\", \"directionality_class\": \"directional_3d\", \"element\": \"police car\", \"orientation\": \"The side of the car and open door angle toward the camera, framing 혜수’s exit.\", \"state\": \"parked, door open, siren lights active\"}, {\"camera_use\": \"Depth corridor between 혜수 and 수리영.\", \"directionality_class\": \"directional_3d\", \"element\": \"narrow alley\", \"orientation\": \"The alley recedes diagonally from the police car toward 수리영 in the background.\", \"state\": \"wet, dark, foggy\"}, {\"camera_use\": \"Intermittent color wash across faces and walls.\", \"directionality_class\": \"non_directional\", \"element\": \"siren light spill\", \"orientation\": \"\", \"state\": \"flashing red-blue across damp surfaces\"}]\nframe_spatial_contract: {\"constraints\": [{\"depth_plane\": \"foreground\", \"gesture_action\": \"looks_toward\", \"gesture_target_label\": \"수리영 down the alley\", \"label\": \"혜수 by police car\", \"screen_zone\": \"middle_left\", \"target_id\": \"C02\", \"target_kind\": \"character\"}, {\"depth_plane\": \"background\", \"gesture_action\": \"none\", \"gesture_target_label\": \"\", \"label\": \"수리영 in alley\", \"screen_zone\": \"middle_right\", \"target_id\": \"C01\", \"target_kind\": \"character\"}], \"reason\": \"shared_space_relation\"}\nSTAGING CORRECTIONS (override — each replaces the quoted expression above; corrections win):\n- \"wet, dark, foggy\" -> visible between the police car and 수리영 (key_bg_elements[1].state)\n- \"wet, dark, foggy\" -> visible between the police car and 수리영 (key_bg_elements[1].state)\n- \"wet, dark, foggy\" -> visible between the police car and 수리영 (key_bg_elements[1].state)\n- \"flashing red-blue across damp surfaces\" -> flashing red-blue across the alley (key_bg_elements[2].state)\n- \"Strobing police red-blue cuts through damp fog, mixing with dirty amber streetlight and cold coastal shadows.\" -> Strobing police red-blue accompanies the police-car discovery moment. (lighting_mood)\n- \"Strobing police red-blue cuts through damp fog, mixing with dirty amber streetlight and cold coastal shadows.\" -> Strobing police red-blue accompanies the police-car discovery moment. (lighting_mood)\n- \"Strobing police red-blue cuts through damp fog, mixing with dirty amber streetlight and cold coastal shadows.\" -> Strobing police red-blue accompanies the police-car discovery moment. (lighting_mood)"}
{"ts": "2026-07-09 02:15:54", "kind": "llm", "step": "s30_concept_S13_Shot5", "model": "gpt", "dur_s": 13.8, "system_prompt": "You are the production designer and cinematographer of a live-action\nfilm, planning the BACKGROUND PLATE (no people) behind one shot.\nGiven the shot content below, describe how that background should be\ndrawn: what the camera is, what physical elements fill the frame and\nwhere, and the time-of-day / light state.\nGround every world fact in the shot text and its corrections;\ncorrections always win over the original wording.\nINVENTION BOUNDARY: state world facts (weather, atmosphere, surface\nwetness, materials, light-source colour, numeric distances, time of\nday) ONLY when the shot text or its corrections state them; where\nthey are silent, stay silent too — do not invent moods or weather.", "user_prompt": "WORLD FACTS (creator-confirmed / evidence-bound — always true):\n- The main building is an aged three-storey multi-family villa;\n  its roof deck sits roughly 8-10 m above the yard, with the small\n  rooftop-room unit as an extra volume on the deck.\n- The exterior stair is a later-added STEEL retrofit stair climbing\n  the full three storeys: open treads, thin steel plate stringers,\n  support posts, pipe railings. It is NOT a concrete stair.\n\nSHOT:\n[S13_Shot5] scene_heading=S#13. 옥탑방 외곽 / N\ndescription: 수리영이 고개를 들어 혜수의 얼굴을 올려다보는 정적 구도.\ncharacters: 수리영, 혜수\nframing_scale: close\ncamera_direction: The camera sits low near 수리영’s eye level, about one meter away, tightened into a still close composition as she lifts her face toward 혜수 just above the frame. 수리영 holds the lower center of the image, her upward eyeline creating the unseen presence of 혜수, while the wet alley background blurs into dark blue-gray; this is a direct observer angle from the space between them.\nperspective: observer\nlighting_mood: Cold misty shadows dominate her face, interrupted by brief red-blue siren pulses and a weak amber street glow along her jaw.\nkey_bg_elements: [{\"camera_use\": \"Soft, dark background texture behind 수리영’s head.\", \"directionality_class\": \"non_directional\", \"element\": \"wet alley wall\", \"orientation\": \"\", \"state\": \"damp, shadowed, out of focus\"}, {\"camera_use\": \"Atmospheric layer around her face.\", \"directionality_class\": \"non_directional\", \"element\": \"night fog\", \"orientation\": \"\", \"state\": \"thin, drifting, blue-gray\"}, {\"camera_use\": \"Off-screen motivated color pulse on her skin.\", \"directionality_class\": \"non_directional\", \"element\": \"police siren spill\", \"orientation\": \"\", \"state\": \"intermittent, faint\"}]\nframe_spatial_contract: {\"constraints\": [{\"depth_plane\": \"foreground\", \"gesture_action\": \"looks_toward\", \"gesture_target_label\": \"혜수 just above frame\", \"label\": \"수리영 close low frame\", \"screen_zone\": \"middle_center\", \"target_id\": \"C01\", \"target_kind\": \"character\"}], \"reason\": \"primary_subject_isolation\"}\nSTAGING CORRECTIONS (override — each replaces the quoted expression above; corrections win):\n- \"while the wet alley background blurs into dark blue-gray\" -> while the alley/stair-foot background blurs out of focus (camera_direction)\n- \"wet alley wall\" -> alley wall (key_bg_elements[0].element)\n- \"night fog\" ->  (key_bg_elements[1].element)\n- \"Atmospheric layer around her face.\" ->  (key_bg_elements[1].camera_use)\n- \"thin, drifting, blue-gray\" ->  (key_bg_elements[1].state)\n- \"Cold misty shadows dominate her face\" -> Shadows fall across her face (lighting_mood)\n- \" and a weak amber street glow along her jaw\" ->  (lighting_mood)"}
{"ts": "2026-07-09 02:16:09", "kind": "llm", "step": "s30_concept_S17_Shot1", "model": "gpt", "dur_s": 14.8, "system_prompt": "You are the production designer and cinematographer of a live-action\nfilm, planning the BACKGROUND PLATE (no people) behind one shot.\nGiven the shot content below, describe how that background should be\ndrawn: what the camera is, what physical elements fill the frame and\nwhere, and the time-of-day / light state.\nGround every world fact in the shot text and its corrections;\ncorrections always win over the original wording.\nINVENTION BOUNDARY: state world facts (weather, atmosphere, surface\nwetness, materials, light-source colour, numeric distances, time of\nday) ONLY when the shot text or its corrections state them; where\nthey are silent, stay silent too — do not invent moods or weather.", "user_prompt": "WORLD FACTS (creator-confirmed / evidence-bound — always true):\n- The main building is an aged three-storey multi-family villa;\n  its roof deck sits roughly 8-10 m above the yard, with the small\n  rooftop-room unit as an extra volume on the deck.\n- The exterior stair is a later-added STEEL retrofit stair climbing\n  the full three storeys: open treads, thin steel plate stringers,\n  support posts, pipe railings. It is NOT a concrete stair.\n\nSHOT:\n[S17_Shot1] scene_heading=S#17. 옥탑방 / 동틀무렵\ndescription: 짙고 푸른 안개가 깔린 새벽녘, 희미한 노란 불빛이 켜진 옥탑방 창문을 향해 검은 고양이 한 마리가 고개를 돌린 찰나의 측면.\nframing_scale: medium\ncamera_direction: Low at the 검은 고양이’s shoulder height, roughly one meter away, the camera tracks parallel along the rooftop wall and then holds a brief side profile as the cat turns its head toward the lit rooftop-room window. The cat occupies the lower left-to-center band of the frame, while the faint yellow window hangs in the misty background line of sight above the wall.\nperspective: observer\nlighting_mood: Blue dawn fog desaturates the rooftop while the sickly yellow window glow draws a small occult point of warmth behind the cat.\nkey_bg_elements: [{\"camera_use\": \"distant visual lure for the cat’s head turn\", \"directionality_class\": \"transparent_surface\", \"element\": \"rooftop-room window\", \"orientation\": \"fogged glass shows a weak yellow interior glow beyond it\", \"state\": \"closed, lit from inside\"}, {\"camera_use\": \"tracking guide and jump setup\", \"directionality_class\": \"directional_3d\", \"element\": \"low concrete rooftop wall\", \"orientation\": \"the long side face runs parallel to the camera movement, with its top edge rising toward the next action\", \"state\": \"damp, stained\"}, {\"camera_use\": \"atmospheric veil separating cat and room\", \"directionality_class\": \"non_directional\", \"element\": \"blue dawn fog\", \"orientation\": \"\", \"state\": \"thick, cold, slowly moving\"}]\nframe_spatial_contract: {\"constraints\": [{\"depth_plane\": \"foreground\", \"gesture_action\": \"looks_toward\", \"gesture_target_label\": \"lit rooftop window\", \"label\": \"black cat\", \"screen_zone\": \"lower_left\", \"target_id\": \"C11\", \"target_kind\": \"character\"}, {\"depth_plane\": \"background\", \"gesture_action\": \"none\", \"gesture_target_label\": \"\", \"label\": \"lit rooftop window\", \"screen_zone\": \"upper_right\", \"target_id\": \"\", \"target_kind\": \"background\"}], \"reason\": \"looks_to_anchor\"}\nSTAGING CORRECTIONS (override — each replaces the quoted expression above; corrections win):\n- \"동틀무렵\" ->  (shot_description.scene_heading)\n- \"짙고 푸른 안개가 깔린 새벽녘, \" ->  (shot_description.description)\n- \"희미한 노란 불빛이 켜진 옥탑방 창문\" -> 불이 켜진 옥탑방 창문 (shot_description.description)\n- \"faint yellow window\" -> lit rooftop-room window (staging.camera_direction)\n- \"misty background line of sight\" -> background line of sight (staging.camera_direction)\n- \"fogged glass shows a weak yellow interior glow beyond it\" -> window glass shows an interior light beyond it (staging.key_bg_elements[0].orientation)\n- \"fogged glass shows a weak yellow interior glow beyond it\" -> window glass shows an interior light beyond it (staging.key_bg_elements[0].orientation)\n- \"damp, stained\" -> stained (staging.key_bg_elements[1].state)\n- \"blue dawn fog\" ->  (staging.key_bg_elements[2].element)\n- \"thick, cold, slowly moving\" ->  (staging.key_bg_elements[2].state)\n- \"Blue dawn fog desaturates the rooftop while the \" -> The  (staging.lighting_mood)\n- \"sickly yellow window glow\" -> lit window (staging.lighting_mood)\n- \"draws a small occult point of warmth\" -> remains (staging.lighting_mood)"}
{"ts": "2026-07-09 02:16:20", "kind": "llm", "step": "s30_concept_S4_Shot1", "model": "gpt", "dur_s": 11.5, "system_prompt": "You are the production designer and cinematographer of a live-action\nfilm, planning the BACKGROUND PLATE (no people) behind one shot.\nGiven the shot content below, describe how that background should be\ndrawn: what the camera is, what physical elements fill the frame and\nwhere, and the time-of-day / light state.\nGround every world fact in the shot text and its corrections;\ncorrections always win over the original wording.\nINVENTION BOUNDARY: state world facts (weather, atmosphere, surface\nwetness, materials, light-source colour, numeric distances, time of\nday) ONLY when the shot text or its corrections state them; where\nthey are silent, stay silent too — do not invent moods or weather.", "user_prompt": "WORLD FACTS (creator-confirmed / evidence-bound — always true):\n- The main building is an aged three-storey multi-family villa;\n  its roof deck sits roughly 8-10 m above the yard, with the small\n  rooftop-room unit as an extra volume on the deck.\n- The exterior stair is a later-added STEEL retrofit stair climbing\n  the full three storeys: open treads, thin steel plate stringers,\n  support posts, pipe railings. It is NOT a concrete stair.\n\nSHOT:\n[S4_Shot1] scene_heading=S#4. 옥탑방 / D\ndescription: 인천 변두리의 낡고 오래된 빌라 옥탑방 외부 전경이 한눈에 내려다보이는 부감 구도.\nframing_scale: wide\ncamera_direction: An omniscient overhead camera holds from about forty-five meters above the old villa, centered on the rooftop room while still keeping the surrounding neighborhood readable. The rooftop structure sits in the middle of the frame like a small exposed shrine, boxed in by worn roofs, narrow alleys, and faded concrete blocks.\nperspective: omniscient\nlighting_mood: Daylight is overcast and desaturated, with blue-gray concrete shadows and faint sickly amber window stains breaking the neighborhood’s cold isolation.\nkey_bg_elements: [{\"camera_use\": \"The rooftop room is the central visual anchor and destination of the aerial reveal.\", \"directionality_class\": \"directional_3d\", \"element\": \"old rooftop room exterior\", \"orientation\": \"its roof and front wall are visible from above, with the doorway side angled slightly toward camera\", \"state\": \"aged, patched, weather-stained\"}, {\"camera_use\": \"Surrounding villa roofs create a cramped grid that isolates the rooftop room.\", \"directionality_class\": \"directional_3d\", \"element\": \"neighboring old villa rooftops\", \"orientation\": \"flat roof planes face upward toward the overhead camera\", \"state\": \"worn, cluttered, pale gray\"}, {\"camera_use\": \"A thin haze softens the outskirts and carries the news voice’s unease into the space.\", \"directionality_class\": \"non_directional\", \"element\": \"damp urban haze\", \"orientation\": \"\", \"state\": \"thin, bluish, stagnant\"}]\nframe_spatial_contract: {\"constraints\": [{\"depth_plane\": \"midground\", \"gesture_action\": \"none\", \"gesture_target_label\": \"\", \"label\": \"old rooftop room\", \"screen_zone\": \"middle_center\", \"target_id\": \"\", \"target_kind\": \"background\"}], \"reason\": \"required_background_position\"}\nSTAGING CORRECTIONS (override — each replaces the quoted expression above; corrections win):\n- \"about forty-five meters above the old villa\" -> high above the old villa (camera_direction)\n- \"faded concrete blocks\" -> varied aged villa materials (camera_direction)\n- \"worn, cluttered, pale gray\" -> worn, lived-in (key_bg_elements[1].state)\n- \"A thin haze softens the outskirts and carries the news voice’s unease into the space.\" -> A thin haze softens the outskirts. (key_bg_elements[2].camera_use)\n- \"damp urban haze\" -> atmospheric haze (key_bg_elements[2].element)\n- \"thin, bluish, stagnant\" -> thin (key_bg_elements[2].state)\n- \"Daylight is overcast and desaturated, with blue-gray concrete shadows and faint sickly amber window stains breaking the neighborhood’s cold isolation.\" -> Daylight is present over the old rooftop villa and surrounding neighborhood. (lighting_mood)\n- \"Daylight is overcast and desaturated, with blue-gray concrete shadows and faint sickly amber window stains breaking the neighborhood’s cold isolation.\" -> Daylight is present over the old rooftop villa and surrounding neighborhood. (lighting_mood)\n- \"Daylight is overcast and desaturated, with blue-gray concrete shadows and faint sickly amber window stains breaking the neighborhood’s cold isolation.\" -> Daylight is present over the old rooftop villa and surrounding neighborhood. (lighting_mood)\n- \"Daylight is overcast and desaturated, with blue-gray concrete shadows and faint sickly amber window stains breaking the neighborhood’s cold isolation.\" -> Daylight is present over the old rooftop villa and surrounding neighborhood. (lighting_mood)"}
{"ts": "2026-07-09 02:16:48", "kind": "llm", "step": "s30_ground_S10_Shot5", "model": "gpt", "dur_s": 16.1, "system_prompt": "You are the location scout of a live-action film. Attached is the\nSITE PLAN of the single filming property (with circled markers whose\nlegend is given as text), plus one shot and its background concept.\nDecide WHERE on this site plan the shot takes place and how to shoot\nit there: pick the zone, cite the marker codes the camera stands at\nor looks toward, and describe the camera position and view strictly\nin terms of the mapped elements.\nEvery spatial claim must be consistent with the site plan and the\nmarker legend. If the shot looks outward past the property edge,\nsay what lies beyond the frame edge on the plan side it faces.\nINVENTION BOUNDARY: state world facts (weather, atmosphere, surface\nwetness, materials, light-source colour, numeric distances, time of\nday) ONLY when the shot text or its corrections state them; where\nthey are silent, stay silent too — do not invent moods or weather.", "user_prompt": "[{\"type\": \"text\", \"text\": \"SITE PLAN of the filming property:\"}, {\"type\": \"text\", \"text\": \"MARKER LEGEND:\\n- (P1) alley approach — Show the alley approach at the lower edge of the detail sketch, leading directly toward the filming property gate and able to support bicycle movement.\\n- (P2) multi-family villa gate — Place the gate on the alley frontage so that opening it leads directly into the property yard.\\n- (P3) yard — Draw the yard immediately inside the gate, between the alley entry and the exterior stair route.\\n- (P4) secluded bicycle corner — Set a tucked-away corner within the yard where a bicycle can be left roughly, separated from the main gate-to-stair path.\\n- (Q1) rooftop-room building footprint — Place the aged multi-family villa footprint along the yard, carrying the rooftop-room level above.\\n- (Q2) exterior steel retrofit stair run — Attach the exterior steel retrofit stair to the building wall, starting from the yard and rising outside the building toward the rooftop landing.\\n- (Q3) upper stair landing — Place the landing at the top of the exterior stair where the iron entrance door is immediately visible.\\n- (R1) landing-to-door roof path — Draw the roof path from the landing toward the iron door so it passes beside the bench area and the clothesline area.\\n- (R2) iron entrance door — Set the iron door on the rooftop-room unit facing the landing path; include the door-gap flyer detail and allow it to be shown partly open.\\n- (R3) rooftop-room unit — Place the rooftop-room unit on the roof surface, connected to the iron entrance door and containing the indicated window openings.\\n- (R4) rooftop-room window set — Mark the small living-room window and the curtained room window on the rooftop-room unit, with at least one window oriented for the low-wall sightline.\\n- (S1) water tank — Place the water tank on the roof surface near the rooftop deck contents, clear of the landing-to-door path.\\n- (S2) clothesline — Run the clothesline across the roof surface close enough to the approach path that hanging or dried leaves can brush a passerby.\\n- (S3) wooden drying bench with dried leaves — Place the wooden drying bench on the rooftop near the clothesline and along the path toward the iron door, carrying the dried leaves.\\n- (S4) low-angle night light-source position — Mark a low-angle light-source position affecting the rooftop path, only to support the long-shadow cue and without assigning any broader colour mood.\"}, {\"type\": \"text\", \"text\": \"SHOT:\\n[S10_Shot5] scene_heading=S#10. 옥탑방 / N\\ndescription: 철문이 미세하게 열린 틈 사이로 어두운 내부가 보이는 구도.\\nframing_scale: insert\\ncamera_direction: At the end of the flow’s dolly-in, the lens freezes just outside the iron door at handle height, only inches from the seam, staring directly into the thin opening. The dark crack sits in the center like a vertical wound, with rough iron surfaces on both sides occupying the foreground while the interior beyond remains unreadable and almost lightless.\\nperspective: voyeur\\nlighting_mood: A thin blue rooftop ambient line skims the iron while the interior remains dead black, with only a trace of sickly amber leaking from somewhere unseen.\\nkey_bg_elements: [{\\\"camera_use\\\": \\\"Primary focal aperture; turns the entry into a threatening slit rather than a normal doorway.\\\", \\\"directionality_class\\\": \\\"directional_3d\\\", \\\"element\\\": \\\"iron front door\\\", \\\"orientation\\\": \\\"The two heavy door edges face camera at close range, separated by a narrow central crack leading into darkness.\\\", \\\"state\\\": \\\"slightly open, scratched, cold metal\\\"}, {\\\"camera_use\\\": \\\"Hides what is inside and makes the gap feel predatory.\\\", \\\"directionality_class\\\": \\\"non_directional\\\", \\\"element\\\": \\\"dark interior beyond the crack\\\", \\\"orientation\\\": \\\"\\\", \\\"state\\\": \\\"unlit, opaque, silent\\\"}, {\\\"camera_use\\\": \\\"Adds tactile evidence of forced entry near the seam.\\\", \\\"directionality_class\\\": \\\"content_surface\\\", \\\"element\\\": \\\"creased advertisement flyer edge\\\", \\\"orientation\\\": \\\"Only the printed edge of the paper face is visible near the door seam, with partial color blocks and unreadable text.\\\", \\\"state\\\": \\\"bent, partly displaced, dirty\\\"}]\\nframe_spatial_contract: {\\\"constraints\\\": [{\\\"depth_plane\\\": \\\"foreground\\\", \\\"gesture_action\\\": \\\"none\\\", \\\"gesture_target_label\\\": \\\"\\\", \\\"label\\\": \\\"narrow iron door seam\\\", \\\"screen_zone\\\": \\\"middle_center\\\", \\\"target_id\\\": \\\"\\\", \\\"target_kind\\\": \\\"background\\\"}], \\\"reason\\\": \\\"required_background_position\\\"}\\nSTAGING CORRECTIONS (override — each replaces the quoted expression above; corrections win):\\n- \\\"unlit, opaque, silent\\\" -> unlit, opaque (staging.key_bg_elements[1].state)\\n- \\\"Adds tactile evidence of forced entry near the seam.\\\" -> Shows the wedged flyer edge near the seam. (staging.key_bg_elements[2].camera_use)\\n- \\\"A thin blue rooftop ambient line skims the iron\\\" -> A low-angle night light skims the iron (staging.lighting_mood)\\n- \\\", with only a trace of sickly amber leaking from somewhere unseen\\\" ->  (staging.lighting_mood)\"}, {\"type\": \"text\", \"text\": \"BACKGROUND CONCEPT:\\n{\\\"bg_concept_en\\\": \\\"Draw an insert background plate pressed up to a slightly open iron front door, with the two scratched metal door edges filling the left and right foreground. The narrow vertical crack must sit in the middle center of frame, revealing only an unlit, opaque interior beyond. Near the seam, include the bent, dirty edge of a creased advertisement flyer, showing partial color blocks and unreadable text.\\\", \\\"camera_en\\\": \\\"Handle-height camera, just outside the iron door, only inches from the seam. The lens faces straight into the thin opening in a voyeur insert framing, with the rough iron surfaces dominating the foreground and the dark interior held unreadable through the central slit.\\\", \\\"key_elements_en\\\": [\\\"Slightly open iron front door with two heavy scratched metal edges facing camera at close range.\\\", \\\"Narrow central door seam / crack positioned middle center as the primary focal aperture.\\\", \\\"Dark interior beyond the crack, unlit and opaque.\\\", \\\"Creased advertisement flyer edge wedged near the seam, bent, partly displaced, dirty, with only partial color blocks and unreadable text visible.\\\"], \\\"notes_ko\\\": \\\"인물 없는 배경 플레이트. 보정에 따라 파란 옥상 앰비언트나 앰버 누출광은 넣지 말고, 낮은 각도의 야간 조명이 철문 표면을 스치게만 처리한다. 전단지는 강제 침입의 설명이 아니라 문틈 근처에 끼어 보이는 가장자리로 표현한다.\\\", \\\"time_light_en\\\": \\\"Night; a low-angle night light skims the iron, while the interior beyond the crack remains unlit and opaque.\\\"}\"}]"}
{"ts": "2026-07-09 02:17:05", "kind": "llm", "step": "s30_ground_S11_Shot3", "model": "gpt", "dur_s": 17.2, "system_prompt": "You are the location scout of a live-action film. Attached is the\nSITE PLAN of the single filming property (with circled markers whose\nlegend is given as text), plus one shot and its background concept.\nDecide WHERE on this site plan the shot takes place and how to shoot\nit there: pick the zone, cite the marker codes the camera stands at\nor looks toward, and describe the camera position and view strictly\nin terms of the mapped elements.\nEvery spatial claim must be consistent with the site plan and the\nmarker legend. If the shot looks outward past the property edge,\nsay what lies beyond the frame edge on the plan side it faces.\nINVENTION BOUNDARY: state world facts (weather, atmosphere, surface\nwetness, materials, light-source colour, numeric distances, time of\nday) ONLY when the shot text or its corrections state them; where\nthey are silent, stay silent too — do not invent moods or weather.", "user_prompt": "[{\"type\": \"text\", \"text\": \"SITE PLAN of the filming property:\"}, {\"type\": \"text\", \"text\": \"MARKER LEGEND:\\n- (P1) alley approach — Show the alley approach at the lower edge of the detail sketch, leading directly toward the filming property gate and able to support bicycle movement.\\n- (P2) multi-family villa gate — Place the gate on the alley frontage so that opening it leads directly into the property yard.\\n- (P3) yard — Draw the yard immediately inside the gate, between the alley entry and the exterior stair route.\\n- (P4) secluded bicycle corner — Set a tucked-away corner within the yard where a bicycle can be left roughly, separated from the main gate-to-stair path.\\n- (Q1) rooftop-room building footprint — Place the aged multi-family villa footprint along the yard, carrying the rooftop-room level above.\\n- (Q2) exterior steel retrofit stair run — Attach the exterior steel retrofit stair to the building wall, starting from the yard and rising outside the building toward the rooftop landing.\\n- (Q3) upper stair landing — Place the landing at the top of the exterior stair where the iron entrance door is immediately visible.\\n- (R1) landing-to-door roof path — Draw the roof path from the landing toward the iron door so it passes beside the bench area and the clothesline area.\\n- (R2) iron entrance door — Set the iron door on the rooftop-room unit facing the landing path; include the door-gap flyer detail and allow it to be shown partly open.\\n- (R3) rooftop-room unit — Place the rooftop-room unit on the roof surface, connected to the iron entrance door and containing the indicated window openings.\\n- (R4) rooftop-room window set — Mark the small living-room window and the curtained room window on the rooftop-room unit, with at least one window oriented for the low-wall sightline.\\n- (S1) water tank — Place the water tank on the roof surface near the rooftop deck contents, clear of the landing-to-door path.\\n- (S2) clothesline — Run the clothesline across the roof surface close enough to the approach path that hanging or dried leaves can brush a passerby.\\n- (S3) wooden drying bench with dried leaves — Place the wooden drying bench on the rooftop near the clothesline and along the path toward the iron door, carrying the dried leaves.\\n- (S4) low-angle night light-source position — Mark a low-angle light-source position affecting the rooftop path, only to support the long-shadow cue and without assigning any broader colour mood.\"}, {\"type\": \"text\", \"text\": \"SHOT:\\n[S11_Shot3] scene_heading=S#11. 옥탑 방 밖 / N\\ndescription: 계단 중간에 서서 심하게 코를 찡그린 수리영의 얼굴 클로즈업.\\ncharacters: 수리영\\nframing_scale: close\\ncamera_direction: Midway up the narrow concrete staircase, the camera holds static very close to 수리영 from the front-left at face height, tightening into an intense close-up that leaves only a sliver of stair texture behind her. Her nose wrinkles hard at the sudden smell, eyes lifting toward the unseen rooftop landing while her halted climb compresses her shoulders into the frame.\\nperspective: observer\\nlighting_mood: A cold blue-gray stairwell wash sculpts her face while a faint amber rooftop spill catches the bridge of her nose, making the smell reaction feel physical and ominous.\\nkey_bg_elements: [{\\\"camera_use\\\": \\\"Minimal background texture that preserves the stair location without diluting the reaction.\\\", \\\"directionality_class\\\": \\\"directional_3d\\\", \\\"element\\\": \\\"narrow concrete staircase\\\", \\\"orientation\\\": \\\"Only the side edge and riser texture angle behind her cheek, indicating the upward path to the rooftop.\\\", \\\"state\\\": \\\"dark, damp, rough\\\"}, {\\\"camera_use\\\": \\\"Creates a suffocating side boundary close to her face.\\\", \\\"directionality_class\\\": \\\"non_directional\\\", \\\"element\\\": \\\"stairwell wall\\\", \\\"orientation\\\": \\\"\\\", \\\"state\\\": \\\"stained, cold, blue-gray\\\"}, {\\\"camera_use\\\": \\\"Suggests the unseen source direction through faint light above.\\\", \\\"directionality_class\\\": \\\"non_directional\\\", \\\"element\\\": \\\"rooftop darkness above the stairs\\\", \\\"orientation\\\": \\\"\\\", \\\"state\\\": \\\"unseen, heavy, foul implied\\\"}]\\nSTAGING CORRECTIONS (override — each replaces the quoted expression above; corrections win):\\n- \\\"narrow concrete staircase\\\" -> later-added steel retrofit stair (staging.camera_direction)\\n- \\\"Only the side edge and riser texture angle behind her cheek, indicating the upward path to the rooftop.\\\" -> Only the open steel tread edge and thin steel stringer angle behind her cheek, indicating the upward path to the rooftop. (staging.key_bg_elements[0].orientation)\\n- \\\"damp, \\\" ->  (staging.key_bg_elements[0].state)\\n- \\\"stained, cold, blue-gray\\\" -> stained (staging.key_bg_elements[1].state)\\n- \\\"rooftop darkness above the stairs\\\" -> rooftop direction above the stairs (staging.key_bg_elements[2].element)\\n- \\\"unseen, heavy, foul implied\\\" -> unseen, foul smell implied (staging.key_bg_elements[2].state)\\n- \\\"A cold blue-gray stairwell wash\\\" -> Unspecified stairwell lighting (staging.lighting_mood)\\n- \\\"a faint amber rooftop spill\\\" -> a faint, colour-unspecified light spill (staging.lighting_mood)\\n- \\\"physical and ominous\\\" -> physical (staging.lighting_mood)\"}, {\"type\": \"text\", \"text\": \"BACKGROUND CONCEPT:\\n{\\\"bg_concept_en\\\": \\\"Draw an extremely tight background plate for a close-up midway up a later-added steel retrofit stair on the exterior of the aged three-storey multi-family villa. The frame should contain only a sliver of the stair location: an angled open steel tread edge and thin steel stringer behind where the actor’s cheek would be, plus a close stained stairwell wall as the side boundary. Above the stair angle, leave the rooftop direction unseen, suggested only by a faint, colour-unspecified light spill from above.\\\", \\\"camera_en\\\": \\\"Static camera at face height, positioned very close from the front-left of the actor’s climb line, midway up the narrow steel retrofit stair. Frame as an intense close-up background: almost all foreground space reserved for the face, with only a narrow strip of stair texture and wall visible behind.\\\", \\\"key_elements_en\\\": [\\\"Later-added steel retrofit stair: open tread edge and thin steel plate stringer angling upward behind the face position.\\\", \\\"Stairwell wall very close to the face position, stained, forming a tight side boundary.\\\", \\\"Rooftop direction above the stairs remains unseen; foul smell is implied by the shot context, not by visible material.\\\", \\\"Faint, colour-unspecified light spill from the rooftop direction above.\\\"], \\\"notes_ko\\\": \\\"콘크리트 계단이 아니라 3층 전체를 오르는 후설 철제 외부계단으로 그린다. 젖음, 청회색/호박색 조명, 음산한 분위기 등은 보정에서 제외되었으므로 배경에 추가하지 않는다.\\\", \\\"time_light_en\\\": \\\"Night. Stairwell lighting is unspecified; a faint, colour-unspecified light spill comes from the rooftop direction above.\\\"}\"}]"}
{"ts": "2026-07-09 02:17:22", "kind": "llm", "step": "s30_ground_S11_Shot4", "model": "gpt", "dur_s": 17.3, "system_prompt": "You are the location scout of a live-action film. Attached is the\nSITE PLAN of the single filming property (with circled markers whose\nlegend is given as text), plus one shot and its background concept.\nDecide WHERE on this site plan the shot takes place and how to shoot\nit there: pick the zone, cite the marker codes the camera stands at\nor looks toward, and describe the camera position and view strictly\nin terms of the mapped elements.\nEvery spatial claim must be consistent with the site plan and the\nmarker legend. If the shot looks outward past the property edge,\nsay what lies beyond the frame edge on the plan side it faces.\nINVENTION BOUNDARY: state world facts (weather, atmosphere, surface\nwetness, materials, light-source colour, numeric distances, time of\nday) ONLY when the shot text or its corrections state them; where\nthey are silent, stay silent too — do not invent moods or weather.", "user_prompt": "[{\"type\": \"text\", \"text\": \"SITE PLAN of the filming property:\"}, {\"type\": \"text\", \"text\": \"MARKER LEGEND:\\n- (P1) alley approach — Show the alley approach at the lower edge of the detail sketch, leading directly toward the filming property gate and able to support bicycle movement.\\n- (P2) multi-family villa gate — Place the gate on the alley frontage so that opening it leads directly into the property yard.\\n- (P3) yard — Draw the yard immediately inside the gate, between the alley entry and the exterior stair route.\\n- (P4) secluded bicycle corner — Set a tucked-away corner within the yard where a bicycle can be left roughly, separated from the main gate-to-stair path.\\n- (Q1) rooftop-room building footprint — Place the aged multi-family villa footprint along the yard, carrying the rooftop-room level above.\\n- (Q2) exterior steel retrofit stair run — Attach the exterior steel retrofit stair to the building wall, starting from the yard and rising outside the building toward the rooftop landing.\\n- (Q3) upper stair landing — Place the landing at the top of the exterior stair where the iron entrance door is immediately visible.\\n- (R1) landing-to-door roof path — Draw the roof path from the landing toward the iron door so it passes beside the bench area and the clothesline area.\\n- (R2) iron entrance door — Set the iron door on the rooftop-room unit facing the landing path; include the door-gap flyer detail and allow it to be shown partly open.\\n- (R3) rooftop-room unit — Place the rooftop-room unit on the roof surface, connected to the iron entrance door and containing the indicated window openings.\\n- (R4) rooftop-room window set — Mark the small living-room window and the curtained room window on the rooftop-room unit, with at least one window oriented for the low-wall sightline.\\n- (S1) water tank — Place the water tank on the roof surface near the rooftop deck contents, clear of the landing-to-door path.\\n- (S2) clothesline — Run the clothesline across the roof surface close enough to the approach path that hanging or dried leaves can brush a passerby.\\n- (S3) wooden drying bench with dried leaves — Place the wooden drying bench on the rooftop near the clothesline and along the path toward the iron door, carrying the dried leaves.\\n- (S4) low-angle night light-source position — Mark a low-angle light-source position affecting the rooftop path, only to support the long-shadow cue and without assigning any broader colour mood.\"}, {\"type\": \"text\", \"text\": \"SHOT:\\n[S11_Shot4] scene_heading=S#11. 옥탑 방 밖 / N\\ndescription: 옥상 위, 어둠 속에 반쯤 열려 멈춰 있는 옥탑방 현관 철문의 정적 구도.\\nframing_scale: wide\\ncamera_direction: After the hard eyeline cut, the camera adopts 수리영’s direct viewpoint from the rooftop landing, several meters from the entrance and at human eye level, facing the iron front door squarely. The half-open door is held in rigid symmetry at the center of the frame, surrounded by still rooftop darkness, with no figure entering to relieve the threat.\\nperspective: subjective_pov\\nlighting_mood: Muted moon-blue darkness surrounds the door, with a thin sickly amber leak from inside making the opening feel contaminated rather than welcoming.\\nkey_bg_elements: [{\\\"camera_use\\\": \\\"Central reveal and source of unease, held motionless after her smell reaction.\\\", \\\"directionality_class\\\": \\\"directional_3d\\\", \\\"element\\\": \\\"rooftop room iron front door\\\", \\\"orientation\\\": \\\"The door faces camera squarely but hangs half-open, exposing a narrow black interior gap along one side.\\\", \\\"state\\\": \\\"half-open, frozen, scratched\\\"}, {\\\"camera_use\\\": \\\"Frames the doorway in isolated negative space.\\\", \\\"directionality_class\\\": \\\"non_directional\\\", \\\"element\\\": \\\"rooftop landing darkness\\\", \\\"orientation\\\": \\\"\\\", \\\"state\\\": \\\"still, damp, blue-black\\\"}, {\\\"camera_use\\\": \\\"Adds rough domestic rooftop texture without drawing attention from the door.\\\", \\\"directionality_class\\\": \\\"directional_3d\\\", \\\"element\\\": \\\"low rooftop wall\\\", \\\"orientation\\\": \\\"Its top edge runs horizontally across the lower background, barely lit against the night.\\\", \\\"state\\\": \\\"wet-stained, concrete, motionless\\\"}]\\nframe_spatial_contract: {\\\"constraints\\\": [{\\\"depth_plane\\\": \\\"background\\\", \\\"gesture_action\\\": \\\"none\\\", \\\"gesture_target_label\\\": \\\"\\\", \\\"label\\\": \\\"half-open rooftop iron door\\\", \\\"screen_zone\\\": \\\"middle_center\\\", \\\"target_id\\\": \\\"\\\", \\\"target_kind\\\": \\\"background\\\"}], \\\"reason\\\": \\\"required_background_position\\\"}\\nSTAGING CORRECTIONS (override — each replaces the quoted expression above; corrections win):\\n- \\\"N\\\" ->  (shot_description.scene_heading)\\n- \\\"옥상 위, 어둠 속에 반쯤 열려 멈춰 있는 옥탑방 현관 철문의 정적 구도.\\\" -> 옥상 위, 반쯤 열려 멈춰 있는 옥탑방 현관 철문의 정적 구도. (shot_description)\\n- \\\"surrounded by still rooftop darkness\\\" -> surrounded by still rooftop space (staging.camera_direction)\\n- \\\"The door faces camera squarely but hangs half-open, exposing a narrow black interior gap along one side.\\\" -> The door faces camera squarely but hangs half-open, leaving a narrow gap along one side. (staging.key_bg_elements[0].orientation)\\n- \\\"half-open, frozen, scratched\\\" -> half-open, frozen (staging.key_bg_elements[0].state)\\n- \\\"rooftop landing darkness\\\" -> rooftop landing (staging.key_bg_elements[1].element)\\n- \\\"still, damp, blue-black\\\" -> still (staging.key_bg_elements[1].state)\\n- \\\"Its top edge runs horizontally across the lower background, barely lit against the night.\\\" -> Its top edge runs horizontally across the lower background. (staging.key_bg_elements[2].orientation)\\n- \\\"wet-stained, concrete, motionless\\\" -> concrete, motionless (staging.key_bg_elements[2].state)\\n- \\\"Muted moon-blue darkness surrounds the door\\\" -> The shot holds on the half-open iron door (staging.lighting_mood)\\n- \\\"with a thin sickly amber leak from inside making the opening feel contaminated rather than welcoming\\\" -> without specifying any interior light spill (staging.lighting_mood)\"}, {\"type\": \"text\", \"text\": \"BACKGROUND CONCEPT:\\n{\\\"bg_concept_en\\\": \\\"Draw a wide, static rooftop plate centered on the rooftop-room iron front door of the small unit on the roof deck of an aged three-storey multi-family villa. The door faces the camera squarely and is held half-open, leaving a narrow gap along one side, with the surrounding rooftop landing kept still and uncluttered. A low concrete rooftop wall runs horizontally across the lower background to frame the doorway without competing with it.\\\", \\\"camera_en\\\": \\\"Subjective POV from the rooftop landing, several meters from the entrance, at human eye level. The camera faces the iron front door straight on in a wide framing, with rigid symmetry placing the half-open door in the middle center of the frame.\\\", \\\"key_elements_en\\\": [\\\"Rooftop-room iron front door: middle center, square to camera, half-open and frozen, with a narrow side gap.\\\", \\\"Rooftop landing: still space around the door, no people or movement.\\\", \\\"Low rooftop wall: concrete, motionless, its top edge running horizontally across the lower background.\\\", \\\"Rooftop-room unit: extra volume on the roof deck of the aged three-storey villa.\\\"], \\\"notes_ko\\\": \\\"정정 사항을 반영해 어둠, moon-blue, amber 실내빛, 젖음, 스크래치, 검은 내부 틈은 묘사하지 않는다. 옥탑방 철문은 중앙에 반쯤 열린 상태로 고정하고, 인물 없는 배경 플레이트로 구성한다.\\\", \\\"time_light_en\\\": \\\"unspecified — neutral\\\"}\"}]"}
{"ts": "2026-07-09 02:17:49", "kind": "llm", "step": "s30_ground_S13_Shot3", "model": "gpt", "dur_s": 26.9, "system_prompt": "You are the location scout of a live-action film. Attached is the\nSITE PLAN of the single filming property (with circled markers whose\nlegend is given as text), plus one shot and its background concept.\nDecide WHERE on this site plan the shot takes place and how to shoot\nit there: pick the zone, cite the marker codes the camera stands at\nor looks toward, and describe the camera position and view strictly\nin terms of the mapped elements.\nEvery spatial claim must be consistent with the site plan and the\nmarker legend. If the shot looks outward past the property edge,\nsay what lies beyond the frame edge on the plan side it faces.\nINVENTION BOUNDARY: state world facts (weather, atmosphere, surface\nwetness, materials, light-source colour, numeric distances, time of\nday) ONLY when the shot text or its corrections state them; where\nthey are silent, stay silent too — do not invent moods or weather.", "user_prompt": "[{\"type\": \"text\", \"text\": \"SITE PLAN of the filming property:\"}, {\"type\": \"text\", \"text\": \"MARKER LEGEND:\\n- (P1) alley approach — Show the alley approach at the lower edge of the detail sketch, leading directly toward the filming property gate and able to support bicycle movement.\\n- (P2) multi-family villa gate — Place the gate on the alley frontage so that opening it leads directly into the property yard.\\n- (P3) yard — Draw the yard immediately inside the gate, between the alley entry and the exterior stair route.\\n- (P4) secluded bicycle corner — Set a tucked-away corner within the yard where a bicycle can be left roughly, separated from the main gate-to-stair path.\\n- (Q1) rooftop-room building footprint — Place the aged multi-family villa footprint along the yard, carrying the rooftop-room level above.\\n- (Q2) exterior steel retrofit stair run — Attach the exterior steel retrofit stair to the building wall, starting from the yard and rising outside the building toward the rooftop landing.\\n- (Q3) upper stair landing — Place the landing at the top of the exterior stair where the iron entrance door is immediately visible.\\n- (R1) landing-to-door roof path — Draw the roof path from the landing toward the iron door so it passes beside the bench area and the clothesline area.\\n- (R2) iron entrance door — Set the iron door on the rooftop-room unit facing the landing path; include the door-gap flyer detail and allow it to be shown partly open.\\n- (R3) rooftop-room unit — Place the rooftop-room unit on the roof surface, connected to the iron entrance door and containing the indicated window openings.\\n- (R4) rooftop-room window set — Mark the small living-room window and the curtained room window on the rooftop-room unit, with at least one window oriented for the low-wall sightline.\\n- (S1) water tank — Place the water tank on the roof surface near the rooftop deck contents, clear of the landing-to-door path.\\n- (S2) clothesline — Run the clothesline across the roof surface close enough to the approach path that hanging or dried leaves can brush a passerby.\\n- (S3) wooden drying bench with dried leaves — Place the wooden drying bench on the rooftop near the clothesline and along the path toward the iron door, carrying the dried leaves.\\n- (S4) low-angle night light-source position — Mark a low-angle light-source position affecting the rooftop path, only to support the long-shadow cue and without assigning any broader colour mood.\"}, {\"type\": \"text\", \"text\": \"SHOT:\\n[S13_Shot3] scene_heading=S#13. 옥탑방 외곽 / N\\ndescription: 차에서 내린 혜수가 초점 없는 눈으로 멍하게 서 있는 수리영을 향해 시선을 고정한 찰나의 상체.\\ncharacters: 혜수, 수리영\\nframing_scale: medium\\ncamera_direction: Beside the police car at chest height, the tracking move slows into a held upper-body frame on 혜수 as she has just stepped out, her body paused between the car and the alley. 수리영 appears farther down the alley in soft background focus, small and blank beneath flashing siren wash, while 혜수 occupies the left foreground in a tense three-quarter view; this is a direct observer view moving parallel with her discovery.\\nperspective: observer\\nlighting_mood: Strobing police red-blue cuts through damp fog, mixing with dirty amber streetlight and cold coastal shadows.\\nkey_bg_elements: [{\\\"camera_use\\\": \\\"Foreground context and flashing light source beside 혜수.\\\", \\\"directionality_class\\\": \\\"directional_3d\\\", \\\"element\\\": \\\"police car\\\", \\\"orientation\\\": \\\"The side of the car and open door angle toward the camera, framing 혜수’s exit.\\\", \\\"state\\\": \\\"parked, door open, siren lights active\\\"}, {\\\"camera_use\\\": \\\"Depth corridor between 혜수 and 수리영.\\\", \\\"directionality_class\\\": \\\"directional_3d\\\", \\\"element\\\": \\\"narrow alley\\\", \\\"orientation\\\": \\\"The alley recedes diagonally from the police car toward 수리영 in the background.\\\", \\\"state\\\": \\\"wet, dark, foggy\\\"}, {\\\"camera_use\\\": \\\"Intermittent color wash across faces and walls.\\\", \\\"directionality_class\\\": \\\"non_directional\\\", \\\"element\\\": \\\"siren light spill\\\", \\\"orientation\\\": \\\"\\\", \\\"state\\\": \\\"flashing red-blue across damp surfaces\\\"}]\\nframe_spatial_contract: {\\\"constraints\\\": [{\\\"depth_plane\\\": \\\"foreground\\\", \\\"gesture_action\\\": \\\"looks_toward\\\", \\\"gesture_target_label\\\": \\\"수리영 down the alley\\\", \\\"label\\\": \\\"혜수 by police car\\\", \\\"screen_zone\\\": \\\"middle_left\\\", \\\"target_id\\\": \\\"C02\\\", \\\"target_kind\\\": \\\"character\\\"}, {\\\"depth_plane\\\": \\\"background\\\", \\\"gesture_action\\\": \\\"none\\\", \\\"gesture_target_label\\\": \\\"\\\", \\\"label\\\": \\\"수리영 in alley\\\", \\\"screen_zone\\\": \\\"middle_right\\\", \\\"target_id\\\": \\\"C01\\\", \\\"target_kind\\\": \\\"character\\\"}], \\\"reason\\\": \\\"shared_space_relation\\\"}\\nSTAGING CORRECTIONS (override — each replaces the quoted expression above; corrections win):\\n- \\\"wet, dark, foggy\\\" -> visible between the police car and 수리영 (key_bg_elements[1].state)\\n- \\\"wet, dark, foggy\\\" -> visible between the police car and 수리영 (key_bg_elements[1].state)\\n- \\\"wet, dark, foggy\\\" -> visible between the police car and 수리영 (key_bg_elements[1].state)\\n- \\\"flashing red-blue across damp surfaces\\\" -> flashing red-blue across the alley (key_bg_elements[2].state)\\n- \\\"Strobing police red-blue cuts through damp fog, mixing with dirty amber streetlight and cold coastal shadows.\\\" -> Strobing police red-blue accompanies the police-car discovery moment. (lighting_mood)\\n- \\\"Strobing police red-blue cuts through damp fog, mixing with dirty amber streetlight and cold coastal shadows.\\\" -> Strobing police red-blue accompanies the police-car discovery moment. (lighting_mood)\\n- \\\"Strobing police red-blue cuts through damp fog, mixing with dirty amber streetlight and cold coastal shadows.\\\" -> Strobing police red-blue accompanies the police-car discovery moment. (lighting_mood)\"}, {\"type\": \"text\", \"text\": \"BACKGROUND CONCEPT:\\n{\\\"bg_concept_en\\\": \\\"Background plate for a chest-height observer view beside a parked police car: the car side and its open door dominate the left/near foreground edge, while a narrow alley opens diagonally away toward the middle-right background. Keep the alley clearly visible between the police car position and the distant background mark for 수리영, with flashing red-blue siren spill moving across the alley. If the villa exterior is included along the alley, draw it as an aged three-storey multi-family villa with a rooftop-room volume on the roof deck, and any exterior full-height stair as a later-added steel retrofit stair, not concrete.\\\", \\\"camera_en\\\": \\\"Chest-height camera beside the police car, angled in a direct observer view parallel to 혜수’s discovery path; frame is a medium upper-body composition with the left foreground reserved for 혜수 by the open car door and the middle-right background reserved for 수리영 down the alley. The background should support a tracking move that slows into a held frame, with the alley receding diagonally from left/foreground to right/background.\\\", \\\"key_elements_en\\\": [\\\"Parked police car at the foreground side of frame, with side body and open door angled toward camera.\\\", \\\"Active police siren lights on the car, providing flashing red-blue spill.\\\", \\\"Narrow alley receding diagonally away from the police car toward the middle-right background position.\\\", \\\"Clear visible corridor between the police car and the background position for 수리영.\\\", \\\"Aged three-storey multi-family villa exterior if seen along the alley, with roof deck roughly 8–10 m above the yard and a small rooftop-room unit as an extra volume.\\\", \\\"If visible, the exterior stair is a steel retrofit stair with open treads, thin steel plate stringers, support posts, and pipe railings.\\\"], \\\"notes_ko\\\": \\\"인물은 없는 배경 플레이트로 구성한다. ‘젖은/어두운/안개’ 및 ‘축축한 표면, 앰버 가로등, 해안 그림자’ 표현은 보정에 의해 사용하지 않는다. 골목은 경찰차와 수리영 위치 사이가 보이도록만 처리한다.\\\", \\\"time_light_en\\\": \\\"Night; strobing police red-blue accompanies the police-car discovery moment.\\\"}\"}]"}
{"ts": "2026-07-09 02:18:22", "kind": "llm", "step": "s30_ground_S13_Shot5", "model": "gpt", "dur_s": 33.1, "system_prompt": "You are the location scout of a live-action film. Attached is the\nSITE PLAN of the single filming property (with circled markers whose\nlegend is given as text), plus one shot and its background concept.\nDecide WHERE on this site plan the shot takes place and how to shoot\nit there: pick the zone, cite the marker codes the camera stands at\nor looks toward, and describe the camera position and view strictly\nin terms of the mapped elements.\nEvery spatial claim must be consistent with the site plan and the\nmarker legend. If the shot looks outward past the property edge,\nsay what lies beyond the frame edge on the plan side it faces.\nINVENTION BOUNDARY: state world facts (weather, atmosphere, surface\nwetness, materials, light-source colour, numeric distances, time of\nday) ONLY when the shot text or its corrections state them; where\nthey are silent, stay silent too — do not invent moods or weather.", "user_prompt": "[{\"type\": \"text\", \"text\": \"SITE PLAN of the filming property:\"}, {\"type\": \"text\", \"text\": \"MARKER LEGEND:\\n- (P1) alley approach — Show the alley approach at the lower edge of the detail sketch, leading directly toward the filming property gate and able to support bicycle movement.\\n- (P2) multi-family villa gate — Place the gate on the alley frontage so that opening it leads directly into the property yard.\\n- (P3) yard — Draw the yard immediately inside the gate, between the alley entry and the exterior stair route.\\n- (P4) secluded bicycle corner — Set a tucked-away corner within the yard where a bicycle can be left roughly, separated from the main gate-to-stair path.\\n- (Q1) rooftop-room building footprint — Place the aged multi-family villa footprint along the yard, carrying the rooftop-room level above.\\n- (Q2) exterior steel retrofit stair run — Attach the exterior steel retrofit stair to the building wall, starting from the yard and rising outside the building toward the rooftop landing.\\n- (Q3) upper stair landing — Place the landing at the top of the exterior stair where the iron entrance door is immediately visible.\\n- (R1) landing-to-door roof path — Draw the roof path from the landing toward the iron door so it passes beside the bench area and the clothesline area.\\n- (R2) iron entrance door — Set the iron door on the rooftop-room unit facing the landing path; include the door-gap flyer detail and allow it to be shown partly open.\\n- (R3) rooftop-room unit — Place the rooftop-room unit on the roof surface, connected to the iron entrance door and containing the indicated window openings.\\n- (R4) rooftop-room window set — Mark the small living-room window and the curtained room window on the rooftop-room unit, with at least one window oriented for the low-wall sightline.\\n- (S1) water tank — Place the water tank on the roof surface near the rooftop deck contents, clear of the landing-to-door path.\\n- (S2) clothesline — Run the clothesline across the roof surface close enough to the approach path that hanging or dried leaves can brush a passerby.\\n- (S3) wooden drying bench with dried leaves — Place the wooden drying bench on the rooftop near the clothesline and along the path toward the iron door, carrying the dried leaves.\\n- (S4) low-angle night light-source position — Mark a low-angle light-source position affecting the rooftop path, only to support the long-shadow cue and without assigning any broader colour mood.\"}, {\"type\": \"text\", \"text\": \"SHOT:\\n[S13_Shot5] scene_heading=S#13. 옥탑방 외곽 / N\\ndescription: 수리영이 고개를 들어 혜수의 얼굴을 올려다보는 정적 구도.\\ncharacters: 수리영, 혜수\\nframing_scale: close\\ncamera_direction: The camera sits low near 수리영’s eye level, about one meter away, tightened into a still close composition as she lifts her face toward 혜수 just above the frame. 수리영 holds the lower center of the image, her upward eyeline creating the unseen presence of 혜수, while the wet alley background blurs into dark blue-gray; this is a direct observer angle from the space between them.\\nperspective: observer\\nlighting_mood: Cold misty shadows dominate her face, interrupted by brief red-blue siren pulses and a weak amber street glow along her jaw.\\nkey_bg_elements: [{\\\"camera_use\\\": \\\"Soft, dark background texture behind 수리영’s head.\\\", \\\"directionality_class\\\": \\\"non_directional\\\", \\\"element\\\": \\\"wet alley wall\\\", \\\"orientation\\\": \\\"\\\", \\\"state\\\": \\\"damp, shadowed, out of focus\\\"}, {\\\"camera_use\\\": \\\"Atmospheric layer around her face.\\\", \\\"directionality_class\\\": \\\"non_directional\\\", \\\"element\\\": \\\"night fog\\\", \\\"orientation\\\": \\\"\\\", \\\"state\\\": \\\"thin, drifting, blue-gray\\\"}, {\\\"camera_use\\\": \\\"Off-screen motivated color pulse on her skin.\\\", \\\"directionality_class\\\": \\\"non_directional\\\", \\\"element\\\": \\\"police siren spill\\\", \\\"orientation\\\": \\\"\\\", \\\"state\\\": \\\"intermittent, faint\\\"}]\\nframe_spatial_contract: {\\\"constraints\\\": [{\\\"depth_plane\\\": \\\"foreground\\\", \\\"gesture_action\\\": \\\"looks_toward\\\", \\\"gesture_target_label\\\": \\\"혜수 just above frame\\\", \\\"label\\\": \\\"수리영 close low frame\\\", \\\"screen_zone\\\": \\\"middle_center\\\", \\\"target_id\\\": \\\"C01\\\", \\\"target_kind\\\": \\\"character\\\"}], \\\"reason\\\": \\\"primary_subject_isolation\\\"}\\nSTAGING CORRECTIONS (override — each replaces the quoted expression above; corrections win):\\n- \\\"while the wet alley background blurs into dark blue-gray\\\" -> while the alley/stair-foot background blurs out of focus (camera_direction)\\n- \\\"wet alley wall\\\" -> alley wall (key_bg_elements[0].element)\\n- \\\"night fog\\\" ->  (key_bg_elements[1].element)\\n- \\\"Atmospheric layer around her face.\\\" ->  (key_bg_elements[1].camera_use)\\n- \\\"thin, drifting, blue-gray\\\" ->  (key_bg_elements[1].state)\\n- \\\"Cold misty shadows dominate her face\\\" -> Shadows fall across her face (lighting_mood)\\n- \\\" and a weak amber street glow along her jaw\\\" ->  (lighting_mood)\"}, {\"type\": \"text\", \"text\": \"BACKGROUND CONCEPT:\\n{\\\"bg_concept_en\\\": \\\"Draw a tight, out-of-focus alley/stair-foot background plate behind the close foreground position, with the alley wall and the base area of the exterior stair reduced to soft dark texture. The exterior stair, if visible, should read as a later-added steel retrofit stair with open treads, thin steel plate stringers, support posts, and pipe railings, not concrete. Keep the frame empty of people, preserving space for a low foreground face position and an eyeline to someone just above frame.\\\", \\\"camera_en\\\": \\\"Low camera near 수리영’s eye level, about one meter from the foreground subject position, in a still close composition from the space between the two characters. The lens is aimed slightly upward toward the off-screen presence just above frame, while the background remains blurred and non-dominant.\\\", \\\"key_elements_en\\\": [\\\"Alley wall: damp, shadowed, out of focus, used as soft background texture.\\\", \\\"Alley/stair-foot area: blurred behind the foreground position.\\\", \\\"Steel retrofit exterior stair base if included: open treads, thin steel plate stringers, support posts, pipe railings; not concrete.\\\", \\\"Police siren spill: intermittent, faint red-blue color pulse motivated from off-screen.\\\"], \\\"notes_ko\\\": \\\"인물 없는 배경 플레이트로 구성한다. 원문 속 ‘젖은 골목 배경’, ‘밤안개’, ‘차가운 안개 그림자’, ‘약한 앰버 가로등’ 표현은 보정에 따라 제거한다. 계단은 반드시 콘크리트가 아니라 후설치된 철제 외부계단으로 읽히게 한다.\\\", \\\"time_light_en\\\": \\\"Night; shadows across the foreground position with intermittent faint red-blue police siren spill. No amber street glow specified after correction.\\\"}\"}]"}
{"ts": "2026-07-09 02:18:38", "kind": "llm", "step": "s30_ground_S17_Shot1", "model": "gpt", "dur_s": 15.7, "system_prompt": "You are the location scout of a live-action film. Attached is the\nSITE PLAN of the single filming property (with circled markers whose\nlegend is given as text), plus one shot and its background concept.\nDecide WHERE on this site plan the shot takes place and how to shoot\nit there: pick the zone, cite the marker codes the camera stands at\nor looks toward, and describe the camera position and view strictly\nin terms of the mapped elements.\nEvery spatial claim must be consistent with the site plan and the\nmarker legend. If the shot looks outward past the property edge,\nsay what lies beyond the frame edge on the plan side it faces.\nINVENTION BOUNDARY: state world facts (weather, atmosphere, surface\nwetness, materials, light-source colour, numeric distances, time of\nday) ONLY when the shot text or its corrections state them; where\nthey are silent, stay silent too — do not invent moods or weather.", "user_prompt": "[{\"type\": \"text\", \"text\": \"SITE PLAN of the filming property:\"}, {\"type\": \"text\", \"text\": \"MARKER LEGEND:\\n- (P1) alley approach — Show the alley approach at the lower edge of the detail sketch, leading directly toward the filming property gate and able to support bicycle movement.\\n- (P2) multi-family villa gate — Place the gate on the alley frontage so that opening it leads directly into the property yard.\\n- (P3) yard — Draw the yard immediately inside the gate, between the alley entry and the exterior stair route.\\n- (P4) secluded bicycle corner — Set a tucked-away corner within the yard where a bicycle can be left roughly, separated from the main gate-to-stair path.\\n- (Q1) rooftop-room building footprint — Place the aged multi-family villa footprint along the yard, carrying the rooftop-room level above.\\n- (Q2) exterior steel retrofit stair run — Attach the exterior steel retrofit stair to the building wall, starting from the yard and rising outside the building toward the rooftop landing.\\n- (Q3) upper stair landing — Place the landing at the top of the exterior stair where the iron entrance door is immediately visible.\\n- (R1) landing-to-door roof path — Draw the roof path from the landing toward the iron door so it passes beside the bench area and the clothesline area.\\n- (R2) iron entrance door — Set the iron door on the rooftop-room unit facing the landing path; include the door-gap flyer detail and allow it to be shown partly open.\\n- (R3) rooftop-room unit — Place the rooftop-room unit on the roof surface, connected to the iron entrance door and containing the indicated window openings.\\n- (R4) rooftop-room window set — Mark the small living-room window and the curtained room window on the rooftop-room unit, with at least one window oriented for the low-wall sightline.\\n- (S1) water tank — Place the water tank on the roof surface near the rooftop deck contents, clear of the landing-to-door path.\\n- (S2) clothesline — Run the clothesline across the roof surface close enough to the approach path that hanging or dried leaves can brush a passerby.\\n- (S3) wooden drying bench with dried leaves — Place the wooden drying bench on the rooftop near the clothesline and along the path toward the iron door, carrying the dried leaves.\\n- (S4) low-angle night light-source position — Mark a low-angle light-source position affecting the rooftop path, only to support the long-shadow cue and without assigning any broader colour mood.\"}, {\"type\": \"text\", \"text\": \"SHOT:\\n[S17_Shot1] scene_heading=S#17. 옥탑방 / 동틀무렵\\ndescription: 짙고 푸른 안개가 깔린 새벽녘, 희미한 노란 불빛이 켜진 옥탑방 창문을 향해 검은 고양이 한 마리가 고개를 돌린 찰나의 측면.\\nframing_scale: medium\\ncamera_direction: Low at the 검은 고양이’s shoulder height, roughly one meter away, the camera tracks parallel along the rooftop wall and then holds a brief side profile as the cat turns its head toward the lit rooftop-room window. The cat occupies the lower left-to-center band of the frame, while the faint yellow window hangs in the misty background line of sight above the wall.\\nperspective: observer\\nlighting_mood: Blue dawn fog desaturates the rooftop while the sickly yellow window glow draws a small occult point of warmth behind the cat.\\nkey_bg_elements: [{\\\"camera_use\\\": \\\"distant visual lure for the cat’s head turn\\\", \\\"directionality_class\\\": \\\"transparent_surface\\\", \\\"element\\\": \\\"rooftop-room window\\\", \\\"orientation\\\": \\\"fogged glass shows a weak yellow interior glow beyond it\\\", \\\"state\\\": \\\"closed, lit from inside\\\"}, {\\\"camera_use\\\": \\\"tracking guide and jump setup\\\", \\\"directionality_class\\\": \\\"directional_3d\\\", \\\"element\\\": \\\"low concrete rooftop wall\\\", \\\"orientation\\\": \\\"the long side face runs parallel to the camera movement, with its top edge rising toward the next action\\\", \\\"state\\\": \\\"damp, stained\\\"}, {\\\"camera_use\\\": \\\"atmospheric veil separating cat and room\\\", \\\"directionality_class\\\": \\\"non_directional\\\", \\\"element\\\": \\\"blue dawn fog\\\", \\\"orientation\\\": \\\"\\\", \\\"state\\\": \\\"thick, cold, slowly moving\\\"}]\\nframe_spatial_contract: {\\\"constraints\\\": [{\\\"depth_plane\\\": \\\"foreground\\\", \\\"gesture_action\\\": \\\"looks_toward\\\", \\\"gesture_target_label\\\": \\\"lit rooftop window\\\", \\\"label\\\": \\\"black cat\\\", \\\"screen_zone\\\": \\\"lower_left\\\", \\\"target_id\\\": \\\"C11\\\", \\\"target_kind\\\": \\\"character\\\"}, {\\\"depth_plane\\\": \\\"background\\\", \\\"gesture_action\\\": \\\"none\\\", \\\"gesture_target_label\\\": \\\"\\\", \\\"label\\\": \\\"lit rooftop window\\\", \\\"screen_zone\\\": \\\"upper_right\\\", \\\"target_id\\\": \\\"\\\", \\\"target_kind\\\": \\\"background\\\"}], \\\"reason\\\": \\\"looks_to_anchor\\\"}\\nSTAGING CORRECTIONS (override — each replaces the quoted expression above; corrections win):\\n- \\\"동틀무렵\\\" ->  (shot_description.scene_heading)\\n- \\\"짙고 푸른 안개가 깔린 새벽녘, \\\" ->  (shot_description.description)\\n- \\\"희미한 노란 불빛이 켜진 옥탑방 창문\\\" -> 불이 켜진 옥탑방 창문 (shot_description.description)\\n- \\\"faint yellow window\\\" -> lit rooftop-room window (staging.camera_direction)\\n- \\\"misty background line of sight\\\" -> background line of sight (staging.camera_direction)\\n- \\\"fogged glass shows a weak yellow interior glow beyond it\\\" -> window glass shows an interior light beyond it (staging.key_bg_elements[0].orientation)\\n- \\\"fogged glass shows a weak yellow interior glow beyond it\\\" -> window glass shows an interior light beyond it (staging.key_bg_elements[0].orientation)\\n- \\\"damp, stained\\\" -> stained (staging.key_bg_elements[1].state)\\n- \\\"blue dawn fog\\\" ->  (staging.key_bg_elements[2].element)\\n- \\\"thick, cold, slowly moving\\\" ->  (staging.key_bg_elements[2].state)\\n- \\\"Blue dawn fog desaturates the rooftop while the \\\" -> The  (staging.lighting_mood)\\n- \\\"sickly yellow window glow\\\" -> lit window (staging.lighting_mood)\\n- \\\"draws a small occult point of warmth\\\" -> remains (staging.lighting_mood)\"}, {\"type\": \"text\", \"text\": \"BACKGROUND CONCEPT:\\n{\\\"bg_concept_en\\\": \\\"Draw an empty rooftop background on the roof deck of an aged three-storey multi-family villa, focused along a low stained concrete rooftop wall. In the upper-right background line of sight, place the closed rooftop-room window with visible interior light beyond the glass; the small rooftop-room unit sits as an added volume on the roof deck. Keep the lower-left to center band available for the cat’s foreground position in the final composite, but do not include the cat in the plate.\\\", \\\"camera_en\\\": \\\"Low camera at approximately black-cat shoulder height, about one meter from the intended foreground action position, aligned to track parallel along the rooftop wall and then hold a side-profile composition. Frame the wall as the main horizontal guide through the lower and middle frame, with the lit rooftop-room window positioned in the upper right background.\\\", \\\"key_elements_en\\\": [\\\"Low stained concrete rooftop wall running parallel to camera movement, its top edge guiding the eye toward the next action.\\\", \\\"Closed rooftop-room window in the upper-right background, glass showing an interior light beyond it.\\\", \\\"Small rooftop-room unit on the roof deck of the aged three-storey villa, with the roof deck roughly 8–10 m above the yard.\\\", \\\"Clear empty foreground/lower-left-to-center space reserved for the cat layer; no people or animals in the background plate.\\\"], \\\"notes_ko\\\": \\\"보정에 따라 새벽, 푸른 안개, 노란빛, 축축함 표현은 사용하지 않는다. 배경 플레이트이므로 고양이는 그리지 않고, 옥탑방 창문은 단순히 내부 불빛이 보이는 닫힌 창으로 처리한다.\\\", \\\"time_light_en\\\": \\\"Time of day unspecified; the rooftop-room window is lit from inside.\\\"}\"}]"}
{"ts": "2026-07-09 02:19:05", "kind": "llm", "step": "s30_ground_S4_Shot1", "model": "gpt", "dur_s": 26.7, "system_prompt": "You are the location scout of a live-action film. Attached is the\nSITE PLAN of the single filming property (with circled markers whose\nlegend is given as text), plus one shot and its background concept.\nDecide WHERE on this site plan the shot takes place and how to shoot\nit there: pick the zone, cite the marker codes the camera stands at\nor looks toward, and describe the camera position and view strictly\nin terms of the mapped elements.\nEvery spatial claim must be consistent with the site plan and the\nmarker legend. If the shot looks outward past the property edge,\nsay what lies beyond the frame edge on the plan side it faces.\nINVENTION BOUNDARY: state world facts (weather, atmosphere, surface\nwetness, materials, light-source colour, numeric distances, time of\nday) ONLY when the shot text or its corrections state them; where\nthey are silent, stay silent too — do not invent moods or weather.", "user_prompt": "[{\"type\": \"text\", \"text\": \"SITE PLAN of the filming property:\"}, {\"type\": \"text\", \"text\": \"MARKER LEGEND:\\n- (P1) alley approach — Show the alley approach at the lower edge of the detail sketch, leading directly toward the filming property gate and able to support bicycle movement.\\n- (P2) multi-family villa gate — Place the gate on the alley frontage so that opening it leads directly into the property yard.\\n- (P3) yard — Draw the yard immediately inside the gate, between the alley entry and the exterior stair route.\\n- (P4) secluded bicycle corner — Set a tucked-away corner within the yard where a bicycle can be left roughly, separated from the main gate-to-stair path.\\n- (Q1) rooftop-room building footprint — Place the aged multi-family villa footprint along the yard, carrying the rooftop-room level above.\\n- (Q2) exterior steel retrofit stair run — Attach the exterior steel retrofit stair to the building wall, starting from the yard and rising outside the building toward the rooftop landing.\\n- (Q3) upper stair landing — Place the landing at the top of the exterior stair where the iron entrance door is immediately visible.\\n- (R1) landing-to-door roof path — Draw the roof path from the landing toward the iron door so it passes beside the bench area and the clothesline area.\\n- (R2) iron entrance door — Set the iron door on the rooftop-room unit facing the landing path; include the door-gap flyer detail and allow it to be shown partly open.\\n- (R3) rooftop-room unit — Place the rooftop-room unit on the roof surface, connected to the iron entrance door and containing the indicated window openings.\\n- (R4) rooftop-room window set — Mark the small living-room window and the curtained room window on the rooftop-room unit, with at least one window oriented for the low-wall sightline.\\n- (S1) water tank — Place the water tank on the roof surface near the rooftop deck contents, clear of the landing-to-door path.\\n- (S2) clothesline — Run the clothesline across the roof surface close enough to the approach path that hanging or dried leaves can brush a passerby.\\n- (S3) wooden drying bench with dried leaves — Place the wooden drying bench on the rooftop near the clothesline and along the path toward the iron door, carrying the dried leaves.\\n- (S4) low-angle night light-source position — Mark a low-angle light-source position affecting the rooftop path, only to support the long-shadow cue and without assigning any broader colour mood.\"}, {\"type\": \"text\", \"text\": \"SHOT:\\n[S4_Shot1] scene_heading=S#4. 옥탑방 / D\\ndescription: 인천 변두리의 낡고 오래된 빌라 옥탑방 외부 전경이 한눈에 내려다보이는 부감 구도.\\nframing_scale: wide\\ncamera_direction: An omniscient overhead camera holds from about forty-five meters above the old villa, centered on the rooftop room while still keeping the surrounding neighborhood readable. The rooftop structure sits in the middle of the frame like a small exposed shrine, boxed in by worn roofs, narrow alleys, and faded concrete blocks.\\nperspective: omniscient\\nlighting_mood: Daylight is overcast and desaturated, with blue-gray concrete shadows and faint sickly amber window stains breaking the neighborhood’s cold isolation.\\nkey_bg_elements: [{\\\"camera_use\\\": \\\"The rooftop room is the central visual anchor and destination of the aerial reveal.\\\", \\\"directionality_class\\\": \\\"directional_3d\\\", \\\"element\\\": \\\"old rooftop room exterior\\\", \\\"orientation\\\": \\\"its roof and front wall are visible from above, with the doorway side angled slightly toward camera\\\", \\\"state\\\": \\\"aged, patched, weather-stained\\\"}, {\\\"camera_use\\\": \\\"Surrounding villa roofs create a cramped grid that isolates the rooftop room.\\\", \\\"directionality_class\\\": \\\"directional_3d\\\", \\\"element\\\": \\\"neighboring old villa rooftops\\\", \\\"orientation\\\": \\\"flat roof planes face upward toward the overhead camera\\\", \\\"state\\\": \\\"worn, cluttered, pale gray\\\"}, {\\\"camera_use\\\": \\\"A thin haze softens the outskirts and carries the news voice’s unease into the space.\\\", \\\"directionality_class\\\": \\\"non_directional\\\", \\\"element\\\": \\\"damp urban haze\\\", \\\"orientation\\\": \\\"\\\", \\\"state\\\": \\\"thin, bluish, stagnant\\\"}]\\nframe_spatial_contract: {\\\"constraints\\\": [{\\\"depth_plane\\\": \\\"midground\\\", \\\"gesture_action\\\": \\\"none\\\", \\\"gesture_target_label\\\": \\\"\\\", \\\"label\\\": \\\"old rooftop room\\\", \\\"screen_zone\\\": \\\"middle_center\\\", \\\"target_id\\\": \\\"\\\", \\\"target_kind\\\": \\\"background\\\"}], \\\"reason\\\": \\\"required_background_position\\\"}\\nSTAGING CORRECTIONS (override — each replaces the quoted expression above; corrections win):\\n- \\\"about forty-five meters above the old villa\\\" -> high above the old villa (camera_direction)\\n- \\\"faded concrete blocks\\\" -> varied aged villa materials (camera_direction)\\n- \\\"worn, cluttered, pale gray\\\" -> worn, lived-in (key_bg_elements[1].state)\\n- \\\"A thin haze softens the outskirts and carries the news voice’s unease into the space.\\\" -> A thin haze softens the outskirts. (key_bg_elements[2].camera_use)\\n- \\\"damp urban haze\\\" -> atmospheric haze (key_bg_elements[2].element)\\n- \\\"thin, bluish, stagnant\\\" -> thin (key_bg_elements[2].state)\\n- \\\"Daylight is overcast and desaturated, with blue-gray concrete shadows and faint sickly amber window stains breaking the neighborhood’s cold isolation.\\\" -> Daylight is present over the old rooftop villa and surrounding neighborhood. (lighting_mood)\\n- \\\"Daylight is overcast and desaturated, with blue-gray concrete shadows and faint sickly amber window stains breaking the neighborhood’s cold isolation.\\\" -> Daylight is present over the old rooftop villa and surrounding neighborhood. (lighting_mood)\\n- \\\"Daylight is overcast and desaturated, with blue-gray concrete shadows and faint sickly amber window stains breaking the neighborhood’s cold isolation.\\\" -> Daylight is present over the old rooftop villa and surrounding neighborhood. (lighting_mood)\\n- \\\"Daylight is overcast and desaturated, with blue-gray concrete shadows and faint sickly amber window stains breaking the neighborhood’s cold isolation.\\\" -> Daylight is present over the old rooftop villa and surrounding neighborhood. (lighting_mood)\"}, {\"type\": \"text\", \"text\": \"BACKGROUND CONCEPT:\\n{\\\"bg_concept_en\\\": \\\"Draw a wide omniscient overhead background plate of an aged three-storey multi-family villa in an Incheon outskirts neighborhood, with the small rooftop-room unit centered on the roof deck as the visual anchor. The roof deck sits roughly 8–10 m above the yard, and the rooftop room appears as an extra volume on that deck, aged, patched, and weather-stained. Around it, show neighboring old villa rooftops, narrow alleys, and varied aged villa materials forming a cramped readable neighborhood grid, softened at the outskirts by thin atmospheric haze.\\\", \\\"camera_en\\\": \\\"High overhead camera looking down in a bird’s-eye / oblique overhead view, wide framing, centered on the rooftop room in the middle center of frame. The rooftop room’s roof and front wall are visible from above, with the doorway side angled slightly toward camera, while the surrounding villa roofs and alleys remain readable around it.\\\", \\\"key_elements_en\\\": [\\\"Old rooftop room exterior in the middle center, aged, patched, weather-stained, with roof and front wall visible from above.\\\", \\\"Main aged three-storey multi-family villa below it, with the roof deck roughly 8–10 m above the yard.\\\", \\\"Later-added steel retrofit exterior stair climbing the full three storeys: open treads, thin steel plate stringers, support posts, and pipe railings; not concrete.\\\", \\\"Neighboring old villa rooftops around the central roof deck, flat roof planes facing upward, worn and lived-in.\\\", \\\"Narrow alleys threading between the villa blocks.\\\", \\\"Varied aged villa materials rather than uniform concrete blocks.\\\", \\\"Thin atmospheric haze softening the outskirts of the frame.\\\"], \\\"notes_ko\\\": \\\"카메라는 ‘약 45m’가 아니라 낡은 빌라 위 높은 부감으로 설정한다. 주변 건물은 ‘희미한 콘크리트 블록’이 아니라 다양한 노후 빌라 재료로 표현하고, 지붕 상태는 ‘창고처럼 어수선한 회색’이 아니라 낡고 생활감 있는 상태로 그린다. 외부 계단은 반드시 나중에 덧댄 철제 계단이며 콘크리트 계단이 아니다.\\\", \\\"time_light_en\\\": \\\"Daylight is present over the old rooftop villa and surrounding neighborhood.\\\"}\"}]"}
{"ts": "2026-07-09 02:22:27", "kind": "img", "engine": "gpt-image-2", "mode": "edit", "tag": "s30_bg_S10_Shot5_i2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/forest_map/top2/top2_photo_fixed_nb2.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/forest_map/top2/top2_map_gpt.png"], "size": "1536x1024", "attempt": 1, "dur_s": 185.0, "bytes": 2173209, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/shot_apply/bg_S10_Shot5_i2.png", "prompt": "Create ONE photorealistic BACKGROUND PLATE for a live-action film still. No people, no animals, an empty set.\n\nCAMERA: On the rooftop landing-to-door roof path at R1, placed immediately outside the iron entrance door R2 at handle height, only inches from the door seam. Looking: From R1 straight into the thin opening of R2, looking into the R3 rooftop-room unit interior through the central door crack. Handle-height camera, just outside the iron door, only inches from the seam. The lens faces straight into the thin opening in a voyeur insert framing, with the rough iron surfaces dominating the foreground and the dark interior held unreadable through the central slit.\n\nMAP POINT: this plate is taken in the \"Rooftop Deck\" area of the property on the attached site plan, anchored to these mapped elements:\n- landing-to-door roof path: Draw the roof path from the landing toward the iron door so it passes beside the bench area and the clothesline area.\n- iron entrance door: Set the iron door on the rooftop-room unit facing the landing path; include the door-gap flyer detail and allow it to be shown partly open.\n- rooftop-room unit: Place the rooftop-room unit on the roof surface, connected to the iron entrance door and containing the indicated window openings.\n- low-angle night light-source position: Mark a low-angle light-source position affecting the rooftop path, only to support the long-shadow cue and without assigning any broader colour mood.\n\nIN FRAME (near to far): Foreground: the two close scratched iron edges of the slightly open R2 door fill the left and right sides. Middle center: the narrow vertical seam of R2, with the bent, dirty edge of the creased advertisement flyer wedged near the crack. Beyond the crack: only the unlit, opaque interior of the rooftop-room unit R3 is visible. The low-angle night light from S4 skims the iron surface; S4 itself is not framed.\n\nBACKGROUND INTENT: Draw an insert background plate pressed up to a slightly open iron front door, with the two scratched metal door edges filling the left and right foreground. The narrow vertical crack must sit in the middle center of frame, revealing only an unlit, opaque interior beyond. Near the seam, include the bent, dirty edge of a creased advertisement flyer, showing partial color blocks and unreadable text. Key elements: Slightly open iron front door with two heavy scratched metal edges facing camera at close range.; Narrow central door seam / crack positioned middle center as the primary focal aperture.; Dark interior beyond the crack, unlit and opaque.; Creased advertisement flyer edge wedged near the seam, bent, partly displaced, dirty, with only partial color blocks and unreadable text visible..\n\nTIME & LIGHT: Night; a low-angle night light skims the iron, while the interior beyond the crack remains unlit and opaque. Do not add weather, atmosphere or colour moods beyond this.\n\nWORLD FACTS (creator-confirmed / evidence-bound — always true):\n- The main building is an aged three-storey multi-family villa;\n  its roof deck sits roughly 8-10 m above the yard, with the small\n  rooftop-room unit as an extra volume on the deck.\n- The exterior stair is a later-added STEEL retrofit stair climbing\n  the full three storeys: open treads, thin steel plate stringers,\n  support posts, pipe railings. It is NOT a concrete stair.\n\nLOOK REFERENCE: the attached PHOTOGRAPH shows this same property.\nMatch its look exactly — the building, its materials and aging, the\nroof-deck contents, colours, and the surrounding town. It is the\nsingle source of truth for how everything LOOKS.\n\nSITE PLAN REFERENCE: the attached flat drawing is the site plan of\nthis same property. Use it ONLY as the source of truth for WHERE\nthings are (spatial arrangement, adjacency, routes). NEVER draw the\nplan itself — none of its flat colours, circles, codes or labels may\nappear in the output.\n\nThe output image must contain ZERO annotations — no circles, no\ncodes, no letters, no numbers, no text, no signage lettering, no\narrows, no dashed lines."}
{"ts": "2026-07-09 02:22:45", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s30_bg_S10_Shot5_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/forest_map/top2/top2_photo_fixed_nb2.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/forest_map/top2/top2_map_gpt.png"], "ref_labels": ["LOOK REFERENCE — real photograph of the same property; sole source of how everything looks.", "SITE PLAN — layout source only; never draw this drawing or its markers."], "attempt": 1, "dur_s": 17.4, "bytes": 2588916, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/shot_apply/bg_S10_Shot5_nb2.png", "prompt": "Create ONE photorealistic BACKGROUND PLATE for a live-action film still. No people, no animals, an empty set.\n\nCAMERA: On the rooftop landing-to-door roof path at R1, placed immediately outside the iron entrance door R2 at handle height, only inches from the door seam. Looking: From R1 straight into the thin opening of R2, looking into the R3 rooftop-room unit interior through the central door crack. Handle-height camera, just outside the iron door, only inches from the seam. The lens faces straight into the thin opening in a voyeur insert framing, with the rough iron surfaces dominating the foreground and the dark interior held unreadable through the central slit.\n\nMAP POINT: this plate is taken in the \"Rooftop Deck\" area of the property on the attached site plan, anchored to these mapped elements:\n- landing-to-door roof path: Draw the roof path from the landing toward the iron door so it passes beside the bench area and the clothesline area.\n- iron entrance door: Set the iron door on the rooftop-room unit facing the landing path; include the door-gap flyer detail and allow it to be shown partly open.\n- rooftop-room unit: Place the rooftop-room unit on the roof surface, connected to the iron entrance door and containing the indicated window openings.\n- low-angle night light-source position: Mark a low-angle light-source position affecting the rooftop path, only to support the long-shadow cue and without assigning any broader colour mood.\n\nIN FRAME (near to far): Foreground: the two close scratched iron edges of the slightly open R2 door fill the left and right sides. Middle center: the narrow vertical seam of R2, with the bent, dirty edge of the creased advertisement flyer wedged near the crack. Beyond the crack: only the unlit, opaque interior of the rooftop-room unit R3 is visible. The low-angle night light from S4 skims the iron surface; S4 itself is not framed.\n\nBACKGROUND INTENT: Draw an insert background plate pressed up to a slightly open iron front door, with the two scratched metal door edges filling the left and right foreground. The narrow vertical crack must sit in the middle center of frame, revealing only an unlit, opaque interior beyond. Near the seam, include the bent, dirty edge of a creased advertisement flyer, showing partial color blocks and unreadable text. Key elements: Slightly open iron front door with two heavy scratched metal edges facing camera at close range.; Narrow central door seam / crack positioned middle center as the primary focal aperture.; Dark interior beyond the crack, unlit and opaque.; Creased advertisement flyer edge wedged near the seam, bent, partly displaced, dirty, with only partial color blocks and unreadable text visible..\n\nTIME & LIGHT: Night; a low-angle night light skims the iron, while the interior beyond the crack remains unlit and opaque. Do not add weather, atmosphere or colour moods beyond this.\n\nWORLD FACTS (creator-confirmed / evidence-bound — always true):\n- The main building is an aged three-storey multi-family villa;\n  its roof deck sits roughly 8-10 m above the yard, with the small\n  rooftop-room unit as an extra volume on the deck.\n- The exterior stair is a later-added STEEL retrofit stair climbing\n  the full three storeys: open treads, thin steel plate stringers,\n  support posts, pipe railings. It is NOT a concrete stair.\n\nLOOK REFERENCE: the attached PHOTOGRAPH shows this same property.\nMatch its look exactly — the building, its materials and aging, the\nroof-deck contents, colours, and the surrounding town. It is the\nsingle source of truth for how everything LOOKS.\n\nSITE PLAN REFERENCE: the attached flat drawing is the site plan of\nthis same property. Use it ONLY as the source of truth for WHERE\nthings are (spatial arrangement, adjacency, routes). NEVER draw the\nplan itself — none of its flat colours, circles, codes or labels may\nappear in the output.\n\nThe output image must contain ZERO annotations — no circles, no\ncodes, no letters, no numbers, no text, no signage lettering, no\narrows, no dashed lines."}
{"ts": "2026-07-09 02:25:31", "kind": "img", "engine": "gpt-image-2", "mode": "edit", "tag": "s30_bg_S11_Shot3_i2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/forest_map/top2/top2_photo_fixed_nb2.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/forest_map/top2/top2_map_gpt.png"], "size": "1536x1024", "attempt": 1, "dur_s": 166.0, "bytes": 2327188, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/shot_apply/bg_S11_Shot3_i2.png", "prompt": "Create ONE photorealistic BACKGROUND PLATE for a live-action film still. No people, no animals, an empty set.\n\nCAMERA: Place the camera midway up the exterior steel retrofit stair run at Q2, very close to the actor’s climb line and slightly front-left of her, at face height. The camera is on the stair, beside the building wall/footprint side indicated by Q1. Looking: Static camera looking along the actor’s halted upward climb line on Q2, angled toward the upper landing direction at Q3 while keeping the rooftop landing itself out of frame. Static camera at face height, positioned very close from the front-left of the actor’s climb line, midway up the narrow steel retrofit stair. Frame as an intense close-up background: almost all foreground space reserved for the face, with only a narrow strip of stair texture and wall visible behind.\n\nMAP POINT: this plate is taken in the \"Exterior Stair\" area of the property on the attached site plan, anchored to these mapped elements:\n- exterior steel retrofit stair run: Attach the exterior steel retrofit stair to the building wall, starting from the yard and rising outside the building toward the rooftop landing.\n- upper stair landing: Place the landing at the top of the exterior stair where the iron entrance door is immediately visible.\n- rooftop-room building footprint: Place the aged multi-family villa footprint along the yard, carrying the rooftop-room level above.\n\nIN FRAME (near to far): An extremely tight close-up background: only a sliver of Q2 is visible behind the face position, with an angled open steel tread edge and thin steel stringer indicating the upward route. A close stained wall on the Q1 side forms the tight side boundary. The upper stair direction toward Q3 remains unseen except for a faint, colour-unspecified light spill from above. The shot does not look outward past the property edge.\n\nBACKGROUND INTENT: Draw an extremely tight background plate for a close-up midway up a later-added steel retrofit stair on the exterior of the aged three-storey multi-family villa. The frame should contain only a sliver of the stair location: an angled open steel tread edge and thin steel stringer behind where the actor’s cheek would be, plus a close stained stairwell wall as the side boundary. Above the stair angle, leave the rooftop direction unseen, suggested only by a faint, colour-unspecified light spill from above. Key elements: Later-added steel retrofit stair: open tread edge and thin steel plate stringer angling upward behind the face position.; Stairwell wall very close to the face position, stained, forming a tight side boundary.; Rooftop direction above the stairs remains unseen; foul smell is implied by the shot context, not by visible material.; Faint, colour-unspecified light spill from the rooftop direction above..\n\nTIME & LIGHT: Night. Stairwell lighting is unspecified; a faint, colour-unspecified light spill comes from the rooftop direction above. Do not add weather, atmosphere or colour moods beyond this.\n\nWORLD FACTS (creator-confirmed / evidence-bound — always true):\n- The main building is an aged three-storey multi-family villa;\n  its roof deck sits roughly 8-10 m above the yard, with the small\n  rooftop-room unit as an extra volume on the deck.\n- The exterior stair is a later-added STEEL retrofit stair climbing\n  the full three storeys: open treads, thin steel plate stringers,\n  support posts, pipe railings. It is NOT a concrete stair.\n\nLOOK REFERENCE: the attached PHOTOGRAPH shows this same property.\nMatch its look exactly — the building, its materials and aging, the\nroof-deck contents, colours, and the surrounding town. It is the\nsingle source of truth for how everything LOOKS.\n\nSITE PLAN REFERENCE: the attached flat drawing is the site plan of\nthis same property. Use it ONLY as the source of truth for WHERE\nthings are (spatial arrangement, adjacency, routes). NEVER draw the\nplan itself — none of its flat colours, circles, codes or labels may\nappear in the output.\n\nThe output image must contain ZERO annotations — no circles, no\ncodes, no letters, no numbers, no text, no signage lettering, no\narrows, no dashed lines."}
{"ts": "2026-07-09 02:25:49", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s30_bg_S11_Shot3_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/forest_map/top2/top2_photo_fixed_nb2.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/forest_map/top2/top2_map_gpt.png"], "ref_labels": ["LOOK REFERENCE — real photograph of the same property; sole source of how everything looks.", "SITE PLAN — layout source only; never draw this drawing or its markers."], "attempt": 1, "dur_s": 18.0, "bytes": 2405308, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/shot_apply/bg_S11_Shot3_nb2.png", "prompt": "Create ONE photorealistic BACKGROUND PLATE for a live-action film still. No people, no animals, an empty set.\n\nCAMERA: Place the camera midway up the exterior steel retrofit stair run at Q2, very close to the actor’s climb line and slightly front-left of her, at face height. The camera is on the stair, beside the building wall/footprint side indicated by Q1. Looking: Static camera looking along the actor’s halted upward climb line on Q2, angled toward the upper landing direction at Q3 while keeping the rooftop landing itself out of frame. Static camera at face height, positioned very close from the front-left of the actor’s climb line, midway up the narrow steel retrofit stair. Frame as an intense close-up background: almost all foreground space reserved for the face, with only a narrow strip of stair texture and wall visible behind.\n\nMAP POINT: this plate is taken in the \"Exterior Stair\" area of the property on the attached site plan, anchored to these mapped elements:\n- exterior steel retrofit stair run: Attach the exterior steel retrofit stair to the building wall, starting from the yard and rising outside the building toward the rooftop landing.\n- upper stair landing: Place the landing at the top of the exterior stair where the iron entrance door is immediately visible.\n- rooftop-room building footprint: Place the aged multi-family villa footprint along the yard, carrying the rooftop-room level above.\n\nIN FRAME (near to far): An extremely tight close-up background: only a sliver of Q2 is visible behind the face position, with an angled open steel tread edge and thin steel stringer indicating the upward route. A close stained wall on the Q1 side forms the tight side boundary. The upper stair direction toward Q3 remains unseen except for a faint, colour-unspecified light spill from above. The shot does not look outward past the property edge.\n\nBACKGROUND INTENT: Draw an extremely tight background plate for a close-up midway up a later-added steel retrofit stair on the exterior of the aged three-storey multi-family villa. The frame should contain only a sliver of the stair location: an angled open steel tread edge and thin steel stringer behind where the actor’s cheek would be, plus a close stained stairwell wall as the side boundary. Above the stair angle, leave the rooftop direction unseen, suggested only by a faint, colour-unspecified light spill from above. Key elements: Later-added steel retrofit stair: open tread edge and thin steel plate stringer angling upward behind the face position.; Stairwell wall very close to the face position, stained, forming a tight side boundary.; Rooftop direction above the stairs remains unseen; foul smell is implied by the shot context, not by visible material.; Faint, colour-unspecified light spill from the rooftop direction above..\n\nTIME & LIGHT: Night. Stairwell lighting is unspecified; a faint, colour-unspecified light spill comes from the rooftop direction above. Do not add weather, atmosphere or colour moods beyond this.\n\nWORLD FACTS (creator-confirmed / evidence-bound — always true):\n- The main building is an aged three-storey multi-family villa;\n  its roof deck sits roughly 8-10 m above the yard, with the small\n  rooftop-room unit as an extra volume on the deck.\n- The exterior stair is a later-added STEEL retrofit stair climbing\n  the full three storeys: open treads, thin steel plate stringers,\n  support posts, pipe railings. It is NOT a concrete stair.\n\nLOOK REFERENCE: the attached PHOTOGRAPH shows this same property.\nMatch its look exactly — the building, its materials and aging, the\nroof-deck contents, colours, and the surrounding town. It is the\nsingle source of truth for how everything LOOKS.\n\nSITE PLAN REFERENCE: the attached flat drawing is the site plan of\nthis same property. Use it ONLY as the source of truth for WHERE\nthings are (spatial arrangement, adjacency, routes). NEVER draw the\nplan itself — none of its flat colours, circles, codes or labels may\nappear in the output.\n\nThe output image must contain ZERO annotations — no circles, no\ncodes, no letters, no numbers, no text, no signage lettering, no\narrows, no dashed lines."}
{"ts": "2026-07-09 02:27:57", "kind": "img", "engine": "gpt-image-2", "mode": "edit", "tag": "s30_bg_S11_Shot4_i2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/forest_map/top2/top2_photo_fixed_nb2.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/forest_map/top2/top2_map_gpt.png"], "size": "1536x1024", "attempt": 1, "dur_s": 128.3, "bytes": 2868237, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/shot_apply/bg_S11_Shot4_i2.png", "prompt": "Create ONE photorealistic BACKGROUND PLATE for a live-action film still. No people, no animals, an empty set.\n\nCAMERA: Place the camera on the rooftop upper stair landing at Q3, just onto the landing-to-door roof path R1, at human eye level. Keep it aligned with the rooftop-room iron entrance door R2 so the door is square to the lens. Looking: From Q3/R1, look toward R2 on the rooftop-room unit, facing the iron door straight on rather than looking outward past the property edge. Subjective POV from the rooftop landing, several meters from the entrance, at human eye level. The camera faces the iron front door straight on in a wide framing, with rigid symmetry placing the half-open door in the middle center of the frame.\n\nMAP POINT: this plate is taken in the \"Rooftop Deck\" area of the property on the attached site plan, anchored to these mapped elements:\n- upper stair landing: Place the landing at the top of the exterior stair where the iron entrance door is immediately visible.\n- landing-to-door roof path: Draw the roof path from the landing toward the iron door so it passes beside the bench area and the clothesline area.\n- iron entrance door: Set the iron door on the rooftop-room unit facing the landing path; include the door-gap flyer detail and allow it to be shown partly open.\n- rooftop-room unit: Place the rooftop-room unit on the roof surface, connected to the iron entrance door and containing the indicated window openings.\n\nIN FRAME (near to far): Near to far: the uncluttered rooftop landing/path area at Q3–R1 fills the foreground; the half-open iron entrance door R2 is held at the middle center; the rooftop-room unit R3 surrounds the doorway. The low rooftop wall along the roof edge can run horizontally across the lower part of the frame without competing with the centered door. No people or movement are included.\n\nBACKGROUND INTENT: Draw a wide, static rooftop plate centered on the rooftop-room iron front door of the small unit on the roof deck of an aged three-storey multi-family villa. The door faces the camera squarely and is held half-open, leaving a narrow gap along one side, with the surrounding rooftop landing kept still and uncluttered. A low concrete rooftop wall runs horizontally across the lower background to frame the doorway without competing with it. Key elements: Rooftop-room iron front door: middle center, square to camera, half-open and frozen, with a narrow side gap.; Rooftop landing: still space around the door, no people or movement.; Low rooftop wall: concrete, motionless, its top edge running horizontally across the lower background.; Rooftop-room unit: extra volume on the roof deck of the aged three-storey villa..\n\nTIME & LIGHT: unspecified — neutral Do not add weather, atmosphere or colour moods beyond this.\n\nWORLD FACTS (creator-confirmed / evidence-bound — always true):\n- The main building is an aged three-storey multi-family villa;\n  its roof deck sits roughly 8-10 m above the yard, with the small\n  rooftop-room unit as an extra volume on the deck.\n- The exterior stair is a later-added STEEL retrofit stair climbing\n  the full three storeys: open treads, thin steel plate stringers,\n  support posts, pipe railings. It is NOT a concrete stair.\n\nLOOK REFERENCE: the attached PHOTOGRAPH shows this same property.\nMatch its look exactly — the building, its materials and aging, the\nroof-deck contents, colours, and the surrounding town. It is the\nsingle source of truth for how everything LOOKS.\n\nSITE PLAN REFERENCE: the attached flat drawing is the site plan of\nthis same property. Use it ONLY as the source of truth for WHERE\nthings are (spatial arrangement, adjacency, routes). NEVER draw the\nplan itself — none of its flat colours, circles, codes or labels may\nappear in the output.\n\nThe output image must contain ZERO annotations — no circles, no\ncodes, no letters, no numbers, no text, no signage lettering, no\narrows, no dashed lines."}
{"ts": "2026-07-09 02:28:18", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s30_bg_S11_Shot4_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/forest_map/top2/top2_photo_fixed_nb2.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/forest_map/top2/top2_map_gpt.png"], "ref_labels": ["LOOK REFERENCE — real photograph of the same property; sole source of how everything looks.", "SITE PLAN — layout source only; never draw this drawing or its markers."], "attempt": 1, "dur_s": 21.5, "bytes": 3460238, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/shot_apply/bg_S11_Shot4_nb2.png", "prompt": "Create ONE photorealistic BACKGROUND PLATE for a live-action film still. No people, no animals, an empty set.\n\nCAMERA: Place the camera on the rooftop upper stair landing at Q3, just onto the landing-to-door roof path R1, at human eye level. Keep it aligned with the rooftop-room iron entrance door R2 so the door is square to the lens. Looking: From Q3/R1, look toward R2 on the rooftop-room unit, facing the iron door straight on rather than looking outward past the property edge. Subjective POV from the rooftop landing, several meters from the entrance, at human eye level. The camera faces the iron front door straight on in a wide framing, with rigid symmetry placing the half-open door in the middle center of the frame.\n\nMAP POINT: this plate is taken in the \"Rooftop Deck\" area of the property on the attached site plan, anchored to these mapped elements:\n- upper stair landing: Place the landing at the top of the exterior stair where the iron entrance door is immediately visible.\n- landing-to-door roof path: Draw the roof path from the landing toward the iron door so it passes beside the bench area and the clothesline area.\n- iron entrance door: Set the iron door on the rooftop-room unit facing the landing path; include the door-gap flyer detail and allow it to be shown partly open.\n- rooftop-room unit: Place the rooftop-room unit on the roof surface, connected to the iron entrance door and containing the indicated window openings.\n\nIN FRAME (near to far): Near to far: the uncluttered rooftop landing/path area at Q3–R1 fills the foreground; the half-open iron entrance door R2 is held at the middle center; the rooftop-room unit R3 surrounds the doorway. The low rooftop wall along the roof edge can run horizontally across the lower part of the frame without competing with the centered door. No people or movement are included.\n\nBACKGROUND INTENT: Draw a wide, static rooftop plate centered on the rooftop-room iron front door of the small unit on the roof deck of an aged three-storey multi-family villa. The door faces the camera squarely and is held half-open, leaving a narrow gap along one side, with the surrounding rooftop landing kept still and uncluttered. A low concrete rooftop wall runs horizontally across the lower background to frame the doorway without competing with it. Key elements: Rooftop-room iron front door: middle center, square to camera, half-open and frozen, with a narrow side gap.; Rooftop landing: still space around the door, no people or movement.; Low rooftop wall: concrete, motionless, its top edge running horizontally across the lower background.; Rooftop-room unit: extra volume on the roof deck of the aged three-storey villa..\n\nTIME & LIGHT: unspecified — neutral Do not add weather, atmosphere or colour moods beyond this.\n\nWORLD FACTS (creator-confirmed / evidence-bound — always true):\n- The main building is an aged three-storey multi-family villa;\n  its roof deck sits roughly 8-10 m above the yard, with the small\n  rooftop-room unit as an extra volume on the deck.\n- The exterior stair is a later-added STEEL retrofit stair climbing\n  the full three storeys: open treads, thin steel plate stringers,\n  support posts, pipe railings. It is NOT a concrete stair.\n\nLOOK REFERENCE: the attached PHOTOGRAPH shows this same property.\nMatch its look exactly — the building, its materials and aging, the\nroof-deck contents, colours, and the surrounding town. It is the\nsingle source of truth for how everything LOOKS.\n\nSITE PLAN REFERENCE: the attached flat drawing is the site plan of\nthis same property. Use it ONLY as the source of truth for WHERE\nthings are (spatial arrangement, adjacency, routes). NEVER draw the\nplan itself — none of its flat colours, circles, codes or labels may\nappear in the output.\n\nThe output image must contain ZERO annotations — no circles, no\ncodes, no letters, no numbers, no text, no signage lettering, no\narrows, no dashed lines."}
{"ts": "2026-07-09 02:30:33", "kind": "img", "engine": "gpt-image-2", "mode": "edit", "tag": "s30_bg_S13_Shot3_i2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/forest_map/top2/top2_photo_fixed_nb2.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/forest_map/top2/top2_map_gpt.png"], "size": "1536x1024", "attempt": 1, "dur_s": 135.0, "bytes": 2440315, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/shot_apply/bg_S13_Shot3_i2.png", "prompt": "Create ONE photorealistic BACKGROUND PLATE for a live-action film still. No people, no animals, an empty set.\n\nCAMERA: Alley Approach zone at P1, chest height, beside the parked police car positioned on the alley side of the property frontage near the line to the gate P2. Looking: From P1, look diagonally along the Alley Approach, keeping P2 on the property-frontage side while the alley recedes toward the middle-right background. Chest-height camera beside the police car, angled in a direct observer view parallel to 혜수’s discovery path; frame is a medium upper-body composition with the left foreground reserved for 혜수 by the open car door and the middle-right background reserved for 수리영 down the alley. The background should support a tracking move that slows into a held frame, with the alley receding diagonally from left/foreground to right/background.\n\nMAP POINT: this plate is taken in the \"Alley Approach\" area of the property on the attached site plan, anchored to these mapped elements:\n- alley approach: Show the alley approach at the lower edge of the detail sketch, leading directly toward the filming property gate and able to support bicycle movement.\n- multi-family villa gate: Place the gate on the alley frontage so that opening it leads directly into the property yard.\n\nIN FRAME (near to far): Near frame: the police car side/open door position occupies the left foreground at P1, with 혜수 held in medium upper-body beside it. Through the open alley corridor, the Alley Approach remains visible toward the middle-right background, where 수리영 is staged farther down the alley. The multi-family villa gate P2 can sit on the property frontage as the mapped reference behind or beside this corridor. If the view carries beyond the right/east edge of the plan, it leaves the mapped filming property into off-plan alley space not detailed on the site plan. Strobing police red-blue accompanies the discovery moment and spills across the alley.\n\nBACKGROUND INTENT: Background plate for a chest-height observer view beside a parked police car: the car side and its open door dominate the left/near foreground edge, while a narrow alley opens diagonally away toward the middle-right background. Keep the alley clearly visible between the police car position and the distant background mark for 수리영, with flashing red-blue siren spill moving across the alley. If the villa exterior is included along the alley, draw it as an aged three-storey multi-family villa with a rooftop-room volume on the roof deck, and any exterior full-height stair as a later-added steel retrofit stair, not concrete. Key elements: Parked police car at the foreground side of frame, with side body and open door angled toward camera.; Active police siren lights on the car, providing flashing red-blue spill.; Narrow alley receding diagonally away from the police car toward the middle-right background position.; Clear visible corridor between the police car and the background position for 수리영.; Aged three-storey multi-family villa exterior if seen along the alley, with roof deck roughly 8–10 m above the yard and a small rooftop-room unit as an extra volume.; If visible, the exterior stair is a steel retrofit stair with open treads, thin steel plate stringers, support posts, and pipe railings..\n\nTIME & LIGHT: Night; strobing police red-blue accompanies the police-car discovery moment. Do not add weather, atmosphere or colour moods beyond this.\n\nWORLD FACTS (creator-confirmed / evidence-bound — always true):\n- The main building is an aged three-storey multi-family villa;\n  its roof deck sits roughly 8-10 m above the yard, with the small\n  rooftop-room unit as an extra volume on the deck.\n- The exterior stair is a later-added STEEL retrofit stair climbing\n  the full three storeys: open treads, thin steel plate stringers,\n  support posts, pipe railings. It is NOT a concrete stair.\n\nLOOK REFERENCE: the attached PHOTOGRAPH shows this same property.\nMatch its look exactly — the building, its materials and aging, the\nroof-deck contents, colours, and the surrounding town. It is the\nsingle source of truth for how everything LOOKS.\n\nSITE PLAN REFERENCE: the attached flat drawing is the site plan of\nthis same property. Use it ONLY as the source of truth for WHERE\nthings are (spatial arrangement, adjacency, routes). NEVER draw the\nplan itself — none of its flat colours, circles, codes or labels may\nappear in the output.\n\nThe output image must contain ZERO annotations — no circles, no\ncodes, no letters, no numbers, no text, no signage lettering, no\narrows, no dashed lines."}
{"ts": "2026-07-09 02:30:55", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s30_bg_S13_Shot3_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/forest_map/top2/top2_photo_fixed_nb2.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/forest_map/top2/top2_map_gpt.png"], "ref_labels": ["LOOK REFERENCE — real photograph of the same property; sole source of how everything looks.", "SITE PLAN — layout source only; never draw this drawing or its markers."], "attempt": 1, "dur_s": 21.7, "bytes": 2937967, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/shot_apply/bg_S13_Shot3_nb2.png", "prompt": "Create ONE photorealistic BACKGROUND PLATE for a live-action film still. No people, no animals, an empty set.\n\nCAMERA: Alley Approach zone at P1, chest height, beside the parked police car positioned on the alley side of the property frontage near the line to the gate P2. Looking: From P1, look diagonally along the Alley Approach, keeping P2 on the property-frontage side while the alley recedes toward the middle-right background. Chest-height camera beside the police car, angled in a direct observer view parallel to 혜수’s discovery path; frame is a medium upper-body composition with the left foreground reserved for 혜수 by the open car door and the middle-right background reserved for 수리영 down the alley. The background should support a tracking move that slows into a held frame, with the alley receding diagonally from left/foreground to right/background.\n\nMAP POINT: this plate is taken in the \"Alley Approach\" area of the property on the attached site plan, anchored to these mapped elements:\n- alley approach: Show the alley approach at the lower edge of the detail sketch, leading directly toward the filming property gate and able to support bicycle movement.\n- multi-family villa gate: Place the gate on the alley frontage so that opening it leads directly into the property yard.\n\nIN FRAME (near to far): Near frame: the police car side/open door position occupies the left foreground at P1, with 혜수 held in medium upper-body beside it. Through the open alley corridor, the Alley Approach remains visible toward the middle-right background, where 수리영 is staged farther down the alley. The multi-family villa gate P2 can sit on the property frontage as the mapped reference behind or beside this corridor. If the view carries beyond the right/east edge of the plan, it leaves the mapped filming property into off-plan alley space not detailed on the site plan. Strobing police red-blue accompanies the discovery moment and spills across the alley.\n\nBACKGROUND INTENT: Background plate for a chest-height observer view beside a parked police car: the car side and its open door dominate the left/near foreground edge, while a narrow alley opens diagonally away toward the middle-right background. Keep the alley clearly visible between the police car position and the distant background mark for 수리영, with flashing red-blue siren spill moving across the alley. If the villa exterior is included along the alley, draw it as an aged three-storey multi-family villa with a rooftop-room volume on the roof deck, and any exterior full-height stair as a later-added steel retrofit stair, not concrete. Key elements: Parked police car at the foreground side of frame, with side body and open door angled toward camera.; Active police siren lights on the car, providing flashing red-blue spill.; Narrow alley receding diagonally away from the police car toward the middle-right background position.; Clear visible corridor between the police car and the background position for 수리영.; Aged three-storey multi-family villa exterior if seen along the alley, with roof deck roughly 8–10 m above the yard and a small rooftop-room unit as an extra volume.; If visible, the exterior stair is a steel retrofit stair with open treads, thin steel plate stringers, support posts, and pipe railings..\n\nTIME & LIGHT: Night; strobing police red-blue accompanies the police-car discovery moment. Do not add weather, atmosphere or colour moods beyond this.\n\nWORLD FACTS (creator-confirmed / evidence-bound — always true):\n- The main building is an aged three-storey multi-family villa;\n  its roof deck sits roughly 8-10 m above the yard, with the small\n  rooftop-room unit as an extra volume on the deck.\n- The exterior stair is a later-added STEEL retrofit stair climbing\n  the full three storeys: open treads, thin steel plate stringers,\n  support posts, pipe railings. It is NOT a concrete stair.\n\nLOOK REFERENCE: the attached PHOTOGRAPH shows this same property.\nMatch its look exactly — the building, its materials and aging, the\nroof-deck contents, colours, and the surrounding town. It is the\nsingle source of truth for how everything LOOKS.\n\nSITE PLAN REFERENCE: the attached flat drawing is the site plan of\nthis same property. Use it ONLY as the source of truth for WHERE\nthings are (spatial arrangement, adjacency, routes). NEVER draw the\nplan itself — none of its flat colours, circles, codes or labels may\nappear in the output.\n\nThe output image must contain ZERO annotations — no circles, no\ncodes, no letters, no numbers, no text, no signage lettering, no\narrows, no dashed lines."}
{"ts": "2026-07-09 02:33:30", "kind": "img", "engine": "gpt-image-2", "mode": "edit", "tag": "s30_bg_S13_Shot5_i2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/forest_map/top2/top2_photo_fixed_nb2.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/forest_map/top2/top2_map_gpt.png"], "size": "1536x1024", "attempt": 1, "dur_s": 154.6, "bytes": 1993590, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/shot_apply/bg_S13_Shot5_i2.png", "prompt": "Create ONE photorealistic BACKGROUND PLATE for a live-action film still. No people, no animals, an empty set.\n\nCAMERA: Place the low camera in the Yard at P3, immediately by the foot of the exterior steel retrofit stair run Q2, in the gate-to-stair area. The camera is near 수리영’s eye level and about one meter from the foreground subject position, held in the space between 수리영 and the off-screen 혜수 above frame. Looking: From P3/Q2, look slightly upward and south toward P2 and P1, using the alley/stair-foot background as a blurred plate behind the close foreground face. Low camera near 수리영’s eye level, about one meter from the foreground subject position, in a still close composition from the space between the two characters. The lens is aimed slightly upward toward the off-screen presence just above frame, while the background remains blurred and non-dominant.\n\nMAP POINT: this plate is taken in the \"Yard\" area of the property on the attached site plan, anchored to these mapped elements:\n- yard: Draw the yard immediately inside the gate, between the alley entry and the exterior stair route.\n- exterior steel retrofit stair run: Attach the exterior steel retrofit stair to the building wall, starting from the yard and rising outside the building toward the rooftop landing.\n- multi-family villa gate: Place the gate on the alley frontage so that opening it leads directly into the property yard.\n- alley approach: Show the alley approach at the lower edge of the detail sketch, leading directly toward the filming property gate and able to support bicycle movement.\n\nIN FRAME (near to far): Near frame is reserved for 수리영 in close lower center, with her eyeline lifting just above frame toward 혜수. Behind her, keep the P3 yard/stair-foot area soft, allowing the lower portion of Q2 to register only as blurred exterior steel stair base if it appears. Farther back, the alley frontage at P2 and the alley approach P1 form the out-of-focus background texture. Because the view faces outward toward the south edge of the property, beyond the gate side of the frame lies P1, the alley approach shown along the lower edge of the plan.\n\nBACKGROUND INTENT: Draw a tight, out-of-focus alley/stair-foot background plate behind the close foreground position, with the alley wall and the base area of the exterior stair reduced to soft dark texture. The exterior stair, if visible, should read as a later-added steel retrofit stair with open treads, thin steel plate stringers, support posts, and pipe railings, not concrete. Keep the frame empty of people, preserving space for a low foreground face position and an eyeline to someone just above frame. Key elements: Alley wall: damp, shadowed, out of focus, used as soft background texture.; Alley/stair-foot area: blurred behind the foreground position.; Steel retrofit exterior stair base if included: open treads, thin steel plate stringers, support posts, pipe railings; not concrete.; Police siren spill: intermittent, faint red-blue color pulse motivated from off-screen..\n\nTIME & LIGHT: Night; shadows across the foreground position with intermittent faint red-blue police siren spill. No amber street glow specified after correction. Do not add weather, atmosphere or colour moods beyond this.\n\nWORLD FACTS (creator-confirmed / evidence-bound — always true):\n- The main building is an aged three-storey multi-family villa;\n  its roof deck sits roughly 8-10 m above the yard, with the small\n  rooftop-room unit as an extra volume on the deck.\n- The exterior stair is a later-added STEEL retrofit stair climbing\n  the full three storeys: open treads, thin steel plate stringers,\n  support posts, pipe railings. It is NOT a concrete stair.\n\nLOOK REFERENCE: the attached PHOTOGRAPH shows this same property.\nMatch its look exactly — the building, its materials and aging, the\nroof-deck contents, colours, and the surrounding town. It is the\nsingle source of truth for how everything LOOKS.\n\nSITE PLAN REFERENCE: the attached flat drawing is the site plan of\nthis same property. Use it ONLY as the source of truth for WHERE\nthings are (spatial arrangement, adjacency, routes). NEVER draw the\nplan itself — none of its flat colours, circles, codes or labels may\nappear in the output.\n\nThe output image must contain ZERO annotations — no circles, no\ncodes, no letters, no numbers, no text, no signage lettering, no\narrows, no dashed lines."}
{"ts": "2026-07-09 02:33:47", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s30_bg_S13_Shot5_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/forest_map/top2/top2_photo_fixed_nb2.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/forest_map/top2/top2_map_gpt.png"], "ref_labels": ["LOOK REFERENCE — real photograph of the same property; sole source of how everything looks.", "SITE PLAN — layout source only; never draw this drawing or its markers."], "attempt": 1, "dur_s": 17.7, "bytes": 1746478, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/shot_apply/bg_S13_Shot5_nb2.png", "prompt": "Create ONE photorealistic BACKGROUND PLATE for a live-action film still. No people, no animals, an empty set.\n\nCAMERA: Place the low camera in the Yard at P3, immediately by the foot of the exterior steel retrofit stair run Q2, in the gate-to-stair area. The camera is near 수리영’s eye level and about one meter from the foreground subject position, held in the space between 수리영 and the off-screen 혜수 above frame. Looking: From P3/Q2, look slightly upward and south toward P2 and P1, using the alley/stair-foot background as a blurred plate behind the close foreground face. Low camera near 수리영’s eye level, about one meter from the foreground subject position, in a still close composition from the space between the two characters. The lens is aimed slightly upward toward the off-screen presence just above frame, while the background remains blurred and non-dominant.\n\nMAP POINT: this plate is taken in the \"Yard\" area of the property on the attached site plan, anchored to these mapped elements:\n- yard: Draw the yard immediately inside the gate, between the alley entry and the exterior stair route.\n- exterior steel retrofit stair run: Attach the exterior steel retrofit stair to the building wall, starting from the yard and rising outside the building toward the rooftop landing.\n- multi-family villa gate: Place the gate on the alley frontage so that opening it leads directly into the property yard.\n- alley approach: Show the alley approach at the lower edge of the detail sketch, leading directly toward the filming property gate and able to support bicycle movement.\n\nIN FRAME (near to far): Near frame is reserved for 수리영 in close lower center, with her eyeline lifting just above frame toward 혜수. Behind her, keep the P3 yard/stair-foot area soft, allowing the lower portion of Q2 to register only as blurred exterior steel stair base if it appears. Farther back, the alley frontage at P2 and the alley approach P1 form the out-of-focus background texture. Because the view faces outward toward the south edge of the property, beyond the gate side of the frame lies P1, the alley approach shown along the lower edge of the plan.\n\nBACKGROUND INTENT: Draw a tight, out-of-focus alley/stair-foot background plate behind the close foreground position, with the alley wall and the base area of the exterior stair reduced to soft dark texture. The exterior stair, if visible, should read as a later-added steel retrofit stair with open treads, thin steel plate stringers, support posts, and pipe railings, not concrete. Keep the frame empty of people, preserving space for a low foreground face position and an eyeline to someone just above frame. Key elements: Alley wall: damp, shadowed, out of focus, used as soft background texture.; Alley/stair-foot area: blurred behind the foreground position.; Steel retrofit exterior stair base if included: open treads, thin steel plate stringers, support posts, pipe railings; not concrete.; Police siren spill: intermittent, faint red-blue color pulse motivated from off-screen..\n\nTIME & LIGHT: Night; shadows across the foreground position with intermittent faint red-blue police siren spill. No amber street glow specified after correction. Do not add weather, atmosphere or colour moods beyond this.\n\nWORLD FACTS (creator-confirmed / evidence-bound — always true):\n- The main building is an aged three-storey multi-family villa;\n  its roof deck sits roughly 8-10 m above the yard, with the small\n  rooftop-room unit as an extra volume on the deck.\n- The exterior stair is a later-added STEEL retrofit stair climbing\n  the full three storeys: open treads, thin steel plate stringers,\n  support posts, pipe railings. It is NOT a concrete stair.\n\nLOOK REFERENCE: the attached PHOTOGRAPH shows this same property.\nMatch its look exactly — the building, its materials and aging, the\nroof-deck contents, colours, and the surrounding town. It is the\nsingle source of truth for how everything LOOKS.\n\nSITE PLAN REFERENCE: the attached flat drawing is the site plan of\nthis same property. Use it ONLY as the source of truth for WHERE\nthings are (spatial arrangement, adjacency, routes). NEVER draw the\nplan itself — none of its flat colours, circles, codes or labels may\nappear in the output.\n\nThe output image must contain ZERO annotations — no circles, no\ncodes, no letters, no numbers, no text, no signage lettering, no\narrows, no dashed lines."}
{"ts": "2026-07-09 02:36:10", "kind": "img", "engine": "gpt-image-2", "mode": "edit", "tag": "s30_bg_S17_Shot1_i2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/forest_map/top2/top2_photo_fixed_nb2.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/forest_map/top2/top2_map_gpt.png"], "size": "1536x1024", "attempt": 1, "dur_s": 142.3, "bytes": 2539091, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/shot_apply/bg_S17_Shot1_i2.png", "prompt": "Create ONE photorealistic BACKGROUND PLATE for a live-action film still. No people, no animals, an empty set.\n\nCAMERA: On the Rooftop Deck, set the camera low beside the south low rooftop wall along the landing-to-door roof path area (R1), holding the lower-left to center foreground clear for the cat layer. The camera is about one meter from the intended foreground cat position and aligned to move parallel to that wall before holding. Looking: Look across the Rooftop Deck from the R1-side low wall toward the rooftop-room unit (R3), specifically framing the rooftop-room window set (R4) as the cat’s look target. The view stays within the rooftop property elements and does not look outward past the property edge. Low camera at approximately black-cat shoulder height, about one meter from the intended foreground action position, aligned to track parallel along the rooftop wall and then hold a side-profile composition. Frame the wall as the main horizontal guide through the lower and middle frame, with the lit rooftop-room window positioned in the upper right background.\n\nMAP POINT: this plate is taken in the \"Rooftop Deck\" area of the property on the attached site plan, anchored to these mapped elements:\n- rooftop-room window set: Mark the small living-room window and the curtained room window on the rooftop-room unit, with at least one window oriented for the low-wall sightline.\n- rooftop-room unit: Place the rooftop-room unit on the roof surface, connected to the iron entrance door and containing the indicated window openings.\n- landing-to-door roof path: Draw the roof path from the landing toward the iron door so it passes beside the bench area and the clothesline area.\n\nIN FRAME (near to far): Near to far: the low stained concrete rooftop wall runs as the main horizontal guide through the lower and middle frame; the empty foreground/lower-left-to-center band is reserved for the cat; behind it, the rooftop-room unit (R3) occupies the background; the closed rooftop-room window set (R4) is placed in the upper-right background with interior light visible beyond the glass.\n\nBACKGROUND INTENT: Draw an empty rooftop background on the roof deck of an aged three-storey multi-family villa, focused along a low stained concrete rooftop wall. In the upper-right background line of sight, place the closed rooftop-room window with visible interior light beyond the glass; the small rooftop-room unit sits as an added volume on the roof deck. Keep the lower-left to center band available for the cat’s foreground position in the final composite, but do not include the cat in the plate. Key elements: Low stained concrete rooftop wall running parallel to camera movement, its top edge guiding the eye toward the next action.; Closed rooftop-room window in the upper-right background, glass showing an interior light beyond it.; Small rooftop-room unit on the roof deck of the aged three-storey villa, with the roof deck roughly 8–10 m above the yard.; Clear empty foreground/lower-left-to-center space reserved for the cat layer; no people or animals in the background plate..\n\nTIME & LIGHT: Time of day unspecified; the rooftop-room window is lit from inside. Do not add weather, atmosphere or colour moods beyond this.\n\nWORLD FACTS (creator-confirmed / evidence-bound — always true):\n- The main building is an aged three-storey multi-family villa;\n  its roof deck sits roughly 8-10 m above the yard, with the small\n  rooftop-room unit as an extra volume on the deck.\n- The exterior stair is a later-added STEEL retrofit stair climbing\n  the full three storeys: open treads, thin steel plate stringers,\n  support posts, pipe railings. It is NOT a concrete stair.\n\nLOOK REFERENCE: the attached PHOTOGRAPH shows this same property.\nMatch its look exactly — the building, its materials and aging, the\nroof-deck contents, colours, and the surrounding town. It is the\nsingle source of truth for how everything LOOKS.\n\nSITE PLAN REFERENCE: the attached flat drawing is the site plan of\nthis same property. Use it ONLY as the source of truth for WHERE\nthings are (spatial arrangement, adjacency, routes). NEVER draw the\nplan itself — none of its flat colours, circles, codes or labels may\nappear in the output.\n\nThe output image must contain ZERO annotations — no circles, no\ncodes, no letters, no numbers, no text, no signage lettering, no\narrows, no dashed lines."}
{"ts": "2026-07-09 02:36:30", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s30_bg_S17_Shot1_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/forest_map/top2/top2_photo_fixed_nb2.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/forest_map/top2/top2_map_gpt.png"], "ref_labels": ["LOOK REFERENCE — real photograph of the same property; sole source of how everything looks.", "SITE PLAN — layout source only; never draw this drawing or its markers."], "attempt": 1, "dur_s": 19.8, "bytes": 2918500, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/shot_apply/bg_S17_Shot1_nb2.png", "prompt": "Create ONE photorealistic BACKGROUND PLATE for a live-action film still. No people, no animals, an empty set.\n\nCAMERA: On the Rooftop Deck, set the camera low beside the south low rooftop wall along the landing-to-door roof path area (R1), holding the lower-left to center foreground clear for the cat layer. The camera is about one meter from the intended foreground cat position and aligned to move parallel to that wall before holding. Looking: Look across the Rooftop Deck from the R1-side low wall toward the rooftop-room unit (R3), specifically framing the rooftop-room window set (R4) as the cat’s look target. The view stays within the rooftop property elements and does not look outward past the property edge. Low camera at approximately black-cat shoulder height, about one meter from the intended foreground action position, aligned to track parallel along the rooftop wall and then hold a side-profile composition. Frame the wall as the main horizontal guide through the lower and middle frame, with the lit rooftop-room window positioned in the upper right background.\n\nMAP POINT: this plate is taken in the \"Rooftop Deck\" area of the property on the attached site plan, anchored to these mapped elements:\n- rooftop-room window set: Mark the small living-room window and the curtained room window on the rooftop-room unit, with at least one window oriented for the low-wall sightline.\n- rooftop-room unit: Place the rooftop-room unit on the roof surface, connected to the iron entrance door and containing the indicated window openings.\n- landing-to-door roof path: Draw the roof path from the landing toward the iron door so it passes beside the bench area and the clothesline area.\n\nIN FRAME (near to far): Near to far: the low stained concrete rooftop wall runs as the main horizontal guide through the lower and middle frame; the empty foreground/lower-left-to-center band is reserved for the cat; behind it, the rooftop-room unit (R3) occupies the background; the closed rooftop-room window set (R4) is placed in the upper-right background with interior light visible beyond the glass.\n\nBACKGROUND INTENT: Draw an empty rooftop background on the roof deck of an aged three-storey multi-family villa, focused along a low stained concrete rooftop wall. In the upper-right background line of sight, place the closed rooftop-room window with visible interior light beyond the glass; the small rooftop-room unit sits as an added volume on the roof deck. Keep the lower-left to center band available for the cat’s foreground position in the final composite, but do not include the cat in the plate. Key elements: Low stained concrete rooftop wall running parallel to camera movement, its top edge guiding the eye toward the next action.; Closed rooftop-room window in the upper-right background, glass showing an interior light beyond it.; Small rooftop-room unit on the roof deck of the aged three-storey villa, with the roof deck roughly 8–10 m above the yard.; Clear empty foreground/lower-left-to-center space reserved for the cat layer; no people or animals in the background plate..\n\nTIME & LIGHT: Time of day unspecified; the rooftop-room window is lit from inside. Do not add weather, atmosphere or colour moods beyond this.\n\nWORLD FACTS (creator-confirmed / evidence-bound — always true):\n- The main building is an aged three-storey multi-family villa;\n  its roof deck sits roughly 8-10 m above the yard, with the small\n  rooftop-room unit as an extra volume on the deck.\n- The exterior stair is a later-added STEEL retrofit stair climbing\n  the full three storeys: open treads, thin steel plate stringers,\n  support posts, pipe railings. It is NOT a concrete stair.\n\nLOOK REFERENCE: the attached PHOTOGRAPH shows this same property.\nMatch its look exactly — the building, its materials and aging, the\nroof-deck contents, colours, and the surrounding town. It is the\nsingle source of truth for how everything LOOKS.\n\nSITE PLAN REFERENCE: the attached flat drawing is the site plan of\nthis same property. Use it ONLY as the source of truth for WHERE\nthings are (spatial arrangement, adjacency, routes). NEVER draw the\nplan itself — none of its flat colours, circles, codes or labels may\nappear in the output.\n\nThe output image must contain ZERO annotations — no circles, no\ncodes, no letters, no numbers, no text, no signage lettering, no\narrows, no dashed lines."}
{"ts": "2026-07-09 02:39:07", "kind": "img", "engine": "gpt-image-2", "mode": "edit", "tag": "s30_bg_S4_Shot1_i2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/forest_map/top2/top2_photo_fixed_nb2.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/forest_map/top2/top2_map_gpt.png"], "size": "1536x1024", "attempt": 1, "dur_s": 157.9, "bytes": 3055216, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/shot_apply/bg_S4_Shot1_i2.png", "prompt": "Create ONE photorealistic BACKGROUND PLATE for a live-action film still. No people, no animals, an empty set.\n\nCAMERA: High above the old villa in an oblique bird’s-eye position, centered on the rooftop-room unit at R3. The camera is biased toward the lower/south side of the plan so the rooftop-room roof and its south/front wall with R2 and R4 are visible from above. Looking: Oblique overhead looking from the lower/south side of the plan toward the upper/north side, down onto R3 as the middle-center anchor. High overhead camera looking down in a bird’s-eye / oblique overhead view, wide framing, centered on the rooftop room in the middle center of frame. The rooftop room’s roof and front wall are visible from above, with the doorway side angled slightly toward camera, while the surrounding villa roofs and alleys remain readable around it.\n\nMAP POINT: this plate is taken in the \"Rooftop Deck\" area of the property on the attached site plan, anchored to these mapped elements:\n- rooftop-room unit: Place the rooftop-room unit on the roof surface, connected to the iron entrance door and containing the indicated window openings.\n- iron entrance door: Set the iron door on the rooftop-room unit facing the landing path; include the door-gap flyer detail and allow it to be shown partly open.\n- rooftop-room window set: Mark the small living-room window and the curtained room window on the rooftop-room unit, with at least one window oriented for the low-wall sightline.\n- landing-to-door roof path: Draw the roof path from the landing toward the iron door so it passes beside the bench area and the clothesline area.\n- upper stair landing: Place the landing at the top of the exterior stair where the iron entrance door is immediately visible.\n- exterior steel retrofit stair run: Attach the exterior steel retrofit stair to the building wall, starting from the yard and rising outside the building toward the rooftop landing.\n- rooftop-room building footprint: Place the aged multi-family villa footprint along the yard, carrying the rooftop-room level above.\n- yard: Draw the yard immediately inside the gate, between the alley entry and the exterior stair route.\n- multi-family villa gate: Place the gate on the alley frontage so that opening it leads directly into the property yard.\n- alley approach: Show the alley approach at the lower edge of the detail sketch, leading directly toward the filming property gate and able to support bicycle movement.\n- secluded bicycle corner: Set a tucked-away corner within the yard where a bicycle can be left roughly, separated from the main gate-to-stair path.\n- water tank: Place the water tank on the roof surface near the rooftop deck contents, clear of the landing-to-door path.\n- clothesline: Run the clothesline across the roof surface close enough to the approach path that hanging or dried leaves can brush a passerby.\n- wooden drying bench with dried leaves: Place the wooden drying bench on the rooftop near the clothesline and along the path toward the iron door, carrying the dried leaves.\n\nIN FRAME (near to far): Near to far along the view: the lower/south alley approach P1 and gate P2 sit at the bottom of the property; inside them the yard P3, secluded bicycle corner P4, and exterior steel retrofit stair Q2 rise along the building footprint Q1 to the upper landing Q3. On the rooftop deck, the landing-to-door roof path R1 leads toward the iron entrance door R2 on the rooftop-room unit R3, with the rooftop-room window set R4 on the same front side. The water tank S1, clothesline S2, and wooden drying bench with dried leaves S3 remain readable around the deck. Past the property edges, the plan shows neighboring villa/roof masses around the north, east, and west sides, and the alley approach continues along the south side.\n\nBACKGROUND INTENT: Draw a wide omniscient overhead background plate of an aged three-storey multi-family villa in an Incheon outskirts neighborhood, with the small rooftop-room unit centered on the roof deck as the visual anchor. The roof deck sits roughly 8–10 m above the yard, and the rooftop room appears as an extra volume on that deck, aged, patched, and weather-stained. Around it, show neighboring old villa rooftops, narrow alleys, and varied aged villa materials forming a cramped readable neighborhood grid, softened at the outskirts by thin atmospheric haze. Key elements: Old rooftop room exterior in the middle center, aged, patched, weather-stained, with roof and front wall visible from above.; Main aged three-storey multi-family villa below it, with the roof deck roughly 8–10 m above the yard.; Later-added steel retrofit exterior stair climbing the full three storeys: open treads, thin steel plate stringers, support posts, and pipe railings; not concrete.; Neighboring old villa rooftops around the central roof deck, flat roof planes facing upward, worn and lived-in.; Narrow alleys threading between the villa blocks.; Varied aged villa materials rather than uniform concrete blocks.; Thin atmospheric haze softening the outskirts of the frame..\n\nTIME & LIGHT: Daylight is present over the old rooftop villa and surrounding neighborhood. Do not add weather, atmosphere or colour moods beyond this.\n\nWORLD FACTS (creator-confirmed / evidence-bound — always true):\n- The main building is an aged three-storey multi-family villa;\n  its roof deck sits roughly 8-10 m above the yard, with the small\n  rooftop-room unit as an extra volume on the deck.\n- The exterior stair is a later-added STEEL retrofit stair climbing\n  the full three storeys: open treads, thin steel plate stringers,\n  support posts, pipe railings. It is NOT a concrete stair.\n\nLOOK REFERENCE: the attached PHOTOGRAPH shows this same property.\nMatch its look exactly — the building, its materials and aging, the\nroof-deck contents, colours, and the surrounding town. It is the\nsingle source of truth for how everything LOOKS.\n\nSITE PLAN REFERENCE: the attached flat drawing is the site plan of\nthis same property. Use it ONLY as the source of truth for WHERE\nthings are (spatial arrangement, adjacency, routes). NEVER draw the\nplan itself — none of its flat colours, circles, codes or labels may\nappear in the output.\n\nThe output image must contain ZERO annotations — no circles, no\ncodes, no letters, no numbers, no text, no signage lettering, no\narrows, no dashed lines."}
{"ts": "2026-07-09 02:39:28", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s30_bg_S4_Shot1_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/forest_map/top2/top2_photo_fixed_nb2.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/forest_map/top2/top2_map_gpt.png"], "ref_labels": ["LOOK REFERENCE — real photograph of the same property; sole source of how everything looks.", "SITE PLAN — layout source only; never draw this drawing or its markers."], "attempt": 1, "dur_s": 20.2, "bytes": 3457559, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/shot_apply/bg_S4_Shot1_nb2.png", "prompt": "Create ONE photorealistic BACKGROUND PLATE for a live-action film still. No people, no animals, an empty set.\n\nCAMERA: High above the old villa in an oblique bird’s-eye position, centered on the rooftop-room unit at R3. The camera is biased toward the lower/south side of the plan so the rooftop-room roof and its south/front wall with R2 and R4 are visible from above. Looking: Oblique overhead looking from the lower/south side of the plan toward the upper/north side, down onto R3 as the middle-center anchor. High overhead camera looking down in a bird’s-eye / oblique overhead view, wide framing, centered on the rooftop room in the middle center of frame. The rooftop room’s roof and front wall are visible from above, with the doorway side angled slightly toward camera, while the surrounding villa roofs and alleys remain readable around it.\n\nMAP POINT: this plate is taken in the \"Rooftop Deck\" area of the property on the attached site plan, anchored to these mapped elements:\n- rooftop-room unit: Place the rooftop-room unit on the roof surface, connected to the iron entrance door and containing the indicated window openings.\n- iron entrance door: Set the iron door on the rooftop-room unit facing the landing path; include the door-gap flyer detail and allow it to be shown partly open.\n- rooftop-room window set: Mark the small living-room window and the curtained room window on the rooftop-room unit, with at least one window oriented for the low-wall sightline.\n- landing-to-door roof path: Draw the roof path from the landing toward the iron door so it passes beside the bench area and the clothesline area.\n- upper stair landing: Place the landing at the top of the exterior stair where the iron entrance door is immediately visible.\n- exterior steel retrofit stair run: Attach the exterior steel retrofit stair to the building wall, starting from the yard and rising outside the building toward the rooftop landing.\n- rooftop-room building footprint: Place the aged multi-family villa footprint along the yard, carrying the rooftop-room level above.\n- yard: Draw the yard immediately inside the gate, between the alley entry and the exterior stair route.\n- multi-family villa gate: Place the gate on the alley frontage so that opening it leads directly into the property yard.\n- alley approach: Show the alley approach at the lower edge of the detail sketch, leading directly toward the filming property gate and able to support bicycle movement.\n- secluded bicycle corner: Set a tucked-away corner within the yard where a bicycle can be left roughly, separated from the main gate-to-stair path.\n- water tank: Place the water tank on the roof surface near the rooftop deck contents, clear of the landing-to-door path.\n- clothesline: Run the clothesline across the roof surface close enough to the approach path that hanging or dried leaves can brush a passerby.\n- wooden drying bench with dried leaves: Place the wooden drying bench on the rooftop near the clothesline and along the path toward the iron door, carrying the dried leaves.\n\nIN FRAME (near to far): Near to far along the view: the lower/south alley approach P1 and gate P2 sit at the bottom of the property; inside them the yard P3, secluded bicycle corner P4, and exterior steel retrofit stair Q2 rise along the building footprint Q1 to the upper landing Q3. On the rooftop deck, the landing-to-door roof path R1 leads toward the iron entrance door R2 on the rooftop-room unit R3, with the rooftop-room window set R4 on the same front side. The water tank S1, clothesline S2, and wooden drying bench with dried leaves S3 remain readable around the deck. Past the property edges, the plan shows neighboring villa/roof masses around the north, east, and west sides, and the alley approach continues along the south side.\n\nBACKGROUND INTENT: Draw a wide omniscient overhead background plate of an aged three-storey multi-family villa in an Incheon outskirts neighborhood, with the small rooftop-room unit centered on the roof deck as the visual anchor. The roof deck sits roughly 8–10 m above the yard, and the rooftop room appears as an extra volume on that deck, aged, patched, and weather-stained. Around it, show neighboring old villa rooftops, narrow alleys, and varied aged villa materials forming a cramped readable neighborhood grid, softened at the outskirts by thin atmospheric haze. Key elements: Old rooftop room exterior in the middle center, aged, patched, weather-stained, with roof and front wall visible from above.; Main aged three-storey multi-family villa below it, with the roof deck roughly 8–10 m above the yard.; Later-added steel retrofit exterior stair climbing the full three storeys: open treads, thin steel plate stringers, support posts, and pipe railings; not concrete.; Neighboring old villa rooftops around the central roof deck, flat roof planes facing upward, worn and lived-in.; Narrow alleys threading between the villa blocks.; Varied aged villa materials rather than uniform concrete blocks.; Thin atmospheric haze softening the outskirts of the frame..\n\nTIME & LIGHT: Daylight is present over the old rooftop villa and surrounding neighborhood. Do not add weather, atmosphere or colour moods beyond this.\n\nWORLD FACTS (creator-confirmed / evidence-bound — always true):\n- The main building is an aged three-storey multi-family villa;\n  its roof deck sits roughly 8-10 m above the yard, with the small\n  rooftop-room unit as an extra volume on the deck.\n- The exterior stair is a later-added STEEL retrofit stair climbing\n  the full three storeys: open treads, thin steel plate stringers,\n  support posts, pipe railings. It is NOT a concrete stair.\n\nLOOK REFERENCE: the attached PHOTOGRAPH shows this same property.\nMatch its look exactly — the building, its materials and aging, the\nroof-deck contents, colours, and the surrounding town. It is the\nsingle source of truth for how everything LOOKS.\n\nSITE PLAN REFERENCE: the attached flat drawing is the site plan of\nthis same property. Use it ONLY as the source of truth for WHERE\nthings are (spatial arrangement, adjacency, routes). NEVER draw the\nplan itself — none of its flat colours, circles, codes or labels may\nappear in the output.\n\nThe output image must contain ZERO annotations — no circles, no\ncodes, no letters, no numbers, no text, no signage lettering, no\narrows, no dashed lines."}
{"ts": "2026-07-09 02:39:54", "kind": "llm", "step": "s30_pick_S10_Shot5_gpt", "model": "gpt", "dur_s": 10.6, "system_prompt": "You are given ONE image-generation prompt and TWO candidate images,\nlabelled A and B in the order attached, both generated from that\nexact prompt.\nPick the ONE candidate that most faithfully realises the prompt:\nits camera (height, angle, direction, framing), its stated spatial\narrangement and anchored elements, materials and state, time and\nlight, and its exclusions (no people, no text, no map-style\ngraphics). Ignore generic aesthetic appeal.\nAlso give each candidate an integer score 0-10 for that fidelity.\nOutput: winner, and per candidate a score plus a one-line Korean\nverdict citing the decisive prompt points.", "user_prompt": "[{\"type\": \"text\", \"text\": \"THE PROMPT (both candidates were generated from this):\\nCreate ONE photorealistic BACKGROUND PLATE for a live-action film still. No people, no animals, an empty set.\\n\\nCAMERA: On the rooftop landing-to-door roof path at R1, placed immediately outside the iron entrance door R2 at handle height, only inches from the door seam. Looking: From R1 straight into the thin opening of R2, looking into the R3 rooftop-room unit interior through the central door crack. Handle-height camera, just outside the iron door, only inches from the seam. The lens faces straight into the thin opening in a voyeur insert framing, with the rough iron surfaces dominating the foreground and the dark interior held unreadable through the central slit.\\n\\nMAP POINT: this plate is taken in the \\\"Rooftop Deck\\\" area of the property on the attached site plan, anchored to these mapped elements:\\n- landing-to-door roof path: Draw the roof path from the landing toward the iron door so it passes beside the bench area and the clothesline area.\\n- iron entrance door: Set the iron door on the rooftop-room unit facing the landing path; include the door-gap flyer detail and allow it to be shown partly open.\\n- rooftop-room unit: Place the rooftop-room unit on the roof surface, connected to the iron entrance door and containing the indicated window openings.\\n- low-angle night light-source position: Mark a low-angle light-source position affecting the rooftop path, only to support the long-shadow cue and without assigning any broader colour mood.\\n\\nIN FRAME (near to far): Foreground: the two close scratched iron edges of the slightly open R2 door fill the left and right sides. Middle center: the narrow vertical seam of R2, with the bent, dirty edge of the creased advertisement flyer wedged near the crack. Beyond the crack: only the unlit, opaque interior of the rooftop-room unit R3 is visible. The low-angle night light from S4 skims the iron surface; S4 itself is not framed.\\n\\nBACKGROUND INTENT: Draw an insert background plate pressed up to a slightly open iron front door, with the two scratched metal door edges filling the left and right foreground. The narrow vertical crack must sit in the middle center of frame, revealing only an unlit, opaque interior beyond. Near the seam, include the bent, dirty edge of a creased advertisement flyer, showing partial color blocks and unreadable text. Key elements: Slightly open iron front door with two heavy scratched metal edges facing camera at close range.; Narrow central door seam / crack positioned middle center as the primary focal aperture.; Dark interior beyond the crack, unlit and opaque.; Creased advertisement flyer edge wedged near the seam, bent, partly displaced, dirty, with only partial color blocks and unreadable text visible..\\n\\nTIME & LIGHT: Night; a low-angle night light skims the iron, while the interior beyond the crack remains unlit and opaque. Do not add weather, atmosphere or colour moods beyond this.\\n\\nWORLD FACTS (creator-confirmed / evidence-bound — always true):\\n- The main building is an aged three-storey multi-family villa;\\n  its roof deck sits roughly 8-10 m above the yard, with the small\\n  rooftop-room unit as an extra volume on the deck.\\n- The exterior stair is a later-added STEEL retrofit stair climbing\\n  the full three storeys: open treads, thin steel plate stringers,\\n  support posts, pipe railings. It is NOT a concrete stair.\\n\\nLOOK REFERENCE: the attached PHOTOGRAPH shows this same property.\\nMatch its look exactly — the building, its materials and aging, the\\nroof-deck contents, colours, and the surrounding town. It is the\\nsingle source of truth for how everything LOOKS.\\n\\nSITE PLAN REFERENCE: the attached flat drawing is the site plan of\\nthis same property. Use it ONLY as the source of truth for WHERE\\nthings are (spatial arrangement, adjacency, routes). NEVER draw the\\nplan itself — none of its flat colours, circles, codes or labels may\\nappear in the output.\\n\\nThe output image must contain ZERO annotations — no circles, no\\ncodes, no letters, no numbers, no text, no signage lettering, no\\narrows, no dashed lines.\"}, {\"type\": \"text\", \"text\": \"Candidate A:\"}, {\"type\": \"text\", \"text\": \"Candidate B:\"}]"}
{"ts": "2026-07-09 02:40:08", "kind": "llm", "step": "s30_pick_S10_Shot5_gemini", "model": "gemini-pro", "dur_s": 14.2, "system_prompt": "You are given ONE image-generation prompt and TWO candidate images,\nlabelled A and B in the order attached, both generated from that\nexact prompt.\nPick the ONE candidate that most faithfully realises the prompt:\nits camera (height, angle, direction, framing), its stated spatial\narrangement and anchored elements, materials and state, time and\nlight, and its exclusions (no people, no text, no map-style\ngraphics). Ignore generic aesthetic appeal.\nAlso give each candidate an integer score 0-10 for that fidelity.\nOutput: winner, and per candidate a score plus a one-line Korean\nverdict citing the decisive prompt points.", "user_prompt": "[{\"type\": \"text\", \"text\": \"THE PROMPT (both candidates were generated from this):\\nCreate ONE photorealistic BACKGROUND PLATE for a live-action film still. No people, no animals, an empty set.\\n\\nCAMERA: On the rooftop landing-to-door roof path at R1, placed immediately outside the iron entrance door R2 at handle height, only inches from the door seam. Looking: From R1 straight into the thin opening of R2, looking into the R3 rooftop-room unit interior through the central door crack. Handle-height camera, just outside the iron door, only inches from the seam. The lens faces straight into the thin opening in a voyeur insert framing, with the rough iron surfaces dominating the foreground and the dark interior held unreadable through the central slit.\\n\\nMAP POINT: this plate is taken in the \\\"Rooftop Deck\\\" area of the property on the attached site plan, anchored to these mapped elements:\\n- landing-to-door roof path: Draw the roof path from the landing toward the iron door so it passes beside the bench area and the clothesline area.\\n- iron entrance door: Set the iron door on the rooftop-room unit facing the landing path; include the door-gap flyer detail and allow it to be shown partly open.\\n- rooftop-room unit: Place the rooftop-room unit on the roof surface, connected to the iron entrance door and containing the indicated window openings.\\n- low-angle night light-source position: Mark a low-angle light-source position affecting the rooftop path, only to support the long-shadow cue and without assigning any broader colour mood.\\n\\nIN FRAME (near to far): Foreground: the two close scratched iron edges of the slightly open R2 door fill the left and right sides. Middle center: the narrow vertical seam of R2, with the bent, dirty edge of the creased advertisement flyer wedged near the crack. Beyond the crack: only the unlit, opaque interior of the rooftop-room unit R3 is visible. The low-angle night light from S4 skims the iron surface; S4 itself is not framed.\\n\\nBACKGROUND INTENT: Draw an insert background plate pressed up to a slightly open iron front door, with the two scratched metal door edges filling the left and right foreground. The narrow vertical crack must sit in the middle center of frame, revealing only an unlit, opaque interior beyond. Near the seam, include the bent, dirty edge of a creased advertisement flyer, showing partial color blocks and unreadable text. Key elements: Slightly open iron front door with two heavy scratched metal edges facing camera at close range.; Narrow central door seam / crack positioned middle center as the primary focal aperture.; Dark interior beyond the crack, unlit and opaque.; Creased advertisement flyer edge wedged near the seam, bent, partly displaced, dirty, with only partial color blocks and unreadable text visible..\\n\\nTIME & LIGHT: Night; a low-angle night light skims the iron, while the interior beyond the crack remains unlit and opaque. Do not add weather, atmosphere or colour moods beyond this.\\n\\nWORLD FACTS (creator-confirmed / evidence-bound — always true):\\n- The main building is an aged three-storey multi-family villa;\\n  its roof deck sits roughly 8-10 m above the yard, with the small\\n  rooftop-room unit as an extra volume on the deck.\\n- The exterior stair is a later-added STEEL retrofit stair climbing\\n  the full three storeys: open treads, thin steel plate stringers,\\n  support posts, pipe railings. It is NOT a concrete stair.\\n\\nLOOK REFERENCE: the attached PHOTOGRAPH shows this same property.\\nMatch its look exactly — the building, its materials and aging, the\\nroof-deck contents, colours, and the surrounding town. It is the\\nsingle source of truth for how everything LOOKS.\\n\\nSITE PLAN REFERENCE: the attached flat drawing is the site plan of\\nthis same property. Use it ONLY as the source of truth for WHERE\\nthings are (spatial arrangement, adjacency, routes). NEVER draw the\\nplan itself — none of its flat colours, circles, codes or labels may\\nappear in the output.\\n\\nThe output image must contain ZERO annotations — no circles, no\\ncodes, no letters, no numbers, no text, no signage lettering, no\\narrows, no dashed lines.\"}, {\"type\": \"text\", \"text\": \"Candidate A:\"}, {\"type\": \"text\", \"text\": \"Candidate B:\"}]"}
{"ts": "2026-07-09 02:40:25", "kind": "llm", "step": "s30_pick_S11_Shot3_gpt", "model": "gpt", "dur_s": 16.7, "system_prompt": "You are given ONE image-generation prompt and TWO candidate images,\nlabelled A and B in the order attached, both generated from that\nexact prompt.\nPick the ONE candidate that most faithfully realises the prompt:\nits camera (height, angle, direction, framing), its stated spatial\narrangement and anchored elements, materials and state, time and\nlight, and its exclusions (no people, no text, no map-style\ngraphics). Ignore generic aesthetic appeal.\nAlso give each candidate an integer score 0-10 for that fidelity.\nOutput: winner, and per candidate a score plus a one-line Korean\nverdict citing the decisive prompt points.", "user_prompt": "[{\"type\": \"text\", \"text\": \"THE PROMPT (both candidates were generated from this):\\nCreate ONE photorealistic BACKGROUND PLATE for a live-action film still. No people, no animals, an empty set.\\n\\nCAMERA: Place the camera midway up the exterior steel retrofit stair run at Q2, very close to the actor’s climb line and slightly front-left of her, at face height. The camera is on the stair, beside the building wall/footprint side indicated by Q1. Looking: Static camera looking along the actor’s halted upward climb line on Q2, angled toward the upper landing direction at Q3 while keeping the rooftop landing itself out of frame. Static camera at face height, positioned very close from the front-left of the actor’s climb line, midway up the narrow steel retrofit stair. Frame as an intense close-up background: almost all foreground space reserved for the face, with only a narrow strip of stair texture and wall visible behind.\\n\\nMAP POINT: this plate is taken in the \\\"Exterior Stair\\\" area of the property on the attached site plan, anchored to these mapped elements:\\n- exterior steel retrofit stair run: Attach the exterior steel retrofit stair to the building wall, starting from the yard and rising outside the building toward the rooftop landing.\\n- upper stair landing: Place the landing at the top of the exterior stair where the iron entrance door is immediately visible.\\n- rooftop-room building footprint: Place the aged multi-family villa footprint along the yard, carrying the rooftop-room level above.\\n\\nIN FRAME (near to far): An extremely tight close-up background: only a sliver of Q2 is visible behind the face position, with an angled open steel tread edge and thin steel stringer indicating the upward route. A close stained wall on the Q1 side forms the tight side boundary. The upper stair direction toward Q3 remains unseen except for a faint, colour-unspecified light spill from above. The shot does not look outward past the property edge.\\n\\nBACKGROUND INTENT: Draw an extremely tight background plate for a close-up midway up a later-added steel retrofit stair on the exterior of the aged three-storey multi-family villa. The frame should contain only a sliver of the stair location: an angled open steel tread edge and thin steel stringer behind where the actor’s cheek would be, plus a close stained stairwell wall as the side boundary. Above the stair angle, leave the rooftop direction unseen, suggested only by a faint, colour-unspecified light spill from above. Key elements: Later-added steel retrofit stair: open tread edge and thin steel plate stringer angling upward behind the face position.; Stairwell wall very close to the face position, stained, forming a tight side boundary.; Rooftop direction above the stairs remains unseen; foul smell is implied by the shot context, not by visible material.; Faint, colour-unspecified light spill from the rooftop direction above..\\n\\nTIME & LIGHT: Night. Stairwell lighting is unspecified; a faint, colour-unspecified light spill comes from the rooftop direction above. Do not add weather, atmosphere or colour moods beyond this.\\n\\nWORLD FACTS (creator-confirmed / evidence-bound — always true):\\n- The main building is an aged three-storey multi-family villa;\\n  its roof deck sits roughly 8-10 m above the yard, with the small\\n  rooftop-room unit as an extra volume on the deck.\\n- The exterior stair is a later-added STEEL retrofit stair climbing\\n  the full three storeys: open treads, thin steel plate stringers,\\n  support posts, pipe railings. It is NOT a concrete stair.\\n\\nLOOK REFERENCE: the attached PHOTOGRAPH shows this same property.\\nMatch its look exactly — the building, its materials and aging, the\\nroof-deck contents, colours, and the surrounding town. It is the\\nsingle source of truth for how everything LOOKS.\\n\\nSITE PLAN REFERENCE: the attached flat drawing is the site plan of\\nthis same property. Use it ONLY as the source of truth for WHERE\\nthings are (spatial arrangement, adjacency, routes). NEVER draw the\\nplan itself — none of its flat colours, circles, codes or labels may\\nappear in the output.\\n\\nThe output image must contain ZERO annotations — no circles, no\\ncodes, no letters, no numbers, no text, no signage lettering, no\\narrows, no dashed lines.\"}, {\"type\": \"text\", \"text\": \"Candidate A:\"}, {\"type\": \"text\", \"text\": \"Candidate B:\"}]"}
{"ts": "2026-07-09 02:40:41", "kind": "llm", "step": "s30_pick_S11_Shot3_gemini", "model": "gemini-pro", "dur_s": 16.7, "system_prompt": "You are given ONE image-generation prompt and TWO candidate images,\nlabelled A and B in the order attached, both generated from that\nexact prompt.\nPick the ONE candidate that most faithfully realises the prompt:\nits camera (height, angle, direction, framing), its stated spatial\narrangement and anchored elements, materials and state, time and\nlight, and its exclusions (no people, no text, no map-style\ngraphics). Ignore generic aesthetic appeal.\nAlso give each candidate an integer score 0-10 for that fidelity.\nOutput: winner, and per candidate a score plus a one-line Korean\nverdict citing the decisive prompt points.", "user_prompt": "[{\"type\": \"text\", \"text\": \"THE PROMPT (both candidates were generated from this):\\nCreate ONE photorealistic BACKGROUND PLATE for a live-action film still. No people, no animals, an empty set.\\n\\nCAMERA: Place the camera midway up the exterior steel retrofit stair run at Q2, very close to the actor’s climb line and slightly front-left of her, at face height. The camera is on the stair, beside the building wall/footprint side indicated by Q1. Looking: Static camera looking along the actor’s halted upward climb line on Q2, angled toward the upper landing direction at Q3 while keeping the rooftop landing itself out of frame. Static camera at face height, positioned very close from the front-left of the actor’s climb line, midway up the narrow steel retrofit stair. Frame as an intense close-up background: almost all foreground space reserved for the face, with only a narrow strip of stair texture and wall visible behind.\\n\\nMAP POINT: this plate is taken in the \\\"Exterior Stair\\\" area of the property on the attached site plan, anchored to these mapped elements:\\n- exterior steel retrofit stair run: Attach the exterior steel retrofit stair to the building wall, starting from the yard and rising outside the building toward the rooftop landing.\\n- upper stair landing: Place the landing at the top of the exterior stair where the iron entrance door is immediately visible.\\n- rooftop-room building footprint: Place the aged multi-family villa footprint along the yard, carrying the rooftop-room level above.\\n\\nIN FRAME (near to far): An extremely tight close-up background: only a sliver of Q2 is visible behind the face position, with an angled open steel tread edge and thin steel stringer indicating the upward route. A close stained wall on the Q1 side forms the tight side boundary. The upper stair direction toward Q3 remains unseen except for a faint, colour-unspecified light spill from above. The shot does not look outward past the property edge.\\n\\nBACKGROUND INTENT: Draw an extremely tight background plate for a close-up midway up a later-added steel retrofit stair on the exterior of the aged three-storey multi-family villa. The frame should contain only a sliver of the stair location: an angled open steel tread edge and thin steel stringer behind where the actor’s cheek would be, plus a close stained stairwell wall as the side boundary. Above the stair angle, leave the rooftop direction unseen, suggested only by a faint, colour-unspecified light spill from above. Key elements: Later-added steel retrofit stair: open tread edge and thin steel plate stringer angling upward behind the face position.; Stairwell wall very close to the face position, stained, forming a tight side boundary.; Rooftop direction above the stairs remains unseen; foul smell is implied by the shot context, not by visible material.; Faint, colour-unspecified light spill from the rooftop direction above..\\n\\nTIME & LIGHT: Night. Stairwell lighting is unspecified; a faint, colour-unspecified light spill comes from the rooftop direction above. Do not add weather, atmosphere or colour moods beyond this.\\n\\nWORLD FACTS (creator-confirmed / evidence-bound — always true):\\n- The main building is an aged three-storey multi-family villa;\\n  its roof deck sits roughly 8-10 m above the yard, with the small\\n  rooftop-room unit as an extra volume on the deck.\\n- The exterior stair is a later-added STEEL retrofit stair climbing\\n  the full three storeys: open treads, thin steel plate stringers,\\n  support posts, pipe railings. It is NOT a concrete stair.\\n\\nLOOK REFERENCE: the attached PHOTOGRAPH shows this same property.\\nMatch its look exactly — the building, its materials and aging, the\\nroof-deck contents, colours, and the surrounding town. It is the\\nsingle source of truth for how everything LOOKS.\\n\\nSITE PLAN REFERENCE: the attached flat drawing is the site plan of\\nthis same property. Use it ONLY as the source of truth for WHERE\\nthings are (spatial arrangement, adjacency, routes). NEVER draw the\\nplan itself — none of its flat colours, circles, codes or labels may\\nappear in the output.\\n\\nThe output image must contain ZERO annotations — no circles, no\\ncodes, no letters, no numbers, no text, no signage lettering, no\\narrows, no dashed lines.\"}, {\"type\": \"text\", \"text\": \"Candidate A:\"}, {\"type\": \"text\", \"text\": \"Candidate B:\"}]"}
{"ts": "2026-07-09 02:40:53", "kind": "llm", "step": "s30_pick_S11_Shot4_gpt", "model": "gpt", "dur_s": 11.4, "system_prompt": "You are given ONE image-generation prompt and TWO candidate images,\nlabelled A and B in the order attached, both generated from that\nexact prompt.\nPick the ONE candidate that most faithfully realises the prompt:\nits camera (height, angle, direction, framing), its stated spatial\narrangement and anchored elements, materials and state, time and\nlight, and its exclusions (no people, no text, no map-style\ngraphics). Ignore generic aesthetic appeal.\nAlso give each candidate an integer score 0-10 for that fidelity.\nOutput: winner, and per candidate a score plus a one-line Korean\nverdict citing the decisive prompt points.", "user_prompt": "[{\"type\": \"text\", \"text\": \"THE PROMPT (both candidates were generated from this):\\nCreate ONE photorealistic BACKGROUND PLATE for a live-action film still. No people, no animals, an empty set.\\n\\nCAMERA: Place the camera on the rooftop upper stair landing at Q3, just onto the landing-to-door roof path R1, at human eye level. Keep it aligned with the rooftop-room iron entrance door R2 so the door is square to the lens. Looking: From Q3/R1, look toward R2 on the rooftop-room unit, facing the iron door straight on rather than looking outward past the property edge. Subjective POV from the rooftop landing, several meters from the entrance, at human eye level. The camera faces the iron front door straight on in a wide framing, with rigid symmetry placing the half-open door in the middle center of the frame.\\n\\nMAP POINT: this plate is taken in the \\\"Rooftop Deck\\\" area of the property on the attached site plan, anchored to these mapped elements:\\n- upper stair landing: Place the landing at the top of the exterior stair where the iron entrance door is immediately visible.\\n- landing-to-door roof path: Draw the roof path from the landing toward the iron door so it passes beside the bench area and the clothesline area.\\n- iron entrance door: Set the iron door on the rooftop-room unit facing the landing path; include the door-gap flyer detail and allow it to be shown partly open.\\n- rooftop-room unit: Place the rooftop-room unit on the roof surface, connected to the iron entrance door and containing the indicated window openings.\\n\\nIN FRAME (near to far): Near to far: the uncluttered rooftop landing/path area at Q3–R1 fills the foreground; the half-open iron entrance door R2 is held at the middle center; the rooftop-room unit R3 surrounds the doorway. The low rooftop wall along the roof edge can run horizontally across the lower part of the frame without competing with the centered door. No people or movement are included.\\n\\nBACKGROUND INTENT: Draw a wide, static rooftop plate centered on the rooftop-room iron front door of the small unit on the roof deck of an aged three-storey multi-family villa. The door faces the camera squarely and is held half-open, leaving a narrow gap along one side, with the surrounding rooftop landing kept still and uncluttered. A low concrete rooftop wall runs horizontally across the lower background to frame the doorway without competing with it. Key elements: Rooftop-room iron front door: middle center, square to camera, half-open and frozen, with a narrow side gap.; Rooftop landing: still space around the door, no people or movement.; Low rooftop wall: concrete, motionless, its top edge running horizontally across the lower background.; Rooftop-room unit: extra volume on the roof deck of the aged three-storey villa..\\n\\nTIME & LIGHT: unspecified — neutral Do not add weather, atmosphere or colour moods beyond this.\\n\\nWORLD FACTS (creator-confirmed / evidence-bound — always true):\\n- The main building is an aged three-storey multi-family villa;\\n  its roof deck sits roughly 8-10 m above the yard, with the small\\n  rooftop-room unit as an extra volume on the deck.\\n- The exterior stair is a later-added STEEL retrofit stair climbing\\n  the full three storeys: open treads, thin steel plate stringers,\\n  support posts, pipe railings. It is NOT a concrete stair.\\n\\nLOOK REFERENCE: the attached PHOTOGRAPH shows this same property.\\nMatch its look exactly — the building, its materials and aging, the\\nroof-deck contents, colours, and the surrounding town. It is the\\nsingle source of truth for how everything LOOKS.\\n\\nSITE PLAN REFERENCE: the attached flat drawing is the site plan of\\nthis same property. Use it ONLY as the source of truth for WHERE\\nthings are (spatial arrangement, adjacency, routes). NEVER draw the\\nplan itself — none of its flat colours, circles, codes or labels may\\nappear in the output.\\n\\nThe output image must contain ZERO annotations — no circles, no\\ncodes, no letters, no numbers, no text, no signage lettering, no\\narrows, no dashed lines.\"}, {\"type\": \"text\", \"text\": \"Candidate A:\"}, {\"type\": \"text\", \"text\": \"Candidate B:\"}]"}
{"ts": "2026-07-09 02:41:17", "kind": "llm", "step": "s30_pick_S11_Shot4_gemini", "model": "gemini-pro", "dur_s": 24.0, "system_prompt": "You are given ONE image-generation prompt and TWO candidate images,\nlabelled A and B in the order attached, both generated from that\nexact prompt.\nPick the ONE candidate that most faithfully realises the prompt:\nits camera (height, angle, direction, framing), its stated spatial\narrangement and anchored elements, materials and state, time and\nlight, and its exclusions (no people, no text, no map-style\ngraphics). Ignore generic aesthetic appeal.\nAlso give each candidate an integer score 0-10 for that fidelity.\nOutput: winner, and per candidate a score plus a one-line Korean\nverdict citing the decisive prompt points.", "user_prompt": "[{\"type\": \"text\", \"text\": \"THE PROMPT (both candidates were generated from this):\\nCreate ONE photorealistic BACKGROUND PLATE for a live-action film still. No people, no animals, an empty set.\\n\\nCAMERA: Place the camera on the rooftop upper stair landing at Q3, just onto the landing-to-door roof path R1, at human eye level. Keep it aligned with the rooftop-room iron entrance door R2 so the door is square to the lens. Looking: From Q3/R1, look toward R2 on the rooftop-room unit, facing the iron door straight on rather than looking outward past the property edge. Subjective POV from the rooftop landing, several meters from the entrance, at human eye level. The camera faces the iron front door straight on in a wide framing, with rigid symmetry placing the half-open door in the middle center of the frame.\\n\\nMAP POINT: this plate is taken in the \\\"Rooftop Deck\\\" area of the property on the attached site plan, anchored to these mapped elements:\\n- upper stair landing: Place the landing at the top of the exterior stair where the iron entrance door is immediately visible.\\n- landing-to-door roof path: Draw the roof path from the landing toward the iron door so it passes beside the bench area and the clothesline area.\\n- iron entrance door: Set the iron door on the rooftop-room unit facing the landing path; include the door-gap flyer detail and allow it to be shown partly open.\\n- rooftop-room unit: Place the rooftop-room unit on the roof surface, connected to the iron entrance door and containing the indicated window openings.\\n\\nIN FRAME (near to far): Near to far: the uncluttered rooftop landing/path area at Q3–R1 fills the foreground; the half-open iron entrance door R2 is held at the middle center; the rooftop-room unit R3 surrounds the doorway. The low rooftop wall along the roof edge can run horizontally across the lower part of the frame without competing with the centered door. No people or movement are included.\\n\\nBACKGROUND INTENT: Draw a wide, static rooftop plate centered on the rooftop-room iron front door of the small unit on the roof deck of an aged three-storey multi-family villa. The door faces the camera squarely and is held half-open, leaving a narrow gap along one side, with the surrounding rooftop landing kept still and uncluttered. A low concrete rooftop wall runs horizontally across the lower background to frame the doorway without competing with it. Key elements: Rooftop-room iron front door: middle center, square to camera, half-open and frozen, with a narrow side gap.; Rooftop landing: still space around the door, no people or movement.; Low rooftop wall: concrete, motionless, its top edge running horizontally across the lower background.; Rooftop-room unit: extra volume on the roof deck of the aged three-storey villa..\\n\\nTIME & LIGHT: unspecified — neutral Do not add weather, atmosphere or colour moods beyond this.\\n\\nWORLD FACTS (creator-confirmed / evidence-bound — always true):\\n- The main building is an aged three-storey multi-family villa;\\n  its roof deck sits roughly 8-10 m above the yard, with the small\\n  rooftop-room unit as an extra volume on the deck.\\n- The exterior stair is a later-added STEEL retrofit stair climbing\\n  the full three storeys: open treads, thin steel plate stringers,\\n  support posts, pipe railings. It is NOT a concrete stair.\\n\\nLOOK REFERENCE: the attached PHOTOGRAPH shows this same property.\\nMatch its look exactly — the building, its materials and aging, the\\nroof-deck contents, colours, and the surrounding town. It is the\\nsingle source of truth for how everything LOOKS.\\n\\nSITE PLAN REFERENCE: the attached flat drawing is the site plan of\\nthis same property. Use it ONLY as the source of truth for WHERE\\nthings are (spatial arrangement, adjacency, routes). NEVER draw the\\nplan itself — none of its flat colours, circles, codes or labels may\\nappear in the output.\\n\\nThe output image must contain ZERO annotations — no circles, no\\ncodes, no letters, no numbers, no text, no signage lettering, no\\narrows, no dashed lines.\"}, {\"type\": \"text\", \"text\": \"Candidate A:\"}, {\"type\": \"text\", \"text\": \"Candidate B:\"}]"}
{"ts": "2026-07-09 02:41:30", "kind": "llm", "step": "s30_pick_S13_Shot3_gpt", "model": "gpt", "dur_s": 13.5, "system_prompt": "You are given ONE image-generation prompt and TWO candidate images,\nlabelled A and B in the order attached, both generated from that\nexact prompt.\nPick the ONE candidate that most faithfully realises the prompt:\nits camera (height, angle, direction, framing), its stated spatial\narrangement and anchored elements, materials and state, time and\nlight, and its exclusions (no people, no text, no map-style\ngraphics). Ignore generic aesthetic appeal.\nAlso give each candidate an integer score 0-10 for that fidelity.\nOutput: winner, and per candidate a score plus a one-line Korean\nverdict citing the decisive prompt points.", "user_prompt": "[{\"type\": \"text\", \"text\": \"THE PROMPT (both candidates were generated from this):\\nCreate ONE photorealistic BACKGROUND PLATE for a live-action film still. No people, no animals, an empty set.\\n\\nCAMERA: Alley Approach zone at P1, chest height, beside the parked police car positioned on the alley side of the property frontage near the line to the gate P2. Looking: From P1, look diagonally along the Alley Approach, keeping P2 on the property-frontage side while the alley recedes toward the middle-right background. Chest-height camera beside the police car, angled in a direct observer view parallel to 혜수’s discovery path; frame is a medium upper-body composition with the left foreground reserved for 혜수 by the open car door and the middle-right background reserved for 수리영 down the alley. The background should support a tracking move that slows into a held frame, with the alley receding diagonally from left/foreground to right/background.\\n\\nMAP POINT: this plate is taken in the \\\"Alley Approach\\\" area of the property on the attached site plan, anchored to these mapped elements:\\n- alley approach: Show the alley approach at the lower edge of the detail sketch, leading directly toward the filming property gate and able to support bicycle movement.\\n- multi-family villa gate: Place the gate on the alley frontage so that opening it leads directly into the property yard.\\n\\nIN FRAME (near to far): Near frame: the police car side/open door position occupies the left foreground at P1, with 혜수 held in medium upper-body beside it. Through the open alley corridor, the Alley Approach remains visible toward the middle-right background, where 수리영 is staged farther down the alley. The multi-family villa gate P2 can sit on the property frontage as the mapped reference behind or beside this corridor. If the view carries beyond the right/east edge of the plan, it leaves the mapped filming property into off-plan alley space not detailed on the site plan. Strobing police red-blue accompanies the discovery moment and spills across the alley.\\n\\nBACKGROUND INTENT: Background plate for a chest-height observer view beside a parked police car: the car side and its open door dominate the left/near foreground edge, while a narrow alley opens diagonally away toward the middle-right background. Keep the alley clearly visible between the police car position and the distant background mark for 수리영, with flashing red-blue siren spill moving across the alley. If the villa exterior is included along the alley, draw it as an aged three-storey multi-family villa with a rooftop-room volume on the roof deck, and any exterior full-height stair as a later-added steel retrofit stair, not concrete. Key elements: Parked police car at the foreground side of frame, with side body and open door angled toward camera.; Active police siren lights on the car, providing flashing red-blue spill.; Narrow alley receding diagonally away from the police car toward the middle-right background position.; Clear visible corridor between the police car and the background position for 수리영.; Aged three-storey multi-family villa exterior if seen along the alley, with roof deck roughly 8–10 m above the yard and a small rooftop-room unit as an extra volume.; If visible, the exterior stair is a steel retrofit stair with open treads, thin steel plate stringers, support posts, and pipe railings..\\n\\nTIME & LIGHT: Night; strobing police red-blue accompanies the police-car discovery moment. Do not add weather, atmosphere or colour moods beyond this.\\n\\nWORLD FACTS (creator-confirmed / evidence-bound — always true):\\n- The main building is an aged three-storey multi-family villa;\\n  its roof deck sits roughly 8-10 m above the yard, with the small\\n  rooftop-room unit as an extra volume on the deck.\\n- The exterior stair is a later-added STEEL retrofit stair climbing\\n  the full three storeys: open treads, thin steel plate stringers,\\n  support posts, pipe railings. It is NOT a concrete stair.\\n\\nLOOK REFERENCE: the attached PHOTOGRAPH shows this same property.\\nMatch its look exactly — the building, its materials and aging, the\\nroof-deck contents, colours, and the surrounding town. It is the\\nsingle source of truth for how everything LOOKS.\\n\\nSITE PLAN REFERENCE: the attached flat drawing is the site plan of\\nthis same property. Use it ONLY as the source of truth for WHERE\\nthings are (spatial arrangement, adjacency, routes). NEVER draw the\\nplan itself — none of its flat colours, circles, codes or labels may\\nappear in the output.\\n\\nThe output image must contain ZERO annotations — no circles, no\\ncodes, no letters, no numbers, no text, no signage lettering, no\\narrows, no dashed lines.\"}, {\"type\": \"text\", \"text\": \"Candidate A:\"}, {\"type\": \"text\", \"text\": \"Candidate B:\"}]"}
{"ts": "2026-07-09 02:41:44", "kind": "llm", "step": "s30_pick_S13_Shot3_gemini", "model": "gemini-pro", "dur_s": 13.8, "system_prompt": "You are given ONE image-generation prompt and TWO candidate images,\nlabelled A and B in the order attached, both generated from that\nexact prompt.\nPick the ONE candidate that most faithfully realises the prompt:\nits camera (height, angle, direction, framing), its stated spatial\narrangement and anchored elements, materials and state, time and\nlight, and its exclusions (no people, no text, no map-style\ngraphics). Ignore generic aesthetic appeal.\nAlso give each candidate an integer score 0-10 for that fidelity.\nOutput: winner, and per candidate a score plus a one-line Korean\nverdict citing the decisive prompt points.", "user_prompt": "[{\"type\": \"text\", \"text\": \"THE PROMPT (both candidates were generated from this):\\nCreate ONE photorealistic BACKGROUND PLATE for a live-action film still. No people, no animals, an empty set.\\n\\nCAMERA: Alley Approach zone at P1, chest height, beside the parked police car positioned on the alley side of the property frontage near the line to the gate P2. Looking: From P1, look diagonally along the Alley Approach, keeping P2 on the property-frontage side while the alley recedes toward the middle-right background. Chest-height camera beside the police car, angled in a direct observer view parallel to 혜수’s discovery path; frame is a medium upper-body composition with the left foreground reserved for 혜수 by the open car door and the middle-right background reserved for 수리영 down the alley. The background should support a tracking move that slows into a held frame, with the alley receding diagonally from left/foreground to right/background.\\n\\nMAP POINT: this plate is taken in the \\\"Alley Approach\\\" area of the property on the attached site plan, anchored to these mapped elements:\\n- alley approach: Show the alley approach at the lower edge of the detail sketch, leading directly toward the filming property gate and able to support bicycle movement.\\n- multi-family villa gate: Place the gate on the alley frontage so that opening it leads directly into the property yard.\\n\\nIN FRAME (near to far): Near frame: the police car side/open door position occupies the left foreground at P1, with 혜수 held in medium upper-body beside it. Through the open alley corridor, the Alley Approach remains visible toward the middle-right background, where 수리영 is staged farther down the alley. The multi-family villa gate P2 can sit on the property frontage as the mapped reference behind or beside this corridor. If the view carries beyond the right/east edge of the plan, it leaves the mapped filming property into off-plan alley space not detailed on the site plan. Strobing police red-blue accompanies the discovery moment and spills across the alley.\\n\\nBACKGROUND INTENT: Background plate for a chest-height observer view beside a parked police car: the car side and its open door dominate the left/near foreground edge, while a narrow alley opens diagonally away toward the middle-right background. Keep the alley clearly visible between the police car position and the distant background mark for 수리영, with flashing red-blue siren spill moving across the alley. If the villa exterior is included along the alley, draw it as an aged three-storey multi-family villa with a rooftop-room volume on the roof deck, and any exterior full-height stair as a later-added steel retrofit stair, not concrete. Key elements: Parked police car at the foreground side of frame, with side body and open door angled toward camera.; Active police siren lights on the car, providing flashing red-blue spill.; Narrow alley receding diagonally away from the police car toward the middle-right background position.; Clear visible corridor between the police car and the background position for 수리영.; Aged three-storey multi-family villa exterior if seen along the alley, with roof deck roughly 8–10 m above the yard and a small rooftop-room unit as an extra volume.; If visible, the exterior stair is a steel retrofit stair with open treads, thin steel plate stringers, support posts, and pipe railings..\\n\\nTIME & LIGHT: Night; strobing police red-blue accompanies the police-car discovery moment. Do not add weather, atmosphere or colour moods beyond this.\\n\\nWORLD FACTS (creator-confirmed / evidence-bound — always true):\\n- The main building is an aged three-storey multi-family villa;\\n  its roof deck sits roughly 8-10 m above the yard, with the small\\n  rooftop-room unit as an extra volume on the deck.\\n- The exterior stair is a later-added STEEL retrofit stair climbing\\n  the full three storeys: open treads, thin steel plate stringers,\\n  support posts, pipe railings. It is NOT a concrete stair.\\n\\nLOOK REFERENCE: the attached PHOTOGRAPH shows this same property.\\nMatch its look exactly — the building, its materials and aging, the\\nroof-deck contents, colours, and the surrounding town. It is the\\nsingle source of truth for how everything LOOKS.\\n\\nSITE PLAN REFERENCE: the attached flat drawing is the site plan of\\nthis same property. Use it ONLY as the source of truth for WHERE\\nthings are (spatial arrangement, adjacency, routes). NEVER draw the\\nplan itself — none of its flat colours, circles, codes or labels may\\nappear in the output.\\n\\nThe output image must contain ZERO annotations — no circles, no\\ncodes, no letters, no numbers, no text, no signage lettering, no\\narrows, no dashed lines.\"}, {\"type\": \"text\", \"text\": \"Candidate A:\"}, {\"type\": \"text\", \"text\": \"Candidate B:\"}]"}
{"ts": "2026-07-09 02:42:00", "kind": "llm", "step": "s30_pick_S13_Shot5_gpt", "model": "gpt", "dur_s": 15.5, "system_prompt": "You are given ONE image-generation prompt and TWO candidate images,\nlabelled A and B in the order attached, both generated from that\nexact prompt.\nPick the ONE candidate that most faithfully realises the prompt:\nits camera (height, angle, direction, framing), its stated spatial\narrangement and anchored elements, materials and state, time and\nlight, and its exclusions (no people, no text, no map-style\ngraphics). Ignore generic aesthetic appeal.\nAlso give each candidate an integer score 0-10 for that fidelity.\nOutput: winner, and per candidate a score plus a one-line Korean\nverdict citing the decisive prompt points.", "user_prompt": "[{\"type\": \"text\", \"text\": \"THE PROMPT (both candidates were generated from this):\\nCreate ONE photorealistic BACKGROUND PLATE for a live-action film still. No people, no animals, an empty set.\\n\\nCAMERA: Place the low camera in the Yard at P3, immediately by the foot of the exterior steel retrofit stair run Q2, in the gate-to-stair area. The camera is near 수리영’s eye level and about one meter from the foreground subject position, held in the space between 수리영 and the off-screen 혜수 above frame. Looking: From P3/Q2, look slightly upward and south toward P2 and P1, using the alley/stair-foot background as a blurred plate behind the close foreground face. Low camera near 수리영’s eye level, about one meter from the foreground subject position, in a still close composition from the space between the two characters. The lens is aimed slightly upward toward the off-screen presence just above frame, while the background remains blurred and non-dominant.\\n\\nMAP POINT: this plate is taken in the \\\"Yard\\\" area of the property on the attached site plan, anchored to these mapped elements:\\n- yard: Draw the yard immediately inside the gate, between the alley entry and the exterior stair route.\\n- exterior steel retrofit stair run: Attach the exterior steel retrofit stair to the building wall, starting from the yard and rising outside the building toward the rooftop landing.\\n- multi-family villa gate: Place the gate on the alley frontage so that opening it leads directly into the property yard.\\n- alley approach: Show the alley approach at the lower edge of the detail sketch, leading directly toward the filming property gate and able to support bicycle movement.\\n\\nIN FRAME (near to far): Near frame is reserved for 수리영 in close lower center, with her eyeline lifting just above frame toward 혜수. Behind her, keep the P3 yard/stair-foot area soft, allowing the lower portion of Q2 to register only as blurred exterior steel stair base if it appears. Farther back, the alley frontage at P2 and the alley approach P1 form the out-of-focus background texture. Because the view faces outward toward the south edge of the property, beyond the gate side of the frame lies P1, the alley approach shown along the lower edge of the plan.\\n\\nBACKGROUND INTENT: Draw a tight, out-of-focus alley/stair-foot background plate behind the close foreground position, with the alley wall and the base area of the exterior stair reduced to soft dark texture. The exterior stair, if visible, should read as a later-added steel retrofit stair with open treads, thin steel plate stringers, support posts, and pipe railings, not concrete. Keep the frame empty of people, preserving space for a low foreground face position and an eyeline to someone just above frame. Key elements: Alley wall: damp, shadowed, out of focus, used as soft background texture.; Alley/stair-foot area: blurred behind the foreground position.; Steel retrofit exterior stair base if included: open treads, thin steel plate stringers, support posts, pipe railings; not concrete.; Police siren spill: intermittent, faint red-blue color pulse motivated from off-screen..\\n\\nTIME & LIGHT: Night; shadows across the foreground position with intermittent faint red-blue police siren spill. No amber street glow specified after correction. Do not add weather, atmosphere or colour moods beyond this.\\n\\nWORLD FACTS (creator-confirmed / evidence-bound — always true):\\n- The main building is an aged three-storey multi-family villa;\\n  its roof deck sits roughly 8-10 m above the yard, with the small\\n  rooftop-room unit as an extra volume on the deck.\\n- The exterior stair is a later-added STEEL retrofit stair climbing\\n  the full three storeys: open treads, thin steel plate stringers,\\n  support posts, pipe railings. It is NOT a concrete stair.\\n\\nLOOK REFERENCE: the attached PHOTOGRAPH shows this same property.\\nMatch its look exactly — the building, its materials and aging, the\\nroof-deck contents, colours, and the surrounding town. It is the\\nsingle source of truth for how everything LOOKS.\\n\\nSITE PLAN REFERENCE: the attached flat drawing is the site plan of\\nthis same property. Use it ONLY as the source of truth for WHERE\\nthings are (spatial arrangement, adjacency, routes). NEVER draw the\\nplan itself — none of its flat colours, circles, codes or labels may\\nappear in the output.\\n\\nThe output image must contain ZERO annotations — no circles, no\\ncodes, no letters, no numbers, no text, no signage lettering, no\\narrows, no dashed lines.\"}, {\"type\": \"text\", \"text\": \"Candidate A:\"}, {\"type\": \"text\", \"text\": \"Candidate B:\"}]"}
{"ts": "2026-07-09 02:42:17", "kind": "llm", "step": "s30_pick_S13_Shot5_gemini", "model": "gemini-pro", "dur_s": 17.4, "system_prompt": "You are given ONE image-generation prompt and TWO candidate images,\nlabelled A and B in the order attached, both generated from that\nexact prompt.\nPick the ONE candidate that most faithfully realises the prompt:\nits camera (height, angle, direction, framing), its stated spatial\narrangement and anchored elements, materials and state, time and\nlight, and its exclusions (no people, no text, no map-style\ngraphics). Ignore generic aesthetic appeal.\nAlso give each candidate an integer score 0-10 for that fidelity.\nOutput: winner, and per candidate a score plus a one-line Korean\nverdict citing the decisive prompt points.", "user_prompt": "[{\"type\": \"text\", \"text\": \"THE PROMPT (both candidates were generated from this):\\nCreate ONE photorealistic BACKGROUND PLATE for a live-action film still. No people, no animals, an empty set.\\n\\nCAMERA: Place the low camera in the Yard at P3, immediately by the foot of the exterior steel retrofit stair run Q2, in the gate-to-stair area. The camera is near 수리영’s eye level and about one meter from the foreground subject position, held in the space between 수리영 and the off-screen 혜수 above frame. Looking: From P3/Q2, look slightly upward and south toward P2 and P1, using the alley/stair-foot background as a blurred plate behind the close foreground face. Low camera near 수리영’s eye level, about one meter from the foreground subject position, in a still close composition from the space between the two characters. The lens is aimed slightly upward toward the off-screen presence just above frame, while the background remains blurred and non-dominant.\\n\\nMAP POINT: this plate is taken in the \\\"Yard\\\" area of the property on the attached site plan, anchored to these mapped elements:\\n- yard: Draw the yard immediately inside the gate, between the alley entry and the exterior stair route.\\n- exterior steel retrofit stair run: Attach the exterior steel retrofit stair to the building wall, starting from the yard and rising outside the building toward the rooftop landing.\\n- multi-family villa gate: Place the gate on the alley frontage so that opening it leads directly into the property yard.\\n- alley approach: Show the alley approach at the lower edge of the detail sketch, leading directly toward the filming property gate and able to support bicycle movement.\\n\\nIN FRAME (near to far): Near frame is reserved for 수리영 in close lower center, with her eyeline lifting just above frame toward 혜수. Behind her, keep the P3 yard/stair-foot area soft, allowing the lower portion of Q2 to register only as blurred exterior steel stair base if it appears. Farther back, the alley frontage at P2 and the alley approach P1 form the out-of-focus background texture. Because the view faces outward toward the south edge of the property, beyond the gate side of the frame lies P1, the alley approach shown along the lower edge of the plan.\\n\\nBACKGROUND INTENT: Draw a tight, out-of-focus alley/stair-foot background plate behind the close foreground position, with the alley wall and the base area of the exterior stair reduced to soft dark texture. The exterior stair, if visible, should read as a later-added steel retrofit stair with open treads, thin steel plate stringers, support posts, and pipe railings, not concrete. Keep the frame empty of people, preserving space for a low foreground face position and an eyeline to someone just above frame. Key elements: Alley wall: damp, shadowed, out of focus, used as soft background texture.; Alley/stair-foot area: blurred behind the foreground position.; Steel retrofit exterior stair base if included: open treads, thin steel plate stringers, support posts, pipe railings; not concrete.; Police siren spill: intermittent, faint red-blue color pulse motivated from off-screen..\\n\\nTIME & LIGHT: Night; shadows across the foreground position with intermittent faint red-blue police siren spill. No amber street glow specified after correction. Do not add weather, atmosphere or colour moods beyond this.\\n\\nWORLD FACTS (creator-confirmed / evidence-bound — always true):\\n- The main building is an aged three-storey multi-family villa;\\n  its roof deck sits roughly 8-10 m above the yard, with the small\\n  rooftop-room unit as an extra volume on the deck.\\n- The exterior stair is a later-added STEEL retrofit stair climbing\\n  the full three storeys: open treads, thin steel plate stringers,\\n  support posts, pipe railings. It is NOT a concrete stair.\\n\\nLOOK REFERENCE: the attached PHOTOGRAPH shows this same property.\\nMatch its look exactly — the building, its materials and aging, the\\nroof-deck contents, colours, and the surrounding town. It is the\\nsingle source of truth for how everything LOOKS.\\n\\nSITE PLAN REFERENCE: the attached flat drawing is the site plan of\\nthis same property. Use it ONLY as the source of truth for WHERE\\nthings are (spatial arrangement, adjacency, routes). NEVER draw the\\nplan itself — none of its flat colours, circles, codes or labels may\\nappear in the output.\\n\\nThe output image must contain ZERO annotations — no circles, no\\ncodes, no letters, no numbers, no text, no signage lettering, no\\narrows, no dashed lines.\"}, {\"type\": \"text\", \"text\": \"Candidate A:\"}, {\"type\": \"text\", \"text\": \"Candidate B:\"}]"}
{"ts": "2026-07-09 02:42:33", "kind": "llm", "step": "s30_pick_S17_Shot1_gpt", "model": "gpt", "dur_s": 16.5, "system_prompt": "You are given ONE image-generation prompt and TWO candidate images,\nlabelled A and B in the order attached, both generated from that\nexact prompt.\nPick the ONE candidate that most faithfully realises the prompt:\nits camera (height, angle, direction, framing), its stated spatial\narrangement and anchored elements, materials and state, time and\nlight, and its exclusions (no people, no text, no map-style\ngraphics). Ignore generic aesthetic appeal.\nAlso give each candidate an integer score 0-10 for that fidelity.\nOutput: winner, and per candidate a score plus a one-line Korean\nverdict citing the decisive prompt points.", "user_prompt": "[{\"type\": \"text\", \"text\": \"THE PROMPT (both candidates were generated from this):\\nCreate ONE photorealistic BACKGROUND PLATE for a live-action film still. No people, no animals, an empty set.\\n\\nCAMERA: On the Rooftop Deck, set the camera low beside the south low rooftop wall along the landing-to-door roof path area (R1), holding the lower-left to center foreground clear for the cat layer. The camera is about one meter from the intended foreground cat position and aligned to move parallel to that wall before holding. Looking: Look across the Rooftop Deck from the R1-side low wall toward the rooftop-room unit (R3), specifically framing the rooftop-room window set (R4) as the cat’s look target. The view stays within the rooftop property elements and does not look outward past the property edge. Low camera at approximately black-cat shoulder height, about one meter from the intended foreground action position, aligned to track parallel along the rooftop wall and then hold a side-profile composition. Frame the wall as the main horizontal guide through the lower and middle frame, with the lit rooftop-room window positioned in the upper right background.\\n\\nMAP POINT: this plate is taken in the \\\"Rooftop Deck\\\" area of the property on the attached site plan, anchored to these mapped elements:\\n- rooftop-room window set: Mark the small living-room window and the curtained room window on the rooftop-room unit, with at least one window oriented for the low-wall sightline.\\n- rooftop-room unit: Place the rooftop-room unit on the roof surface, connected to the iron entrance door and containing the indicated window openings.\\n- landing-to-door roof path: Draw the roof path from the landing toward the iron door so it passes beside the bench area and the clothesline area.\\n\\nIN FRAME (near to far): Near to far: the low stained concrete rooftop wall runs as the main horizontal guide through the lower and middle frame; the empty foreground/lower-left-to-center band is reserved for the cat; behind it, the rooftop-room unit (R3) occupies the background; the closed rooftop-room window set (R4) is placed in the upper-right background with interior light visible beyond the glass.\\n\\nBACKGROUND INTENT: Draw an empty rooftop background on the roof deck of an aged three-storey multi-family villa, focused along a low stained concrete rooftop wall. In the upper-right background line of sight, place the closed rooftop-room window with visible interior light beyond the glass; the small rooftop-room unit sits as an added volume on the roof deck. Keep the lower-left to center band available for the cat’s foreground position in the final composite, but do not include the cat in the plate. Key elements: Low stained concrete rooftop wall running parallel to camera movement, its top edge guiding the eye toward the next action.; Closed rooftop-room window in the upper-right background, glass showing an interior light beyond it.; Small rooftop-room unit on the roof deck of the aged three-storey villa, with the roof deck roughly 8–10 m above the yard.; Clear empty foreground/lower-left-to-center space reserved for the cat layer; no people or animals in the background plate..\\n\\nTIME & LIGHT: Time of day unspecified; the rooftop-room window is lit from inside. Do not add weather, atmosphere or colour moods beyond this.\\n\\nWORLD FACTS (creator-confirmed / evidence-bound — always true):\\n- The main building is an aged three-storey multi-family villa;\\n  its roof deck sits roughly 8-10 m above the yard, with the small\\n  rooftop-room unit as an extra volume on the deck.\\n- The exterior stair is a later-added STEEL retrofit stair climbing\\n  the full three storeys: open treads, thin steel plate stringers,\\n  support posts, pipe railings. It is NOT a concrete stair.\\n\\nLOOK REFERENCE: the attached PHOTOGRAPH shows this same property.\\nMatch its look exactly — the building, its materials and aging, the\\nroof-deck contents, colours, and the surrounding town. It is the\\nsingle source of truth for how everything LOOKS.\\n\\nSITE PLAN REFERENCE: the attached flat drawing is the site plan of\\nthis same property. Use it ONLY as the source of truth for WHERE\\nthings are (spatial arrangement, adjacency, routes). NEVER draw the\\nplan itself — none of its flat colours, circles, codes or labels may\\nappear in the output.\\n\\nThe output image must contain ZERO annotations — no circles, no\\ncodes, no letters, no numbers, no text, no signage lettering, no\\narrows, no dashed lines.\"}, {\"type\": \"text\", \"text\": \"Candidate A:\"}, {\"type\": \"text\", \"text\": \"Candidate B:\"}]"}
{"ts": "2026-07-09 02:42:47", "kind": "llm", "step": "s30_pick_S17_Shot1_gemini", "model": "gemini-pro", "dur_s": 13.9, "system_prompt": "You are given ONE image-generation prompt and TWO candidate images,\nlabelled A and B in the order attached, both generated from that\nexact prompt.\nPick the ONE candidate that most faithfully realises the prompt:\nits camera (height, angle, direction, framing), its stated spatial\narrangement and anchored elements, materials and state, time and\nlight, and its exclusions (no people, no text, no map-style\ngraphics). Ignore generic aesthetic appeal.\nAlso give each candidate an integer score 0-10 for that fidelity.\nOutput: winner, and per candidate a score plus a one-line Korean\nverdict citing the decisive prompt points.", "user_prompt": "[{\"type\": \"text\", \"text\": \"THE PROMPT (both candidates were generated from this):\\nCreate ONE photorealistic BACKGROUND PLATE for a live-action film still. No people, no animals, an empty set.\\n\\nCAMERA: On the Rooftop Deck, set the camera low beside the south low rooftop wall along the landing-to-door roof path area (R1), holding the lower-left to center foreground clear for the cat layer. The camera is about one meter from the intended foreground cat position and aligned to move parallel to that wall before holding. Looking: Look across the Rooftop Deck from the R1-side low wall toward the rooftop-room unit (R3), specifically framing the rooftop-room window set (R4) as the cat’s look target. The view stays within the rooftop property elements and does not look outward past the property edge. Low camera at approximately black-cat shoulder height, about one meter from the intended foreground action position, aligned to track parallel along the rooftop wall and then hold a side-profile composition. Frame the wall as the main horizontal guide through the lower and middle frame, with the lit rooftop-room window positioned in the upper right background.\\n\\nMAP POINT: this plate is taken in the \\\"Rooftop Deck\\\" area of the property on the attached site plan, anchored to these mapped elements:\\n- rooftop-room window set: Mark the small living-room window and the curtained room window on the rooftop-room unit, with at least one window oriented for the low-wall sightline.\\n- rooftop-room unit: Place the rooftop-room unit on the roof surface, connected to the iron entrance door and containing the indicated window openings.\\n- landing-to-door roof path: Draw the roof path from the landing toward the iron door so it passes beside the bench area and the clothesline area.\\n\\nIN FRAME (near to far): Near to far: the low stained concrete rooftop wall runs as the main horizontal guide through the lower and middle frame; the empty foreground/lower-left-to-center band is reserved for the cat; behind it, the rooftop-room unit (R3) occupies the background; the closed rooftop-room window set (R4) is placed in the upper-right background with interior light visible beyond the glass.\\n\\nBACKGROUND INTENT: Draw an empty rooftop background on the roof deck of an aged three-storey multi-family villa, focused along a low stained concrete rooftop wall. In the upper-right background line of sight, place the closed rooftop-room window with visible interior light beyond the glass; the small rooftop-room unit sits as an added volume on the roof deck. Keep the lower-left to center band available for the cat’s foreground position in the final composite, but do not include the cat in the plate. Key elements: Low stained concrete rooftop wall running parallel to camera movement, its top edge guiding the eye toward the next action.; Closed rooftop-room window in the upper-right background, glass showing an interior light beyond it.; Small rooftop-room unit on the roof deck of the aged three-storey villa, with the roof deck roughly 8–10 m above the yard.; Clear empty foreground/lower-left-to-center space reserved for the cat layer; no people or animals in the background plate..\\n\\nTIME & LIGHT: Time of day unspecified; the rooftop-room window is lit from inside. Do not add weather, atmosphere or colour moods beyond this.\\n\\nWORLD FACTS (creator-confirmed / evidence-bound — always true):\\n- The main building is an aged three-storey multi-family villa;\\n  its roof deck sits roughly 8-10 m above the yard, with the small\\n  rooftop-room unit as an extra volume on the deck.\\n- The exterior stair is a later-added STEEL retrofit stair climbing\\n  the full three storeys: open treads, thin steel plate stringers,\\n  support posts, pipe railings. It is NOT a concrete stair.\\n\\nLOOK REFERENCE: the attached PHOTOGRAPH shows this same property.\\nMatch its look exactly — the building, its materials and aging, the\\nroof-deck contents, colours, and the surrounding town. It is the\\nsingle source of truth for how everything LOOKS.\\n\\nSITE PLAN REFERENCE: the attached flat drawing is the site plan of\\nthis same property. Use it ONLY as the source of truth for WHERE\\nthings are (spatial arrangement, adjacency, routes). NEVER draw the\\nplan itself — none of its flat colours, circles, codes or labels may\\nappear in the output.\\n\\nThe output image must contain ZERO annotations — no circles, no\\ncodes, no letters, no numbers, no text, no signage lettering, no\\narrows, no dashed lines.\"}, {\"type\": \"text\", \"text\": \"Candidate A:\"}, {\"type\": \"text\", \"text\": \"Candidate B:\"}]"}
{"ts": "2026-07-09 02:42:59", "kind": "llm", "step": "s30_pick_S4_Shot1_gpt", "model": "gpt", "dur_s": 11.8, "system_prompt": "You are given ONE image-generation prompt and TWO candidate images,\nlabelled A and B in the order attached, both generated from that\nexact prompt.\nPick the ONE candidate that most faithfully realises the prompt:\nits camera (height, angle, direction, framing), its stated spatial\narrangement and anchored elements, materials and state, time and\nlight, and its exclusions (no people, no text, no map-style\ngraphics). Ignore generic aesthetic appeal.\nAlso give each candidate an integer score 0-10 for that fidelity.\nOutput: winner, and per candidate a score plus a one-line Korean\nverdict citing the decisive prompt points.", "user_prompt": "[{\"type\": \"text\", \"text\": \"THE PROMPT (both candidates were generated from this):\\nCreate ONE photorealistic BACKGROUND PLATE for a live-action film still. No people, no animals, an empty set.\\n\\nCAMERA: High above the old villa in an oblique bird’s-eye position, centered on the rooftop-room unit at R3. The camera is biased toward the lower/south side of the plan so the rooftop-room roof and its south/front wall with R2 and R4 are visible from above. Looking: Oblique overhead looking from the lower/south side of the plan toward the upper/north side, down onto R3 as the middle-center anchor. High overhead camera looking down in a bird’s-eye / oblique overhead view, wide framing, centered on the rooftop room in the middle center of frame. The rooftop room’s roof and front wall are visible from above, with the doorway side angled slightly toward camera, while the surrounding villa roofs and alleys remain readable around it.\\n\\nMAP POINT: this plate is taken in the \\\"Rooftop Deck\\\" area of the property on the attached site plan, anchored to these mapped elements:\\n- rooftop-room unit: Place the rooftop-room unit on the roof surface, connected to the iron entrance door and containing the indicated window openings.\\n- iron entrance door: Set the iron door on the rooftop-room unit facing the landing path; include the door-gap flyer detail and allow it to be shown partly open.\\n- rooftop-room window set: Mark the small living-room window and the curtained room window on the rooftop-room unit, with at least one window oriented for the low-wall sightline.\\n- landing-to-door roof path: Draw the roof path from the landing toward the iron door so it passes beside the bench area and the clothesline area.\\n- upper stair landing: Place the landing at the top of the exterior stair where the iron entrance door is immediately visible.\\n- exterior steel retrofit stair run: Attach the exterior steel retrofit stair to the building wall, starting from the yard and rising outside the building toward the rooftop landing.\\n- rooftop-room building footprint: Place the aged multi-family villa footprint along the yard, carrying the rooftop-room level above.\\n- yard: Draw the yard immediately inside the gate, between the alley entry and the exterior stair route.\\n- multi-family villa gate: Place the gate on the alley frontage so that opening it leads directly into the property yard.\\n- alley approach: Show the alley approach at the lower edge of the detail sketch, leading directly toward the filming property gate and able to support bicycle movement.\\n- secluded bicycle corner: Set a tucked-away corner within the yard where a bicycle can be left roughly, separated from the main gate-to-stair path.\\n- water tank: Place the water tank on the roof surface near the rooftop deck contents, clear of the landing-to-door path.\\n- clothesline: Run the clothesline across the roof surface close enough to the approach path that hanging or dried leaves can brush a passerby.\\n- wooden drying bench with dried leaves: Place the wooden drying bench on the rooftop near the clothesline and along the path toward the iron door, carrying the dried leaves.\\n\\nIN FRAME (near to far): Near to far along the view: the lower/south alley approach P1 and gate P2 sit at the bottom of the property; inside them the yard P3, secluded bicycle corner P4, and exterior steel retrofit stair Q2 rise along the building footprint Q1 to the upper landing Q3. On the rooftop deck, the landing-to-door roof path R1 leads toward the iron entrance door R2 on the rooftop-room unit R3, with the rooftop-room window set R4 on the same front side. The water tank S1, clothesline S2, and wooden drying bench with dried leaves S3 remain readable around the deck. Past the property edges, the plan shows neighboring villa/roof masses around the north, east, and west sides, and the alley approach continues along the south side.\\n\\nBACKGROUND INTENT: Draw a wide omniscient overhead background plate of an aged three-storey multi-family villa in an Incheon outskirts neighborhood, with the small rooftop-room unit centered on the roof deck as the visual anchor. The roof deck sits roughly 8–10 m above the yard, and the rooftop room appears as an extra volume on that deck, aged, patched, and weather-stained. Around it, show neighboring old villa rooftops, narrow alleys, and varied aged villa materials forming a cramped readable neighborhood grid, softened at the outskirts by thin atmospheric haze. Key elements: Old rooftop room exterior in the middle center, aged, patched, weather-stained, with roof and front wall visible from above.; Main aged three-storey multi-family villa below it, with the roof deck roughly 8–10 m above the yard.; Later-added steel retrofit exterior stair climbing the full three storeys: open treads, thin steel plate stringers, support posts, and pipe railings; not concrete.; Neighboring old villa rooftops around the central roof deck, flat roof planes facing upward, worn and lived-in.; Narrow alleys threading between the villa blocks.; Varied aged villa materials rather than uniform concrete blocks.; Thin atmospheric haze softening the outskirts of the frame..\\n\\nTIME & LIGHT: Daylight is present over the old rooftop villa and surrounding neighborhood. Do not add weather, atmosphere or colour moods beyond this.\\n\\nWORLD FACTS (creator-confirmed / evidence-bound — always true):\\n- The main building is an aged three-storey multi-family villa;\\n  its roof deck sits roughly 8-10 m above the yard, with the small\\n  rooftop-room unit as an extra volume on the deck.\\n- The exterior stair is a later-added STEEL retrofit stair climbing\\n  the full three storeys: open treads, thin steel plate stringers,\\n  support posts, pipe railings. It is NOT a concrete stair.\\n\\nLOOK REFERENCE: the attached PHOTOGRAPH shows this same property.\\nMatch its look exactly — the building, its materials and aging, the\\nroof-deck contents, colours, and the surrounding town. It is the\\nsingle source of truth for how everything LOOKS.\\n\\nSITE PLAN REFERENCE: the attached flat drawing is the site plan of\\nthis same property. Use it ONLY as the source of truth for WHERE\\nthings are (spatial arrangement, adjacency, routes). NEVER draw the\\nplan itself — none of its flat colours, circles, codes or labels may\\nappear in the output.\\n\\nThe output image must contain ZERO annotations — no circles, no\\ncodes, no letters, no numbers, no text, no signage lettering, no\\narrows, no dashed lines.\"}, {\"type\": \"text\", \"text\": \"Candidate A:\"}, {\"type\": \"text\", \"text\": \"Candidate B:\"}]"}
{"ts": "2026-07-09 02:43:11", "kind": "llm", "step": "s30_pick_S4_Shot1_gemini", "model": "gemini-pro", "dur_s": 12.3, "system_prompt": "You are given ONE image-generation prompt and TWO candidate images,\nlabelled A and B in the order attached, both generated from that\nexact prompt.\nPick the ONE candidate that most faithfully realises the prompt:\nits camera (height, angle, direction, framing), its stated spatial\narrangement and anchored elements, materials and state, time and\nlight, and its exclusions (no people, no text, no map-style\ngraphics). Ignore generic aesthetic appeal.\nAlso give each candidate an integer score 0-10 for that fidelity.\nOutput: winner, and per candidate a score plus a one-line Korean\nverdict citing the decisive prompt points.", "user_prompt": "[{\"type\": \"text\", \"text\": \"THE PROMPT (both candidates were generated from this):\\nCreate ONE photorealistic BACKGROUND PLATE for a live-action film still. No people, no animals, an empty set.\\n\\nCAMERA: High above the old villa in an oblique bird’s-eye position, centered on the rooftop-room unit at R3. The camera is biased toward the lower/south side of the plan so the rooftop-room roof and its south/front wall with R2 and R4 are visible from above. Looking: Oblique overhead looking from the lower/south side of the plan toward the upper/north side, down onto R3 as the middle-center anchor. High overhead camera looking down in a bird’s-eye / oblique overhead view, wide framing, centered on the rooftop room in the middle center of frame. The rooftop room’s roof and front wall are visible from above, with the doorway side angled slightly toward camera, while the surrounding villa roofs and alleys remain readable around it.\\n\\nMAP POINT: this plate is taken in the \\\"Rooftop Deck\\\" area of the property on the attached site plan, anchored to these mapped elements:\\n- rooftop-room unit: Place the rooftop-room unit on the roof surface, connected to the iron entrance door and containing the indicated window openings.\\n- iron entrance door: Set the iron door on the rooftop-room unit facing the landing path; include the door-gap flyer detail and allow it to be shown partly open.\\n- rooftop-room window set: Mark the small living-room window and the curtained room window on the rooftop-room unit, with at least one window oriented for the low-wall sightline.\\n- landing-to-door roof path: Draw the roof path from the landing toward the iron door so it passes beside the bench area and the clothesline area.\\n- upper stair landing: Place the landing at the top of the exterior stair where the iron entrance door is immediately visible.\\n- exterior steel retrofit stair run: Attach the exterior steel retrofit stair to the building wall, starting from the yard and rising outside the building toward the rooftop landing.\\n- rooftop-room building footprint: Place the aged multi-family villa footprint along the yard, carrying the rooftop-room level above.\\n- yard: Draw the yard immediately inside the gate, between the alley entry and the exterior stair route.\\n- multi-family villa gate: Place the gate on the alley frontage so that opening it leads directly into the property yard.\\n- alley approach: Show the alley approach at the lower edge of the detail sketch, leading directly toward the filming property gate and able to support bicycle movement.\\n- secluded bicycle corner: Set a tucked-away corner within the yard where a bicycle can be left roughly, separated from the main gate-to-stair path.\\n- water tank: Place the water tank on the roof surface near the rooftop deck contents, clear of the landing-to-door path.\\n- clothesline: Run the clothesline across the roof surface close enough to the approach path that hanging or dried leaves can brush a passerby.\\n- wooden drying bench with dried leaves: Place the wooden drying bench on the rooftop near the clothesline and along the path toward the iron door, carrying the dried leaves.\\n\\nIN FRAME (near to far): Near to far along the view: the lower/south alley approach P1 and gate P2 sit at the bottom of the property; inside them the yard P3, secluded bicycle corner P4, and exterior steel retrofit stair Q2 rise along the building footprint Q1 to the upper landing Q3. On the rooftop deck, the landing-to-door roof path R1 leads toward the iron entrance door R2 on the rooftop-room unit R3, with the rooftop-room window set R4 on the same front side. The water tank S1, clothesline S2, and wooden drying bench with dried leaves S3 remain readable around the deck. Past the property edges, the plan shows neighboring villa/roof masses around the north, east, and west sides, and the alley approach continues along the south side.\\n\\nBACKGROUND INTENT: Draw a wide omniscient overhead background plate of an aged three-storey multi-family villa in an Incheon outskirts neighborhood, with the small rooftop-room unit centered on the roof deck as the visual anchor. The roof deck sits roughly 8–10 m above the yard, and the rooftop room appears as an extra volume on that deck, aged, patched, and weather-stained. Around it, show neighboring old villa rooftops, narrow alleys, and varied aged villa materials forming a cramped readable neighborhood grid, softened at the outskirts by thin atmospheric haze. Key elements: Old rooftop room exterior in the middle center, aged, patched, weather-stained, with roof and front wall visible from above.; Main aged three-storey multi-family villa below it, with the roof deck roughly 8–10 m above the yard.; Later-added steel retrofit exterior stair climbing the full three storeys: open treads, thin steel plate stringers, support posts, and pipe railings; not concrete.; Neighboring old villa rooftops around the central roof deck, flat roof planes facing upward, worn and lived-in.; Narrow alleys threading between the villa blocks.; Varied aged villa materials rather than uniform concrete blocks.; Thin atmospheric haze softening the outskirts of the frame..\\n\\nTIME & LIGHT: Daylight is present over the old rooftop villa and surrounding neighborhood. Do not add weather, atmosphere or colour moods beyond this.\\n\\nWORLD FACTS (creator-confirmed / evidence-bound — always true):\\n- The main building is an aged three-storey multi-family villa;\\n  its roof deck sits roughly 8-10 m above the yard, with the small\\n  rooftop-room unit as an extra volume on the deck.\\n- The exterior stair is a later-added STEEL retrofit stair climbing\\n  the full three storeys: open treads, thin steel plate stringers,\\n  support posts, pipe railings. It is NOT a concrete stair.\\n\\nLOOK REFERENCE: the attached PHOTOGRAPH shows this same property.\\nMatch its look exactly — the building, its materials and aging, the\\nroof-deck contents, colours, and the surrounding town. It is the\\nsingle source of truth for how everything LOOKS.\\n\\nSITE PLAN REFERENCE: the attached flat drawing is the site plan of\\nthis same property. Use it ONLY as the source of truth for WHERE\\nthings are (spatial arrangement, adjacency, routes). NEVER draw the\\nplan itself — none of its flat colours, circles, codes or labels may\\nappear in the output.\\n\\nThe output image must contain ZERO annotations — no circles, no\\ncodes, no letters, no numbers, no text, no signage lettering, no\\narrows, no dashed lines.\"}, {\"type\": \"text\", \"text\": \"Candidate A:\"}, {\"type\": \"text\", \"text\": \"Candidate B:\"}]"}
{"ts": "2026-07-09 02:43:45", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s30_still_S10_Shot5", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/shot_apply/bg_S10_Shot5_nb2.png"], "ref_labels": ["SETTING PLATE — the exact background of this still; keep its camera, layout, lighting and every visible element exactly."], "attempt": 1, "dur_s": 22.0, "bytes": 2625113, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/shot_apply/still_S10_Shot5.png", "prompt": "Create the final live-action film still by staging the moment below inside the attached SETTING PLATE. The plate is the camera and the set — do not change its viewpoint, layout, lighting or any visible element; only add what the moment requires.\n\nMOMENT (authoritative, Korean): 철문이 미세하게 열린 틈 사이로 어두운 내부가 보이는 구도.\n\nNo people appear unless the moment itself says so.\n\nFRAMING: insert shot; From R1 straight into the thin opening of R2, looking into the R3 rooftop-room unit interior through the central door crack.\n\nPhotorealistic cinematic still, one single moment.\n\nThe output image must contain ZERO annotations — no circles, no\ncodes, no letters, no numbers, no text, no signage lettering, no\narrows, no dashed lines."}
{"ts": "2026-07-09 02:44:04", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s30_still_S11_Shot3", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/shot_apply/bg_S11_Shot3_i2.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/b0ad5c18-5140-4022-a2b0-805de0e5a385/images/0d30302a-51c8-4ac9-98e2-6cd9180512bf/reference/0b01920a-4b59-4e19-ba35-e6e033cbd6b4.png"], "ref_labels": ["SETTING PLATE — the exact background of this still; keep its camera, layout, lighting and every visible element exactly.", "CHARACTER REFERENCE — 수리영: the exact person to place in the moment."], "attempt": 1, "dur_s": 18.2, "bytes": 2343682, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/shot_apply/still_S11_Shot3.png", "prompt": "Create the final live-action film still by staging the moment below inside the attached SETTING PLATE. The plate is the camera and the set — do not change its viewpoint, layout, lighting or any visible element; only add what the moment requires.\n\nMOMENT (authoritative, Korean): 계단 중간에 서서 심하게 코를 찡그린 수리영의 얼굴 클로즈업.\n\nCHARACTERS: only the listed reference people appear — 수리영. Match each reference person's identity exactly (face, hair, build); dress and pose them as the moment describes.\n\nFRAMING: close shot; Static camera looking along the actor’s halted upward climb line on Q2, angled toward the upper landing direction at Q3 while keeping the rooftop landing itself out of frame.\n\nPhotorealistic cinematic still, one single moment.\n\nThe output image must contain ZERO annotations — no circles, no\ncodes, no letters, no numbers, no text, no signage lettering, no\narrows, no dashed lines."}
{"ts": "2026-07-09 02:44:23", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s30_still_S11_Shot4", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/shot_apply/bg_S11_Shot4_i2.png"], "ref_labels": ["SETTING PLATE — the exact background of this still; keep its camera, layout, lighting and every visible element exactly."], "attempt": 1, "dur_s": 19.0, "bytes": 2482548, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/shot_apply/still_S11_Shot4.png", "prompt": "Create the final live-action film still by staging the moment below inside the attached SETTING PLATE. The plate is the camera and the set — do not change its viewpoint, layout, lighting or any visible element; only add what the moment requires.\n\nMOMENT (authoritative, Korean): 옥상 위, 어둠 속에 반쯤 열려 멈춰 있는 옥탑방 현관 철문의 정적 구도.\n\nNo people appear unless the moment itself says so.\n\nFRAMING: wide shot; From Q3/R1, look toward R2 on the rooftop-room unit, facing the iron door straight on rather than looking outward past the property edge.\n\nPhotorealistic cinematic still, one single moment.\n\nThe output image must contain ZERO annotations — no circles, no\ncodes, no letters, no numbers, no text, no signage lettering, no\narrows, no dashed lines."}
{"ts": "2026-07-09 02:44:48", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s30_still_S13_Shot3", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/shot_apply/bg_S13_Shot3_i2.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/b0ad5c18-5140-4022-a2b0-805de0e5a385/images/0d30302a-51c8-4ac9-98e2-6cd9180512bf/reference/78811b6c-4b5f-4358-aa50-cff9ffa84508.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/b0ad5c18-5140-4022-a2b0-805de0e5a385/images/0d30302a-51c8-4ac9-98e2-6cd9180512bf/reference/0b01920a-4b59-4e19-ba35-e6e033cbd6b4.png"], "ref_labels": ["SETTING PLATE — the exact background of this still; keep its camera, layout, lighting and every visible element exactly.", "CHARACTER REFERENCE — 혜수: the exact person to place in the moment.", "CHARACTER REFERENCE — 수리영: the exact person to place in the moment."], "attempt": 1, "dur_s": 25.3, "bytes": 2886735, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/shot_apply/still_S13_Shot3.png", "prompt": "Create the final live-action film still by staging the moment below inside the attached SETTING PLATE. The plate is the camera and the set — do not change its viewpoint, layout, lighting or any visible element; only add what the moment requires.\n\nMOMENT (authoritative, Korean): 차에서 내린 혜수가 초점 없는 눈으로 멍하게 서 있는 수리영을 향해 시선을 고정한 찰나의 상체.\n\nCHARACTERS: only the listed reference people appear — 혜수, 수리영. Match each reference person's identity exactly (face, hair, build); dress and pose them as the moment describes.\n\nFRAMING: medium shot; From P1, look diagonally along the Alley Approach, keeping P2 on the property-frontage side while the alley recedes toward the middle-right background.\n\nPhotorealistic cinematic still, one single moment.\n\nThe output image must contain ZERO annotations — no circles, no\ncodes, no letters, no numbers, no text, no signage lettering, no\narrows, no dashed lines."}
{"ts": "2026-07-09 02:45:09", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s30_still_S13_Shot5", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/shot_apply/bg_S13_Shot5_nb2.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/b0ad5c18-5140-4022-a2b0-805de0e5a385/images/0d30302a-51c8-4ac9-98e2-6cd9180512bf/reference/0b01920a-4b59-4e19-ba35-e6e033cbd6b4.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/b0ad5c18-5140-4022-a2b0-805de0e5a385/images/0d30302a-51c8-4ac9-98e2-6cd9180512bf/reference/78811b6c-4b5f-4358-aa50-cff9ffa84508.png"], "ref_labels": ["SETTING PLATE — the exact background of this still; keep its camera, layout, lighting and every visible element exactly.", "CHARACTER REFERENCE — 수리영: the exact person to place in the moment.", "CHARACTER REFERENCE — 혜수: the exact person to place in the moment."], "attempt": 1, "dur_s": 20.6, "bytes": 1969733, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/shot_apply/still_S13_Shot5.png", "prompt": "Create the final live-action film still by staging the moment below inside the attached SETTING PLATE. The plate is the camera and the set — do not change its viewpoint, layout, lighting or any visible element; only add what the moment requires.\n\nMOMENT (authoritative, Korean): 수리영이 고개를 들어 혜수의 얼굴을 올려다보는 정적 구도.\n\nCHARACTERS: only the listed reference people appear — 수리영, 혜수. Match each reference person's identity exactly (face, hair, build); dress and pose them as the moment describes.\n\nFRAMING: close shot; From P3/Q2, look slightly upward and south toward P2 and P1, using the alley/stair-foot background as a blurred plate behind the close foreground face.\n\nPhotorealistic cinematic still, one single moment.\n\nThe output image must contain ZERO annotations — no circles, no\ncodes, no letters, no numbers, no text, no signage lettering, no\narrows, no dashed lines."}
{"ts": "2026-07-09 02:45:25", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s30_still_S17_Shot1", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/shot_apply/bg_S17_Shot1_i2.png"], "ref_labels": ["SETTING PLATE — the exact background of this still; keep its camera, layout, lighting and every visible element exactly."], "attempt": 1, "dur_s": 16.8, "bytes": 2691415, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/shot_apply/still_S17_Shot1.png", "prompt": "Create the final live-action film still by staging the moment below inside the attached SETTING PLATE. The plate is the camera and the set — do not change its viewpoint, layout, lighting or any visible element; only add what the moment requires.\n\nMOMENT (authoritative, Korean): 짙고 푸른 안개가 깔린 새벽녘, 희미한 노란 불빛이 켜진 옥탑방 창문을 향해 검은 고양이 한 마리가 고개를 돌린 찰나의 측면.\n\nNo people appear unless the moment itself says so.\n\nFRAMING: medium shot; Look across the Rooftop Deck from the R1-side low wall toward the rooftop-room unit (R3), specifically framing the rooftop-room window set (R4) as the cat’s look target. The view stays within the rooftop property elements and does not look outward past the property edge.\n\nPhotorealistic cinematic still, one single moment.\n\nThe output image must contain ZERO annotations — no circles, no\ncodes, no letters, no numbers, no text, no signage lettering, no\narrows, no dashed lines."}
{"ts": "2026-07-09 02:45:46", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s30_still_S4_Shot1", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/shot_apply/bg_S4_Shot1_i2.png"], "ref_labels": ["SETTING PLATE — the exact background of this still; keep its camera, layout, lighting and every visible element exactly."], "attempt": 1, "dur_s": 20.3, "bytes": 3448757, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/shot_apply/still_S4_Shot1.png", "prompt": "Create the final live-action film still by staging the moment below inside the attached SETTING PLATE. The plate is the camera and the set — do not change its viewpoint, layout, lighting or any visible element; only add what the moment requires.\n\nMOMENT (authoritative, Korean): 인천 변두리의 낡고 오래된 빌라 옥탑방 외부 전경이 한눈에 내려다보이는 부감 구도.\n\nNo people appear unless the moment itself says so.\n\nFRAMING: wide shot; Oblique overhead looking from the lower/south side of the plan toward the upper/north side, down onto R3 as the middle-center anchor.\n\nPhotorealistic cinematic still, one single moment.\n\nThe output image must contain ZERO annotations — no circles, no\ncodes, no letters, no numbers, no text, no signage lettering, no\narrows, no dashed lines."}
{"ts": "2026-07-09 03:44:05", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s31_mq_sketch_S10_Shot5_nb2", "refs": [], "ref_labels": [], "attempt": 1, "dur_s": 12.3, "bytes": 2805482, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/mannequin_first/mq_sketch_S10_Shot5_nb2.png", "prompt": "Draw ONE storyboard frame for a live-action film shot: a monochrome\npencil production sketch on white paper — rough construction lines,\nloose grey shading, no colour.\nEvery person in the frame appears as a featureless wooden artist's\nmannequin (jointed figure, no face, no hair, no clothing detail).\nIf the shot text implies no people, draw none.\n\nYOU decide the camera: choose the angle, distance, height, lens and\ncomposition that best realise the shot text below. No camera or\ncomposition instructions are given on purpose — stage it yourself.\n\nSHOT TEXT (authoritative, Korean):\nscene_heading: S#10. 옥탑방 / N\nshot: 철문이 미세하게 열린 틈 사이로 어두운 내부가 보이는 구도.\n\nThe output image must contain ZERO annotations — no circles, no\ncodes, no letters, no numbers, no text, no signage lettering, no\narrows, no dashed lines."}
{"ts": "2026-07-09 03:44:18", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s31_mq_photo_S10_Shot5_nb2", "refs": [], "ref_labels": [], "attempt": 1, "dur_s": 13.8, "bytes": 3185294, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/mannequin_first/mq_photo_S10_Shot5_nb2.png", "prompt": "Create ONE PHOTOREALISTIC staging photograph of a live-action film\nshot on a real location set: the environment is fully real and\nphotographic, but every person in the frame is a featureless grey\ndisplay mannequin (smooth blank head, no face, no hair).\nIf the shot text implies no people, include none.\n\nYOU decide the camera: choose the angle, distance, height, lens and\ncomposition that best realise the shot text below. No camera or\ncomposition instructions are given on purpose — stage it yourself.\n\nSHOT TEXT (authoritative, Korean):\nscene_heading: S#10. 옥탑방 / N\nshot: 철문이 미세하게 열린 틈 사이로 어두운 내부가 보이는 구도.\n\nThe output image must contain ZERO annotations — no circles, no\ncodes, no letters, no numbers, no text, no signage lettering, no\narrows, no dashed lines."}
{"ts": "2026-07-09 03:44:31", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s31_mq_sketch_S11_Shot3_nb2", "refs": [], "ref_labels": [], "attempt": 1, "dur_s": 12.1, "bytes": 2889404, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/mannequin_first/mq_sketch_S11_Shot3_nb2.png", "prompt": "Draw ONE storyboard frame for a live-action film shot: a monochrome\npencil production sketch on white paper — rough construction lines,\nloose grey shading, no colour.\nEvery person in the frame appears as a featureless wooden artist's\nmannequin (jointed figure, no face, no hair, no clothing detail).\nIf the shot text implies no people, draw none.\n\nYOU decide the camera: choose the angle, distance, height, lens and\ncomposition that best realise the shot text below. No camera or\ncomposition instructions are given on purpose — stage it yourself.\n\nSHOT TEXT (authoritative, Korean):\nscene_heading: S#11. 옥탑 방 밖 / N\nshot: 계단 중간에 서서 심하게 코를 찡그린 수리영의 얼굴 클로즈업.\npeople in shot: 수리영\n\nThe output image must contain ZERO annotations — no circles, no\ncodes, no letters, no numbers, no text, no signage lettering, no\narrows, no dashed lines."}
{"ts": "2026-07-09 03:44:46", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s31_mq_photo_S11_Shot3_nb2", "refs": [], "ref_labels": [], "attempt": 1, "dur_s": 15.3, "bytes": 3316605, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/mannequin_first/mq_photo_S11_Shot3_nb2.png", "prompt": "Create ONE PHOTOREALISTIC staging photograph of a live-action film\nshot on a real location set: the environment is fully real and\nphotographic, but every person in the frame is a featureless grey\ndisplay mannequin (smooth blank head, no face, no hair).\nIf the shot text implies no people, include none.\n\nYOU decide the camera: choose the angle, distance, height, lens and\ncomposition that best realise the shot text below. No camera or\ncomposition instructions are given on purpose — stage it yourself.\n\nSHOT TEXT (authoritative, Korean):\nscene_heading: S#11. 옥탑 방 밖 / N\nshot: 계단 중간에 서서 심하게 코를 찡그린 수리영의 얼굴 클로즈업.\npeople in shot: 수리영\n\nThe output image must contain ZERO annotations — no circles, no\ncodes, no letters, no numbers, no text, no signage lettering, no\narrows, no dashed lines."}
{"ts": "2026-07-09 03:44:58", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s31_mq_sketch_S11_Shot4_nb2", "refs": [], "ref_labels": [], "attempt": 1, "dur_s": 12.4, "bytes": 2758259, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/mannequin_first/mq_sketch_S11_Shot4_nb2.png", "prompt": "Draw ONE storyboard frame for a live-action film shot: a monochrome\npencil production sketch on white paper — rough construction lines,\nloose grey shading, no colour.\nEvery person in the frame appears as a featureless wooden artist's\nmannequin (jointed figure, no face, no hair, no clothing detail).\nIf the shot text implies no people, draw none.\n\nYOU decide the camera: choose the angle, distance, height, lens and\ncomposition that best realise the shot text below. No camera or\ncomposition instructions are given on purpose — stage it yourself.\n\nSHOT TEXT (authoritative, Korean):\nscene_heading: S#11. 옥탑 방 밖 / N\nshot: 옥상 위, 어둠 속에 반쯤 열려 멈춰 있는 옥탑방 현관 철문의 정적 구도.\n\nThe output image must contain ZERO annotations — no circles, no\ncodes, no letters, no numbers, no text, no signage lettering, no\narrows, no dashed lines."}
{"ts": "2026-07-09 03:45:11", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s31_mq_photo_S11_Shot4_nb2", "refs": [], "ref_labels": [], "attempt": 1, "dur_s": 13.0, "bytes": 3638468, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/mannequin_first/mq_photo_S11_Shot4_nb2.png", "prompt": "Create ONE PHOTOREALISTIC staging photograph of a live-action film\nshot on a real location set: the environment is fully real and\nphotographic, but every person in the frame is a featureless grey\ndisplay mannequin (smooth blank head, no face, no hair).\nIf the shot text implies no people, include none.\n\nYOU decide the camera: choose the angle, distance, height, lens and\ncomposition that best realise the shot text below. No camera or\ncomposition instructions are given on purpose — stage it yourself.\n\nSHOT TEXT (authoritative, Korean):\nscene_heading: S#11. 옥탑 방 밖 / N\nshot: 옥상 위, 어둠 속에 반쯤 열려 멈춰 있는 옥탑방 현관 철문의 정적 구도.\n\nThe output image must contain ZERO annotations — no circles, no\ncodes, no letters, no numbers, no text, no signage lettering, no\narrows, no dashed lines."}
{"ts": "2026-07-09 03:45:25", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s31_mq_sketch_S13_Shot3_nb2", "refs": [], "ref_labels": [], "attempt": 1, "dur_s": 13.3, "bytes": 3055176, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/mannequin_first/mq_sketch_S13_Shot3_nb2.png", "prompt": "Draw ONE storyboard frame for a live-action film shot: a monochrome\npencil production sketch on white paper — rough construction lines,\nloose grey shading, no colour.\nEvery person in the frame appears as a featureless wooden artist's\nmannequin (jointed figure, no face, no hair, no clothing detail).\nIf the shot text implies no people, draw none.\n\nYOU decide the camera: choose the angle, distance, height, lens and\ncomposition that best realise the shot text below. No camera or\ncomposition instructions are given on purpose — stage it yourself.\n\nSHOT TEXT (authoritative, Korean):\nscene_heading: S#13. 옥탑방 외곽 / N\nshot: 차에서 내린 혜수가 초점 없는 눈으로 멍하게 서 있는 수리영을 향해 시선을 고정한 찰나의 상체.\npeople in shot: 혜수, 수리영\n\nThe output image must contain ZERO annotations — no circles, no\ncodes, no letters, no numbers, no text, no signage lettering, no\narrows, no dashed lines."}
{"ts": "2026-07-09 03:45:39", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s31_mq_photo_S13_Shot3_nb2", "refs": [], "ref_labels": [], "attempt": 1, "dur_s": 14.1, "bytes": 3777646, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/mannequin_first/mq_photo_S13_Shot3_nb2.png", "prompt": "Create ONE PHOTOREALISTIC staging photograph of a live-action film\nshot on a real location set: the environment is fully real and\nphotographic, but every person in the frame is a featureless grey\ndisplay mannequin (smooth blank head, no face, no hair).\nIf the shot text implies no people, include none.\n\nYOU decide the camera: choose the angle, distance, height, lens and\ncomposition that best realise the shot text below. No camera or\ncomposition instructions are given on purpose — stage it yourself.\n\nSHOT TEXT (authoritative, Korean):\nscene_heading: S#13. 옥탑방 외곽 / N\nshot: 차에서 내린 혜수가 초점 없는 눈으로 멍하게 서 있는 수리영을 향해 시선을 고정한 찰나의 상체.\npeople in shot: 혜수, 수리영\n\nThe output image must contain ZERO annotations — no circles, no\ncodes, no letters, no numbers, no text, no signage lettering, no\narrows, no dashed lines."}
{"ts": "2026-07-09 03:45:48", "kind": "img", "engine": "gpt-image-2", "mode": "generate", "tag": "s31_mq_sketch_S13_Shot5_i2", "refs": [], "size": "1536x1024", "attempt": 1, "dur_s": 116.1, "bytes": 3575452, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/mannequin_first/mq_sketch_S13_Shot5_i2.png", "prompt": "Draw ONE storyboard frame for a live-action film shot: a monochrome\npencil production sketch on white paper — rough construction lines,\nloose grey shading, no colour.\nEvery person in the frame appears as a featureless wooden artist's\nmannequin (jointed figure, no face, no hair, no clothing detail).\nIf the shot text implies no people, draw none.\n\nYOU decide the camera: choose the angle, distance, height, lens and\ncomposition that best realise the shot text below. No camera or\ncomposition instructions are given on purpose — stage it yourself.\n\nSHOT TEXT (authoritative, Korean):\nscene_heading: S#13. 옥탑방 외곽 / N\nshot: 수리영이 고개를 들어 혜수의 얼굴을 올려다보는 정적 구도.\npeople in shot: 수리영, 혜수\n\nThe output image must contain ZERO annotations — no circles, no\ncodes, no letters, no numbers, no text, no signage lettering, no\narrows, no dashed lines."}
{"ts": "2026-07-09 03:45:52", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s31_mq_sketch_S13_Shot5_nb2", "refs": [], "ref_labels": [], "attempt": 1, "dur_s": 13.4, "bytes": 2654282, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/mannequin_first/mq_sketch_S13_Shot5_nb2.png", "prompt": "Draw ONE storyboard frame for a live-action film shot: a monochrome\npencil production sketch on white paper — rough construction lines,\nloose grey shading, no colour.\nEvery person in the frame appears as a featureless wooden artist's\nmannequin (jointed figure, no face, no hair, no clothing detail).\nIf the shot text implies no people, draw none.\n\nYOU decide the camera: choose the angle, distance, height, lens and\ncomposition that best realise the shot text below. No camera or\ncomposition instructions are given on purpose — stage it yourself.\n\nSHOT TEXT (authoritative, Korean):\nscene_heading: S#13. 옥탑방 외곽 / N\nshot: 수리영이 고개를 들어 혜수의 얼굴을 올려다보는 정적 구도.\npeople in shot: 수리영, 혜수\n\nThe output image must contain ZERO annotations — no circles, no\ncodes, no letters, no numbers, no text, no signage lettering, no\narrows, no dashed lines."}
{"ts": "2026-07-09 03:45:54", "kind": "img", "engine": "gpt-image-2", "mode": "generate", "tag": "s31_mq_sketch_S10_Shot5_i2", "refs": [], "size": "1536x1024", "attempt": 1, "dur_s": 123.8, "bytes": 3049352, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/mannequin_first/mq_sketch_S10_Shot5_i2.png", "prompt": "Draw ONE storyboard frame for a live-action film shot: a monochrome\npencil production sketch on white paper — rough construction lines,\nloose grey shading, no colour.\nEvery person in the frame appears as a featureless wooden artist's\nmannequin (jointed figure, no face, no hair, no clothing detail).\nIf the shot text implies no people, draw none.\n\nYOU decide the camera: choose the angle, distance, height, lens and\ncomposition that best realise the shot text below. No camera or\ncomposition instructions are given on purpose — stage it yourself.\n\nSHOT TEXT (authoritative, Korean):\nscene_heading: S#10. 옥탑방 / N\nshot: 철문이 미세하게 열린 틈 사이로 어두운 내부가 보이는 구도.\n\nThe output image must contain ZERO annotations — no circles, no\ncodes, no letters, no numbers, no text, no signage lettering, no\narrows, no dashed lines."}
{"ts": "2026-07-09 03:46:06", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s31_mq_photo_S13_Shot5_nb2", "refs": [], "ref_labels": [], "attempt": 1, "dur_s": 14.2, "bytes": 3317221, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/mannequin_first/mq_photo_S13_Shot5_nb2.png", "prompt": "Create ONE PHOTOREALISTIC staging photograph of a live-action film\nshot on a real location set: the environment is fully real and\nphotographic, but every person in the frame is a featureless grey\ndisplay mannequin (smooth blank head, no face, no hair).\nIf the shot text implies no people, include none.\n\nYOU decide the camera: choose the angle, distance, height, lens and\ncomposition that best realise the shot text below. No camera or\ncomposition instructions are given on purpose — stage it yourself.\n\nSHOT TEXT (authoritative, Korean):\nscene_heading: S#13. 옥탑방 외곽 / N\nshot: 수리영이 고개를 들어 혜수의 얼굴을 올려다보는 정적 구도.\npeople in shot: 수리영, 혜수\n\nThe output image must contain ZERO annotations — no circles, no\ncodes, no letters, no numbers, no text, no signage lettering, no\narrows, no dashed lines."}
{"ts": "2026-07-09 03:46:19", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s31_mq_sketch_S17_Shot1_nb2", "refs": [], "ref_labels": [], "attempt": 1, "dur_s": 12.6, "bytes": 3564955, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/mannequin_first/mq_sketch_S17_Shot1_nb2.png", "prompt": "Draw ONE storyboard frame for a live-action film shot: a monochrome\npencil production sketch on white paper — rough construction lines,\nloose grey shading, no colour.\nEvery person in the frame appears as a featureless wooden artist's\nmannequin (jointed figure, no face, no hair, no clothing detail).\nIf the shot text implies no people, draw none.\n\nYOU decide the camera: choose the angle, distance, height, lens and\ncomposition that best realise the shot text below. No camera or\ncomposition instructions are given on purpose — stage it yourself.\n\nSHOT TEXT (authoritative, Korean):\nscene_heading: S#17. 옥탑방 / 동틀무렵\nshot: 짙고 푸른 안개가 깔린 새벽녘, 희미한 노란 불빛이 켜진 옥탑방 창문을 향해 검은 고양이 한 마리가 고개를 돌린 찰나의 측면.\n\nThe output image must contain ZERO annotations — no circles, no\ncodes, no letters, no numbers, no text, no signage lettering, no\narrows, no dashed lines."}
{"ts": "2026-07-09 03:46:34", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s31_mq_photo_S17_Shot1_nb2", "refs": [], "ref_labels": [], "attempt": 1, "dur_s": 14.8, "bytes": 3552533, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/mannequin_first/mq_photo_S17_Shot1_nb2.png", "prompt": "Create ONE PHOTOREALISTIC staging photograph of a live-action film\nshot on a real location set: the environment is fully real and\nphotographic, but every person in the frame is a featureless grey\ndisplay mannequin (smooth blank head, no face, no hair).\nIf the shot text implies no people, include none.\n\nYOU decide the camera: choose the angle, distance, height, lens and\ncomposition that best realise the shot text below. No camera or\ncomposition instructions are given on purpose — stage it yourself.\n\nSHOT TEXT (authoritative, Korean):\nscene_heading: S#17. 옥탑방 / 동틀무렵\nshot: 짙고 푸른 안개가 깔린 새벽녘, 희미한 노란 불빛이 켜진 옥탑방 창문을 향해 검은 고양이 한 마리가 고개를 돌린 찰나의 측면.\n\nThe output image must contain ZERO annotations — no circles, no\ncodes, no letters, no numbers, no text, no signage lettering, no\narrows, no dashed lines."}
{"ts": "2026-07-09 03:46:47", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s31_mq_sketch_S4_Shot1_nb2", "refs": [], "ref_labels": [], "attempt": 1, "dur_s": 13.7, "bytes": 3337074, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/mannequin_first/mq_sketch_S4_Shot1_nb2.png", "prompt": "Draw ONE storyboard frame for a live-action film shot: a monochrome\npencil production sketch on white paper — rough construction lines,\nloose grey shading, no colour.\nEvery person in the frame appears as a featureless wooden artist's\nmannequin (jointed figure, no face, no hair, no clothing detail).\nIf the shot text implies no people, draw none.\n\nYOU decide the camera: choose the angle, distance, height, lens and\ncomposition that best realise the shot text below. No camera or\ncomposition instructions are given on purpose — stage it yourself.\n\nSHOT TEXT (authoritative, Korean):\nscene_heading: S#4. 옥탑방 / D\nshot: 인천 변두리의 낡고 오래된 빌라 옥탑방 외부 전경이 한눈에 내려다보이는 부감 구도.\n\nThe output image must contain ZERO annotations — no circles, no\ncodes, no letters, no numbers, no text, no signage lettering, no\narrows, no dashed lines."}
{"ts": "2026-07-09 03:47:04", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s31_mq_photo_S4_Shot1_nb2", "refs": [], "ref_labels": [], "attempt": 1, "dur_s": 16.9, "bytes": 4283091, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/mannequin_first/mq_photo_S4_Shot1_nb2.png", "prompt": "Create ONE PHOTOREALISTIC staging photograph of a live-action film\nshot on a real location set: the environment is fully real and\nphotographic, but every person in the frame is a featureless grey\ndisplay mannequin (smooth blank head, no face, no hair).\nIf the shot text implies no people, include none.\n\nYOU decide the camera: choose the angle, distance, height, lens and\ncomposition that best realise the shot text below. No camera or\ncomposition instructions are given on purpose — stage it yourself.\n\nSHOT TEXT (authoritative, Korean):\nscene_heading: S#4. 옥탑방 / D\nshot: 인천 변두리의 낡고 오래된 빌라 옥탑방 외부 전경이 한눈에 내려다보이는 부감 구도.\n\nThe output image must contain ZERO annotations — no circles, no\ncodes, no letters, no numbers, no text, no signage lettering, no\narrows, no dashed lines."}
{"ts": "2026-07-09 03:47:36", "kind": "img", "engine": "gpt-image-2", "mode": "generate", "tag": "s31_mq_photo_S13_Shot5_i2", "refs": [], "size": "1536x1024", "attempt": 1, "dur_s": 108.8, "bytes": 1849039, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/mannequin_first/mq_photo_S13_Shot5_i2.png", "prompt": "Create ONE PHOTOREALISTIC staging photograph of a live-action film\nshot on a real location set: the environment is fully real and\nphotographic, but every person in the frame is a featureless grey\ndisplay mannequin (smooth blank head, no face, no hair).\nIf the shot text implies no people, include none.\n\nYOU decide the camera: choose the angle, distance, height, lens and\ncomposition that best realise the shot text below. No camera or\ncomposition instructions are given on purpose — stage it yourself.\n\nSHOT TEXT (authoritative, Korean):\nscene_heading: S#13. 옥탑방 외곽 / N\nshot: 수리영이 고개를 들어 혜수의 얼굴을 올려다보는 정적 구도.\npeople in shot: 수리영, 혜수\n\nThe output image must contain ZERO annotations — no circles, no\ncodes, no letters, no numbers, no text, no signage lettering, no\narrows, no dashed lines."}
{"ts": "2026-07-09 03:48:05", "kind": "img", "engine": "gpt-image-2", "mode": "generate", "tag": "s31_mq_photo_S10_Shot5_i2", "refs": [], "size": "1536x1024", "attempt": 1, "dur_s": 130.7, "bytes": 1726435, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/mannequin_first/mq_photo_S10_Shot5_i2.png", "prompt": "Create ONE PHOTOREALISTIC staging photograph of a live-action film\nshot on a real location set: the environment is fully real and\nphotographic, but every person in the frame is a featureless grey\ndisplay mannequin (smooth blank head, no face, no hair).\nIf the shot text implies no people, include none.\n\nYOU decide the camera: choose the angle, distance, height, lens and\ncomposition that best realise the shot text below. No camera or\ncomposition instructions are given on purpose — stage it yourself.\n\nSHOT TEXT (authoritative, Korean):\nscene_heading: S#10. 옥탑방 / N\nshot: 철문이 미세하게 열린 틈 사이로 어두운 내부가 보이는 구도.\n\nThe output image must contain ZERO annotations — no circles, no\ncodes, no letters, no numbers, no text, no signage lettering, no\narrows, no dashed lines."}
{"ts": "2026-07-09 03:49:34", "kind": "img", "engine": "gpt-image-2", "mode": "generate", "tag": "s31_mq_sketch_S17_Shot1_i2", "refs": [], "size": "1536x1024", "attempt": 1, "dur_s": 118.0, "bytes": 2982258, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/mannequin_first/mq_sketch_S17_Shot1_i2.png", "prompt": "Draw ONE storyboard frame for a live-action film shot: a monochrome\npencil production sketch on white paper — rough construction lines,\nloose grey shading, no colour.\nEvery person in the frame appears as a featureless wooden artist's\nmannequin (jointed figure, no face, no hair, no clothing detail).\nIf the shot text implies no people, draw none.\n\nYOU decide the camera: choose the angle, distance, height, lens and\ncomposition that best realise the shot text below. No camera or\ncomposition instructions are given on purpose — stage it yourself.\n\nSHOT TEXT (authoritative, Korean):\nscene_heading: S#17. 옥탑방 / 동틀무렵\nshot: 짙고 푸른 안개가 깔린 새벽녘, 희미한 노란 불빛이 켜진 옥탑방 창문을 향해 검은 고양이 한 마리가 고개를 돌린 찰나의 측면.\n\nThe output image must contain ZERO annotations — no circles, no\ncodes, no letters, no numbers, no text, no signage lettering, no\narrows, no dashed lines."}
{"ts": "2026-07-09 03:49:54", "kind": "img", "engine": "gpt-image-2", "mode": "generate", "tag": "s31_mq_sketch_S11_Shot3_i2", "refs": [], "size": "1536x1024", "attempt": 1, "dur_s": 109.3, "bytes": 3455112, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/mannequin_first/mq_sketch_S11_Shot3_i2.png", "prompt": "Draw ONE storyboard frame for a live-action film shot: a monochrome\npencil production sketch on white paper — rough construction lines,\nloose grey shading, no colour.\nEvery person in the frame appears as a featureless wooden artist's\nmannequin (jointed figure, no face, no hair, no clothing detail).\nIf the shot text implies no people, draw none.\n\nYOU decide the camera: choose the angle, distance, height, lens and\ncomposition that best realise the shot text below. No camera or\ncomposition instructions are given on purpose — stage it yourself.\n\nSHOT TEXT (authoritative, Korean):\nscene_heading: S#11. 옥탑 방 밖 / N\nshot: 계단 중간에 서서 심하게 코를 찡그린 수리영의 얼굴 클로즈업.\npeople in shot: 수리영\n\nThe output image must contain ZERO annotations — no circles, no\ncodes, no letters, no numbers, no text, no signage lettering, no\narrows, no dashed lines."}
{"ts": "2026-07-09 03:51:20", "kind": "img", "engine": "gpt-image-2", "mode": "generate", "tag": "s31_mq_photo_S17_Shot1_i2", "refs": [], "size": "1536x1024", "attempt": 1, "dur_s": 105.7, "bytes": 1874102, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/mannequin_first/mq_photo_S17_Shot1_i2.png", "prompt": "Create ONE PHOTOREALISTIC staging photograph of a live-action film\nshot on a real location set: the environment is fully real and\nphotographic, but every person in the frame is a featureless grey\ndisplay mannequin (smooth blank head, no face, no hair).\nIf the shot text implies no people, include none.\n\nYOU decide the camera: choose the angle, distance, height, lens and\ncomposition that best realise the shot text below. No camera or\ncomposition instructions are given on purpose — stage it yourself.\n\nSHOT TEXT (authoritative, Korean):\nscene_heading: S#17. 옥탑방 / 동틀무렵\nshot: 짙고 푸른 안개가 깔린 새벽녘, 희미한 노란 불빛이 켜진 옥탑방 창문을 향해 검은 고양이 한 마리가 고개를 돌린 찰나의 측면.\n\nThe output image must contain ZERO annotations — no circles, no\ncodes, no letters, no numbers, no text, no signage lettering, no\narrows, no dashed lines."}
{"ts": "2026-07-09 03:51:34", "kind": "img", "engine": "gpt-image-2", "mode": "generate", "tag": "s31_mq_photo_S11_Shot3_i2", "refs": [], "size": "1536x1024", "attempt": 1, "dur_s": 100.4, "bytes": 1889918, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/mannequin_first/mq_photo_S11_Shot3_i2.png", "prompt": "Create ONE PHOTOREALISTIC staging photograph of a live-action film\nshot on a real location set: the environment is fully real and\nphotographic, but every person in the frame is a featureless grey\ndisplay mannequin (smooth blank head, no face, no hair).\nIf the shot text implies no people, include none.\n\nYOU decide the camera: choose the angle, distance, height, lens and\ncomposition that best realise the shot text below. No camera or\ncomposition instructions are given on purpose — stage it yourself.\n\nSHOT TEXT (authoritative, Korean):\nscene_heading: S#11. 옥탑 방 밖 / N\nshot: 계단 중간에 서서 심하게 코를 찡그린 수리영의 얼굴 클로즈업.\npeople in shot: 수리영\n\nThe output image must contain ZERO annotations — no circles, no\ncodes, no letters, no numbers, no text, no signage lettering, no\narrows, no dashed lines."}
{"ts": "2026-07-09 03:53:32", "kind": "img", "engine": "gpt-image-2", "mode": "generate", "tag": "s31_mq_sketch_S4_Shot1_i2", "refs": [], "size": "1536x1024", "attempt": 1, "dur_s": 131.5, "bytes": 4103101, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/mannequin_first/mq_sketch_S4_Shot1_i2.png", "prompt": "Draw ONE storyboard frame for a live-action film shot: a monochrome\npencil production sketch on white paper — rough construction lines,\nloose grey shading, no colour.\nEvery person in the frame appears as a featureless wooden artist's\nmannequin (jointed figure, no face, no hair, no clothing detail).\nIf the shot text implies no people, draw none.\n\nYOU decide the camera: choose the angle, distance, height, lens and\ncomposition that best realise the shot text below. No camera or\ncomposition instructions are given on purpose — stage it yourself.\n\nSHOT TEXT (authoritative, Korean):\nscene_heading: S#4. 옥탑방 / D\nshot: 인천 변두리의 낡고 오래된 빌라 옥탑방 외부 전경이 한눈에 내려다보이는 부감 구도.\n\nThe output image must contain ZERO annotations — no circles, no\ncodes, no letters, no numbers, no text, no signage lettering, no\narrows, no dashed lines."}
{"ts": "2026-07-09 03:53:32", "kind": "img", "engine": "gpt-image-2", "mode": "generate", "tag": "s31_mq_sketch_S11_Shot4_i2", "refs": [], "size": "1536x1024", "attempt": 1, "dur_s": 117.4, "bytes": 3410401, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/mannequin_first/mq_sketch_S11_Shot4_i2.png", "prompt": "Draw ONE storyboard frame for a live-action film shot: a monochrome\npencil production sketch on white paper — rough construction lines,\nloose grey shading, no colour.\nEvery person in the frame appears as a featureless wooden artist's\nmannequin (jointed figure, no face, no hair, no clothing detail).\nIf the shot text implies no people, draw none.\n\nYOU decide the camera: choose the angle, distance, height, lens and\ncomposition that best realise the shot text below. No camera or\ncomposition instructions are given on purpose — stage it yourself.\n\nSHOT TEXT (authoritative, Korean):\nscene_heading: S#11. 옥탑 방 밖 / N\nshot: 옥상 위, 어둠 속에 반쯤 열려 멈춰 있는 옥탑방 현관 철문의 정적 구도.\n\nThe output image must contain ZERO annotations — no circles, no\ncodes, no letters, no numbers, no text, no signage lettering, no\narrows, no dashed lines."}
{"ts": "2026-07-09 03:55:37", "kind": "img", "engine": "gpt-image-2", "mode": "generate", "tag": "s31_mq_photo_S11_Shot4_i2", "refs": [], "size": "1536x1024", "attempt": 1, "dur_s": 125.6, "bytes": 1969319, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/mannequin_first/mq_photo_S11_Shot4_i2.png", "prompt": "Create ONE PHOTOREALISTIC staging photograph of a live-action film\nshot on a real location set: the environment is fully real and\nphotographic, but every person in the frame is a featureless grey\ndisplay mannequin (smooth blank head, no face, no hair).\nIf the shot text implies no people, include none.\n\nYOU decide the camera: choose the angle, distance, height, lens and\ncomposition that best realise the shot text below. No camera or\ncomposition instructions are given on purpose — stage it yourself.\n\nSHOT TEXT (authoritative, Korean):\nscene_heading: S#11. 옥탑 방 밖 / N\nshot: 옥상 위, 어둠 속에 반쯤 열려 멈춰 있는 옥탑방 현관 철문의 정적 구도.\n\nThe output image must contain ZERO annotations — no circles, no\ncodes, no letters, no numbers, no text, no signage lettering, no\narrows, no dashed lines."}
{"ts": "2026-07-09 03:55:50", "kind": "img", "engine": "gpt-image-2", "mode": "generate", "tag": "s31_mq_photo_S4_Shot1_i2", "refs": [], "size": "1536x1024", "attempt": 1, "dur_s": 138.0, "bytes": 3024753, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/mannequin_first/mq_photo_S4_Shot1_i2.png", "prompt": "Create ONE PHOTOREALISTIC staging photograph of a live-action film\nshot on a real location set: the environment is fully real and\nphotographic, but every person in the frame is a featureless grey\ndisplay mannequin (smooth blank head, no face, no hair).\nIf the shot text implies no people, include none.\n\nYOU decide the camera: choose the angle, distance, height, lens and\ncomposition that best realise the shot text below. No camera or\ncomposition instructions are given on purpose — stage it yourself.\n\nSHOT TEXT (authoritative, Korean):\nscene_heading: S#4. 옥탑방 / D\nshot: 인천 변두리의 낡고 오래된 빌라 옥탑방 외부 전경이 한눈에 내려다보이는 부감 구도.\n\nThe output image must contain ZERO annotations — no circles, no\ncodes, no letters, no numbers, no text, no signage lettering, no\narrows, no dashed lines."}
{"ts": "2026-07-09 03:57:36", "kind": "img", "engine": "gpt-image-2", "mode": "generate", "tag": "s31_mq_sketch_S13_Shot3_i2", "refs": [], "size": "1536x1024", "attempt": 1, "dur_s": 118.3, "bytes": 3261259, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/mannequin_first/mq_sketch_S13_Shot3_i2.png", "prompt": "Draw ONE storyboard frame for a live-action film shot: a monochrome\npencil production sketch on white paper — rough construction lines,\nloose grey shading, no colour.\nEvery person in the frame appears as a featureless wooden artist's\nmannequin (jointed figure, no face, no hair, no clothing detail).\nIf the shot text implies no people, draw none.\n\nYOU decide the camera: choose the angle, distance, height, lens and\ncomposition that best realise the shot text below. No camera or\ncomposition instructions are given on purpose — stage it yourself.\n\nSHOT TEXT (authoritative, Korean):\nscene_heading: S#13. 옥탑방 외곽 / N\nshot: 차에서 내린 혜수가 초점 없는 눈으로 멍하게 서 있는 수리영을 향해 시선을 고정한 찰나의 상체.\npeople in shot: 혜수, 수리영\n\nThe output image must contain ZERO annotations — no circles, no\ncodes, no letters, no numbers, no text, no signage lettering, no\narrows, no dashed lines."}
{"ts": "2026-07-09 03:59:32", "kind": "img", "engine": "gpt-image-2", "mode": "generate", "tag": "s31_mq_photo_S13_Shot3_i2", "refs": [], "size": "1536x1024", "attempt": 1, "dur_s": 116.8, "bytes": 2036136, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/mannequin_first/mq_photo_S13_Shot3_i2.png", "prompt": "Create ONE PHOTOREALISTIC staging photograph of a live-action film\nshot on a real location set: the environment is fully real and\nphotographic, but every person in the frame is a featureless grey\ndisplay mannequin (smooth blank head, no face, no hair).\nIf the shot text implies no people, include none.\n\nYOU decide the camera: choose the angle, distance, height, lens and\ncomposition that best realise the shot text below. No camera or\ncomposition instructions are given on purpose — stage it yourself.\n\nSHOT TEXT (authoritative, Korean):\nscene_heading: S#13. 옥탑방 외곽 / N\nshot: 차에서 내린 혜수가 초점 없는 눈으로 멍하게 서 있는 수리영을 향해 시선을 고정한 찰나의 상체.\npeople in shot: 혜수, 수리영\n\nThe output image must contain ZERO annotations — no circles, no\ncodes, no letters, no numbers, no text, no signage lettering, no\narrows, no dashed lines."}
{"ts": "2026-07-09 04:00:19", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s31_final_A_S10_Shot5_sketchi2_bynb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/mannequin_first/mq_sketch_S10_Shot5_i2.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/forest_map/top2/top2_photo_fixed_nb2.png"], "ref_labels": ["STAGING FRAME — camera & blocking source only; never copy its style.", "LOCATION PHOTOGRAPH — the whole filming property; sole source of how everything looks."], "attempt": 1, "dur_s": 24.2, "bytes": 2296606, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/mannequin_first/final_A_S10_Shot5_sketchi2_bynb2.png", "prompt": "Create the FINAL photorealistic live-action film still of the moment below.\n\nCAMERA & BLOCKING: the FIRST attached image is the staging frame of\nthis shot. Reproduce its camera (angle, distance, height, framing)\nand the exact placement and pose of every figure. Its drawing or\nmannequin look is ONLY a staging aid — never carry its style,\nblankness or monochrome into the output.\n\nLOCATION: the SECOND attached image is a real photograph of the\nentire filming property, and the single source of truth for how\neverything looks (building, materials, aging, colours, town).\nThis shot is taken at the \"Rooftop Deck\" area of the property, by the landing-to-door roof path, iron entrance door, rooftop-room unit, low-angle night light-source position — rebuild the surroundings seen by the staging camera from that exact spot of the property, consistent with the photograph.\n\nMOMENT (authoritative, Korean): 철문이 미세하게 열린 틈 사이로 어두운 내부가 보이는 구도.\nscene_heading: S#10. 옥탑방 / N\n\nNo people appear unless the moment itself says so.\n\nTIME & LIGHT: only as stated by the shot text above — do not add weather, atmosphere or colour moods beyond it.\n\nWORLD FACTS (creator-confirmed / evidence-bound — always true):\n- The main building is an aged three-storey multi-family villa;\n  its roof deck sits roughly 8-10 m above the yard, with the small\n  rooftop-room unit as an extra volume on the deck.\n- The exterior stair is a later-added STEEL retrofit stair climbing\n  the full three storeys: open treads, thin steel plate stringers,\n  support posts, pipe railings. It is NOT a concrete stair.\n\nThe output image must contain ZERO annotations — no circles, no\ncodes, no letters, no numbers, no text, no signage lettering, no\narrows, no dashed lines."}
{"ts": "2026-07-09 04:00:40", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s31_final_A_S10_Shot5_sketchnb2_bynb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/mannequin_first/mq_sketch_S10_Shot5_nb2.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/forest_map/top2/top2_photo_fixed_nb2.png"], "ref_labels": ["STAGING FRAME — camera & blocking source only; never copy its style.", "LOCATION PHOTOGRAPH — the whole filming property; sole source of how everything looks."], "attempt": 1, "dur_s": 21.3, "bytes": 2832384, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/mannequin_first/final_A_S10_Shot5_sketchnb2_bynb2.png", "prompt": "Create the FINAL photorealistic live-action film still of the moment below.\n\nCAMERA & BLOCKING: the FIRST attached image is the staging frame of\nthis shot. Reproduce its camera (angle, distance, height, framing)\nand the exact placement and pose of every figure. Its drawing or\nmannequin look is ONLY a staging aid — never carry its style,\nblankness or monochrome into the output.\n\nLOCATION: the SECOND attached image is a real photograph of the\nentire filming property, and the single source of truth for how\neverything looks (building, materials, aging, colours, town).\nThis shot is taken at the \"Rooftop Deck\" area of the property, by the landing-to-door roof path, iron entrance door, rooftop-room unit, low-angle night light-source position — rebuild the surroundings seen by the staging camera from that exact spot of the property, consistent with the photograph.\n\nMOMENT (authoritative, Korean): 철문이 미세하게 열린 틈 사이로 어두운 내부가 보이는 구도.\nscene_heading: S#10. 옥탑방 / N\n\nNo people appear unless the moment itself says so.\n\nTIME & LIGHT: only as stated by the shot text above — do not add weather, atmosphere or colour moods beyond it.\n\nWORLD FACTS (creator-confirmed / evidence-bound — always true):\n- The main building is an aged three-storey multi-family villa;\n  its roof deck sits roughly 8-10 m above the yard, with the small\n  rooftop-room unit as an extra volume on the deck.\n- The exterior stair is a later-added STEEL retrofit stair climbing\n  the full three storeys: open treads, thin steel plate stringers,\n  support posts, pipe railings. It is NOT a concrete stair.\n\nThe output image must contain ZERO annotations — no circles, no\ncodes, no letters, no numbers, no text, no signage lettering, no\narrows, no dashed lines."}
{"ts": "2026-07-09 04:01:02", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s31_final_B_S10_Shot5_photoi2_bynb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/mannequin_first/mq_photo_S10_Shot5_i2.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/forest_map/top2/top2_photo_fixed_nb2.png"], "ref_labels": ["STAGING FRAME — camera & blocking source only; never copy its style.", "LOCATION PHOTOGRAPH — the whole filming property; sole source of how everything looks."], "attempt": 1, "dur_s": 21.9, "bytes": 2057090, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/mannequin_first/final_B_S10_Shot5_photoi2_bynb2.png", "prompt": "Create the FINAL photorealistic live-action film still of the moment below.\n\nCAMERA & BLOCKING: the FIRST attached image is the staging frame of\nthis shot. Reproduce its camera (angle, distance, height, framing)\nand the exact placement and pose of every figure. Its drawing or\nmannequin look is ONLY a staging aid — never carry its style,\nblankness or monochrome into the output.\n\nLOCATION: the SECOND attached image is a real photograph of the\nentire filming property, and the single source of truth for how\neverything looks (building, materials, aging, colours, town).\nThis shot is taken at the \"Rooftop Deck\" area of the property, by the landing-to-door roof path, iron entrance door, rooftop-room unit, low-angle night light-source position — rebuild the surroundings seen by the staging camera from that exact spot of the property, consistent with the photograph.\n\nMOMENT (authoritative, Korean): 철문이 미세하게 열린 틈 사이로 어두운 내부가 보이는 구도.\nscene_heading: S#10. 옥탑방 / N\n\nNo people appear unless the moment itself says so.\n\nTIME & LIGHT: only as stated by the shot text above — do not add weather, atmosphere or colour moods beyond it.\n\nWORLD FACTS (creator-confirmed / evidence-bound — always true):\n- The main building is an aged three-storey multi-family villa;\n  its roof deck sits roughly 8-10 m above the yard, with the small\n  rooftop-room unit as an extra volume on the deck.\n- The exterior stair is a later-added STEEL retrofit stair climbing\n  the full three storeys: open treads, thin steel plate stringers,\n  support posts, pipe railings. It is NOT a concrete stair.\n\nThe output image must contain ZERO annotations — no circles, no\ncodes, no letters, no numbers, no text, no signage lettering, no\narrows, no dashed lines."}
{"ts": "2026-07-09 04:01:25", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s31_final_B_S10_Shot5_photonb2_bynb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/mannequin_first/mq_photo_S10_Shot5_nb2.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/forest_map/top2/top2_photo_fixed_nb2.png"], "ref_labels": ["STAGING FRAME — camera & blocking source only; never copy its style.", "LOCATION PHOTOGRAPH — the whole filming property; sole source of how everything looks."], "attempt": 1, "dur_s": 22.2, "bytes": 2870370, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/mannequin_first/final_B_S10_Shot5_photonb2_bynb2.png", "prompt": "Create the FINAL photorealistic live-action film still of the moment below.\n\nCAMERA & BLOCKING: the FIRST attached image is the staging frame of\nthis shot. Reproduce its camera (angle, distance, height, framing)\nand the exact placement and pose of every figure. Its drawing or\nmannequin look is ONLY a staging aid — never carry its style,\nblankness or monochrome into the output.\n\nLOCATION: the SECOND attached image is a real photograph of the\nentire filming property, and the single source of truth for how\neverything looks (building, materials, aging, colours, town).\nThis shot is taken at the \"Rooftop Deck\" area of the property, by the landing-to-door roof path, iron entrance door, rooftop-room unit, low-angle night light-source position — rebuild the surroundings seen by the staging camera from that exact spot of the property, consistent with the photograph.\n\nMOMENT (authoritative, Korean): 철문이 미세하게 열린 틈 사이로 어두운 내부가 보이는 구도.\nscene_heading: S#10. 옥탑방 / N\n\nNo people appear unless the moment itself says so.\n\nTIME & LIGHT: only as stated by the shot text above — do not add weather, atmosphere or colour moods beyond it.\n\nWORLD FACTS (creator-confirmed / evidence-bound — always true):\n- The main building is an aged three-storey multi-family villa;\n  its roof deck sits roughly 8-10 m above the yard, with the small\n  rooftop-room unit as an extra volume on the deck.\n- The exterior stair is a later-added STEEL retrofit stair climbing\n  the full three storeys: open treads, thin steel plate stringers,\n  support posts, pipe railings. It is NOT a concrete stair.\n\nThe output image must contain ZERO annotations — no circles, no\ncodes, no letters, no numbers, no text, no signage lettering, no\narrows, no dashed lines."}
{"ts": "2026-07-09 04:01:47", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s31_final_A_S11_Shot3_sketchi2_bynb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/mannequin_first/mq_sketch_S11_Shot3_i2.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/forest_map/top2/top2_photo_fixed_nb2.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/b0ad5c18-5140-4022-a2b0-805de0e5a385/images/0d30302a-51c8-4ac9-98e2-6cd9180512bf/reference/0b01920a-4b59-4e19-ba35-e6e033cbd6b4.png"], "ref_labels": ["STAGING FRAME — camera & blocking source only; never copy its style.", "LOCATION PHOTOGRAPH — the whole filming property; sole source of how everything looks.", "CHARACTER REFERENCE — 수리영: the exact person who replaces one mannequin figure."], "attempt": 1, "dur_s": 22.1, "bytes": 2533197, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/mannequin_first/final_A_S11_Shot3_sketchi2_bynb2.png", "prompt": "Create the FINAL photorealistic live-action film still of the moment below.\n\nCAMERA & BLOCKING: the FIRST attached image is the staging frame of\nthis shot. Reproduce its camera (angle, distance, height, framing)\nand the exact placement and pose of every figure. Its drawing or\nmannequin look is ONLY a staging aid — never carry its style,\nblankness or monochrome into the output.\n\nLOCATION: the SECOND attached image is a real photograph of the\nentire filming property, and the single source of truth for how\neverything looks (building, materials, aging, colours, town).\nThis shot is taken at the \"Exterior Stair\" area of the property, by the exterior steel retrofit stair run, upper stair landing, rooftop-room building footprint — rebuild the surroundings seen by the staging camera from that exact spot of the property, consistent with the photograph.\n\nMOMENT (authoritative, Korean): 계단 중간에 서서 심하게 코를 찡그린 수리영의 얼굴 클로즈업.\nscene_heading: S#11. 옥탑 방 밖 / N\n\nCHARACTERS: replace each mannequin figure with the matching reference person, in the mannequin's exact position and pose — 수리영. Match each reference person's identity exactly (face, hair, build); dress them as the moment describes.\n\nTIME & LIGHT: only as stated by the shot text above — do not add weather, atmosphere or colour moods beyond it.\n\nWORLD FACTS (creator-confirmed / evidence-bound — always true):\n- The main building is an aged three-storey multi-family villa;\n  its roof deck sits roughly 8-10 m above the yard, with the small\n  rooftop-room unit as an extra volume on the deck.\n- The exterior stair is a later-added STEEL retrofit stair climbing\n  the full three storeys: open treads, thin steel plate stringers,\n  support posts, pipe railings. It is NOT a concrete stair.\n\nThe output image must contain ZERO annotations — no circles, no\ncodes, no letters, no numbers, no text, no signage lettering, no\narrows, no dashed lines."}
{"ts": "2026-07-09 04:02:10", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s31_final_A_S11_Shot3_sketchnb2_bynb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/mannequin_first/mq_sketch_S11_Shot3_nb2.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/forest_map/top2/top2_photo_fixed_nb2.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/b0ad5c18-5140-4022-a2b0-805de0e5a385/images/0d30302a-51c8-4ac9-98e2-6cd9180512bf/reference/0b01920a-4b59-4e19-ba35-e6e033cbd6b4.png"], "ref_labels": ["STAGING FRAME — camera & blocking source only; never copy its style.", "LOCATION PHOTOGRAPH — the whole filming property; sole source of how everything looks.", "CHARACTER REFERENCE — 수리영: the exact person who replaces one mannequin figure."], "attempt": 1, "dur_s": 23.1, "bytes": 2479828, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/mannequin_first/final_A_S11_Shot3_sketchnb2_bynb2.png", "prompt": "Create the FINAL photorealistic live-action film still of the moment below.\n\nCAMERA & BLOCKING: the FIRST attached image is the staging frame of\nthis shot. Reproduce its camera (angle, distance, height, framing)\nand the exact placement and pose of every figure. Its drawing or\nmannequin look is ONLY a staging aid — never carry its style,\nblankness or monochrome into the output.\n\nLOCATION: the SECOND attached image is a real photograph of the\nentire filming property, and the single source of truth for how\neverything looks (building, materials, aging, colours, town).\nThis shot is taken at the \"Exterior Stair\" area of the property, by the exterior steel retrofit stair run, upper stair landing, rooftop-room building footprint — rebuild the surroundings seen by the staging camera from that exact spot of the property, consistent with the photograph.\n\nMOMENT (authoritative, Korean): 계단 중간에 서서 심하게 코를 찡그린 수리영의 얼굴 클로즈업.\nscene_heading: S#11. 옥탑 방 밖 / N\n\nCHARACTERS: replace each mannequin figure with the matching reference person, in the mannequin's exact position and pose — 수리영. Match each reference person's identity exactly (face, hair, build); dress them as the moment describes.\n\nTIME & LIGHT: only as stated by the shot text above — do not add weather, atmosphere or colour moods beyond it.\n\nWORLD FACTS (creator-confirmed / evidence-bound — always true):\n- The main building is an aged three-storey multi-family villa;\n  its roof deck sits roughly 8-10 m above the yard, with the small\n  rooftop-room unit as an extra volume on the deck.\n- The exterior stair is a later-added STEEL retrofit stair climbing\n  the full three storeys: open treads, thin steel plate stringers,\n  support posts, pipe railings. It is NOT a concrete stair.\n\nThe output image must contain ZERO annotations — no circles, no\ncodes, no letters, no numbers, no text, no signage lettering, no\narrows, no dashed lines."}
{"ts": "2026-07-09 04:02:10", "kind": "img", "engine": "gpt-image-2", "mode": "edit", "tag": "s31_final_A_S17_Shot1_sketchi2_byi2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/mannequin_first/mq_sketch_S17_Shot1_i2.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/forest_map/top2/top2_photo_fixed_nb2.png"], "size": "1536x1024", "attempt": 1, "dur_s": 135.8, "bytes": 2523406, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/mannequin_first/final_A_S17_Shot1_sketchi2_byi2.png", "prompt": "Create the FINAL photorealistic live-action film still of the moment below.\n\nCAMERA & BLOCKING: the FIRST attached image is the staging frame of\nthis shot. Reproduce its camera (angle, distance, height, framing)\nand the exact placement and pose of every figure. Its drawing or\nmannequin look is ONLY a staging aid — never carry its style,\nblankness or monochrome into the output.\n\nLOCATION: the SECOND attached image is a real photograph of the\nentire filming property, and the single source of truth for how\neverything looks (building, materials, aging, colours, town).\nThis shot is taken at the \"Rooftop Deck\" area of the property, by the rooftop-room window set, rooftop-room unit, landing-to-door roof path — rebuild the surroundings seen by the staging camera from that exact spot of the property, consistent with the photograph.\n\nMOMENT (authoritative, Korean): 짙고 푸른 안개가 깔린 새벽녘, 희미한 노란 불빛이 켜진 옥탑방 창문을 향해 검은 고양이 한 마리가 고개를 돌린 찰나의 측면.\nscene_heading: S#17. 옥탑방 / 동틀무렵\n\nNo people appear unless the moment itself says so.\n\nTIME & LIGHT: only as stated by the shot text above — do not add weather, atmosphere or colour moods beyond it.\n\nWORLD FACTS (creator-confirmed / evidence-bound — always true):\n- The main building is an aged three-storey multi-family villa;\n  its roof deck sits roughly 8-10 m above the yard, with the small\n  rooftop-room unit as an extra volume on the deck.\n- The exterior stair is a later-added STEEL retrofit stair climbing\n  the full three storeys: open treads, thin steel plate stringers,\n  support posts, pipe railings. It is NOT a concrete stair.\n\nThe output image must contain ZERO annotations — no circles, no\ncodes, no letters, no numbers, no text, no signage lettering, no\narrows, no dashed lines."}
{"ts": "2026-07-09 04:02:28", "kind": "img", "engine": "gpt-image-2", "mode": "edit", "tag": "s31_final_A_S13_Shot3_sketchi2_byi2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/mannequin_first/mq_sketch_S13_Shot3_i2.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/forest_map/top2/top2_photo_fixed_nb2.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/b0ad5c18-5140-4022-a2b0-805de0e5a385/images/0d30302a-51c8-4ac9-98e2-6cd9180512bf/reference/78811b6c-4b5f-4358-aa50-cff9ffa84508.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/b0ad5c18-5140-4022-a2b0-805de0e5a385/images/0d30302a-51c8-4ac9-98e2-6cd9180512bf/reference/0b01920a-4b59-4e19-ba35-e6e033cbd6b4.png"], "size": "1536x1024", "attempt": 1, "dur_s": 154.7, "bytes": 2557662, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/mannequin_first/final_A_S13_Shot3_sketchi2_byi2.png", "prompt": "Create the FINAL photorealistic live-action film still of the moment below.\n\nCAMERA & BLOCKING: the FIRST attached image is the staging frame of\nthis shot. Reproduce its camera (angle, distance, height, framing)\nand the exact placement and pose of every figure. Its drawing or\nmannequin look is ONLY a staging aid — never carry its style,\nblankness or monochrome into the output.\n\nLOCATION: the SECOND attached image is a real photograph of the\nentire filming property, and the single source of truth for how\neverything looks (building, materials, aging, colours, town).\nThis shot is taken at the \"Alley Approach\" area of the property, by the alley approach, multi-family villa gate — rebuild the surroundings seen by the staging camera from that exact spot of the property, consistent with the photograph.\n\nMOMENT (authoritative, Korean): 차에서 내린 혜수가 초점 없는 눈으로 멍하게 서 있는 수리영을 향해 시선을 고정한 찰나의 상체.\nscene_heading: S#13. 옥탑방 외곽 / N\n\nCHARACTERS: replace each mannequin figure with the matching reference person, in the mannequin's exact position and pose — 혜수, 수리영. Match each reference person's identity exactly (face, hair, build); dress them as the moment describes.\n\nTIME & LIGHT: only as stated by the shot text above — do not add weather, atmosphere or colour moods beyond it.\n\nWORLD FACTS (creator-confirmed / evidence-bound — always true):\n- The main building is an aged three-storey multi-family villa;\n  its roof deck sits roughly 8-10 m above the yard, with the small\n  rooftop-room unit as an extra volume on the deck.\n- The exterior stair is a later-added STEEL retrofit stair climbing\n  the full three storeys: open treads, thin steel plate stringers,\n  support posts, pipe railings. It is NOT a concrete stair.\n\nThe output image must contain ZERO annotations — no circles, no\ncodes, no letters, no numbers, no text, no signage lettering, no\narrows, no dashed lines."}
{"ts": "2026-07-09 04:02:30", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s31_final_B_S11_Shot3_photoi2_bynb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/mannequin_first/mq_photo_S11_Shot3_i2.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/forest_map/top2/top2_photo_fixed_nb2.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/b0ad5c18-5140-4022-a2b0-805de0e5a385/images/0d30302a-51c8-4ac9-98e2-6cd9180512bf/reference/0b01920a-4b59-4e19-ba35-e6e033cbd6b4.png"], "ref_labels": ["STAGING FRAME — camera & blocking source only; never copy its style.", "LOCATION PHOTOGRAPH — the whole filming property; sole source of how everything looks.", "CHARACTER REFERENCE — 수리영: the exact person who replaces one mannequin figure."], "attempt": 1, "dur_s": 20.4, "bytes": 2619937, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/mannequin_first/final_B_S11_Shot3_photoi2_bynb2.png", "prompt": "Create the FINAL photorealistic live-action film still of the moment below.\n\nCAMERA & BLOCKING: the FIRST attached image is the staging frame of\nthis shot. Reproduce its camera (angle, distance, height, framing)\nand the exact placement and pose of every figure. Its drawing or\nmannequin look is ONLY a staging aid — never carry its style,\nblankness or monochrome into the output.\n\nLOCATION: the SECOND attached image is a real photograph of the\nentire filming property, and the single source of truth for how\neverything looks (building, materials, aging, colours, town).\nThis shot is taken at the \"Exterior Stair\" area of the property, by the exterior steel retrofit stair run, upper stair landing, rooftop-room building footprint — rebuild the surroundings seen by the staging camera from that exact spot of the property, consistent with the photograph.\n\nMOMENT (authoritative, Korean): 계단 중간에 서서 심하게 코를 찡그린 수리영의 얼굴 클로즈업.\nscene_heading: S#11. 옥탑 방 밖 / N\n\nCHARACTERS: replace each mannequin figure with the matching reference person, in the mannequin's exact position and pose — 수리영. Match each reference person's identity exactly (face, hair, build); dress them as the moment describes.\n\nTIME & LIGHT: only as stated by the shot text above — do not add weather, atmosphere or colour moods beyond it.\n\nWORLD FACTS (creator-confirmed / evidence-bound — always true):\n- The main building is an aged three-storey multi-family villa;\n  its roof deck sits roughly 8-10 m above the yard, with the small\n  rooftop-room unit as an extra volume on the deck.\n- The exterior stair is a later-added STEEL retrofit stair climbing\n  the full three storeys: open treads, thin steel plate stringers,\n  support posts, pipe railings. It is NOT a concrete stair.\n\nThe output image must contain ZERO annotations — no circles, no\ncodes, no letters, no numbers, no text, no signage lettering, no\narrows, no dashed lines."}
{"ts": "2026-07-09 04:02:34", "kind": "img", "engine": "gpt-image-2", "mode": "edit", "tag": "s31_final_A_S10_Shot5_sketchi2_byi2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/mannequin_first/mq_sketch_S10_Shot5_i2.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/forest_map/top2/top2_photo_fixed_nb2.png"], "size": "1536x1024", "attempt": 1, "dur_s": 160.9, "bytes": 2274840, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/mannequin_first/final_A_S10_Shot5_sketchi2_byi2.png", "prompt": "Create the FINAL photorealistic live-action film still of the moment below.\n\nCAMERA & BLOCKING: the FIRST attached image is the staging frame of\nthis shot. Reproduce its camera (angle, distance, height, framing)\nand the exact placement and pose of every figure. Its drawing or\nmannequin look is ONLY a staging aid — never carry its style,\nblankness or monochrome into the output.\n\nLOCATION: the SECOND attached image is a real photograph of the\nentire filming property, and the single source of truth for how\neverything looks (building, materials, aging, colours, town).\nThis shot is taken at the \"Rooftop Deck\" area of the property, by the landing-to-door roof path, iron entrance door, rooftop-room unit, low-angle night light-source position — rebuild the surroundings seen by the staging camera from that exact spot of the property, consistent with the photograph.\n\nMOMENT (authoritative, Korean): 철문이 미세하게 열린 틈 사이로 어두운 내부가 보이는 구도.\nscene_heading: S#10. 옥탑방 / N\n\nNo people appear unless the moment itself says so.\n\nTIME & LIGHT: only as stated by the shot text above — do not add weather, atmosphere or colour moods beyond it.\n\nWORLD FACTS (creator-confirmed / evidence-bound — always true):\n- The main building is an aged three-storey multi-family villa;\n  its roof deck sits roughly 8-10 m above the yard, with the small\n  rooftop-room unit as an extra volume on the deck.\n- The exterior stair is a later-added STEEL retrofit stair climbing\n  the full three storeys: open treads, thin steel plate stringers,\n  support posts, pipe railings. It is NOT a concrete stair.\n\nThe output image must contain ZERO annotations — no circles, no\ncodes, no letters, no numbers, no text, no signage lettering, no\narrows, no dashed lines."}
{"ts": "2026-07-09 04:02:56", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s31_final_B_S11_Shot3_photonb2_bynb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/mannequin_first/mq_photo_S11_Shot3_nb2.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/forest_map/top2/top2_photo_fixed_nb2.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/b0ad5c18-5140-4022-a2b0-805de0e5a385/images/0d30302a-51c8-4ac9-98e2-6cd9180512bf/reference/0b01920a-4b59-4e19-ba35-e6e033cbd6b4.png"], "ref_labels": ["STAGING FRAME — camera & blocking source only; never copy its style.", "LOCATION PHOTOGRAPH — the whole filming property; sole source of how everything looks.", "CHARACTER REFERENCE — 수리영: the exact person who replaces one mannequin figure."], "attempt": 1, "dur_s": 25.7, "bytes": 3038665, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/mannequin_first/final_B_S11_Shot3_photonb2_bynb2.png", "prompt": "Create the FINAL photorealistic live-action film still of the moment below.\n\nCAMERA & BLOCKING: the FIRST attached image is the staging frame of\nthis shot. Reproduce its camera (angle, distance, height, framing)\nand the exact placement and pose of every figure. Its drawing or\nmannequin look is ONLY a staging aid — never carry its style,\nblankness or monochrome into the output.\n\nLOCATION: the SECOND attached image is a real photograph of the\nentire filming property, and the single source of truth for how\neverything looks (building, materials, aging, colours, town).\nThis shot is taken at the \"Exterior Stair\" area of the property, by the exterior steel retrofit stair run, upper stair landing, rooftop-room building footprint — rebuild the surroundings seen by the staging camera from that exact spot of the property, consistent with the photograph.\n\nMOMENT (authoritative, Korean): 계단 중간에 서서 심하게 코를 찡그린 수리영의 얼굴 클로즈업.\nscene_heading: S#11. 옥탑 방 밖 / N\n\nCHARACTERS: replace each mannequin figure with the matching reference person, in the mannequin's exact position and pose — 수리영. Match each reference person's identity exactly (face, hair, build); dress them as the moment describes.\n\nTIME & LIGHT: only as stated by the shot text above — do not add weather, atmosphere or colour moods beyond it.\n\nWORLD FACTS (creator-confirmed / evidence-bound — always true):\n- The main building is an aged three-storey multi-family villa;\n  its roof deck sits roughly 8-10 m above the yard, with the small\n  rooftop-room unit as an extra volume on the deck.\n- The exterior stair is a later-added STEEL retrofit stair climbing\n  the full three storeys: open treads, thin steel plate stringers,\n  support posts, pipe railings. It is NOT a concrete stair.\n\nThe output image must contain ZERO annotations — no circles, no\ncodes, no letters, no numbers, no text, no signage lettering, no\narrows, no dashed lines."}
{"ts": "2026-07-09 04:03:16", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s31_final_A_S11_Shot4_sketchi2_bynb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/mannequin_first/mq_sketch_S11_Shot4_i2.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/forest_map/top2/top2_photo_fixed_nb2.png"], "ref_labels": ["STAGING FRAME — camera & blocking source only; never copy its style.", "LOCATION PHOTOGRAPH — the whole filming property; sole source of how everything looks."], "attempt": 1, "dur_s": 20.0, "bytes": 2483782, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/mannequin_first/final_A_S11_Shot4_sketchi2_bynb2.png", "prompt": "Create the FINAL photorealistic live-action film still of the moment below.\n\nCAMERA & BLOCKING: the FIRST attached image is the staging frame of\nthis shot. Reproduce its camera (angle, distance, height, framing)\nand the exact placement and pose of every figure. Its drawing or\nmannequin look is ONLY a staging aid — never carry its style,\nblankness or monochrome into the output.\n\nLOCATION: the SECOND attached image is a real photograph of the\nentire filming property, and the single source of truth for how\neverything looks (building, materials, aging, colours, town).\nThis shot is taken at the \"Rooftop Deck\" area of the property, by the upper stair landing, landing-to-door roof path, iron entrance door, rooftop-room unit — rebuild the surroundings seen by the staging camera from that exact spot of the property, consistent with the photograph.\n\nMOMENT (authoritative, Korean): 옥상 위, 어둠 속에 반쯤 열려 멈춰 있는 옥탑방 현관 철문의 정적 구도.\nscene_heading: S#11. 옥탑 방 밖 / N\n\nNo people appear unless the moment itself says so.\n\nTIME & LIGHT: only as stated by the shot text above — do not add weather, atmosphere or colour moods beyond it.\n\nWORLD FACTS (creator-confirmed / evidence-bound — always true):\n- The main building is an aged three-storey multi-family villa;\n  its roof deck sits roughly 8-10 m above the yard, with the small\n  rooftop-room unit as an extra volume on the deck.\n- The exterior stair is a later-added STEEL retrofit stair climbing\n  the full three storeys: open treads, thin steel plate stringers,\n  support posts, pipe railings. It is NOT a concrete stair.\n\nThe output image must contain ZERO annotations — no circles, no\ncodes, no letters, no numbers, no text, no signage lettering, no\narrows, no dashed lines."}
{"ts": "2026-07-09 04:03:38", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s31_final_A_S11_Shot4_sketchnb2_bynb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/mannequin_first/mq_sketch_S11_Shot4_nb2.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/forest_map/top2/top2_photo_fixed_nb2.png"], "ref_labels": ["STAGING FRAME — camera & blocking source only; never copy its style.", "LOCATION PHOTOGRAPH — the whole filming property; sole source of how everything looks."], "attempt": 1, "dur_s": 21.9, "bytes": 2614679, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/mannequin_first/final_A_S11_Shot4_sketchnb2_bynb2.png", "prompt": "Create the FINAL photorealistic live-action film still of the moment below.\n\nCAMERA & BLOCKING: the FIRST attached image is the staging frame of\nthis shot. Reproduce its camera (angle, distance, height, framing)\nand the exact placement and pose of every figure. Its drawing or\nmannequin look is ONLY a staging aid — never carry its style,\nblankness or monochrome into the output.\n\nLOCATION: the SECOND attached image is a real photograph of the\nentire filming property, and the single source of truth for how\neverything looks (building, materials, aging, colours, town).\nThis shot is taken at the \"Rooftop Deck\" area of the property, by the upper stair landing, landing-to-door roof path, iron entrance door, rooftop-room unit — rebuild the surroundings seen by the staging camera from that exact spot of the property, consistent with the photograph.\n\nMOMENT (authoritative, Korean): 옥상 위, 어둠 속에 반쯤 열려 멈춰 있는 옥탑방 현관 철문의 정적 구도.\nscene_heading: S#11. 옥탑 방 밖 / N\n\nNo people appear unless the moment itself says so.\n\nTIME & LIGHT: only as stated by the shot text above — do not add weather, atmosphere or colour moods beyond it.\n\nWORLD FACTS (creator-confirmed / evidence-bound — always true):\n- The main building is an aged three-storey multi-family villa;\n  its roof deck sits roughly 8-10 m above the yard, with the small\n  rooftop-room unit as an extra volume on the deck.\n- The exterior stair is a later-added STEEL retrofit stair climbing\n  the full three storeys: open treads, thin steel plate stringers,\n  support posts, pipe railings. It is NOT a concrete stair.\n\nThe output image must contain ZERO annotations — no circles, no\ncodes, no letters, no numbers, no text, no signage lettering, no\narrows, no dashed lines."}
{"ts": "2026-07-09 04:03:56", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s31_final_B_S11_Shot4_photoi2_bynb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/mannequin_first/mq_photo_S11_Shot4_i2.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/forest_map/top2/top2_photo_fixed_nb2.png"], "ref_labels": ["STAGING FRAME — camera & blocking source only; never copy its style.", "LOCATION PHOTOGRAPH — the whole filming property; sole source of how everything looks."], "attempt": 1, "dur_s": 17.8, "bytes": 2247492, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/mannequin_first/final_B_S11_Shot4_photoi2_bynb2.png", "prompt": "Create the FINAL photorealistic live-action film still of the moment below.\n\nCAMERA & BLOCKING: the FIRST attached image is the staging frame of\nthis shot. Reproduce its camera (angle, distance, height, framing)\nand the exact placement and pose of every figure. Its drawing or\nmannequin look is ONLY a staging aid — never carry its style,\nblankness or monochrome into the output.\n\nLOCATION: the SECOND attached image is a real photograph of the\nentire filming property, and the single source of truth for how\neverything looks (building, materials, aging, colours, town).\nThis shot is taken at the \"Rooftop Deck\" area of the property, by the upper stair landing, landing-to-door roof path, iron entrance door, rooftop-room unit — rebuild the surroundings seen by the staging camera from that exact spot of the property, consistent with the photograph.\n\nMOMENT (authoritative, Korean): 옥상 위, 어둠 속에 반쯤 열려 멈춰 있는 옥탑방 현관 철문의 정적 구도.\nscene_heading: S#11. 옥탑 방 밖 / N\n\nNo people appear unless the moment itself says so.\n\nTIME & LIGHT: only as stated by the shot text above — do not add weather, atmosphere or colour moods beyond it.\n\nWORLD FACTS (creator-confirmed / evidence-bound — always true):\n- The main building is an aged three-storey multi-family villa;\n  its roof deck sits roughly 8-10 m above the yard, with the small\n  rooftop-room unit as an extra volume on the deck.\n- The exterior stair is a later-added STEEL retrofit stair climbing\n  the full three storeys: open treads, thin steel plate stringers,\n  support posts, pipe railings. It is NOT a concrete stair.\n\nThe output image must contain ZERO annotations — no circles, no\ncodes, no letters, no numbers, no text, no signage lettering, no\narrows, no dashed lines."}
{"ts": "2026-07-09 04:04:18", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s31_final_B_S11_Shot4_photonb2_bynb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/mannequin_first/mq_photo_S11_Shot4_nb2.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/forest_map/top2/top2_photo_fixed_nb2.png"], "ref_labels": ["STAGING FRAME — camera & blocking source only; never copy its style.", "LOCATION PHOTOGRAPH — the whole filming property; sole source of how everything looks."], "attempt": 1, "dur_s": 22.6, "bytes": 3080473, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/mannequin_first/final_B_S11_Shot4_photonb2_bynb2.png", "prompt": "Create the FINAL photorealistic live-action film still of the moment below.\n\nCAMERA & BLOCKING: the FIRST attached image is the staging frame of\nthis shot. Reproduce its camera (angle, distance, height, framing)\nand the exact placement and pose of every figure. Its drawing or\nmannequin look is ONLY a staging aid — never carry its style,\nblankness or monochrome into the output.\n\nLOCATION: the SECOND attached image is a real photograph of the\nentire filming property, and the single source of truth for how\neverything looks (building, materials, aging, colours, town).\nThis shot is taken at the \"Rooftop Deck\" area of the property, by the upper stair landing, landing-to-door roof path, iron entrance door, rooftop-room unit — rebuild the surroundings seen by the staging camera from that exact spot of the property, consistent with the photograph.\n\nMOMENT (authoritative, Korean): 옥상 위, 어둠 속에 반쯤 열려 멈춰 있는 옥탑방 현관 철문의 정적 구도.\nscene_heading: S#11. 옥탑 방 밖 / N\n\nNo people appear unless the moment itself says so.\n\nTIME & LIGHT: only as stated by the shot text above — do not add weather, atmosphere or colour moods beyond it.\n\nWORLD FACTS (creator-confirmed / evidence-bound — always true):\n- The main building is an aged three-storey multi-family villa;\n  its roof deck sits roughly 8-10 m above the yard, with the small\n  rooftop-room unit as an extra volume on the deck.\n- The exterior stair is a later-added STEEL retrofit stair climbing\n  the full three storeys: open treads, thin steel plate stringers,\n  support posts, pipe railings. It is NOT a concrete stair.\n\nThe output image must contain ZERO annotations — no circles, no\ncodes, no letters, no numbers, no text, no signage lettering, no\narrows, no dashed lines."}
{"ts": "2026-07-09 04:04:41", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s31_final_A_S13_Shot3_sketchi2_bynb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/mannequin_first/mq_sketch_S13_Shot3_i2.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/forest_map/top2/top2_photo_fixed_nb2.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/b0ad5c18-5140-4022-a2b0-805de0e5a385/images/0d30302a-51c8-4ac9-98e2-6cd9180512bf/reference/78811b6c-4b5f-4358-aa50-cff9ffa84508.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/b0ad5c18-5140-4022-a2b0-805de0e5a385/images/0d30302a-51c8-4ac9-98e2-6cd9180512bf/reference/0b01920a-4b59-4e19-ba35-e6e033cbd6b4.png"], "ref_labels": ["STAGING FRAME — camera & blocking source only; never copy its style.", "LOCATION PHOTOGRAPH — the whole filming property; sole source of how everything looks.", "CHARACTER REFERENCE — 혜수: the exact person who replaces one mannequin figure.", "CHARACTER REFERENCE — 수리영: the exact person who replaces one mannequin figure."], "attempt": 1, "dur_s": 22.8, "bytes": 2736943, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/mannequin_first/final_A_S13_Shot3_sketchi2_bynb2.png", "prompt": "Create the FINAL photorealistic live-action film still of the moment below.\n\nCAMERA & BLOCKING: the FIRST attached image is the staging frame of\nthis shot. Reproduce its camera (angle, distance, height, framing)\nand the exact placement and pose of every figure. Its drawing or\nmannequin look is ONLY a staging aid — never carry its style,\nblankness or monochrome into the output.\n\nLOCATION: the SECOND attached image is a real photograph of the\nentire filming property, and the single source of truth for how\neverything looks (building, materials, aging, colours, town).\nThis shot is taken at the \"Alley Approach\" area of the property, by the alley approach, multi-family villa gate — rebuild the surroundings seen by the staging camera from that exact spot of the property, consistent with the photograph.\n\nMOMENT (authoritative, Korean): 차에서 내린 혜수가 초점 없는 눈으로 멍하게 서 있는 수리영을 향해 시선을 고정한 찰나의 상체.\nscene_heading: S#13. 옥탑방 외곽 / N\n\nCHARACTERS: replace each mannequin figure with the matching reference person, in the mannequin's exact position and pose — 혜수, 수리영. Match each reference person's identity exactly (face, hair, build); dress them as the moment describes.\n\nTIME & LIGHT: only as stated by the shot text above — do not add weather, atmosphere or colour moods beyond it.\n\nWORLD FACTS (creator-confirmed / evidence-bound — always true):\n- The main building is an aged three-storey multi-family villa;\n  its roof deck sits roughly 8-10 m above the yard, with the small\n  rooftop-room unit as an extra volume on the deck.\n- The exterior stair is a later-added STEEL retrofit stair climbing\n  the full three storeys: open treads, thin steel plate stringers,\n  support posts, pipe railings. It is NOT a concrete stair.\n\nThe output image must contain ZERO annotations — no circles, no\ncodes, no letters, no numbers, no text, no signage lettering, no\narrows, no dashed lines."}
{"ts": "2026-07-09 04:04:45", "kind": "img", "engine": "gpt-image-2", "mode": "edit", "tag": "s31_final_A_S13_Shot3_sketchnb2_byi2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/mannequin_first/mq_sketch_S13_Shot3_nb2.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/forest_map/top2/top2_photo_fixed_nb2.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/b0ad5c18-5140-4022-a2b0-805de0e5a385/images/0d30302a-51c8-4ac9-98e2-6cd9180512bf/reference/78811b6c-4b5f-4358-aa50-cff9ffa84508.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/b0ad5c18-5140-4022-a2b0-805de0e5a385/images/0d30302a-51c8-4ac9-98e2-6cd9180512bf/reference/0b01920a-4b59-4e19-ba35-e6e033cbd6b4.png"], "size": "1536x1024", "attempt": 1, "dur_s": 136.5, "bytes": 2284547, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/mannequin_first/final_A_S13_Shot3_sketchnb2_byi2.png", "prompt": "Create the FINAL photorealistic live-action film still of the moment below.\n\nCAMERA & BLOCKING: the FIRST attached image is the staging frame of\nthis shot. Reproduce its camera (angle, distance, height, framing)\nand the exact placement and pose of every figure. Its drawing or\nmannequin look is ONLY a staging aid — never carry its style,\nblankness or monochrome into the output.\n\nLOCATION: the SECOND attached image is a real photograph of the\nentire filming property, and the single source of truth for how\neverything looks (building, materials, aging, colours, town).\nThis shot is taken at the \"Alley Approach\" area of the property, by the alley approach, multi-family villa gate — rebuild the surroundings seen by the staging camera from that exact spot of the property, consistent with the photograph.\n\nMOMENT (authoritative, Korean): 차에서 내린 혜수가 초점 없는 눈으로 멍하게 서 있는 수리영을 향해 시선을 고정한 찰나의 상체.\nscene_heading: S#13. 옥탑방 외곽 / N\n\nCHARACTERS: replace each mannequin figure with the matching reference person, in the mannequin's exact position and pose — 혜수, 수리영. Match each reference person's identity exactly (face, hair, build); dress them as the moment describes.\n\nTIME & LIGHT: only as stated by the shot text above — do not add weather, atmosphere or colour moods beyond it.\n\nWORLD FACTS (creator-confirmed / evidence-bound — always true):\n- The main building is an aged three-storey multi-family villa;\n  its roof deck sits roughly 8-10 m above the yard, with the small\n  rooftop-room unit as an extra volume on the deck.\n- The exterior stair is a later-added STEEL retrofit stair climbing\n  the full three storeys: open treads, thin steel plate stringers,\n  support posts, pipe railings. It is NOT a concrete stair.\n\nThe output image must contain ZERO annotations — no circles, no\ncodes, no letters, no numbers, no text, no signage lettering, no\narrows, no dashed lines."}
{"ts": "2026-07-09 04:04:54", "kind": "img", "engine": "gpt-image-2", "mode": "edit", "tag": "s31_final_A_S17_Shot1_sketchnb2_byi2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/mannequin_first/mq_sketch_S17_Shot1_nb2.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/forest_map/top2/top2_photo_fixed_nb2.png"], "size": "1536x1024", "attempt": 1, "dur_s": 163.6, "bytes": 2387136, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/mannequin_first/final_A_S17_Shot1_sketchnb2_byi2.png", "prompt": "Create the FINAL photorealistic live-action film still of the moment below.\n\nCAMERA & BLOCKING: the FIRST attached image is the staging frame of\nthis shot. Reproduce its camera (angle, distance, height, framing)\nand the exact placement and pose of every figure. Its drawing or\nmannequin look is ONLY a staging aid — never carry its style,\nblankness or monochrome into the output.\n\nLOCATION: the SECOND attached image is a real photograph of the\nentire filming property, and the single source of truth for how\neverything looks (building, materials, aging, colours, town).\nThis shot is taken at the \"Rooftop Deck\" area of the property, by the rooftop-room window set, rooftop-room unit, landing-to-door roof path — rebuild the surroundings seen by the staging camera from that exact spot of the property, consistent with the photograph.\n\nMOMENT (authoritative, Korean): 짙고 푸른 안개가 깔린 새벽녘, 희미한 노란 불빛이 켜진 옥탑방 창문을 향해 검은 고양이 한 마리가 고개를 돌린 찰나의 측면.\nscene_heading: S#17. 옥탑방 / 동틀무렵\n\nNo people appear unless the moment itself says so.\n\nTIME & LIGHT: only as stated by the shot text above — do not add weather, atmosphere or colour moods beyond it.\n\nWORLD FACTS (creator-confirmed / evidence-bound — always true):\n- The main building is an aged three-storey multi-family villa;\n  its roof deck sits roughly 8-10 m above the yard, with the small\n  rooftop-room unit as an extra volume on the deck.\n- The exterior stair is a later-added STEEL retrofit stair climbing\n  the full three storeys: open treads, thin steel plate stringers,\n  support posts, pipe railings. It is NOT a concrete stair.\n\nThe output image must contain ZERO annotations — no circles, no\ncodes, no letters, no numbers, no text, no signage lettering, no\narrows, no dashed lines."}
{"ts": "2026-07-09 04:05:01", "kind": "img", "engine": "gpt-image-2", "mode": "edit", "tag": "s31_final_A_S10_Shot5_sketchnb2_byi2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/mannequin_first/mq_sketch_S10_Shot5_nb2.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/forest_map/top2/top2_photo_fixed_nb2.png"], "size": "1536x1024", "attempt": 1, "dur_s": 146.4, "bytes": 2321620, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/mannequin_first/final_A_S10_Shot5_sketchnb2_byi2.png", "prompt": "Create the FINAL photorealistic live-action film still of the moment below.\n\nCAMERA & BLOCKING: the FIRST attached image is the staging frame of\nthis shot. Reproduce its camera (angle, distance, height, framing)\nand the exact placement and pose of every figure. Its drawing or\nmannequin look is ONLY a staging aid — never carry its style,\nblankness or monochrome into the output.\n\nLOCATION: the SECOND attached image is a real photograph of the\nentire filming property, and the single source of truth for how\neverything looks (building, materials, aging, colours, town).\nThis shot is taken at the \"Rooftop Deck\" area of the property, by the landing-to-door roof path, iron entrance door, rooftop-room unit, low-angle night light-source position — rebuild the surroundings seen by the staging camera from that exact spot of the property, consistent with the photograph.\n\nMOMENT (authoritative, Korean): 철문이 미세하게 열린 틈 사이로 어두운 내부가 보이는 구도.\nscene_heading: S#10. 옥탑방 / N\n\nNo people appear unless the moment itself says so.\n\nTIME & LIGHT: only as stated by the shot text above — do not add weather, atmosphere or colour moods beyond it.\n\nWORLD FACTS (creator-confirmed / evidence-bound — always true):\n- The main building is an aged three-storey multi-family villa;\n  its roof deck sits roughly 8-10 m above the yard, with the small\n  rooftop-room unit as an extra volume on the deck.\n- The exterior stair is a later-added STEEL retrofit stair climbing\n  the full three storeys: open treads, thin steel plate stringers,\n  support posts, pipe railings. It is NOT a concrete stair.\n\nThe output image must contain ZERO annotations — no circles, no\ncodes, no letters, no numbers, no text, no signage lettering, no\narrows, no dashed lines."}
{"ts": "2026-07-09 04:05:02", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s31_final_A_S13_Shot3_sketchnb2_bynb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/mannequin_first/mq_sketch_S13_Shot3_nb2.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/forest_map/top2/top2_photo_fixed_nb2.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/b0ad5c18-5140-4022-a2b0-805de0e5a385/images/0d30302a-51c8-4ac9-98e2-6cd9180512bf/reference/78811b6c-4b5f-4358-aa50-cff9ffa84508.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/b0ad5c18-5140-4022-a2b0-805de0e5a385/images/0d30302a-51c8-4ac9-98e2-6cd9180512bf/reference/0b01920a-4b59-4e19-ba35-e6e033cbd6b4.png"], "ref_labels": ["STAGING FRAME — camera & blocking source only; never copy its style.", "LOCATION PHOTOGRAPH — the whole filming property; sole source of how everything looks.", "CHARACTER REFERENCE — 혜수: the exact person who replaces one mannequin figure.", "CHARACTER REFERENCE — 수리영: the exact person who replaces one mannequin figure."], "attempt": 1, "dur_s": 21.5, "bytes": 2963218, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/mannequin_first/final_A_S13_Shot3_sketchnb2_bynb2.png", "prompt": "Create the FINAL photorealistic live-action film still of the moment below.\n\nCAMERA & BLOCKING: the FIRST attached image is the staging frame of\nthis shot. Reproduce its camera (angle, distance, height, framing)\nand the exact placement and pose of every figure. Its drawing or\nmannequin look is ONLY a staging aid — never carry its style,\nblankness or monochrome into the output.\n\nLOCATION: the SECOND attached image is a real photograph of the\nentire filming property, and the single source of truth for how\neverything looks (building, materials, aging, colours, town).\nThis shot is taken at the \"Alley Approach\" area of the property, by the alley approach, multi-family villa gate — rebuild the surroundings seen by the staging camera from that exact spot of the property, consistent with the photograph.\n\nMOMENT (authoritative, Korean): 차에서 내린 혜수가 초점 없는 눈으로 멍하게 서 있는 수리영을 향해 시선을 고정한 찰나의 상체.\nscene_heading: S#13. 옥탑방 외곽 / N\n\nCHARACTERS: replace each mannequin figure with the matching reference person, in the mannequin's exact position and pose — 혜수, 수리영. Match each reference person's identity exactly (face, hair, build); dress them as the moment describes.\n\nTIME & LIGHT: only as stated by the shot text above — do not add weather, atmosphere or colour moods beyond it.\n\nWORLD FACTS (creator-confirmed / evidence-bound — always true):\n- The main building is an aged three-storey multi-family villa;\n  its roof deck sits roughly 8-10 m above the yard, with the small\n  rooftop-room unit as an extra volume on the deck.\n- The exterior stair is a later-added STEEL retrofit stair climbing\n  the full three storeys: open treads, thin steel plate stringers,\n  support posts, pipe railings. It is NOT a concrete stair.\n\nThe output image must contain ZERO annotations — no circles, no\ncodes, no letters, no numbers, no text, no signage lettering, no\narrows, no dashed lines."}
{"ts": "2026-07-09 04:05:24", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s31_final_B_S13_Shot3_photoi2_bynb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/mannequin_first/mq_photo_S13_Shot3_i2.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/forest_map/top2/top2_photo_fixed_nb2.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/b0ad5c18-5140-4022-a2b0-805de0e5a385/images/0d30302a-51c8-4ac9-98e2-6cd9180512bf/reference/78811b6c-4b5f-4358-aa50-cff9ffa84508.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/b0ad5c18-5140-4022-a2b0-805de0e5a385/images/0d30302a-51c8-4ac9-98e2-6cd9180512bf/reference/0b01920a-4b59-4e19-ba35-e6e033cbd6b4.png"], "ref_labels": ["STAGING FRAME — camera & blocking source only; never copy its style.", "LOCATION PHOTOGRAPH — the whole filming property; sole source of how everything looks.", "CHARACTER REFERENCE — 혜수: the exact person who replaces one mannequin figure.", "CHARACTER REFERENCE — 수리영: the exact person who replaces one mannequin figure."], "attempt": 1, "dur_s": 22.0, "bytes": 2503746, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/mannequin_first/final_B_S13_Shot3_photoi2_bynb2.png", "prompt": "Create the FINAL photorealistic live-action film still of the moment below.\n\nCAMERA & BLOCKING: the FIRST attached image is the staging frame of\nthis shot. Reproduce its camera (angle, distance, height, framing)\nand the exact placement and pose of every figure. Its drawing or\nmannequin look is ONLY a staging aid — never carry its style,\nblankness or monochrome into the output.\n\nLOCATION: the SECOND attached image is a real photograph of the\nentire filming property, and the single source of truth for how\neverything looks (building, materials, aging, colours, town).\nThis shot is taken at the \"Alley Approach\" area of the property, by the alley approach, multi-family villa gate — rebuild the surroundings seen by the staging camera from that exact spot of the property, consistent with the photograph.\n\nMOMENT (authoritative, Korean): 차에서 내린 혜수가 초점 없는 눈으로 멍하게 서 있는 수리영을 향해 시선을 고정한 찰나의 상체.\nscene_heading: S#13. 옥탑방 외곽 / N\n\nCHARACTERS: replace each mannequin figure with the matching reference person, in the mannequin's exact position and pose — 혜수, 수리영. Match each reference person's identity exactly (face, hair, build); dress them as the moment describes.\n\nTIME & LIGHT: only as stated by the shot text above — do not add weather, atmosphere or colour moods beyond it.\n\nWORLD FACTS (creator-confirmed / evidence-bound — always true):\n- The main building is an aged three-storey multi-family villa;\n  its roof deck sits roughly 8-10 m above the yard, with the small\n  rooftop-room unit as an extra volume on the deck.\n- The exterior stair is a later-added STEEL retrofit stair climbing\n  the full three storeys: open treads, thin steel plate stringers,\n  support posts, pipe railings. It is NOT a concrete stair.\n\nThe output image must contain ZERO annotations — no circles, no\ncodes, no letters, no numbers, no text, no signage lettering, no\narrows, no dashed lines."}
{"ts": "2026-07-09 04:05:46", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s31_final_B_S13_Shot3_photonb2_bynb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/mannequin_first/mq_photo_S13_Shot3_nb2.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/forest_map/top2/top2_photo_fixed_nb2.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/b0ad5c18-5140-4022-a2b0-805de0e5a385/images/0d30302a-51c8-4ac9-98e2-6cd9180512bf/reference/78811b6c-4b5f-4358-aa50-cff9ffa84508.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/b0ad5c18-5140-4022-a2b0-805de0e5a385/images/0d30302a-51c8-4ac9-98e2-6cd9180512bf/reference/0b01920a-4b59-4e19-ba35-e6e033cbd6b4.png"], "ref_labels": ["STAGING FRAME — camera & blocking source only; never copy its style.", "LOCATION PHOTOGRAPH — the whole filming property; sole source of how everything looks.", "CHARACTER REFERENCE — 혜수: the exact person who replaces one mannequin figure.", "CHARACTER REFERENCE — 수리영: the exact person who replaces one mannequin figure."], "attempt": 1, "dur_s": 21.7, "bytes": 3375663, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/mannequin_first/final_B_S13_Shot3_photonb2_bynb2.png", "prompt": "Create the FINAL photorealistic live-action film still of the moment below.\n\nCAMERA & BLOCKING: the FIRST attached image is the staging frame of\nthis shot. Reproduce its camera (angle, distance, height, framing)\nand the exact placement and pose of every figure. Its drawing or\nmannequin look is ONLY a staging aid — never carry its style,\nblankness or monochrome into the output.\n\nLOCATION: the SECOND attached image is a real photograph of the\nentire filming property, and the single source of truth for how\neverything looks (building, materials, aging, colours, town).\nThis shot is taken at the \"Alley Approach\" area of the property, by the alley approach, multi-family villa gate — rebuild the surroundings seen by the staging camera from that exact spot of the property, consistent with the photograph.\n\nMOMENT (authoritative, Korean): 차에서 내린 혜수가 초점 없는 눈으로 멍하게 서 있는 수리영을 향해 시선을 고정한 찰나의 상체.\nscene_heading: S#13. 옥탑방 외곽 / N\n\nCHARACTERS: replace each mannequin figure with the matching reference person, in the mannequin's exact position and pose — 혜수, 수리영. Match each reference person's identity exactly (face, hair, build); dress them as the moment describes.\n\nTIME & LIGHT: only as stated by the shot text above — do not add weather, atmosphere or colour moods beyond it.\n\nWORLD FACTS (creator-confirmed / evidence-bound — always true):\n- The main building is an aged three-storey multi-family villa;\n  its roof deck sits roughly 8-10 m above the yard, with the small\n  rooftop-room unit as an extra volume on the deck.\n- The exterior stair is a later-added STEEL retrofit stair climbing\n  the full three storeys: open treads, thin steel plate stringers,\n  support posts, pipe railings. It is NOT a concrete stair.\n\nThe output image must contain ZERO annotations — no circles, no\ncodes, no letters, no numbers, no text, no signage lettering, no\narrows, no dashed lines."}
{"ts": "2026-07-09 04:06:08", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s31_final_A_S13_Shot5_sketchi2_bynb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/mannequin_first/mq_sketch_S13_Shot5_i2.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/forest_map/top2/top2_photo_fixed_nb2.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/b0ad5c18-5140-4022-a2b0-805de0e5a385/images/0d30302a-51c8-4ac9-98e2-6cd9180512bf/reference/0b01920a-4b59-4e19-ba35-e6e033cbd6b4.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/b0ad5c18-5140-4022-a2b0-805de0e5a385/images/0d30302a-51c8-4ac9-98e2-6cd9180512bf/reference/78811b6c-4b5f-4358-aa50-cff9ffa84508.png"], "ref_labels": ["STAGING FRAME — camera & blocking source only; never copy its style.", "LOCATION PHOTOGRAPH — the whole filming property; sole source of how everything looks.", "CHARACTER REFERENCE — 수리영: the exact person who replaces one mannequin figure.", "CHARACTER REFERENCE — 혜수: the exact person who replaces one mannequin figure."], "attempt": 1, "dur_s": 21.5, "bytes": 2831364, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/mannequin_first/final_A_S13_Shot5_sketchi2_bynb2.png", "prompt": "Create the FINAL photorealistic live-action film still of the moment below.\n\nCAMERA & BLOCKING: the FIRST attached image is the staging frame of\nthis shot. Reproduce its camera (angle, distance, height, framing)\nand the exact placement and pose of every figure. Its drawing or\nmannequin look is ONLY a staging aid — never carry its style,\nblankness or monochrome into the output.\n\nLOCATION: the SECOND attached image is a real photograph of the\nentire filming property, and the single source of truth for how\neverything looks (building, materials, aging, colours, town).\nThis shot is taken at the \"Yard\" area of the property, by the yard, exterior steel retrofit stair run, multi-family villa gate, alley approach — rebuild the surroundings seen by the staging camera from that exact spot of the property, consistent with the photograph.\n\nMOMENT (authoritative, Korean): 수리영이 고개를 들어 혜수의 얼굴을 올려다보는 정적 구도.\nscene_heading: S#13. 옥탑방 외곽 / N\n\nCHARACTERS: replace each mannequin figure with the matching reference person, in the mannequin's exact position and pose — 수리영, 혜수. Match each reference person's identity exactly (face, hair, build); dress them as the moment describes.\n\nTIME & LIGHT: only as stated by the shot text above — do not add weather, atmosphere or colour moods beyond it.\n\nWORLD FACTS (creator-confirmed / evidence-bound — always true):\n- The main building is an aged three-storey multi-family villa;\n  its roof deck sits roughly 8-10 m above the yard, with the small\n  rooftop-room unit as an extra volume on the deck.\n- The exterior stair is a later-added STEEL retrofit stair climbing\n  the full three storeys: open treads, thin steel plate stringers,\n  support posts, pipe railings. It is NOT a concrete stair.\n\nThe output image must contain ZERO annotations — no circles, no\ncodes, no letters, no numbers, no text, no signage lettering, no\narrows, no dashed lines."}
{"ts": "2026-07-09 04:06:29", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s31_final_A_S13_Shot5_sketchnb2_bynb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/mannequin_first/mq_sketch_S13_Shot5_nb2.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/forest_map/top2/top2_photo_fixed_nb2.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/b0ad5c18-5140-4022-a2b0-805de0e5a385/images/0d30302a-51c8-4ac9-98e2-6cd9180512bf/reference/0b01920a-4b59-4e19-ba35-e6e033cbd6b4.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/b0ad5c18-5140-4022-a2b0-805de0e5a385/images/0d30302a-51c8-4ac9-98e2-6cd9180512bf/reference/78811b6c-4b5f-4358-aa50-cff9ffa84508.png"], "ref_labels": ["STAGING FRAME — camera & blocking source only; never copy its style.", "LOCATION PHOTOGRAPH — the whole filming property; sole source of how everything looks.", "CHARACTER REFERENCE — 수리영: the exact person who replaces one mannequin figure.", "CHARACTER REFERENCE — 혜수: the exact person who replaces one mannequin figure."], "attempt": 1, "dur_s": 21.2, "bytes": 2238068, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/mannequin_first/final_A_S13_Shot5_sketchnb2_bynb2.png", "prompt": "Create the FINAL photorealistic live-action film still of the moment below.\n\nCAMERA & BLOCKING: the FIRST attached image is the staging frame of\nthis shot. Reproduce its camera (angle, distance, height, framing)\nand the exact placement and pose of every figure. Its drawing or\nmannequin look is ONLY a staging aid — never carry its style,\nblankness or monochrome into the output.\n\nLOCATION: the SECOND attached image is a real photograph of the\nentire filming property, and the single source of truth for how\neverything looks (building, materials, aging, colours, town).\nThis shot is taken at the \"Yard\" area of the property, by the yard, exterior steel retrofit stair run, multi-family villa gate, alley approach — rebuild the surroundings seen by the staging camera from that exact spot of the property, consistent with the photograph.\n\nMOMENT (authoritative, Korean): 수리영이 고개를 들어 혜수의 얼굴을 올려다보는 정적 구도.\nscene_heading: S#13. 옥탑방 외곽 / N\n\nCHARACTERS: replace each mannequin figure with the matching reference person, in the mannequin's exact position and pose — 수리영, 혜수. Match each reference person's identity exactly (face, hair, build); dress them as the moment describes.\n\nTIME & LIGHT: only as stated by the shot text above — do not add weather, atmosphere or colour moods beyond it.\n\nWORLD FACTS (creator-confirmed / evidence-bound — always true):\n- The main building is an aged three-storey multi-family villa;\n  its roof deck sits roughly 8-10 m above the yard, with the small\n  rooftop-room unit as an extra volume on the deck.\n- The exterior stair is a later-added STEEL retrofit stair climbing\n  the full three storeys: open treads, thin steel plate stringers,\n  support posts, pipe railings. It is NOT a concrete stair.\n\nThe output image must contain ZERO annotations — no circles, no\ncodes, no letters, no numbers, no text, no signage lettering, no\narrows, no dashed lines."}
{"ts": "2026-07-09 04:06:54", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s31_final_B_S13_Shot5_photoi2_bynb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/mannequin_first/mq_photo_S13_Shot5_i2.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/forest_map/top2/top2_photo_fixed_nb2.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/b0ad5c18-5140-4022-a2b0-805de0e5a385/images/0d30302a-51c8-4ac9-98e2-6cd9180512bf/reference/0b01920a-4b59-4e19-ba35-e6e033cbd6b4.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/b0ad5c18-5140-4022-a2b0-805de0e5a385/images/0d30302a-51c8-4ac9-98e2-6cd9180512bf/reference/78811b6c-4b5f-4358-aa50-cff9ffa84508.png"], "ref_labels": ["STAGING FRAME — camera & blocking source only; never copy its style.", "LOCATION PHOTOGRAPH — the whole filming property; sole source of how everything looks.", "CHARACTER REFERENCE — 수리영: the exact person who replaces one mannequin figure.", "CHARACTER REFERENCE — 혜수: the exact person who replaces one mannequin figure."], "attempt": 1, "dur_s": 25.6, "bytes": 2736501, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/mannequin_first/final_B_S13_Shot5_photoi2_bynb2.png", "prompt": "Create the FINAL photorealistic live-action film still of the moment below.\n\nCAMERA & BLOCKING: the FIRST attached image is the staging frame of\nthis shot. Reproduce its camera (angle, distance, height, framing)\nand the exact placement and pose of every figure. Its drawing or\nmannequin look is ONLY a staging aid — never carry its style,\nblankness or monochrome into the output.\n\nLOCATION: the SECOND attached image is a real photograph of the\nentire filming property, and the single source of truth for how\neverything looks (building, materials, aging, colours, town).\nThis shot is taken at the \"Yard\" area of the property, by the yard, exterior steel retrofit stair run, multi-family villa gate, alley approach — rebuild the surroundings seen by the staging camera from that exact spot of the property, consistent with the photograph.\n\nMOMENT (authoritative, Korean): 수리영이 고개를 들어 혜수의 얼굴을 올려다보는 정적 구도.\nscene_heading: S#13. 옥탑방 외곽 / N\n\nCHARACTERS: replace each mannequin figure with the matching reference person, in the mannequin's exact position and pose — 수리영, 혜수. Match each reference person's identity exactly (face, hair, build); dress them as the moment describes.\n\nTIME & LIGHT: only as stated by the shot text above — do not add weather, atmosphere or colour moods beyond it.\n\nWORLD FACTS (creator-confirmed / evidence-bound — always true):\n- The main building is an aged three-storey multi-family villa;\n  its roof deck sits roughly 8-10 m above the yard, with the small\n  rooftop-room unit as an extra volume on the deck.\n- The exterior stair is a later-added STEEL retrofit stair climbing\n  the full three storeys: open treads, thin steel plate stringers,\n  support posts, pipe railings. It is NOT a concrete stair.\n\nThe output image must contain ZERO annotations — no circles, no\ncodes, no letters, no numbers, no text, no signage lettering, no\narrows, no dashed lines."}
{"ts": "2026-07-09 04:06:55", "kind": "img", "engine": "gpt-image-2", "mode": "edit", "tag": "s31_final_B_S17_Shot1_photoi2_byi2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/mannequin_first/mq_photo_S17_Shot1_i2.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/forest_map/top2/top2_photo_fixed_nb2.png"], "size": "1536x1024", "attempt": 1, "dur_s": 121.9, "bytes": 1937225, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/mannequin_first/final_B_S17_Shot1_photoi2_byi2.png", "prompt": "Create the FINAL photorealistic live-action film still of the moment below.\n\nCAMERA & BLOCKING: the FIRST attached image is the staging frame of\nthis shot. Reproduce its camera (angle, distance, height, framing)\nand the exact placement and pose of every figure. Its drawing or\nmannequin look is ONLY a staging aid — never carry its style,\nblankness or monochrome into the output.\n\nLOCATION: the SECOND attached image is a real photograph of the\nentire filming property, and the single source of truth for how\neverything looks (building, materials, aging, colours, town).\nThis shot is taken at the \"Rooftop Deck\" area of the property, by the rooftop-room window set, rooftop-room unit, landing-to-door roof path — rebuild the surroundings seen by the staging camera from that exact spot of the property, consistent with the photograph.\n\nMOMENT (authoritative, Korean): 짙고 푸른 안개가 깔린 새벽녘, 희미한 노란 불빛이 켜진 옥탑방 창문을 향해 검은 고양이 한 마리가 고개를 돌린 찰나의 측면.\nscene_heading: S#17. 옥탑방 / 동틀무렵\n\nNo people appear unless the moment itself says so.\n\nTIME & LIGHT: only as stated by the shot text above — do not add weather, atmosphere or colour moods beyond it.\n\nWORLD FACTS (creator-confirmed / evidence-bound — always true):\n- The main building is an aged three-storey multi-family villa;\n  its roof deck sits roughly 8-10 m above the yard, with the small\n  rooftop-room unit as an extra volume on the deck.\n- The exterior stair is a later-added STEEL retrofit stair climbing\n  the full three storeys: open treads, thin steel plate stringers,\n  support posts, pipe railings. It is NOT a concrete stair.\n\nThe output image must contain ZERO annotations — no circles, no\ncodes, no letters, no numbers, no text, no signage lettering, no\narrows, no dashed lines."}
{"ts": "2026-07-09 04:07:14", "kind": "img", "engine": "gpt-image-2", "mode": "edit", "tag": "s31_final_B_S13_Shot3_photoi2_byi2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/mannequin_first/mq_photo_S13_Shot3_i2.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/forest_map/top2/top2_photo_fixed_nb2.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/b0ad5c18-5140-4022-a2b0-805de0e5a385/images/0d30302a-51c8-4ac9-98e2-6cd9180512bf/reference/78811b6c-4b5f-4358-aa50-cff9ffa84508.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/b0ad5c18-5140-4022-a2b0-805de0e5a385/images/0d30302a-51c8-4ac9-98e2-6cd9180512bf/reference/0b01920a-4b59-4e19-ba35-e6e033cbd6b4.png"], "size": "1536x1024", "attempt": 1, "dur_s": 149.6, "bytes": 2080369, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/mannequin_first/final_B_S13_Shot3_photoi2_byi2.png", "prompt": "Create the FINAL photorealistic live-action film still of the moment below.\n\nCAMERA & BLOCKING: the FIRST attached image is the staging frame of\nthis shot. Reproduce its camera (angle, distance, height, framing)\nand the exact placement and pose of every figure. Its drawing or\nmannequin look is ONLY a staging aid — never carry its style,\nblankness or monochrome into the output.\n\nLOCATION: the SECOND attached image is a real photograph of the\nentire filming property, and the single source of truth for how\neverything looks (building, materials, aging, colours, town).\nThis shot is taken at the \"Alley Approach\" area of the property, by the alley approach, multi-family villa gate — rebuild the surroundings seen by the staging camera from that exact spot of the property, consistent with the photograph.\n\nMOMENT (authoritative, Korean): 차에서 내린 혜수가 초점 없는 눈으로 멍하게 서 있는 수리영을 향해 시선을 고정한 찰나의 상체.\nscene_heading: S#13. 옥탑방 외곽 / N\n\nCHARACTERS: replace each mannequin figure with the matching reference person, in the mannequin's exact position and pose — 혜수, 수리영. Match each reference person's identity exactly (face, hair, build); dress them as the moment describes.\n\nTIME & LIGHT: only as stated by the shot text above — do not add weather, atmosphere or colour moods beyond it.\n\nWORLD FACTS (creator-confirmed / evidence-bound — always true):\n- The main building is an aged three-storey multi-family villa;\n  its roof deck sits roughly 8-10 m above the yard, with the small\n  rooftop-room unit as an extra volume on the deck.\n- The exterior stair is a later-added STEEL retrofit stair climbing\n  the full three storeys: open treads, thin steel plate stringers,\n  support posts, pipe railings. It is NOT a concrete stair.\n\nThe output image must contain ZERO annotations — no circles, no\ncodes, no letters, no numbers, no text, no signage lettering, no\narrows, no dashed lines."}
{"ts": "2026-07-09 04:07:17", "kind": "img", "engine": "gpt-image-2", "mode": "edit", "tag": "s31_final_B_S10_Shot5_photoi2_byi2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/mannequin_first/mq_photo_S10_Shot5_i2.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/forest_map/top2/top2_photo_fixed_nb2.png"], "size": "1536x1024", "attempt": 1, "dur_s": 136.7, "bytes": 2024508, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/mannequin_first/final_B_S10_Shot5_photoi2_byi2.png", "prompt": "Create the FINAL photorealistic live-action film still of the moment below.\n\nCAMERA & BLOCKING: the FIRST attached image is the staging frame of\nthis shot. Reproduce its camera (angle, distance, height, framing)\nand the exact placement and pose of every figure. Its drawing or\nmannequin look is ONLY a staging aid — never carry its style,\nblankness or monochrome into the output.\n\nLOCATION: the SECOND attached image is a real photograph of the\nentire filming property, and the single source of truth for how\neverything looks (building, materials, aging, colours, town).\nThis shot is taken at the \"Rooftop Deck\" area of the property, by the landing-to-door roof path, iron entrance door, rooftop-room unit, low-angle night light-source position — rebuild the surroundings seen by the staging camera from that exact spot of the property, consistent with the photograph.\n\nMOMENT (authoritative, Korean): 철문이 미세하게 열린 틈 사이로 어두운 내부가 보이는 구도.\nscene_heading: S#10. 옥탑방 / N\n\nNo people appear unless the moment itself says so.\n\nTIME & LIGHT: only as stated by the shot text above — do not add weather, atmosphere or colour moods beyond it.\n\nWORLD FACTS (creator-confirmed / evidence-bound — always true):\n- The main building is an aged three-storey multi-family villa;\n  its roof deck sits roughly 8-10 m above the yard, with the small\n  rooftop-room unit as an extra volume on the deck.\n- The exterior stair is a later-added STEEL retrofit stair climbing\n  the full three storeys: open treads, thin steel plate stringers,\n  support posts, pipe railings. It is NOT a concrete stair.\n\nThe output image must contain ZERO annotations — no circles, no\ncodes, no letters, no numbers, no text, no signage lettering, no\narrows, no dashed lines."}
{"ts": "2026-07-09 04:07:23", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s31_final_B_S13_Shot5_photonb2_bynb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/mannequin_first/mq_photo_S13_Shot5_nb2.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/forest_map/top2/top2_photo_fixed_nb2.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/b0ad5c18-5140-4022-a2b0-805de0e5a385/images/0d30302a-51c8-4ac9-98e2-6cd9180512bf/reference/0b01920a-4b59-4e19-ba35-e6e033cbd6b4.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/b0ad5c18-5140-4022-a2b0-805de0e5a385/images/0d30302a-51c8-4ac9-98e2-6cd9180512bf/reference/78811b6c-4b5f-4358-aa50-cff9ffa84508.png"], "ref_labels": ["STAGING FRAME — camera & blocking source only; never copy its style.", "LOCATION PHOTOGRAPH — the whole filming property; sole source of how everything looks.", "CHARACTER REFERENCE — 수리영: the exact person who replaces one mannequin figure.", "CHARACTER REFERENCE — 혜수: the exact person who replaces one mannequin figure."], "attempt": 1, "dur_s": 28.4, "bytes": 3095927, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/mannequin_first/final_B_S13_Shot5_photonb2_bynb2.png", "prompt": "Create the FINAL photorealistic live-action film still of the moment below.\n\nCAMERA & BLOCKING: the FIRST attached image is the staging frame of\nthis shot. Reproduce its camera (angle, distance, height, framing)\nand the exact placement and pose of every figure. Its drawing or\nmannequin look is ONLY a staging aid — never carry its style,\nblankness or monochrome into the output.\n\nLOCATION: the SECOND attached image is a real photograph of the\nentire filming property, and the single source of truth for how\neverything looks (building, materials, aging, colours, town).\nThis shot is taken at the \"Yard\" area of the property, by the yard, exterior steel retrofit stair run, multi-family villa gate, alley approach — rebuild the surroundings seen by the staging camera from that exact spot of the property, consistent with the photograph.\n\nMOMENT (authoritative, Korean): 수리영이 고개를 들어 혜수의 얼굴을 올려다보는 정적 구도.\nscene_heading: S#13. 옥탑방 외곽 / N\n\nCHARACTERS: replace each mannequin figure with the matching reference person, in the mannequin's exact position and pose — 수리영, 혜수. Match each reference person's identity exactly (face, hair, build); dress them as the moment describes.\n\nTIME & LIGHT: only as stated by the shot text above — do not add weather, atmosphere or colour moods beyond it.\n\nWORLD FACTS (creator-confirmed / evidence-bound — always true):\n- The main building is an aged three-storey multi-family villa;\n  its roof deck sits roughly 8-10 m above the yard, with the small\n  rooftop-room unit as an extra volume on the deck.\n- The exterior stair is a later-added STEEL retrofit stair climbing\n  the full three storeys: open treads, thin steel plate stringers,\n  support posts, pipe railings. It is NOT a concrete stair.\n\nThe output image must contain ZERO annotations — no circles, no\ncodes, no letters, no numbers, no text, no signage lettering, no\narrows, no dashed lines."}
{"ts": "2026-07-09 04:07:44", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s31_final_A_S17_Shot1_sketchi2_bynb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/mannequin_first/mq_sketch_S17_Shot1_i2.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/forest_map/top2/top2_photo_fixed_nb2.png"], "ref_labels": ["STAGING FRAME — camera & blocking source only; never copy its style.", "LOCATION PHOTOGRAPH — the whole filming property; sole source of how everything looks."], "attempt": 1, "dur_s": 20.9, "bytes": 2647409, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/mannequin_first/final_A_S17_Shot1_sketchi2_bynb2.png", "prompt": "Create the FINAL photorealistic live-action film still of the moment below.\n\nCAMERA & BLOCKING: the FIRST attached image is the staging frame of\nthis shot. Reproduce its camera (angle, distance, height, framing)\nand the exact placement and pose of every figure. Its drawing or\nmannequin look is ONLY a staging aid — never carry its style,\nblankness or monochrome into the output.\n\nLOCATION: the SECOND attached image is a real photograph of the\nentire filming property, and the single source of truth for how\neverything looks (building, materials, aging, colours, town).\nThis shot is taken at the \"Rooftop Deck\" area of the property, by the rooftop-room window set, rooftop-room unit, landing-to-door roof path — rebuild the surroundings seen by the staging camera from that exact spot of the property, consistent with the photograph.\n\nMOMENT (authoritative, Korean): 짙고 푸른 안개가 깔린 새벽녘, 희미한 노란 불빛이 켜진 옥탑방 창문을 향해 검은 고양이 한 마리가 고개를 돌린 찰나의 측면.\nscene_heading: S#17. 옥탑방 / 동틀무렵\n\nNo people appear unless the moment itself says so.\n\nTIME & LIGHT: only as stated by the shot text above — do not add weather, atmosphere or colour moods beyond it.\n\nWORLD FACTS (creator-confirmed / evidence-bound — always true):\n- The main building is an aged three-storey multi-family villa;\n  its roof deck sits roughly 8-10 m above the yard, with the small\n  rooftop-room unit as an extra volume on the deck.\n- The exterior stair is a later-added STEEL retrofit stair climbing\n  the full three storeys: open treads, thin steel plate stringers,\n  support posts, pipe railings. It is NOT a concrete stair.\n\nThe output image must contain ZERO annotations — no circles, no\ncodes, no letters, no numbers, no text, no signage lettering, no\narrows, no dashed lines."}
{"ts": "2026-07-09 04:08:05", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s31_final_A_S17_Shot1_sketchnb2_bynb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/mannequin_first/mq_sketch_S17_Shot1_nb2.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/forest_map/top2/top2_photo_fixed_nb2.png"], "ref_labels": ["STAGING FRAME — camera & blocking source only; never copy its style.", "LOCATION PHOTOGRAPH — the whole filming property; sole source of how everything looks."], "attempt": 1, "dur_s": 21.5, "bytes": 2732494, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/mannequin_first/final_A_S17_Shot1_sketchnb2_bynb2.png", "prompt": "Create the FINAL photorealistic live-action film still of the moment below.\n\nCAMERA & BLOCKING: the FIRST attached image is the staging frame of\nthis shot. Reproduce its camera (angle, distance, height, framing)\nand the exact placement and pose of every figure. Its drawing or\nmannequin look is ONLY a staging aid — never carry its style,\nblankness or monochrome into the output.\n\nLOCATION: the SECOND attached image is a real photograph of the\nentire filming property, and the single source of truth for how\neverything looks (building, materials, aging, colours, town).\nThis shot is taken at the \"Rooftop Deck\" area of the property, by the rooftop-room window set, rooftop-room unit, landing-to-door roof path — rebuild the surroundings seen by the staging camera from that exact spot of the property, consistent with the photograph.\n\nMOMENT (authoritative, Korean): 짙고 푸른 안개가 깔린 새벽녘, 희미한 노란 불빛이 켜진 옥탑방 창문을 향해 검은 고양이 한 마리가 고개를 돌린 찰나의 측면.\nscene_heading: S#17. 옥탑방 / 동틀무렵\n\nNo people appear unless the moment itself says so.\n\nTIME & LIGHT: only as stated by the shot text above — do not add weather, atmosphere or colour moods beyond it.\n\nWORLD FACTS (creator-confirmed / evidence-bound — always true):\n- The main building is an aged three-storey multi-family villa;\n  its roof deck sits roughly 8-10 m above the yard, with the small\n  rooftop-room unit as an extra volume on the deck.\n- The exterior stair is a later-added STEEL retrofit stair climbing\n  the full three storeys: open treads, thin steel plate stringers,\n  support posts, pipe railings. It is NOT a concrete stair.\n\nThe output image must contain ZERO annotations — no circles, no\ncodes, no letters, no numbers, no text, no signage lettering, no\narrows, no dashed lines."}
{"ts": "2026-07-09 04:08:26", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s31_final_B_S17_Shot1_photoi2_bynb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/mannequin_first/mq_photo_S17_Shot1_i2.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/forest_map/top2/top2_photo_fixed_nb2.png"], "ref_labels": ["STAGING FRAME — camera & blocking source only; never copy its style.", "LOCATION PHOTOGRAPH — the whole filming property; sole source of how everything looks."], "attempt": 1, "dur_s": 21.3, "bytes": 2197364, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/mannequin_first/final_B_S17_Shot1_photoi2_bynb2.png", "prompt": "Create the FINAL photorealistic live-action film still of the moment below.\n\nCAMERA & BLOCKING: the FIRST attached image is the staging frame of\nthis shot. Reproduce its camera (angle, distance, height, framing)\nand the exact placement and pose of every figure. Its drawing or\nmannequin look is ONLY a staging aid — never carry its style,\nblankness or monochrome into the output.\n\nLOCATION: the SECOND attached image is a real photograph of the\nentire filming property, and the single source of truth for how\neverything looks (building, materials, aging, colours, town).\nThis shot is taken at the \"Rooftop Deck\" area of the property, by the rooftop-room window set, rooftop-room unit, landing-to-door roof path — rebuild the surroundings seen by the staging camera from that exact spot of the property, consistent with the photograph.\n\nMOMENT (authoritative, Korean): 짙고 푸른 안개가 깔린 새벽녘, 희미한 노란 불빛이 켜진 옥탑방 창문을 향해 검은 고양이 한 마리가 고개를 돌린 찰나의 측면.\nscene_heading: S#17. 옥탑방 / 동틀무렵\n\nNo people appear unless the moment itself says so.\n\nTIME & LIGHT: only as stated by the shot text above — do not add weather, atmosphere or colour moods beyond it.\n\nWORLD FACTS (creator-confirmed / evidence-bound — always true):\n- The main building is an aged three-storey multi-family villa;\n  its roof deck sits roughly 8-10 m above the yard, with the small\n  rooftop-room unit as an extra volume on the deck.\n- The exterior stair is a later-added STEEL retrofit stair climbing\n  the full three storeys: open treads, thin steel plate stringers,\n  support posts, pipe railings. It is NOT a concrete stair.\n\nThe output image must contain ZERO annotations — no circles, no\ncodes, no letters, no numbers, no text, no signage lettering, no\narrows, no dashed lines."}
{"ts": "2026-07-09 04:08:45", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s31_final_B_S17_Shot1_photonb2_bynb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/mannequin_first/mq_photo_S17_Shot1_nb2.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/forest_map/top2/top2_photo_fixed_nb2.png"], "ref_labels": ["STAGING FRAME — camera & blocking source only; never copy its style.", "LOCATION PHOTOGRAPH — the whole filming property; sole source of how everything looks."], "attempt": 1, "dur_s": 18.7, "bytes": 3082038, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/mannequin_first/final_B_S17_Shot1_photonb2_bynb2.png", "prompt": "Create the FINAL photorealistic live-action film still of the moment below.\n\nCAMERA & BLOCKING: the FIRST attached image is the staging frame of\nthis shot. Reproduce its camera (angle, distance, height, framing)\nand the exact placement and pose of every figure. Its drawing or\nmannequin look is ONLY a staging aid — never carry its style,\nblankness or monochrome into the output.\n\nLOCATION: the SECOND attached image is a real photograph of the\nentire filming property, and the single source of truth for how\neverything looks (building, materials, aging, colours, town).\nThis shot is taken at the \"Rooftop Deck\" area of the property, by the rooftop-room window set, rooftop-room unit, landing-to-door roof path — rebuild the surroundings seen by the staging camera from that exact spot of the property, consistent with the photograph.\n\nMOMENT (authoritative, Korean): 짙고 푸른 안개가 깔린 새벽녘, 희미한 노란 불빛이 켜진 옥탑방 창문을 향해 검은 고양이 한 마리가 고개를 돌린 찰나의 측면.\nscene_heading: S#17. 옥탑방 / 동틀무렵\n\nNo people appear unless the moment itself says so.\n\nTIME & LIGHT: only as stated by the shot text above — do not add weather, atmosphere or colour moods beyond it.\n\nWORLD FACTS (creator-confirmed / evidence-bound — always true):\n- The main building is an aged three-storey multi-family villa;\n  its roof deck sits roughly 8-10 m above the yard, with the small\n  rooftop-room unit as an extra volume on the deck.\n- The exterior stair is a later-added STEEL retrofit stair climbing\n  the full three storeys: open treads, thin steel plate stringers,\n  support posts, pipe railings. It is NOT a concrete stair.\n\nThe output image must contain ZERO annotations — no circles, no\ncodes, no letters, no numbers, no text, no signage lettering, no\narrows, no dashed lines."}
{"ts": "2026-07-09 04:09:17", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s31_final_A_S4_Shot1_sketchi2_bynb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/mannequin_first/mq_sketch_S4_Shot1_i2.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/forest_map/top2/top2_photo_fixed_nb2.png"], "ref_labels": ["STAGING FRAME — camera & blocking source only; never copy its style.", "LOCATION PHOTOGRAPH — the whole filming property; sole source of how everything looks."], "attempt": 1, "dur_s": 32.2, "bytes": 3251846, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/mannequin_first/final_A_S4_Shot1_sketchi2_bynb2.png", "prompt": "Create the FINAL photorealistic live-action film still of the moment below.\n\nCAMERA & BLOCKING: the FIRST attached image is the staging frame of\nthis shot. Reproduce its camera (angle, distance, height, framing)\nand the exact placement and pose of every figure. Its drawing or\nmannequin look is ONLY a staging aid — never carry its style,\nblankness or monochrome into the output.\n\nLOCATION: the SECOND attached image is a real photograph of the\nentire filming property, and the single source of truth for how\neverything looks (building, materials, aging, colours, town).\nThis shot is taken at the \"Rooftop Deck\" area of the property, by the rooftop-room unit, iron entrance door, rooftop-room window set, landing-to-door roof path, upper stair landing, exterior steel retrofit stair run, rooftop-room building footprint, yard, multi-family villa gate, alley approach, secluded bicycle corner, water tank, clothesline, wooden drying bench with dried leaves — rebuild the surroundings seen by the staging camera from that exact spot of the property, consistent with the photograph.\n\nMOMENT (authoritative, Korean): 인천 변두리의 낡고 오래된 빌라 옥탑방 외부 전경이 한눈에 내려다보이는 부감 구도.\nscene_heading: S#4. 옥탑방 / D\n\nNo people appear unless the moment itself says so.\n\nTIME & LIGHT: only as stated by the shot text above — do not add weather, atmosphere or colour moods beyond it.\n\nWORLD FACTS (creator-confirmed / evidence-bound — always true):\n- The main building is an aged three-storey multi-family villa;\n  its roof deck sits roughly 8-10 m above the yard, with the small\n  rooftop-room unit as an extra volume on the deck.\n- The exterior stair is a later-added STEEL retrofit stair climbing\n  the full three storeys: open treads, thin steel plate stringers,\n  support posts, pipe railings. It is NOT a concrete stair.\n\nThe output image must contain ZERO annotations — no circles, no\ncodes, no letters, no numbers, no text, no signage lettering, no\narrows, no dashed lines."}
{"ts": "2026-07-09 04:09:23", "kind": "img", "engine": "gpt-image-2", "mode": "edit", "tag": "s31_final_B_S17_Shot1_photonb2_byi2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/mannequin_first/mq_photo_S17_Shot1_nb2.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/forest_map/top2/top2_photo_fixed_nb2.png"], "size": "1536x1024", "attempt": 1, "dur_s": 147.9, "bytes": 2308041, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/mannequin_first/final_B_S17_Shot1_photonb2_byi2.png", "prompt": "Create the FINAL photorealistic live-action film still of the moment below.\n\nCAMERA & BLOCKING: the FIRST attached image is the staging frame of\nthis shot. Reproduce its camera (angle, distance, height, framing)\nand the exact placement and pose of every figure. Its drawing or\nmannequin look is ONLY a staging aid — never carry its style,\nblankness or monochrome into the output.\n\nLOCATION: the SECOND attached image is a real photograph of the\nentire filming property, and the single source of truth for how\neverything looks (building, materials, aging, colours, town).\nThis shot is taken at the \"Rooftop Deck\" area of the property, by the rooftop-room window set, rooftop-room unit, landing-to-door roof path — rebuild the surroundings seen by the staging camera from that exact spot of the property, consistent with the photograph.\n\nMOMENT (authoritative, Korean): 짙고 푸른 안개가 깔린 새벽녘, 희미한 노란 불빛이 켜진 옥탑방 창문을 향해 검은 고양이 한 마리가 고개를 돌린 찰나의 측면.\nscene_heading: S#17. 옥탑방 / 동틀무렵\n\nNo people appear unless the moment itself says so.\n\nTIME & LIGHT: only as stated by the shot text above — do not add weather, atmosphere or colour moods beyond it.\n\nWORLD FACTS (creator-confirmed / evidence-bound — always true):\n- The main building is an aged three-storey multi-family villa;\n  its roof deck sits roughly 8-10 m above the yard, with the small\n  rooftop-room unit as an extra volume on the deck.\n- The exterior stair is a later-added STEEL retrofit stair climbing\n  the full three storeys: open treads, thin steel plate stringers,\n  support posts, pipe railings. It is NOT a concrete stair.\n\nThe output image must contain ZERO annotations — no circles, no\ncodes, no letters, no numbers, no text, no signage lettering, no\narrows, no dashed lines."}
{"ts": "2026-07-09 04:09:29", "kind": "img", "engine": "gpt-image-2", "mode": "edit", "tag": "s31_final_B_S10_Shot5_photonb2_byi2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/mannequin_first/mq_photo_S10_Shot5_nb2.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/forest_map/top2/top2_photo_fixed_nb2.png"], "size": "1536x1024", "attempt": 1, "dur_s": 132.0, "bytes": 2299143, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/mannequin_first/final_B_S10_Shot5_photonb2_byi2.png", "prompt": "Create the FINAL photorealistic live-action film still of the moment below.\n\nCAMERA & BLOCKING: the FIRST attached image is the staging frame of\nthis shot. Reproduce its camera (angle, distance, height, framing)\nand the exact placement and pose of every figure. Its drawing or\nmannequin look is ONLY a staging aid — never carry its style,\nblankness or monochrome into the output.\n\nLOCATION: the SECOND attached image is a real photograph of the\nentire filming property, and the single source of truth for how\neverything looks (building, materials, aging, colours, town).\nThis shot is taken at the \"Rooftop Deck\" area of the property, by the landing-to-door roof path, iron entrance door, rooftop-room unit, low-angle night light-source position — rebuild the surroundings seen by the staging camera from that exact spot of the property, consistent with the photograph.\n\nMOMENT (authoritative, Korean): 철문이 미세하게 열린 틈 사이로 어두운 내부가 보이는 구도.\nscene_heading: S#10. 옥탑방 / N\n\nNo people appear unless the moment itself says so.\n\nTIME & LIGHT: only as stated by the shot text above — do not add weather, atmosphere or colour moods beyond it.\n\nWORLD FACTS (creator-confirmed / evidence-bound — always true):\n- The main building is an aged three-storey multi-family villa;\n  its roof deck sits roughly 8-10 m above the yard, with the small\n  rooftop-room unit as an extra volume on the deck.\n- The exterior stair is a later-added STEEL retrofit stair climbing\n  the full three storeys: open treads, thin steel plate stringers,\n  support posts, pipe railings. It is NOT a concrete stair.\n\nThe output image must contain ZERO annotations — no circles, no\ncodes, no letters, no numbers, no text, no signage lettering, no\narrows, no dashed lines."}
{"ts": "2026-07-09 04:09:40", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s31_final_A_S4_Shot1_sketchnb2_bynb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/mannequin_first/mq_sketch_S4_Shot1_nb2.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/forest_map/top2/top2_photo_fixed_nb2.png"], "ref_labels": ["STAGING FRAME — camera & blocking source only; never copy its style.", "LOCATION PHOTOGRAPH — the whole filming property; sole source of how everything looks."], "attempt": 1, "dur_s": 22.2, "bytes": 3472857, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/mannequin_first/final_A_S4_Shot1_sketchnb2_bynb2.png", "prompt": "Create the FINAL photorealistic live-action film still of the moment below.\n\nCAMERA & BLOCKING: the FIRST attached image is the staging frame of\nthis shot. Reproduce its camera (angle, distance, height, framing)\nand the exact placement and pose of every figure. Its drawing or\nmannequin look is ONLY a staging aid — never carry its style,\nblankness or monochrome into the output.\n\nLOCATION: the SECOND attached image is a real photograph of the\nentire filming property, and the single source of truth for how\neverything looks (building, materials, aging, colours, town).\nThis shot is taken at the \"Rooftop Deck\" area of the property, by the rooftop-room unit, iron entrance door, rooftop-room window set, landing-to-door roof path, upper stair landing, exterior steel retrofit stair run, rooftop-room building footprint, yard, multi-family villa gate, alley approach, secluded bicycle corner, water tank, clothesline, wooden drying bench with dried leaves — rebuild the surroundings seen by the staging camera from that exact spot of the property, consistent with the photograph.\n\nMOMENT (authoritative, Korean): 인천 변두리의 낡고 오래된 빌라 옥탑방 외부 전경이 한눈에 내려다보이는 부감 구도.\nscene_heading: S#4. 옥탑방 / D\n\nNo people appear unless the moment itself says so.\n\nTIME & LIGHT: only as stated by the shot text above — do not add weather, atmosphere or colour moods beyond it.\n\nWORLD FACTS (creator-confirmed / evidence-bound — always true):\n- The main building is an aged three-storey multi-family villa;\n  its roof deck sits roughly 8-10 m above the yard, with the small\n  rooftop-room unit as an extra volume on the deck.\n- The exterior stair is a later-added STEEL retrofit stair climbing\n  the full three storeys: open treads, thin steel plate stringers,\n  support posts, pipe railings. It is NOT a concrete stair.\n\nThe output image must contain ZERO annotations — no circles, no\ncodes, no letters, no numbers, no text, no signage lettering, no\narrows, no dashed lines."}
{"ts": "2026-07-09 04:10:00", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s31_final_B_S4_Shot1_photoi2_bynb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/mannequin_first/mq_photo_S4_Shot1_i2.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/forest_map/top2/top2_photo_fixed_nb2.png"], "ref_labels": ["STAGING FRAME — camera & blocking source only; never copy its style.", "LOCATION PHOTOGRAPH — the whole filming property; sole source of how everything looks."], "attempt": 1, "dur_s": 20.9, "bytes": 3423148, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/mannequin_first/final_B_S4_Shot1_photoi2_bynb2.png", "prompt": "Create the FINAL photorealistic live-action film still of the moment below.\n\nCAMERA & BLOCKING: the FIRST attached image is the staging frame of\nthis shot. Reproduce its camera (angle, distance, height, framing)\nand the exact placement and pose of every figure. Its drawing or\nmannequin look is ONLY a staging aid — never carry its style,\nblankness or monochrome into the output.\n\nLOCATION: the SECOND attached image is a real photograph of the\nentire filming property, and the single source of truth for how\neverything looks (building, materials, aging, colours, town).\nThis shot is taken at the \"Rooftop Deck\" area of the property, by the rooftop-room unit, iron entrance door, rooftop-room window set, landing-to-door roof path, upper stair landing, exterior steel retrofit stair run, rooftop-room building footprint, yard, multi-family villa gate, alley approach, secluded bicycle corner, water tank, clothesline, wooden drying bench with dried leaves — rebuild the surroundings seen by the staging camera from that exact spot of the property, consistent with the photograph.\n\nMOMENT (authoritative, Korean): 인천 변두리의 낡고 오래된 빌라 옥탑방 외부 전경이 한눈에 내려다보이는 부감 구도.\nscene_heading: S#4. 옥탑방 / D\n\nNo people appear unless the moment itself says so.\n\nTIME & LIGHT: only as stated by the shot text above — do not add weather, atmosphere or colour moods beyond it.\n\nWORLD FACTS (creator-confirmed / evidence-bound — always true):\n- The main building is an aged three-storey multi-family villa;\n  its roof deck sits roughly 8-10 m above the yard, with the small\n  rooftop-room unit as an extra volume on the deck.\n- The exterior stair is a later-added STEEL retrofit stair climbing\n  the full three storeys: open treads, thin steel plate stringers,\n  support posts, pipe railings. It is NOT a concrete stair.\n\nThe output image must contain ZERO annotations — no circles, no\ncodes, no letters, no numbers, no text, no signage lettering, no\narrows, no dashed lines."}
{"ts": "2026-07-09 04:10:03", "kind": "img", "engine": "gpt-image-2", "mode": "edit", "tag": "s31_final_B_S13_Shot3_photonb2_byi2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/mannequin_first/mq_photo_S13_Shot3_nb2.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/forest_map/top2/top2_photo_fixed_nb2.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/b0ad5c18-5140-4022-a2b0-805de0e5a385/images/0d30302a-51c8-4ac9-98e2-6cd9180512bf/reference/78811b6c-4b5f-4358-aa50-cff9ffa84508.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/b0ad5c18-5140-4022-a2b0-805de0e5a385/images/0d30302a-51c8-4ac9-98e2-6cd9180512bf/reference/0b01920a-4b59-4e19-ba35-e6e033cbd6b4.png"], "size": "1536x1024", "attempt": 1, "dur_s": 169.2, "bytes": 2398608, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/mannequin_first/final_B_S13_Shot3_photonb2_byi2.png", "prompt": "Create the FINAL photorealistic live-action film still of the moment below.\n\nCAMERA & BLOCKING: the FIRST attached image is the staging frame of\nthis shot. Reproduce its camera (angle, distance, height, framing)\nand the exact placement and pose of every figure. Its drawing or\nmannequin look is ONLY a staging aid — never carry its style,\nblankness or monochrome into the output.\n\nLOCATION: the SECOND attached image is a real photograph of the\nentire filming property, and the single source of truth for how\neverything looks (building, materials, aging, colours, town).\nThis shot is taken at the \"Alley Approach\" area of the property, by the alley approach, multi-family villa gate — rebuild the surroundings seen by the staging camera from that exact spot of the property, consistent with the photograph.\n\nMOMENT (authoritative, Korean): 차에서 내린 혜수가 초점 없는 눈으로 멍하게 서 있는 수리영을 향해 시선을 고정한 찰나의 상체.\nscene_heading: S#13. 옥탑방 외곽 / N\n\nCHARACTERS: replace each mannequin figure with the matching reference person, in the mannequin's exact position and pose — 혜수, 수리영. Match each reference person's identity exactly (face, hair, build); dress them as the moment describes.\n\nTIME & LIGHT: only as stated by the shot text above — do not add weather, atmosphere or colour moods beyond it.\n\nWORLD FACTS (creator-confirmed / evidence-bound — always true):\n- The main building is an aged three-storey multi-family villa;\n  its roof deck sits roughly 8-10 m above the yard, with the small\n  rooftop-room unit as an extra volume on the deck.\n- The exterior stair is a later-added STEEL retrofit stair climbing\n  the full three storeys: open treads, thin steel plate stringers,\n  support posts, pipe railings. It is NOT a concrete stair.\n\nThe output image must contain ZERO annotations — no circles, no\ncodes, no letters, no numbers, no text, no signage lettering, no\narrows, no dashed lines."}
{"ts": "2026-07-09 04:10:22", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s31_final_B_S4_Shot1_photonb2_bynb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/mannequin_first/mq_photo_S4_Shot1_nb2.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/forest_map/top2/top2_photo_fixed_nb2.png"], "ref_labels": ["STAGING FRAME — camera & blocking source only; never copy its style.", "LOCATION PHOTOGRAPH — the whole filming property; sole source of how everything looks."], "attempt": 1, "dur_s": 21.5, "bytes": 3752846, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/mannequin_first/final_B_S4_Shot1_photonb2_bynb2.png", "prompt": "Create the FINAL photorealistic live-action film still of the moment below.\n\nCAMERA & BLOCKING: the FIRST attached image is the staging frame of\nthis shot. Reproduce its camera (angle, distance, height, framing)\nand the exact placement and pose of every figure. Its drawing or\nmannequin look is ONLY a staging aid — never carry its style,\nblankness or monochrome into the output.\n\nLOCATION: the SECOND attached image is a real photograph of the\nentire filming property, and the single source of truth for how\neverything looks (building, materials, aging, colours, town).\nThis shot is taken at the \"Rooftop Deck\" area of the property, by the rooftop-room unit, iron entrance door, rooftop-room window set, landing-to-door roof path, upper stair landing, exterior steel retrofit stair run, rooftop-room building footprint, yard, multi-family villa gate, alley approach, secluded bicycle corner, water tank, clothesline, wooden drying bench with dried leaves — rebuild the surroundings seen by the staging camera from that exact spot of the property, consistent with the photograph.\n\nMOMENT (authoritative, Korean): 인천 변두리의 낡고 오래된 빌라 옥탑방 외부 전경이 한눈에 내려다보이는 부감 구도.\nscene_heading: S#4. 옥탑방 / D\n\nNo people appear unless the moment itself says so.\n\nTIME & LIGHT: only as stated by the shot text above — do not add weather, atmosphere or colour moods beyond it.\n\nWORLD FACTS (creator-confirmed / evidence-bound — always true):\n- The main building is an aged three-storey multi-family villa;\n  its roof deck sits roughly 8-10 m above the yard, with the small\n  rooftop-room unit as an extra volume on the deck.\n- The exterior stair is a later-added STEEL retrofit stair climbing\n  the full three storeys: open treads, thin steel plate stringers,\n  support posts, pipe railings. It is NOT a concrete stair.\n\nThe output image must contain ZERO annotations — no circles, no\ncodes, no letters, no numbers, no text, no signage lettering, no\narrows, no dashed lines."}
{"ts": "2026-07-09 04:11:39", "kind": "img", "engine": "gpt-image-2", "mode": "edit", "tag": "s31_final_A_S11_Shot3_sketchi2_byi2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/mannequin_first/mq_sketch_S11_Shot3_i2.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/forest_map/top2/top2_photo_fixed_nb2.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/b0ad5c18-5140-4022-a2b0-805de0e5a385/images/0d30302a-51c8-4ac9-98e2-6cd9180512bf/reference/0b01920a-4b59-4e19-ba35-e6e033cbd6b4.png"], "size": "1536x1024", "attempt": 1, "dur_s": 129.3, "bytes": 2325568, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/mannequin_first/final_A_S11_Shot3_sketchi2_byi2.png", "prompt": "Create the FINAL photorealistic live-action film still of the moment below.\n\nCAMERA & BLOCKING: the FIRST attached image is the staging frame of\nthis shot. Reproduce its camera (angle, distance, height, framing)\nand the exact placement and pose of every figure. Its drawing or\nmannequin look is ONLY a staging aid — never carry its style,\nblankness or monochrome into the output.\n\nLOCATION: the SECOND attached image is a real photograph of the\nentire filming property, and the single source of truth for how\neverything looks (building, materials, aging, colours, town).\nThis shot is taken at the \"Exterior Stair\" area of the property, by the exterior steel retrofit stair run, upper stair landing, rooftop-room building footprint — rebuild the surroundings seen by the staging camera from that exact spot of the property, consistent with the photograph.\n\nMOMENT (authoritative, Korean): 계단 중간에 서서 심하게 코를 찡그린 수리영의 얼굴 클로즈업.\nscene_heading: S#11. 옥탑 방 밖 / N\n\nCHARACTERS: replace each mannequin figure with the matching reference person, in the mannequin's exact position and pose — 수리영. Match each reference person's identity exactly (face, hair, build); dress them as the moment describes.\n\nTIME & LIGHT: only as stated by the shot text above — do not add weather, atmosphere or colour moods beyond it.\n\nWORLD FACTS (creator-confirmed / evidence-bound — always true):\n- The main building is an aged three-storey multi-family villa;\n  its roof deck sits roughly 8-10 m above the yard, with the small\n  rooftop-room unit as an extra volume on the deck.\n- The exterior stair is a later-added STEEL retrofit stair climbing\n  the full three storeys: open treads, thin steel plate stringers,\n  support posts, pipe railings. It is NOT a concrete stair.\n\nThe output image must contain ZERO annotations — no circles, no\ncodes, no letters, no numbers, no text, no signage lettering, no\narrows, no dashed lines."}
{"ts": "2026-07-09 04:11:47", "kind": "img", "engine": "gpt-image-2", "mode": "edit", "tag": "s31_final_A_S4_Shot1_sketchi2_byi2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/mannequin_first/mq_sketch_S4_Shot1_i2.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/forest_map/top2/top2_photo_fixed_nb2.png"], "size": "1536x1024", "attempt": 1, "dur_s": 143.2, "bytes": 2948520, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/mannequin_first/final_A_S4_Shot1_sketchi2_byi2.png", "prompt": "Create the FINAL photorealistic live-action film still of the moment below.\n\nCAMERA & BLOCKING: the FIRST attached image is the staging frame of\nthis shot. Reproduce its camera (angle, distance, height, framing)\nand the exact placement and pose of every figure. Its drawing or\nmannequin look is ONLY a staging aid — never carry its style,\nblankness or monochrome into the output.\n\nLOCATION: the SECOND attached image is a real photograph of the\nentire filming property, and the single source of truth for how\neverything looks (building, materials, aging, colours, town).\nThis shot is taken at the \"Rooftop Deck\" area of the property, by the rooftop-room unit, iron entrance door, rooftop-room window set, landing-to-door roof path, upper stair landing, exterior steel retrofit stair run, rooftop-room building footprint, yard, multi-family villa gate, alley approach, secluded bicycle corner, water tank, clothesline, wooden drying bench with dried leaves — rebuild the surroundings seen by the staging camera from that exact spot of the property, consistent with the photograph.\n\nMOMENT (authoritative, Korean): 인천 변두리의 낡고 오래된 빌라 옥탑방 외부 전경이 한눈에 내려다보이는 부감 구도.\nscene_heading: S#4. 옥탑방 / D\n\nNo people appear unless the moment itself says so.\n\nTIME & LIGHT: only as stated by the shot text above — do not add weather, atmosphere or colour moods beyond it.\n\nWORLD FACTS (creator-confirmed / evidence-bound — always true):\n- The main building is an aged three-storey multi-family villa;\n  its roof deck sits roughly 8-10 m above the yard, with the small\n  rooftop-room unit as an extra volume on the deck.\n- The exterior stair is a later-added STEEL retrofit stair climbing\n  the full three storeys: open treads, thin steel plate stringers,\n  support posts, pipe railings. It is NOT a concrete stair.\n\nThe output image must contain ZERO annotations — no circles, no\ncodes, no letters, no numbers, no text, no signage lettering, no\narrows, no dashed lines."}
{"ts": "2026-07-09 04:13:21", "kind": "img", "engine": "gpt-image-2", "mode": "edit", "tag": "s31_final_A_S13_Shot5_sketchi2_byi2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/mannequin_first/mq_sketch_S13_Shot5_i2.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/forest_map/top2/top2_photo_fixed_nb2.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/b0ad5c18-5140-4022-a2b0-805de0e5a385/images/0d30302a-51c8-4ac9-98e2-6cd9180512bf/reference/0b01920a-4b59-4e19-ba35-e6e033cbd6b4.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/b0ad5c18-5140-4022-a2b0-805de0e5a385/images/0d30302a-51c8-4ac9-98e2-6cd9180512bf/reference/78811b6c-4b5f-4358-aa50-cff9ffa84508.png"], "size": "1536x1024", "attempt": 1, "dur_s": 198.2, "bytes": 2410653, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/mannequin_first/final_A_S13_Shot5_sketchi2_byi2.png", "prompt": "Create the FINAL photorealistic live-action film still of the moment below.\n\nCAMERA & BLOCKING: the FIRST attached image is the staging frame of\nthis shot. Reproduce its camera (angle, distance, height, framing)\nand the exact placement and pose of every figure. Its drawing or\nmannequin look is ONLY a staging aid — never carry its style,\nblankness or monochrome into the output.\n\nLOCATION: the SECOND attached image is a real photograph of the\nentire filming property, and the single source of truth for how\neverything looks (building, materials, aging, colours, town).\nThis shot is taken at the \"Yard\" area of the property, by the yard, exterior steel retrofit stair run, multi-family villa gate, alley approach — rebuild the surroundings seen by the staging camera from that exact spot of the property, consistent with the photograph.\n\nMOMENT (authoritative, Korean): 수리영이 고개를 들어 혜수의 얼굴을 올려다보는 정적 구도.\nscene_heading: S#13. 옥탑방 외곽 / N\n\nCHARACTERS: replace each mannequin figure with the matching reference person, in the mannequin's exact position and pose — 수리영, 혜수. Match each reference person's identity exactly (face, hair, build); dress them as the moment describes.\n\nTIME & LIGHT: only as stated by the shot text above — do not add weather, atmosphere or colour moods beyond it.\n\nWORLD FACTS (creator-confirmed / evidence-bound — always true):\n- The main building is an aged three-storey multi-family villa;\n  its roof deck sits roughly 8-10 m above the yard, with the small\n  rooftop-room unit as an extra volume on the deck.\n- The exterior stair is a later-added STEEL retrofit stair climbing\n  the full three storeys: open treads, thin steel plate stringers,\n  support posts, pipe railings. It is NOT a concrete stair.\n\nThe output image must contain ZERO annotations — no circles, no\ncodes, no letters, no numbers, no text, no signage lettering, no\narrows, no dashed lines."}
{"ts": "2026-07-09 04:14:02", "kind": "img", "engine": "gpt-image-2", "mode": "edit", "tag": "s31_final_A_S4_Shot1_sketchnb2_byi2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/mannequin_first/mq_sketch_S4_Shot1_nb2.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/forest_map/top2/top2_photo_fixed_nb2.png"], "size": "1536x1024", "attempt": 1, "dur_s": 135.7, "bytes": 2958496, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/mannequin_first/final_A_S4_Shot1_sketchnb2_byi2.png", "prompt": "Create the FINAL photorealistic live-action film still of the moment below.\n\nCAMERA & BLOCKING: the FIRST attached image is the staging frame of\nthis shot. Reproduce its camera (angle, distance, height, framing)\nand the exact placement and pose of every figure. Its drawing or\nmannequin look is ONLY a staging aid — never carry its style,\nblankness or monochrome into the output.\n\nLOCATION: the SECOND attached image is a real photograph of the\nentire filming property, and the single source of truth for how\neverything looks (building, materials, aging, colours, town).\nThis shot is taken at the \"Rooftop Deck\" area of the property, by the rooftop-room unit, iron entrance door, rooftop-room window set, landing-to-door roof path, upper stair landing, exterior steel retrofit stair run, rooftop-room building footprint, yard, multi-family villa gate, alley approach, secluded bicycle corner, water tank, clothesline, wooden drying bench with dried leaves — rebuild the surroundings seen by the staging camera from that exact spot of the property, consistent with the photograph.\n\nMOMENT (authoritative, Korean): 인천 변두리의 낡고 오래된 빌라 옥탑방 외부 전경이 한눈에 내려다보이는 부감 구도.\nscene_heading: S#4. 옥탑방 / D\n\nNo people appear unless the moment itself says so.\n\nTIME & LIGHT: only as stated by the shot text above — do not add weather, atmosphere or colour moods beyond it.\n\nWORLD FACTS (creator-confirmed / evidence-bound — always true):\n- The main building is an aged three-storey multi-family villa;\n  its roof deck sits roughly 8-10 m above the yard, with the small\n  rooftop-room unit as an extra volume on the deck.\n- The exterior stair is a later-added STEEL retrofit stair climbing\n  the full three storeys: open treads, thin steel plate stringers,\n  support posts, pipe railings. It is NOT a concrete stair.\n\nThe output image must contain ZERO annotations — no circles, no\ncodes, no letters, no numbers, no text, no signage lettering, no\narrows, no dashed lines."}
{"ts": "2026-07-09 04:15:07", "kind": "img", "engine": "gpt-image-2", "mode": "edit", "tag": "s31_final_A_S11_Shot3_sketchnb2_byi2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/mannequin_first/mq_sketch_S11_Shot3_nb2.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/forest_map/top2/top2_photo_fixed_nb2.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/b0ad5c18-5140-4022-a2b0-805de0e5a385/images/0d30302a-51c8-4ac9-98e2-6cd9180512bf/reference/0b01920a-4b59-4e19-ba35-e6e033cbd6b4.png"], "size": "1536x1024", "attempt": 1, "dur_s": 208.0, "bytes": 2474927, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/mannequin_first/final_A_S11_Shot3_sketchnb2_byi2.png", "prompt": "Create the FINAL photorealistic live-action film still of the moment below.\n\nCAMERA & BLOCKING: the FIRST attached image is the staging frame of\nthis shot. Reproduce its camera (angle, distance, height, framing)\nand the exact placement and pose of every figure. Its drawing or\nmannequin look is ONLY a staging aid — never carry its style,\nblankness or monochrome into the output.\n\nLOCATION: the SECOND attached image is a real photograph of the\nentire filming property, and the single source of truth for how\neverything looks (building, materials, aging, colours, town).\nThis shot is taken at the \"Exterior Stair\" area of the property, by the exterior steel retrofit stair run, upper stair landing, rooftop-room building footprint — rebuild the surroundings seen by the staging camera from that exact spot of the property, consistent with the photograph.\n\nMOMENT (authoritative, Korean): 계단 중간에 서서 심하게 코를 찡그린 수리영의 얼굴 클로즈업.\nscene_heading: S#11. 옥탑 방 밖 / N\n\nCHARACTERS: replace each mannequin figure with the matching reference person, in the mannequin's exact position and pose — 수리영. Match each reference person's identity exactly (face, hair, build); dress them as the moment describes.\n\nTIME & LIGHT: only as stated by the shot text above — do not add weather, atmosphere or colour moods beyond it.\n\nWORLD FACTS (creator-confirmed / evidence-bound — always true):\n- The main building is an aged three-storey multi-family villa;\n  its roof deck sits roughly 8-10 m above the yard, with the small\n  rooftop-room unit as an extra volume on the deck.\n- The exterior stair is a later-added STEEL retrofit stair climbing\n  the full three storeys: open treads, thin steel plate stringers,\n  support posts, pipe railings. It is NOT a concrete stair.\n\nThe output image must contain ZERO annotations — no circles, no\ncodes, no letters, no numbers, no text, no signage lettering, no\narrows, no dashed lines."}
{"ts": "2026-07-09 04:15:33", "kind": "img", "engine": "gpt-image-2", "mode": "edit", "tag": "s31_final_A_S13_Shot5_sketchnb2_byi2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/mannequin_first/mq_sketch_S13_Shot5_nb2.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/forest_map/top2/top2_photo_fixed_nb2.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/b0ad5c18-5140-4022-a2b0-805de0e5a385/images/0d30302a-51c8-4ac9-98e2-6cd9180512bf/reference/0b01920a-4b59-4e19-ba35-e6e033cbd6b4.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/b0ad5c18-5140-4022-a2b0-805de0e5a385/images/0d30302a-51c8-4ac9-98e2-6cd9180512bf/reference/78811b6c-4b5f-4358-aa50-cff9ffa84508.png"], "size": "1536x1024", "attempt": 1, "dur_s": 131.5, "bytes": 2287275, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/mannequin_first/final_A_S13_Shot5_sketchnb2_byi2.png", "prompt": "Create the FINAL photorealistic live-action film still of the moment below.\n\nCAMERA & BLOCKING: the FIRST attached image is the staging frame of\nthis shot. Reproduce its camera (angle, distance, height, framing)\nand the exact placement and pose of every figure. Its drawing or\nmannequin look is ONLY a staging aid — never carry its style,\nblankness or monochrome into the output.\n\nLOCATION: the SECOND attached image is a real photograph of the\nentire filming property, and the single source of truth for how\neverything looks (building, materials, aging, colours, town).\nThis shot is taken at the \"Yard\" area of the property, by the yard, exterior steel retrofit stair run, multi-family villa gate, alley approach — rebuild the surroundings seen by the staging camera from that exact spot of the property, consistent with the photograph.\n\nMOMENT (authoritative, Korean): 수리영이 고개를 들어 혜수의 얼굴을 올려다보는 정적 구도.\nscene_heading: S#13. 옥탑방 외곽 / N\n\nCHARACTERS: replace each mannequin figure with the matching reference person, in the mannequin's exact position and pose — 수리영, 혜수. Match each reference person's identity exactly (face, hair, build); dress them as the moment describes.\n\nTIME & LIGHT: only as stated by the shot text above — do not add weather, atmosphere or colour moods beyond it.\n\nWORLD FACTS (creator-confirmed / evidence-bound — always true):\n- The main building is an aged three-storey multi-family villa;\n  its roof deck sits roughly 8-10 m above the yard, with the small\n  rooftop-room unit as an extra volume on the deck.\n- The exterior stair is a later-added STEEL retrofit stair climbing\n  the full three storeys: open treads, thin steel plate stringers,\n  support posts, pipe railings. It is NOT a concrete stair.\n\nThe output image must contain ZERO annotations — no circles, no\ncodes, no letters, no numbers, no text, no signage lettering, no\narrows, no dashed lines."}
{"ts": "2026-07-09 04:17:16", "kind": "img", "engine": "gpt-image-2", "mode": "edit", "tag": "s31_final_B_S11_Shot3_photoi2_byi2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/mannequin_first/mq_photo_S11_Shot3_i2.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/forest_map/top2/top2_photo_fixed_nb2.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/b0ad5c18-5140-4022-a2b0-805de0e5a385/images/0d30302a-51c8-4ac9-98e2-6cd9180512bf/reference/0b01920a-4b59-4e19-ba35-e6e033cbd6b4.png"], "size": "1536x1024", "attempt": 1, "dur_s": 129.0, "bytes": 2322371, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/mannequin_first/final_B_S11_Shot3_photoi2_byi2.png", "prompt": "Create the FINAL photorealistic live-action film still of the moment below.\n\nCAMERA & BLOCKING: the FIRST attached image is the staging frame of\nthis shot. Reproduce its camera (angle, distance, height, framing)\nand the exact placement and pose of every figure. Its drawing or\nmannequin look is ONLY a staging aid — never carry its style,\nblankness or monochrome into the output.\n\nLOCATION: the SECOND attached image is a real photograph of the\nentire filming property, and the single source of truth for how\neverything looks (building, materials, aging, colours, town).\nThis shot is taken at the \"Exterior Stair\" area of the property, by the exterior steel retrofit stair run, upper stair landing, rooftop-room building footprint — rebuild the surroundings seen by the staging camera from that exact spot of the property, consistent with the photograph.\n\nMOMENT (authoritative, Korean): 계단 중간에 서서 심하게 코를 찡그린 수리영의 얼굴 클로즈업.\nscene_heading: S#11. 옥탑 방 밖 / N\n\nCHARACTERS: replace each mannequin figure with the matching reference person, in the mannequin's exact position and pose — 수리영. Match each reference person's identity exactly (face, hair, build); dress them as the moment describes.\n\nTIME & LIGHT: only as stated by the shot text above — do not add weather, atmosphere or colour moods beyond it.\n\nWORLD FACTS (creator-confirmed / evidence-bound — always true):\n- The main building is an aged three-storey multi-family villa;\n  its roof deck sits roughly 8-10 m above the yard, with the small\n  rooftop-room unit as an extra volume on the deck.\n- The exterior stair is a later-added STEEL retrofit stair climbing\n  the full three storeys: open treads, thin steel plate stringers,\n  support posts, pipe railings. It is NOT a concrete stair.\n\nThe output image must contain ZERO annotations — no circles, no\ncodes, no letters, no numbers, no text, no signage lettering, no\narrows, no dashed lines."}
{"ts": "2026-07-09 04:17:29", "kind": "img", "engine": "gpt-image-2", "mode": "edit", "tag": "s31_final_B_S4_Shot1_photoi2_byi2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/mannequin_first/mq_photo_S4_Shot1_i2.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/forest_map/top2/top2_photo_fixed_nb2.png"], "size": "1536x1024", "attempt": 1, "dur_s": 206.5, "bytes": 3095825, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/mannequin_first/final_B_S4_Shot1_photoi2_byi2.png", "prompt": "Create the FINAL photorealistic live-action film still of the moment below.\n\nCAMERA & BLOCKING: the FIRST attached image is the staging frame of\nthis shot. Reproduce its camera (angle, distance, height, framing)\nand the exact placement and pose of every figure. Its drawing or\nmannequin look is ONLY a staging aid — never carry its style,\nblankness or monochrome into the output.\n\nLOCATION: the SECOND attached image is a real photograph of the\nentire filming property, and the single source of truth for how\neverything looks (building, materials, aging, colours, town).\nThis shot is taken at the \"Rooftop Deck\" area of the property, by the rooftop-room unit, iron entrance door, rooftop-room window set, landing-to-door roof path, upper stair landing, exterior steel retrofit stair run, rooftop-room building footprint, yard, multi-family villa gate, alley approach, secluded bicycle corner, water tank, clothesline, wooden drying bench with dried leaves — rebuild the surroundings seen by the staging camera from that exact spot of the property, consistent with the photograph.\n\nMOMENT (authoritative, Korean): 인천 변두리의 낡고 오래된 빌라 옥탑방 외부 전경이 한눈에 내려다보이는 부감 구도.\nscene_heading: S#4. 옥탑방 / D\n\nNo people appear unless the moment itself says so.\n\nTIME & LIGHT: only as stated by the shot text above — do not add weather, atmosphere or colour moods beyond it.\n\nWORLD FACTS (creator-confirmed / evidence-bound — always true):\n- The main building is an aged three-storey multi-family villa;\n  its roof deck sits roughly 8-10 m above the yard, with the small\n  rooftop-room unit as an extra volume on the deck.\n- The exterior stair is a later-added STEEL retrofit stair climbing\n  the full three storeys: open treads, thin steel plate stringers,\n  support posts, pipe railings. It is NOT a concrete stair.\n\nThe output image must contain ZERO annotations — no circles, no\ncodes, no letters, no numbers, no text, no signage lettering, no\narrows, no dashed lines."}
{"ts": "2026-07-09 04:18:35", "kind": "img", "engine": "gpt-image-2", "mode": "edit", "tag": "s31_final_B_S13_Shot5_photoi2_byi2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/mannequin_first/mq_photo_S13_Shot5_i2.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/forest_map/top2/top2_photo_fixed_nb2.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/b0ad5c18-5140-4022-a2b0-805de0e5a385/images/0d30302a-51c8-4ac9-98e2-6cd9180512bf/reference/0b01920a-4b59-4e19-ba35-e6e033cbd6b4.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/b0ad5c18-5140-4022-a2b0-805de0e5a385/images/0d30302a-51c8-4ac9-98e2-6cd9180512bf/reference/78811b6c-4b5f-4358-aa50-cff9ffa84508.png"], "size": "1536x1024", "attempt": 1, "dur_s": 182.3, "bytes": 1913275, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/mannequin_first/final_B_S13_Shot5_photoi2_byi2.png", "prompt": "Create the FINAL photorealistic live-action film still of the moment below.\n\nCAMERA & BLOCKING: the FIRST attached image is the staging frame of\nthis shot. Reproduce its camera (angle, distance, height, framing)\nand the exact placement and pose of every figure. Its drawing or\nmannequin look is ONLY a staging aid — never carry its style,\nblankness or monochrome into the output.\n\nLOCATION: the SECOND attached image is a real photograph of the\nentire filming property, and the single source of truth for how\neverything looks (building, materials, aging, colours, town).\nThis shot is taken at the \"Yard\" area of the property, by the yard, exterior steel retrofit stair run, multi-family villa gate, alley approach — rebuild the surroundings seen by the staging camera from that exact spot of the property, consistent with the photograph.\n\nMOMENT (authoritative, Korean): 수리영이 고개를 들어 혜수의 얼굴을 올려다보는 정적 구도.\nscene_heading: S#13. 옥탑방 외곽 / N\n\nCHARACTERS: replace each mannequin figure with the matching reference person, in the mannequin's exact position and pose — 수리영, 혜수. Match each reference person's identity exactly (face, hair, build); dress them as the moment describes.\n\nTIME & LIGHT: only as stated by the shot text above — do not add weather, atmosphere or colour moods beyond it.\n\nWORLD FACTS (creator-confirmed / evidence-bound — always true):\n- The main building is an aged three-storey multi-family villa;\n  its roof deck sits roughly 8-10 m above the yard, with the small\n  rooftop-room unit as an extra volume on the deck.\n- The exterior stair is a later-added STEEL retrofit stair climbing\n  the full three storeys: open treads, thin steel plate stringers,\n  support posts, pipe railings. It is NOT a concrete stair.\n\nThe output image must contain ZERO annotations — no circles, no\ncodes, no letters, no numbers, no text, no signage lettering, no\narrows, no dashed lines."}
{"ts": "2026-07-09 04:19:56", "kind": "img", "engine": "gpt-image-2", "mode": "edit", "tag": "s31_final_B_S4_Shot1_photonb2_byi2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/mannequin_first/mq_photo_S4_Shot1_nb2.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/forest_map/top2/top2_photo_fixed_nb2.png"], "size": "1536x1024", "attempt": 1, "dur_s": 147.4, "bytes": 3110688, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/mannequin_first/final_B_S4_Shot1_photonb2_byi2.png", "prompt": "Create the FINAL photorealistic live-action film still of the moment below.\n\nCAMERA & BLOCKING: the FIRST attached image is the staging frame of\nthis shot. Reproduce its camera (angle, distance, height, framing)\nand the exact placement and pose of every figure. Its drawing or\nmannequin look is ONLY a staging aid — never carry its style,\nblankness or monochrome into the output.\n\nLOCATION: the SECOND attached image is a real photograph of the\nentire filming property, and the single source of truth for how\neverything looks (building, materials, aging, colours, town).\nThis shot is taken at the \"Rooftop Deck\" area of the property, by the rooftop-room unit, iron entrance door, rooftop-room window set, landing-to-door roof path, upper stair landing, exterior steel retrofit stair run, rooftop-room building footprint, yard, multi-family villa gate, alley approach, secluded bicycle corner, water tank, clothesline, wooden drying bench with dried leaves — rebuild the surroundings seen by the staging camera from that exact spot of the property, consistent with the photograph.\n\nMOMENT (authoritative, Korean): 인천 변두리의 낡고 오래된 빌라 옥탑방 외부 전경이 한눈에 내려다보이는 부감 구도.\nscene_heading: S#4. 옥탑방 / D\n\nNo people appear unless the moment itself says so.\n\nTIME & LIGHT: only as stated by the shot text above — do not add weather, atmosphere or colour moods beyond it.\n\nWORLD FACTS (creator-confirmed / evidence-bound — always true):\n- The main building is an aged three-storey multi-family villa;\n  its roof deck sits roughly 8-10 m above the yard, with the small\n  rooftop-room unit as an extra volume on the deck.\n- The exterior stair is a later-added STEEL retrofit stair climbing\n  the full three storeys: open treads, thin steel plate stringers,\n  support posts, pipe railings. It is NOT a concrete stair.\n\nThe output image must contain ZERO annotations — no circles, no\ncodes, no letters, no numbers, no text, no signage lettering, no\narrows, no dashed lines."}
{"ts": "2026-07-09 04:20:22", "kind": "img", "engine": "gpt-image-2", "mode": "edit", "tag": "s31_final_B_S11_Shot3_photonb2_byi2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/mannequin_first/mq_photo_S11_Shot3_nb2.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/forest_map/top2/top2_photo_fixed_nb2.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/b0ad5c18-5140-4022-a2b0-805de0e5a385/images/0d30302a-51c8-4ac9-98e2-6cd9180512bf/reference/0b01920a-4b59-4e19-ba35-e6e033cbd6b4.png"], "size": "1536x1024", "attempt": 1, "dur_s": 186.1, "bytes": 2290879, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/mannequin_first/final_B_S11_Shot3_photonb2_byi2.png", "prompt": "Create the FINAL photorealistic live-action film still of the moment below.\n\nCAMERA & BLOCKING: the FIRST attached image is the staging frame of\nthis shot. Reproduce its camera (angle, distance, height, framing)\nand the exact placement and pose of every figure. Its drawing or\nmannequin look is ONLY a staging aid — never carry its style,\nblankness or monochrome into the output.\n\nLOCATION: the SECOND attached image is a real photograph of the\nentire filming property, and the single source of truth for how\neverything looks (building, materials, aging, colours, town).\nThis shot is taken at the \"Exterior Stair\" area of the property, by the exterior steel retrofit stair run, upper stair landing, rooftop-room building footprint — rebuild the surroundings seen by the staging camera from that exact spot of the property, consistent with the photograph.\n\nMOMENT (authoritative, Korean): 계단 중간에 서서 심하게 코를 찡그린 수리영의 얼굴 클로즈업.\nscene_heading: S#11. 옥탑 방 밖 / N\n\nCHARACTERS: replace each mannequin figure with the matching reference person, in the mannequin's exact position and pose — 수리영. Match each reference person's identity exactly (face, hair, build); dress them as the moment describes.\n\nTIME & LIGHT: only as stated by the shot text above — do not add weather, atmosphere or colour moods beyond it.\n\nWORLD FACTS (creator-confirmed / evidence-bound — always true):\n- The main building is an aged three-storey multi-family villa;\n  its roof deck sits roughly 8-10 m above the yard, with the small\n  rooftop-room unit as an extra volume on the deck.\n- The exterior stair is a later-added STEEL retrofit stair climbing\n  the full three storeys: open treads, thin steel plate stringers,\n  support posts, pipe railings. It is NOT a concrete stair.\n\nThe output image must contain ZERO annotations — no circles, no\ncodes, no letters, no numbers, no text, no signage lettering, no\narrows, no dashed lines."}
{"ts": "2026-07-09 04:20:44", "kind": "img", "engine": "gpt-image-2", "mode": "edit", "tag": "s31_final_B_S13_Shot5_photonb2_byi2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/mannequin_first/mq_photo_S13_Shot5_nb2.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/forest_map/top2/top2_photo_fixed_nb2.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/b0ad5c18-5140-4022-a2b0-805de0e5a385/images/0d30302a-51c8-4ac9-98e2-6cd9180512bf/reference/0b01920a-4b59-4e19-ba35-e6e033cbd6b4.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/b0ad5c18-5140-4022-a2b0-805de0e5a385/images/0d30302a-51c8-4ac9-98e2-6cd9180512bf/reference/78811b6c-4b5f-4358-aa50-cff9ffa84508.png"], "size": "1536x1024", "attempt": 1, "dur_s": 129.2, "bytes": 2538292, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/mannequin_first/final_B_S13_Shot5_photonb2_byi2.png", "prompt": "Create the FINAL photorealistic live-action film still of the moment below.\n\nCAMERA & BLOCKING: the FIRST attached image is the staging frame of\nthis shot. Reproduce its camera (angle, distance, height, framing)\nand the exact placement and pose of every figure. Its drawing or\nmannequin look is ONLY a staging aid — never carry its style,\nblankness or monochrome into the output.\n\nLOCATION: the SECOND attached image is a real photograph of the\nentire filming property, and the single source of truth for how\neverything looks (building, materials, aging, colours, town).\nThis shot is taken at the \"Yard\" area of the property, by the yard, exterior steel retrofit stair run, multi-family villa gate, alley approach — rebuild the surroundings seen by the staging camera from that exact spot of the property, consistent with the photograph.\n\nMOMENT (authoritative, Korean): 수리영이 고개를 들어 혜수의 얼굴을 올려다보는 정적 구도.\nscene_heading: S#13. 옥탑방 외곽 / N\n\nCHARACTERS: replace each mannequin figure with the matching reference person, in the mannequin's exact position and pose — 수리영, 혜수. Match each reference person's identity exactly (face, hair, build); dress them as the moment describes.\n\nTIME & LIGHT: only as stated by the shot text above — do not add weather, atmosphere or colour moods beyond it.\n\nWORLD FACTS (creator-confirmed / evidence-bound — always true):\n- The main building is an aged three-storey multi-family villa;\n  its roof deck sits roughly 8-10 m above the yard, with the small\n  rooftop-room unit as an extra volume on the deck.\n- The exterior stair is a later-added STEEL retrofit stair climbing\n  the full three storeys: open treads, thin steel plate stringers,\n  support posts, pipe railings. It is NOT a concrete stair.\n\nThe output image must contain ZERO annotations — no circles, no\ncodes, no letters, no numbers, no text, no signage lettering, no\narrows, no dashed lines."}
{"ts": "2026-07-09 04:22:32", "kind": "img", "engine": "gpt-image-2", "mode": "edit", "tag": "s31_final_A_S11_Shot4_sketchi2_byi2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/mannequin_first/mq_sketch_S11_Shot4_i2.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/forest_map/top2/top2_photo_fixed_nb2.png"], "size": "1536x1024", "attempt": 1, "dur_s": 130.1, "bytes": 2624920, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/mannequin_first/final_A_S11_Shot4_sketchi2_byi2.png", "prompt": "Create the FINAL photorealistic live-action film still of the moment below.\n\nCAMERA & BLOCKING: the FIRST attached image is the staging frame of\nthis shot. Reproduce its camera (angle, distance, height, framing)\nand the exact placement and pose of every figure. Its drawing or\nmannequin look is ONLY a staging aid — never carry its style,\nblankness or monochrome into the output.\n\nLOCATION: the SECOND attached image is a real photograph of the\nentire filming property, and the single source of truth for how\neverything looks (building, materials, aging, colours, town).\nThis shot is taken at the \"Rooftop Deck\" area of the property, by the upper stair landing, landing-to-door roof path, iron entrance door, rooftop-room unit — rebuild the surroundings seen by the staging camera from that exact spot of the property, consistent with the photograph.\n\nMOMENT (authoritative, Korean): 옥상 위, 어둠 속에 반쯤 열려 멈춰 있는 옥탑방 현관 철문의 정적 구도.\nscene_heading: S#11. 옥탑 방 밖 / N\n\nNo people appear unless the moment itself says so.\n\nTIME & LIGHT: only as stated by the shot text above — do not add weather, atmosphere or colour moods beyond it.\n\nWORLD FACTS (creator-confirmed / evidence-bound — always true):\n- The main building is an aged three-storey multi-family villa;\n  its roof deck sits roughly 8-10 m above the yard, with the small\n  rooftop-room unit as an extra volume on the deck.\n- The exterior stair is a later-added STEEL retrofit stair climbing\n  the full three storeys: open treads, thin steel plate stringers,\n  support posts, pipe railings. It is NOT a concrete stair.\n\nThe output image must contain ZERO annotations — no circles, no\ncodes, no letters, no numbers, no text, no signage lettering, no\narrows, no dashed lines."}
{"ts": "2026-07-09 04:24:50", "kind": "img", "engine": "gpt-image-2", "mode": "edit", "tag": "s31_final_A_S11_Shot4_sketchnb2_byi2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/mannequin_first/mq_sketch_S11_Shot4_nb2.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/forest_map/top2/top2_photo_fixed_nb2.png"], "size": "1536x1024", "attempt": 1, "dur_s": 138.6, "bytes": 2468306, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/mannequin_first/final_A_S11_Shot4_sketchnb2_byi2.png", "prompt": "Create the FINAL photorealistic live-action film still of the moment below.\n\nCAMERA & BLOCKING: the FIRST attached image is the staging frame of\nthis shot. Reproduce its camera (angle, distance, height, framing)\nand the exact placement and pose of every figure. Its drawing or\nmannequin look is ONLY a staging aid — never carry its style,\nblankness or monochrome into the output.\n\nLOCATION: the SECOND attached image is a real photograph of the\nentire filming property, and the single source of truth for how\neverything looks (building, materials, aging, colours, town).\nThis shot is taken at the \"Rooftop Deck\" area of the property, by the upper stair landing, landing-to-door roof path, iron entrance door, rooftop-room unit — rebuild the surroundings seen by the staging camera from that exact spot of the property, consistent with the photograph.\n\nMOMENT (authoritative, Korean): 옥상 위, 어둠 속에 반쯤 열려 멈춰 있는 옥탑방 현관 철문의 정적 구도.\nscene_heading: S#11. 옥탑 방 밖 / N\n\nNo people appear unless the moment itself says so.\n\nTIME & LIGHT: only as stated by the shot text above — do not add weather, atmosphere or colour moods beyond it.\n\nWORLD FACTS (creator-confirmed / evidence-bound — always true):\n- The main building is an aged three-storey multi-family villa;\n  its roof deck sits roughly 8-10 m above the yard, with the small\n  rooftop-room unit as an extra volume on the deck.\n- The exterior stair is a later-added STEEL retrofit stair climbing\n  the full three storeys: open treads, thin steel plate stringers,\n  support posts, pipe railings. It is NOT a concrete stair.\n\nThe output image must contain ZERO annotations — no circles, no\ncodes, no letters, no numbers, no text, no signage lettering, no\narrows, no dashed lines."}
{"ts": "2026-07-09 04:26:56", "kind": "img", "engine": "gpt-image-2", "mode": "edit", "tag": "s31_final_B_S11_Shot4_photoi2_byi2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/mannequin_first/mq_photo_S11_Shot4_i2.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/forest_map/top2/top2_photo_fixed_nb2.png"], "size": "1536x1024", "attempt": 1, "dur_s": 126.1, "bytes": 1970803, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/mannequin_first/final_B_S11_Shot4_photoi2_byi2.png", "prompt": "Create the FINAL photorealistic live-action film still of the moment below.\n\nCAMERA & BLOCKING: the FIRST attached image is the staging frame of\nthis shot. Reproduce its camera (angle, distance, height, framing)\nand the exact placement and pose of every figure. Its drawing or\nmannequin look is ONLY a staging aid — never carry its style,\nblankness or monochrome into the output.\n\nLOCATION: the SECOND attached image is a real photograph of the\nentire filming property, and the single source of truth for how\neverything looks (building, materials, aging, colours, town).\nThis shot is taken at the \"Rooftop Deck\" area of the property, by the upper stair landing, landing-to-door roof path, iron entrance door, rooftop-room unit — rebuild the surroundings seen by the staging camera from that exact spot of the property, consistent with the photograph.\n\nMOMENT (authoritative, Korean): 옥상 위, 어둠 속에 반쯤 열려 멈춰 있는 옥탑방 현관 철문의 정적 구도.\nscene_heading: S#11. 옥탑 방 밖 / N\n\nNo people appear unless the moment itself says so.\n\nTIME & LIGHT: only as stated by the shot text above — do not add weather, atmosphere or colour moods beyond it.\n\nWORLD FACTS (creator-confirmed / evidence-bound — always true):\n- The main building is an aged three-storey multi-family villa;\n  its roof deck sits roughly 8-10 m above the yard, with the small\n  rooftop-room unit as an extra volume on the deck.\n- The exterior stair is a later-added STEEL retrofit stair climbing\n  the full three storeys: open treads, thin steel plate stringers,\n  support posts, pipe railings. It is NOT a concrete stair.\n\nThe output image must contain ZERO annotations — no circles, no\ncodes, no letters, no numbers, no text, no signage lettering, no\narrows, no dashed lines."}
{"ts": "2026-07-09 04:29:31", "kind": "img", "engine": "gpt-image-2", "mode": "edit", "tag": "s31_final_B_S11_Shot4_photonb2_byi2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/mannequin_first/mq_photo_S11_Shot4_nb2.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/forest_map/top2/top2_photo_fixed_nb2.png"], "size": "1536x1024", "attempt": 1, "dur_s": 154.3, "bytes": 2568008, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/mannequin_first/final_B_S11_Shot4_photonb2_byi2.png", "prompt": "Create the FINAL photorealistic live-action film still of the moment below.\n\nCAMERA & BLOCKING: the FIRST attached image is the staging frame of\nthis shot. Reproduce its camera (angle, distance, height, framing)\nand the exact placement and pose of every figure. Its drawing or\nmannequin look is ONLY a staging aid — never carry its style,\nblankness or monochrome into the output.\n\nLOCATION: the SECOND attached image is a real photograph of the\nentire filming property, and the single source of truth for how\neverything looks (building, materials, aging, colours, town).\nThis shot is taken at the \"Rooftop Deck\" area of the property, by the upper stair landing, landing-to-door roof path, iron entrance door, rooftop-room unit — rebuild the surroundings seen by the staging camera from that exact spot of the property, consistent with the photograph.\n\nMOMENT (authoritative, Korean): 옥상 위, 어둠 속에 반쯤 열려 멈춰 있는 옥탑방 현관 철문의 정적 구도.\nscene_heading: S#11. 옥탑 방 밖 / N\n\nNo people appear unless the moment itself says so.\n\nTIME & LIGHT: only as stated by the shot text above — do not add weather, atmosphere or colour moods beyond it.\n\nWORLD FACTS (creator-confirmed / evidence-bound — always true):\n- The main building is an aged three-storey multi-family villa;\n  its roof deck sits roughly 8-10 m above the yard, with the small\n  rooftop-room unit as an extra volume on the deck.\n- The exterior stair is a later-added STEEL retrofit stair climbing\n  the full three storeys: open treads, thin steel plate stringers,\n  support posts, pipe railings. It is NOT a concrete stair.\n\nThe output image must contain ZERO annotations — no circles, no\ncodes, no letters, no numbers, no text, no signage lettering, no\narrows, no dashed lines."}
{"ts": "2026-07-09 09:53:57", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s32_gstage_S13_Shot3_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/forest_map/top2/top2_photo_fixed_nb2.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/forest_map/top2/top2_map_gpt.png"], "ref_labels": ["LOCATION PHOTOGRAPH — the same property; sole source of how everything looks.", "SITE PLAN — layout source only; never draw this drawing or its markers."], "attempt": 1, "dur_s": 20.0, "bytes": 3036191, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/grounded_staging/gstage_S13_Shot3_nb2.png", "prompt": "Create ONE PHOTOREALISTIC staging photograph of a live-action film\nshot, taken ON LOCATION at the real filming property shown in the\nattached references: the environment is fully real and photographic,\nbut every person in the frame is a featureless grey display mannequin\n(smooth blank head, no face, no hair). If the shot text implies no\npeople, include none.\n\nSPOT (fixed): this shot happens at the \"Alley Approach\" area of the property, by the alley approach, multi-family villa gate.\n\nSHOT TEXT (authoritative, Korean):\nscene_heading: S#13. 옥탑방 외곽 / N\nshot: 차에서 내린 혜수가 초점 없는 눈으로 멍하게 서 있는 수리영을 향해 시선을 고정한 찰나의 상체.\npeople in shot: 혜수, 수리영\n\nYOU choose the camera: pick the angle, distance, height, lens and\ncomposition that realise the shot text most powerfully — the camera\nmay stand anywhere plausible AT THE STATED SPOT of this property.\nNo composition instructions are given on purpose.\n\nTIME & LIGHT (hard constraint): the time of day and lighting MUST\nfollow the shot text above — a night scene stays night, a dawn scene\nstays dawn. Do not add weather, atmosphere or colour moods the shot\ntext does not state.\n\nWORLD FACTS (creator-confirmed / evidence-bound — always true):\n- The main building is an aged three-storey multi-family villa;\n  its roof deck sits roughly 8-10 m above the yard, with the small\n  rooftop-room unit as an extra volume on the deck.\n- The exterior stair is a later-added STEEL retrofit stair climbing\n  the full three storeys: open treads, thin steel plate stringers,\n  support posts, pipe railings. It is NOT a concrete stair.\n\nLOCATION REFERENCES: the attached PHOTOGRAPH shows this same\nproperty (sole source of how everything looks — building, materials,\naging, colours, surroundings). The attached flat SITE-PLAN DRAWING\nshows where things are on the property — layout source only; never\ndraw the plan itself, its colours, circles or labels.\n\nThe output image must contain ZERO annotations — no circles, no\ncodes, no letters, no numbers, no text, no signage lettering, no\narrows, no dashed lines."}
{"ts": "2026-07-09 09:54:16", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s32_gstage_S11_Shot3_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/forest_map/top2/top2_photo_fixed_nb2.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/forest_map/top2/top2_map_gpt.png"], "ref_labels": ["LOCATION PHOTOGRAPH — the same property; sole source of how everything looks.", "SITE PLAN — layout source only; never draw this drawing or its markers."], "attempt": 1, "dur_s": 19.6, "bytes": 2600059, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/grounded_staging/gstage_S11_Shot3_nb2.png", "prompt": "Create ONE PHOTOREALISTIC staging photograph of a live-action film\nshot, taken ON LOCATION at the real filming property shown in the\nattached references: the environment is fully real and photographic,\nbut every person in the frame is a featureless grey display mannequin\n(smooth blank head, no face, no hair). If the shot text implies no\npeople, include none.\n\nSPOT (fixed): this shot happens at the \"Exterior Stair\" area of the property, by the exterior steel retrofit stair run, upper stair landing, rooftop-room building footprint.\n\nSHOT TEXT (authoritative, Korean):\nscene_heading: S#11. 옥탑 방 밖 / N\nshot: 계단 중간에 서서 심하게 코를 찡그린 수리영의 얼굴 클로즈업.\npeople in shot: 수리영\n\nYOU choose the camera: pick the angle, distance, height, lens and\ncomposition that realise the shot text most powerfully — the camera\nmay stand anywhere plausible AT THE STATED SPOT of this property.\nNo composition instructions are given on purpose.\n\nTIME & LIGHT (hard constraint): the time of day and lighting MUST\nfollow the shot text above — a night scene stays night, a dawn scene\nstays dawn. Do not add weather, atmosphere or colour moods the shot\ntext does not state.\n\nWORLD FACTS (creator-confirmed / evidence-bound — always true):\n- The main building is an aged three-storey multi-family villa;\n  its roof deck sits roughly 8-10 m above the yard, with the small\n  rooftop-room unit as an extra volume on the deck.\n- The exterior stair is a later-added STEEL retrofit stair climbing\n  the full three storeys: open treads, thin steel plate stringers,\n  support posts, pipe railings. It is NOT a concrete stair.\n\nLOCATION REFERENCES: the attached PHOTOGRAPH shows this same\nproperty (sole source of how everything looks — building, materials,\naging, colours, surroundings). The attached flat SITE-PLAN DRAWING\nshows where things are on the property — layout source only; never\ndraw the plan itself, its colours, circles or labels.\n\nThe output image must contain ZERO annotations — no circles, no\ncodes, no letters, no numbers, no text, no signage lettering, no\narrows, no dashed lines."}
{"ts": "2026-07-09 09:54:37", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s32_gstage_S13_Shot5_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/forest_map/top2/top2_photo_fixed_nb2.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/forest_map/top2/top2_map_gpt.png"], "ref_labels": ["LOCATION PHOTOGRAPH — the same property; sole source of how everything looks.", "SITE PLAN — layout source only; never draw this drawing or its markers."], "attempt": 1, "dur_s": 20.9, "bytes": 2801677, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/grounded_staging/gstage_S13_Shot5_nb2.png", "prompt": "Create ONE PHOTOREALISTIC staging photograph of a live-action film\nshot, taken ON LOCATION at the real filming property shown in the\nattached references: the environment is fully real and photographic,\nbut every person in the frame is a featureless grey display mannequin\n(smooth blank head, no face, no hair). If the shot text implies no\npeople, include none.\n\nSPOT (fixed): this shot happens at the \"Yard\" area of the property, by the yard, exterior steel retrofit stair run, multi-family villa gate, alley approach.\n\nSHOT TEXT (authoritative, Korean):\nscene_heading: S#13. 옥탑방 외곽 / N\nshot: 수리영이 고개를 들어 혜수의 얼굴을 올려다보는 정적 구도.\npeople in shot: 수리영, 혜수\n\nYOU choose the camera: pick the angle, distance, height, lens and\ncomposition that realise the shot text most powerfully — the camera\nmay stand anywhere plausible AT THE STATED SPOT of this property.\nNo composition instructions are given on purpose.\n\nTIME & LIGHT (hard constraint): the time of day and lighting MUST\nfollow the shot text above — a night scene stays night, a dawn scene\nstays dawn. Do not add weather, atmosphere or colour moods the shot\ntext does not state.\n\nWORLD FACTS (creator-confirmed / evidence-bound — always true):\n- The main building is an aged three-storey multi-family villa;\n  its roof deck sits roughly 8-10 m above the yard, with the small\n  rooftop-room unit as an extra volume on the deck.\n- The exterior stair is a later-added STEEL retrofit stair climbing\n  the full three storeys: open treads, thin steel plate stringers,\n  support posts, pipe railings. It is NOT a concrete stair.\n\nLOCATION REFERENCES: the attached PHOTOGRAPH shows this same\nproperty (sole source of how everything looks — building, materials,\naging, colours, surroundings). The attached flat SITE-PLAN DRAWING\nshows where things are on the property — layout source only; never\ndraw the plan itself, its colours, circles or labels.\n\nThe output image must contain ZERO annotations — no circles, no\ncodes, no letters, no numbers, no text, no signage lettering, no\narrows, no dashed lines."}
{"ts": "2026-07-09 09:54:58", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s32_gstage_S17_Shot1_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/forest_map/top2/top2_photo_fixed_nb2.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/forest_map/top2/top2_map_gpt.png"], "ref_labels": ["LOCATION PHOTOGRAPH — the same property; sole source of how everything looks.", "SITE PLAN — layout source only; never draw this drawing or its markers."], "attempt": 1, "dur_s": 20.9, "bytes": 2702681, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/grounded_staging/gstage_S17_Shot1_nb2.png", "prompt": "Create ONE PHOTOREALISTIC staging photograph of a live-action film\nshot, taken ON LOCATION at the real filming property shown in the\nattached references: the environment is fully real and photographic,\nbut every person in the frame is a featureless grey display mannequin\n(smooth blank head, no face, no hair). If the shot text implies no\npeople, include none.\n\nSPOT (fixed): this shot happens at the \"Rooftop Deck\" area of the property, by the rooftop-room window set, rooftop-room unit, landing-to-door roof path.\n\nSHOT TEXT (authoritative, Korean):\nscene_heading: S#17. 옥탑방 / 동틀무렵\nshot: 짙고 푸른 안개가 깔린 새벽녘, 희미한 노란 불빛이 켜진 옥탑방 창문을 향해 검은 고양이 한 마리가 고개를 돌린 찰나의 측면.\n\nYOU choose the camera: pick the angle, distance, height, lens and\ncomposition that realise the shot text most powerfully — the camera\nmay stand anywhere plausible AT THE STATED SPOT of this property.\nNo composition instructions are given on purpose.\n\nTIME & LIGHT (hard constraint): the time of day and lighting MUST\nfollow the shot text above — a night scene stays night, a dawn scene\nstays dawn. Do not add weather, atmosphere or colour moods the shot\ntext does not state.\n\nWORLD FACTS (creator-confirmed / evidence-bound — always true):\n- The main building is an aged three-storey multi-family villa;\n  its roof deck sits roughly 8-10 m above the yard, with the small\n  rooftop-room unit as an extra volume on the deck.\n- The exterior stair is a later-added STEEL retrofit stair climbing\n  the full three storeys: open treads, thin steel plate stringers,\n  support posts, pipe railings. It is NOT a concrete stair.\n\nLOCATION REFERENCES: the attached PHOTOGRAPH shows this same\nproperty (sole source of how everything looks — building, materials,\naging, colours, surroundings). The attached flat SITE-PLAN DRAWING\nshows where things are on the property — layout source only; never\ndraw the plan itself, its colours, circles or labels.\n\nThe output image must contain ZERO annotations — no circles, no\ncodes, no letters, no numbers, no text, no signage lettering, no\narrows, no dashed lines."}
{"ts": "2026-07-09 09:55:47", "kind": "img", "engine": "gpt-image-2", "mode": "edit", "tag": "s32_gstage_S13_Shot3_i2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/forest_map/top2/top2_photo_fixed_nb2.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/forest_map/top2/top2_map_gpt.png"], "size": "1536x1024", "attempt": 1, "dur_s": 131.4, "bytes": 2320421, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/grounded_staging/gstage_S13_Shot3_i2.png", "prompt": "Create ONE PHOTOREALISTIC staging photograph of a live-action film\nshot, taken ON LOCATION at the real filming property shown in the\nattached references: the environment is fully real and photographic,\nbut every person in the frame is a featureless grey display mannequin\n(smooth blank head, no face, no hair). If the shot text implies no\npeople, include none.\n\nSPOT (fixed): this shot happens at the \"Alley Approach\" area of the property, by the alley approach, multi-family villa gate.\n\nSHOT TEXT (authoritative, Korean):\nscene_heading: S#13. 옥탑방 외곽 / N\nshot: 차에서 내린 혜수가 초점 없는 눈으로 멍하게 서 있는 수리영을 향해 시선을 고정한 찰나의 상체.\npeople in shot: 혜수, 수리영\n\nYOU choose the camera: pick the angle, distance, height, lens and\ncomposition that realise the shot text most powerfully — the camera\nmay stand anywhere plausible AT THE STATED SPOT of this property.\nNo composition instructions are given on purpose.\n\nTIME & LIGHT (hard constraint): the time of day and lighting MUST\nfollow the shot text above — a night scene stays night, a dawn scene\nstays dawn. Do not add weather, atmosphere or colour moods the shot\ntext does not state.\n\nWORLD FACTS (creator-confirmed / evidence-bound — always true):\n- The main building is an aged three-storey multi-family villa;\n  its roof deck sits roughly 8-10 m above the yard, with the small\n  rooftop-room unit as an extra volume on the deck.\n- The exterior stair is a later-added STEEL retrofit stair climbing\n  the full three storeys: open treads, thin steel plate stringers,\n  support posts, pipe railings. It is NOT a concrete stair.\n\nLOCATION REFERENCES: the attached PHOTOGRAPH shows this same\nproperty (sole source of how everything looks — building, materials,\naging, colours, surroundings). The attached flat SITE-PLAN DRAWING\nshows where things are on the property — layout source only; never\ndraw the plan itself, its colours, circles or labels.\n\nThe output image must contain ZERO annotations — no circles, no\ncodes, no letters, no numbers, no text, no signage lettering, no\narrows, no dashed lines."}
{"ts": "2026-07-09 09:57:42", "kind": "img", "engine": "gpt-image-2", "mode": "edit", "tag": "s32_gstage_S11_Shot3_i2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/forest_map/top2/top2_photo_fixed_nb2.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/forest_map/top2/top2_map_gpt.png"], "size": "1536x1024", "attempt": 1, "dur_s": 115.1, "bytes": 2239685, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/grounded_staging/gstage_S11_Shot3_i2.png", "prompt": "Create ONE PHOTOREALISTIC staging photograph of a live-action film\nshot, taken ON LOCATION at the real filming property shown in the\nattached references: the environment is fully real and photographic,\nbut every person in the frame is a featureless grey display mannequin\n(smooth blank head, no face, no hair). If the shot text implies no\npeople, include none.\n\nSPOT (fixed): this shot happens at the \"Exterior Stair\" area of the property, by the exterior steel retrofit stair run, upper stair landing, rooftop-room building footprint.\n\nSHOT TEXT (authoritative, Korean):\nscene_heading: S#11. 옥탑 방 밖 / N\nshot: 계단 중간에 서서 심하게 코를 찡그린 수리영의 얼굴 클로즈업.\npeople in shot: 수리영\n\nYOU choose the camera: pick the angle, distance, height, lens and\ncomposition that realise the shot text most powerfully — the camera\nmay stand anywhere plausible AT THE STATED SPOT of this property.\nNo composition instructions are given on purpose.\n\nTIME & LIGHT (hard constraint): the time of day and lighting MUST\nfollow the shot text above — a night scene stays night, a dawn scene\nstays dawn. Do not add weather, atmosphere or colour moods the shot\ntext does not state.\n\nWORLD FACTS (creator-confirmed / evidence-bound — always true):\n- The main building is an aged three-storey multi-family villa;\n  its roof deck sits roughly 8-10 m above the yard, with the small\n  rooftop-room unit as an extra volume on the deck.\n- The exterior stair is a later-added STEEL retrofit stair climbing\n  the full three storeys: open treads, thin steel plate stringers,\n  support posts, pipe railings. It is NOT a concrete stair.\n\nLOCATION REFERENCES: the attached PHOTOGRAPH shows this same\nproperty (sole source of how everything looks — building, materials,\naging, colours, surroundings). The attached flat SITE-PLAN DRAWING\nshows where things are on the property — layout source only; never\ndraw the plan itself, its colours, circles or labels.\n\nThe output image must contain ZERO annotations — no circles, no\ncodes, no letters, no numbers, no text, no signage lettering, no\narrows, no dashed lines."}
{"ts": "2026-07-09 09:59:44", "kind": "img", "engine": "gpt-image-2", "mode": "edit", "tag": "s32_gstage_S13_Shot5_i2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/forest_map/top2/top2_photo_fixed_nb2.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/forest_map/top2/top2_map_gpt.png"], "size": "1536x1024", "attempt": 1, "dur_s": 121.0, "bytes": 2993966, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/grounded_staging/gstage_S13_Shot5_i2.png", "prompt": "Create ONE PHOTOREALISTIC staging photograph of a live-action film\nshot, taken ON LOCATION at the real filming property shown in the\nattached references: the environment is fully real and photographic,\nbut every person in the frame is a featureless grey display mannequin\n(smooth blank head, no face, no hair). If the shot text implies no\npeople, include none.\n\nSPOT (fixed): this shot happens at the \"Yard\" area of the property, by the yard, exterior steel retrofit stair run, multi-family villa gate, alley approach.\n\nSHOT TEXT (authoritative, Korean):\nscene_heading: S#13. 옥탑방 외곽 / N\nshot: 수리영이 고개를 들어 혜수의 얼굴을 올려다보는 정적 구도.\npeople in shot: 수리영, 혜수\n\nYOU choose the camera: pick the angle, distance, height, lens and\ncomposition that realise the shot text most powerfully — the camera\nmay stand anywhere plausible AT THE STATED SPOT of this property.\nNo composition instructions are given on purpose.\n\nTIME & LIGHT (hard constraint): the time of day and lighting MUST\nfollow the shot text above — a night scene stays night, a dawn scene\nstays dawn. Do not add weather, atmosphere or colour moods the shot\ntext does not state.\n\nWORLD FACTS (creator-confirmed / evidence-bound — always true):\n- The main building is an aged three-storey multi-family villa;\n  its roof deck sits roughly 8-10 m above the yard, with the small\n  rooftop-room unit as an extra volume on the deck.\n- The exterior stair is a later-added STEEL retrofit stair climbing\n  the full three storeys: open treads, thin steel plate stringers,\n  support posts, pipe railings. It is NOT a concrete stair.\n\nLOCATION REFERENCES: the attached PHOTOGRAPH shows this same\nproperty (sole source of how everything looks — building, materials,\naging, colours, surroundings). The attached flat SITE-PLAN DRAWING\nshows where things are on the property — layout source only; never\ndraw the plan itself, its colours, circles or labels.\n\nThe output image must contain ZERO annotations — no circles, no\ncodes, no letters, no numbers, no text, no signage lettering, no\narrows, no dashed lines."}
{"ts": "2026-07-09 10:01:46", "kind": "img", "engine": "gpt-image-2", "mode": "edit", "tag": "s32_gstage_S17_Shot1_i2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/forest_map/top2/top2_photo_fixed_nb2.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/forest_map/top2/top2_map_gpt.png"], "size": "1536x1024", "attempt": 1, "dur_s": 122.8, "bytes": 2060800, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/grounded_staging/gstage_S17_Shot1_i2.png", "prompt": "Create ONE PHOTOREALISTIC staging photograph of a live-action film\nshot, taken ON LOCATION at the real filming property shown in the\nattached references: the environment is fully real and photographic,\nbut every person in the frame is a featureless grey display mannequin\n(smooth blank head, no face, no hair). If the shot text implies no\npeople, include none.\n\nSPOT (fixed): this shot happens at the \"Rooftop Deck\" area of the property, by the rooftop-room window set, rooftop-room unit, landing-to-door roof path.\n\nSHOT TEXT (authoritative, Korean):\nscene_heading: S#17. 옥탑방 / 동틀무렵\nshot: 짙고 푸른 안개가 깔린 새벽녘, 희미한 노란 불빛이 켜진 옥탑방 창문을 향해 검은 고양이 한 마리가 고개를 돌린 찰나의 측면.\n\nYOU choose the camera: pick the angle, distance, height, lens and\ncomposition that realise the shot text most powerfully — the camera\nmay stand anywhere plausible AT THE STATED SPOT of this property.\nNo composition instructions are given on purpose.\n\nTIME & LIGHT (hard constraint): the time of day and lighting MUST\nfollow the shot text above — a night scene stays night, a dawn scene\nstays dawn. Do not add weather, atmosphere or colour moods the shot\ntext does not state.\n\nWORLD FACTS (creator-confirmed / evidence-bound — always true):\n- The main building is an aged three-storey multi-family villa;\n  its roof deck sits roughly 8-10 m above the yard, with the small\n  rooftop-room unit as an extra volume on the deck.\n- The exterior stair is a later-added STEEL retrofit stair climbing\n  the full three storeys: open treads, thin steel plate stringers,\n  support posts, pipe railings. It is NOT a concrete stair.\n\nLOCATION REFERENCES: the attached PHOTOGRAPH shows this same\nproperty (sole source of how everything looks — building, materials,\naging, colours, surroundings). The attached flat SITE-PLAN DRAWING\nshows where things are on the property — layout source only; never\ndraw the plan itself, its colours, circles or labels.\n\nThe output image must contain ZERO annotations — no circles, no\ncodes, no letters, no numbers, no text, no signage lettering, no\narrows, no dashed lines."}
{"ts": "2026-07-09 10:02:39", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s32_final_S13_Shot3_srci2_bynb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/grounded_staging/gstage_S13_Shot3_i2.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/forest_map/top2/top2_photo_fixed_nb2.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/b0ad5c18-5140-4022-a2b0-805de0e5a385/images/0d30302a-51c8-4ac9-98e2-6cd9180512bf/reference/78811b6c-4b5f-4358-aa50-cff9ffa84508.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/b0ad5c18-5140-4022-a2b0-805de0e5a385/images/0d30302a-51c8-4ac9-98e2-6cd9180512bf/reference/0b01920a-4b59-4e19-ba35-e6e033cbd6b4.png"], "ref_labels": ["STAGING PHOTOGRAPH — camera & blocking source; mannequins are stand-ins.", "LOCATION PHOTOGRAPH — sole source of how everything looks.", "CHARACTER REFERENCE — 혜수: the exact person who replaces one mannequin figure.", "CHARACTER REFERENCE — 수리영: the exact person who replaces one mannequin figure."], "attempt": 1, "dur_s": 24.6, "bytes": 2633338, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/grounded_staging/final_S13_Shot3_srci2_bynb2.png", "prompt": "Create the FINAL photorealistic live-action film still of the moment below.\n\nCAMERA & BLOCKING: the FIRST attached image is the on-location staging photograph of this shot. Keep its camera (angle, distance, height, framing), its spatial layout and the exact placement and pose of every figure. Mannequin figures are stand-ins only.\n\nLOOK: the SECOND attached image is a real photograph of the same property — the source of truth for materials, aging and colours. The shot is at the \"Alley Approach\" area of the property, by the alley approach, multi-family villa gate; keep the setting consistent with both references.\n\nMOMENT (authoritative, Korean): 차에서 내린 혜수가 초점 없는 눈으로 멍하게 서 있는 수리영을 향해 시선을 고정한 찰나의 상체.\nscene_heading: S#13. 옥탑방 외곽 / N\n\nCHARACTERS: replace each mannequin with the matching reference person, in the mannequin's exact position and pose — 혜수, 수리영. Match each reference person's identity exactly (face, hair, build); dress them as the moment describes.\n\nTIME & LIGHT (hard constraint): the time of day and lighting MUST\nfollow the shot text above — a night scene stays night, a dawn scene\nstays dawn. Do not add weather, atmosphere or colour moods the shot\ntext does not state.\n\nWORLD FACTS (creator-confirmed / evidence-bound — always true):\n- The main building is an aged three-storey multi-family villa;\n  its roof deck sits roughly 8-10 m above the yard, with the small\n  rooftop-room unit as an extra volume on the deck.\n- The exterior stair is a later-added STEEL retrofit stair climbing\n  the full three storeys: open treads, thin steel plate stringers,\n  support posts, pipe railings. It is NOT a concrete stair.\n\nThe output image must contain ZERO annotations — no circles, no\ncodes, no letters, no numbers, no text, no signage lettering, no\narrows, no dashed lines."}
{"ts": "2026-07-09 10:03:04", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s32_final_S13_Shot3_srcnb2_bynb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/grounded_staging/gstage_S13_Shot3_nb2.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/forest_map/top2/top2_photo_fixed_nb2.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/b0ad5c18-5140-4022-a2b0-805de0e5a385/images/0d30302a-51c8-4ac9-98e2-6cd9180512bf/reference/78811b6c-4b5f-4358-aa50-cff9ffa84508.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/b0ad5c18-5140-4022-a2b0-805de0e5a385/images/0d30302a-51c8-4ac9-98e2-6cd9180512bf/reference/0b01920a-4b59-4e19-ba35-e6e033cbd6b4.png"], "ref_labels": ["STAGING PHOTOGRAPH — camera & blocking source; mannequins are stand-ins.", "LOCATION PHOTOGRAPH — sole source of how everything looks.", "CHARACTER REFERENCE — 혜수: the exact person who replaces one mannequin figure.", "CHARACTER REFERENCE — 수리영: the exact person who replaces one mannequin figure."], "attempt": 1, "dur_s": 24.4, "bytes": 3001253, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/grounded_staging/final_S13_Shot3_srcnb2_bynb2.png", "prompt": "Create the FINAL photorealistic live-action film still of the moment below.\n\nCAMERA & BLOCKING: the FIRST attached image is the on-location staging photograph of this shot. Keep its camera (angle, distance, height, framing), its spatial layout and the exact placement and pose of every figure. Mannequin figures are stand-ins only.\n\nLOOK: the SECOND attached image is a real photograph of the same property — the source of truth for materials, aging and colours. The shot is at the \"Alley Approach\" area of the property, by the alley approach, multi-family villa gate; keep the setting consistent with both references.\n\nMOMENT (authoritative, Korean): 차에서 내린 혜수가 초점 없는 눈으로 멍하게 서 있는 수리영을 향해 시선을 고정한 찰나의 상체.\nscene_heading: S#13. 옥탑방 외곽 / N\n\nCHARACTERS: replace each mannequin with the matching reference person, in the mannequin's exact position and pose — 혜수, 수리영. Match each reference person's identity exactly (face, hair, build); dress them as the moment describes.\n\nTIME & LIGHT (hard constraint): the time of day and lighting MUST\nfollow the shot text above — a night scene stays night, a dawn scene\nstays dawn. Do not add weather, atmosphere or colour moods the shot\ntext does not state.\n\nWORLD FACTS (creator-confirmed / evidence-bound — always true):\n- The main building is an aged three-storey multi-family villa;\n  its roof deck sits roughly 8-10 m above the yard, with the small\n  rooftop-room unit as an extra volume on the deck.\n- The exterior stair is a later-added STEEL retrofit stair climbing\n  the full three storeys: open treads, thin steel plate stringers,\n  support posts, pipe railings. It is NOT a concrete stair.\n\nThe output image must contain ZERO annotations — no circles, no\ncodes, no letters, no numbers, no text, no signage lettering, no\narrows, no dashed lines."}
{"ts": "2026-07-09 10:03:28", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s32_final_S11_Shot3_srci2_bynb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/grounded_staging/gstage_S11_Shot3_i2.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/forest_map/top2/top2_photo_fixed_nb2.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/b0ad5c18-5140-4022-a2b0-805de0e5a385/images/0d30302a-51c8-4ac9-98e2-6cd9180512bf/reference/0b01920a-4b59-4e19-ba35-e6e033cbd6b4.png"], "ref_labels": ["STAGING PHOTOGRAPH — camera & blocking source; mannequins are stand-ins.", "LOCATION PHOTOGRAPH — sole source of how everything looks.", "CHARACTER REFERENCE — 수리영: the exact person who replaces one mannequin figure."], "attempt": 1, "dur_s": 24.9, "bytes": 2448593, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/grounded_staging/final_S11_Shot3_srci2_bynb2.png", "prompt": "Create the FINAL photorealistic live-action film still of the moment below.\n\nCAMERA & BLOCKING: the FIRST attached image is the on-location staging photograph of this shot. Keep its camera (angle, distance, height, framing), its spatial layout and the exact placement and pose of every figure. Mannequin figures are stand-ins only.\n\nLOOK: the SECOND attached image is a real photograph of the same property — the source of truth for materials, aging and colours. The shot is at the \"Exterior Stair\" area of the property, by the exterior steel retrofit stair run, upper stair landing, rooftop-room building footprint; keep the setting consistent with both references.\n\nMOMENT (authoritative, Korean): 계단 중간에 서서 심하게 코를 찡그린 수리영의 얼굴 클로즈업.\nscene_heading: S#11. 옥탑 방 밖 / N\n\nCHARACTERS: replace each mannequin with the matching reference person, in the mannequin's exact position and pose — 수리영. Match each reference person's identity exactly (face, hair, build); dress them as the moment describes.\n\nTIME & LIGHT (hard constraint): the time of day and lighting MUST\nfollow the shot text above — a night scene stays night, a dawn scene\nstays dawn. Do not add weather, atmosphere or colour moods the shot\ntext does not state.\n\nWORLD FACTS (creator-confirmed / evidence-bound — always true):\n- The main building is an aged three-storey multi-family villa;\n  its roof deck sits roughly 8-10 m above the yard, with the small\n  rooftop-room unit as an extra volume on the deck.\n- The exterior stair is a later-added STEEL retrofit stair climbing\n  the full three storeys: open treads, thin steel plate stringers,\n  support posts, pipe railings. It is NOT a concrete stair.\n\nThe output image must contain ZERO annotations — no circles, no\ncodes, no letters, no numbers, no text, no signage lettering, no\narrows, no dashed lines."}
{"ts": "2026-07-09 10:03:54", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s32_final_S11_Shot3_srcnb2_bynb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/grounded_staging/gstage_S11_Shot3_nb2.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/forest_map/top2/top2_photo_fixed_nb2.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/b0ad5c18-5140-4022-a2b0-805de0e5a385/images/0d30302a-51c8-4ac9-98e2-6cd9180512bf/reference/0b01920a-4b59-4e19-ba35-e6e033cbd6b4.png"], "ref_labels": ["STAGING PHOTOGRAPH — camera & blocking source; mannequins are stand-ins.", "LOCATION PHOTOGRAPH — sole source of how everything looks.", "CHARACTER REFERENCE — 수리영: the exact person who replaces one mannequin figure."], "attempt": 1, "dur_s": 25.3, "bytes": 2667666, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/grounded_staging/final_S11_Shot3_srcnb2_bynb2.png", "prompt": "Create the FINAL photorealistic live-action film still of the moment below.\n\nCAMERA & BLOCKING: the FIRST attached image is the on-location staging photograph of this shot. Keep its camera (angle, distance, height, framing), its spatial layout and the exact placement and pose of every figure. Mannequin figures are stand-ins only.\n\nLOOK: the SECOND attached image is a real photograph of the same property — the source of truth for materials, aging and colours. The shot is at the \"Exterior Stair\" area of the property, by the exterior steel retrofit stair run, upper stair landing, rooftop-room building footprint; keep the setting consistent with both references.\n\nMOMENT (authoritative, Korean): 계단 중간에 서서 심하게 코를 찡그린 수리영의 얼굴 클로즈업.\nscene_heading: S#11. 옥탑 방 밖 / N\n\nCHARACTERS: replace each mannequin with the matching reference person, in the mannequin's exact position and pose — 수리영. Match each reference person's identity exactly (face, hair, build); dress them as the moment describes.\n\nTIME & LIGHT (hard constraint): the time of day and lighting MUST\nfollow the shot text above — a night scene stays night, a dawn scene\nstays dawn. Do not add weather, atmosphere or colour moods the shot\ntext does not state.\n\nWORLD FACTS (creator-confirmed / evidence-bound — always true):\n- The main building is an aged three-storey multi-family villa;\n  its roof deck sits roughly 8-10 m above the yard, with the small\n  rooftop-room unit as an extra volume on the deck.\n- The exterior stair is a later-added STEEL retrofit stair climbing\n  the full three storeys: open treads, thin steel plate stringers,\n  support posts, pipe railings. It is NOT a concrete stair.\n\nThe output image must contain ZERO annotations — no circles, no\ncodes, no letters, no numbers, no text, no signage lettering, no\narrows, no dashed lines."}
{"ts": "2026-07-09 10:04:19", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s32_final_S13_Shot5_srci2_bynb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/grounded_staging/gstage_S13_Shot5_i2.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/forest_map/top2/top2_photo_fixed_nb2.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/b0ad5c18-5140-4022-a2b0-805de0e5a385/images/0d30302a-51c8-4ac9-98e2-6cd9180512bf/reference/0b01920a-4b59-4e19-ba35-e6e033cbd6b4.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/b0ad5c18-5140-4022-a2b0-805de0e5a385/images/0d30302a-51c8-4ac9-98e2-6cd9180512bf/reference/78811b6c-4b5f-4358-aa50-cff9ffa84508.png"], "ref_labels": ["STAGING PHOTOGRAPH — camera & blocking source; mannequins are stand-ins.", "LOCATION PHOTOGRAPH — sole source of how everything looks.", "CHARACTER REFERENCE — 수리영: the exact person who replaces one mannequin figure.", "CHARACTER REFERENCE — 혜수: the exact person who replaces one mannequin figure."], "attempt": 1, "dur_s": 25.6, "bytes": 3023920, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/grounded_staging/final_S13_Shot5_srci2_bynb2.png", "prompt": "Create the FINAL photorealistic live-action film still of the moment below.\n\nCAMERA & BLOCKING: the FIRST attached image is the on-location staging photograph of this shot. Keep its camera (angle, distance, height, framing), its spatial layout and the exact placement and pose of every figure. Mannequin figures are stand-ins only.\n\nLOOK: the SECOND attached image is a real photograph of the same property — the source of truth for materials, aging and colours. The shot is at the \"Yard\" area of the property, by the yard, exterior steel retrofit stair run, multi-family villa gate, alley approach; keep the setting consistent with both references.\n\nMOMENT (authoritative, Korean): 수리영이 고개를 들어 혜수의 얼굴을 올려다보는 정적 구도.\nscene_heading: S#13. 옥탑방 외곽 / N\n\nCHARACTERS: replace each mannequin with the matching reference person, in the mannequin's exact position and pose — 수리영, 혜수. Match each reference person's identity exactly (face, hair, build); dress them as the moment describes.\n\nTIME & LIGHT (hard constraint): the time of day and lighting MUST\nfollow the shot text above — a night scene stays night, a dawn scene\nstays dawn. Do not add weather, atmosphere or colour moods the shot\ntext does not state.\n\nWORLD FACTS (creator-confirmed / evidence-bound — always true):\n- The main building is an aged three-storey multi-family villa;\n  its roof deck sits roughly 8-10 m above the yard, with the small\n  rooftop-room unit as an extra volume on the deck.\n- The exterior stair is a later-added STEEL retrofit stair climbing\n  the full three storeys: open treads, thin steel plate stringers,\n  support posts, pipe railings. It is NOT a concrete stair.\n\nThe output image must contain ZERO annotations — no circles, no\ncodes, no letters, no numbers, no text, no signage lettering, no\narrows, no dashed lines."}
{"ts": "2026-07-09 10:04:23", "kind": "img", "engine": "gpt-image-2", "mode": "edit", "tag": "s32_final_S13_Shot3_srci2_byi2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/grounded_staging/gstage_S13_Shot3_i2.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/forest_map/top2/top2_photo_fixed_nb2.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/b0ad5c18-5140-4022-a2b0-805de0e5a385/images/0d30302a-51c8-4ac9-98e2-6cd9180512bf/reference/78811b6c-4b5f-4358-aa50-cff9ffa84508.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/b0ad5c18-5140-4022-a2b0-805de0e5a385/images/0d30302a-51c8-4ac9-98e2-6cd9180512bf/reference/0b01920a-4b59-4e19-ba35-e6e033cbd6b4.png"], "size": "1536x1024", "attempt": 1, "dur_s": 130.2, "bytes": 2197638, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/grounded_staging/final_S13_Shot3_srci2_byi2.png", "prompt": "Create the FINAL photorealistic live-action film still of the moment below.\n\nCAMERA & BLOCKING: the FIRST attached image is the on-location staging photograph of this shot. Keep its camera (angle, distance, height, framing), its spatial layout and the exact placement and pose of every figure. Mannequin figures are stand-ins only.\n\nLOOK: the SECOND attached image is a real photograph of the same property — the source of truth for materials, aging and colours. The shot is at the \"Alley Approach\" area of the property, by the alley approach, multi-family villa gate; keep the setting consistent with both references.\n\nMOMENT (authoritative, Korean): 차에서 내린 혜수가 초점 없는 눈으로 멍하게 서 있는 수리영을 향해 시선을 고정한 찰나의 상체.\nscene_heading: S#13. 옥탑방 외곽 / N\n\nCHARACTERS: replace each mannequin with the matching reference person, in the mannequin's exact position and pose — 혜수, 수리영. Match each reference person's identity exactly (face, hair, build); dress them as the moment describes.\n\nTIME & LIGHT (hard constraint): the time of day and lighting MUST\nfollow the shot text above — a night scene stays night, a dawn scene\nstays dawn. Do not add weather, atmosphere or colour moods the shot\ntext does not state.\n\nWORLD FACTS (creator-confirmed / evidence-bound — always true):\n- The main building is an aged three-storey multi-family villa;\n  its roof deck sits roughly 8-10 m above the yard, with the small\n  rooftop-room unit as an extra volume on the deck.\n- The exterior stair is a later-added STEEL retrofit stair climbing\n  the full three storeys: open treads, thin steel plate stringers,\n  support posts, pipe railings. It is NOT a concrete stair.\n\nThe output image must contain ZERO annotations — no circles, no\ncodes, no letters, no numbers, no text, no signage lettering, no\narrows, no dashed lines."}
{"ts": "2026-07-09 10:04:24", "kind": "img", "engine": "gpt-image-2", "mode": "edit", "tag": "s32_final_S13_Shot5_srci2_byi2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/grounded_staging/gstage_S13_Shot5_i2.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/forest_map/top2/top2_photo_fixed_nb2.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/b0ad5c18-5140-4022-a2b0-805de0e5a385/images/0d30302a-51c8-4ac9-98e2-6cd9180512bf/reference/0b01920a-4b59-4e19-ba35-e6e033cbd6b4.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/b0ad5c18-5140-4022-a2b0-805de0e5a385/images/0d30302a-51c8-4ac9-98e2-6cd9180512bf/reference/78811b6c-4b5f-4358-aa50-cff9ffa84508.png"], "size": "1536x1024", "attempt": 1, "dur_s": 129.8, "bytes": 2612798, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/grounded_staging/final_S13_Shot5_srci2_byi2.png", "prompt": "Create the FINAL photorealistic live-action film still of the moment below.\n\nCAMERA & BLOCKING: the FIRST attached image is the on-location staging photograph of this shot. Keep its camera (angle, distance, height, framing), its spatial layout and the exact placement and pose of every figure. Mannequin figures are stand-ins only.\n\nLOOK: the SECOND attached image is a real photograph of the same property — the source of truth for materials, aging and colours. The shot is at the \"Yard\" area of the property, by the yard, exterior steel retrofit stair run, multi-family villa gate, alley approach; keep the setting consistent with both references.\n\nMOMENT (authoritative, Korean): 수리영이 고개를 들어 혜수의 얼굴을 올려다보는 정적 구도.\nscene_heading: S#13. 옥탑방 외곽 / N\n\nCHARACTERS: replace each mannequin with the matching reference person, in the mannequin's exact position and pose — 수리영, 혜수. Match each reference person's identity exactly (face, hair, build); dress them as the moment describes.\n\nTIME & LIGHT (hard constraint): the time of day and lighting MUST\nfollow the shot text above — a night scene stays night, a dawn scene\nstays dawn. Do not add weather, atmosphere or colour moods the shot\ntext does not state.\n\nWORLD FACTS (creator-confirmed / evidence-bound — always true):\n- The main building is an aged three-storey multi-family villa;\n  its roof deck sits roughly 8-10 m above the yard, with the small\n  rooftop-room unit as an extra volume on the deck.\n- The exterior stair is a later-added STEEL retrofit stair climbing\n  the full three storeys: open treads, thin steel plate stringers,\n  support posts, pipe railings. It is NOT a concrete stair.\n\nThe output image must contain ZERO annotations — no circles, no\ncodes, no letters, no numbers, no text, no signage lettering, no\narrows, no dashed lines."}
{"ts": "2026-07-09 10:04:44", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s32_final_S13_Shot5_srcnb2_bynb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/grounded_staging/gstage_S13_Shot5_nb2.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/forest_map/top2/top2_photo_fixed_nb2.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/b0ad5c18-5140-4022-a2b0-805de0e5a385/images/0d30302a-51c8-4ac9-98e2-6cd9180512bf/reference/0b01920a-4b59-4e19-ba35-e6e033cbd6b4.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/b0ad5c18-5140-4022-a2b0-805de0e5a385/images/0d30302a-51c8-4ac9-98e2-6cd9180512bf/reference/78811b6c-4b5f-4358-aa50-cff9ffa84508.png"], "ref_labels": ["STAGING PHOTOGRAPH — camera & blocking source; mannequins are stand-ins.", "LOCATION PHOTOGRAPH — sole source of how everything looks.", "CHARACTER REFERENCE — 수리영: the exact person who replaces one mannequin figure.", "CHARACTER REFERENCE — 혜수: the exact person who replaces one mannequin figure."], "attempt": 1, "dur_s": 25.1, "bytes": 2804558, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/grounded_staging/final_S13_Shot5_srcnb2_bynb2.png", "prompt": "Create the FINAL photorealistic live-action film still of the moment below.\n\nCAMERA & BLOCKING: the FIRST attached image is the on-location staging photograph of this shot. Keep its camera (angle, distance, height, framing), its spatial layout and the exact placement and pose of every figure. Mannequin figures are stand-ins only.\n\nLOOK: the SECOND attached image is a real photograph of the same property — the source of truth for materials, aging and colours. The shot is at the \"Yard\" area of the property, by the yard, exterior steel retrofit stair run, multi-family villa gate, alley approach; keep the setting consistent with both references.\n\nMOMENT (authoritative, Korean): 수리영이 고개를 들어 혜수의 얼굴을 올려다보는 정적 구도.\nscene_heading: S#13. 옥탑방 외곽 / N\n\nCHARACTERS: replace each mannequin with the matching reference person, in the mannequin's exact position and pose — 수리영, 혜수. Match each reference person's identity exactly (face, hair, build); dress them as the moment describes.\n\nTIME & LIGHT (hard constraint): the time of day and lighting MUST\nfollow the shot text above — a night scene stays night, a dawn scene\nstays dawn. Do not add weather, atmosphere or colour moods the shot\ntext does not state.\n\nWORLD FACTS (creator-confirmed / evidence-bound — always true):\n- The main building is an aged three-storey multi-family villa;\n  its roof deck sits roughly 8-10 m above the yard, with the small\n  rooftop-room unit as an extra volume on the deck.\n- The exterior stair is a later-added STEEL retrofit stair climbing\n  the full three storeys: open treads, thin steel plate stringers,\n  support posts, pipe railings. It is NOT a concrete stair.\n\nThe output image must contain ZERO annotations — no circles, no\ncodes, no letters, no numbers, no text, no signage lettering, no\narrows, no dashed lines."}
{"ts": "2026-07-09 10:05:07", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s32_final_S17_Shot1_srci2_bynb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/grounded_staging/gstage_S17_Shot1_i2.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/forest_map/top2/top2_photo_fixed_nb2.png"], "ref_labels": ["STAGING PHOTOGRAPH — camera & blocking source; mannequins are stand-ins.", "LOCATION PHOTOGRAPH — sole source of how everything looks."], "attempt": 1, "dur_s": 22.1, "bytes": 2402081, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/grounded_staging/final_S17_Shot1_srci2_bynb2.png", "prompt": "Create the FINAL photorealistic live-action film still of the moment below.\n\nCAMERA & BLOCKING: the FIRST attached image is the on-location staging photograph of this shot. Keep its camera (angle, distance, height, framing), its spatial layout and the exact placement and pose of every figure. Mannequin figures are stand-ins only.\n\nLOOK: the SECOND attached image is a real photograph of the same property — the source of truth for materials, aging and colours. The shot is at the \"Rooftop Deck\" area of the property, by the rooftop-room window set, rooftop-room unit, landing-to-door roof path; keep the setting consistent with both references.\n\nMOMENT (authoritative, Korean): 짙고 푸른 안개가 깔린 새벽녘, 희미한 노란 불빛이 켜진 옥탑방 창문을 향해 검은 고양이 한 마리가 고개를 돌린 찰나의 측면.\nscene_heading: S#17. 옥탑방 / 동틀무렵\n\nNo people appear unless the moment itself says so.\n\nTIME & LIGHT (hard constraint): the time of day and lighting MUST\nfollow the shot text above — a night scene stays night, a dawn scene\nstays dawn. Do not add weather, atmosphere or colour moods the shot\ntext does not state.\n\nWORLD FACTS (creator-confirmed / evidence-bound — always true):\n- The main building is an aged three-storey multi-family villa;\n  its roof deck sits roughly 8-10 m above the yard, with the small\n  rooftop-room unit as an extra volume on the deck.\n- The exterior stair is a later-added STEEL retrofit stair climbing\n  the full three storeys: open treads, thin steel plate stringers,\n  support posts, pipe railings. It is NOT a concrete stair.\n\nThe output image must contain ZERO annotations — no circles, no\ncodes, no letters, no numbers, no text, no signage lettering, no\narrows, no dashed lines."}
{"ts": "2026-07-09 10:05:28", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s32_final_S17_Shot1_srcnb2_bynb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/grounded_staging/gstage_S17_Shot1_nb2.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/forest_map/top2/top2_photo_fixed_nb2.png"], "ref_labels": ["STAGING PHOTOGRAPH — camera & blocking source; mannequins are stand-ins.", "LOCATION PHOTOGRAPH — sole source of how everything looks."], "attempt": 1, "dur_s": 21.2, "bytes": 2736464, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/grounded_staging/final_S17_Shot1_srcnb2_bynb2.png", "prompt": "Create the FINAL photorealistic live-action film still of the moment below.\n\nCAMERA & BLOCKING: the FIRST attached image is the on-location staging photograph of this shot. Keep its camera (angle, distance, height, framing), its spatial layout and the exact placement and pose of every figure. Mannequin figures are stand-ins only.\n\nLOOK: the SECOND attached image is a real photograph of the same property — the source of truth for materials, aging and colours. The shot is at the \"Rooftop Deck\" area of the property, by the rooftop-room window set, rooftop-room unit, landing-to-door roof path; keep the setting consistent with both references.\n\nMOMENT (authoritative, Korean): 짙고 푸른 안개가 깔린 새벽녘, 희미한 노란 불빛이 켜진 옥탑방 창문을 향해 검은 고양이 한 마리가 고개를 돌린 찰나의 측면.\nscene_heading: S#17. 옥탑방 / 동틀무렵\n\nNo people appear unless the moment itself says so.\n\nTIME & LIGHT (hard constraint): the time of day and lighting MUST\nfollow the shot text above — a night scene stays night, a dawn scene\nstays dawn. Do not add weather, atmosphere or colour moods the shot\ntext does not state.\n\nWORLD FACTS (creator-confirmed / evidence-bound — always true):\n- The main building is an aged three-storey multi-family villa;\n  its roof deck sits roughly 8-10 m above the yard, with the small\n  rooftop-room unit as an extra volume on the deck.\n- The exterior stair is a later-added STEEL retrofit stair climbing\n  the full three storeys: open treads, thin steel plate stringers,\n  support posts, pipe railings. It is NOT a concrete stair.\n\nThe output image must contain ZERO annotations — no circles, no\ncodes, no letters, no numbers, no text, no signage lettering, no\narrows, no dashed lines."}
{"ts": "2026-07-09 10:06:33", "kind": "img", "engine": "gpt-image-2", "mode": "edit", "tag": "s32_final_S13_Shot3_srcnb2_byi2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/grounded_staging/gstage_S13_Shot3_nb2.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/forest_map/top2/top2_photo_fixed_nb2.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/b0ad5c18-5140-4022-a2b0-805de0e5a385/images/0d30302a-51c8-4ac9-98e2-6cd9180512bf/reference/78811b6c-4b5f-4358-aa50-cff9ffa84508.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/b0ad5c18-5140-4022-a2b0-805de0e5a385/images/0d30302a-51c8-4ac9-98e2-6cd9180512bf/reference/0b01920a-4b59-4e19-ba35-e6e033cbd6b4.png"], "size": "1536x1024", "attempt": 1, "dur_s": 130.0, "bytes": 2434165, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/grounded_staging/final_S13_Shot3_srcnb2_byi2.png", "prompt": "Create the FINAL photorealistic live-action film still of the moment below.\n\nCAMERA & BLOCKING: the FIRST attached image is the on-location staging photograph of this shot. Keep its camera (angle, distance, height, framing), its spatial layout and the exact placement and pose of every figure. Mannequin figures are stand-ins only.\n\nLOOK: the SECOND attached image is a real photograph of the same property — the source of truth for materials, aging and colours. The shot is at the \"Alley Approach\" area of the property, by the alley approach, multi-family villa gate; keep the setting consistent with both references.\n\nMOMENT (authoritative, Korean): 차에서 내린 혜수가 초점 없는 눈으로 멍하게 서 있는 수리영을 향해 시선을 고정한 찰나의 상체.\nscene_heading: S#13. 옥탑방 외곽 / N\n\nCHARACTERS: replace each mannequin with the matching reference person, in the mannequin's exact position and pose — 혜수, 수리영. Match each reference person's identity exactly (face, hair, build); dress them as the moment describes.\n\nTIME & LIGHT (hard constraint): the time of day and lighting MUST\nfollow the shot text above — a night scene stays night, a dawn scene\nstays dawn. Do not add weather, atmosphere or colour moods the shot\ntext does not state.\n\nWORLD FACTS (creator-confirmed / evidence-bound — always true):\n- The main building is an aged three-storey multi-family villa;\n  its roof deck sits roughly 8-10 m above the yard, with the small\n  rooftop-room unit as an extra volume on the deck.\n- The exterior stair is a later-added STEEL retrofit stair climbing\n  the full three storeys: open treads, thin steel plate stringers,\n  support posts, pipe railings. It is NOT a concrete stair.\n\nThe output image must contain ZERO annotations — no circles, no\ncodes, no letters, no numbers, no text, no signage lettering, no\narrows, no dashed lines."}
{"ts": "2026-07-09 10:06:47", "kind": "img", "engine": "gpt-image-2", "mode": "edit", "tag": "s32_final_S13_Shot5_srcnb2_byi2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/grounded_staging/gstage_S13_Shot5_nb2.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/forest_map/top2/top2_photo_fixed_nb2.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/b0ad5c18-5140-4022-a2b0-805de0e5a385/images/0d30302a-51c8-4ac9-98e2-6cd9180512bf/reference/0b01920a-4b59-4e19-ba35-e6e033cbd6b4.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/b0ad5c18-5140-4022-a2b0-805de0e5a385/images/0d30302a-51c8-4ac9-98e2-6cd9180512bf/reference/78811b6c-4b5f-4358-aa50-cff9ffa84508.png"], "size": "1536x1024", "attempt": 1, "dur_s": 143.4, "bytes": 2268331, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/grounded_staging/final_S13_Shot5_srcnb2_byi2.png", "prompt": "Create the FINAL photorealistic live-action film still of the moment below.\n\nCAMERA & BLOCKING: the FIRST attached image is the on-location staging photograph of this shot. Keep its camera (angle, distance, height, framing), its spatial layout and the exact placement and pose of every figure. Mannequin figures are stand-ins only.\n\nLOOK: the SECOND attached image is a real photograph of the same property — the source of truth for materials, aging and colours. The shot is at the \"Yard\" area of the property, by the yard, exterior steel retrofit stair run, multi-family villa gate, alley approach; keep the setting consistent with both references.\n\nMOMENT (authoritative, Korean): 수리영이 고개를 들어 혜수의 얼굴을 올려다보는 정적 구도.\nscene_heading: S#13. 옥탑방 외곽 / N\n\nCHARACTERS: replace each mannequin with the matching reference person, in the mannequin's exact position and pose — 수리영, 혜수. Match each reference person's identity exactly (face, hair, build); dress them as the moment describes.\n\nTIME & LIGHT (hard constraint): the time of day and lighting MUST\nfollow the shot text above — a night scene stays night, a dawn scene\nstays dawn. Do not add weather, atmosphere or colour moods the shot\ntext does not state.\n\nWORLD FACTS (creator-confirmed / evidence-bound — always true):\n- The main building is an aged three-storey multi-family villa;\n  its roof deck sits roughly 8-10 m above the yard, with the small\n  rooftop-room unit as an extra volume on the deck.\n- The exterior stair is a later-added STEEL retrofit stair climbing\n  the full three storeys: open treads, thin steel plate stringers,\n  support posts, pipe railings. It is NOT a concrete stair.\n\nThe output image must contain ZERO annotations — no circles, no\ncodes, no letters, no numbers, no text, no signage lettering, no\narrows, no dashed lines."}
{"ts": "2026-07-09 10:08:32", "kind": "img", "engine": "gpt-image-2", "mode": "edit", "tag": "s32_final_S11_Shot3_srci2_byi2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/grounded_staging/gstage_S11_Shot3_i2.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/forest_map/top2/top2_photo_fixed_nb2.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/b0ad5c18-5140-4022-a2b0-805de0e5a385/images/0d30302a-51c8-4ac9-98e2-6cd9180512bf/reference/0b01920a-4b59-4e19-ba35-e6e033cbd6b4.png"], "size": "1536x1024", "attempt": 1, "dur_s": 118.5, "bytes": 2278802, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/grounded_staging/final_S11_Shot3_srci2_byi2.png", "prompt": "Create the FINAL photorealistic live-action film still of the moment below.\n\nCAMERA & BLOCKING: the FIRST attached image is the on-location staging photograph of this shot. Keep its camera (angle, distance, height, framing), its spatial layout and the exact placement and pose of every figure. Mannequin figures are stand-ins only.\n\nLOOK: the SECOND attached image is a real photograph of the same property — the source of truth for materials, aging and colours. The shot is at the \"Exterior Stair\" area of the property, by the exterior steel retrofit stair run, upper stair landing, rooftop-room building footprint; keep the setting consistent with both references.\n\nMOMENT (authoritative, Korean): 계단 중간에 서서 심하게 코를 찡그린 수리영의 얼굴 클로즈업.\nscene_heading: S#11. 옥탑 방 밖 / N\n\nCHARACTERS: replace each mannequin with the matching reference person, in the mannequin's exact position and pose — 수리영. Match each reference person's identity exactly (face, hair, build); dress them as the moment describes.\n\nTIME & LIGHT (hard constraint): the time of day and lighting MUST\nfollow the shot text above — a night scene stays night, a dawn scene\nstays dawn. Do not add weather, atmosphere or colour moods the shot\ntext does not state.\n\nWORLD FACTS (creator-confirmed / evidence-bound — always true):\n- The main building is an aged three-storey multi-family villa;\n  its roof deck sits roughly 8-10 m above the yard, with the small\n  rooftop-room unit as an extra volume on the deck.\n- The exterior stair is a later-added STEEL retrofit stair climbing\n  the full three storeys: open treads, thin steel plate stringers,\n  support posts, pipe railings. It is NOT a concrete stair.\n\nThe output image must contain ZERO annotations — no circles, no\ncodes, no letters, no numbers, no text, no signage lettering, no\narrows, no dashed lines."}
{"ts": "2026-07-09 10:08:43", "kind": "img", "engine": "gpt-image-2", "mode": "edit", "tag": "s32_final_S17_Shot1_srci2_byi2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/grounded_staging/gstage_S17_Shot1_i2.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/forest_map/top2/top2_photo_fixed_nb2.png"], "size": "1536x1024", "attempt": 1, "dur_s": 116.0, "bytes": 2043393, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/grounded_staging/final_S17_Shot1_srci2_byi2.png", "prompt": "Create the FINAL photorealistic live-action film still of the moment below.\n\nCAMERA & BLOCKING: the FIRST attached image is the on-location staging photograph of this shot. Keep its camera (angle, distance, height, framing), its spatial layout and the exact placement and pose of every figure. Mannequin figures are stand-ins only.\n\nLOOK: the SECOND attached image is a real photograph of the same property — the source of truth for materials, aging and colours. The shot is at the \"Rooftop Deck\" area of the property, by the rooftop-room window set, rooftop-room unit, landing-to-door roof path; keep the setting consistent with both references.\n\nMOMENT (authoritative, Korean): 짙고 푸른 안개가 깔린 새벽녘, 희미한 노란 불빛이 켜진 옥탑방 창문을 향해 검은 고양이 한 마리가 고개를 돌린 찰나의 측면.\nscene_heading: S#17. 옥탑방 / 동틀무렵\n\nNo people appear unless the moment itself says so.\n\nTIME & LIGHT (hard constraint): the time of day and lighting MUST\nfollow the shot text above — a night scene stays night, a dawn scene\nstays dawn. Do not add weather, atmosphere or colour moods the shot\ntext does not state.\n\nWORLD FACTS (creator-confirmed / evidence-bound — always true):\n- The main building is an aged three-storey multi-family villa;\n  its roof deck sits roughly 8-10 m above the yard, with the small\n  rooftop-room unit as an extra volume on the deck.\n- The exterior stair is a later-added STEEL retrofit stair climbing\n  the full three storeys: open treads, thin steel plate stringers,\n  support posts, pipe railings. It is NOT a concrete stair.\n\nThe output image must contain ZERO annotations — no circles, no\ncodes, no letters, no numbers, no text, no signage lettering, no\narrows, no dashed lines."}
{"ts": "2026-07-09 10:10:36", "kind": "img", "engine": "gpt-image-2", "mode": "edit", "tag": "s32_final_S11_Shot3_srcnb2_byi2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/grounded_staging/gstage_S11_Shot3_nb2.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/forest_map/top2/top2_photo_fixed_nb2.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/b0ad5c18-5140-4022-a2b0-805de0e5a385/images/0d30302a-51c8-4ac9-98e2-6cd9180512bf/reference/0b01920a-4b59-4e19-ba35-e6e033cbd6b4.png"], "size": "1536x1024", "attempt": 1, "dur_s": 124.0, "bytes": 2084722, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/grounded_staging/final_S11_Shot3_srcnb2_byi2.png", "prompt": "Create the FINAL photorealistic live-action film still of the moment below.\n\nCAMERA & BLOCKING: the FIRST attached image is the on-location staging photograph of this shot. Keep its camera (angle, distance, height, framing), its spatial layout and the exact placement and pose of every figure. Mannequin figures are stand-ins only.\n\nLOOK: the SECOND attached image is a real photograph of the same property — the source of truth for materials, aging and colours. The shot is at the \"Exterior Stair\" area of the property, by the exterior steel retrofit stair run, upper stair landing, rooftop-room building footprint; keep the setting consistent with both references.\n\nMOMENT (authoritative, Korean): 계단 중간에 서서 심하게 코를 찡그린 수리영의 얼굴 클로즈업.\nscene_heading: S#11. 옥탑 방 밖 / N\n\nCHARACTERS: replace each mannequin with the matching reference person, in the mannequin's exact position and pose — 수리영. Match each reference person's identity exactly (face, hair, build); dress them as the moment describes.\n\nTIME & LIGHT (hard constraint): the time of day and lighting MUST\nfollow the shot text above — a night scene stays night, a dawn scene\nstays dawn. Do not add weather, atmosphere or colour moods the shot\ntext does not state.\n\nWORLD FACTS (creator-confirmed / evidence-bound — always true):\n- The main building is an aged three-storey multi-family villa;\n  its roof deck sits roughly 8-10 m above the yard, with the small\n  rooftop-room unit as an extra volume on the deck.\n- The exterior stair is a later-added STEEL retrofit stair climbing\n  the full three storeys: open treads, thin steel plate stringers,\n  support posts, pipe railings. It is NOT a concrete stair.\n\nThe output image must contain ZERO annotations — no circles, no\ncodes, no letters, no numbers, no text, no signage lettering, no\narrows, no dashed lines."}
{"ts": "2026-07-09 10:10:37", "kind": "img", "engine": "gpt-image-2", "mode": "edit", "tag": "s32_final_S17_Shot1_srcnb2_byi2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/grounded_staging/gstage_S17_Shot1_nb2.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/forest_map/top2/top2_photo_fixed_nb2.png"], "size": "1536x1024", "attempt": 1, "dur_s": 114.6, "bytes": 1987487, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/grounded_staging/final_S17_Shot1_srcnb2_byi2.png", "prompt": "Create the FINAL photorealistic live-action film still of the moment below.\n\nCAMERA & BLOCKING: the FIRST attached image is the on-location staging photograph of this shot. Keep its camera (angle, distance, height, framing), its spatial layout and the exact placement and pose of every figure. Mannequin figures are stand-ins only.\n\nLOOK: the SECOND attached image is a real photograph of the same property — the source of truth for materials, aging and colours. The shot is at the \"Rooftop Deck\" area of the property, by the rooftop-room window set, rooftop-room unit, landing-to-door roof path; keep the setting consistent with both references.\n\nMOMENT (authoritative, Korean): 짙고 푸른 안개가 깔린 새벽녘, 희미한 노란 불빛이 켜진 옥탑방 창문을 향해 검은 고양이 한 마리가 고개를 돌린 찰나의 측면.\nscene_heading: S#17. 옥탑방 / 동틀무렵\n\nNo people appear unless the moment itself says so.\n\nTIME & LIGHT (hard constraint): the time of day and lighting MUST\nfollow the shot text above — a night scene stays night, a dawn scene\nstays dawn. Do not add weather, atmosphere or colour moods the shot\ntext does not state.\n\nWORLD FACTS (creator-confirmed / evidence-bound — always true):\n- The main building is an aged three-storey multi-family villa;\n  its roof deck sits roughly 8-10 m above the yard, with the small\n  rooftop-room unit as an extra volume on the deck.\n- The exterior stair is a later-added STEEL retrofit stair climbing\n  the full three storeys: open treads, thin steel plate stringers,\n  support posts, pipe railings. It is NOT a concrete stair.\n\nThe output image must contain ZERO annotations — no circles, no\ncodes, no letters, no numbers, no text, no signage lettering, no\narrows, no dashed lines."}
{"ts": "2026-07-09 10:56:30", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s33_direct_S13_Shot3_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/forest_map/top2/top2_photo_fixed_nb2.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/forest_map/top2/top2_map_gpt.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/b0ad5c18-5140-4022-a2b0-805de0e5a385/images/0d30302a-51c8-4ac9-98e2-6cd9180512bf/reference/78811b6c-4b5f-4358-aa50-cff9ffa84508.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/b0ad5c18-5140-4022-a2b0-805de0e5a385/images/0d30302a-51c8-4ac9-98e2-6cd9180512bf/reference/0b01920a-4b59-4e19-ba35-e6e033cbd6b4.png"], "ref_labels": ["LOCATION PHOTOGRAPH — the same property; sole source of how everything looks.", "SITE PLAN — layout source only; never draw this drawing or its markers.", "CHARACTER REFERENCE — 혜수: the exact person in the shot.", "CHARACTER REFERENCE — 수리영: the exact person in the shot."], "attempt": 1, "dur_s": 23.9, "bytes": 2865211, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/direct_compose/direct_S13_Shot3_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment\nbelow, shot ON LOCATION at the real filming property shown in the\nattached references.\n\nSPOT (fixed): this shot happens at the \"Alley Approach\" area of the property, by the alley approach, multi-family villa gate.\n\nSHOT TEXT (authoritative, Korean):\nscene_heading: S#13. 옥탑방 외곽 / N\nshot: 차에서 내린 혜수가 초점 없는 눈으로 멍하게 서 있는 수리영을 향해 시선을 고정한 찰나의 상체.\npeople in shot: 혜수, 수리영\n\nYOU choose the camera: pick the angle, distance, height, lens and\ncomposition that realise the shot text most powerfully — the camera\nmay stand anywhere plausible AT THE STATED SPOT of this property.\nNo composition instructions are given on purpose.\n\nCHARACTERS: only the listed reference people appear — 혜수, 수리영. Match each reference person's identity exactly (face, hair, build); dress and pose them as the moment describes.\n\nTIME & LIGHT (hard constraint): the time of day and lighting MUST\nfollow the shot text above — a night scene stays night, a dawn scene\nstays dawn. Do not add weather, atmosphere or colour moods the shot\ntext does not state.\n\nWORLD FACTS (creator-confirmed / evidence-bound — always true):\n- The main building is an aged three-storey multi-family villa;\n  its roof deck sits roughly 8-10 m above the yard, with the small\n  rooftop-room unit as an extra volume on the deck.\n- The exterior stair is a later-added STEEL retrofit stair climbing\n  the full three storeys: open treads, thin steel plate stringers,\n  support posts, pipe railings. It is NOT a concrete stair.\n\nREFERENCES: the attached PHOTOGRAPH shows this same property — the\nsole source of how everything looks (building, materials, aging,\ncolours, surroundings). The attached flat SITE-PLAN DRAWING shows\nwhere things are on the property — layout source only; never draw\nthe plan itself, its colours, circles or labels. The remaining\nattached images are CHARACTER REFERENCES — the exact people who\nappear in the shot.\n\nThe output image must contain ZERO annotations — no circles, no\ncodes, no letters, no numbers, no text, no signage lettering, no\narrows, no dashed lines."}
{"ts": "2026-07-09 10:56:56", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s33_direct_S11_Shot3_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/forest_map/top2/top2_photo_fixed_nb2.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/forest_map/top2/top2_map_gpt.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/b0ad5c18-5140-4022-a2b0-805de0e5a385/images/0d30302a-51c8-4ac9-98e2-6cd9180512bf/reference/0b01920a-4b59-4e19-ba35-e6e033cbd6b4.png"], "ref_labels": ["LOCATION PHOTOGRAPH — the same property; sole source of how everything looks.", "SITE PLAN — layout source only; never draw this drawing or its markers.", "CHARACTER REFERENCE — 수리영: the exact person in the shot."], "attempt": 1, "dur_s": 26.0, "bytes": 2338520, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/direct_compose/direct_S11_Shot3_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment\nbelow, shot ON LOCATION at the real filming property shown in the\nattached references.\n\nSPOT (fixed): this shot happens at the \"Exterior Stair\" area of the property, by the exterior steel retrofit stair run, upper stair landing, rooftop-room building footprint.\n\nSHOT TEXT (authoritative, Korean):\nscene_heading: S#11. 옥탑 방 밖 / N\nshot: 계단 중간에 서서 심하게 코를 찡그린 수리영의 얼굴 클로즈업.\npeople in shot: 수리영\n\nYOU choose the camera: pick the angle, distance, height, lens and\ncomposition that realise the shot text most powerfully — the camera\nmay stand anywhere plausible AT THE STATED SPOT of this property.\nNo composition instructions are given on purpose.\n\nCHARACTERS: only the listed reference people appear — 수리영. Match each reference person's identity exactly (face, hair, build); dress and pose them as the moment describes.\n\nTIME & LIGHT (hard constraint): the time of day and lighting MUST\nfollow the shot text above — a night scene stays night, a dawn scene\nstays dawn. Do not add weather, atmosphere or colour moods the shot\ntext does not state.\n\nWORLD FACTS (creator-confirmed / evidence-bound — always true):\n- The main building is an aged three-storey multi-family villa;\n  its roof deck sits roughly 8-10 m above the yard, with the small\n  rooftop-room unit as an extra volume on the deck.\n- The exterior stair is a later-added STEEL retrofit stair climbing\n  the full three storeys: open treads, thin steel plate stringers,\n  support posts, pipe railings. It is NOT a concrete stair.\n\nREFERENCES: the attached PHOTOGRAPH shows this same property — the\nsole source of how everything looks (building, materials, aging,\ncolours, surroundings). The attached flat SITE-PLAN DRAWING shows\nwhere things are on the property — layout source only; never draw\nthe plan itself, its colours, circles or labels. The remaining\nattached images are CHARACTER REFERENCES — the exact people who\nappear in the shot.\n\nThe output image must contain ZERO annotations — no circles, no\ncodes, no letters, no numbers, no text, no signage lettering, no\narrows, no dashed lines."}
{"ts": "2026-07-09 10:57:23", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s33_direct_S13_Shot5_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/forest_map/top2/top2_photo_fixed_nb2.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/forest_map/top2/top2_map_gpt.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/b0ad5c18-5140-4022-a2b0-805de0e5a385/images/0d30302a-51c8-4ac9-98e2-6cd9180512bf/reference/0b01920a-4b59-4e19-ba35-e6e033cbd6b4.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/b0ad5c18-5140-4022-a2b0-805de0e5a385/images/0d30302a-51c8-4ac9-98e2-6cd9180512bf/reference/78811b6c-4b5f-4358-aa50-cff9ffa84508.png"], "ref_labels": ["LOCATION PHOTOGRAPH — the same property; sole source of how everything looks.", "SITE PLAN — layout source only; never draw this drawing or its markers.", "CHARACTER REFERENCE — 수리영: the exact person in the shot.", "CHARACTER REFERENCE — 혜수: the exact person in the shot."], "attempt": 1, "dur_s": 26.1, "bytes": 2782076, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/direct_compose/direct_S13_Shot5_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment\nbelow, shot ON LOCATION at the real filming property shown in the\nattached references.\n\nSPOT (fixed): this shot happens at the \"Yard\" area of the property, by the yard, exterior steel retrofit stair run, multi-family villa gate, alley approach.\n\nSHOT TEXT (authoritative, Korean):\nscene_heading: S#13. 옥탑방 외곽 / N\nshot: 수리영이 고개를 들어 혜수의 얼굴을 올려다보는 정적 구도.\npeople in shot: 수리영, 혜수\n\nYOU choose the camera: pick the angle, distance, height, lens and\ncomposition that realise the shot text most powerfully — the camera\nmay stand anywhere plausible AT THE STATED SPOT of this property.\nNo composition instructions are given on purpose.\n\nCHARACTERS: only the listed reference people appear — 수리영, 혜수. Match each reference person's identity exactly (face, hair, build); dress and pose them as the moment describes.\n\nTIME & LIGHT (hard constraint): the time of day and lighting MUST\nfollow the shot text above — a night scene stays night, a dawn scene\nstays dawn. Do not add weather, atmosphere or colour moods the shot\ntext does not state.\n\nWORLD FACTS (creator-confirmed / evidence-bound — always true):\n- The main building is an aged three-storey multi-family villa;\n  its roof deck sits roughly 8-10 m above the yard, with the small\n  rooftop-room unit as an extra volume on the deck.\n- The exterior stair is a later-added STEEL retrofit stair climbing\n  the full three storeys: open treads, thin steel plate stringers,\n  support posts, pipe railings. It is NOT a concrete stair.\n\nREFERENCES: the attached PHOTOGRAPH shows this same property — the\nsole source of how everything looks (building, materials, aging,\ncolours, surroundings). The attached flat SITE-PLAN DRAWING shows\nwhere things are on the property — layout source only; never draw\nthe plan itself, its colours, circles or labels. The remaining\nattached images are CHARACTER REFERENCES — the exact people who\nappear in the shot.\n\nThe output image must contain ZERO annotations — no circles, no\ncodes, no letters, no numbers, no text, no signage lettering, no\narrows, no dashed lines."}
{"ts": "2026-07-09 10:57:44", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s33_direct_S17_Shot1_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/forest_map/top2/top2_photo_fixed_nb2.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/forest_map/top2/top2_map_gpt.png"], "ref_labels": ["LOCATION PHOTOGRAPH — the same property; sole source of how everything looks.", "SITE PLAN — layout source only; never draw this drawing or its markers."], "attempt": 1, "dur_s": 21.1, "bytes": 2658510, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/direct_compose/direct_S17_Shot1_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment\nbelow, shot ON LOCATION at the real filming property shown in the\nattached references.\n\nSPOT (fixed): this shot happens at the \"Rooftop Deck\" area of the property, by the rooftop-room window set, rooftop-room unit, landing-to-door roof path.\n\nSHOT TEXT (authoritative, Korean):\nscene_heading: S#17. 옥탑방 / 동틀무렵\nshot: 짙고 푸른 안개가 깔린 새벽녘, 희미한 노란 불빛이 켜진 옥탑방 창문을 향해 검은 고양이 한 마리가 고개를 돌린 찰나의 측면.\n\nYOU choose the camera: pick the angle, distance, height, lens and\ncomposition that realise the shot text most powerfully — the camera\nmay stand anywhere plausible AT THE STATED SPOT of this property.\nNo composition instructions are given on purpose.\n\nNo people appear unless the moment itself says so.\n\nTIME & LIGHT (hard constraint): the time of day and lighting MUST\nfollow the shot text above — a night scene stays night, a dawn scene\nstays dawn. Do not add weather, atmosphere or colour moods the shot\ntext does not state.\n\nWORLD FACTS (creator-confirmed / evidence-bound — always true):\n- The main building is an aged three-storey multi-family villa;\n  its roof deck sits roughly 8-10 m above the yard, with the small\n  rooftop-room unit as an extra volume on the deck.\n- The exterior stair is a later-added STEEL retrofit stair climbing\n  the full three storeys: open treads, thin steel plate stringers,\n  support posts, pipe railings. It is NOT a concrete stair.\n\nREFERENCES: the attached PHOTOGRAPH shows this same property — the\nsole source of how everything looks (building, materials, aging,\ncolours, surroundings). The attached flat SITE-PLAN DRAWING shows\nwhere things are on the property — layout source only; never draw\nthe plan itself, its colours, circles or labels. The remaining\nattached images are CHARACTER REFERENCES — the exact people who\nappear in the shot.\n\nThe output image must contain ZERO annotations — no circles, no\ncodes, no letters, no numbers, no text, no signage lettering, no\narrows, no dashed lines."}
{"ts": "2026-07-09 10:58:14", "kind": "img", "engine": "gpt-image-2", "mode": "edit", "tag": "s33_direct_S13_Shot3_i2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/forest_map/top2/top2_photo_fixed_nb2.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/forest_map/top2/top2_map_gpt.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/b0ad5c18-5140-4022-a2b0-805de0e5a385/images/0d30302a-51c8-4ac9-98e2-6cd9180512bf/reference/78811b6c-4b5f-4358-aa50-cff9ffa84508.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/b0ad5c18-5140-4022-a2b0-805de0e5a385/images/0d30302a-51c8-4ac9-98e2-6cd9180512bf/reference/0b01920a-4b59-4e19-ba35-e6e033cbd6b4.png"], "size": "1536x1024", "attempt": 1, "dur_s": 128.8, "bytes": 2047394, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/direct_compose/direct_S13_Shot3_i2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment\nbelow, shot ON LOCATION at the real filming property shown in the\nattached references.\n\nSPOT (fixed): this shot happens at the \"Alley Approach\" area of the property, by the alley approach, multi-family villa gate.\n\nSHOT TEXT (authoritative, Korean):\nscene_heading: S#13. 옥탑방 외곽 / N\nshot: 차에서 내린 혜수가 초점 없는 눈으로 멍하게 서 있는 수리영을 향해 시선을 고정한 찰나의 상체.\npeople in shot: 혜수, 수리영\n\nYOU choose the camera: pick the angle, distance, height, lens and\ncomposition that realise the shot text most powerfully — the camera\nmay stand anywhere plausible AT THE STATED SPOT of this property.\nNo composition instructions are given on purpose.\n\nCHARACTERS: only the listed reference people appear — 혜수, 수리영. Match each reference person's identity exactly (face, hair, build); dress and pose them as the moment describes.\n\nTIME & LIGHT (hard constraint): the time of day and lighting MUST\nfollow the shot text above — a night scene stays night, a dawn scene\nstays dawn. Do not add weather, atmosphere or colour moods the shot\ntext does not state.\n\nWORLD FACTS (creator-confirmed / evidence-bound — always true):\n- The main building is an aged three-storey multi-family villa;\n  its roof deck sits roughly 8-10 m above the yard, with the small\n  rooftop-room unit as an extra volume on the deck.\n- The exterior stair is a later-added STEEL retrofit stair climbing\n  the full three storeys: open treads, thin steel plate stringers,\n  support posts, pipe railings. It is NOT a concrete stair.\n\nREFERENCES: the attached PHOTOGRAPH shows this same property — the\nsole source of how everything looks (building, materials, aging,\ncolours, surroundings). The attached flat SITE-PLAN DRAWING shows\nwhere things are on the property — layout source only; never draw\nthe plan itself, its colours, circles or labels. The remaining\nattached images are CHARACTER REFERENCES — the exact people who\nappear in the shot.\n\nThe output image must contain ZERO annotations — no circles, no\ncodes, no letters, no numbers, no text, no signage lettering, no\narrows, no dashed lines."}
{"ts": "2026-07-09 11:00:32", "kind": "img", "engine": "gpt-image-2", "mode": "edit", "tag": "s33_direct_S11_Shot3_i2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/forest_map/top2/top2_photo_fixed_nb2.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/forest_map/top2/top2_map_gpt.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/b0ad5c18-5140-4022-a2b0-805de0e5a385/images/0d30302a-51c8-4ac9-98e2-6cd9180512bf/reference/0b01920a-4b59-4e19-ba35-e6e033cbd6b4.png"], "size": "1536x1024", "attempt": 1, "dur_s": 137.9, "bytes": 2128999, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/direct_compose/direct_S11_Shot3_i2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment\nbelow, shot ON LOCATION at the real filming property shown in the\nattached references.\n\nSPOT (fixed): this shot happens at the \"Exterior Stair\" area of the property, by the exterior steel retrofit stair run, upper stair landing, rooftop-room building footprint.\n\nSHOT TEXT (authoritative, Korean):\nscene_heading: S#11. 옥탑 방 밖 / N\nshot: 계단 중간에 서서 심하게 코를 찡그린 수리영의 얼굴 클로즈업.\npeople in shot: 수리영\n\nYOU choose the camera: pick the angle, distance, height, lens and\ncomposition that realise the shot text most powerfully — the camera\nmay stand anywhere plausible AT THE STATED SPOT of this property.\nNo composition instructions are given on purpose.\n\nCHARACTERS: only the listed reference people appear — 수리영. Match each reference person's identity exactly (face, hair, build); dress and pose them as the moment describes.\n\nTIME & LIGHT (hard constraint): the time of day and lighting MUST\nfollow the shot text above — a night scene stays night, a dawn scene\nstays dawn. Do not add weather, atmosphere or colour moods the shot\ntext does not state.\n\nWORLD FACTS (creator-confirmed / evidence-bound — always true):\n- The main building is an aged three-storey multi-family villa;\n  its roof deck sits roughly 8-10 m above the yard, with the small\n  rooftop-room unit as an extra volume on the deck.\n- The exterior stair is a later-added STEEL retrofit stair climbing\n  the full three storeys: open treads, thin steel plate stringers,\n  support posts, pipe railings. It is NOT a concrete stair.\n\nREFERENCES: the attached PHOTOGRAPH shows this same property — the\nsole source of how everything looks (building, materials, aging,\ncolours, surroundings). The attached flat SITE-PLAN DRAWING shows\nwhere things are on the property — layout source only; never draw\nthe plan itself, its colours, circles or labels. The remaining\nattached images are CHARACTER REFERENCES — the exact people who\nappear in the shot.\n\nThe output image must contain ZERO annotations — no circles, no\ncodes, no letters, no numbers, no text, no signage lettering, no\narrows, no dashed lines."}
{"ts": "2026-07-09 11:02:41", "kind": "img", "engine": "gpt-image-2", "mode": "edit", "tag": "s33_direct_S13_Shot5_i2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/forest_map/top2/top2_photo_fixed_nb2.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/forest_map/top2/top2_map_gpt.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/b0ad5c18-5140-4022-a2b0-805de0e5a385/images/0d30302a-51c8-4ac9-98e2-6cd9180512bf/reference/0b01920a-4b59-4e19-ba35-e6e033cbd6b4.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/b0ad5c18-5140-4022-a2b0-805de0e5a385/images/0d30302a-51c8-4ac9-98e2-6cd9180512bf/reference/78811b6c-4b5f-4358-aa50-cff9ffa84508.png"], "size": "1536x1024", "attempt": 1, "dur_s": 129.2, "bytes": 2277693, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/direct_compose/direct_S13_Shot5_i2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment\nbelow, shot ON LOCATION at the real filming property shown in the\nattached references.\n\nSPOT (fixed): this shot happens at the \"Yard\" area of the property, by the yard, exterior steel retrofit stair run, multi-family villa gate, alley approach.\n\nSHOT TEXT (authoritative, Korean):\nscene_heading: S#13. 옥탑방 외곽 / N\nshot: 수리영이 고개를 들어 혜수의 얼굴을 올려다보는 정적 구도.\npeople in shot: 수리영, 혜수\n\nYOU choose the camera: pick the angle, distance, height, lens and\ncomposition that realise the shot text most powerfully — the camera\nmay stand anywhere plausible AT THE STATED SPOT of this property.\nNo composition instructions are given on purpose.\n\nCHARACTERS: only the listed reference people appear — 수리영, 혜수. Match each reference person's identity exactly (face, hair, build); dress and pose them as the moment describes.\n\nTIME & LIGHT (hard constraint): the time of day and lighting MUST\nfollow the shot text above — a night scene stays night, a dawn scene\nstays dawn. Do not add weather, atmosphere or colour moods the shot\ntext does not state.\n\nWORLD FACTS (creator-confirmed / evidence-bound — always true):\n- The main building is an aged three-storey multi-family villa;\n  its roof deck sits roughly 8-10 m above the yard, with the small\n  rooftop-room unit as an extra volume on the deck.\n- The exterior stair is a later-added STEEL retrofit stair climbing\n  the full three storeys: open treads, thin steel plate stringers,\n  support posts, pipe railings. It is NOT a concrete stair.\n\nREFERENCES: the attached PHOTOGRAPH shows this same property — the\nsole source of how everything looks (building, materials, aging,\ncolours, surroundings). The attached flat SITE-PLAN DRAWING shows\nwhere things are on the property — layout source only; never draw\nthe plan itself, its colours, circles or labels. The remaining\nattached images are CHARACTER REFERENCES — the exact people who\nappear in the shot.\n\nThe output image must contain ZERO annotations — no circles, no\ncodes, no letters, no numbers, no text, no signage lettering, no\narrows, no dashed lines."}
{"ts": "2026-07-09 11:04:46", "kind": "img", "engine": "gpt-image-2", "mode": "edit", "tag": "s33_direct_S17_Shot1_i2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/forest_map/top2/top2_photo_fixed_nb2.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/forest_map/top2/top2_map_gpt.png"], "size": "1536x1024", "attempt": 1, "dur_s": 124.2, "bytes": 1772348, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/direct_compose/direct_S17_Shot1_i2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment\nbelow, shot ON LOCATION at the real filming property shown in the\nattached references.\n\nSPOT (fixed): this shot happens at the \"Rooftop Deck\" area of the property, by the rooftop-room window set, rooftop-room unit, landing-to-door roof path.\n\nSHOT TEXT (authoritative, Korean):\nscene_heading: S#17. 옥탑방 / 동틀무렵\nshot: 짙고 푸른 안개가 깔린 새벽녘, 희미한 노란 불빛이 켜진 옥탑방 창문을 향해 검은 고양이 한 마리가 고개를 돌린 찰나의 측면.\n\nYOU choose the camera: pick the angle, distance, height, lens and\ncomposition that realise the shot text most powerfully — the camera\nmay stand anywhere plausible AT THE STATED SPOT of this property.\nNo composition instructions are given on purpose.\n\nNo people appear unless the moment itself says so.\n\nTIME & LIGHT (hard constraint): the time of day and lighting MUST\nfollow the shot text above — a night scene stays night, a dawn scene\nstays dawn. Do not add weather, atmosphere or colour moods the shot\ntext does not state.\n\nWORLD FACTS (creator-confirmed / evidence-bound — always true):\n- The main building is an aged three-storey multi-family villa;\n  its roof deck sits roughly 8-10 m above the yard, with the small\n  rooftop-room unit as an extra volume on the deck.\n- The exterior stair is a later-added STEEL retrofit stair climbing\n  the full three storeys: open treads, thin steel plate stringers,\n  support posts, pipe railings. It is NOT a concrete stair.\n\nREFERENCES: the attached PHOTOGRAPH shows this same property — the\nsole source of how everything looks (building, materials, aging,\ncolours, surroundings). The attached flat SITE-PLAN DRAWING shows\nwhere things are on the property — layout source only; never draw\nthe plan itself, its colours, circles or labels. The remaining\nattached images are CHARACTER REFERENCES — the exact people who\nappear in the shot.\n\nThe output image must contain ZERO annotations — no circles, no\ncodes, no letters, no numbers, no text, no signage lettering, no\narrows, no dashed lines."}
{"ts": "2026-07-09 22:37:14", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s33_direct_S10_Shot5_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/forest_map/top2/top2_photo_fixed_nb2.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/forest_map/top2/top2_map_gpt.png"], "ref_labels": ["LOCATION PHOTOGRAPH — the same property; sole source of how everything looks.", "SITE PLAN — layout source only; never draw this drawing or its markers."], "attempt": 1, "dur_s": 23.8, "bytes": 2700058, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/direct_compose/direct_S10_Shot5_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment\nbelow, shot ON LOCATION at the real filming property shown in the\nattached references.\n\nSPOT (fixed): this shot happens at the \"Rooftop Deck\" area of the property, by the landing-to-door roof path, iron entrance door, rooftop-room unit, low-angle night light-source position.\n\nSHOT TEXT (authoritative, Korean):\nscene_heading: S#10. 옥탑방 / N\nshot: 철문이 미세하게 열린 틈 사이로 어두운 내부가 보이는 구도.\n\nYOU choose the camera: pick the angle, distance, height, lens and\ncomposition that realise the shot text most powerfully — the camera\nmay stand anywhere plausible AT THE STATED SPOT of this property.\nNo composition instructions are given on purpose.\n\nNo people appear unless the moment itself says so.\n\nTIME & LIGHT (hard constraint): the time of day and lighting MUST\nfollow the shot text above — a night scene stays night, a dawn scene\nstays dawn. Do not add weather, atmosphere or colour moods the shot\ntext does not state.\n\nWORLD FACTS (creator-confirmed / evidence-bound — always true):\n- The main building is an aged three-storey multi-family villa;\n  its roof deck sits roughly 8-10 m above the yard, with the small\n  rooftop-room unit as an extra volume on the deck.\n- The exterior stair is a later-added STEEL retrofit stair climbing\n  the full three storeys: open treads, thin steel plate stringers,\n  support posts, pipe railings. It is NOT a concrete stair.\n\nREFERENCES: the attached PHOTOGRAPH shows this same property — the\nsole source of how everything looks (building, materials, aging,\ncolours, surroundings). The attached flat SITE-PLAN DRAWING shows\nwhere things are on the property — layout source only; never draw\nthe plan itself, its colours, circles or labels. The remaining\nattached images are CHARACTER REFERENCES — the exact people who\nappear in the shot.\n\nThe output image must contain ZERO annotations — no circles, no\ncodes, no letters, no numbers, no text, no signage lettering, no\narrows, no dashed lines."}
{"ts": "2026-07-09 22:37:37", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s33_direct_S11_Shot4_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/forest_map/top2/top2_photo_fixed_nb2.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/forest_map/top2/top2_map_gpt.png"], "ref_labels": ["LOCATION PHOTOGRAPH — the same property; sole source of how everything looks.", "SITE PLAN — layout source only; never draw this drawing or its markers."], "attempt": 1, "dur_s": 22.9, "bytes": 2202454, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/direct_compose/direct_S11_Shot4_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment\nbelow, shot ON LOCATION at the real filming property shown in the\nattached references.\n\nSPOT (fixed): this shot happens at the \"Rooftop Deck\" area of the property, by the upper stair landing, landing-to-door roof path, iron entrance door, rooftop-room unit.\n\nSHOT TEXT (authoritative, Korean):\nscene_heading: S#11. 옥탑 방 밖 / N\nshot: 옥상 위, 어둠 속에 반쯤 열려 멈춰 있는 옥탑방 현관 철문의 정적 구도.\n\nYOU choose the camera: pick the angle, distance, height, lens and\ncomposition that realise the shot text most powerfully — the camera\nmay stand anywhere plausible AT THE STATED SPOT of this property.\nNo composition instructions are given on purpose.\n\nNo people appear unless the moment itself says so.\n\nTIME & LIGHT (hard constraint): the time of day and lighting MUST\nfollow the shot text above — a night scene stays night, a dawn scene\nstays dawn. Do not add weather, atmosphere or colour moods the shot\ntext does not state.\n\nWORLD FACTS (creator-confirmed / evidence-bound — always true):\n- The main building is an aged three-storey multi-family villa;\n  its roof deck sits roughly 8-10 m above the yard, with the small\n  rooftop-room unit as an extra volume on the deck.\n- The exterior stair is a later-added STEEL retrofit stair climbing\n  the full three storeys: open treads, thin steel plate stringers,\n  support posts, pipe railings. It is NOT a concrete stair.\n\nREFERENCES: the attached PHOTOGRAPH shows this same property — the\nsole source of how everything looks (building, materials, aging,\ncolours, surroundings). The attached flat SITE-PLAN DRAWING shows\nwhere things are on the property — layout source only; never draw\nthe plan itself, its colours, circles or labels. The remaining\nattached images are CHARACTER REFERENCES — the exact people who\nappear in the shot.\n\nThe output image must contain ZERO annotations — no circles, no\ncodes, no letters, no numbers, no text, no signage lettering, no\narrows, no dashed lines."}
{"ts": "2026-07-09 22:37:58", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s33_direct_S4_Shot1_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/forest_map/top2/top2_photo_fixed_nb2.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/forest_map/top2/top2_map_gpt.png"], "ref_labels": ["LOCATION PHOTOGRAPH — the same property; sole source of how everything looks.", "SITE PLAN — layout source only; never draw this drawing or its markers."], "attempt": 1, "dur_s": 21.0, "bytes": 3440092, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/direct_compose/direct_S4_Shot1_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment\nbelow, shot ON LOCATION at the real filming property shown in the\nattached references.\n\nSPOT (fixed): this shot happens at the \"Rooftop Deck\" area of the property, by the rooftop-room unit, iron entrance door, rooftop-room window set, landing-to-door roof path, upper stair landing, exterior steel retrofit stair run, rooftop-room building footprint, yard, multi-family villa gate, alley approach, secluded bicycle corner, water tank, clothesline, wooden drying bench with dried leaves.\n\nSHOT TEXT (authoritative, Korean):\nscene_heading: S#4. 옥탑방 / D\nshot: 인천 변두리의 낡고 오래된 빌라 옥탑방 외부 전경이 한눈에 내려다보이는 부감 구도.\n\nYOU choose the camera: pick the angle, distance, height, lens and\ncomposition that realise the shot text most powerfully — the camera\nmay stand anywhere plausible AT THE STATED SPOT of this property.\nNo composition instructions are given on purpose.\n\nNo people appear unless the moment itself says so.\n\nTIME & LIGHT (hard constraint): the time of day and lighting MUST\nfollow the shot text above — a night scene stays night, a dawn scene\nstays dawn. Do not add weather, atmosphere or colour moods the shot\ntext does not state.\n\nWORLD FACTS (creator-confirmed / evidence-bound — always true):\n- The main building is an aged three-storey multi-family villa;\n  its roof deck sits roughly 8-10 m above the yard, with the small\n  rooftop-room unit as an extra volume on the deck.\n- The exterior stair is a later-added STEEL retrofit stair climbing\n  the full three storeys: open treads, thin steel plate stringers,\n  support posts, pipe railings. It is NOT a concrete stair.\n\nREFERENCES: the attached PHOTOGRAPH shows this same property — the\nsole source of how everything looks (building, materials, aging,\ncolours, surroundings). The attached flat SITE-PLAN DRAWING shows\nwhere things are on the property — layout source only; never draw\nthe plan itself, its colours, circles or labels. The remaining\nattached images are CHARACTER REFERENCES — the exact people who\nappear in the shot.\n\nThe output image must contain ZERO annotations — no circles, no\ncodes, no letters, no numbers, no text, no signage lettering, no\narrows, no dashed lines."}
{"ts": "2026-07-11 18:34:28", "kind": "img", "engine": "gpt-image-2", "mode": "generate", "tag": "s34_conti_forest_i2", "refs": [], "size": "1536x1024", "attempt": 1, "dur_s": 147.8, "bytes": 2787341, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/conti_forest_i2.png", "prompt": "Create ONE single image: a cinematic CONTINUITY STORYBOARD SHEET\ndivided into 3 numbered panels in a clean grid. Each panel is a\nphotorealistic live-action film still (not a drawing).\n\nTHE LOCATION (same in all panels): a dense Korean mountain forest with thick undergrowth at dusk.\n\nALL PANELS SHOW THE SAME SINGLE REAL LOCATION. This is the whole\npoint: the architecture, fixed features and spatial layout must stay\nPERFECTLY CONSISTENT across every panel — the same doors, stairs,\nwindows, poles, desks and walls keep the same position, orientation\nand left/right relationships in space in every panel, seen from\nwhatever camera angle each panel needs. Lighting may differ per\npanel only as stated (time of day).\n\nPANELS (each panel = one storyboard moment, Korean shot text):\n\nPANEL 1 (dusk / sunset): 한쪽 신발이 벗겨진 한국인 남자가 우거진 수풀 사이를 달리며 한 발을 허공에 내딛고 있는 도중의 전신 구도\nPANEL 2 (dusk / sunset): 검은 형상의 인영이 허공에 뛰어오른 채 한국인 남자를 향해 두 팔을 뻗고 있는 순간\nPANEL 3 (daytime): 형사 무리 한가운데 서서 손가락으로 한쪽을 가리키는 혜수의 상체\n\nSetting: contemporary South Korea, 2026. Ordinary Korean streets,\nsignage and interiors; all people are Korean unless stated.\n\nSmall panel numbers (1..3) in a corner of each panel are allowed;\nno other text, captions, watermarks or diagram markings anywhere."}
{"ts": "2026-07-11 18:34:48", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s34_conti_forest_nb2", "refs": [], "ref_labels": [], "attempt": 1, "dur_s": 19.7, "bytes": 3649864, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/conti_forest_nb2.png", "prompt": "Create ONE single image: a cinematic CONTINUITY STORYBOARD SHEET\ndivided into 3 numbered panels in a clean grid. Each panel is a\nphotorealistic live-action film still (not a drawing).\n\nTHE LOCATION (same in all panels): a dense Korean mountain forest with thick undergrowth at dusk.\n\nALL PANELS SHOW THE SAME SINGLE REAL LOCATION. This is the whole\npoint: the architecture, fixed features and spatial layout must stay\nPERFECTLY CONSISTENT across every panel — the same doors, stairs,\nwindows, poles, desks and walls keep the same position, orientation\nand left/right relationships in space in every panel, seen from\nwhatever camera angle each panel needs. Lighting may differ per\npanel only as stated (time of day).\n\nPANELS (each panel = one storyboard moment, Korean shot text):\n\nPANEL 1 (dusk / sunset): 한쪽 신발이 벗겨진 한국인 남자가 우거진 수풀 사이를 달리며 한 발을 허공에 내딛고 있는 도중의 전신 구도\nPANEL 2 (dusk / sunset): 검은 형상의 인영이 허공에 뛰어오른 채 한국인 남자를 향해 두 팔을 뻗고 있는 순간\nPANEL 3 (daytime): 형사 무리 한가운데 서서 손가락으로 한쪽을 가리키는 혜수의 상체\n\nSetting: contemporary South Korea, 2026. Ordinary Korean streets,\nsignage and interiors; all people are Korean unless stated.\n\nSmall panel numbers (1..3) in a corner of each panel are allowed;\nno other text, captions, watermarks or diagram markings anywhere."}
{"ts": "2026-07-11 18:36:56", "kind": "img", "engine": "gpt-image-2", "mode": "generate", "tag": "s34_conti_busstop_i2", "refs": [], "size": "1536x1024", "attempt": 1, "dur_s": 128.2, "bytes": 2163148, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/conti_busstop_i2.png", "prompt": "Create ONE single image: a cinematic CONTINUITY STORYBOARD SHEET\ndivided into 2 numbered panels in a clean grid. Each panel is a\nphotorealistic live-action film still (not a drawing).\n\nTHE LOCATION (same in all panels): a small seaside bus stop with a bench facing the sea at night, on a quiet Korean coastal road.\n\nALL PANELS SHOW THE SAME SINGLE REAL LOCATION. This is the whole\npoint: the architecture, fixed features and spatial layout must stay\nPERFECTLY CONSISTENT across every panel — the same doors, stairs,\nwindows, poles, desks and walls keep the same position, orientation\nand left/right relationships in space in every panel, seen from\nwhatever camera angle each panel needs. Lighting may differ per\npanel only as stated (time of day).\n\nPANELS (each panel = one storyboard moment, Korean shot text):\n\nPANEL 1 (night): 혜수의 손이 음료수 캔을 쥔 채 수리영 앞으로 내밀어진 순간\nPANEL 2 (night): 멀리서 혜수의 전신과 한 발을 공중에 띄운 mid-stride 자세로 달리는 수리영의 뒷모습을 한 프레임에 담은 넓은 구도\n\nSetting: contemporary South Korea, 2026. Ordinary Korean streets,\nsignage and interiors; all people are Korean unless stated.\n\nSmall panel numbers (1..2) in a corner of each panel are allowed;\nno other text, captions, watermarks or diagram markings anywhere."}
{"ts": "2026-07-11 18:37:11", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s34_conti_busstop_nb2", "refs": [], "ref_labels": [], "attempt": 1, "dur_s": 15.2, "bytes": 2338773, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/conti_busstop_nb2.png", "prompt": "Create ONE single image: a cinematic CONTINUITY STORYBOARD SHEET\ndivided into 2 numbered panels in a clean grid. Each panel is a\nphotorealistic live-action film still (not a drawing).\n\nTHE LOCATION (same in all panels): a small seaside bus stop with a bench facing the sea at night, on a quiet Korean coastal road.\n\nALL PANELS SHOW THE SAME SINGLE REAL LOCATION. This is the whole\npoint: the architecture, fixed features and spatial layout must stay\nPERFECTLY CONSISTENT across every panel — the same doors, stairs,\nwindows, poles, desks and walls keep the same position, orientation\nand left/right relationships in space in every panel, seen from\nwhatever camera angle each panel needs. Lighting may differ per\npanel only as stated (time of day).\n\nPANELS (each panel = one storyboard moment, Korean shot text):\n\nPANEL 1 (night): 혜수의 손이 음료수 캔을 쥔 채 수리영 앞으로 내밀어진 순간\nPANEL 2 (night): 멀리서 혜수의 전신과 한 발을 공중에 띄운 mid-stride 자세로 달리는 수리영의 뒷모습을 한 프레임에 담은 넓은 구도\n\nSetting: contemporary South Korea, 2026. Ordinary Korean streets,\nsignage and interiors; all people are Korean unless stated.\n\nSmall panel numbers (1..2) in a corner of each panel are allowed;\nno other text, captions, watermarks or diagram markings anywhere."}
{"ts": "2026-07-11 18:39:09", "kind": "img", "engine": "gpt-image-2", "mode": "generate", "tag": "s34_conti_rooftop_ext_i2", "refs": [], "size": "1536x1024", "attempt": 1, "dur_s": 117.6, "bytes": 2059411, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/conti_rooftop_ext_i2.png", "prompt": "Create ONE single image: a cinematic CONTINUITY STORYBOARD SHEET\ndivided into 6 numbered panels in a clean grid. Each panel is a\nphotorealistic live-action film still (not a drawing).\n\nTHE LOCATION (same in all panels): the exterior of an old Korean multi-family villa: a narrow alley and small yard at ground level, an added exterior steel staircase climbing the wall, and a rooftop with a small rooftop room (its steel front door and one lit window), a water tank, a clothesline and a low parapet wall.\n\nALL PANELS SHOW THE SAME SINGLE REAL LOCATION. This is the whole\npoint: the architecture, fixed features and spatial layout must stay\nPERFECTLY CONSISTENT across every panel — the same doors, stairs,\nwindows, poles, desks and walls keep the same position, orientation\nand left/right relationships in space in every panel, seen from\nwhatever camera angle each panel needs. Lighting may differ per\npanel only as stated (time of day).\n\nPANELS (each panel = one storyboard moment, Korean shot text):\n\nPANEL 1 (night): 현관 철문이 아주 살짝 열린 틈새로 보이는 어두운 실내와 신발 앞코\nPANEL 2 (night): 불이 켜진 옥탑방 창문에 거대한 그림자가 작은 그림자의 어깨 쪽으로 고개를 꺾은 형태가 맺혀 있는 정지 구도\nPANEL 3 (night): 철제 파이프 난간을 손으로 잡은 수리영이 코끝을 찡그린 채 계단 중간에 서 있는 얼굴 클로즈업\nPANEL 4 (night): 옥상에 선 수리영의 시선 끝에 반쯤 열려 있는 어두운 현관 철문이 보이는 정면 구도\nPANEL 5 (night): 수리영이 초점을 잃은 눈으로 허공을 응시하며 서 있는 모습\nPANEL 6 (night): 고개를 든 채 혜수의 얼굴을 마주보고 있는 수리영의 측면 구도\n\nSetting: contemporary South Korea, 2026. Ordinary Korean streets,\nsignage and interiors; all people are Korean unless stated.\n\nSmall panel numbers (1..6) in a corner of each panel are allowed;\nno other text, captions, watermarks or diagram markings anywhere."}
{"ts": "2026-07-11 18:39:26", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s34_conti_rooftop_ext_nb2", "refs": [], "ref_labels": [], "attempt": 1, "dur_s": 17.7, "bytes": 2455849, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/conti_rooftop_ext_nb2.png", "prompt": "Create ONE single image: a cinematic CONTINUITY STORYBOARD SHEET\ndivided into 6 numbered panels in a clean grid. Each panel is a\nphotorealistic live-action film still (not a drawing).\n\nTHE LOCATION (same in all panels): the exterior of an old Korean multi-family villa: a narrow alley and small yard at ground level, an added exterior steel staircase climbing the wall, and a rooftop with a small rooftop room (its steel front door and one lit window), a water tank, a clothesline and a low parapet wall.\n\nALL PANELS SHOW THE SAME SINGLE REAL LOCATION. This is the whole\npoint: the architecture, fixed features and spatial layout must stay\nPERFECTLY CONSISTENT across every panel — the same doors, stairs,\nwindows, poles, desks and walls keep the same position, orientation\nand left/right relationships in space in every panel, seen from\nwhatever camera angle each panel needs. Lighting may differ per\npanel only as stated (time of day).\n\nPANELS (each panel = one storyboard moment, Korean shot text):\n\nPANEL 1 (night): 현관 철문이 아주 살짝 열린 틈새로 보이는 어두운 실내와 신발 앞코\nPANEL 2 (night): 불이 켜진 옥탑방 창문에 거대한 그림자가 작은 그림자의 어깨 쪽으로 고개를 꺾은 형태가 맺혀 있는 정지 구도\nPANEL 3 (night): 철제 파이프 난간을 손으로 잡은 수리영이 코끝을 찡그린 채 계단 중간에 서 있는 얼굴 클로즈업\nPANEL 4 (night): 옥상에 선 수리영의 시선 끝에 반쯤 열려 있는 어두운 현관 철문이 보이는 정면 구도\nPANEL 5 (night): 수리영이 초점을 잃은 눈으로 허공을 응시하며 서 있는 모습\nPANEL 6 (night): 고개를 든 채 혜수의 얼굴을 마주보고 있는 수리영의 측면 구도\n\nSetting: contemporary South Korea, 2026. Ordinary Korean streets,\nsignage and interiors; all people are Korean unless stated.\n\nSmall panel numbers (1..6) in a corner of each panel are allowed;\nno other text, captions, watermarks or diagram markings anywhere."}
{"ts": "2026-07-11 18:41:37", "kind": "img", "engine": "gpt-image-2", "mode": "generate", "tag": "s34_conti_rooftop_int_i2", "refs": [], "size": "1536x1024", "attempt": 1, "dur_s": 130.5, "bytes": 2231347, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/conti_rooftop_int_i2.png", "prompt": "Create ONE single image: a cinematic CONTINUITY STORYBOARD SHEET\ndivided into 6 numbered panels in a clean grid. Each panel is a\nphotorealistic live-action film still (not a drawing).\n\nTHE LOCATION (same in all panels): the interior of a small Korean rooftop home: a living room with a small window, kitchenette and dining table, a daughter's bedroom with a bed against one wall and a curtained window, and a tiny tiled bathroom with a mirror.\n\nALL PANELS SHOW THE SAME SINGLE REAL LOCATION. This is the whole\npoint: the architecture, fixed features and spatial layout must stay\nPERFECTLY CONSISTENT across every panel — the same doors, stairs,\nwindows, poles, desks and walls keep the same position, orientation\nand left/right relationships in space in every panel, seen from\nwhatever camera angle each panel needs. Lighting may differ per\npanel only as stated (time of day).\n\nPANELS (each panel = one storyboard moment, Korean shot text):\n\nPANEL 1 (night): 옷과 피부가 피투성이가 된 민숙이 바닥에 주저앉아 고개를 푹 숙인 정지 상태\nPANEL 2 (night): 침대 위쪽 벽면에 붉은색 원형 표식이 절반쯤 나타난 상태\nPANEL 3 (night): 핏자국 없이 깨끗한 방 내부 전경\nPANEL 4 (daytime): 거울 속 반사된 욕실 타일 벽면에 붉은색 원형 표식이 절반쯤 나타난 상태\nPANEL 5 (dusk / sunset): 해질 무렵 옥탑방 거실, 흙 묻은 발자국들이 찍힌 바닥과 쓰러진 식탁 의자들이 보이는 전경\nPANEL 6 (dusk / sunset): 붉은 원 한가운데 피 묻은 낡은 흑백 사진이 벽에 꽂혀 있는 타이트 샷\n\nSetting: contemporary South Korea, 2026. Ordinary Korean streets,\nsignage and interiors; all people are Korean unless stated.\n\nSmall panel numbers (1..6) in a corner of each panel are allowed;\nno other text, captions, watermarks or diagram markings anywhere."}
{"ts": "2026-07-11 18:41:54", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s34_conti_rooftop_int_nb2", "refs": [], "ref_labels": [], "attempt": 1, "dur_s": 17.3, "bytes": 2829396, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/conti_rooftop_int_nb2.png", "prompt": "Create ONE single image: a cinematic CONTINUITY STORYBOARD SHEET\ndivided into 6 numbered panels in a clean grid. Each panel is a\nphotorealistic live-action film still (not a drawing).\n\nTHE LOCATION (same in all panels): the interior of a small Korean rooftop home: a living room with a small window, kitchenette and dining table, a daughter's bedroom with a bed against one wall and a curtained window, and a tiny tiled bathroom with a mirror.\n\nALL PANELS SHOW THE SAME SINGLE REAL LOCATION. This is the whole\npoint: the architecture, fixed features and spatial layout must stay\nPERFECTLY CONSISTENT across every panel — the same doors, stairs,\nwindows, poles, desks and walls keep the same position, orientation\nand left/right relationships in space in every panel, seen from\nwhatever camera angle each panel needs. Lighting may differ per\npanel only as stated (time of day).\n\nPANELS (each panel = one storyboard moment, Korean shot text):\n\nPANEL 1 (night): 옷과 피부가 피투성이가 된 민숙이 바닥에 주저앉아 고개를 푹 숙인 정지 상태\nPANEL 2 (night): 침대 위쪽 벽면에 붉은색 원형 표식이 절반쯤 나타난 상태\nPANEL 3 (night): 핏자국 없이 깨끗한 방 내부 전경\nPANEL 4 (daytime): 거울 속 반사된 욕실 타일 벽면에 붉은색 원형 표식이 절반쯤 나타난 상태\nPANEL 5 (dusk / sunset): 해질 무렵 옥탑방 거실, 흙 묻은 발자국들이 찍힌 바닥과 쓰러진 식탁 의자들이 보이는 전경\nPANEL 6 (dusk / sunset): 붉은 원 한가운데 피 묻은 낡은 흑백 사진이 벽에 꽂혀 있는 타이트 샷\n\nSetting: contemporary South Korea, 2026. Ordinary Korean streets,\nsignage and interiors; all people are Korean unless stated.\n\nSmall panel numbers (1..6) in a corner of each panel are allowed;\nno other text, captions, watermarks or diagram markings anywhere."}
{"ts": "2026-07-11 18:44:06", "kind": "img", "engine": "gpt-image-2", "mode": "generate", "tag": "s34_conti_mart_i2", "refs": [], "size": "1536x1024", "attempt": 1, "dur_s": 132.0, "bytes": 2197064, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/conti_mart_i2.png", "prompt": "Create ONE single image: a cinematic CONTINUITY STORYBOARD SHEET\ndivided into 6 numbered panels in a clean grid. Each panel is a\nphotorealistic live-action film still (not a drawing).\n\nTHE LOCATION (same in all panels): a mid-size Korean supermarket: its shelved sales floor inside, the entrance area outside with a bicycle rack and a wall-mounted CCTV camera above, and a small back security office with CCTV monitors.\n\nALL PANELS SHOW THE SAME SINGLE REAL LOCATION. This is the whole\npoint: the architecture, fixed features and spatial layout must stay\nPERFECTLY CONSISTENT across every panel — the same doors, stairs,\nwindows, poles, desks and walls keep the same position, orientation\nand left/right relationships in space in every panel, seen from\nwhatever camera angle each panel needs. Lighting may differ per\npanel only as stated (time of day).\n\nPANELS (each panel = one storyboard moment, Korean shot text):\n\nPANEL 1 (dusk / sunset): 수리영이 마트 유니폼을 입은 한국인 여성 직원을 마주보며 입을 살짝 벌린 측면 구도\nPANEL 2 (dusk / sunset): 마트 밖으로 나온 수리영이 손에 든 스마트폰 액정을 내려다보는 상체\nPANEL 3 (daytime): 수리영과 남자직원이 마트 밖에서 벽면의 CCTV를 올려다보는 뒷모습\nPANEL 4 (daytime): 수리영이 귀에 스마트폰을 댄 채 정면을 응시하는 상체 클로즈업\nPANEL 5 (interior, ambient): 마트 총무과 책상 앞, 한국인 남성 보안직원과 혜수가 컴퓨터 모니터를 향해 몸을 기울인 측면\nPANEL 6 (interior, ambient): 흑백 CCTV 화면 속 어두운 구석에 사람 형상이 희미하게 찍힌 모니터 클로즈업\n\nSetting: contemporary South Korea, 2026. Ordinary Korean streets,\nsignage and interiors; all people are Korean unless stated.\n\nSmall panel numbers (1..6) in a corner of each panel are allowed;\nno other text, captions, watermarks or diagram markings anywhere."}
{"ts": "2026-07-11 18:44:22", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s34_conti_mart_nb2", "refs": [], "ref_labels": [], "attempt": 1, "dur_s": 15.5, "bytes": 2508725, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/conti_mart_nb2.png", "prompt": "Create ONE single image: a cinematic CONTINUITY STORYBOARD SHEET\ndivided into 6 numbered panels in a clean grid. Each panel is a\nphotorealistic live-action film still (not a drawing).\n\nTHE LOCATION (same in all panels): a mid-size Korean supermarket: its shelved sales floor inside, the entrance area outside with a bicycle rack and a wall-mounted CCTV camera above, and a small back security office with CCTV monitors.\n\nALL PANELS SHOW THE SAME SINGLE REAL LOCATION. This is the whole\npoint: the architecture, fixed features and spatial layout must stay\nPERFECTLY CONSISTENT across every panel — the same doors, stairs,\nwindows, poles, desks and walls keep the same position, orientation\nand left/right relationships in space in every panel, seen from\nwhatever camera angle each panel needs. Lighting may differ per\npanel only as stated (time of day).\n\nPANELS (each panel = one storyboard moment, Korean shot text):\n\nPANEL 1 (dusk / sunset): 수리영이 마트 유니폼을 입은 한국인 여성 직원을 마주보며 입을 살짝 벌린 측면 구도\nPANEL 2 (dusk / sunset): 마트 밖으로 나온 수리영이 손에 든 스마트폰 액정을 내려다보는 상체\nPANEL 3 (daytime): 수리영과 남자직원이 마트 밖에서 벽면의 CCTV를 올려다보는 뒷모습\nPANEL 4 (daytime): 수리영이 귀에 스마트폰을 댄 채 정면을 응시하는 상체 클로즈업\nPANEL 5 (interior, ambient): 마트 총무과 책상 앞, 한국인 남성 보안직원과 혜수가 컴퓨터 모니터를 향해 몸을 기울인 측면\nPANEL 6 (interior, ambient): 흑백 CCTV 화면 속 어두운 구석에 사람 형상이 희미하게 찍힌 모니터 클로즈업\n\nSetting: contemporary South Korea, 2026. Ordinary Korean streets,\nsignage and interiors; all people are Korean unless stated.\n\nSmall panel numbers (1..6) in a corner of each panel are allowed;\nno other text, captions, watermarks or diagram markings anywhere."}
{"ts": "2026-07-11 18:46:37", "kind": "img", "engine": "gpt-image-2", "mode": "generate", "tag": "s34_conti_police_i2", "refs": [], "size": "1536x1024", "attempt": 1, "dur_s": 135.6, "bytes": 2273168, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/conti_police_i2.png", "prompt": "Create ONE single image: a cinematic CONTINUITY STORYBOARD SHEET\ndivided into 5 numbered panels in a clean grid. Each panel is a\nphotorealistic live-action film still (not a drawing).\n\nTHE LOCATION (same in all panels): a modest Korean provincial police station: a detectives' office with desks, monitors and a doorway, and the street in front of the building outside.\n\nALL PANELS SHOW THE SAME SINGLE REAL LOCATION. This is the whole\npoint: the architecture, fixed features and spatial layout must stay\nPERFECTLY CONSISTENT across every panel — the same doors, stairs,\nwindows, poles, desks and walls keep the same position, orientation\nand left/right relationships in space in every panel, seen from\nwhatever camera angle each panel needs. Lighting may differ per\npanel only as stated (time of day).\n\nPANELS (each panel = one storyboard moment, Korean shot text):\n\nPANEL 1 (night): 혜수가 스마트폰 액정을 김형사 쪽으로 불쑥 내민 순간\nPANEL 2 (daytime): 수리영이 두 눈을 크게 뜨고 입을 살짝 벌린 굳은 얼굴 클로즈업\nPANEL 3 (daytime): 모니터 화면에 바다 지도가 펼쳐져 있고 붉은색 핀과 좌표 숫자가 떠 있는 클로즈업\nPANEL 4 (daytime): 수리영이 메모지가 들어간 겉옷 주머니에 손을 넣은 채 사무실 출입문을 향해 몸을 돌린 정지 순간\nPANEL 5 (daytime): 경찰서 건물 밖 도로 위에서 수리영이 자전거 안장에 앉아 상체를 앞으로 숙인 채 머리카락이 뒤로 흩날리는 측면\n\nSetting: contemporary South Korea, 2026. Ordinary Korean streets,\nsignage and interiors; all people are Korean unless stated.\n\nSmall panel numbers (1..5) in a corner of each panel are allowed;\nno other text, captions, watermarks or diagram markings anywhere."}
{"ts": "2026-07-11 18:46:54", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s34_conti_police_nb2", "refs": [], "ref_labels": [], "attempt": 1, "dur_s": 16.7, "bytes": 2849436, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/conti_police_nb2.png", "prompt": "Create ONE single image: a cinematic CONTINUITY STORYBOARD SHEET\ndivided into 5 numbered panels in a clean grid. Each panel is a\nphotorealistic live-action film still (not a drawing).\n\nTHE LOCATION (same in all panels): a modest Korean provincial police station: a detectives' office with desks, monitors and a doorway, and the street in front of the building outside.\n\nALL PANELS SHOW THE SAME SINGLE REAL LOCATION. This is the whole\npoint: the architecture, fixed features and spatial layout must stay\nPERFECTLY CONSISTENT across every panel — the same doors, stairs,\nwindows, poles, desks and walls keep the same position, orientation\nand left/right relationships in space in every panel, seen from\nwhatever camera angle each panel needs. Lighting may differ per\npanel only as stated (time of day).\n\nPANELS (each panel = one storyboard moment, Korean shot text):\n\nPANEL 1 (night): 혜수가 스마트폰 액정을 김형사 쪽으로 불쑥 내민 순간\nPANEL 2 (daytime): 수리영이 두 눈을 크게 뜨고 입을 살짝 벌린 굳은 얼굴 클로즈업\nPANEL 3 (daytime): 모니터 화면에 바다 지도가 펼쳐져 있고 붉은색 핀과 좌표 숫자가 떠 있는 클로즈업\nPANEL 4 (daytime): 수리영이 메모지가 들어간 겉옷 주머니에 손을 넣은 채 사무실 출입문을 향해 몸을 돌린 정지 순간\nPANEL 5 (daytime): 경찰서 건물 밖 도로 위에서 수리영이 자전거 안장에 앉아 상체를 앞으로 숙인 채 머리카락이 뒤로 흩날리는 측면\n\nSetting: contemporary South Korea, 2026. Ordinary Korean streets,\nsignage and interiors; all people are Korean unless stated.\n\nSmall panel numbers (1..5) in a corner of each panel are allowed;\nno other text, captions, watermarks or diagram markings anywhere."}
{"ts": "2026-07-11 19:13:06", "kind": "img", "engine": "gpt-image-2", "mode": "generate", "tag": "s34v2_conti_forest_i2", "refs": [], "size": "1024x1024", "attempt": 1, "dur_s": 190.3, "bytes": 2354780, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/conti2_forest_i2.png", "prompt": "Draw ONE storyboard (conti) sheet: 4 equal panels in a 2x2 grid.\nSTYLE: quick, rough HAND-DRAWN pencil sketch — loose gestural line\ndrawing in monochrome graphite on white paper, the kind a film\nstoryboard artist dashes off in seconds. NOT photorealistic, no\npainting, no rendering, no color. Simple lines, minimal shading.\n\nTHE LOCATION (same in all drawn panels): a dense Korean mountain forest with thick undergrowth.\n\nPURPOSE: each panel captures only the CAMERA COMPOSITION of one\nshot — framing (close-up / medium / wide), where the subject sits in\nthe frame, and continuity between panels. Use standard storyboard\nMOTION ARROWS to show character movement direction or camera moves\n(pan/tilt/push-in) where the shot implies motion. Keep every panel\nextremely simple: only what matters for composition.\n\nCONTINUITY: all drawn panels are the SAME single location — fixed\nfeatures (doors, stairs, windows, poles, desks) keep the same\nposition and left/right relationships across panels so the panels\ncut together as one continuous scene.\n\nPANELS (one shot per panel, Korean shot text):\n\nPANEL 1: 한쪽 신발이 벗겨진 한국인 남자가 우거진 수풀 사이를 달리며 한 발을 허공에 내딛고 있는 도중의 전신 구도\nPANEL 2: 검은 형상의 인영이 허공에 뛰어오른 채 한국인 남자를 향해 두 팔을 뻗고 있는 순간\nPANEL 3: 형사 무리 한가운데 서서 손가락으로 한쪽을 가리키는 혜수의 상체\n\nThere are 3 shots but 4 panel slots: draw the shots in\npanels 1..3 and leave the remaining panel(s) COMPLETELY\nBLANK PURE WHITE — empty white paper, not even a frame line inside.\n\nABSOLUTELY NO TEXT anywhere: no words, letters, captions, labels,\nsound effects or watermarks — the ONLY allowed marking is a small\nshot number digit (1, 2, 3) in the top-left corner of each drawn\npanel. Panels are separated by clean straight black gutter lines,\nALL PANELS EXACTLY THE SAME SIZE."}
{"ts": "2026-07-11 19:13:23", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s34v2_conti_forest_nb2", "refs": [], "ref_labels": [], "attempt": 1, "dur_s": 16.7, "bytes": 3366624, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/conti2_forest_nb2.png", "prompt": "Draw ONE storyboard (conti) sheet: 4 equal panels in a 2x2 grid.\nSTYLE: quick, rough HAND-DRAWN pencil sketch — loose gestural line\ndrawing in monochrome graphite on white paper, the kind a film\nstoryboard artist dashes off in seconds. NOT photorealistic, no\npainting, no rendering, no color. Simple lines, minimal shading.\n\nTHE LOCATION (same in all drawn panels): a dense Korean mountain forest with thick undergrowth.\n\nPURPOSE: each panel captures only the CAMERA COMPOSITION of one\nshot — framing (close-up / medium / wide), where the subject sits in\nthe frame, and continuity between panels. Use standard storyboard\nMOTION ARROWS to show character movement direction or camera moves\n(pan/tilt/push-in) where the shot implies motion. Keep every panel\nextremely simple: only what matters for composition.\n\nCONTINUITY: all drawn panels are the SAME single location — fixed\nfeatures (doors, stairs, windows, poles, desks) keep the same\nposition and left/right relationships across panels so the panels\ncut together as one continuous scene.\n\nPANELS (one shot per panel, Korean shot text):\n\nPANEL 1: 한쪽 신발이 벗겨진 한국인 남자가 우거진 수풀 사이를 달리며 한 발을 허공에 내딛고 있는 도중의 전신 구도\nPANEL 2: 검은 형상의 인영이 허공에 뛰어오른 채 한국인 남자를 향해 두 팔을 뻗고 있는 순간\nPANEL 3: 형사 무리 한가운데 서서 손가락으로 한쪽을 가리키는 혜수의 상체\n\nThere are 3 shots but 4 panel slots: draw the shots in\npanels 1..3 and leave the remaining panel(s) COMPLETELY\nBLANK PURE WHITE — empty white paper, not even a frame line inside.\n\nABSOLUTELY NO TEXT anywhere: no words, letters, captions, labels,\nsound effects or watermarks — the ONLY allowed marking is a small\nshot number digit (1, 2, 3) in the top-left corner of each drawn\npanel. Panels are separated by clean straight black gutter lines,\nALL PANELS EXACTLY THE SAME SIZE."}
{"ts": "2026-07-11 19:15:17", "kind": "img", "engine": "gpt-image-2", "mode": "generate", "tag": "s34v2_conti_busstop_i2", "refs": [], "size": "1536x1024", "attempt": 1, "dur_s": 113.8, "bytes": 2611071, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/conti2_busstop_i2.png", "prompt": "Draw ONE storyboard (conti) sheet: 2 equal panels side by side in ONE row (1x2).\nSTYLE: quick, rough HAND-DRAWN pencil sketch — loose gestural line\ndrawing in monochrome graphite on white paper, the kind a film\nstoryboard artist dashes off in seconds. NOT photorealistic, no\npainting, no rendering, no color. Simple lines, minimal shading.\n\nTHE LOCATION (same in all drawn panels): a small seaside bus stop with a bench facing the sea at night on a quiet Korean coastal road.\n\nPURPOSE: each panel captures only the CAMERA COMPOSITION of one\nshot — framing (close-up / medium / wide), where the subject sits in\nthe frame, and continuity between panels. Use standard storyboard\nMOTION ARROWS to show character movement direction or camera moves\n(pan/tilt/push-in) where the shot implies motion. Keep every panel\nextremely simple: only what matters for composition.\n\nCONTINUITY: all drawn panels are the SAME single location — fixed\nfeatures (doors, stairs, windows, poles, desks) keep the same\nposition and left/right relationships across panels so the panels\ncut together as one continuous scene.\n\nPANELS (one shot per panel, Korean shot text):\n\nPANEL 1: 혜수의 손이 음료수 캔을 쥔 채 수리영 앞으로 내밀어진 순간\nPANEL 2: 멀리서 혜수의 전신과 한 발을 공중에 띄운 mid-stride 자세로 달리는 수리영의 뒷모습을 한 프레임에 담은 넓은 구도\n\nABSOLUTELY NO TEXT anywhere: no words, letters, captions, labels,\nsound effects or watermarks — the ONLY allowed marking is a small\nshot number digit (1, 2) in the top-left corner of each drawn\npanel. Panels are separated by clean straight black gutter lines,\nALL PANELS EXACTLY THE SAME SIZE."}
{"ts": "2026-07-11 19:15:31", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s34v2_conti_busstop_nb2", "refs": [], "ref_labels": [], "attempt": 1, "dur_s": 14.9, "bytes": 2582028, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/conti2_busstop_nb2.png", "prompt": "Draw ONE storyboard (conti) sheet: 2 equal panels side by side in ONE row (1x2).\nSTYLE: quick, rough HAND-DRAWN pencil sketch — loose gestural line\ndrawing in monochrome graphite on white paper, the kind a film\nstoryboard artist dashes off in seconds. NOT photorealistic, no\npainting, no rendering, no color. Simple lines, minimal shading.\n\nTHE LOCATION (same in all drawn panels): a small seaside bus stop with a bench facing the sea at night on a quiet Korean coastal road.\n\nPURPOSE: each panel captures only the CAMERA COMPOSITION of one\nshot — framing (close-up / medium / wide), where the subject sits in\nthe frame, and continuity between panels. Use standard storyboard\nMOTION ARROWS to show character movement direction or camera moves\n(pan/tilt/push-in) where the shot implies motion. Keep every panel\nextremely simple: only what matters for composition.\n\nCONTINUITY: all drawn panels are the SAME single location — fixed\nfeatures (doors, stairs, windows, poles, desks) keep the same\nposition and left/right relationships across panels so the panels\ncut together as one continuous scene.\n\nPANELS (one shot per panel, Korean shot text):\n\nPANEL 1: 혜수의 손이 음료수 캔을 쥔 채 수리영 앞으로 내밀어진 순간\nPANEL 2: 멀리서 혜수의 전신과 한 발을 공중에 띄운 mid-stride 자세로 달리는 수리영의 뒷모습을 한 프레임에 담은 넓은 구도\n\nABSOLUTELY NO TEXT anywhere: no words, letters, captions, labels,\nsound effects or watermarks — the ONLY allowed marking is a small\nshot number digit (1, 2) in the top-left corner of each drawn\npanel. Panels are separated by clean straight black gutter lines,\nALL PANELS EXACTLY THE SAME SIZE."}
{"ts": "2026-07-11 19:17:30", "kind": "img", "engine": "gpt-image-2", "mode": "generate", "tag": "s34v2_conti_rooftop_ext_i2", "refs": [], "size": "1536x1024", "attempt": 1, "dur_s": 118.4, "bytes": 3341157, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/conti2_rooftop_ext_i2.png", "prompt": "Draw ONE storyboard (conti) sheet: 6 equal panels in a 3-column by 2-row grid (3x2).\nSTYLE: quick, rough HAND-DRAWN pencil sketch — loose gestural line\ndrawing in monochrome graphite on white paper, the kind a film\nstoryboard artist dashes off in seconds. NOT photorealistic, no\npainting, no rendering, no color. Simple lines, minimal shading.\n\nTHE LOCATION (same in all drawn panels): the exterior of an old Korean multi-family villa: narrow alley and small yard at ground level, an added exterior steel staircase climbing the wall, and a rooftop with a small rooftop room (steel front door, one lit window), a water tank, a clothesline and a low parapet.\n\nPURPOSE: each panel captures only the CAMERA COMPOSITION of one\nshot — framing (close-up / medium / wide), where the subject sits in\nthe frame, and continuity between panels. Use standard storyboard\nMOTION ARROWS to show character movement direction or camera moves\n(pan/tilt/push-in) where the shot implies motion. Keep every panel\nextremely simple: only what matters for composition.\n\nCONTINUITY: all drawn panels are the SAME single location — fixed\nfeatures (doors, stairs, windows, poles, desks) keep the same\nposition and left/right relationships across panels so the panels\ncut together as one continuous scene.\n\nPANELS (one shot per panel, Korean shot text):\n\nPANEL 1: 현관 철문이 아주 살짝 열린 틈새로 보이는 어두운 실내와 신발 앞코\nPANEL 2: 불이 켜진 옥탑방 창문에 거대한 그림자가 작은 그림자의 어깨 쪽으로 고개를 꺾은 형태가 맺혀 있는 정지 구도\nPANEL 3: 철제 파이프 난간을 손으로 잡은 수리영이 코끝을 찡그린 채 계단 중간에 서 있는 얼굴 클로즈업\nPANEL 4: 옥상에 선 수리영의 시선 끝에 반쯤 열려 있는 어두운 현관 철문이 보이는 정면 구도\nPANEL 5: 수리영이 초점을 잃은 눈으로 허공을 응시하며 서 있는 모습\nPANEL 6: 고개를 든 채 혜수의 얼굴을 마주보고 있는 수리영의 측면 구도\n\nABSOLUTELY NO TEXT anywhere: no words, letters, captions, labels,\nsound effects or watermarks — the ONLY allowed marking is a small\nshot number digit (1, 2, 3, 4, 5, 6) in the top-left corner of each drawn\npanel. Panels are separated by clean straight black gutter lines,\nALL PANELS EXACTLY THE SAME SIZE."}
{"ts": "2026-07-11 19:17:48", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s34v2_conti_rooftop_ext_nb2", "refs": [], "ref_labels": [], "attempt": 1, "dur_s": 17.7, "bytes": 2240459, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/conti2_rooftop_ext_nb2.png", "prompt": "Draw ONE storyboard (conti) sheet: 6 equal panels in a 3-column by 2-row grid (3x2).\nSTYLE: quick, rough HAND-DRAWN pencil sketch — loose gestural line\ndrawing in monochrome graphite on white paper, the kind a film\nstoryboard artist dashes off in seconds. NOT photorealistic, no\npainting, no rendering, no color. Simple lines, minimal shading.\n\nTHE LOCATION (same in all drawn panels): the exterior of an old Korean multi-family villa: narrow alley and small yard at ground level, an added exterior steel staircase climbing the wall, and a rooftop with a small rooftop room (steel front door, one lit window), a water tank, a clothesline and a low parapet.\n\nPURPOSE: each panel captures only the CAMERA COMPOSITION of one\nshot — framing (close-up / medium / wide), where the subject sits in\nthe frame, and continuity between panels. Use standard storyboard\nMOTION ARROWS to show character movement direction or camera moves\n(pan/tilt/push-in) where the shot implies motion. Keep every panel\nextremely simple: only what matters for composition.\n\nCONTINUITY: all drawn panels are the SAME single location — fixed\nfeatures (doors, stairs, windows, poles, desks) keep the same\nposition and left/right relationships across panels so the panels\ncut together as one continuous scene.\n\nPANELS (one shot per panel, Korean shot text):\n\nPANEL 1: 현관 철문이 아주 살짝 열린 틈새로 보이는 어두운 실내와 신발 앞코\nPANEL 2: 불이 켜진 옥탑방 창문에 거대한 그림자가 작은 그림자의 어깨 쪽으로 고개를 꺾은 형태가 맺혀 있는 정지 구도\nPANEL 3: 철제 파이프 난간을 손으로 잡은 수리영이 코끝을 찡그린 채 계단 중간에 서 있는 얼굴 클로즈업\nPANEL 4: 옥상에 선 수리영의 시선 끝에 반쯤 열려 있는 어두운 현관 철문이 보이는 정면 구도\nPANEL 5: 수리영이 초점을 잃은 눈으로 허공을 응시하며 서 있는 모습\nPANEL 6: 고개를 든 채 혜수의 얼굴을 마주보고 있는 수리영의 측면 구도\n\nABSOLUTELY NO TEXT anywhere: no words, letters, captions, labels,\nsound effects or watermarks — the ONLY allowed marking is a small\nshot number digit (1, 2, 3, 4, 5, 6) in the top-left corner of each drawn\npanel. Panels are separated by clean straight black gutter lines,\nALL PANELS EXACTLY THE SAME SIZE."}
{"ts": "2026-07-11 19:19:40", "kind": "img", "engine": "gpt-image-2", "mode": "generate", "tag": "s34v2_conti_rooftop_int_i2", "refs": [], "size": "1536x1024", "attempt": 1, "dur_s": 112.8, "bytes": 3189028, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/conti2_rooftop_int_i2.png", "prompt": "Draw ONE storyboard (conti) sheet: 6 equal panels in a 3-column by 2-row grid (3x2).\nSTYLE: quick, rough HAND-DRAWN pencil sketch — loose gestural line\ndrawing in monochrome graphite on white paper, the kind a film\nstoryboard artist dashes off in seconds. NOT photorealistic, no\npainting, no rendering, no color. Simple lines, minimal shading.\n\nTHE LOCATION (same in all drawn panels): the interior of a small Korean rooftop home: living room with a small window, kitchenette and dining table; a bedroom with a bed against one wall and a curtained window; a tiny tiled bathroom with a mirror.\n\nPURPOSE: each panel captures only the CAMERA COMPOSITION of one\nshot — framing (close-up / medium / wide), where the subject sits in\nthe frame, and continuity between panels. Use standard storyboard\nMOTION ARROWS to show character movement direction or camera moves\n(pan/tilt/push-in) where the shot implies motion. Keep every panel\nextremely simple: only what matters for composition.\n\nCONTINUITY: all drawn panels are the SAME single location — fixed\nfeatures (doors, stairs, windows, poles, desks) keep the same\nposition and left/right relationships across panels so the panels\ncut together as one continuous scene.\n\nPANELS (one shot per panel, Korean shot text):\n\nPANEL 1: 옷과 피부가 피투성이가 된 민숙이 바닥에 주저앉아 고개를 푹 숙인 정지 상태\nPANEL 2: 침대 위쪽 벽면에 붉은색 원형 표식이 절반쯤 나타난 상태\nPANEL 3: 핏자국 없이 깨끗한 방 내부 전경\nPANEL 4: 거울 속 반사된 욕실 타일 벽면에 붉은색 원형 표식이 절반쯤 나타난 상태\nPANEL 5: 해질 무렵 옥탑방 거실, 흙 묻은 발자국들이 찍힌 바닥과 쓰러진 식탁 의자들이 보이는 전경\nPANEL 6: 붉은 원 한가운데 피 묻은 낡은 흑백 사진이 벽에 꽂혀 있는 타이트 샷\n\nABSOLUTELY NO TEXT anywhere: no words, letters, captions, labels,\nsound effects or watermarks — the ONLY allowed marking is a small\nshot number digit (1, 2, 3, 4, 5, 6) in the top-left corner of each drawn\npanel. Panels are separated by clean straight black gutter lines,\nALL PANELS EXACTLY THE SAME SIZE."}
{"ts": "2026-07-11 19:19:57", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s34v2_conti_rooftop_int_nb2", "refs": [], "ref_labels": [], "attempt": 1, "dur_s": 16.1, "bytes": 2509687, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/conti2_rooftop_int_nb2.png", "prompt": "Draw ONE storyboard (conti) sheet: 6 equal panels in a 3-column by 2-row grid (3x2).\nSTYLE: quick, rough HAND-DRAWN pencil sketch — loose gestural line\ndrawing in monochrome graphite on white paper, the kind a film\nstoryboard artist dashes off in seconds. NOT photorealistic, no\npainting, no rendering, no color. Simple lines, minimal shading.\n\nTHE LOCATION (same in all drawn panels): the interior of a small Korean rooftop home: living room with a small window, kitchenette and dining table; a bedroom with a bed against one wall and a curtained window; a tiny tiled bathroom with a mirror.\n\nPURPOSE: each panel captures only the CAMERA COMPOSITION of one\nshot — framing (close-up / medium / wide), where the subject sits in\nthe frame, and continuity between panels. Use standard storyboard\nMOTION ARROWS to show character movement direction or camera moves\n(pan/tilt/push-in) where the shot implies motion. Keep every panel\nextremely simple: only what matters for composition.\n\nCONTINUITY: all drawn panels are the SAME single location — fixed\nfeatures (doors, stairs, windows, poles, desks) keep the same\nposition and left/right relationships across panels so the panels\ncut together as one continuous scene.\n\nPANELS (one shot per panel, Korean shot text):\n\nPANEL 1: 옷과 피부가 피투성이가 된 민숙이 바닥에 주저앉아 고개를 푹 숙인 정지 상태\nPANEL 2: 침대 위쪽 벽면에 붉은색 원형 표식이 절반쯤 나타난 상태\nPANEL 3: 핏자국 없이 깨끗한 방 내부 전경\nPANEL 4: 거울 속 반사된 욕실 타일 벽면에 붉은색 원형 표식이 절반쯤 나타난 상태\nPANEL 5: 해질 무렵 옥탑방 거실, 흙 묻은 발자국들이 찍힌 바닥과 쓰러진 식탁 의자들이 보이는 전경\nPANEL 6: 붉은 원 한가운데 피 묻은 낡은 흑백 사진이 벽에 꽂혀 있는 타이트 샷\n\nABSOLUTELY NO TEXT anywhere: no words, letters, captions, labels,\nsound effects or watermarks — the ONLY allowed marking is a small\nshot number digit (1, 2, 3, 4, 5, 6) in the top-left corner of each drawn\npanel. Panels are separated by clean straight black gutter lines,\nALL PANELS EXACTLY THE SAME SIZE."}
{"ts": "2026-07-11 19:21:54", "kind": "img", "engine": "gpt-image-2", "mode": "generate", "tag": "s34v2_conti_mart_i2", "refs": [], "size": "1536x1024", "attempt": 1, "dur_s": 117.6, "bytes": 3260414, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/conti2_mart_i2.png", "prompt": "Draw ONE storyboard (conti) sheet: 6 equal panels in a 3-column by 2-row grid (3x2).\nSTYLE: quick, rough HAND-DRAWN pencil sketch — loose gestural line\ndrawing in monochrome graphite on white paper, the kind a film\nstoryboard artist dashes off in seconds. NOT photorealistic, no\npainting, no rendering, no color. Simple lines, minimal shading.\n\nTHE LOCATION (same in all drawn panels): a mid-size Korean supermarket: shelved sales floor inside; the entrance area outside with a bicycle rack and one wall-mounted CCTV camera above; a small back security office with CCTV monitors.\n\nPURPOSE: each panel captures only the CAMERA COMPOSITION of one\nshot — framing (close-up / medium / wide), where the subject sits in\nthe frame, and continuity between panels. Use standard storyboard\nMOTION ARROWS to show character movement direction or camera moves\n(pan/tilt/push-in) where the shot implies motion. Keep every panel\nextremely simple: only what matters for composition.\n\nCONTINUITY: all drawn panels are the SAME single location — fixed\nfeatures (doors, stairs, windows, poles, desks) keep the same\nposition and left/right relationships across panels so the panels\ncut together as one continuous scene.\n\nPANELS (one shot per panel, Korean shot text):\n\nPANEL 1: 수리영이 마트 유니폼을 입은 한국인 여성 직원을 마주보며 입을 살짝 벌린 측면 구도\nPANEL 2: 마트 밖으로 나온 수리영이 손에 든 스마트폰 액정을 내려다보는 상체\nPANEL 3: 수리영과 남자직원이 마트 밖에서 벽면의 CCTV를 올려다보는 뒷모습\nPANEL 4: 수리영이 귀에 스마트폰을 댄 채 정면을 응시하는 상체 클로즈업\nPANEL 5: 마트 총무과 책상 앞, 한국인 남성 보안직원과 혜수가 컴퓨터 모니터를 향해 몸을 기울인 측면\nPANEL 6: 흑백 CCTV 화면 속 어두운 구석에 사람 형상이 희미하게 찍힌 모니터 클로즈업\n\nABSOLUTELY NO TEXT anywhere: no words, letters, captions, labels,\nsound effects or watermarks — the ONLY allowed marking is a small\nshot number digit (1, 2, 3, 4, 5, 6) in the top-left corner of each drawn\npanel. Panels are separated by clean straight black gutter lines,\nALL PANELS EXACTLY THE SAME SIZE."}
{"ts": "2026-07-11 19:22:09", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s34v2_conti_mart_nb2", "refs": [], "ref_labels": [], "attempt": 1, "dur_s": 14.3, "bytes": 2972091, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/conti2_mart_nb2.png", "prompt": "Draw ONE storyboard (conti) sheet: 6 equal panels in a 3-column by 2-row grid (3x2).\nSTYLE: quick, rough HAND-DRAWN pencil sketch — loose gestural line\ndrawing in monochrome graphite on white paper, the kind a film\nstoryboard artist dashes off in seconds. NOT photorealistic, no\npainting, no rendering, no color. Simple lines, minimal shading.\n\nTHE LOCATION (same in all drawn panels): a mid-size Korean supermarket: shelved sales floor inside; the entrance area outside with a bicycle rack and one wall-mounted CCTV camera above; a small back security office with CCTV monitors.\n\nPURPOSE: each panel captures only the CAMERA COMPOSITION of one\nshot — framing (close-up / medium / wide), where the subject sits in\nthe frame, and continuity between panels. Use standard storyboard\nMOTION ARROWS to show character movement direction or camera moves\n(pan/tilt/push-in) where the shot implies motion. Keep every panel\nextremely simple: only what matters for composition.\n\nCONTINUITY: all drawn panels are the SAME single location — fixed\nfeatures (doors, stairs, windows, poles, desks) keep the same\nposition and left/right relationships across panels so the panels\ncut together as one continuous scene.\n\nPANELS (one shot per panel, Korean shot text):\n\nPANEL 1: 수리영이 마트 유니폼을 입은 한국인 여성 직원을 마주보며 입을 살짝 벌린 측면 구도\nPANEL 2: 마트 밖으로 나온 수리영이 손에 든 스마트폰 액정을 내려다보는 상체\nPANEL 3: 수리영과 남자직원이 마트 밖에서 벽면의 CCTV를 올려다보는 뒷모습\nPANEL 4: 수리영이 귀에 스마트폰을 댄 채 정면을 응시하는 상체 클로즈업\nPANEL 5: 마트 총무과 책상 앞, 한국인 남성 보안직원과 혜수가 컴퓨터 모니터를 향해 몸을 기울인 측면\nPANEL 6: 흑백 CCTV 화면 속 어두운 구석에 사람 형상이 희미하게 찍힌 모니터 클로즈업\n\nABSOLUTELY NO TEXT anywhere: no words, letters, captions, labels,\nsound effects or watermarks — the ONLY allowed marking is a small\nshot number digit (1, 2, 3, 4, 5, 6) in the top-left corner of each drawn\npanel. Panels are separated by clean straight black gutter lines,\nALL PANELS EXACTLY THE SAME SIZE."}
{"ts": "2026-07-11 19:23:59", "kind": "img", "engine": "gpt-image-2", "mode": "generate", "tag": "s34v2_conti_police_i2", "refs": [], "size": "1536x1024", "attempt": 1, "dur_s": 110.1, "bytes": 2818724, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/conti2_police_i2.png", "prompt": "Draw ONE storyboard (conti) sheet: 6 equal panels in a 3-column by 2-row grid (3x2).\nSTYLE: quick, rough HAND-DRAWN pencil sketch — loose gestural line\ndrawing in monochrome graphite on white paper, the kind a film\nstoryboard artist dashes off in seconds. NOT photorealistic, no\npainting, no rendering, no color. Simple lines, minimal shading.\n\nTHE LOCATION (same in all drawn panels): a modest Korean provincial police station: a detectives' office with desks, monitors and a doorway; and the street right in front of the building.\n\nPURPOSE: each panel captures only the CAMERA COMPOSITION of one\nshot — framing (close-up / medium / wide), where the subject sits in\nthe frame, and continuity between panels. Use standard storyboard\nMOTION ARROWS to show character movement direction or camera moves\n(pan/tilt/push-in) where the shot implies motion. Keep every panel\nextremely simple: only what matters for composition.\n\nCONTINUITY: all drawn panels are the SAME single location — fixed\nfeatures (doors, stairs, windows, poles, desks) keep the same\nposition and left/right relationships across panels so the panels\ncut together as one continuous scene.\n\nPANELS (one shot per panel, Korean shot text):\n\nPANEL 1: 혜수가 스마트폰 액정을 김형사 쪽으로 불쑥 내민 순간\nPANEL 2: 수리영이 두 눈을 크게 뜨고 입을 살짝 벌린 굳은 얼굴 클로즈업\nPANEL 3: 모니터 화면에 바다 지도가 펼쳐져 있고 붉은색 핀과 좌표 숫자가 떠 있는 클로즈업\nPANEL 4: 수리영이 메모지가 들어간 겉옷 주머니에 손을 넣은 채 사무실 출입문을 향해 몸을 돌린 정지 순간\nPANEL 5: 경찰서 건물 밖 도로 위에서 수리영이 자전거 안장에 앉아 상체를 앞으로 숙인 채 머리카락이 뒤로 흩날리는 측면\n\nThere are 5 shots but 6 panel slots: draw the shots in\npanels 1..5 and leave the remaining panel(s) COMPLETELY\nBLANK PURE WHITE — empty white paper, not even a frame line inside.\n\nABSOLUTELY NO TEXT anywhere: no words, letters, captions, labels,\nsound effects or watermarks — the ONLY allowed marking is a small\nshot number digit (1, 2, 3, 4, 5) in the top-left corner of each drawn\npanel. Panels are separated by clean straight black gutter lines,\nALL PANELS EXACTLY THE SAME SIZE."}
{"ts": "2026-07-11 19:24:14", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s34v2_conti_police_nb2", "refs": [], "ref_labels": [], "attempt": 1, "dur_s": 15.2, "bytes": 2717528, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/conti2_police_nb2.png", "prompt": "Draw ONE storyboard (conti) sheet: 6 equal panels in a 3-column by 2-row grid (3x2).\nSTYLE: quick, rough HAND-DRAWN pencil sketch — loose gestural line\ndrawing in monochrome graphite on white paper, the kind a film\nstoryboard artist dashes off in seconds. NOT photorealistic, no\npainting, no rendering, no color. Simple lines, minimal shading.\n\nTHE LOCATION (same in all drawn panels): a modest Korean provincial police station: a detectives' office with desks, monitors and a doorway; and the street right in front of the building.\n\nPURPOSE: each panel captures only the CAMERA COMPOSITION of one\nshot — framing (close-up / medium / wide), where the subject sits in\nthe frame, and continuity between panels. Use standard storyboard\nMOTION ARROWS to show character movement direction or camera moves\n(pan/tilt/push-in) where the shot implies motion. Keep every panel\nextremely simple: only what matters for composition.\n\nCONTINUITY: all drawn panels are the SAME single location — fixed\nfeatures (doors, stairs, windows, poles, desks) keep the same\nposition and left/right relationships across panels so the panels\ncut together as one continuous scene.\n\nPANELS (one shot per panel, Korean shot text):\n\nPANEL 1: 혜수가 스마트폰 액정을 김형사 쪽으로 불쑥 내민 순간\nPANEL 2: 수리영이 두 눈을 크게 뜨고 입을 살짝 벌린 굳은 얼굴 클로즈업\nPANEL 3: 모니터 화면에 바다 지도가 펼쳐져 있고 붉은색 핀과 좌표 숫자가 떠 있는 클로즈업\nPANEL 4: 수리영이 메모지가 들어간 겉옷 주머니에 손을 넣은 채 사무실 출입문을 향해 몸을 돌린 정지 순간\nPANEL 5: 경찰서 건물 밖 도로 위에서 수리영이 자전거 안장에 앉아 상체를 앞으로 숙인 채 머리카락이 뒤로 흩날리는 측면\n\nThere are 5 shots but 6 panel slots: draw the shots in\npanels 1..5 and leave the remaining panel(s) COMPLETELY\nBLANK PURE WHITE — empty white paper, not even a frame line inside.\n\nABSOLUTELY NO TEXT anywhere: no words, letters, captions, labels,\nsound effects or watermarks — the ONLY allowed marking is a small\nshot number digit (1, 2, 3, 4, 5) in the top-left corner of each drawn\npanel. Panels are separated by clean straight black gutter lines,\nALL PANELS EXACTLY THE SAME SIZE."}
{"ts": "2026-07-11 19:43:34", "kind": "img", "engine": "gpt-image-2", "mode": "generate", "tag": "s34v2_conti_busstop_i2", "refs": [], "size": "1536x1024", "attempt": 1, "dur_s": 109.8, "bytes": 3649334, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/conti3_busstop_i2.png", "prompt": "Draw ONE storyboard (conti) sheet: 2 panels made by ONE vertical cut at exactly 50% of the image width — each panel is exactly half the width and the FULL height (1 row x 2 columns).\nSTYLE: quick, rough HAND-DRAWN pencil sketch — loose gestural line\ndrawing in monochrome graphite on white paper, the kind a film\nstoryboard artist dashes off in seconds. NOT photorealistic, no\npainting, no rendering, no color. Simple lines, minimal shading.\n\nTHE LOCATION (same in all drawn panels): a small seaside bus stop with a bench facing the sea at night on a quiet Korean coastal road.\n\nPURPOSE: each panel captures only the CAMERA COMPOSITION of one\nshot — framing (close-up / medium / wide), where the subject sits in\nthe frame, and continuity between panels. Use standard storyboard\nMOTION ARROWS to show character movement direction or camera moves\n(pan/tilt/push-in) where the shot implies motion. Keep every panel\nextremely simple: only what matters for composition.\n\nGEOMETRY — ANALYSE BEFORE DRAWING: from each panel's Korean shot\ntext, first work out the spatial facts and draw EXACTLY those, never\nre-stage them: (a) each figure's DISTANCE from camera (tight insert /\nclose-up / medium / full / wide — a shot about a hand or an object\nis a tight insert, not a two-shot); (b) each figure's FACING and\nMOVEMENT DIRECTION relative to camera — '뒷모습' means seen from\nBEHIND, moving AWAY from camera into the depth of the frame, not\nsideways; a profile means lateral movement; (c) relative positions\nand distances BETWEEN figures. Keep every established screen\ndirection consistent across panels (180-degree rule): a person who\nleaves in one panel keeps the same on-screen direction wherever the\nmovement appears again.\n\nCONTINUITY: all drawn panels are the SAME single location — fixed\nfeatures (doors, stairs, windows, poles, desks) keep the same\nposition and left/right relationships across panels so the panels\ncut together as one continuous scene.\n\nPANELS (one shot per panel, Korean shot text):\n\nPANEL 1: 혜수의 손이 음료수 캔을 쥔 채 수리영 앞으로 내밀어진 순간\nPANEL 2: 멀리서 혜수의 전신과 한 발을 공중에 띄운 mid-stride 자세로 달리는 수리영의 뒷모습을 한 프레임에 담은 넓은 구도\n\nABSOLUTELY NO TEXT anywhere: no words, letters, captions, labels,\nsound effects or watermarks — the ONLY allowed marking is a small\nshot number digit (1, 2) in a corner INSIDE each drawn panel.\nTHE PANEL GRID FILLS THE ENTIRE IMAGE EDGE-TO-EDGE: no outer paper\nmargin, no border area, nothing drawn outside the panels — the\nimage must be mechanically cuttable along the stated cut lines.\nPanels are separated only by thin straight black gutter lines at\nthe exact stated positions; ALL PANELS EXACTLY THE SAME SIZE."}
{"ts": "2026-07-11 19:43:48", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s34v2_conti_busstop_nb2", "refs": [], "ref_labels": [], "attempt": 1, "dur_s": 14.5, "bytes": 2613740, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/conti3_busstop_nb2.png", "prompt": "Draw ONE storyboard (conti) sheet: 2 panels made by ONE vertical cut at exactly 50% of the image width — each panel is exactly half the width and the FULL height (1 row x 2 columns).\nSTYLE: quick, rough HAND-DRAWN pencil sketch — loose gestural line\ndrawing in monochrome graphite on white paper, the kind a film\nstoryboard artist dashes off in seconds. NOT photorealistic, no\npainting, no rendering, no color. Simple lines, minimal shading.\n\nTHE LOCATION (same in all drawn panels): a small seaside bus stop with a bench facing the sea at night on a quiet Korean coastal road.\n\nPURPOSE: each panel captures only the CAMERA COMPOSITION of one\nshot — framing (close-up / medium / wide), where the subject sits in\nthe frame, and continuity between panels. Use standard storyboard\nMOTION ARROWS to show character movement direction or camera moves\n(pan/tilt/push-in) where the shot implies motion. Keep every panel\nextremely simple: only what matters for composition.\n\nGEOMETRY — ANALYSE BEFORE DRAWING: from each panel's Korean shot\ntext, first work out the spatial facts and draw EXACTLY those, never\nre-stage them: (a) each figure's DISTANCE from camera (tight insert /\nclose-up / medium / full / wide — a shot about a hand or an object\nis a tight insert, not a two-shot); (b) each figure's FACING and\nMOVEMENT DIRECTION relative to camera — '뒷모습' means seen from\nBEHIND, moving AWAY from camera into the depth of the frame, not\nsideways; a profile means lateral movement; (c) relative positions\nand distances BETWEEN figures. Keep every established screen\ndirection consistent across panels (180-degree rule): a person who\nleaves in one panel keeps the same on-screen direction wherever the\nmovement appears again.\n\nCONTINUITY: all drawn panels are the SAME single location — fixed\nfeatures (doors, stairs, windows, poles, desks) keep the same\nposition and left/right relationships across panels so the panels\ncut together as one continuous scene.\n\nPANELS (one shot per panel, Korean shot text):\n\nPANEL 1: 혜수의 손이 음료수 캔을 쥔 채 수리영 앞으로 내밀어진 순간\nPANEL 2: 멀리서 혜수의 전신과 한 발을 공중에 띄운 mid-stride 자세로 달리는 수리영의 뒷모습을 한 프레임에 담은 넓은 구도\n\nABSOLUTELY NO TEXT anywhere: no words, letters, captions, labels,\nsound effects or watermarks — the ONLY allowed marking is a small\nshot number digit (1, 2) in a corner INSIDE each drawn panel.\nTHE PANEL GRID FILLS THE ENTIRE IMAGE EDGE-TO-EDGE: no outer paper\nmargin, no border area, nothing drawn outside the panels — the\nimage must be mechanically cuttable along the stated cut lines.\nPanels are separated only by thin straight black gutter lines at\nthe exact stated positions; ALL PANELS EXACTLY THE SAME SIZE."}
{"ts": "2026-07-11 19:51:01", "kind": "img", "engine": "gpt-image-2", "mode": "generate", "tag": "s34v2_conti_busstop_i2", "refs": [], "size": "1536x1024", "attempt": 1, "dur_s": 112.0, "bytes": 3933328, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/conti4_busstop_i2.png", "prompt": "Draw ONE storyboard (conti) sheet: 2 panels made by ONE vertical cut at exactly 50% of the image width — each panel is exactly half the width and the FULL height (1 row x 2 columns).\nSTYLE: quick, rough HAND-DRAWN pencil sketch — loose gestural line\ndrawing in monochrome graphite on white paper, the kind a film\nstoryboard artist dashes off in seconds. NOT photorealistic, no\npainting, no rendering, no color. Simple lines, minimal shading.\n\nTHE LOCATION (same in all drawn panels): a small seaside bus stop with a bench facing the sea at night on a quiet Korean coastal road.\n\nPURPOSE: each panel captures only the CAMERA COMPOSITION of one\nshot — framing (close-up / medium / wide), where the subject sits in\nthe frame, and continuity between panels. Use standard storyboard\nMOTION ARROWS to show character movement direction or camera moves\n(pan/tilt/push-in) where the shot implies motion. Keep every panel\nextremely simple: only what matters for composition.\n\nGEOMETRY — ANALYSE BEFORE DRAWING: from each panel's Korean shot\ntext, first work out the spatial facts and draw EXACTLY those, never\nre-stage them: (a) each figure's DISTANCE from camera (tight insert /\nclose-up / medium / full / wide — a shot about a hand or an object\nis a tight insert, not a two-shot); (b) each figure's FACING and\nMOVEMENT DIRECTION relative to camera — '뒷모습' means seen from\nBEHIND, moving AWAY from camera into the depth of the frame, not\nsideways; a profile means lateral movement; (c) relative positions\nand distances BETWEEN figures. Keep every established screen\ndirection consistent across panels (180-degree rule): a person who\nleaves in one panel keeps the same on-screen direction wherever the\nmovement appears again.\nDEPARTING FIGURE — a figure running/walking AWAY must be\nunmistakably departing, never approaching. Draw ALL of these cues\ntogether: seen exactly from behind (back of the head only, no face,\nno chin, no cheek line), drawn SMALLER than nearby figures because\nit has already receded into the distance, one shoe SOLE facing the\ncamera mid-stride, the motion arrow starting AT the figure and\npointing DEEPER into the frame toward the road's vanishing point,\nand short speed lines trailing BEHIND the figure toward the camera.\n\nCONTINUITY: all drawn panels are the SAME single location — fixed\nfeatures (doors, stairs, windows, poles, desks) keep the same\nposition and left/right relationships across panels so the panels\ncut together as one continuous scene.\n\nPANELS (one shot per panel, Korean shot text):\n\nPANEL 1: 혜수의 손이 음료수 캔을 쥔 채 수리영 앞으로 내밀어진 순간\nPANEL 2: 멀리서 혜수의 전신과 한 발을 공중에 띄운 mid-stride 자세로 달리는 수리영의 뒷모습을 한 프레임에 담은 넓은 구도\n\nABSOLUTELY NO TEXT anywhere: no words, letters, captions, labels,\nsound effects or watermarks — the ONLY allowed marking is a small\nshot number digit (1, 2) in a corner INSIDE each drawn panel.\nTHE PANEL GRID FILLS THE ENTIRE IMAGE EDGE-TO-EDGE: no outer paper\nmargin, no border area, nothing drawn outside the panels — the\nimage must be mechanically cuttable along the stated cut lines.\nPanels are separated only by thin straight black gutter lines at\nthe exact stated positions; ALL PANELS EXACTLY THE SAME SIZE."}
{"ts": "2026-07-11 19:51:15", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s34v2_conti_busstop_nb2", "refs": [], "ref_labels": [], "attempt": 1, "dur_s": 14.0, "bytes": 2034629, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/conti4_busstop_nb2.png", "prompt": "Draw ONE storyboard (conti) sheet: 2 panels made by ONE vertical cut at exactly 50% of the image width — each panel is exactly half the width and the FULL height (1 row x 2 columns).\nSTYLE: quick, rough HAND-DRAWN pencil sketch — loose gestural line\ndrawing in monochrome graphite on white paper, the kind a film\nstoryboard artist dashes off in seconds. NOT photorealistic, no\npainting, no rendering, no color. Simple lines, minimal shading.\n\nTHE LOCATION (same in all drawn panels): a small seaside bus stop with a bench facing the sea at night on a quiet Korean coastal road.\n\nPURPOSE: each panel captures only the CAMERA COMPOSITION of one\nshot — framing (close-up / medium / wide), where the subject sits in\nthe frame, and continuity between panels. Use standard storyboard\nMOTION ARROWS to show character movement direction or camera moves\n(pan/tilt/push-in) where the shot implies motion. Keep every panel\nextremely simple: only what matters for composition.\n\nGEOMETRY — ANALYSE BEFORE DRAWING: from each panel's Korean shot\ntext, first work out the spatial facts and draw EXACTLY those, never\nre-stage them: (a) each figure's DISTANCE from camera (tight insert /\nclose-up / medium / full / wide — a shot about a hand or an object\nis a tight insert, not a two-shot); (b) each figure's FACING and\nMOVEMENT DIRECTION relative to camera — '뒷모습' means seen from\nBEHIND, moving AWAY from camera into the depth of the frame, not\nsideways; a profile means lateral movement; (c) relative positions\nand distances BETWEEN figures. Keep every established screen\ndirection consistent across panels (180-degree rule): a person who\nleaves in one panel keeps the same on-screen direction wherever the\nmovement appears again.\nDEPARTING FIGURE — a figure running/walking AWAY must be\nunmistakably departing, never approaching. Draw ALL of these cues\ntogether: seen exactly from behind (back of the head only, no face,\nno chin, no cheek line), drawn SMALLER than nearby figures because\nit has already receded into the distance, one shoe SOLE facing the\ncamera mid-stride, the motion arrow starting AT the figure and\npointing DEEPER into the frame toward the road's vanishing point,\nand short speed lines trailing BEHIND the figure toward the camera.\n\nCONTINUITY: all drawn panels are the SAME single location — fixed\nfeatures (doors, stairs, windows, poles, desks) keep the same\nposition and left/right relationships across panels so the panels\ncut together as one continuous scene.\n\nPANELS (one shot per panel, Korean shot text):\n\nPANEL 1: 혜수의 손이 음료수 캔을 쥔 채 수리영 앞으로 내밀어진 순간\nPANEL 2: 멀리서 혜수의 전신과 한 발을 공중에 띄운 mid-stride 자세로 달리는 수리영의 뒷모습을 한 프레임에 담은 넓은 구도\n\nABSOLUTELY NO TEXT anywhere: no words, letters, captions, labels,\nsound effects or watermarks — the ONLY allowed marking is a small\nshot number digit (1, 2) in a corner INSIDE each drawn panel.\nTHE PANEL GRID FILLS THE ENTIRE IMAGE EDGE-TO-EDGE: no outer paper\nmargin, no border area, nothing drawn outside the panels — the\nimage must be mechanically cuttable along the stated cut lines.\nPanels are separated only by thin straight black gutter lines at\nthe exact stated positions; ALL PANELS EXACTLY THE SAME SIZE."}
{"ts": "2026-07-11 19:58:32", "kind": "llm", "step": "s34_move_rooftop_ext", "model": "gpt", "dur_s": 10.2, "system_prompt": "당신은 콘티 작가를 돕는 동선 분석가다. 씬 원문(한국어 전문)과 샷\n목록을 읽고, 각 샷에서 인물이 공간을 어떻게 통과하는지(동선)를\n판정하라. 원문에 근거한 것만 쓰고 발명 금지. 각 샷마다 영어 한\n문장으로: 누가/무엇이 움직이는지, 이동 경로와 방향(오르는지\n내려오는지, 들어가는지 나오는지, 카메라 쪽인지 반대인지), 몸의\n진행 자세(기울기·발 디딤), 어디에서 와서 어디로 가는 중인지.\n정지 샷이면 'static:'으로 시작해 시선 방향과 몸 방향만 서술.\n마커나 ID 코드는 쓰지 말 것.", "user_prompt": "씬 원문 전문:\n[씬 10] S#10. 옥탑방 / N\nS#10. 옥탑방 / N\n그 시각. 옥탑방 옥상. 물탱크. 바람에 빨랫줄이 툭- 툭-\n평상에 놓인 말린 석창포가 바람에 날리는데...\n말린 잎이 걸어오는 낯선 남자의 신발 위를 스친다.\n남자의 긴 그림자. (얼굴은 보이지 않는다)\n\n신발은 옥탑방 철문 현관 앞에 멈춰 선다.\n문틈에 낀 광고 전단지.\n전단지를 뽑아서 손가락으로 문틈에 꾹 밀어 넣는다.\n‘철컥’ 하고 잠금 새가 풀리는 소리.\n문이 미세하게 열리고 안으로 들어가는 남자.\n창문에 비친 그림자. 민숙을 덮쳐 어깨를 물어뜯는 듯한 모습 ‘아악-’\n\n\n\n[씬 11] S#11. 옥탑 방 밖 / N\nS#11. 옥탑 방 밖 / N\n자전거를 타고 골목길을 달리는 수리영.\n다세대 빌라 문을 열고 들어와 마당 후미진 곳에 자전거를 대충 세우고,\n옥탑방과 연결되는 계단을 급히 오른다.\n\n갑자기 훅- 느껴지는 역겨운 냄새. 뭐지?\n옥상에 올라와 보니 반쯤 열린 현관 철문.\n\n\n\n[씬 13] S#13. 옥탑방 외곽 / N\nS#13. 옥탑방 외곽 / N\n비명을 지르며 옥탑방을 빠져나오는 수리영, 허겁지겁 계단을 내려간다.\n동시에 사이렌이 울리고~. (포즈)\n차에서 내린 혜수(40대 중반, 여자, 경위) 초점을 잃고 멍하니 서있는\n수리영의 모습을 발견하고 달려간다.\n\n혜수\n영아? 왜! 무슨 일이야?\n\n수리영\n(올라다보며) 엄마가, 엄마가... 죽어있어.\n\n혜수\n(놀라) 뭐?!\n\n옥탑 방으로 뛰어 올라가는 혜수와 후배 형사(30대 남/ 이하 김형사)\n\n\n\n샷 목록(각각 동선 판정):\nS10sh6: 현관 철문이 아주 살짝 열린 틈새로 보이는 어두운 실내와 신발 앞코\nS10sh7: 불이 켜진 옥탑방 창문에 거대한 그림자가 작은 그림자의 어깨 쪽으로 고개를 꺾은 형태가 맺혀 있는 정지 구도\nS11sh4: 철제 파이프 난간을 손으로 잡은 수리영이 코끝을 찡그린 채 계단 중간에 서 있는 얼굴 클로즈업\nS11sh5: 옥상에 선 수리영의 시선 끝에 반쯤 열려 있는 어두운 현관 철문이 보이는 정면 구도\nS13sh4: 수리영이 초점을 잃은 눈으로 허공을 응시하며 서 있는 모습\nS13sh6: 고개를 든 채 혜수의 얼굴을 마주보고 있는 수리영의 측면 구도"}
{"ts": "2026-07-11 20:01:06", "kind": "img", "engine": "gpt-image-2", "mode": "generate", "tag": "s34v2_conti_rooftop_ext_i2", "refs": [], "size": "1536x1024", "attempt": 1, "dur_s": 132.8, "bytes": 3343394, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/conti5_rooftop_ext_i2.png", "prompt": "Draw ONE storyboard (conti) sheet: 6 panels made by TWO vertical cuts at exactly 1/3 and 2/3 of the width and ONE horizontal cut at exactly 50% of the height — a 3-column x 2-row grid, all six panels exactly equal.\nSTYLE: quick, rough HAND-DRAWN pencil sketch — loose gestural line\ndrawing in monochrome graphite on white paper, the kind a film\nstoryboard artist dashes off in seconds. NOT photorealistic, no\npainting, no rendering, no color. Simple lines, minimal shading.\n\nTHE LOCATION (same in all drawn panels): the exterior of an old Korean multi-family villa: narrow alley and small yard at ground level, an added exterior steel staircase climbing the wall, and a rooftop with a small rooftop room (steel front door, one lit window), a water tank, a clothesline and a low parapet.\n\nPURPOSE: each panel captures only the CAMERA COMPOSITION of one\nshot — framing (close-up / medium / wide), where the subject sits in\nthe frame, and continuity between panels. Use standard storyboard\nMOTION ARROWS to show character movement direction or camera moves\n(pan/tilt/push-in) where the shot implies motion. Keep every panel\nextremely simple: only what matters for composition.\n\nGEOMETRY — ANALYSE BEFORE DRAWING: from each panel's Korean shot\ntext, first work out the spatial facts and draw EXACTLY those, never\nre-stage them: (a) each figure's DISTANCE from camera (tight insert /\nclose-up / medium / full / wide — a shot about a hand or an object\nis a tight insert, not a two-shot); (b) each figure's FACING and\nMOVEMENT DIRECTION relative to camera — '뒷모습' means seen from\nBEHIND, moving AWAY from camera into the depth of the frame, not\nsideways; a profile means lateral movement; (c) relative positions\nand distances BETWEEN figures. Keep every established screen\ndirection consistent across panels (180-degree rule): a person who\nleaves in one panel keeps the same on-screen direction wherever the\nmovement appears again.\nDEPARTING FIGURE — a figure running/walking AWAY must be\nunmistakably departing, never approaching. Draw ALL of these cues\ntogether: seen exactly from behind (back of the head only, no face,\nno chin, no cheek line), drawn SMALLER than nearby figures because\nit has already receded into the distance, one shoe SOLE facing the\ncamera mid-stride, the motion arrow starting AT the figure and\npointing DEEPER into the frame toward the road's vanishing point,\nand short speed lines trailing BEHIND the figure toward the camera.\n\nCONTINUITY: all drawn panels are the SAME single location — fixed\nfeatures (doors, stairs, windows, poles, desks) keep the same\nposition and left/right relationships across panels so the panels\ncut together as one continuous scene.\n\nPANELS (one shot per panel, Korean shot text):\n\nPANEL 1: 현관 철문이 아주 살짝 열린 틈새로 보이는 어두운 실내와 신발 앞코\n  MOVEMENT (follow exactly): The man's shoe crosses the slightly opened iron doorway from the rooftop into the dark rooftop room, advancing through the narrow gap.\nPANEL 2: 불이 켜진 옥탑방 창문에 거대한 그림자가 작은 그림자의 어깨 쪽으로 고개를 꺾은 형태가 맺혀 있는 정지 구도\n  MOVEMENT (follow exactly): static: The large shadow faces the smaller shadow with its head angled down toward the smaller figure's shoulder, while the smaller figure is oriented toward the larger one.\nPANEL 3: 철제 파이프 난간을 손으로 잡은 수리영이 코끝을 찡그린 채 계단 중간에 서 있는 얼굴 클로즈업\n  MOVEMENT (follow exactly): static: Su-ri-young stands midway up the stairs with one hand on the metal-pipe railing, her body oriented upward toward the rooftop while her gaze direction is not shown.\nPANEL 4: 옥상에 선 수리영의 시선 끝에 반쯤 열려 있는 어두운 현관 철문이 보이는 정면 구도\n  MOVEMENT (follow exactly): static: Su-ri-young stands on the rooftop facing and looking directly toward the half-open iron entrance door.\nPANEL 5: 수리영이 초점을 잃은 눈으로 허공을 응시하며 서 있는 모습\n  MOVEMENT (follow exactly): static: Su-ri-young stands motionless with unfocused eyes staring into empty space, with her body's facing direction unspecified.\nPANEL 6: 고개를 든 채 혜수의 얼굴을 마주보고 있는 수리영의 측면 구도\n  MOVEMENT (follow exactly): static: Seen in profile, Su-ri-young faces Hye-su and tilts her head upward to look into Hye-su's face.\n\nABSOLUTELY NO TEXT anywhere: no words, letters, captions, labels,\nsound effects or watermarks — the ONLY allowed marking is a small\nshot number digit (1, 2, 3, 4, 5, 6) in a corner INSIDE each drawn panel.\nTHE PANEL GRID FILLS THE ENTIRE IMAGE EDGE-TO-EDGE: no outer paper\nmargin, no border area, nothing drawn outside the panels — the\nimage must be mechanically cuttable along the stated cut lines.\nPanels are separated only by thin straight black gutter lines at\nthe exact stated positions; ALL PANELS EXACTLY THE SAME SIZE."}
{"ts": "2026-07-11 20:06:33", "kind": "llm", "step": "s34_move_forest", "model": "gpt", "dur_s": 6.9, "system_prompt": "당신은 콘티 작가를 돕는 동선 분석가다. 씬 원문(한국어 전문)과 샷\n목록을 읽고, 각 샷에서 인물이 공간을 어떻게 통과하는지(동선)를\n판정하라. 원문에 근거한 것만 쓰고 발명 금지. 각 샷마다 영어 한\n문장으로: 누가/무엇이 움직이는지, 이동 경로와 방향(오르는지\n내려오는지, 들어가는지 나오는지, 카메라 쪽인지 반대인지), 몸의\n진행 자세(기울기·발 디딤), 어디에서 와서 어디로 가는 중인지.\n정지 샷이면 'static:'으로 시작해 시선 방향과 몸 방향만 서술.\n마커나 ID 코드는 쓰지 말 것.", "user_prompt": "씬 원문 전문:\n[씬 1] S#1. 숲속 / 해 질 무렵\nS#1. 숲속 / 해 질 무렵\n우거진 수풀을 헤치며 도망치는. 벗겨진 한쪽 신발.\n허벅지에 커다란 이빨 자국. 피가 흐르고.\n잔뜩 겁에 질린 남자 표정(T.S) 그때 어디선가 쏜살같이 달려온\n검은 인영이 남자를 덮친다. 아아~ 악!!!\n\n\n\n[씬 3] S#3. 현장 / D\nS#3. 현장 / D\n지역 뉴스 화면. 기자는 보이지 않고 멘트만 흘러나온다.\n씬1, 2 현장을 감식하는 경찰, 폴리스 라인을 치고 시신을 수거한다.\n형사무리 속에 사건을 지휘하는 혜수의 모습이 보인다.\n\n기자(E)\n(이어서) 형체를 알아볼 수 없는 시신 두 구가 잇달아\n발견되면서 경찰은 수사본부를 차리고 갑호 비상령을\n내린 상탭니다.\n(중략)\n\n\n\n샷 목록(각각 동선 판정):\nS1sh1: 한쪽 신발이 벗겨진 한국인 남자가 우거진 수풀 사이를 달리며 한 발을 허공에 내딛고 있는 도중의 전신 구도\nS1sh4: 검은 형상의 인영이 허공에 뛰어오른 채 한국인 남자를 향해 두 팔을 뻗고 있는 순간\nS3sh3: 형사 무리 한가운데 서서 손가락으로 한쪽을 가리키는 혜수의 상체"}
{"ts": "2026-07-11 20:06:39", "kind": "llm", "step": "s34_move_busstop", "model": "gpt", "dur_s": 6.7, "system_prompt": "당신은 콘티 작가를 돕는 동선 분석가다. 씬 원문(한국어 전문)과 샷\n목록을 읽고, 각 샷에서 인물이 공간을 어떻게 통과하는지(동선)를\n판정하라. 원문에 근거한 것만 쓰고 발명 금지. 각 샷마다 영어 한\n문장으로: 누가/무엇이 움직이는지, 이동 경로와 방향(오르는지\n내려오는지, 들어가는지 나오는지, 카메라 쪽인지 반대인지), 몸의\n진행 자세(기울기·발 디딤), 어디에서 와서 어디로 가는 중인지.\n정지 샷이면 'static:'으로 시작해 시선 방향과 몸 방향만 서술.\n마커나 ID 코드는 쓰지 말 것.", "user_prompt": "씬 원문 전문:\n[씬 15] S#15. 해안가. 버스정류장 부근 / N\nS#15. 해안가. 버스정류장 부근 / N\n바다를 바라보며 멍한 채로 앉아있는 수리영, 여전히 엄마는 전화를 받지않고.\n자신이 진짜로 헛 것을 본 것일까... 헷갈린다. 그럼 엄마는 어디있을까.\n혜수, 사온 음료수를 수리영에게 건네며\n\n혜수\n괜찮아?\n\n수리영\n내가 뭘 잘 못 본 거야, 이모. 그게 맞는 말 같애.\n엄마가 갑자기...그런 일을 당할 리 없잖아\n(훅 일어나며) 집에 가봐야 겠어.\n\n혜수\n엉? 어. 혼자 갈 수 있겠어?\n\n수리영\n응. 나 갈게 (달려간다)\n\n혜수\n(등 뒤에 대고 소리친다) 엄마 보면 나한테 전화 하라고 해!\n\n두 사람을 지켜보는 듯한 카메라 시선.\n\n\n\n샷 목록(각각 동선 판정):\nS15sh2: 혜수의 손이 음료수 캔을 쥔 채 수리영 앞으로 내밀어진 순간\nS15sh6: 멀리서 혜수의 전신과 한 발을 공중에 띄운 mid-stride 자세로 달리는 수리영의 뒷모습을 한 프레임에 담은 넓은 구도"}
{"ts": "2026-07-11 20:06:54", "kind": "llm", "step": "s34_move_rooftop_int", "model": "gpt", "dur_s": 14.6, "system_prompt": "당신은 콘티 작가를 돕는 동선 분석가다. 씬 원문(한국어 전문)과 샷\n목록을 읽고, 각 샷에서 인물이 공간을 어떻게 통과하는지(동선)를\n판정하라. 원문에 근거한 것만 쓰고 발명 금지. 각 샷마다 영어 한\n문장으로: 누가/무엇이 움직이는지, 이동 경로와 방향(오르는지\n내려오는지, 들어가는지 나오는지, 카메라 쪽인지 반대인지), 몸의\n진행 자세(기울기·발 디딤), 어디에서 와서 어디로 가는 중인지.\n정지 샷이면 'static:'으로 시작해 시선 방향과 몸 방향만 서술.\n마커나 ID 코드는 쓰지 말 것.", "user_prompt": "씬 원문 전문:\n[씬 12] S#12. 옥탑방 안 / N\nS#12. 옥탑방 안 / N\n/거실\n‘엄마?’를 부르며 들어오는 수리영,\n끓다 식은 냄비. 켜져 있는 TV. 희미한 거실 스탠드 불빛,\n\n/민숙 방\n안방 문을 여는데... 없다.\n거실 식탁에 놓여있는 찻잔 두 개. 하나는 엎어져있다.\n\n/수리영 방\n마지막으로 자기 방문을 연다\n헉!- 여기저기 핏자국. 바닥에 흥건한 혈흔.\n피묻은 발자국은 커튼으로 이어져 있다\n호흡을 가두고 커튼을 젖히자\n앉은 채로 고개를 떨군 채 죽어있는 엄마- 민숙!!!!\n\n수리영\n(달려가) 어어어어----엄마\n\n충격에 온 몸이 얼어붙은 수리영,\n살점이 뜯긴 어깨와 쇄골, 마치 동물에게 물어뜯긴 듯한 거친 상처가 고스란히\n드러나있다. 덜렁거리는 살점과 뜯겨진 부위에 흘러내리는 피.\n\n수리영\n(놀라 뒤로 주춤) 어-어-어- 엄마….\n\n부들부들 떨며 핸드폰을 누른다. 2번 혜수이모\n\n수리영\n받아, 이모. 받아….\n\n혜수(E)\n영아, 영아, 왜?\n\n답은 안 나오고… 엄마 손안에 구겨진 사진 한 장이 보인다.\n다가가 사진을 꺼내는데 엄마 손목에 있던 문신이 붉은색으로 변한다.\n헉! 호흡이 빨라지고... 침대 위 벽에 붉은 원이 생겨난다\n(마치 누군가 붓으로 벽에 원으로 그리는 것처럼).\n소름끼치는 으아악---!\n\n\n\n[씬 14] S#14. 옥탑방 안 / N\nS#14. 옥탑방 안 / N\n/현관\n집안 여기저기를 확인하면서 나오는 형사와 혜수\n\n김형사\n(허탈한 표정) 없는데.. 아무 것도.\n\n혜수\n(뒤따라온 수리영에게) 영아, 없어. 뭘 봤는데...?\n\n어? 수리영, 부리나케 방 안으로 뛰어 들어간다.\n\n/수리영 방 안\n지나칠 정도로 깨끗하게 정돈된 방안. 핏자국도 보이지 않고,\n침대 위에 붉은 표식은 물론 커튼 뒤의 시신도 감쪽 같이 사라졌다.\n얼굴이 파리해지는 수리영. ‘어----?’ ‘분명히 봤는데...’\n\n뛰쳐나가 식탁으로 가본다. 식탁 역시 깨끗한.\n\n수리영\n여기 찻잔도 두 개 있었고...\n\n김형사\n(답답) 허 참! 죽은 사람이 발이 달렸을 리도 없고. 쯧쯧\n그러게 살인사건은 자세하게 보도하면 안 된다구요...(궁시렁)\n이봐요. 학생? 장난전화 하면 안 되는 거 몰라? (짜증)\n안 그래도 살인사건으로 난리도 아닌데...\n\n혜수\n(김형사 째리고) 김형사. 먼저 가 있어. (김형사 나가면)\n(수리영 어깨를 어루만지며) 영아.\n\n수리영\n엄마(시신), 어디갔을까? 분명히 봤는데...\n\n혜수\n네가 요즘 과로했잖아. 공부에다 알바까지...\n악몽을 꾼 걸 수도 있으니... 바람이나 쐬러 가자.\n수리영 방안에 놓여진 백팩, 인형. 약간씩 위치가 달라진.\n(시신을 발견했을 때와 다른)\n\n\n\n[씬 18] S#18. 안방 안 / D\nS#18. 안방 안 / D\n침대에 머리를 대고 앉아있는 수리영, 밤새 엄마를 기다리다 깜박 졸았다\n고양이 울음소리에 번쩍 눈을 뜨고, ‘엄마? ’혹시나 해서 집안을 살피지만\n아무런 인기척도 보이지 않는다\n\n/수리영 방안\n닫혀있는 자신의 방을 바라본다.\n[F.B: 1부12씬] 커튼 뒤에 죽어있던 엄마. 상처. 혈흔\n\n크게 심호흡하고 조심스럽게 문을 연다.\n지나치리만큼 깨끗하게 정돈된 방안.\n창문에 다가가 커튼을 확 열어젖힌다. 시신은 없다.\n\n한숨 후~ 다행이긴 한데.\n그때, 울리는 폰 벨소리, 화들짝 놀라는 수리영. 달려가 받자마자\n\n수리영\n엄마?\n\n혜수(E)\n아직이니?\n\n수리영\n응. 아무래도 이상해. 이럴 리가 없잖아! 우리 엄마가.\n이모, 사고 난 게 분명해\n\n혜수(E)\n실종신고 냈어. 이모가 엄마 폰 위치추적하고 있으니까\n조금만 기다려 별일 없을 거야. 알았지?\n\n수리영\n응.\n\n무작정 기다리는게 불안한 수리영,\n인형이 달린 자신의 백팩을 꺼내 나온다\n\n/욕실 안\n얼굴을 씻고 거울을 보며\n\n수리영\n엄마, 도대체 어딨는 거야...\n\n거울에 비친 욕실 벽에 갑자기 또 발생하는 붉은 원.\n호흡이 가빠지고... 훅 고개를 돌려 벽을 보는 수리영\n거짓말처럼 사라지고 없다.\n거실로 튀어나와 물 한컵 마시고 식탁에 놓인 엄마와 수리영의 사진을 보는데...\n환하게 웃는 엄마 얼굴이 뭉개져 흘러내린다\n\n수리영\n아아악~~~ (다시보니 멀쩡하다) 나 왜 이러는 거지.\n(자신의 뺨을 치며) 정신 차려 수리영!\n\n\n\n[씬 25] S#25. 옥탑방 안 / 해질 무렵\nS#25. 옥탑방 안 / 해질 무렵\n누군가 다녀간 흔적으로 보이는 발자국들.\n다시 호흡이 가빠지는 수리영.\n집안에서 뭔가를 찾기 위해 가재도구를 온통 헤집은 것으로 보인다.\n거실에 난 창은 열려있고, 식탁 의자들을 쓰러져있다.\n\n/수리영 방\n열린 자신의 방을 힐끗 보는데\n벽에 또 붉은 원이 그려져있다. 그 가운데 꽂혀있는 피묻은 사진 한 장!\n사진을 떼어서 자세히 본다.\n어? 그 사진!!!\n\n[F.B: 1부 12씬] 죽은 엄마의 손에 구겨져있던 바로 그 사진이다.\n7-80년대 쯤 보이는 시골 식당과 지붕위에 둥근 원이 설치된 (마치 십자가처럼)\n식당 앞에는 어린 여자애 둘(12살)이 앉아있다. 그중에 한 아이는 분명히\n어릴 적 엄마다.\n\n침대에 털썩 주저앉는 수리영. 연속해서 벌어지는 기이한 상황에 정신이 혼미한\n엉망이 된 집 안을 한번 획 둘러보는 수리영,\n마치 이끌리듯 백팩을 메고 밖으로 나간다. 사진을 손에 꼭 쥔 채.\n\n\n\n샷 목록(각각 동선 판정):\nS12sh11: 옷과 피부가 피투성이가 된 민숙이 바닥에 주저앉아 고개를 푹 숙인 정지 상태\nS12sh21: 침대 위쪽 벽면에 붉은색 원형 표식이 절반쯤 나타난 상태\nS14sh5: 핏자국 없이 깨끗한 방 내부 전경\nS18sh11: 거울 속 반사된 욕실 타일 벽면에 붉은색 원형 표식이 절반쯤 나타난 상태\nS25sh1: 해질 무렵 옥탑방 거실, 흙 묻은 발자국들이 찍힌 바닥과 쓰러진 식탁 의자들이 보이는 전경\nS25sh5: 붉은 원 한가운데 피 묻은 낡은 흑백 사진이 벽에 꽂혀 있는 타이트 샷"}
{"ts": "2026-07-11 20:07:12", "kind": "llm", "step": "s34_move_mart", "model": "gpt", "dur_s": 17.8, "system_prompt": "당신은 콘티 작가를 돕는 동선 분석가다. 씬 원문(한국어 전문)과 샷\n목록을 읽고, 각 샷에서 인물이 공간을 어떻게 통과하는지(동선)를\n판정하라. 원문에 근거한 것만 쓰고 발명 금지. 각 샷마다 영어 한\n문장으로: 누가/무엇이 움직이는지, 이동 경로와 방향(오르는지\n내려오는지, 들어가는지 나오는지, 카메라 쪽인지 반대인지), 몸의\n진행 자세(기울기·발 디딤), 어디에서 와서 어디로 가는 중인지.\n정지 샷이면 'static:'으로 시작해 시선 방향과 몸 방향만 서술.\n마커나 ID 코드는 쓰지 말 것.", "user_prompt": "씬 원문 전문:\n[씬 8] S#8. 번화가·대형 마트 / 해질 무렵\nS#8. 번화가·대형 마트 / 해질 무렵\n포구와 인접해 있는 번화가, 네온사인, 택시, 호객 행위, 길거리 포장마차\n사이로 능숙하게 자전거를 모는 수리영.\n\n마트에 도착해 자전거를 세우고, 안으로 들어간다.\n민숙은 이 마트의 진열담당 직원. 이리저리 엄마를 찾아보지만 보이지 않는다\n평소 민숙과 가깝게 지냈던 직원에게 다가가\n\n수리영\n아줌마 안녕하세요? 그런데 우리 엄마는 어딨어요?\n\n여직원\n영이구나. 어? 아까 너 만나러 간다고 조퇴했는데. 길이\n엇갈렸나 보네.\n\n수리영\n(헷갈림) 어? 여기서 만나기로 했는데.\n\n남자 직원\n(박스 들고와 진열하면서) 민숙씨 아까 밖에서 누구랑\n얘기하는 거 봤는데...\n\n수리영\n(의아) 네? 누구랑요?\n\n직원\n그것까진 (모르지)...\n\n여직원\n집에 간 거 아냐? 얼른 가봐.\n\n수리영 마트 밖을 나오면서 연락을 취해보지만 받지않는다.\n일단 집으로-\n\n\n\n[씬 19] S#19. 마트 / D\nS#19. 마트 / D\n이른 아침, 아직은 한산한 마트 안.\n자전거를 주차하고 안으로 들어가는 수리영.\n마트 여기저기를 돌아다니며 어제 만났던 남자 직원을 찾는다\n\n수리영\n아저씨, 저 어제 봤죠? 강민숙씨 딸.\n\n남자직원\n어? 그래. 엄마 오늘도 결근했는데... 무슨 일 있어?\n\n수리영\n(답하지 않고 대신) 어제 저한테, 우리 엄마가 누군가와 얘길\n나누는 걸 봤다고 하셨죠?\n\n남자직원\n응. 남자였던 거 같은데.\n\n수리영\n남자요? 혹시 CCTV 같은 거 볼 수 있을까요?\n\n남자직원\n그게 CCTV에 찍혔을까.\n\n/ 마트 밖\n엄마와 남자 직원CCTV 위치를 확인하다. 찍혔을 만한 위치다.\n수리영, 혜수에게 전화 걸어 상황을 설명한다.\n\n\n\n[씬 20] S#20. 마트 총무과 / 실내\nS#20. 마트 총무과 / 실내\nCCTV화면을 돌려보는 보안팀 직원과 혜수,\n뒤에서 초조한 모습으로 화면을 주시하는 수리영\n\n보안직원\n이거네요. (갸우뚱) 근데 왜 이리 어둡지. 이 부분만 더 안\n보이네. 잘 보면 남자와 얘길 나누는 거 같긴 하죠. 뭐 보이세요?\n\n몇 번을 다시 돌려보지만 보안직원 말대로 그 부분만 유독 어두워\n식별이 불가능하다. 수리영 불안이 깊어지고.\n\n혜수\n흠... 일단 어제 CCTV 전체 잠깐 가져가도 될까요?\n복사하고 돌려드릴테니까.\n\n보안직원\n그러시죠.\n\n\n\n샷 목록(각각 동선 판정):\nS8sh3: 수리영이 마트 유니폼을 입은 한국인 여성 직원을 마주보며 입을 살짝 벌린 측면 구도\nS8sh5: 마트 밖으로 나온 수리영이 손에 든 스마트폰 액정을 내려다보는 상체\nS19sh5: 수리영과 남자직원이 마트 밖에서 벽면의 CCTV를 올려다보는 뒷모습\nS19sh6: 수리영이 귀에 스마트폰을 댄 채 정면을 응시하는 상체 클로즈업\nS20sh1: 마트 총무과 책상 앞, 한국인 남성 보안직원과 혜수가 컴퓨터 모니터를 향해 몸을 기울인 측면\nS20sh3: 흑백 CCTV 화면 속 어두운 구석에 사람 형상이 희미하게 찍힌 모니터 클로즈업"}
{"ts": "2026-07-11 20:07:23", "kind": "llm", "step": "s34_move_police", "model": "gpt", "dur_s": 11.8, "system_prompt": "당신은 콘티 작가를 돕는 동선 분석가다. 씬 원문(한국어 전문)과 샷\n목록을 읽고, 각 샷에서 인물이 공간을 어떻게 통과하는지(동선)를\n판정하라. 원문에 근거한 것만 쓰고 발명 금지. 각 샷마다 영어 한\n문장으로: 누가/무엇이 움직이는지, 이동 경로와 방향(오르는지\n내려오는지, 들어가는지 나오는지, 카메라 쪽인지 반대인지), 몸의\n진행 자세(기울기·발 디딤), 어디에서 와서 어디로 가는 중인지.\n정지 샷이면 'static:'으로 시작해 시선 방향과 몸 방향만 서술.\n마커나 ID 코드는 쓰지 말 것.", "user_prompt": "씬 원문 전문:\n[씬 16] S#16. 경찰서 사무실 / N\nS#16. 경찰서 사무실 / N\n사무실 안으로 들어오면서 민숙에게 전화를 거는 혜수,\n계속 무응답이다. 수리영에게 내색은 안했지만 왠지 불길한.\n사무실 안에는 김형사 혼자 당직 근무 중이다.\n\n김형사\n그 애는 요? 갔어요?\n\n혜수\n(핸드폰에 저장된 민숙번호 보여주며) 이 번호 위치 좀 따봐.\n\n김형사\n게 엄마예요? (투덜) 오늘은 좀 기다려보시죠.\n\n혜수\n아냐. 딸과의 약속을 어기고 이렇게 연락이 안 될 애가 아냐.\n갈 곳도, 아는 사람도 별로 없는 애야. 밖에 나다니는 스타일도\n아니고.... 이상해, 예감이 안 좋아.\n\n\n\n[씬 21] S#21. 경찰서 안 / D\nS#21. 경찰서 안 / D\n경찰서 전경.\n수리영과 함께 사무실 안으로 들어오는 혜수,\n자신을 마뜩치 않게 보는 김형사에게 공손하게 인사하는.\n\n김형사\n마침 잘 왔네. (서류 보여주며) 실종신고서야. 여기 사인하고.\n통화의뢰도 할거지? 여기도 사인하고.\n\n혜수\n(김형사에게) 휴대전화 위치 확인 됐어?\n\n김형사\n(사인서류 들고) 이거 전송하면 보내줄 거예요.(나간다)\n\n들어오는 김형사\n\n김형사\n빨리 답 달라고 재촉했으니까... (짜증) 선배님, 회의.\n살인사건으로 초비상인데. 지금 이러고 있을 때가 (아니지\n않나)..\n\n혜수\n(시계보더니 난감한 얼굴로 수리영보면서)... 여기 내 자리에\n앉아서 잠깐 기다려. 저 커피 마셔도 돼. 괜찮지? 금방 올게\n\n아니나 다를까, ‘빨리 안들어오고 뭐해!’ 팀장 소리치고 형사들 다들\n우르르 몰려 나간다.\n사무실에 홀로 앉아있는 수리영.\n혜수 책상위에는 살인사건(1부 1,2,3씬) 확대 사진들이 어지럽게 널려있다.\n넘겨보며 놀라는 수리영, 환각상태에서 본 엄마의 시신모습과\n너무도 흡사한 - 목, 어깨, 얼굴등 살점이 떨어져 보는 것만으로도 끔찍하다.\n이때, 띠링- 김형사 모니터에서 뭔가 뜬다.\n주위를 둘러본다. 아무도 없는 것을 확인하고 수리영 망설이다가 커서를 누른다\n엄마 폰 위치추적 결과다.\n\n<화면내용>\n실종 강민숙(41세)\n핸드폰 번호 (010-000-0000) LAST LOCATION\n해상 지도위에 좌표. 37.484400 N / 126. 072486 E\nTimestamp 2026-02-18 11:21:08\nSource:GPS /Network\nStatus: offline\n\n‘바다라고?’ 사색이 된 수리영,\n필기도구를 찾아 좌표를 메모 한다. 메모쪽지를 접어 주머니에 넣고\n다시 한번 슬쩍 주위를 둘러본 후 사무실을 나온다.\n\n\n\n[씬 22] S#22. 경찰서 밖 / D\nS#22. 경찰서 밖 / D\n주차된 자전거를 타고 이내 달리는 수리영\n\n\n\n샷 목록(각각 동선 판정):\nS16sh3: 혜수가 스마트폰 액정을 김형사 쪽으로 불쑥 내민 순간\nS21sh7: 수리영이 두 눈을 크게 뜨고 입을 살짝 벌린 굳은 얼굴 클로즈업\nS21sh10: 모니터 화면에 바다 지도가 펼쳐져 있고 붉은색 핀과 좌표 숫자가 떠 있는 클로즈업\nS21sh12: 수리영이 메모지가 들어간 겉옷 주머니에 손을 넣은 채 사무실 출입문을 향해 몸을 돌린 정지 순간\nS22sh1: 경찰서 건물 밖 도로 위에서 수리영이 자전거 안장에 앉아 상체를 앞으로 숙인 채 머리카락이 뒤로 흩날리는 측면"}
{"ts": "2026-07-11 20:10:20", "kind": "img", "engine": "gpt-image-2", "mode": "generate", "tag": "s34v2_conti_forest_i2", "refs": [], "size": "1024x1024", "attempt": 1, "dur_s": 163.7, "bytes": 2356274, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/conti6_forest_i2.png", "prompt": "Draw ONE storyboard (conti) sheet: 4 panels made by ONE vertical cut at exactly 50% of the width and ONE horizontal cut at exactly 50% of the height — a 2x2 grid, each panel exactly one quarter of the image.\nSTYLE: quick, rough HAND-DRAWN pencil sketch — loose gestural line\ndrawing in monochrome graphite on white paper, the kind a film\nstoryboard artist dashes off in seconds. NOT photorealistic, no\npainting, no rendering. The drawing itself stays monochrome — the\nONLY colour allowed anywhere is BRIGHT RED, reserved exclusively\nfor movement markings (see below).\n\nTHE LOCATION (same in all drawn panels): a dense Korean mountain forest with thick undergrowth.\n\nPURPOSE: each panel captures only the CAMERA COMPOSITION of one\nshot — framing (close-up / medium / wide), where the subject sits in\nthe frame, and continuity between panels. Keep every panel\nextremely simple: only what matters for composition.\nMOVEMENT MARKINGS IN RED: every figure or object that is MOVING in\na panel gets a clear BRIGHT RED storyboard arrow showing its\ndirection of travel (and a short red path line where the movement\ncrosses the frame); camera moves (pan/tilt/push-in) are marked with\nred camera-move arrows. Static figures and objects get NO arrow.\nRed appears ONLY as these movement markings — never as clothing,\nlighting or shading colour.\n\nGEOMETRY — ANALYSE BEFORE DRAWING: from each panel's Korean shot\ntext, first work out the spatial facts and draw EXACTLY those, never\nre-stage them: (a) each figure's DISTANCE from camera (tight insert /\nclose-up / medium / full / wide — a shot about a hand or an object\nis a tight insert, not a two-shot); (b) each figure's FACING and\nMOVEMENT DIRECTION relative to camera — '뒷모습' means seen from\nBEHIND, moving AWAY from camera into the depth of the frame, not\nsideways; a profile means lateral movement; (c) relative positions\nand distances BETWEEN figures. Keep every established screen\ndirection consistent across panels (180-degree rule): a person who\nleaves in one panel keeps the same on-screen direction wherever the\nmovement appears again.\nDEPARTING FIGURE — a figure running/walking AWAY must be\nunmistakably departing, never approaching. Draw ALL of these cues\ntogether: seen exactly from behind (back of the head only, no face,\nno chin, no cheek line), drawn SMALLER than nearby figures because\nit has already receded into the distance, one shoe SOLE facing the\ncamera mid-stride, the RED motion arrow starting AT the figure and\npointing DEEPER into the frame toward the vanishing point,\nand short speed lines trailing BEHIND the figure toward the camera.\n\nCONTINUITY: all drawn panels are the SAME single location — fixed\nfeatures (doors, stairs, windows, poles, desks) keep the same\nposition and left/right relationships across panels so the panels\ncut together as one continuous scene.\n\nPANELS (one shot per panel, Korean shot text):\n\nPANEL 1: 한쪽 신발이 벗겨진 한국인 남자가 우거진 수풀 사이를 달리며 한 발을 허공에 내딛고 있는 도중의 전신 구도\n  MOVEMENT (follow exactly): The one-shoed Korean man runs through dense undergrowth while fleeing, stepping forward with one foot suspended in the air as he moves from within the brush toward an unspecified destination.\nPANEL 2: 검은 형상의 인영이 허공에 뛰어오른 채 한국인 남자를 향해 두 팔을 뻗고 있는 순간\n  MOVEMENT (follow exactly): A black silhouette darts in from an unspecified location and leaps through the air toward the Korean man with both arms extended to pounce on him.\nPANEL 3: 형사 무리 한가운데 서서 손가락으로 한쪽을 가리키는 혜수의 상체\n  MOVEMENT (follow exactly): static: Hye-su stands upright among the detectives with her torso and gaze directions unspecified, pointing one finger toward one side.\n\nThere are 3 shots but 4 panel slots: draw the shots in\npanels 1..3 and leave the remaining panel(s) COMPLETELY\nBLANK PURE WHITE — empty white paper, not even a frame line inside.\n\nABSOLUTELY NO TEXT anywhere: no words, letters, captions, labels,\nsound effects or watermarks — the ONLY allowed marking is a small\nshot number digit (1, 2, 3) in a corner INSIDE each drawn panel.\nTHE PANEL GRID FILLS THE ENTIRE IMAGE EDGE-TO-EDGE: no outer paper\nmargin, no border area, nothing drawn outside the panels — the\nimage must be mechanically cuttable along the stated cut lines.\nPanels are separated only by thin straight black gutter lines at\nthe exact stated positions; ALL PANELS EXACTLY THE SAME SIZE."}
{"ts": "2026-07-11 20:12:21", "kind": "img", "engine": "gpt-image-2", "mode": "generate", "tag": "s34v2_conti_busstop_i2", "refs": [], "size": "1536x1024", "attempt": 1, "dur_s": 121.0, "bytes": 3675266, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/conti6_busstop_i2.png", "prompt": "Draw ONE storyboard (conti) sheet: 2 panels made by ONE vertical cut at exactly 50% of the image width — each panel is exactly half the width and the FULL height (1 row x 2 columns).\nSTYLE: quick, rough HAND-DRAWN pencil sketch — loose gestural line\ndrawing in monochrome graphite on white paper, the kind a film\nstoryboard artist dashes off in seconds. NOT photorealistic, no\npainting, no rendering. The drawing itself stays monochrome — the\nONLY colour allowed anywhere is BRIGHT RED, reserved exclusively\nfor movement markings (see below).\n\nTHE LOCATION (same in all drawn panels): a small seaside bus stop with a bench facing the sea at night on a quiet Korean coastal road.\n\nPURPOSE: each panel captures only the CAMERA COMPOSITION of one\nshot — framing (close-up / medium / wide), where the subject sits in\nthe frame, and continuity between panels. Keep every panel\nextremely simple: only what matters for composition.\nMOVEMENT MARKINGS IN RED: every figure or object that is MOVING in\na panel gets a clear BRIGHT RED storyboard arrow showing its\ndirection of travel (and a short red path line where the movement\ncrosses the frame); camera moves (pan/tilt/push-in) are marked with\nred camera-move arrows. Static figures and objects get NO arrow.\nRed appears ONLY as these movement markings — never as clothing,\nlighting or shading colour.\n\nGEOMETRY — ANALYSE BEFORE DRAWING: from each panel's Korean shot\ntext, first work out the spatial facts and draw EXACTLY those, never\nre-stage them: (a) each figure's DISTANCE from camera (tight insert /\nclose-up / medium / full / wide — a shot about a hand or an object\nis a tight insert, not a two-shot); (b) each figure's FACING and\nMOVEMENT DIRECTION relative to camera — '뒷모습' means seen from\nBEHIND, moving AWAY from camera into the depth of the frame, not\nsideways; a profile means lateral movement; (c) relative positions\nand distances BETWEEN figures. Keep every established screen\ndirection consistent across panels (180-degree rule): a person who\nleaves in one panel keeps the same on-screen direction wherever the\nmovement appears again.\nDEPARTING FIGURE — a figure running/walking AWAY must be\nunmistakably departing, never approaching. Draw ALL of these cues\ntogether: seen exactly from behind (back of the head only, no face,\nno chin, no cheek line), drawn SMALLER than nearby figures because\nit has already receded into the distance, one shoe SOLE facing the\ncamera mid-stride, the RED motion arrow starting AT the figure and\npointing DEEPER into the frame toward the vanishing point,\nand short speed lines trailing BEHIND the figure toward the camera.\n\nCONTINUITY: all drawn panels are the SAME single location — fixed\nfeatures (doors, stairs, windows, poles, desks) keep the same\nposition and left/right relationships across panels so the panels\ncut together as one continuous scene.\n\nPANELS (one shot per panel, Korean shot text):\n\nPANEL 1: 혜수의 손이 음료수 캔을 쥔 채 수리영 앞으로 내밀어진 순간\nPANEL 2: 멀리서 혜수의 전신과 한 발을 공중에 띄운 mid-stride 자세로 달리는 수리영의 뒷모습을 한 프레임에 담은 넓은 구도\n\nABSOLUTELY NO TEXT anywhere: no words, letters, captions, labels,\nsound effects or watermarks — the ONLY allowed marking is a small\nshot number digit (1, 2) in a corner INSIDE each drawn panel.\nTHE PANEL GRID FILLS THE ENTIRE IMAGE EDGE-TO-EDGE: no outer paper\nmargin, no border area, nothing drawn outside the panels — the\nimage must be mechanically cuttable along the stated cut lines.\nPanels are separated only by thin straight black gutter lines at\nthe exact stated positions; ALL PANELS EXACTLY THE SAME SIZE."}
{"ts": "2026-07-11 20:14:16", "kind": "img", "engine": "gpt-image-2", "mode": "generate", "tag": "s34v2_conti_rooftop_ext_i2", "refs": [], "size": "1536x1024", "attempt": 1, "dur_s": 114.8, "bytes": 3330831, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/conti6_rooftop_ext_i2.png", "prompt": "Draw ONE storyboard (conti) sheet: 6 panels made by TWO vertical cuts at exactly 1/3 and 2/3 of the width and ONE horizontal cut at exactly 50% of the height — a 3-column x 2-row grid, all six panels exactly equal.\nSTYLE: quick, rough HAND-DRAWN pencil sketch — loose gestural line\ndrawing in monochrome graphite on white paper, the kind a film\nstoryboard artist dashes off in seconds. NOT photorealistic, no\npainting, no rendering. The drawing itself stays monochrome — the\nONLY colour allowed anywhere is BRIGHT RED, reserved exclusively\nfor movement markings (see below).\n\nTHE LOCATION (same in all drawn panels): the exterior of an old Korean multi-family villa: narrow alley and small yard at ground level, an added exterior steel staircase climbing the wall, and a rooftop with a small rooftop room (steel front door, one lit window), a water tank, a clothesline and a low parapet.\n\nPURPOSE: each panel captures only the CAMERA COMPOSITION of one\nshot — framing (close-up / medium / wide), where the subject sits in\nthe frame, and continuity between panels. Keep every panel\nextremely simple: only what matters for composition.\nMOVEMENT MARKINGS IN RED: every figure or object that is MOVING in\na panel gets a clear BRIGHT RED storyboard arrow showing its\ndirection of travel (and a short red path line where the movement\ncrosses the frame); camera moves (pan/tilt/push-in) are marked with\nred camera-move arrows. Static figures and objects get NO arrow.\nRed appears ONLY as these movement markings — never as clothing,\nlighting or shading colour.\n\nGEOMETRY — ANALYSE BEFORE DRAWING: from each panel's Korean shot\ntext, first work out the spatial facts and draw EXACTLY those, never\nre-stage them: (a) each figure's DISTANCE from camera (tight insert /\nclose-up / medium / full / wide — a shot about a hand or an object\nis a tight insert, not a two-shot); (b) each figure's FACING and\nMOVEMENT DIRECTION relative to camera — '뒷모습' means seen from\nBEHIND, moving AWAY from camera into the depth of the frame, not\nsideways; a profile means lateral movement; (c) relative positions\nand distances BETWEEN figures. Keep every established screen\ndirection consistent across panels (180-degree rule): a person who\nleaves in one panel keeps the same on-screen direction wherever the\nmovement appears again.\nDEPARTING FIGURE — a figure running/walking AWAY must be\nunmistakably departing, never approaching. Draw ALL of these cues\ntogether: seen exactly from behind (back of the head only, no face,\nno chin, no cheek line), drawn SMALLER than nearby figures because\nit has already receded into the distance, one shoe SOLE facing the\ncamera mid-stride, the RED motion arrow starting AT the figure and\npointing DEEPER into the frame toward the vanishing point,\nand short speed lines trailing BEHIND the figure toward the camera.\n\nCONTINUITY: all drawn panels are the SAME single location — fixed\nfeatures (doors, stairs, windows, poles, desks) keep the same\nposition and left/right relationships across panels so the panels\ncut together as one continuous scene.\n\nPANELS (one shot per panel, Korean shot text):\n\nPANEL 1: 현관 철문이 아주 살짝 열린 틈새로 보이는 어두운 실내와 신발 앞코\n  MOVEMENT (follow exactly): The man's shoe crosses the slightly opened iron doorway from the rooftop into the dark rooftop room, advancing through the narrow gap.\nPANEL 2: 불이 켜진 옥탑방 창문에 거대한 그림자가 작은 그림자의 어깨 쪽으로 고개를 꺾은 형태가 맺혀 있는 정지 구도\n  MOVEMENT (follow exactly): static: The large shadow faces the smaller shadow with its head angled down toward the smaller figure's shoulder, while the smaller figure is oriented toward the larger one.\nPANEL 3: 철제 파이프 난간을 손으로 잡은 수리영이 코끝을 찡그린 채 계단 중간에 서 있는 얼굴 클로즈업\n  MOVEMENT (follow exactly): static: Su-ri-young stands midway up the stairs with one hand on the metal-pipe railing, her body oriented upward toward the rooftop while her gaze direction is not shown.\nPANEL 4: 옥상에 선 수리영의 시선 끝에 반쯤 열려 있는 어두운 현관 철문이 보이는 정면 구도\n  MOVEMENT (follow exactly): static: Su-ri-young stands on the rooftop facing and looking directly toward the half-open iron entrance door.\nPANEL 5: 수리영이 초점을 잃은 눈으로 허공을 응시하며 서 있는 모습\n  MOVEMENT (follow exactly): static: Su-ri-young stands motionless with unfocused eyes staring into empty space, with her body's facing direction unspecified.\nPANEL 6: 고개를 든 채 혜수의 얼굴을 마주보고 있는 수리영의 측면 구도\n  MOVEMENT (follow exactly): static: Seen in profile, Su-ri-young faces Hye-su and tilts her head upward to look into Hye-su's face.\n\nABSOLUTELY NO TEXT anywhere: no words, letters, captions, labels,\nsound effects or watermarks — the ONLY allowed marking is a small\nshot number digit (1, 2, 3, 4, 5, 6) in a corner INSIDE each drawn panel.\nTHE PANEL GRID FILLS THE ENTIRE IMAGE EDGE-TO-EDGE: no outer paper\nmargin, no border area, nothing drawn outside the panels — the\nimage must be mechanically cuttable along the stated cut lines.\nPanels are separated only by thin straight black gutter lines at\nthe exact stated positions; ALL PANELS EXACTLY THE SAME SIZE."}
{"ts": "2026-07-11 20:16:11", "kind": "img", "engine": "gpt-image-2", "mode": "generate", "tag": "s34v2_conti_rooftop_int_i2", "refs": [], "size": "1536x1024", "attempt": 1, "dur_s": 115.0, "bytes": 3540256, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/conti6_rooftop_int_i2.png", "prompt": "Draw ONE storyboard (conti) sheet: 6 panels made by TWO vertical cuts at exactly 1/3 and 2/3 of the width and ONE horizontal cut at exactly 50% of the height — a 3-column x 2-row grid, all six panels exactly equal.\nSTYLE: quick, rough HAND-DRAWN pencil sketch — loose gestural line\ndrawing in monochrome graphite on white paper, the kind a film\nstoryboard artist dashes off in seconds. NOT photorealistic, no\npainting, no rendering. The drawing itself stays monochrome — the\nONLY colour allowed anywhere is BRIGHT RED, reserved exclusively\nfor movement markings (see below).\n\nTHE LOCATION (same in all drawn panels): the interior of a small Korean rooftop home: living room with a small window, kitchenette and dining table; a bedroom with a bed against one wall and a curtained window; a tiny tiled bathroom with a mirror.\n\nPURPOSE: each panel captures only the CAMERA COMPOSITION of one\nshot — framing (close-up / medium / wide), where the subject sits in\nthe frame, and continuity between panels. Keep every panel\nextremely simple: only what matters for composition.\nMOVEMENT MARKINGS IN RED: every figure or object that is MOVING in\na panel gets a clear BRIGHT RED storyboard arrow showing its\ndirection of travel (and a short red path line where the movement\ncrosses the frame); camera moves (pan/tilt/push-in) are marked with\nred camera-move arrows. Static figures and objects get NO arrow.\nRed appears ONLY as these movement markings — never as clothing,\nlighting or shading colour.\n\nGEOMETRY — ANALYSE BEFORE DRAWING: from each panel's Korean shot\ntext, first work out the spatial facts and draw EXACTLY those, never\nre-stage them: (a) each figure's DISTANCE from camera (tight insert /\nclose-up / medium / full / wide — a shot about a hand or an object\nis a tight insert, not a two-shot); (b) each figure's FACING and\nMOVEMENT DIRECTION relative to camera — '뒷모습' means seen from\nBEHIND, moving AWAY from camera into the depth of the frame, not\nsideways; a profile means lateral movement; (c) relative positions\nand distances BETWEEN figures. Keep every established screen\ndirection consistent across panels (180-degree rule): a person who\nleaves in one panel keeps the same on-screen direction wherever the\nmovement appears again.\nDEPARTING FIGURE — a figure running/walking AWAY must be\nunmistakably departing, never approaching. Draw ALL of these cues\ntogether: seen exactly from behind (back of the head only, no face,\nno chin, no cheek line), drawn SMALLER than nearby figures because\nit has already receded into the distance, one shoe SOLE facing the\ncamera mid-stride, the RED motion arrow starting AT the figure and\npointing DEEPER into the frame toward the vanishing point,\nand short speed lines trailing BEHIND the figure toward the camera.\n\nCONTINUITY: all drawn panels are the SAME single location — fixed\nfeatures (doors, stairs, windows, poles, desks) keep the same\nposition and left/right relationships across panels so the panels\ncut together as one continuous scene.\n\nPANELS (one shot per panel, Korean shot text):\n\nPANEL 1: 옷과 피부가 피투성이가 된 민숙이 바닥에 주저앉아 고개를 푹 숙인 정지 상태\n  MOVEMENT (follow exactly): static: Min-sook remains slumped on the floor with her seated body folded forward and her head and gaze hanging down.\nPANEL 2: 침대 위쪽 벽면에 붉은색 원형 표식이 절반쯤 나타난 상태\n  MOVEMENT (follow exactly): A red mark forms in a circular path across the wall above the bed, with roughly half of the circle completed.\nPANEL 3: 핏자국 없이 깨끗한 방 내부 전경\n  MOVEMENT (follow exactly): static: No person is present in the spotless room, so there is no gaze or body orientation to describe.\nPANEL 4: 거울 속 반사된 욕실 타일 벽면에 붉은색 원형 표식이 절반쯤 나타난 상태\n  MOVEMENT (follow exactly): A red mark forms in a circular path across the bathroom tile wall reflected in the mirror, with roughly half of the circle completed.\nPANEL 5: 해질 무렵 옥탑방 거실, 흙 묻은 발자국들이 찍힌 바닥과 쓰러진 식탁 의자들이 보이는 전경\n  MOVEMENT (follow exactly): static: No person is present among the muddy footprints and overturned dining chairs, so there is no gaze or body orientation to describe.\nPANEL 6: 붉은 원 한가운데 피 묻은 낡은 흑백 사진이 벽에 꽂혀 있는 타이트 샷\n  MOVEMENT (follow exactly): static: The bloodstained old photograph remains fixed at the center of the red circle on the wall, with no person present.\n\nABSOLUTELY NO TEXT anywhere: no words, letters, captions, labels,\nsound effects or watermarks — the ONLY allowed marking is a small\nshot number digit (1, 2, 3, 4, 5, 6) in a corner INSIDE each drawn panel.\nTHE PANEL GRID FILLS THE ENTIRE IMAGE EDGE-TO-EDGE: no outer paper\nmargin, no border area, nothing drawn outside the panels — the\nimage must be mechanically cuttable along the stated cut lines.\nPanels are separated only by thin straight black gutter lines at\nthe exact stated positions; ALL PANELS EXACTLY THE SAME SIZE."}
{"ts": "2026-07-11 20:18:24", "kind": "img", "engine": "gpt-image-2", "mode": "generate", "tag": "s34v2_conti_mart_i2", "refs": [], "size": "1536x1024", "attempt": 1, "dur_s": 132.9, "bytes": 3424147, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/conti6_mart_i2.png", "prompt": "Draw ONE storyboard (conti) sheet: 6 panels made by TWO vertical cuts at exactly 1/3 and 2/3 of the width and ONE horizontal cut at exactly 50% of the height — a 3-column x 2-row grid, all six panels exactly equal.\nSTYLE: quick, rough HAND-DRAWN pencil sketch — loose gestural line\ndrawing in monochrome graphite on white paper, the kind a film\nstoryboard artist dashes off in seconds. NOT photorealistic, no\npainting, no rendering. The drawing itself stays monochrome — the\nONLY colour allowed anywhere is BRIGHT RED, reserved exclusively\nfor movement markings (see below).\n\nTHE LOCATION (same in all drawn panels): a mid-size Korean supermarket: shelved sales floor inside; the entrance area outside with a bicycle rack and one wall-mounted CCTV camera above; a small back security office with CCTV monitors.\n\nPURPOSE: each panel captures only the CAMERA COMPOSITION of one\nshot — framing (close-up / medium / wide), where the subject sits in\nthe frame, and continuity between panels. Keep every panel\nextremely simple: only what matters for composition.\nMOVEMENT MARKINGS IN RED: every figure or object that is MOVING in\na panel gets a clear BRIGHT RED storyboard arrow showing its\ndirection of travel (and a short red path line where the movement\ncrosses the frame); camera moves (pan/tilt/push-in) are marked with\nred camera-move arrows. Static figures and objects get NO arrow.\nRed appears ONLY as these movement markings — never as clothing,\nlighting or shading colour.\n\nGEOMETRY — ANALYSE BEFORE DRAWING: from each panel's Korean shot\ntext, first work out the spatial facts and draw EXACTLY those, never\nre-stage them: (a) each figure's DISTANCE from camera (tight insert /\nclose-up / medium / full / wide — a shot about a hand or an object\nis a tight insert, not a two-shot); (b) each figure's FACING and\nMOVEMENT DIRECTION relative to camera — '뒷모습' means seen from\nBEHIND, moving AWAY from camera into the depth of the frame, not\nsideways; a profile means lateral movement; (c) relative positions\nand distances BETWEEN figures. Keep every established screen\ndirection consistent across panels (180-degree rule): a person who\nleaves in one panel keeps the same on-screen direction wherever the\nmovement appears again.\nDEPARTING FIGURE — a figure running/walking AWAY must be\nunmistakably departing, never approaching. Draw ALL of these cues\ntogether: seen exactly from behind (back of the head only, no face,\nno chin, no cheek line), drawn SMALLER than nearby figures because\nit has already receded into the distance, one shoe SOLE facing the\ncamera mid-stride, the RED motion arrow starting AT the figure and\npointing DEEPER into the frame toward the vanishing point,\nand short speed lines trailing BEHIND the figure toward the camera.\n\nCONTINUITY: all drawn panels are the SAME single location — fixed\nfeatures (doors, stairs, windows, poles, desks) keep the same\nposition and left/right relationships across panels so the panels\ncut together as one continuous scene.\n\nPANELS (one shot per panel, Korean shot text):\n\nPANEL 1: 수리영이 마트 유니폼을 입은 한국인 여성 직원을 마주보며 입을 살짝 벌린 측면 구도\n  MOVEMENT (follow exactly): static: Suri-young and the female supermarket employee face and look toward each other in side profile.\nPANEL 2: 마트 밖으로 나온 수리영이 손에 든 스마트폰 액정을 내려다보는 상체\n  MOVEMENT (follow exactly): Suri-young comes out of the supermarket to the exterior while looking down at the smartphone in her hand.\nPANEL 3: 수리영과 남자직원이 마트 밖에서 벽면의 CCTV를 올려다보는 뒷모습\n  MOVEMENT (follow exactly): static: Suri-young and the male employee stand with their backs to the camera, their bodies facing the wall and their gazes directed upward at the CCTV camera.\nPANEL 4: 수리영이 귀에 스마트폰을 댄 채 정면을 응시하는 상체 클로즈업\n  MOVEMENT (follow exactly): static: Suri-young faces forward and looks straight ahead with a smartphone held to her ear.\nPANEL 5: 마트 총무과 책상 앞, 한국인 남성 보안직원과 혜수가 컴퓨터 모니터를 향해 몸을 기울인 측면\n  MOVEMENT (follow exactly): static: The security employee and Hye-su face the computer monitor in side profile, leaning their bodies toward the screen and looking at it.\nPANEL 6: 흑백 CCTV 화면 속 어두운 구석에 사람 형상이 희미하게 찍힌 모니터 클로즈업\n  MOVEMENT (follow exactly): static: The monitor faces the viewer, while the faint human figure in its dark corner has no discernible gaze or body orientation.\n\nABSOLUTELY NO TEXT anywhere: no words, letters, captions, labels,\nsound effects or watermarks — the ONLY allowed marking is a small\nshot number digit (1, 2, 3, 4, 5, 6) in a corner INSIDE each drawn panel.\nTHE PANEL GRID FILLS THE ENTIRE IMAGE EDGE-TO-EDGE: no outer paper\nmargin, no border area, nothing drawn outside the panels — the\nimage must be mechanically cuttable along the stated cut lines.\nPanels are separated only by thin straight black gutter lines at\nthe exact stated positions; ALL PANELS EXACTLY THE SAME SIZE."}
{"ts": "2026-07-11 20:20:19", "kind": "img", "engine": "gpt-image-2", "mode": "generate", "tag": "s34v2_conti_police_i2", "refs": [], "size": "1536x1024", "attempt": 1, "dur_s": 114.8, "bytes": 2984325, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/conti6_police_i2.png", "prompt": "Draw ONE storyboard (conti) sheet: 6 panels made by TWO vertical cuts at exactly 1/3 and 2/3 of the width and ONE horizontal cut at exactly 50% of the height — a 3-column x 2-row grid, all six panels exactly equal.\nSTYLE: quick, rough HAND-DRAWN pencil sketch — loose gestural line\ndrawing in monochrome graphite on white paper, the kind a film\nstoryboard artist dashes off in seconds. NOT photorealistic, no\npainting, no rendering. The drawing itself stays monochrome — the\nONLY colour allowed anywhere is BRIGHT RED, reserved exclusively\nfor movement markings (see below).\n\nTHE LOCATION (same in all drawn panels): a modest Korean provincial police station: a detectives' office with desks, monitors and a doorway; and the street right in front of the building.\n\nPURPOSE: each panel captures only the CAMERA COMPOSITION of one\nshot — framing (close-up / medium / wide), where the subject sits in\nthe frame, and continuity between panels. Keep every panel\nextremely simple: only what matters for composition.\nMOVEMENT MARKINGS IN RED: every figure or object that is MOVING in\na panel gets a clear BRIGHT RED storyboard arrow showing its\ndirection of travel (and a short red path line where the movement\ncrosses the frame); camera moves (pan/tilt/push-in) are marked with\nred camera-move arrows. Static figures and objects get NO arrow.\nRed appears ONLY as these movement markings — never as clothing,\nlighting or shading colour.\n\nGEOMETRY — ANALYSE BEFORE DRAWING: from each panel's Korean shot\ntext, first work out the spatial facts and draw EXACTLY those, never\nre-stage them: (a) each figure's DISTANCE from camera (tight insert /\nclose-up / medium / full / wide — a shot about a hand or an object\nis a tight insert, not a two-shot); (b) each figure's FACING and\nMOVEMENT DIRECTION relative to camera — '뒷모습' means seen from\nBEHIND, moving AWAY from camera into the depth of the frame, not\nsideways; a profile means lateral movement; (c) relative positions\nand distances BETWEEN figures. Keep every established screen\ndirection consistent across panels (180-degree rule): a person who\nleaves in one panel keeps the same on-screen direction wherever the\nmovement appears again.\nDEPARTING FIGURE — a figure running/walking AWAY must be\nunmistakably departing, never approaching. Draw ALL of these cues\ntogether: seen exactly from behind (back of the head only, no face,\nno chin, no cheek line), drawn SMALLER than nearby figures because\nit has already receded into the distance, one shoe SOLE facing the\ncamera mid-stride, the RED motion arrow starting AT the figure and\npointing DEEPER into the frame toward the vanishing point,\nand short speed lines trailing BEHIND the figure toward the camera.\n\nCONTINUITY: all drawn panels are the SAME single location — fixed\nfeatures (doors, stairs, windows, poles, desks) keep the same\nposition and left/right relationships across panels so the panels\ncut together as one continuous scene.\n\nPANELS (one shot per panel, Korean shot text):\n\nPANEL 1: 혜수가 스마트폰 액정을 김형사 쪽으로 불쑥 내민 순간\n  MOVEMENT (follow exactly): Hye-su abruptly extends her smartphone from her body toward Detective Kim, angling the screen for him to see while facing him.\nPANEL 2: 수리영이 두 눈을 크게 뜨고 입을 살짝 벌린 굳은 얼굴 클로즈업\n  MOVEMENT (follow exactly): static: Su-ri-yeong holds her body rigid and faces forward, staring wide-eyed with her mouth slightly open at what is in front of her.\nPANEL 3: 모니터 화면에 바다 지도가 펼쳐져 있고 붉은색 핀과 좌표 숫자가 떠 있는 클로즈업\n  MOVEMENT (follow exactly): static: The monitor remains fixed, its screen facing outward and displaying an ocean map, a red location pin, and coordinates.\nPANEL 4: 수리영이 메모지가 들어간 겉옷 주머니에 손을 넣은 채 사무실 출입문을 향해 몸을 돌린 정지 순간\n  MOVEMENT (follow exactly): static: Su-ri-yeong stands with one hand in the coat pocket holding the note and her body turned toward the office exit, looking in the direction she is about to leave.\nPANEL 5: 경찰서 건물 밖 도로 위에서 수리영이 자전거 안장에 앉아 상체를 앞으로 숙인 채 머리카락이 뒤로 흩날리는 측면\n  MOVEMENT (follow exactly): Su-ri-yeong rides her bicycle along the road away from the police station, seated in the saddle and leaning her upper body forward as her hair streams backward.\n\nThere are 5 shots but 6 panel slots: draw the shots in\npanels 1..5 and leave the remaining panel(s) COMPLETELY\nBLANK PURE WHITE — empty white paper, not even a frame line inside.\n\nABSOLUTELY NO TEXT anywhere: no words, letters, captions, labels,\nsound effects or watermarks — the ONLY allowed marking is a small\nshot number digit (1, 2, 3, 4, 5) in a corner INSIDE each drawn panel.\nTHE PANEL GRID FILLS THE ENTIRE IMAGE EDGE-TO-EDGE: no outer paper\nmargin, no border area, nothing drawn outside the panels — the\nimage must be mechanically cuttable along the stated cut lines.\nPanels are separated only by thin straight black gutter lines at\nthe exact stated positions; ALL PANELS EXACTLY THE SAME SIZE."}
{"ts": "2026-07-11 20:29:09", "kind": "llm", "step": "s34_move_forest", "model": "gpt", "dur_s": 17.8, "system_prompt": "당신은 콘티 작가를 돕는 동선 분석가다. 씬 원문(한국어 전문)과 샷\n목록을 읽고, 각 샷에서 인물이 공간을 어떻게 통과하는지(동선)를\n판정하라. 원문에 근거한 것만 쓰고 발명 금지. 마커나 ID 코드 금지.\n샷마다 두 필드를 채워라:\n1) movement_en — 영어 한 문장: 누가/무엇이 움직이는지, 이동 경로와\n방향(오르는지 내려오는지, 들어가는지 나오는지, 카메라 쪽인지\n반대인지), 몸의 진행 자세, 어디에서 와서 어디로 가는 중인지.\n정지 샷이면 'static:'으로 시작해 시선·몸 방향만.\n2) figures_en — 영어 1~2문장: 프레임에 보이는 인물/핵심 물체\n각각에 대해 (a) 프레임 안 겉보기 크기(화면 높이의 몇 분의 몇\n수준인지: e.g. fills ~2/3 of frame height / small ~1/5), (b) 카메라\n기준 원근 서열(which is NEARER, which is FARTHER — 명시적 비교),\n(c) 인물이 여럿이거나 동선이 얽히면 서로의 경로·거리 관계까지.\n인물 1명 단순 샷이어도 크기와 근원(near/far)은 반드시 기록.", "user_prompt": "씬 원문 전문:\n[씬 1] S#1. 숲속 / 해 질 무렵\nS#1. 숲속 / 해 질 무렵\n우거진 수풀을 헤치며 도망치는. 벗겨진 한쪽 신발.\n허벅지에 커다란 이빨 자국. 피가 흐르고.\n잔뜩 겁에 질린 남자 표정(T.S) 그때 어디선가 쏜살같이 달려온\n검은 인영이 남자를 덮친다. 아아~ 악!!!\n\n\n\n[씬 3] S#3. 현장 / D\nS#3. 현장 / D\n지역 뉴스 화면. 기자는 보이지 않고 멘트만 흘러나온다.\n씬1, 2 현장을 감식하는 경찰, 폴리스 라인을 치고 시신을 수거한다.\n형사무리 속에 사건을 지휘하는 혜수의 모습이 보인다.\n\n기자(E)\n(이어서) 형체를 알아볼 수 없는 시신 두 구가 잇달아\n발견되면서 경찰은 수사본부를 차리고 갑호 비상령을\n내린 상탭니다.\n(중략)\n\n\n\n샷 목록(각각 동선 판정):\nS1sh1: 한쪽 신발이 벗겨진 한국인 남자가 우거진 수풀 사이를 달리며 한 발을 허공에 내딛고 있는 도중의 전신 구도\nS1sh4: 검은 형상의 인영이 허공에 뛰어오른 채 한국인 남자를 향해 두 팔을 뻗고 있는 순간\nS3sh3: 형사 무리 한가운데 서서 손가락으로 한쪽을 가리키는 혜수의 상체"}
{"ts": "2026-07-11 20:29:25", "kind": "llm", "step": "s34_move_busstop", "model": "gpt", "dur_s": 15.7, "system_prompt": "당신은 콘티 작가를 돕는 동선 분석가다. 씬 원문(한국어 전문)과 샷\n목록을 읽고, 각 샷에서 인물이 공간을 어떻게 통과하는지(동선)를\n판정하라. 원문에 근거한 것만 쓰고 발명 금지. 마커나 ID 코드 금지.\n샷마다 두 필드를 채워라:\n1) movement_en — 영어 한 문장: 누가/무엇이 움직이는지, 이동 경로와\n방향(오르는지 내려오는지, 들어가는지 나오는지, 카메라 쪽인지\n반대인지), 몸의 진행 자세, 어디에서 와서 어디로 가는 중인지.\n정지 샷이면 'static:'으로 시작해 시선·몸 방향만.\n2) figures_en — 영어 1~2문장: 프레임에 보이는 인물/핵심 물체\n각각에 대해 (a) 프레임 안 겉보기 크기(화면 높이의 몇 분의 몇\n수준인지: e.g. fills ~2/3 of frame height / small ~1/5), (b) 카메라\n기준 원근 서열(which is NEARER, which is FARTHER — 명시적 비교),\n(c) 인물이 여럿이거나 동선이 얽히면 서로의 경로·거리 관계까지.\n인물 1명 단순 샷이어도 크기와 근원(near/far)은 반드시 기록.", "user_prompt": "씬 원문 전문:\n[씬 15] S#15. 해안가. 버스정류장 부근 / N\nS#15. 해안가. 버스정류장 부근 / N\n바다를 바라보며 멍한 채로 앉아있는 수리영, 여전히 엄마는 전화를 받지않고.\n자신이 진짜로 헛 것을 본 것일까... 헷갈린다. 그럼 엄마는 어디있을까.\n혜수, 사온 음료수를 수리영에게 건네며\n\n혜수\n괜찮아?\n\n수리영\n내가 뭘 잘 못 본 거야, 이모. 그게 맞는 말 같애.\n엄마가 갑자기...그런 일을 당할 리 없잖아\n(훅 일어나며) 집에 가봐야 겠어.\n\n혜수\n엉? 어. 혼자 갈 수 있겠어?\n\n수리영\n응. 나 갈게 (달려간다)\n\n혜수\n(등 뒤에 대고 소리친다) 엄마 보면 나한테 전화 하라고 해!\n\n두 사람을 지켜보는 듯한 카메라 시선.\n\n\n\n샷 목록(각각 동선 판정):\nS15sh2: 혜수의 손이 음료수 캔을 쥔 채 수리영 앞으로 내밀어진 순간\nS15sh6: 멀리서 혜수의 전신과 한 발을 공중에 띄운 mid-stride 자세로 달리는 수리영의 뒷모습을 한 프레임에 담은 넓은 구도"}
{"ts": "2026-07-11 20:29:42", "kind": "llm", "step": "s34_move_rooftop_ext", "model": "gpt", "dur_s": 16.6, "system_prompt": "당신은 콘티 작가를 돕는 동선 분석가다. 씬 원문(한국어 전문)과 샷\n목록을 읽고, 각 샷에서 인물이 공간을 어떻게 통과하는지(동선)를\n판정하라. 원문에 근거한 것만 쓰고 발명 금지. 마커나 ID 코드 금지.\n샷마다 두 필드를 채워라:\n1) movement_en — 영어 한 문장: 누가/무엇이 움직이는지, 이동 경로와\n방향(오르는지 내려오는지, 들어가는지 나오는지, 카메라 쪽인지\n반대인지), 몸의 진행 자세, 어디에서 와서 어디로 가는 중인지.\n정지 샷이면 'static:'으로 시작해 시선·몸 방향만.\n2) figures_en — 영어 1~2문장: 프레임에 보이는 인물/핵심 물체\n각각에 대해 (a) 프레임 안 겉보기 크기(화면 높이의 몇 분의 몇\n수준인지: e.g. fills ~2/3 of frame height / small ~1/5), (b) 카메라\n기준 원근 서열(which is NEARER, which is FARTHER — 명시적 비교),\n(c) 인물이 여럿이거나 동선이 얽히면 서로의 경로·거리 관계까지.\n인물 1명 단순 샷이어도 크기와 근원(near/far)은 반드시 기록.", "user_prompt": "씬 원문 전문:\n[씬 10] S#10. 옥탑방 / N\nS#10. 옥탑방 / N\n그 시각. 옥탑방 옥상. 물탱크. 바람에 빨랫줄이 툭- 툭-\n평상에 놓인 말린 석창포가 바람에 날리는데...\n말린 잎이 걸어오는 낯선 남자의 신발 위를 스친다.\n남자의 긴 그림자. (얼굴은 보이지 않는다)\n\n신발은 옥탑방 철문 현관 앞에 멈춰 선다.\n문틈에 낀 광고 전단지.\n전단지를 뽑아서 손가락으로 문틈에 꾹 밀어 넣는다.\n‘철컥’ 하고 잠금 새가 풀리는 소리.\n문이 미세하게 열리고 안으로 들어가는 남자.\n창문에 비친 그림자. 민숙을 덮쳐 어깨를 물어뜯는 듯한 모습 ‘아악-’\n\n\n\n[씬 11] S#11. 옥탑 방 밖 / N\nS#11. 옥탑 방 밖 / N\n자전거를 타고 골목길을 달리는 수리영.\n다세대 빌라 문을 열고 들어와 마당 후미진 곳에 자전거를 대충 세우고,\n옥탑방과 연결되는 계단을 급히 오른다.\n\n갑자기 훅- 느껴지는 역겨운 냄새. 뭐지?\n옥상에 올라와 보니 반쯤 열린 현관 철문.\n\n\n\n[씬 13] S#13. 옥탑방 외곽 / N\nS#13. 옥탑방 외곽 / N\n비명을 지르며 옥탑방을 빠져나오는 수리영, 허겁지겁 계단을 내려간다.\n동시에 사이렌이 울리고~. (포즈)\n차에서 내린 혜수(40대 중반, 여자, 경위) 초점을 잃고 멍하니 서있는\n수리영의 모습을 발견하고 달려간다.\n\n혜수\n영아? 왜! 무슨 일이야?\n\n수리영\n(올라다보며) 엄마가, 엄마가... 죽어있어.\n\n혜수\n(놀라) 뭐?!\n\n옥탑 방으로 뛰어 올라가는 혜수와 후배 형사(30대 남/ 이하 김형사)\n\n\n\n샷 목록(각각 동선 판정):\nS10sh6: 현관 철문이 아주 살짝 열린 틈새로 보이는 어두운 실내와 신발 앞코\nS10sh7: 불이 켜진 옥탑방 창문에 거대한 그림자가 작은 그림자의 어깨 쪽으로 고개를 꺾은 형태가 맺혀 있는 정지 구도\nS11sh4: 철제 파이프 난간을 손으로 잡은 수리영이 코끝을 찡그린 채 계단 중간에 서 있는 얼굴 클로즈업\nS11sh5: 옥상에 선 수리영의 시선 끝에 반쯤 열려 있는 어두운 현관 철문이 보이는 정면 구도\nS13sh4: 수리영이 초점을 잃은 눈으로 허공을 응시하며 서 있는 모습\nS13sh6: 고개를 든 채 혜수의 얼굴을 마주보고 있는 수리영의 측면 구도"}
{"ts": "2026-07-11 20:30:06", "kind": "llm", "step": "s34_move_rooftop_int", "model": "gpt", "dur_s": 24.4, "system_prompt": "당신은 콘티 작가를 돕는 동선 분석가다. 씬 원문(한국어 전문)과 샷\n목록을 읽고, 각 샷에서 인물이 공간을 어떻게 통과하는지(동선)를\n판정하라. 원문에 근거한 것만 쓰고 발명 금지. 마커나 ID 코드 금지.\n샷마다 두 필드를 채워라:\n1) movement_en — 영어 한 문장: 누가/무엇이 움직이는지, 이동 경로와\n방향(오르는지 내려오는지, 들어가는지 나오는지, 카메라 쪽인지\n반대인지), 몸의 진행 자세, 어디에서 와서 어디로 가는 중인지.\n정지 샷이면 'static:'으로 시작해 시선·몸 방향만.\n2) figures_en — 영어 1~2문장: 프레임에 보이는 인물/핵심 물체\n각각에 대해 (a) 프레임 안 겉보기 크기(화면 높이의 몇 분의 몇\n수준인지: e.g. fills ~2/3 of frame height / small ~1/5), (b) 카메라\n기준 원근 서열(which is NEARER, which is FARTHER — 명시적 비교),\n(c) 인물이 여럿이거나 동선이 얽히면 서로의 경로·거리 관계까지.\n인물 1명 단순 샷이어도 크기와 근원(near/far)은 반드시 기록.", "user_prompt": "씬 원문 전문:\n[씬 12] S#12. 옥탑방 안 / N\nS#12. 옥탑방 안 / N\n/거실\n‘엄마?’를 부르며 들어오는 수리영,\n끓다 식은 냄비. 켜져 있는 TV. 희미한 거실 스탠드 불빛,\n\n/민숙 방\n안방 문을 여는데... 없다.\n거실 식탁에 놓여있는 찻잔 두 개. 하나는 엎어져있다.\n\n/수리영 방\n마지막으로 자기 방문을 연다\n헉!- 여기저기 핏자국. 바닥에 흥건한 혈흔.\n피묻은 발자국은 커튼으로 이어져 있다\n호흡을 가두고 커튼을 젖히자\n앉은 채로 고개를 떨군 채 죽어있는 엄마- 민숙!!!!\n\n수리영\n(달려가) 어어어어----엄마\n\n충격에 온 몸이 얼어붙은 수리영,\n살점이 뜯긴 어깨와 쇄골, 마치 동물에게 물어뜯긴 듯한 거친 상처가 고스란히\n드러나있다. 덜렁거리는 살점과 뜯겨진 부위에 흘러내리는 피.\n\n수리영\n(놀라 뒤로 주춤) 어-어-어- 엄마….\n\n부들부들 떨며 핸드폰을 누른다. 2번 혜수이모\n\n수리영\n받아, 이모. 받아….\n\n혜수(E)\n영아, 영아, 왜?\n\n답은 안 나오고… 엄마 손안에 구겨진 사진 한 장이 보인다.\n다가가 사진을 꺼내는데 엄마 손목에 있던 문신이 붉은색으로 변한다.\n헉! 호흡이 빨라지고... 침대 위 벽에 붉은 원이 생겨난다\n(마치 누군가 붓으로 벽에 원으로 그리는 것처럼).\n소름끼치는 으아악---!\n\n\n\n[씬 14] S#14. 옥탑방 안 / N\nS#14. 옥탑방 안 / N\n/현관\n집안 여기저기를 확인하면서 나오는 형사와 혜수\n\n김형사\n(허탈한 표정) 없는데.. 아무 것도.\n\n혜수\n(뒤따라온 수리영에게) 영아, 없어. 뭘 봤는데...?\n\n어? 수리영, 부리나케 방 안으로 뛰어 들어간다.\n\n/수리영 방 안\n지나칠 정도로 깨끗하게 정돈된 방안. 핏자국도 보이지 않고,\n침대 위에 붉은 표식은 물론 커튼 뒤의 시신도 감쪽 같이 사라졌다.\n얼굴이 파리해지는 수리영. ‘어----?’ ‘분명히 봤는데...’\n\n뛰쳐나가 식탁으로 가본다. 식탁 역시 깨끗한.\n\n수리영\n여기 찻잔도 두 개 있었고...\n\n김형사\n(답답) 허 참! 죽은 사람이 발이 달렸을 리도 없고. 쯧쯧\n그러게 살인사건은 자세하게 보도하면 안 된다구요...(궁시렁)\n이봐요. 학생? 장난전화 하면 안 되는 거 몰라? (짜증)\n안 그래도 살인사건으로 난리도 아닌데...\n\n혜수\n(김형사 째리고) 김형사. 먼저 가 있어. (김형사 나가면)\n(수리영 어깨를 어루만지며) 영아.\n\n수리영\n엄마(시신), 어디갔을까? 분명히 봤는데...\n\n혜수\n네가 요즘 과로했잖아. 공부에다 알바까지...\n악몽을 꾼 걸 수도 있으니... 바람이나 쐬러 가자.\n수리영 방안에 놓여진 백팩, 인형. 약간씩 위치가 달라진.\n(시신을 발견했을 때와 다른)\n\n\n\n[씬 18] S#18. 안방 안 / D\nS#18. 안방 안 / D\n침대에 머리를 대고 앉아있는 수리영, 밤새 엄마를 기다리다 깜박 졸았다\n고양이 울음소리에 번쩍 눈을 뜨고, ‘엄마? ’혹시나 해서 집안을 살피지만\n아무런 인기척도 보이지 않는다\n\n/수리영 방안\n닫혀있는 자신의 방을 바라본다.\n[F.B: 1부12씬] 커튼 뒤에 죽어있던 엄마. 상처. 혈흔\n\n크게 심호흡하고 조심스럽게 문을 연다.\n지나치리만큼 깨끗하게 정돈된 방안.\n창문에 다가가 커튼을 확 열어젖힌다. 시신은 없다.\n\n한숨 후~ 다행이긴 한데.\n그때, 울리는 폰 벨소리, 화들짝 놀라는 수리영. 달려가 받자마자\n\n수리영\n엄마?\n\n혜수(E)\n아직이니?\n\n수리영\n응. 아무래도 이상해. 이럴 리가 없잖아! 우리 엄마가.\n이모, 사고 난 게 분명해\n\n혜수(E)\n실종신고 냈어. 이모가 엄마 폰 위치추적하고 있으니까\n조금만 기다려 별일 없을 거야. 알았지?\n\n수리영\n응.\n\n무작정 기다리는게 불안한 수리영,\n인형이 달린 자신의 백팩을 꺼내 나온다\n\n/욕실 안\n얼굴을 씻고 거울을 보며\n\n수리영\n엄마, 도대체 어딨는 거야...\n\n거울에 비친 욕실 벽에 갑자기 또 발생하는 붉은 원.\n호흡이 가빠지고... 훅 고개를 돌려 벽을 보는 수리영\n거짓말처럼 사라지고 없다.\n거실로 튀어나와 물 한컵 마시고 식탁에 놓인 엄마와 수리영의 사진을 보는데...\n환하게 웃는 엄마 얼굴이 뭉개져 흘러내린다\n\n수리영\n아아악~~~ (다시보니 멀쩡하다) 나 왜 이러는 거지.\n(자신의 뺨을 치며) 정신 차려 수리영!\n\n\n\n[씬 25] S#25. 옥탑방 안 / 해질 무렵\nS#25. 옥탑방 안 / 해질 무렵\n누군가 다녀간 흔적으로 보이는 발자국들.\n다시 호흡이 가빠지는 수리영.\n집안에서 뭔가를 찾기 위해 가재도구를 온통 헤집은 것으로 보인다.\n거실에 난 창은 열려있고, 식탁 의자들을 쓰러져있다.\n\n/수리영 방\n열린 자신의 방을 힐끗 보는데\n벽에 또 붉은 원이 그려져있다. 그 가운데 꽂혀있는 피묻은 사진 한 장!\n사진을 떼어서 자세히 본다.\n어? 그 사진!!!\n\n[F.B: 1부 12씬] 죽은 엄마의 손에 구겨져있던 바로 그 사진이다.\n7-80년대 쯤 보이는 시골 식당과 지붕위에 둥근 원이 설치된 (마치 십자가처럼)\n식당 앞에는 어린 여자애 둘(12살)이 앉아있다. 그중에 한 아이는 분명히\n어릴 적 엄마다.\n\n침대에 털썩 주저앉는 수리영. 연속해서 벌어지는 기이한 상황에 정신이 혼미한\n엉망이 된 집 안을 한번 획 둘러보는 수리영,\n마치 이끌리듯 백팩을 메고 밖으로 나간다. 사진을 손에 꼭 쥔 채.\n\n\n\n샷 목록(각각 동선 판정):\nS12sh11: 옷과 피부가 피투성이가 된 민숙이 바닥에 주저앉아 고개를 푹 숙인 정지 상태\nS12sh21: 침대 위쪽 벽면에 붉은색 원형 표식이 절반쯤 나타난 상태\nS14sh5: 핏자국 없이 깨끗한 방 내부 전경\nS18sh11: 거울 속 반사된 욕실 타일 벽면에 붉은색 원형 표식이 절반쯤 나타난 상태\nS25sh1: 해질 무렵 옥탑방 거실, 흙 묻은 발자국들이 찍힌 바닥과 쓰러진 식탁 의자들이 보이는 전경\nS25sh5: 붉은 원 한가운데 피 묻은 낡은 흑백 사진이 벽에 꽂혀 있는 타이트 샷"}
{"ts": "2026-07-11 20:30:27", "kind": "llm", "step": "s34_move_mart", "model": "gpt", "dur_s": 20.9, "system_prompt": "당신은 콘티 작가를 돕는 동선 분석가다. 씬 원문(한국어 전문)과 샷\n목록을 읽고, 각 샷에서 인물이 공간을 어떻게 통과하는지(동선)를\n판정하라. 원문에 근거한 것만 쓰고 발명 금지. 마커나 ID 코드 금지.\n샷마다 두 필드를 채워라:\n1) movement_en — 영어 한 문장: 누가/무엇이 움직이는지, 이동 경로와\n방향(오르는지 내려오는지, 들어가는지 나오는지, 카메라 쪽인지\n반대인지), 몸의 진행 자세, 어디에서 와서 어디로 가는 중인지.\n정지 샷이면 'static:'으로 시작해 시선·몸 방향만.\n2) figures_en — 영어 1~2문장: 프레임에 보이는 인물/핵심 물체\n각각에 대해 (a) 프레임 안 겉보기 크기(화면 높이의 몇 분의 몇\n수준인지: e.g. fills ~2/3 of frame height / small ~1/5), (b) 카메라\n기준 원근 서열(which is NEARER, which is FARTHER — 명시적 비교),\n(c) 인물이 여럿이거나 동선이 얽히면 서로의 경로·거리 관계까지.\n인물 1명 단순 샷이어도 크기와 근원(near/far)은 반드시 기록.", "user_prompt": "씬 원문 전문:\n[씬 8] S#8. 번화가·대형 마트 / 해질 무렵\nS#8. 번화가·대형 마트 / 해질 무렵\n포구와 인접해 있는 번화가, 네온사인, 택시, 호객 행위, 길거리 포장마차\n사이로 능숙하게 자전거를 모는 수리영.\n\n마트에 도착해 자전거를 세우고, 안으로 들어간다.\n민숙은 이 마트의 진열담당 직원. 이리저리 엄마를 찾아보지만 보이지 않는다\n평소 민숙과 가깝게 지냈던 직원에게 다가가\n\n수리영\n아줌마 안녕하세요? 그런데 우리 엄마는 어딨어요?\n\n여직원\n영이구나. 어? 아까 너 만나러 간다고 조퇴했는데. 길이\n엇갈렸나 보네.\n\n수리영\n(헷갈림) 어? 여기서 만나기로 했는데.\n\n남자 직원\n(박스 들고와 진열하면서) 민숙씨 아까 밖에서 누구랑\n얘기하는 거 봤는데...\n\n수리영\n(의아) 네? 누구랑요?\n\n직원\n그것까진 (모르지)...\n\n여직원\n집에 간 거 아냐? 얼른 가봐.\n\n수리영 마트 밖을 나오면서 연락을 취해보지만 받지않는다.\n일단 집으로-\n\n\n\n[씬 19] S#19. 마트 / D\nS#19. 마트 / D\n이른 아침, 아직은 한산한 마트 안.\n자전거를 주차하고 안으로 들어가는 수리영.\n마트 여기저기를 돌아다니며 어제 만났던 남자 직원을 찾는다\n\n수리영\n아저씨, 저 어제 봤죠? 강민숙씨 딸.\n\n남자직원\n어? 그래. 엄마 오늘도 결근했는데... 무슨 일 있어?\n\n수리영\n(답하지 않고 대신) 어제 저한테, 우리 엄마가 누군가와 얘길\n나누는 걸 봤다고 하셨죠?\n\n남자직원\n응. 남자였던 거 같은데.\n\n수리영\n남자요? 혹시 CCTV 같은 거 볼 수 있을까요?\n\n남자직원\n그게 CCTV에 찍혔을까.\n\n/ 마트 밖\n엄마와 남자 직원CCTV 위치를 확인하다. 찍혔을 만한 위치다.\n수리영, 혜수에게 전화 걸어 상황을 설명한다.\n\n\n\n[씬 20] S#20. 마트 총무과 / 실내\nS#20. 마트 총무과 / 실내\nCCTV화면을 돌려보는 보안팀 직원과 혜수,\n뒤에서 초조한 모습으로 화면을 주시하는 수리영\n\n보안직원\n이거네요. (갸우뚱) 근데 왜 이리 어둡지. 이 부분만 더 안\n보이네. 잘 보면 남자와 얘길 나누는 거 같긴 하죠. 뭐 보이세요?\n\n몇 번을 다시 돌려보지만 보안직원 말대로 그 부분만 유독 어두워\n식별이 불가능하다. 수리영 불안이 깊어지고.\n\n혜수\n흠... 일단 어제 CCTV 전체 잠깐 가져가도 될까요?\n복사하고 돌려드릴테니까.\n\n보안직원\n그러시죠.\n\n\n\n샷 목록(각각 동선 판정):\nS8sh3: 수리영이 마트 유니폼을 입은 한국인 여성 직원을 마주보며 입을 살짝 벌린 측면 구도\nS8sh5: 마트 밖으로 나온 수리영이 손에 든 스마트폰 액정을 내려다보는 상체\nS19sh5: 수리영과 남자직원이 마트 밖에서 벽면의 CCTV를 올려다보는 뒷모습\nS19sh6: 수리영이 귀에 스마트폰을 댄 채 정면을 응시하는 상체 클로즈업\nS20sh1: 마트 총무과 책상 앞, 한국인 남성 보안직원과 혜수가 컴퓨터 모니터를 향해 몸을 기울인 측면\nS20sh3: 흑백 CCTV 화면 속 어두운 구석에 사람 형상이 희미하게 찍힌 모니터 클로즈업"}
{"ts": "2026-07-11 20:30:40", "kind": "llm", "step": "s34_move_police", "model": "gpt", "dur_s": 13.3, "system_prompt": "당신은 콘티 작가를 돕는 동선 분석가다. 씬 원문(한국어 전문)과 샷\n목록을 읽고, 각 샷에서 인물이 공간을 어떻게 통과하는지(동선)를\n판정하라. 원문에 근거한 것만 쓰고 발명 금지. 마커나 ID 코드 금지.\n샷마다 두 필드를 채워라:\n1) movement_en — 영어 한 문장: 누가/무엇이 움직이는지, 이동 경로와\n방향(오르는지 내려오는지, 들어가는지 나오는지, 카메라 쪽인지\n반대인지), 몸의 진행 자세, 어디에서 와서 어디로 가는 중인지.\n정지 샷이면 'static:'으로 시작해 시선·몸 방향만.\n2) figures_en — 영어 1~2문장: 프레임에 보이는 인물/핵심 물체\n각각에 대해 (a) 프레임 안 겉보기 크기(화면 높이의 몇 분의 몇\n수준인지: e.g. fills ~2/3 of frame height / small ~1/5), (b) 카메라\n기준 원근 서열(which is NEARER, which is FARTHER — 명시적 비교),\n(c) 인물이 여럿이거나 동선이 얽히면 서로의 경로·거리 관계까지.\n인물 1명 단순 샷이어도 크기와 근원(near/far)은 반드시 기록.", "user_prompt": "씬 원문 전문:\n[씬 16] S#16. 경찰서 사무실 / N\nS#16. 경찰서 사무실 / N\n사무실 안으로 들어오면서 민숙에게 전화를 거는 혜수,\n계속 무응답이다. 수리영에게 내색은 안했지만 왠지 불길한.\n사무실 안에는 김형사 혼자 당직 근무 중이다.\n\n김형사\n그 애는 요? 갔어요?\n\n혜수\n(핸드폰에 저장된 민숙번호 보여주며) 이 번호 위치 좀 따봐.\n\n김형사\n게 엄마예요? (투덜) 오늘은 좀 기다려보시죠.\n\n혜수\n아냐. 딸과의 약속을 어기고 이렇게 연락이 안 될 애가 아냐.\n갈 곳도, 아는 사람도 별로 없는 애야. 밖에 나다니는 스타일도\n아니고.... 이상해, 예감이 안 좋아.\n\n\n\n[씬 21] S#21. 경찰서 안 / D\nS#21. 경찰서 안 / D\n경찰서 전경.\n수리영과 함께 사무실 안으로 들어오는 혜수,\n자신을 마뜩치 않게 보는 김형사에게 공손하게 인사하는.\n\n김형사\n마침 잘 왔네. (서류 보여주며) 실종신고서야. 여기 사인하고.\n통화의뢰도 할거지? 여기도 사인하고.\n\n혜수\n(김형사에게) 휴대전화 위치 확인 됐어?\n\n김형사\n(사인서류 들고) 이거 전송하면 보내줄 거예요.(나간다)\n\n들어오는 김형사\n\n김형사\n빨리 답 달라고 재촉했으니까... (짜증) 선배님, 회의.\n살인사건으로 초비상인데. 지금 이러고 있을 때가 (아니지\n않나)..\n\n혜수\n(시계보더니 난감한 얼굴로 수리영보면서)... 여기 내 자리에\n앉아서 잠깐 기다려. 저 커피 마셔도 돼. 괜찮지? 금방 올게\n\n아니나 다를까, ‘빨리 안들어오고 뭐해!’ 팀장 소리치고 형사들 다들\n우르르 몰려 나간다.\n사무실에 홀로 앉아있는 수리영.\n혜수 책상위에는 살인사건(1부 1,2,3씬) 확대 사진들이 어지럽게 널려있다.\n넘겨보며 놀라는 수리영, 환각상태에서 본 엄마의 시신모습과\n너무도 흡사한 - 목, 어깨, 얼굴등 살점이 떨어져 보는 것만으로도 끔찍하다.\n이때, 띠링- 김형사 모니터에서 뭔가 뜬다.\n주위를 둘러본다. 아무도 없는 것을 확인하고 수리영 망설이다가 커서를 누른다\n엄마 폰 위치추적 결과다.\n\n<화면내용>\n실종 강민숙(41세)\n핸드폰 번호 (010-000-0000) LAST LOCATION\n해상 지도위에 좌표. 37.484400 N / 126. 072486 E\nTimestamp 2026-02-18 11:21:08\nSource:GPS /Network\nStatus: offline\n\n‘바다라고?’ 사색이 된 수리영,\n필기도구를 찾아 좌표를 메모 한다. 메모쪽지를 접어 주머니에 넣고\n다시 한번 슬쩍 주위를 둘러본 후 사무실을 나온다.\n\n\n\n[씬 22] S#22. 경찰서 밖 / D\nS#22. 경찰서 밖 / D\n주차된 자전거를 타고 이내 달리는 수리영\n\n\n\n샷 목록(각각 동선 판정):\nS16sh3: 혜수가 스마트폰 액정을 김형사 쪽으로 불쑥 내민 순간\nS21sh7: 수리영이 두 눈을 크게 뜨고 입을 살짝 벌린 굳은 얼굴 클로즈업\nS21sh10: 모니터 화면에 바다 지도가 펼쳐져 있고 붉은색 핀과 좌표 숫자가 떠 있는 클로즈업\nS21sh12: 수리영이 메모지가 들어간 겉옷 주머니에 손을 넣은 채 사무실 출입문을 향해 몸을 돌린 정지 순간\nS22sh1: 경찰서 건물 밖 도로 위에서 수리영이 자전거 안장에 앉아 상체를 앞으로 숙인 채 머리카락이 뒤로 흩날리는 측면"}
{"ts": "2026-07-11 20:33:42", "kind": "img", "engine": "gpt-image-2", "mode": "generate", "tag": "s34v2_conti_forest_i2", "refs": [], "size": "1024x1024", "attempt": 1, "dur_s": 165.8, "bytes": 2211120, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/conti7_forest_i2.png", "prompt": "Draw ONE storyboard (conti) sheet: 4 panels made by ONE vertical cut at exactly 50% of the width and ONE horizontal cut at exactly 50% of the height — a 2x2 grid, each panel exactly one quarter of the image.\nSTYLE: quick, rough HAND-DRAWN pencil sketch — loose gestural line\ndrawing in monochrome graphite on white paper, the kind a film\nstoryboard artist dashes off in seconds. NOT photorealistic, no\npainting, no rendering. The drawing itself stays monochrome — the\nONLY colour allowed anywhere is BRIGHT RED, reserved exclusively\nfor movement markings (see below).\n\nTHE LOCATION (same in all drawn panels): a dense Korean mountain forest with thick undergrowth.\n\nPURPOSE: each panel captures only the CAMERA COMPOSITION of one\nshot — framing (close-up / medium / wide), where the subject sits in\nthe frame, and continuity between panels. Keep every panel\nextremely simple: only what matters for composition.\nMOVEMENT MARKINGS IN RED: every figure or object that is MOVING in\na panel gets a clear BRIGHT RED storyboard arrow showing its\ndirection of travel (and a short red path line where the movement\ncrosses the frame); camera moves (pan/tilt/push-in) are marked with\nred camera-move arrows. Static figures and objects get NO arrow.\nRed appears ONLY as these movement markings — never as clothing,\nlighting or shading colour.\n\nGEOMETRY — ANALYSE BEFORE DRAWING: from each panel's Korean shot\ntext, first work out the spatial facts and draw EXACTLY those, never\nre-stage them: (a) each figure's DISTANCE from camera (tight insert /\nclose-up / medium / full / wide — a shot about a hand or an object\nis a tight insert, not a two-shot); (b) each figure's FACING and\nMOVEMENT DIRECTION relative to camera — '뒷모습' means seen from\nBEHIND, moving AWAY from camera into the depth of the frame, not\nsideways; a profile means lateral movement; (c) relative positions\nand distances BETWEEN figures. Keep every established screen\ndirection consistent across panels (180-degree rule): a person who\nleaves in one panel keeps the same on-screen direction wherever the\nmovement appears again.\nSIZE & DEPTH ARE CONTRACTUAL: each panel states every figure's\napparent size in the frame and the explicit near/far depth order.\nDraw exactly those proportions — a farther figure MUST be drawn\nclearly smaller than a nearer one; never equalize figure sizes,\nespecially when several figures share a panel or their paths\nrelate to each other.\nDEPARTING FIGURE — a figure running/walking AWAY must be\nunmistakably departing, never approaching. Draw ALL of these cues\ntogether: seen exactly from behind (back of the head only, no face,\nno chin, no cheek line), drawn SMALLER than nearby figures because\nit has already receded into the distance, one shoe SOLE facing the\ncamera mid-stride, the RED motion arrow starting AT the figure and\npointing DEEPER into the frame toward the vanishing point,\nand short speed lines trailing BEHIND the figure toward the camera.\n\nCONTINUITY: all drawn panels are the SAME single location — fixed\nfeatures (doors, stairs, windows, poles, desks) keep the same\nposition and left/right relationships across panels so the panels\ncut together as one continuous scene.\n\nPANELS (one shot per panel, Korean shot text):\n\nPANEL 1: 한쪽 신발이 벗겨진 한국인 남자가 우거진 수풀 사이를 달리며 한 발을 허공에 내딛고 있는 도중의 전신 구도\n  MOVEMENT (follow exactly): The one-shoed Korean man runs through dense undergrowth while fleeing, driving forward with one foot suspended mid-stride; whether he moves toward or away from the camera is not specified.\n  FIGURES — apparent size & depth order (follow exactly): The man is shown full-body and therefore fills roughly most of the frame height (~3/4); he is the only figure, so he is neither nearer nor farther than another person in frame.\nPANEL 2: 검은 형상의 인영이 허공에 뛰어오른 채 한국인 남자를 향해 두 팔을 뻗고 있는 순간\n  MOVEMENT (follow exactly): The black silhouette lunges through the air toward the Korean man with both arms outstretched, closing the distance to attack him; its direction relative to the camera is not specified.\n  FIGURES — apparent size & depth order (follow exactly): The black silhouette and the man are both visible, but their apparent frame-height sizes are not specified; the silhouette is separated from the man in midair and moving into his space. Neither is explicitly established as NEARER or FARTHER to the camera, though the silhouette is rapidly closing their mutual distance.\nPANEL 3: 형사 무리 한가운데 서서 손가락으로 한쪽을 가리키는 혜수의 상체\n  MOVEMENT (follow exactly): static: Hye-su stands amid the detectives and points with one finger toward one side, while her gaze and torso direction are not otherwise specified.\n  FIGURES — apparent size & depth order (follow exactly): Hye-su is framed from the upper body and fills roughly half the frame height, while the surrounding detectives have no specified apparent sizes. She stands in the middle of their group, but no detective is explicitly established as NEARER or FARTHER than her.\n\nThere are 3 shots but 4 panel slots: draw the shots in\npanels 1..3 and leave the remaining panel(s) COMPLETELY\nBLANK PURE WHITE — empty white paper, not even a frame line inside.\n\nABSOLUTELY NO TEXT anywhere: no words, letters, captions, labels,\nsound effects or watermarks — the ONLY allowed marking is a small\nshot number digit (1, 2, 3) in a corner INSIDE each drawn panel.\nTHE PANEL GRID FILLS THE ENTIRE IMAGE EDGE-TO-EDGE: no outer paper\nmargin, no border area, nothing drawn outside the panels — the\nimage must be mechanically cuttable along the stated cut lines.\nPanels are separated only by thin straight black gutter lines at\nthe exact stated positions; ALL PANELS EXACTLY THE SAME SIZE."}
{"ts": "2026-07-11 20:33:58", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s34v2_conti_forest_nb2", "refs": [], "ref_labels": [], "attempt": 1, "dur_s": 16.5, "bytes": 2805537, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/conti7_forest_nb2.png", "prompt": "Draw ONE storyboard (conti) sheet: 4 panels made by ONE vertical cut at exactly 50% of the width and ONE horizontal cut at exactly 50% of the height — a 2x2 grid, each panel exactly one quarter of the image.\nSTYLE: quick, rough HAND-DRAWN pencil sketch — loose gestural line\ndrawing in monochrome graphite on white paper, the kind a film\nstoryboard artist dashes off in seconds. NOT photorealistic, no\npainting, no rendering. The drawing itself stays monochrome — the\nONLY colour allowed anywhere is BRIGHT RED, reserved exclusively\nfor movement markings (see below).\n\nTHE LOCATION (same in all drawn panels): a dense Korean mountain forest with thick undergrowth.\n\nPURPOSE: each panel captures only the CAMERA COMPOSITION of one\nshot — framing (close-up / medium / wide), where the subject sits in\nthe frame, and continuity between panels. Keep every panel\nextremely simple: only what matters for composition.\nMOVEMENT MARKINGS IN RED: every figure or object that is MOVING in\na panel gets a clear BRIGHT RED storyboard arrow showing its\ndirection of travel (and a short red path line where the movement\ncrosses the frame); camera moves (pan/tilt/push-in) are marked with\nred camera-move arrows. Static figures and objects get NO arrow.\nRed appears ONLY as these movement markings — never as clothing,\nlighting or shading colour.\n\nGEOMETRY — ANALYSE BEFORE DRAWING: from each panel's Korean shot\ntext, first work out the spatial facts and draw EXACTLY those, never\nre-stage them: (a) each figure's DISTANCE from camera (tight insert /\nclose-up / medium / full / wide — a shot about a hand or an object\nis a tight insert, not a two-shot); (b) each figure's FACING and\nMOVEMENT DIRECTION relative to camera — '뒷모습' means seen from\nBEHIND, moving AWAY from camera into the depth of the frame, not\nsideways; a profile means lateral movement; (c) relative positions\nand distances BETWEEN figures. Keep every established screen\ndirection consistent across panels (180-degree rule): a person who\nleaves in one panel keeps the same on-screen direction wherever the\nmovement appears again.\nSIZE & DEPTH ARE CONTRACTUAL: each panel states every figure's\napparent size in the frame and the explicit near/far depth order.\nDraw exactly those proportions — a farther figure MUST be drawn\nclearly smaller than a nearer one; never equalize figure sizes,\nespecially when several figures share a panel or their paths\nrelate to each other.\nDEPARTING FIGURE — a figure running/walking AWAY must be\nunmistakably departing, never approaching. Draw ALL of these cues\ntogether: seen exactly from behind (back of the head only, no face,\nno chin, no cheek line), drawn SMALLER than nearby figures because\nit has already receded into the distance, one shoe SOLE facing the\ncamera mid-stride, the RED motion arrow starting AT the figure and\npointing DEEPER into the frame toward the vanishing point,\nand short speed lines trailing BEHIND the figure toward the camera.\n\nCONTINUITY: all drawn panels are the SAME single location — fixed\nfeatures (doors, stairs, windows, poles, desks) keep the same\nposition and left/right relationships across panels so the panels\ncut together as one continuous scene.\n\nPANELS (one shot per panel, Korean shot text):\n\nPANEL 1: 한쪽 신발이 벗겨진 한국인 남자가 우거진 수풀 사이를 달리며 한 발을 허공에 내딛고 있는 도중의 전신 구도\n  MOVEMENT (follow exactly): The one-shoed Korean man runs through dense undergrowth while fleeing, driving forward with one foot suspended mid-stride; whether he moves toward or away from the camera is not specified.\n  FIGURES — apparent size & depth order (follow exactly): The man is shown full-body and therefore fills roughly most of the frame height (~3/4); he is the only figure, so he is neither nearer nor farther than another person in frame.\nPANEL 2: 검은 형상의 인영이 허공에 뛰어오른 채 한국인 남자를 향해 두 팔을 뻗고 있는 순간\n  MOVEMENT (follow exactly): The black silhouette lunges through the air toward the Korean man with both arms outstretched, closing the distance to attack him; its direction relative to the camera is not specified.\n  FIGURES — apparent size & depth order (follow exactly): The black silhouette and the man are both visible, but their apparent frame-height sizes are not specified; the silhouette is separated from the man in midair and moving into his space. Neither is explicitly established as NEARER or FARTHER to the camera, though the silhouette is rapidly closing their mutual distance.\nPANEL 3: 형사 무리 한가운데 서서 손가락으로 한쪽을 가리키는 혜수의 상체\n  MOVEMENT (follow exactly): static: Hye-su stands amid the detectives and points with one finger toward one side, while her gaze and torso direction are not otherwise specified.\n  FIGURES — apparent size & depth order (follow exactly): Hye-su is framed from the upper body and fills roughly half the frame height, while the surrounding detectives have no specified apparent sizes. She stands in the middle of their group, but no detective is explicitly established as NEARER or FARTHER than her.\n\nThere are 3 shots but 4 panel slots: draw the shots in\npanels 1..3 and leave the remaining panel(s) COMPLETELY\nBLANK PURE WHITE — empty white paper, not even a frame line inside.\n\nABSOLUTELY NO TEXT anywhere: no words, letters, captions, labels,\nsound effects or watermarks — the ONLY allowed marking is a small\nshot number digit (1, 2, 3) in a corner INSIDE each drawn panel.\nTHE PANEL GRID FILLS THE ENTIRE IMAGE EDGE-TO-EDGE: no outer paper\nmargin, no border area, nothing drawn outside the panels — the\nimage must be mechanically cuttable along the stated cut lines.\nPanels are separated only by thin straight black gutter lines at\nthe exact stated positions; ALL PANELS EXACTLY THE SAME SIZE."}
{"ts": "2026-07-11 20:35:52", "kind": "img", "engine": "gpt-image-2", "mode": "generate", "tag": "s34v2_conti_busstop_i2", "refs": [], "size": "1536x1024", "attempt": 1, "dur_s": 113.1, "bytes": 3404387, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/conti7_busstop_i2.png", "prompt": "Draw ONE storyboard (conti) sheet: 2 panels made by ONE vertical cut at exactly 50% of the image width — each panel is exactly half the width and the FULL height (1 row x 2 columns).\nSTYLE: quick, rough HAND-DRAWN pencil sketch — loose gestural line\ndrawing in monochrome graphite on white paper, the kind a film\nstoryboard artist dashes off in seconds. NOT photorealistic, no\npainting, no rendering. The drawing itself stays monochrome — the\nONLY colour allowed anywhere is BRIGHT RED, reserved exclusively\nfor movement markings (see below).\n\nTHE LOCATION (same in all drawn panels): a small seaside bus stop with a bench facing the sea at night on a quiet Korean coastal road.\n\nPURPOSE: each panel captures only the CAMERA COMPOSITION of one\nshot — framing (close-up / medium / wide), where the subject sits in\nthe frame, and continuity between panels. Keep every panel\nextremely simple: only what matters for composition.\nMOVEMENT MARKINGS IN RED: every figure or object that is MOVING in\na panel gets a clear BRIGHT RED storyboard arrow showing its\ndirection of travel (and a short red path line where the movement\ncrosses the frame); camera moves (pan/tilt/push-in) are marked with\nred camera-move arrows. Static figures and objects get NO arrow.\nRed appears ONLY as these movement markings — never as clothing,\nlighting or shading colour.\n\nGEOMETRY — ANALYSE BEFORE DRAWING: from each panel's Korean shot\ntext, first work out the spatial facts and draw EXACTLY those, never\nre-stage them: (a) each figure's DISTANCE from camera (tight insert /\nclose-up / medium / full / wide — a shot about a hand or an object\nis a tight insert, not a two-shot); (b) each figure's FACING and\nMOVEMENT DIRECTION relative to camera — '뒷모습' means seen from\nBEHIND, moving AWAY from camera into the depth of the frame, not\nsideways; a profile means lateral movement; (c) relative positions\nand distances BETWEEN figures. Keep every established screen\ndirection consistent across panels (180-degree rule): a person who\nleaves in one panel keeps the same on-screen direction wherever the\nmovement appears again.\nSIZE & DEPTH ARE CONTRACTUAL: each panel states every figure's\napparent size in the frame and the explicit near/far depth order.\nDraw exactly those proportions — a farther figure MUST be drawn\nclearly smaller than a nearer one; never equalize figure sizes,\nespecially when several figures share a panel or their paths\nrelate to each other.\nDEPARTING FIGURE — a figure running/walking AWAY must be\nunmistakably departing, never approaching. Draw ALL of these cues\ntogether: seen exactly from behind (back of the head only, no face,\nno chin, no cheek line), drawn SMALLER than nearby figures because\nit has already receded into the distance, one shoe SOLE facing the\ncamera mid-stride, the RED motion arrow starting AT the figure and\npointing DEEPER into the frame toward the vanishing point,\nand short speed lines trailing BEHIND the figure toward the camera.\n\nCONTINUITY: all drawn panels are the SAME single location — fixed\nfeatures (doors, stairs, windows, poles, desks) keep the same\nposition and left/right relationships across panels so the panels\ncut together as one continuous scene.\n\nPANELS (one shot per panel, Korean shot text):\n\nPANEL 1: 혜수의 손이 음료수 캔을 쥔 채 수리영 앞으로 내밀어진 순간\n  MOVEMENT (follow exactly): Hye-su extends her hand toward the seated Su-ri-young, presenting the drink can directly in front of her.\n  FIGURES — apparent size & depth order (follow exactly): Hye-su's hand and the drink can form the dominant close object, together filling roughly 1/3 of the frame height; the can and gripping hand occupy essentially the same near plane, while Su-ri-young's position is farther along the direction of the offer.\nPANEL 2: 멀리서 혜수의 전신과 한 발을 공중에 띄운 mid-stride 자세로 달리는 수리영의 뒷모습을 한 프레임에 담은 넓은 구도\n  MOVEMENT (follow exactly): Su-ri-young runs away from Hye-su and away from the camera, seen from behind with one foot airborne mid-stride as she leaves, while Hye-su remains behind watching her.\n  FIGURES — apparent size & depth order (follow exactly): Both women appear small in the wide frame, each roughly 1/5 of the frame height; Hye-su is NEARER to the camera, while Su-ri-young is FARTHER away along her departing path. The distance between them is increasing as Su-ri-young runs ahead and Hye-su stays behind.\n\nABSOLUTELY NO TEXT anywhere: no words, letters, captions, labels,\nsound effects or watermarks — the ONLY allowed marking is a small\nshot number digit (1, 2) in a corner INSIDE each drawn panel.\nTHE PANEL GRID FILLS THE ENTIRE IMAGE EDGE-TO-EDGE: no outer paper\nmargin, no border area, nothing drawn outside the panels — the\nimage must be mechanically cuttable along the stated cut lines.\nPanels are separated only by thin straight black gutter lines at\nthe exact stated positions; ALL PANELS EXACTLY THE SAME SIZE."}
{"ts": "2026-07-11 20:36:07", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s34v2_conti_busstop_nb2", "refs": [], "ref_labels": [], "attempt": 1, "dur_s": 15.2, "bytes": 1896735, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/conti7_busstop_nb2.png", "prompt": "Draw ONE storyboard (conti) sheet: 2 panels made by ONE vertical cut at exactly 50% of the image width — each panel is exactly half the width and the FULL height (1 row x 2 columns).\nSTYLE: quick, rough HAND-DRAWN pencil sketch — loose gestural line\ndrawing in monochrome graphite on white paper, the kind a film\nstoryboard artist dashes off in seconds. NOT photorealistic, no\npainting, no rendering. The drawing itself stays monochrome — the\nONLY colour allowed anywhere is BRIGHT RED, reserved exclusively\nfor movement markings (see below).\n\nTHE LOCATION (same in all drawn panels): a small seaside bus stop with a bench facing the sea at night on a quiet Korean coastal road.\n\nPURPOSE: each panel captures only the CAMERA COMPOSITION of one\nshot — framing (close-up / medium / wide), where the subject sits in\nthe frame, and continuity between panels. Keep every panel\nextremely simple: only what matters for composition.\nMOVEMENT MARKINGS IN RED: every figure or object that is MOVING in\na panel gets a clear BRIGHT RED storyboard arrow showing its\ndirection of travel (and a short red path line where the movement\ncrosses the frame); camera moves (pan/tilt/push-in) are marked with\nred camera-move arrows. Static figures and objects get NO arrow.\nRed appears ONLY as these movement markings — never as clothing,\nlighting or shading colour.\n\nGEOMETRY — ANALYSE BEFORE DRAWING: from each panel's Korean shot\ntext, first work out the spatial facts and draw EXACTLY those, never\nre-stage them: (a) each figure's DISTANCE from camera (tight insert /\nclose-up / medium / full / wide — a shot about a hand or an object\nis a tight insert, not a two-shot); (b) each figure's FACING and\nMOVEMENT DIRECTION relative to camera — '뒷모습' means seen from\nBEHIND, moving AWAY from camera into the depth of the frame, not\nsideways; a profile means lateral movement; (c) relative positions\nand distances BETWEEN figures. Keep every established screen\ndirection consistent across panels (180-degree rule): a person who\nleaves in one panel keeps the same on-screen direction wherever the\nmovement appears again.\nSIZE & DEPTH ARE CONTRACTUAL: each panel states every figure's\napparent size in the frame and the explicit near/far depth order.\nDraw exactly those proportions — a farther figure MUST be drawn\nclearly smaller than a nearer one; never equalize figure sizes,\nespecially when several figures share a panel or their paths\nrelate to each other.\nDEPARTING FIGURE — a figure running/walking AWAY must be\nunmistakably departing, never approaching. Draw ALL of these cues\ntogether: seen exactly from behind (back of the head only, no face,\nno chin, no cheek line), drawn SMALLER than nearby figures because\nit has already receded into the distance, one shoe SOLE facing the\ncamera mid-stride, the RED motion arrow starting AT the figure and\npointing DEEPER into the frame toward the vanishing point,\nand short speed lines trailing BEHIND the figure toward the camera.\n\nCONTINUITY: all drawn panels are the SAME single location — fixed\nfeatures (doors, stairs, windows, poles, desks) keep the same\nposition and left/right relationships across panels so the panels\ncut together as one continuous scene.\n\nPANELS (one shot per panel, Korean shot text):\n\nPANEL 1: 혜수의 손이 음료수 캔을 쥔 채 수리영 앞으로 내밀어진 순간\n  MOVEMENT (follow exactly): Hye-su extends her hand toward the seated Su-ri-young, presenting the drink can directly in front of her.\n  FIGURES — apparent size & depth order (follow exactly): Hye-su's hand and the drink can form the dominant close object, together filling roughly 1/3 of the frame height; the can and gripping hand occupy essentially the same near plane, while Su-ri-young's position is farther along the direction of the offer.\nPANEL 2: 멀리서 혜수의 전신과 한 발을 공중에 띄운 mid-stride 자세로 달리는 수리영의 뒷모습을 한 프레임에 담은 넓은 구도\n  MOVEMENT (follow exactly): Su-ri-young runs away from Hye-su and away from the camera, seen from behind with one foot airborne mid-stride as she leaves, while Hye-su remains behind watching her.\n  FIGURES — apparent size & depth order (follow exactly): Both women appear small in the wide frame, each roughly 1/5 of the frame height; Hye-su is NEARER to the camera, while Su-ri-young is FARTHER away along her departing path. The distance between them is increasing as Su-ri-young runs ahead and Hye-su stays behind.\n\nABSOLUTELY NO TEXT anywhere: no words, letters, captions, labels,\nsound effects or watermarks — the ONLY allowed marking is a small\nshot number digit (1, 2) in a corner INSIDE each drawn panel.\nTHE PANEL GRID FILLS THE ENTIRE IMAGE EDGE-TO-EDGE: no outer paper\nmargin, no border area, nothing drawn outside the panels — the\nimage must be mechanically cuttable along the stated cut lines.\nPanels are separated only by thin straight black gutter lines at\nthe exact stated positions; ALL PANELS EXACTLY THE SAME SIZE."}
{"ts": "2026-07-11 20:37:59", "kind": "img", "engine": "gpt-image-2", "mode": "generate", "tag": "s34v2_conti_rooftop_ext_i2", "refs": [], "size": "1536x1024", "attempt": 1, "dur_s": 112.3, "bytes": 3669968, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/conti7_rooftop_ext_i2.png", "prompt": "Draw ONE storyboard (conti) sheet: 6 panels made by TWO vertical cuts at exactly 1/3 and 2/3 of the width and ONE horizontal cut at exactly 50% of the height — a 3-column x 2-row grid, all six panels exactly equal.\nSTYLE: quick, rough HAND-DRAWN pencil sketch — loose gestural line\ndrawing in monochrome graphite on white paper, the kind a film\nstoryboard artist dashes off in seconds. NOT photorealistic, no\npainting, no rendering. The drawing itself stays monochrome — the\nONLY colour allowed anywhere is BRIGHT RED, reserved exclusively\nfor movement markings (see below).\n\nTHE LOCATION (same in all drawn panels): the exterior of an old Korean multi-family villa: narrow alley and small yard at ground level, an added exterior steel staircase climbing the wall, and a rooftop with a small rooftop room (steel front door, one lit window), a water tank, a clothesline and a low parapet.\n\nPURPOSE: each panel captures only the CAMERA COMPOSITION of one\nshot — framing (close-up / medium / wide), where the subject sits in\nthe frame, and continuity between panels. Keep every panel\nextremely simple: only what matters for composition.\nMOVEMENT MARKINGS IN RED: every figure or object that is MOVING in\na panel gets a clear BRIGHT RED storyboard arrow showing its\ndirection of travel (and a short red path line where the movement\ncrosses the frame); camera moves (pan/tilt/push-in) are marked with\nred camera-move arrows. Static figures and objects get NO arrow.\nRed appears ONLY as these movement markings — never as clothing,\nlighting or shading colour.\n\nGEOMETRY — ANALYSE BEFORE DRAWING: from each panel's Korean shot\ntext, first work out the spatial facts and draw EXACTLY those, never\nre-stage them: (a) each figure's DISTANCE from camera (tight insert /\nclose-up / medium / full / wide — a shot about a hand or an object\nis a tight insert, not a two-shot); (b) each figure's FACING and\nMOVEMENT DIRECTION relative to camera — '뒷모습' means seen from\nBEHIND, moving AWAY from camera into the depth of the frame, not\nsideways; a profile means lateral movement; (c) relative positions\nand distances BETWEEN figures. Keep every established screen\ndirection consistent across panels (180-degree rule): a person who\nleaves in one panel keeps the same on-screen direction wherever the\nmovement appears again.\nSIZE & DEPTH ARE CONTRACTUAL: each panel states every figure's\napparent size in the frame and the explicit near/far depth order.\nDraw exactly those proportions — a farther figure MUST be drawn\nclearly smaller than a nearer one; never equalize figure sizes,\nespecially when several figures share a panel or their paths\nrelate to each other.\nDEPARTING FIGURE — a figure running/walking AWAY must be\nunmistakably departing, never approaching. Draw ALL of these cues\ntogether: seen exactly from behind (back of the head only, no face,\nno chin, no cheek line), drawn SMALLER than nearby figures because\nit has already receded into the distance, one shoe SOLE facing the\ncamera mid-stride, the RED motion arrow starting AT the figure and\npointing DEEPER into the frame toward the vanishing point,\nand short speed lines trailing BEHIND the figure toward the camera.\n\nCONTINUITY: all drawn panels are the SAME single location — fixed\nfeatures (doors, stairs, windows, poles, desks) keep the same\nposition and left/right relationships across panels so the panels\ncut together as one continuous scene.\n\nPANELS (one shot per panel, Korean shot text):\n\nPANEL 1: 현관 철문이 아주 살짝 열린 틈새로 보이는 어두운 실내와 신발 앞코\n  MOVEMENT (follow exactly): The stranger's shoe advances from the rooftop through the barely opened iron doorway into the dark room.\n  FIGURES — apparent size & depth order (follow exactly): Only the shoe tip is visible, small at roughly ~1/6 of frame height; it is NEARER than the dark interior, which recedes FARTHER beyond the door gap.\nPANEL 2: 불이 켜진 옥탑방 창문에 거대한 그림자가 작은 그림자의 어깨 쪽으로 고개를 꺾은 형태가 맺혀 있는 정지 구도\n  MOVEMENT (follow exactly): static: The larger shadow bends its head toward the smaller shadow's shoulder while the smaller figure remains beneath it.\n  FIGURES — apparent size & depth order (follow exactly): The larger shadow fills roughly ~2/3 of the lit window height, while the smaller shadow fills about ~1/3; both lie on the same window plane, but the larger figure overlaps and looms over the smaller one at close contact.\nPANEL 3: 철제 파이프 난간을 손으로 잡은 수리영이 코끝을 찡그린 채 계단 중간에 서 있는 얼굴 클로즈업\n  MOVEMENT (follow exactly): static: Suriyoung pauses midway up the stairs, gripping the pipe railing and facing upward with her nose wrinkled at the sudden smell.\n  FIGURES — apparent size & depth order (follow exactly): Suriyoung's close-up face fills roughly ~2/3 of frame height, with her gripping hand and the railing partially visible; her face and hand are NEARER than the FARTHER stairway behind her.\nPANEL 4: 옥상에 선 수리영의 시선 끝에 반쯤 열려 있는 어두운 현관 철문이 보이는 정면 구도\n  MOVEMENT (follow exactly): static: Suriyoung stands on the rooftop facing the half-open iron entrance door at the end of her gaze.\n  FIGURES — apparent size & depth order (follow exactly): Suriyoung appears in the NEARER rooftop plane at roughly ~1/2 of frame height, while the half-open door is FARTHER ahead and occupies about ~1/3 of frame height; her sightline runs directly toward its dark opening.\nPANEL 5: 수리영이 초점을 잃은 눈으로 허공을 응시하며 서 있는 모습\n  MOVEMENT (follow exactly): static: Suriyoung stands motionless, her body slack and her unfocused eyes directed into empty space.\n  FIGURES — apparent size & depth order (follow exactly): Suriyoung fills roughly ~1/2 of frame height and is the NEAREST visible figure, with the surrounding exterior space receding FARTHER behind her.\nPANEL 6: 고개를 든 채 혜수의 얼굴을 마주보고 있는 수리영의 측면 구도\n  MOVEMENT (follow exactly): static: Suriyoung holds her head raised and faces Hyesu while looking up into her face.\n  FIGURES — apparent size & depth order (follow exactly): Suriyoung and Hyesu each fill roughly ~1/2 of frame height in the side composition; neither is clearly NEARER, as they occupy the same close conversational plane facing each other, with Suriyoung's gaze angled upward.\n\nABSOLUTELY NO TEXT anywhere: no words, letters, captions, labels,\nsound effects or watermarks — the ONLY allowed marking is a small\nshot number digit (1, 2, 3, 4, 5, 6) in a corner INSIDE each drawn panel.\nTHE PANEL GRID FILLS THE ENTIRE IMAGE EDGE-TO-EDGE: no outer paper\nmargin, no border area, nothing drawn outside the panels — the\nimage must be mechanically cuttable along the stated cut lines.\nPanels are separated only by thin straight black gutter lines at\nthe exact stated positions; ALL PANELS EXACTLY THE SAME SIZE."}
{"ts": "2026-07-11 20:38:14", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s34v2_conti_rooftop_ext_nb2", "refs": [], "ref_labels": [], "attempt": 1, "dur_s": 15.2, "bytes": 2700999, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/conti7_rooftop_ext_nb2.png", "prompt": "Draw ONE storyboard (conti) sheet: 6 panels made by TWO vertical cuts at exactly 1/3 and 2/3 of the width and ONE horizontal cut at exactly 50% of the height — a 3-column x 2-row grid, all six panels exactly equal.\nSTYLE: quick, rough HAND-DRAWN pencil sketch — loose gestural line\ndrawing in monochrome graphite on white paper, the kind a film\nstoryboard artist dashes off in seconds. NOT photorealistic, no\npainting, no rendering. The drawing itself stays monochrome — the\nONLY colour allowed anywhere is BRIGHT RED, reserved exclusively\nfor movement markings (see below).\n\nTHE LOCATION (same in all drawn panels): the exterior of an old Korean multi-family villa: narrow alley and small yard at ground level, an added exterior steel staircase climbing the wall, and a rooftop with a small rooftop room (steel front door, one lit window), a water tank, a clothesline and a low parapet.\n\nPURPOSE: each panel captures only the CAMERA COMPOSITION of one\nshot — framing (close-up / medium / wide), where the subject sits in\nthe frame, and continuity between panels. Keep every panel\nextremely simple: only what matters for composition.\nMOVEMENT MARKINGS IN RED: every figure or object that is MOVING in\na panel gets a clear BRIGHT RED storyboard arrow showing its\ndirection of travel (and a short red path line where the movement\ncrosses the frame); camera moves (pan/tilt/push-in) are marked with\nred camera-move arrows. Static figures and objects get NO arrow.\nRed appears ONLY as these movement markings — never as clothing,\nlighting or shading colour.\n\nGEOMETRY — ANALYSE BEFORE DRAWING: from each panel's Korean shot\ntext, first work out the spatial facts and draw EXACTLY those, never\nre-stage them: (a) each figure's DISTANCE from camera (tight insert /\nclose-up / medium / full / wide — a shot about a hand or an object\nis a tight insert, not a two-shot); (b) each figure's FACING and\nMOVEMENT DIRECTION relative to camera — '뒷모습' means seen from\nBEHIND, moving AWAY from camera into the depth of the frame, not\nsideways; a profile means lateral movement; (c) relative positions\nand distances BETWEEN figures. Keep every established screen\ndirection consistent across panels (180-degree rule): a person who\nleaves in one panel keeps the same on-screen direction wherever the\nmovement appears again.\nSIZE & DEPTH ARE CONTRACTUAL: each panel states every figure's\napparent size in the frame and the explicit near/far depth order.\nDraw exactly those proportions — a farther figure MUST be drawn\nclearly smaller than a nearer one; never equalize figure sizes,\nespecially when several figures share a panel or their paths\nrelate to each other.\nDEPARTING FIGURE — a figure running/walking AWAY must be\nunmistakably departing, never approaching. Draw ALL of these cues\ntogether: seen exactly from behind (back of the head only, no face,\nno chin, no cheek line), drawn SMALLER than nearby figures because\nit has already receded into the distance, one shoe SOLE facing the\ncamera mid-stride, the RED motion arrow starting AT the figure and\npointing DEEPER into the frame toward the vanishing point,\nand short speed lines trailing BEHIND the figure toward the camera.\n\nCONTINUITY: all drawn panels are the SAME single location — fixed\nfeatures (doors, stairs, windows, poles, desks) keep the same\nposition and left/right relationships across panels so the panels\ncut together as one continuous scene.\n\nPANELS (one shot per panel, Korean shot text):\n\nPANEL 1: 현관 철문이 아주 살짝 열린 틈새로 보이는 어두운 실내와 신발 앞코\n  MOVEMENT (follow exactly): The stranger's shoe advances from the rooftop through the barely opened iron doorway into the dark room.\n  FIGURES — apparent size & depth order (follow exactly): Only the shoe tip is visible, small at roughly ~1/6 of frame height; it is NEARER than the dark interior, which recedes FARTHER beyond the door gap.\nPANEL 2: 불이 켜진 옥탑방 창문에 거대한 그림자가 작은 그림자의 어깨 쪽으로 고개를 꺾은 형태가 맺혀 있는 정지 구도\n  MOVEMENT (follow exactly): static: The larger shadow bends its head toward the smaller shadow's shoulder while the smaller figure remains beneath it.\n  FIGURES — apparent size & depth order (follow exactly): The larger shadow fills roughly ~2/3 of the lit window height, while the smaller shadow fills about ~1/3; both lie on the same window plane, but the larger figure overlaps and looms over the smaller one at close contact.\nPANEL 3: 철제 파이프 난간을 손으로 잡은 수리영이 코끝을 찡그린 채 계단 중간에 서 있는 얼굴 클로즈업\n  MOVEMENT (follow exactly): static: Suriyoung pauses midway up the stairs, gripping the pipe railing and facing upward with her nose wrinkled at the sudden smell.\n  FIGURES — apparent size & depth order (follow exactly): Suriyoung's close-up face fills roughly ~2/3 of frame height, with her gripping hand and the railing partially visible; her face and hand are NEARER than the FARTHER stairway behind her.\nPANEL 4: 옥상에 선 수리영의 시선 끝에 반쯤 열려 있는 어두운 현관 철문이 보이는 정면 구도\n  MOVEMENT (follow exactly): static: Suriyoung stands on the rooftop facing the half-open iron entrance door at the end of her gaze.\n  FIGURES — apparent size & depth order (follow exactly): Suriyoung appears in the NEARER rooftop plane at roughly ~1/2 of frame height, while the half-open door is FARTHER ahead and occupies about ~1/3 of frame height; her sightline runs directly toward its dark opening.\nPANEL 5: 수리영이 초점을 잃은 눈으로 허공을 응시하며 서 있는 모습\n  MOVEMENT (follow exactly): static: Suriyoung stands motionless, her body slack and her unfocused eyes directed into empty space.\n  FIGURES — apparent size & depth order (follow exactly): Suriyoung fills roughly ~1/2 of frame height and is the NEAREST visible figure, with the surrounding exterior space receding FARTHER behind her.\nPANEL 6: 고개를 든 채 혜수의 얼굴을 마주보고 있는 수리영의 측면 구도\n  MOVEMENT (follow exactly): static: Suriyoung holds her head raised and faces Hyesu while looking up into her face.\n  FIGURES — apparent size & depth order (follow exactly): Suriyoung and Hyesu each fill roughly ~1/2 of frame height in the side composition; neither is clearly NEARER, as they occupy the same close conversational plane facing each other, with Suriyoung's gaze angled upward.\n\nABSOLUTELY NO TEXT anywhere: no words, letters, captions, labels,\nsound effects or watermarks — the ONLY allowed marking is a small\nshot number digit (1, 2, 3, 4, 5, 6) in a corner INSIDE each drawn panel.\nTHE PANEL GRID FILLS THE ENTIRE IMAGE EDGE-TO-EDGE: no outer paper\nmargin, no border area, nothing drawn outside the panels — the\nimage must be mechanically cuttable along the stated cut lines.\nPanels are separated only by thin straight black gutter lines at\nthe exact stated positions; ALL PANELS EXACTLY THE SAME SIZE."}
{"ts": "2026-07-11 20:40:12", "kind": "img", "engine": "gpt-image-2", "mode": "generate", "tag": "s34v2_conti_rooftop_int_i2", "refs": [], "size": "1536x1024", "attempt": 1, "dur_s": 118.1, "bytes": 3308182, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/conti7_rooftop_int_i2.png", "prompt": "Draw ONE storyboard (conti) sheet: 6 panels made by TWO vertical cuts at exactly 1/3 and 2/3 of the width and ONE horizontal cut at exactly 50% of the height — a 3-column x 2-row grid, all six panels exactly equal.\nSTYLE: quick, rough HAND-DRAWN pencil sketch — loose gestural line\ndrawing in monochrome graphite on white paper, the kind a film\nstoryboard artist dashes off in seconds. NOT photorealistic, no\npainting, no rendering. The drawing itself stays monochrome — the\nONLY colour allowed anywhere is BRIGHT RED, reserved exclusively\nfor movement markings (see below).\n\nTHE LOCATION (same in all drawn panels): the interior of a small Korean rooftop home: living room with a small window, kitchenette and dining table; a bedroom with a bed against one wall and a curtained window; a tiny tiled bathroom with a mirror.\n\nPURPOSE: each panel captures only the CAMERA COMPOSITION of one\nshot — framing (close-up / medium / wide), where the subject sits in\nthe frame, and continuity between panels. Keep every panel\nextremely simple: only what matters for composition.\nMOVEMENT MARKINGS IN RED: every figure or object that is MOVING in\na panel gets a clear BRIGHT RED storyboard arrow showing its\ndirection of travel (and a short red path line where the movement\ncrosses the frame); camera moves (pan/tilt/push-in) are marked with\nred camera-move arrows. Static figures and objects get NO arrow.\nRed appears ONLY as these movement markings — never as clothing,\nlighting or shading colour.\n\nGEOMETRY — ANALYSE BEFORE DRAWING: from each panel's Korean shot\ntext, first work out the spatial facts and draw EXACTLY those, never\nre-stage them: (a) each figure's DISTANCE from camera (tight insert /\nclose-up / medium / full / wide — a shot about a hand or an object\nis a tight insert, not a two-shot); (b) each figure's FACING and\nMOVEMENT DIRECTION relative to camera — '뒷모습' means seen from\nBEHIND, moving AWAY from camera into the depth of the frame, not\nsideways; a profile means lateral movement; (c) relative positions\nand distances BETWEEN figures. Keep every established screen\ndirection consistent across panels (180-degree rule): a person who\nleaves in one panel keeps the same on-screen direction wherever the\nmovement appears again.\nSIZE & DEPTH ARE CONTRACTUAL: each panel states every figure's\napparent size in the frame and the explicit near/far depth order.\nDraw exactly those proportions — a farther figure MUST be drawn\nclearly smaller than a nearer one; never equalize figure sizes,\nespecially when several figures share a panel or their paths\nrelate to each other.\nDEPARTING FIGURE — a figure running/walking AWAY must be\nunmistakably departing, never approaching. Draw ALL of these cues\ntogether: seen exactly from behind (back of the head only, no face,\nno chin, no cheek line), drawn SMALLER than nearby figures because\nit has already receded into the distance, one shoe SOLE facing the\ncamera mid-stride, the RED motion arrow starting AT the figure and\npointing DEEPER into the frame toward the vanishing point,\nand short speed lines trailing BEHIND the figure toward the camera.\n\nCONTINUITY: all drawn panels are the SAME single location — fixed\nfeatures (doors, stairs, windows, poles, desks) keep the same\nposition and left/right relationships across panels so the panels\ncut together as one continuous scene.\n\nPANELS (one shot per panel, Korean shot text):\n\nPANEL 1: 옷과 피부가 피투성이가 된 민숙이 바닥에 주저앉아 고개를 푹 숙인 정지 상태\n  MOVEMENT (follow exactly): static: Minsuk remains slumped on the floor in a seated position, her head hanging deeply forward and her body facing generally toward the camera.\n  FIGURES — apparent size & depth order (follow exactly): Minsuk is the sole figure, filling roughly 2/3 of the frame height in the near-to-midground; her lowered head is slightly farther from the camera than her bloodied upper body.\nPANEL 2: 침대 위쪽 벽면에 붉은색 원형 표식이 절반쯤 나타난 상태\n  MOVEMENT (follow exactly): The red mark is appearing along a circular path across the wall above the bed, with only about half of the circle formed and no clockwise or counterclockwise direction specified.\n  FIGURES — apparent size & depth order (follow exactly): No person is visible; the half-formed red circle occupies roughly 1/2 of the frame height on the far wall, while the bed edge is nearer to the camera and the marked wall is farther.\nPANEL 3: 핏자국 없이 깨끗한 방 내부 전경\n  MOVEMENT (follow exactly): static: No one crosses the excessively clean, orderly room, and no bloodstains or corpse are present.\n  FIGURES — apparent size & depth order (follow exactly): No person is visible; the room interior and furnishings fill the frame, with nearer foreground surfaces appearing larger and the back wall and rear furnishings appearing smaller and farther away.\nPANEL 4: 거울 속 반사된 욕실 타일 벽면에 붉은색 원형 표식이 절반쯤 나타난 상태\n  MOVEMENT (follow exactly): The red circular mark is suddenly appearing on the bathroom tile wall seen through the mirror, with about half of its circular path formed and no drawing direction specified.\n  FIGURES — apparent size & depth order (follow exactly): No person is visible; the half-formed red circle appears medium-sized, about 1/3–1/2 of the reflected frame height. The mirror surface is nearer to the camera, while the reflected tiled wall and its mark appear farther away within the reflection.\nPANEL 5: 해질 무렵 옥탑방 거실, 흙 묻은 발자국들이 찍힌 바닥과 쓰러진 식탁 의자들이 보이는 전경\n  MOVEMENT (follow exactly): static: No person is visible; muddy footprints remain across the living-room floor and the dining chairs lie overturned near the table.\n  FIGURES — apparent size & depth order (follow exactly): The living room fills the frame, with the muddy footprints appearing small across the nearer floor and the overturned chairs appearing medium-sized, roughly 1/3–1/2 of frame height, farther inside the room. The footprints form traces through the space, but their travel direction is not established.\nPANEL 6: 붉은 원 한가운데 피 묻은 낡은 흑백 사진이 벽에 꽂혀 있는 타이트 샷\n  MOVEMENT (follow exactly): static: The bloodstained old photograph remains pinned at the center of the red circle on the wall, facing the camera.\n  FIGURES — apparent size & depth order (follow exactly): The photograph is the nearest object, projecting slightly from the farther wall and filling roughly 1/2 of the tight frame height; the surrounding red circle occupies most of the frame behind it.\n\nABSOLUTELY NO TEXT anywhere: no words, letters, captions, labels,\nsound effects or watermarks — the ONLY allowed marking is a small\nshot number digit (1, 2, 3, 4, 5, 6) in a corner INSIDE each drawn panel.\nTHE PANEL GRID FILLS THE ENTIRE IMAGE EDGE-TO-EDGE: no outer paper\nmargin, no border area, nothing drawn outside the panels — the\nimage must be mechanically cuttable along the stated cut lines.\nPanels are separated only by thin straight black gutter lines at\nthe exact stated positions; ALL PANELS EXACTLY THE SAME SIZE."}
{"ts": "2026-07-11 20:40:27", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s34v2_conti_rooftop_int_nb2", "refs": [], "ref_labels": [], "attempt": 1, "dur_s": 14.7, "bytes": 2487933, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/conti7_rooftop_int_nb2.png", "prompt": "Draw ONE storyboard (conti) sheet: 6 panels made by TWO vertical cuts at exactly 1/3 and 2/3 of the width and ONE horizontal cut at exactly 50% of the height — a 3-column x 2-row grid, all six panels exactly equal.\nSTYLE: quick, rough HAND-DRAWN pencil sketch — loose gestural line\ndrawing in monochrome graphite on white paper, the kind a film\nstoryboard artist dashes off in seconds. NOT photorealistic, no\npainting, no rendering. The drawing itself stays monochrome — the\nONLY colour allowed anywhere is BRIGHT RED, reserved exclusively\nfor movement markings (see below).\n\nTHE LOCATION (same in all drawn panels): the interior of a small Korean rooftop home: living room with a small window, kitchenette and dining table; a bedroom with a bed against one wall and a curtained window; a tiny tiled bathroom with a mirror.\n\nPURPOSE: each panel captures only the CAMERA COMPOSITION of one\nshot — framing (close-up / medium / wide), where the subject sits in\nthe frame, and continuity between panels. Keep every panel\nextremely simple: only what matters for composition.\nMOVEMENT MARKINGS IN RED: every figure or object that is MOVING in\na panel gets a clear BRIGHT RED storyboard arrow showing its\ndirection of travel (and a short red path line where the movement\ncrosses the frame); camera moves (pan/tilt/push-in) are marked with\nred camera-move arrows. Static figures and objects get NO arrow.\nRed appears ONLY as these movement markings — never as clothing,\nlighting or shading colour.\n\nGEOMETRY — ANALYSE BEFORE DRAWING: from each panel's Korean shot\ntext, first work out the spatial facts and draw EXACTLY those, never\nre-stage them: (a) each figure's DISTANCE from camera (tight insert /\nclose-up / medium / full / wide — a shot about a hand or an object\nis a tight insert, not a two-shot); (b) each figure's FACING and\nMOVEMENT DIRECTION relative to camera — '뒷모습' means seen from\nBEHIND, moving AWAY from camera into the depth of the frame, not\nsideways; a profile means lateral movement; (c) relative positions\nand distances BETWEEN figures. Keep every established screen\ndirection consistent across panels (180-degree rule): a person who\nleaves in one panel keeps the same on-screen direction wherever the\nmovement appears again.\nSIZE & DEPTH ARE CONTRACTUAL: each panel states every figure's\napparent size in the frame and the explicit near/far depth order.\nDraw exactly those proportions — a farther figure MUST be drawn\nclearly smaller than a nearer one; never equalize figure sizes,\nespecially when several figures share a panel or their paths\nrelate to each other.\nDEPARTING FIGURE — a figure running/walking AWAY must be\nunmistakably departing, never approaching. Draw ALL of these cues\ntogether: seen exactly from behind (back of the head only, no face,\nno chin, no cheek line), drawn SMALLER than nearby figures because\nit has already receded into the distance, one shoe SOLE facing the\ncamera mid-stride, the RED motion arrow starting AT the figure and\npointing DEEPER into the frame toward the vanishing point,\nand short speed lines trailing BEHIND the figure toward the camera.\n\nCONTINUITY: all drawn panels are the SAME single location — fixed\nfeatures (doors, stairs, windows, poles, desks) keep the same\nposition and left/right relationships across panels so the panels\ncut together as one continuous scene.\n\nPANELS (one shot per panel, Korean shot text):\n\nPANEL 1: 옷과 피부가 피투성이가 된 민숙이 바닥에 주저앉아 고개를 푹 숙인 정지 상태\n  MOVEMENT (follow exactly): static: Minsuk remains slumped on the floor in a seated position, her head hanging deeply forward and her body facing generally toward the camera.\n  FIGURES — apparent size & depth order (follow exactly): Minsuk is the sole figure, filling roughly 2/3 of the frame height in the near-to-midground; her lowered head is slightly farther from the camera than her bloodied upper body.\nPANEL 2: 침대 위쪽 벽면에 붉은색 원형 표식이 절반쯤 나타난 상태\n  MOVEMENT (follow exactly): The red mark is appearing along a circular path across the wall above the bed, with only about half of the circle formed and no clockwise or counterclockwise direction specified.\n  FIGURES — apparent size & depth order (follow exactly): No person is visible; the half-formed red circle occupies roughly 1/2 of the frame height on the far wall, while the bed edge is nearer to the camera and the marked wall is farther.\nPANEL 3: 핏자국 없이 깨끗한 방 내부 전경\n  MOVEMENT (follow exactly): static: No one crosses the excessively clean, orderly room, and no bloodstains or corpse are present.\n  FIGURES — apparent size & depth order (follow exactly): No person is visible; the room interior and furnishings fill the frame, with nearer foreground surfaces appearing larger and the back wall and rear furnishings appearing smaller and farther away.\nPANEL 4: 거울 속 반사된 욕실 타일 벽면에 붉은색 원형 표식이 절반쯤 나타난 상태\n  MOVEMENT (follow exactly): The red circular mark is suddenly appearing on the bathroom tile wall seen through the mirror, with about half of its circular path formed and no drawing direction specified.\n  FIGURES — apparent size & depth order (follow exactly): No person is visible; the half-formed red circle appears medium-sized, about 1/3–1/2 of the reflected frame height. The mirror surface is nearer to the camera, while the reflected tiled wall and its mark appear farther away within the reflection.\nPANEL 5: 해질 무렵 옥탑방 거실, 흙 묻은 발자국들이 찍힌 바닥과 쓰러진 식탁 의자들이 보이는 전경\n  MOVEMENT (follow exactly): static: No person is visible; muddy footprints remain across the living-room floor and the dining chairs lie overturned near the table.\n  FIGURES — apparent size & depth order (follow exactly): The living room fills the frame, with the muddy footprints appearing small across the nearer floor and the overturned chairs appearing medium-sized, roughly 1/3–1/2 of frame height, farther inside the room. The footprints form traces through the space, but their travel direction is not established.\nPANEL 6: 붉은 원 한가운데 피 묻은 낡은 흑백 사진이 벽에 꽂혀 있는 타이트 샷\n  MOVEMENT (follow exactly): static: The bloodstained old photograph remains pinned at the center of the red circle on the wall, facing the camera.\n  FIGURES — apparent size & depth order (follow exactly): The photograph is the nearest object, projecting slightly from the farther wall and filling roughly 1/2 of the tight frame height; the surrounding red circle occupies most of the frame behind it.\n\nABSOLUTELY NO TEXT anywhere: no words, letters, captions, labels,\nsound effects or watermarks — the ONLY allowed marking is a small\nshot number digit (1, 2, 3, 4, 5, 6) in a corner INSIDE each drawn panel.\nTHE PANEL GRID FILLS THE ENTIRE IMAGE EDGE-TO-EDGE: no outer paper\nmargin, no border area, nothing drawn outside the panels — the\nimage must be mechanically cuttable along the stated cut lines.\nPanels are separated only by thin straight black gutter lines at\nthe exact stated positions; ALL PANELS EXACTLY THE SAME SIZE."}
{"ts": "2026-07-11 20:42:26", "kind": "img", "engine": "gpt-image-2", "mode": "generate", "tag": "s34v2_conti_mart_i2", "refs": [], "size": "1536x1024", "attempt": 1, "dur_s": 118.5, "bytes": 3486620, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/conti7_mart_i2.png", "prompt": "Draw ONE storyboard (conti) sheet: 6 panels made by TWO vertical cuts at exactly 1/3 and 2/3 of the width and ONE horizontal cut at exactly 50% of the height — a 3-column x 2-row grid, all six panels exactly equal.\nSTYLE: quick, rough HAND-DRAWN pencil sketch — loose gestural line\ndrawing in monochrome graphite on white paper, the kind a film\nstoryboard artist dashes off in seconds. NOT photorealistic, no\npainting, no rendering. The drawing itself stays monochrome — the\nONLY colour allowed anywhere is BRIGHT RED, reserved exclusively\nfor movement markings (see below).\n\nTHE LOCATION (same in all drawn panels): a mid-size Korean supermarket: shelved sales floor inside; the entrance area outside with a bicycle rack and one wall-mounted CCTV camera above; a small back security office with CCTV monitors.\n\nPURPOSE: each panel captures only the CAMERA COMPOSITION of one\nshot — framing (close-up / medium / wide), where the subject sits in\nthe frame, and continuity between panels. Keep every panel\nextremely simple: only what matters for composition.\nMOVEMENT MARKINGS IN RED: every figure or object that is MOVING in\na panel gets a clear BRIGHT RED storyboard arrow showing its\ndirection of travel (and a short red path line where the movement\ncrosses the frame); camera moves (pan/tilt/push-in) are marked with\nred camera-move arrows. Static figures and objects get NO arrow.\nRed appears ONLY as these movement markings — never as clothing,\nlighting or shading colour.\n\nGEOMETRY — ANALYSE BEFORE DRAWING: from each panel's Korean shot\ntext, first work out the spatial facts and draw EXACTLY those, never\nre-stage them: (a) each figure's DISTANCE from camera (tight insert /\nclose-up / medium / full / wide — a shot about a hand or an object\nis a tight insert, not a two-shot); (b) each figure's FACING and\nMOVEMENT DIRECTION relative to camera — '뒷모습' means seen from\nBEHIND, moving AWAY from camera into the depth of the frame, not\nsideways; a profile means lateral movement; (c) relative positions\nand distances BETWEEN figures. Keep every established screen\ndirection consistent across panels (180-degree rule): a person who\nleaves in one panel keeps the same on-screen direction wherever the\nmovement appears again.\nSIZE & DEPTH ARE CONTRACTUAL: each panel states every figure's\napparent size in the frame and the explicit near/far depth order.\nDraw exactly those proportions — a farther figure MUST be drawn\nclearly smaller than a nearer one; never equalize figure sizes,\nespecially when several figures share a panel or their paths\nrelate to each other.\nDEPARTING FIGURE — a figure running/walking AWAY must be\nunmistakably departing, never approaching. Draw ALL of these cues\ntogether: seen exactly from behind (back of the head only, no face,\nno chin, no cheek line), drawn SMALLER than nearby figures because\nit has already receded into the distance, one shoe SOLE facing the\ncamera mid-stride, the RED motion arrow starting AT the figure and\npointing DEEPER into the frame toward the vanishing point,\nand short speed lines trailing BEHIND the figure toward the camera.\n\nCONTINUITY: all drawn panels are the SAME single location — fixed\nfeatures (doors, stairs, windows, poles, desks) keep the same\nposition and left/right relationships across panels so the panels\ncut together as one continuous scene.\n\nPANELS (one shot per panel, Korean shot text):\n\nPANEL 1: 수리영이 마트 유니폼을 입은 한국인 여성 직원을 마주보며 입을 살짝 벌린 측면 구도\n  MOVEMENT (follow exactly): static: Su-ri-young and the female mart employee stand facing each other in profile, with Su-ri-young looking toward the employee as she speaks.\n  FIGURES — apparent size & depth order (follow exactly): Su-ri-young and the female employee each appear medium-sized at roughly ~1/2 of the frame height; neither is clearly NEARER than the other, as they face each other at a short conversational distance on a shared depth plane.\nPANEL 2: 마트 밖으로 나온 수리영이 손에 든 스마트폰 액정을 내려다보는 상체\n  MOVEMENT (follow exactly): static: Having come out of the mart, Su-ri-young stands outside with her head and gaze lowered toward the smartphone in her hand.\n  FIGURES — apparent size & depth order (follow exactly): Su-ri-young's upper body fills roughly ~2/3 of the frame height and is NEARER to the camera, while the mart exterior is FARTHER behind her; the smartphone is small in frame and held close to her body.\nPANEL 3: 수리영과 남자직원이 마트 밖에서 벽면의 CCTV를 올려다보는 뒷모습\n  MOVEMENT (follow exactly): static: Outside the mart, Su-ri-young and the male employee stand with their backs to the camera and tilt their heads upward toward the CCTV camera mounted on the wall.\n  FIGURES — apparent size & depth order (follow exactly): Su-ri-young and the male employee are comparably sized at roughly ~1/2 of the frame height and stand NEARER to the camera, while the wall-mounted CCTV camera is smaller and FARTHER ahead and above them; their parallel sightlines converge on the CCTV position.\nPANEL 4: 수리영이 귀에 스마트폰을 댄 채 정면을 응시하는 상체 클로즈업\n  MOVEMENT (follow exactly): static: Su-ri-young holds a smartphone to her ear and faces forward while calling Hye-su.\n  FIGURES — apparent size & depth order (follow exactly): Su-ri-young's upper body fills roughly ~2/3 to ~3/4 of the frame height and is NEARER to the camera, while the background is FARTHER away; the smartphone is small and pressed beside her face on the same near plane.\nPANEL 5: 마트 총무과 책상 앞, 한국인 남성 보안직원과 혜수가 컴퓨터 모니터를 향해 몸을 기울인 측면\n  MOVEMENT (follow exactly): static: At the administration-office desk, the male security employee and Hye-su lean their bodies toward the computer monitor and look at its screen from the side.\n  FIGURES — apparent size & depth order (follow exactly): The security employee and Hye-su each appear medium-sized at roughly ~1/2 of the frame height, positioned close together at the desk; the nearer one is not specified, while the monitor is FARTHER ahead along both of their converging sightlines.\nPANEL 6: 흑백 CCTV 화면 속 어두운 구석에 사람 형상이 희미하게 찍힌 모니터 클로즈업\n  MOVEMENT (follow exactly): static: A faint human figure remains indistinct in a dark corner of the monochrome CCTV image displayed on the monitor.\n  FIGURES — apparent size & depth order (follow exactly): The monitor image fills nearly the entire frame and is the NEAREST physical object; the faint human shape is very small, roughly ~1/10 or less of the frame height, and appears FARTHER away within the recorded CCTV view.\n\nABSOLUTELY NO TEXT anywhere: no words, letters, captions, labels,\nsound effects or watermarks — the ONLY allowed marking is a small\nshot number digit (1, 2, 3, 4, 5, 6) in a corner INSIDE each drawn panel.\nTHE PANEL GRID FILLS THE ENTIRE IMAGE EDGE-TO-EDGE: no outer paper\nmargin, no border area, nothing drawn outside the panels — the\nimage must be mechanically cuttable along the stated cut lines.\nPanels are separated only by thin straight black gutter lines at\nthe exact stated positions; ALL PANELS EXACTLY THE SAME SIZE."}
{"ts": "2026-07-11 20:42:43", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s34v2_conti_mart_nb2", "refs": [], "ref_labels": [], "attempt": 1, "dur_s": 17.6, "bytes": 3084594, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/conti7_mart_nb2.png", "prompt": "Draw ONE storyboard (conti) sheet: 6 panels made by TWO vertical cuts at exactly 1/3 and 2/3 of the width and ONE horizontal cut at exactly 50% of the height — a 3-column x 2-row grid, all six panels exactly equal.\nSTYLE: quick, rough HAND-DRAWN pencil sketch — loose gestural line\ndrawing in monochrome graphite on white paper, the kind a film\nstoryboard artist dashes off in seconds. NOT photorealistic, no\npainting, no rendering. The drawing itself stays monochrome — the\nONLY colour allowed anywhere is BRIGHT RED, reserved exclusively\nfor movement markings (see below).\n\nTHE LOCATION (same in all drawn panels): a mid-size Korean supermarket: shelved sales floor inside; the entrance area outside with a bicycle rack and one wall-mounted CCTV camera above; a small back security office with CCTV monitors.\n\nPURPOSE: each panel captures only the CAMERA COMPOSITION of one\nshot — framing (close-up / medium / wide), where the subject sits in\nthe frame, and continuity between panels. Keep every panel\nextremely simple: only what matters for composition.\nMOVEMENT MARKINGS IN RED: every figure or object that is MOVING in\na panel gets a clear BRIGHT RED storyboard arrow showing its\ndirection of travel (and a short red path line where the movement\ncrosses the frame); camera moves (pan/tilt/push-in) are marked with\nred camera-move arrows. Static figures and objects get NO arrow.\nRed appears ONLY as these movement markings — never as clothing,\nlighting or shading colour.\n\nGEOMETRY — ANALYSE BEFORE DRAWING: from each panel's Korean shot\ntext, first work out the spatial facts and draw EXACTLY those, never\nre-stage them: (a) each figure's DISTANCE from camera (tight insert /\nclose-up / medium / full / wide — a shot about a hand or an object\nis a tight insert, not a two-shot); (b) each figure's FACING and\nMOVEMENT DIRECTION relative to camera — '뒷모습' means seen from\nBEHIND, moving AWAY from camera into the depth of the frame, not\nsideways; a profile means lateral movement; (c) relative positions\nand distances BETWEEN figures. Keep every established screen\ndirection consistent across panels (180-degree rule): a person who\nleaves in one panel keeps the same on-screen direction wherever the\nmovement appears again.\nSIZE & DEPTH ARE CONTRACTUAL: each panel states every figure's\napparent size in the frame and the explicit near/far depth order.\nDraw exactly those proportions — a farther figure MUST be drawn\nclearly smaller than a nearer one; never equalize figure sizes,\nespecially when several figures share a panel or their paths\nrelate to each other.\nDEPARTING FIGURE — a figure running/walking AWAY must be\nunmistakably departing, never approaching. Draw ALL of these cues\ntogether: seen exactly from behind (back of the head only, no face,\nno chin, no cheek line), drawn SMALLER than nearby figures because\nit has already receded into the distance, one shoe SOLE facing the\ncamera mid-stride, the RED motion arrow starting AT the figure and\npointing DEEPER into the frame toward the vanishing point,\nand short speed lines trailing BEHIND the figure toward the camera.\n\nCONTINUITY: all drawn panels are the SAME single location — fixed\nfeatures (doors, stairs, windows, poles, desks) keep the same\nposition and left/right relationships across panels so the panels\ncut together as one continuous scene.\n\nPANELS (one shot per panel, Korean shot text):\n\nPANEL 1: 수리영이 마트 유니폼을 입은 한국인 여성 직원을 마주보며 입을 살짝 벌린 측면 구도\n  MOVEMENT (follow exactly): static: Su-ri-young and the female mart employee stand facing each other in profile, with Su-ri-young looking toward the employee as she speaks.\n  FIGURES — apparent size & depth order (follow exactly): Su-ri-young and the female employee each appear medium-sized at roughly ~1/2 of the frame height; neither is clearly NEARER than the other, as they face each other at a short conversational distance on a shared depth plane.\nPANEL 2: 마트 밖으로 나온 수리영이 손에 든 스마트폰 액정을 내려다보는 상체\n  MOVEMENT (follow exactly): static: Having come out of the mart, Su-ri-young stands outside with her head and gaze lowered toward the smartphone in her hand.\n  FIGURES — apparent size & depth order (follow exactly): Su-ri-young's upper body fills roughly ~2/3 of the frame height and is NEARER to the camera, while the mart exterior is FARTHER behind her; the smartphone is small in frame and held close to her body.\nPANEL 3: 수리영과 남자직원이 마트 밖에서 벽면의 CCTV를 올려다보는 뒷모습\n  MOVEMENT (follow exactly): static: Outside the mart, Su-ri-young and the male employee stand with their backs to the camera and tilt their heads upward toward the CCTV camera mounted on the wall.\n  FIGURES — apparent size & depth order (follow exactly): Su-ri-young and the male employee are comparably sized at roughly ~1/2 of the frame height and stand NEARER to the camera, while the wall-mounted CCTV camera is smaller and FARTHER ahead and above them; their parallel sightlines converge on the CCTV position.\nPANEL 4: 수리영이 귀에 스마트폰을 댄 채 정면을 응시하는 상체 클로즈업\n  MOVEMENT (follow exactly): static: Su-ri-young holds a smartphone to her ear and faces forward while calling Hye-su.\n  FIGURES — apparent size & depth order (follow exactly): Su-ri-young's upper body fills roughly ~2/3 to ~3/4 of the frame height and is NEARER to the camera, while the background is FARTHER away; the smartphone is small and pressed beside her face on the same near plane.\nPANEL 5: 마트 총무과 책상 앞, 한국인 남성 보안직원과 혜수가 컴퓨터 모니터를 향해 몸을 기울인 측면\n  MOVEMENT (follow exactly): static: At the administration-office desk, the male security employee and Hye-su lean their bodies toward the computer monitor and look at its screen from the side.\n  FIGURES — apparent size & depth order (follow exactly): The security employee and Hye-su each appear medium-sized at roughly ~1/2 of the frame height, positioned close together at the desk; the nearer one is not specified, while the monitor is FARTHER ahead along both of their converging sightlines.\nPANEL 6: 흑백 CCTV 화면 속 어두운 구석에 사람 형상이 희미하게 찍힌 모니터 클로즈업\n  MOVEMENT (follow exactly): static: A faint human figure remains indistinct in a dark corner of the monochrome CCTV image displayed on the monitor.\n  FIGURES — apparent size & depth order (follow exactly): The monitor image fills nearly the entire frame and is the NEAREST physical object; the faint human shape is very small, roughly ~1/10 or less of the frame height, and appears FARTHER away within the recorded CCTV view.\n\nABSOLUTELY NO TEXT anywhere: no words, letters, captions, labels,\nsound effects or watermarks — the ONLY allowed marking is a small\nshot number digit (1, 2, 3, 4, 5, 6) in a corner INSIDE each drawn panel.\nTHE PANEL GRID FILLS THE ENTIRE IMAGE EDGE-TO-EDGE: no outer paper\nmargin, no border area, nothing drawn outside the panels — the\nimage must be mechanically cuttable along the stated cut lines.\nPanels are separated only by thin straight black gutter lines at\nthe exact stated positions; ALL PANELS EXACTLY THE SAME SIZE."}
{"ts": "2026-07-11 20:44:40", "kind": "img", "engine": "gpt-image-2", "mode": "generate", "tag": "s34v2_conti_police_i2", "refs": [], "size": "1536x1024", "attempt": 1, "dur_s": 117.3, "bytes": 3047363, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/conti7_police_i2.png", "prompt": "Draw ONE storyboard (conti) sheet: 6 panels made by TWO vertical cuts at exactly 1/3 and 2/3 of the width and ONE horizontal cut at exactly 50% of the height — a 3-column x 2-row grid, all six panels exactly equal.\nSTYLE: quick, rough HAND-DRAWN pencil sketch — loose gestural line\ndrawing in monochrome graphite on white paper, the kind a film\nstoryboard artist dashes off in seconds. NOT photorealistic, no\npainting, no rendering. The drawing itself stays monochrome — the\nONLY colour allowed anywhere is BRIGHT RED, reserved exclusively\nfor movement markings (see below).\n\nTHE LOCATION (same in all drawn panels): a modest Korean provincial police station: a detectives' office with desks, monitors and a doorway; and the street right in front of the building.\n\nPURPOSE: each panel captures only the CAMERA COMPOSITION of one\nshot — framing (close-up / medium / wide), where the subject sits in\nthe frame, and continuity between panels. Keep every panel\nextremely simple: only what matters for composition.\nMOVEMENT MARKINGS IN RED: every figure or object that is MOVING in\na panel gets a clear BRIGHT RED storyboard arrow showing its\ndirection of travel (and a short red path line where the movement\ncrosses the frame); camera moves (pan/tilt/push-in) are marked with\nred camera-move arrows. Static figures and objects get NO arrow.\nRed appears ONLY as these movement markings — never as clothing,\nlighting or shading colour.\n\nGEOMETRY — ANALYSE BEFORE DRAWING: from each panel's Korean shot\ntext, first work out the spatial facts and draw EXACTLY those, never\nre-stage them: (a) each figure's DISTANCE from camera (tight insert /\nclose-up / medium / full / wide — a shot about a hand or an object\nis a tight insert, not a two-shot); (b) each figure's FACING and\nMOVEMENT DIRECTION relative to camera — '뒷모습' means seen from\nBEHIND, moving AWAY from camera into the depth of the frame, not\nsideways; a profile means lateral movement; (c) relative positions\nand distances BETWEEN figures. Keep every established screen\ndirection consistent across panels (180-degree rule): a person who\nleaves in one panel keeps the same on-screen direction wherever the\nmovement appears again.\nSIZE & DEPTH ARE CONTRACTUAL: each panel states every figure's\napparent size in the frame and the explicit near/far depth order.\nDraw exactly those proportions — a farther figure MUST be drawn\nclearly smaller than a nearer one; never equalize figure sizes,\nespecially when several figures share a panel or their paths\nrelate to each other.\nDEPARTING FIGURE — a figure running/walking AWAY must be\nunmistakably departing, never approaching. Draw ALL of these cues\ntogether: seen exactly from behind (back of the head only, no face,\nno chin, no cheek line), drawn SMALLER than nearby figures because\nit has already receded into the distance, one shoe SOLE facing the\ncamera mid-stride, the RED motion arrow starting AT the figure and\npointing DEEPER into the frame toward the vanishing point,\nand short speed lines trailing BEHIND the figure toward the camera.\n\nCONTINUITY: all drawn panels are the SAME single location — fixed\nfeatures (doors, stairs, windows, poles, desks) keep the same\nposition and left/right relationships across panels so the panels\ncut together as one continuous scene.\n\nPANELS (one shot per panel, Korean shot text):\n\nPANEL 1: 혜수가 스마트폰 액정을 김형사 쪽으로 불쑥 내민 순간\n  MOVEMENT (follow exactly): Hye-su abruptly extends her smartphone from her position toward Detective Kim, presenting Min-sook's saved number to him.\n  FIGURES — apparent size & depth order (follow exactly): Hye-su appears at roughly half-frame height, while the smartphone is small but NEARER to the camera and Detective Kim is FARTHER across the desk-side space; the phone's path closes the distance from Hye-su toward him.\nPANEL 2: 수리영이 두 눈을 크게 뜨고 입을 살짝 벌린 굳은 얼굴 클로즈업\n  MOVEMENT (follow exactly): static: Su-ri-young holds rigid, eyes widened and mouth slightly open, staring toward the disturbing information or images in front of her.\n  FIGURES — apparent size & depth order (follow exactly): Su-ri-young's face fills roughly 2/3 of the frame height; she is the sole visible figure and therefore both the NEAREST and FARTHEST figure in the close-up.\nPANEL 3: 모니터 화면에 바다 지도가 펼쳐져 있고 붉은색 핀과 좌표 숫자가 떠 있는 클로즈업\n  MOVEMENT (follow exactly): static: the monitor displays a sea map with a red location pin, coordinates, and Min-sook's phone-location result.\n  FIGURES — apparent size & depth order (follow exactly): The monitor display fills nearly the entire frame and is the NEAREST visible object; the map, red pin, and coordinate text are all contained on the same FARTHER screen plane, with no person visible.\nPANEL 4: 수리영이 메모지가 들어간 겉옷 주머니에 손을 넣은 채 사무실 출입문을 향해 몸을 돌린 정지 순간\n  MOVEMENT (follow exactly): static: Su-ri-young has one hand in the coat pocket holding the folded note and has turned her body toward the office exit, poised to leave.\n  FIGURES — apparent size & depth order (follow exactly): Su-ri-young appears at roughly half-frame height and is NEARER to the camera, while the office doorway she faces is FARTHER ahead along her intended path.\nPANEL 5: 경찰서 건물 밖 도로 위에서 수리영이 자전거 안장에 앉아 상체를 앞으로 숙인 채 머리카락이 뒤로 흩날리는 측면\n  MOVEMENT (follow exactly): Su-ri-young rides a bicycle laterally along the road outside the police station, seated with her torso pitched forward as her hair streams backward opposite her direction of travel.\n  FIGURES — apparent size & depth order (follow exactly): Su-ri-young and the bicycle together fill roughly half the frame height and are NEARER to the camera, while the police-station exterior and road background are FARTHER; rider and bicycle move together along the same lateral path.\n\nThere are 5 shots but 6 panel slots: draw the shots in\npanels 1..5 and leave the remaining panel(s) COMPLETELY\nBLANK PURE WHITE — empty white paper, not even a frame line inside.\n\nABSOLUTELY NO TEXT anywhere: no words, letters, captions, labels,\nsound effects or watermarks — the ONLY allowed marking is a small\nshot number digit (1, 2, 3, 4, 5) in a corner INSIDE each drawn panel.\nTHE PANEL GRID FILLS THE ENTIRE IMAGE EDGE-TO-EDGE: no outer paper\nmargin, no border area, nothing drawn outside the panels — the\nimage must be mechanically cuttable along the stated cut lines.\nPanels are separated only by thin straight black gutter lines at\nthe exact stated positions; ALL PANELS EXACTLY THE SAME SIZE."}
{"ts": "2026-07-11 20:44:55", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s34v2_conti_police_nb2", "refs": [], "ref_labels": [], "attempt": 1, "dur_s": 14.9, "bytes": 2754997, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/conti7_police_nb2.png", "prompt": "Draw ONE storyboard (conti) sheet: 6 panels made by TWO vertical cuts at exactly 1/3 and 2/3 of the width and ONE horizontal cut at exactly 50% of the height — a 3-column x 2-row grid, all six panels exactly equal.\nSTYLE: quick, rough HAND-DRAWN pencil sketch — loose gestural line\ndrawing in monochrome graphite on white paper, the kind a film\nstoryboard artist dashes off in seconds. NOT photorealistic, no\npainting, no rendering. The drawing itself stays monochrome — the\nONLY colour allowed anywhere is BRIGHT RED, reserved exclusively\nfor movement markings (see below).\n\nTHE LOCATION (same in all drawn panels): a modest Korean provincial police station: a detectives' office with desks, monitors and a doorway; and the street right in front of the building.\n\nPURPOSE: each panel captures only the CAMERA COMPOSITION of one\nshot — framing (close-up / medium / wide), where the subject sits in\nthe frame, and continuity between panels. Keep every panel\nextremely simple: only what matters for composition.\nMOVEMENT MARKINGS IN RED: every figure or object that is MOVING in\na panel gets a clear BRIGHT RED storyboard arrow showing its\ndirection of travel (and a short red path line where the movement\ncrosses the frame); camera moves (pan/tilt/push-in) are marked with\nred camera-move arrows. Static figures and objects get NO arrow.\nRed appears ONLY as these movement markings — never as clothing,\nlighting or shading colour.\n\nGEOMETRY — ANALYSE BEFORE DRAWING: from each panel's Korean shot\ntext, first work out the spatial facts and draw EXACTLY those, never\nre-stage them: (a) each figure's DISTANCE from camera (tight insert /\nclose-up / medium / full / wide — a shot about a hand or an object\nis a tight insert, not a two-shot); (b) each figure's FACING and\nMOVEMENT DIRECTION relative to camera — '뒷모습' means seen from\nBEHIND, moving AWAY from camera into the depth of the frame, not\nsideways; a profile means lateral movement; (c) relative positions\nand distances BETWEEN figures. Keep every established screen\ndirection consistent across panels (180-degree rule): a person who\nleaves in one panel keeps the same on-screen direction wherever the\nmovement appears again.\nSIZE & DEPTH ARE CONTRACTUAL: each panel states every figure's\napparent size in the frame and the explicit near/far depth order.\nDraw exactly those proportions — a farther figure MUST be drawn\nclearly smaller than a nearer one; never equalize figure sizes,\nespecially when several figures share a panel or their paths\nrelate to each other.\nDEPARTING FIGURE — a figure running/walking AWAY must be\nunmistakably departing, never approaching. Draw ALL of these cues\ntogether: seen exactly from behind (back of the head only, no face,\nno chin, no cheek line), drawn SMALLER than nearby figures because\nit has already receded into the distance, one shoe SOLE facing the\ncamera mid-stride, the RED motion arrow starting AT the figure and\npointing DEEPER into the frame toward the vanishing point,\nand short speed lines trailing BEHIND the figure toward the camera.\n\nCONTINUITY: all drawn panels are the SAME single location — fixed\nfeatures (doors, stairs, windows, poles, desks) keep the same\nposition and left/right relationships across panels so the panels\ncut together as one continuous scene.\n\nPANELS (one shot per panel, Korean shot text):\n\nPANEL 1: 혜수가 스마트폰 액정을 김형사 쪽으로 불쑥 내민 순간\n  MOVEMENT (follow exactly): Hye-su abruptly extends her smartphone from her position toward Detective Kim, presenting Min-sook's saved number to him.\n  FIGURES — apparent size & depth order (follow exactly): Hye-su appears at roughly half-frame height, while the smartphone is small but NEARER to the camera and Detective Kim is FARTHER across the desk-side space; the phone's path closes the distance from Hye-su toward him.\nPANEL 2: 수리영이 두 눈을 크게 뜨고 입을 살짝 벌린 굳은 얼굴 클로즈업\n  MOVEMENT (follow exactly): static: Su-ri-young holds rigid, eyes widened and mouth slightly open, staring toward the disturbing information or images in front of her.\n  FIGURES — apparent size & depth order (follow exactly): Su-ri-young's face fills roughly 2/3 of the frame height; she is the sole visible figure and therefore both the NEAREST and FARTHEST figure in the close-up.\nPANEL 3: 모니터 화면에 바다 지도가 펼쳐져 있고 붉은색 핀과 좌표 숫자가 떠 있는 클로즈업\n  MOVEMENT (follow exactly): static: the monitor displays a sea map with a red location pin, coordinates, and Min-sook's phone-location result.\n  FIGURES — apparent size & depth order (follow exactly): The monitor display fills nearly the entire frame and is the NEAREST visible object; the map, red pin, and coordinate text are all contained on the same FARTHER screen plane, with no person visible.\nPANEL 4: 수리영이 메모지가 들어간 겉옷 주머니에 손을 넣은 채 사무실 출입문을 향해 몸을 돌린 정지 순간\n  MOVEMENT (follow exactly): static: Su-ri-young has one hand in the coat pocket holding the folded note and has turned her body toward the office exit, poised to leave.\n  FIGURES — apparent size & depth order (follow exactly): Su-ri-young appears at roughly half-frame height and is NEARER to the camera, while the office doorway she faces is FARTHER ahead along her intended path.\nPANEL 5: 경찰서 건물 밖 도로 위에서 수리영이 자전거 안장에 앉아 상체를 앞으로 숙인 채 머리카락이 뒤로 흩날리는 측면\n  MOVEMENT (follow exactly): Su-ri-young rides a bicycle laterally along the road outside the police station, seated with her torso pitched forward as her hair streams backward opposite her direction of travel.\n  FIGURES — apparent size & depth order (follow exactly): Su-ri-young and the bicycle together fill roughly half the frame height and are NEARER to the camera, while the police-station exterior and road background are FARTHER; rider and bicycle move together along the same lateral path.\n\nThere are 5 shots but 6 panel slots: draw the shots in\npanels 1..5 and leave the remaining panel(s) COMPLETELY\nBLANK PURE WHITE — empty white paper, not even a frame line inside.\n\nABSOLUTELY NO TEXT anywhere: no words, letters, captions, labels,\nsound effects or watermarks — the ONLY allowed marking is a small\nshot number digit (1, 2, 3, 4, 5) in a corner INSIDE each drawn panel.\nTHE PANEL GRID FILLS THE ENTIRE IMAGE EDGE-TO-EDGE: no outer paper\nmargin, no border area, nothing drawn outside the panels — the\nimage must be mechanically cuttable along the stated cut lines.\nPanels are separated only by thin straight black gutter lines at\nthe exact stated positions; ALL PANELS EXACTLY THE SAME SIZE."}
{"ts": "2026-07-11 21:02:23", "kind": "llm", "step": "s34_move_forest", "model": "gpt", "dur_s": 15.7, "system_prompt": "당신은 콘티 작가를 돕는 동선 분석가다. 씬 원문(한국어 전문)과 샷\n목록을 읽고, 각 샷에서 인물이 공간을 어떻게 통과하는지(동선)를\n판정하라. 원문에 근거한 것만 쓰고 발명 금지. 마커나 ID 코드 금지.\n샷마다 두 필드를 채워라:\n1) movement_en — 영어 한 문장: 누가/무엇이 움직이는지, 이동 경로와\n방향(오르는지 내려오는지, 들어가는지 나오는지, 카메라 쪽인지\n반대인지), 몸의 진행 자세, 어디에서 와서 어디로 가는 중인지.\n정지 샷이면 'static:'으로 시작해 시선·몸 방향만.\n★인물의 신체·의식 상태가 원문에 있으면 자세 서술에 반드시 반영:\n죽었거나 의식이 없으면 'lifeless: collapsed, asymmetric, limp\nlimbs, weight fallen' 처럼 무너진 자세로 명시(단정하게 앉거나\n웅크린 자세로 쓰지 말 것), 부상·긴장·공포도 자세에 드러나게.\n2) figures_en — 영어 1~2문장: 프레임에 보이는 인물/핵심 물체\n각각에 대해 (a) 프레임 안 겉보기 크기(화면 높이의 몇 분의 몇\n수준인지: e.g. fills ~2/3 of frame height / small ~1/5), (b) 카메라\n기준 원근 서열(which is NEARER, which is FARTHER — 명시적 비교),\n(c) 인물이 여럿이거나 동선이 얽히면 서로의 경로·거리 관계까지.\n인물 1명 단순 샷이어도 크기와 근원(near/far)은 반드시 기록.", "user_prompt": "씬 원문 전문:\n[씬 1] S#1. 숲속 / 해 질 무렵\nS#1. 숲속 / 해 질 무렵\n우거진 수풀을 헤치며 도망치는. 벗겨진 한쪽 신발.\n허벅지에 커다란 이빨 자국. 피가 흐르고.\n잔뜩 겁에 질린 남자 표정(T.S) 그때 어디선가 쏜살같이 달려온\n검은 인영이 남자를 덮친다. 아아~ 악!!!\n\n\n\n[씬 3] S#3. 현장 / D\nS#3. 현장 / D\n지역 뉴스 화면. 기자는 보이지 않고 멘트만 흘러나온다.\n씬1, 2 현장을 감식하는 경찰, 폴리스 라인을 치고 시신을 수거한다.\n형사무리 속에 사건을 지휘하는 혜수의 모습이 보인다.\n\n기자(E)\n(이어서) 형체를 알아볼 수 없는 시신 두 구가 잇달아\n발견되면서 경찰은 수사본부를 차리고 갑호 비상령을\n내린 상탭니다.\n(중략)\n\n\n\n샷 목록(각각 동선 판정):\nS1sh1: 한쪽 신발이 벗겨진 한국인 남자가 우거진 수풀 사이를 달리며 한 발을 허공에 내딛고 있는 도중의 전신 구도\nS1sh4: 검은 형상의 인영이 허공에 뛰어오른 채 한국인 남자를 향해 두 팔을 뻗고 있는 순간\nS3sh3: 형사 무리 한가운데 서서 손가락으로 한쪽을 가리키는 혜수의 상체"}
{"ts": "2026-07-11 21:02:37", "kind": "llm", "step": "s34_move_busstop", "model": "gpt", "dur_s": 14.1, "system_prompt": "당신은 콘티 작가를 돕는 동선 분석가다. 씬 원문(한국어 전문)과 샷\n목록을 읽고, 각 샷에서 인물이 공간을 어떻게 통과하는지(동선)를\n판정하라. 원문에 근거한 것만 쓰고 발명 금지. 마커나 ID 코드 금지.\n샷마다 두 필드를 채워라:\n1) movement_en — 영어 한 문장: 누가/무엇이 움직이는지, 이동 경로와\n방향(오르는지 내려오는지, 들어가는지 나오는지, 카메라 쪽인지\n반대인지), 몸의 진행 자세, 어디에서 와서 어디로 가는 중인지.\n정지 샷이면 'static:'으로 시작해 시선·몸 방향만.\n★인물의 신체·의식 상태가 원문에 있으면 자세 서술에 반드시 반영:\n죽었거나 의식이 없으면 'lifeless: collapsed, asymmetric, limp\nlimbs, weight fallen' 처럼 무너진 자세로 명시(단정하게 앉거나\n웅크린 자세로 쓰지 말 것), 부상·긴장·공포도 자세에 드러나게.\n2) figures_en — 영어 1~2문장: 프레임에 보이는 인물/핵심 물체\n각각에 대해 (a) 프레임 안 겉보기 크기(화면 높이의 몇 분의 몇\n수준인지: e.g. fills ~2/3 of frame height / small ~1/5), (b) 카메라\n기준 원근 서열(which is NEARER, which is FARTHER — 명시적 비교),\n(c) 인물이 여럿이거나 동선이 얽히면 서로의 경로·거리 관계까지.\n인물 1명 단순 샷이어도 크기와 근원(near/far)은 반드시 기록.", "user_prompt": "씬 원문 전문:\n[씬 15] S#15. 해안가. 버스정류장 부근 / N\nS#15. 해안가. 버스정류장 부근 / N\n바다를 바라보며 멍한 채로 앉아있는 수리영, 여전히 엄마는 전화를 받지않고.\n자신이 진짜로 헛 것을 본 것일까... 헷갈린다. 그럼 엄마는 어디있을까.\n혜수, 사온 음료수를 수리영에게 건네며\n\n혜수\n괜찮아?\n\n수리영\n내가 뭘 잘 못 본 거야, 이모. 그게 맞는 말 같애.\n엄마가 갑자기...그런 일을 당할 리 없잖아\n(훅 일어나며) 집에 가봐야 겠어.\n\n혜수\n엉? 어. 혼자 갈 수 있겠어?\n\n수리영\n응. 나 갈게 (달려간다)\n\n혜수\n(등 뒤에 대고 소리친다) 엄마 보면 나한테 전화 하라고 해!\n\n두 사람을 지켜보는 듯한 카메라 시선.\n\n\n\n샷 목록(각각 동선 판정):\nS15sh2: 혜수의 손이 음료수 캔을 쥔 채 수리영 앞으로 내밀어진 순간\nS15sh6: 멀리서 혜수의 전신과 한 발을 공중에 띄운 mid-stride 자세로 달리는 수리영의 뒷모습을 한 프레임에 담은 넓은 구도"}
{"ts": "2026-07-11 21:03:03", "kind": "llm", "step": "s34_move_rooftop_ext", "model": "gpt", "dur_s": 26.4, "system_prompt": "당신은 콘티 작가를 돕는 동선 분석가다. 씬 원문(한국어 전문)과 샷\n목록을 읽고, 각 샷에서 인물이 공간을 어떻게 통과하는지(동선)를\n판정하라. 원문에 근거한 것만 쓰고 발명 금지. 마커나 ID 코드 금지.\n샷마다 두 필드를 채워라:\n1) movement_en — 영어 한 문장: 누가/무엇이 움직이는지, 이동 경로와\n방향(오르는지 내려오는지, 들어가는지 나오는지, 카메라 쪽인지\n반대인지), 몸의 진행 자세, 어디에서 와서 어디로 가는 중인지.\n정지 샷이면 'static:'으로 시작해 시선·몸 방향만.\n★인물의 신체·의식 상태가 원문에 있으면 자세 서술에 반드시 반영:\n죽었거나 의식이 없으면 'lifeless: collapsed, asymmetric, limp\nlimbs, weight fallen' 처럼 무너진 자세로 명시(단정하게 앉거나\n웅크린 자세로 쓰지 말 것), 부상·긴장·공포도 자세에 드러나게.\n2) figures_en — 영어 1~2문장: 프레임에 보이는 인물/핵심 물체\n각각에 대해 (a) 프레임 안 겉보기 크기(화면 높이의 몇 분의 몇\n수준인지: e.g. fills ~2/3 of frame height / small ~1/5), (b) 카메라\n기준 원근 서열(which is NEARER, which is FARTHER — 명시적 비교),\n(c) 인물이 여럿이거나 동선이 얽히면 서로의 경로·거리 관계까지.\n인물 1명 단순 샷이어도 크기와 근원(near/far)은 반드시 기록.", "user_prompt": "씬 원문 전문:\n[씬 10] S#10. 옥탑방 / N\nS#10. 옥탑방 / N\n그 시각. 옥탑방 옥상. 물탱크. 바람에 빨랫줄이 툭- 툭-\n평상에 놓인 말린 석창포가 바람에 날리는데...\n말린 잎이 걸어오는 낯선 남자의 신발 위를 스친다.\n남자의 긴 그림자. (얼굴은 보이지 않는다)\n\n신발은 옥탑방 철문 현관 앞에 멈춰 선다.\n문틈에 낀 광고 전단지.\n전단지를 뽑아서 손가락으로 문틈에 꾹 밀어 넣는다.\n‘철컥’ 하고 잠금 새가 풀리는 소리.\n문이 미세하게 열리고 안으로 들어가는 남자.\n창문에 비친 그림자. 민숙을 덮쳐 어깨를 물어뜯는 듯한 모습 ‘아악-’\n\n\n\n[씬 11] S#11. 옥탑 방 밖 / N\nS#11. 옥탑 방 밖 / N\n자전거를 타고 골목길을 달리는 수리영.\n다세대 빌라 문을 열고 들어와 마당 후미진 곳에 자전거를 대충 세우고,\n옥탑방과 연결되는 계단을 급히 오른다.\n\n갑자기 훅- 느껴지는 역겨운 냄새. 뭐지?\n옥상에 올라와 보니 반쯤 열린 현관 철문.\n\n\n\n[씬 13] S#13. 옥탑방 외곽 / N\nS#13. 옥탑방 외곽 / N\n비명을 지르며 옥탑방을 빠져나오는 수리영, 허겁지겁 계단을 내려간다.\n동시에 사이렌이 울리고~. (포즈)\n차에서 내린 혜수(40대 중반, 여자, 경위) 초점을 잃고 멍하니 서있는\n수리영의 모습을 발견하고 달려간다.\n\n혜수\n영아? 왜! 무슨 일이야?\n\n수리영\n(올라다보며) 엄마가, 엄마가... 죽어있어.\n\n혜수\n(놀라) 뭐?!\n\n옥탑 방으로 뛰어 올라가는 혜수와 후배 형사(30대 남/ 이하 김형사)\n\n\n\n샷 목록(각각 동선 판정):\nS10sh6: 현관 철문이 아주 살짝 열린 틈새로 보이는 어두운 실내와 신발 앞코\nS10sh7: 불이 켜진 옥탑방 창문에 거대한 그림자가 작은 그림자의 어깨 쪽으로 고개를 꺾은 형태가 맺혀 있는 정지 구도\nS11sh4: 철제 파이프 난간을 손으로 잡은 수리영이 코끝을 찡그린 채 계단 중간에 서 있는 얼굴 클로즈업\nS11sh5: 옥상에 선 수리영의 시선 끝에 반쯤 열려 있는 어두운 현관 철문이 보이는 정면 구도\nS13sh4: 수리영이 초점을 잃은 눈으로 허공을 응시하며 서 있는 모습\nS13sh6: 고개를 든 채 혜수의 얼굴을 마주보고 있는 수리영의 측면 구도"}
{"ts": "2026-07-11 21:03:22", "kind": "llm", "step": "s34_move_rooftop_int", "model": "gpt", "dur_s": 19.1, "system_prompt": "당신은 콘티 작가를 돕는 동선 분석가다. 씬 원문(한국어 전문)과 샷\n목록을 읽고, 각 샷에서 인물이 공간을 어떻게 통과하는지(동선)를\n판정하라. 원문에 근거한 것만 쓰고 발명 금지. 마커나 ID 코드 금지.\n샷마다 두 필드를 채워라:\n1) movement_en — 영어 한 문장: 누가/무엇이 움직이는지, 이동 경로와\n방향(오르는지 내려오는지, 들어가는지 나오는지, 카메라 쪽인지\n반대인지), 몸의 진행 자세, 어디에서 와서 어디로 가는 중인지.\n정지 샷이면 'static:'으로 시작해 시선·몸 방향만.\n★인물의 신체·의식 상태가 원문에 있으면 자세 서술에 반드시 반영:\n죽었거나 의식이 없으면 'lifeless: collapsed, asymmetric, limp\nlimbs, weight fallen' 처럼 무너진 자세로 명시(단정하게 앉거나\n웅크린 자세로 쓰지 말 것), 부상·긴장·공포도 자세에 드러나게.\n2) figures_en — 영어 1~2문장: 프레임에 보이는 인물/핵심 물체\n각각에 대해 (a) 프레임 안 겉보기 크기(화면 높이의 몇 분의 몇\n수준인지: e.g. fills ~2/3 of frame height / small ~1/5), (b) 카메라\n기준 원근 서열(which is NEARER, which is FARTHER — 명시적 비교),\n(c) 인물이 여럿이거나 동선이 얽히면 서로의 경로·거리 관계까지.\n인물 1명 단순 샷이어도 크기와 근원(near/far)은 반드시 기록.", "user_prompt": "씬 원문 전문:\n[씬 12] S#12. 옥탑방 안 / N\nS#12. 옥탑방 안 / N\n/거실\n‘엄마?’를 부르며 들어오는 수리영,\n끓다 식은 냄비. 켜져 있는 TV. 희미한 거실 스탠드 불빛,\n\n/민숙 방\n안방 문을 여는데... 없다.\n거실 식탁에 놓여있는 찻잔 두 개. 하나는 엎어져있다.\n\n/수리영 방\n마지막으로 자기 방문을 연다\n헉!- 여기저기 핏자국. 바닥에 흥건한 혈흔.\n피묻은 발자국은 커튼으로 이어져 있다\n호흡을 가두고 커튼을 젖히자\n앉은 채로 고개를 떨군 채 죽어있는 엄마- 민숙!!!!\n\n수리영\n(달려가) 어어어어----엄마\n\n충격에 온 몸이 얼어붙은 수리영,\n살점이 뜯긴 어깨와 쇄골, 마치 동물에게 물어뜯긴 듯한 거친 상처가 고스란히\n드러나있다. 덜렁거리는 살점과 뜯겨진 부위에 흘러내리는 피.\n\n수리영\n(놀라 뒤로 주춤) 어-어-어- 엄마….\n\n부들부들 떨며 핸드폰을 누른다. 2번 혜수이모\n\n수리영\n받아, 이모. 받아….\n\n혜수(E)\n영아, 영아, 왜?\n\n답은 안 나오고… 엄마 손안에 구겨진 사진 한 장이 보인다.\n다가가 사진을 꺼내는데 엄마 손목에 있던 문신이 붉은색으로 변한다.\n헉! 호흡이 빨라지고... 침대 위 벽에 붉은 원이 생겨난다\n(마치 누군가 붓으로 벽에 원으로 그리는 것처럼).\n소름끼치는 으아악---!\n\n\n\n[씬 14] S#14. 옥탑방 안 / N\nS#14. 옥탑방 안 / N\n/현관\n집안 여기저기를 확인하면서 나오는 형사와 혜수\n\n김형사\n(허탈한 표정) 없는데.. 아무 것도.\n\n혜수\n(뒤따라온 수리영에게) 영아, 없어. 뭘 봤는데...?\n\n어? 수리영, 부리나케 방 안으로 뛰어 들어간다.\n\n/수리영 방 안\n지나칠 정도로 깨끗하게 정돈된 방안. 핏자국도 보이지 않고,\n침대 위에 붉은 표식은 물론 커튼 뒤의 시신도 감쪽 같이 사라졌다.\n얼굴이 파리해지는 수리영. ‘어----?’ ‘분명히 봤는데...’\n\n뛰쳐나가 식탁으로 가본다. 식탁 역시 깨끗한.\n\n수리영\n여기 찻잔도 두 개 있었고...\n\n김형사\n(답답) 허 참! 죽은 사람이 발이 달렸을 리도 없고. 쯧쯧\n그러게 살인사건은 자세하게 보도하면 안 된다구요...(궁시렁)\n이봐요. 학생? 장난전화 하면 안 되는 거 몰라? (짜증)\n안 그래도 살인사건으로 난리도 아닌데...\n\n혜수\n(김형사 째리고) 김형사. 먼저 가 있어. (김형사 나가면)\n(수리영 어깨를 어루만지며) 영아.\n\n수리영\n엄마(시신), 어디갔을까? 분명히 봤는데...\n\n혜수\n네가 요즘 과로했잖아. 공부에다 알바까지...\n악몽을 꾼 걸 수도 있으니... 바람이나 쐬러 가자.\n수리영 방안에 놓여진 백팩, 인형. 약간씩 위치가 달라진.\n(시신을 발견했을 때와 다른)\n\n\n\n[씬 18] S#18. 안방 안 / D\nS#18. 안방 안 / D\n침대에 머리를 대고 앉아있는 수리영, 밤새 엄마를 기다리다 깜박 졸았다\n고양이 울음소리에 번쩍 눈을 뜨고, ‘엄마? ’혹시나 해서 집안을 살피지만\n아무런 인기척도 보이지 않는다\n\n/수리영 방안\n닫혀있는 자신의 방을 바라본다.\n[F.B: 1부12씬] 커튼 뒤에 죽어있던 엄마. 상처. 혈흔\n\n크게 심호흡하고 조심스럽게 문을 연다.\n지나치리만큼 깨끗하게 정돈된 방안.\n창문에 다가가 커튼을 확 열어젖힌다. 시신은 없다.\n\n한숨 후~ 다행이긴 한데.\n그때, 울리는 폰 벨소리, 화들짝 놀라는 수리영. 달려가 받자마자\n\n수리영\n엄마?\n\n혜수(E)\n아직이니?\n\n수리영\n응. 아무래도 이상해. 이럴 리가 없잖아! 우리 엄마가.\n이모, 사고 난 게 분명해\n\n혜수(E)\n실종신고 냈어. 이모가 엄마 폰 위치추적하고 있으니까\n조금만 기다려 별일 없을 거야. 알았지?\n\n수리영\n응.\n\n무작정 기다리는게 불안한 수리영,\n인형이 달린 자신의 백팩을 꺼내 나온다\n\n/욕실 안\n얼굴을 씻고 거울을 보며\n\n수리영\n엄마, 도대체 어딨는 거야...\n\n거울에 비친 욕실 벽에 갑자기 또 발생하는 붉은 원.\n호흡이 가빠지고... 훅 고개를 돌려 벽을 보는 수리영\n거짓말처럼 사라지고 없다.\n거실로 튀어나와 물 한컵 마시고 식탁에 놓인 엄마와 수리영의 사진을 보는데...\n환하게 웃는 엄마 얼굴이 뭉개져 흘러내린다\n\n수리영\n아아악~~~ (다시보니 멀쩡하다) 나 왜 이러는 거지.\n(자신의 뺨을 치며) 정신 차려 수리영!\n\n\n\n[씬 25] S#25. 옥탑방 안 / 해질 무렵\nS#25. 옥탑방 안 / 해질 무렵\n누군가 다녀간 흔적으로 보이는 발자국들.\n다시 호흡이 가빠지는 수리영.\n집안에서 뭔가를 찾기 위해 가재도구를 온통 헤집은 것으로 보인다.\n거실에 난 창은 열려있고, 식탁 의자들을 쓰러져있다.\n\n/수리영 방\n열린 자신의 방을 힐끗 보는데\n벽에 또 붉은 원이 그려져있다. 그 가운데 꽂혀있는 피묻은 사진 한 장!\n사진을 떼어서 자세히 본다.\n어? 그 사진!!!\n\n[F.B: 1부 12씬] 죽은 엄마의 손에 구겨져있던 바로 그 사진이다.\n7-80년대 쯤 보이는 시골 식당과 지붕위에 둥근 원이 설치된 (마치 십자가처럼)\n식당 앞에는 어린 여자애 둘(12살)이 앉아있다. 그중에 한 아이는 분명히\n어릴 적 엄마다.\n\n침대에 털썩 주저앉는 수리영. 연속해서 벌어지는 기이한 상황에 정신이 혼미한\n엉망이 된 집 안을 한번 획 둘러보는 수리영,\n마치 이끌리듯 백팩을 메고 밖으로 나간다. 사진을 손에 꼭 쥔 채.\n\n\n\n샷 목록(각각 동선 판정):\nS12sh11: 옷과 피부가 피투성이가 된 민숙이 바닥에 주저앉아 고개를 푹 숙인 정지 상태\nS12sh21: 침대 위쪽 벽면에 붉은색 원형 표식이 절반쯤 나타난 상태\nS14sh5: 핏자국 없이 깨끗한 방 내부 전경\nS18sh11: 거울 속 반사된 욕실 타일 벽면에 붉은색 원형 표식이 절반쯤 나타난 상태\nS25sh1: 해질 무렵 옥탑방 거실, 흙 묻은 발자국들이 찍힌 바닥과 쓰러진 식탁 의자들이 보이는 전경\nS25sh5: 붉은 원 한가운데 피 묻은 낡은 흑백 사진이 벽에 꽂혀 있는 타이트 샷"}
{"ts": "2026-07-11 21:03:50", "kind": "llm", "step": "s34_move_mart", "model": "gpt", "dur_s": 28.2, "system_prompt": "당신은 콘티 작가를 돕는 동선 분석가다. 씬 원문(한국어 전문)과 샷\n목록을 읽고, 각 샷에서 인물이 공간을 어떻게 통과하는지(동선)를\n판정하라. 원문에 근거한 것만 쓰고 발명 금지. 마커나 ID 코드 금지.\n샷마다 두 필드를 채워라:\n1) movement_en — 영어 한 문장: 누가/무엇이 움직이는지, 이동 경로와\n방향(오르는지 내려오는지, 들어가는지 나오는지, 카메라 쪽인지\n반대인지), 몸의 진행 자세, 어디에서 와서 어디로 가는 중인지.\n정지 샷이면 'static:'으로 시작해 시선·몸 방향만.\n★인물의 신체·의식 상태가 원문에 있으면 자세 서술에 반드시 반영:\n죽었거나 의식이 없으면 'lifeless: collapsed, asymmetric, limp\nlimbs, weight fallen' 처럼 무너진 자세로 명시(단정하게 앉거나\n웅크린 자세로 쓰지 말 것), 부상·긴장·공포도 자세에 드러나게.\n2) figures_en — 영어 1~2문장: 프레임에 보이는 인물/핵심 물체\n각각에 대해 (a) 프레임 안 겉보기 크기(화면 높이의 몇 분의 몇\n수준인지: e.g. fills ~2/3 of frame height / small ~1/5), (b) 카메라\n기준 원근 서열(which is NEARER, which is FARTHER — 명시적 비교),\n(c) 인물이 여럿이거나 동선이 얽히면 서로의 경로·거리 관계까지.\n인물 1명 단순 샷이어도 크기와 근원(near/far)은 반드시 기록.", "user_prompt": "씬 원문 전문:\n[씬 8] S#8. 번화가·대형 마트 / 해질 무렵\nS#8. 번화가·대형 마트 / 해질 무렵\n포구와 인접해 있는 번화가, 네온사인, 택시, 호객 행위, 길거리 포장마차\n사이로 능숙하게 자전거를 모는 수리영.\n\n마트에 도착해 자전거를 세우고, 안으로 들어간다.\n민숙은 이 마트의 진열담당 직원. 이리저리 엄마를 찾아보지만 보이지 않는다\n평소 민숙과 가깝게 지냈던 직원에게 다가가\n\n수리영\n아줌마 안녕하세요? 그런데 우리 엄마는 어딨어요?\n\n여직원\n영이구나. 어? 아까 너 만나러 간다고 조퇴했는데. 길이\n엇갈렸나 보네.\n\n수리영\n(헷갈림) 어? 여기서 만나기로 했는데.\n\n남자 직원\n(박스 들고와 진열하면서) 민숙씨 아까 밖에서 누구랑\n얘기하는 거 봤는데...\n\n수리영\n(의아) 네? 누구랑요?\n\n직원\n그것까진 (모르지)...\n\n여직원\n집에 간 거 아냐? 얼른 가봐.\n\n수리영 마트 밖을 나오면서 연락을 취해보지만 받지않는다.\n일단 집으로-\n\n\n\n[씬 19] S#19. 마트 / D\nS#19. 마트 / D\n이른 아침, 아직은 한산한 마트 안.\n자전거를 주차하고 안으로 들어가는 수리영.\n마트 여기저기를 돌아다니며 어제 만났던 남자 직원을 찾는다\n\n수리영\n아저씨, 저 어제 봤죠? 강민숙씨 딸.\n\n남자직원\n어? 그래. 엄마 오늘도 결근했는데... 무슨 일 있어?\n\n수리영\n(답하지 않고 대신) 어제 저한테, 우리 엄마가 누군가와 얘길\n나누는 걸 봤다고 하셨죠?\n\n남자직원\n응. 남자였던 거 같은데.\n\n수리영\n남자요? 혹시 CCTV 같은 거 볼 수 있을까요?\n\n남자직원\n그게 CCTV에 찍혔을까.\n\n/ 마트 밖\n엄마와 남자 직원CCTV 위치를 확인하다. 찍혔을 만한 위치다.\n수리영, 혜수에게 전화 걸어 상황을 설명한다.\n\n\n\n[씬 20] S#20. 마트 총무과 / 실내\nS#20. 마트 총무과 / 실내\nCCTV화면을 돌려보는 보안팀 직원과 혜수,\n뒤에서 초조한 모습으로 화면을 주시하는 수리영\n\n보안직원\n이거네요. (갸우뚱) 근데 왜 이리 어둡지. 이 부분만 더 안\n보이네. 잘 보면 남자와 얘길 나누는 거 같긴 하죠. 뭐 보이세요?\n\n몇 번을 다시 돌려보지만 보안직원 말대로 그 부분만 유독 어두워\n식별이 불가능하다. 수리영 불안이 깊어지고.\n\n혜수\n흠... 일단 어제 CCTV 전체 잠깐 가져가도 될까요?\n복사하고 돌려드릴테니까.\n\n보안직원\n그러시죠.\n\n\n\n샷 목록(각각 동선 판정):\nS8sh3: 수리영이 마트 유니폼을 입은 한국인 여성 직원을 마주보며 입을 살짝 벌린 측면 구도\nS8sh5: 마트 밖으로 나온 수리영이 손에 든 스마트폰 액정을 내려다보는 상체\nS19sh5: 수리영과 남자직원이 마트 밖에서 벽면의 CCTV를 올려다보는 뒷모습\nS19sh6: 수리영이 귀에 스마트폰을 댄 채 정면을 응시하는 상체 클로즈업\nS20sh1: 마트 총무과 책상 앞, 한국인 남성 보안직원과 혜수가 컴퓨터 모니터를 향해 몸을 기울인 측면\nS20sh3: 흑백 CCTV 화면 속 어두운 구석에 사람 형상이 희미하게 찍힌 모니터 클로즈업"}
{"ts": "2026-07-11 21:04:18", "kind": "llm", "step": "s34_move_police", "model": "gpt", "dur_s": 27.6, "system_prompt": "당신은 콘티 작가를 돕는 동선 분석가다. 씬 원문(한국어 전문)과 샷\n목록을 읽고, 각 샷에서 인물이 공간을 어떻게 통과하는지(동선)를\n판정하라. 원문에 근거한 것만 쓰고 발명 금지. 마커나 ID 코드 금지.\n샷마다 두 필드를 채워라:\n1) movement_en — 영어 한 문장: 누가/무엇이 움직이는지, 이동 경로와\n방향(오르는지 내려오는지, 들어가는지 나오는지, 카메라 쪽인지\n반대인지), 몸의 진행 자세, 어디에서 와서 어디로 가는 중인지.\n정지 샷이면 'static:'으로 시작해 시선·몸 방향만.\n★인물의 신체·의식 상태가 원문에 있으면 자세 서술에 반드시 반영:\n죽었거나 의식이 없으면 'lifeless: collapsed, asymmetric, limp\nlimbs, weight fallen' 처럼 무너진 자세로 명시(단정하게 앉거나\n웅크린 자세로 쓰지 말 것), 부상·긴장·공포도 자세에 드러나게.\n2) figures_en — 영어 1~2문장: 프레임에 보이는 인물/핵심 물체\n각각에 대해 (a) 프레임 안 겉보기 크기(화면 높이의 몇 분의 몇\n수준인지: e.g. fills ~2/3 of frame height / small ~1/5), (b) 카메라\n기준 원근 서열(which is NEARER, which is FARTHER — 명시적 비교),\n(c) 인물이 여럿이거나 동선이 얽히면 서로의 경로·거리 관계까지.\n인물 1명 단순 샷이어도 크기와 근원(near/far)은 반드시 기록.", "user_prompt": "씬 원문 전문:\n[씬 16] S#16. 경찰서 사무실 / N\nS#16. 경찰서 사무실 / N\n사무실 안으로 들어오면서 민숙에게 전화를 거는 혜수,\n계속 무응답이다. 수리영에게 내색은 안했지만 왠지 불길한.\n사무실 안에는 김형사 혼자 당직 근무 중이다.\n\n김형사\n그 애는 요? 갔어요?\n\n혜수\n(핸드폰에 저장된 민숙번호 보여주며) 이 번호 위치 좀 따봐.\n\n김형사\n게 엄마예요? (투덜) 오늘은 좀 기다려보시죠.\n\n혜수\n아냐. 딸과의 약속을 어기고 이렇게 연락이 안 될 애가 아냐.\n갈 곳도, 아는 사람도 별로 없는 애야. 밖에 나다니는 스타일도\n아니고.... 이상해, 예감이 안 좋아.\n\n\n\n[씬 21] S#21. 경찰서 안 / D\nS#21. 경찰서 안 / D\n경찰서 전경.\n수리영과 함께 사무실 안으로 들어오는 혜수,\n자신을 마뜩치 않게 보는 김형사에게 공손하게 인사하는.\n\n김형사\n마침 잘 왔네. (서류 보여주며) 실종신고서야. 여기 사인하고.\n통화의뢰도 할거지? 여기도 사인하고.\n\n혜수\n(김형사에게) 휴대전화 위치 확인 됐어?\n\n김형사\n(사인서류 들고) 이거 전송하면 보내줄 거예요.(나간다)\n\n들어오는 김형사\n\n김형사\n빨리 답 달라고 재촉했으니까... (짜증) 선배님, 회의.\n살인사건으로 초비상인데. 지금 이러고 있을 때가 (아니지\n않나)..\n\n혜수\n(시계보더니 난감한 얼굴로 수리영보면서)... 여기 내 자리에\n앉아서 잠깐 기다려. 저 커피 마셔도 돼. 괜찮지? 금방 올게\n\n아니나 다를까, ‘빨리 안들어오고 뭐해!’ 팀장 소리치고 형사들 다들\n우르르 몰려 나간다.\n사무실에 홀로 앉아있는 수리영.\n혜수 책상위에는 살인사건(1부 1,2,3씬) 확대 사진들이 어지럽게 널려있다.\n넘겨보며 놀라는 수리영, 환각상태에서 본 엄마의 시신모습과\n너무도 흡사한 - 목, 어깨, 얼굴등 살점이 떨어져 보는 것만으로도 끔찍하다.\n이때, 띠링- 김형사 모니터에서 뭔가 뜬다.\n주위를 둘러본다. 아무도 없는 것을 확인하고 수리영 망설이다가 커서를 누른다\n엄마 폰 위치추적 결과다.\n\n<화면내용>\n실종 강민숙(41세)\n핸드폰 번호 (010-000-0000) LAST LOCATION\n해상 지도위에 좌표. 37.484400 N / 126. 072486 E\nTimestamp 2026-02-18 11:21:08\nSource:GPS /Network\nStatus: offline\n\n‘바다라고?’ 사색이 된 수리영,\n필기도구를 찾아 좌표를 메모 한다. 메모쪽지를 접어 주머니에 넣고\n다시 한번 슬쩍 주위를 둘러본 후 사무실을 나온다.\n\n\n\n[씬 22] S#22. 경찰서 밖 / D\nS#22. 경찰서 밖 / D\n주차된 자전거를 타고 이내 달리는 수리영\n\n\n\n샷 목록(각각 동선 판정):\nS16sh3: 혜수가 스마트폰 액정을 김형사 쪽으로 불쑥 내민 순간\nS21sh7: 수리영이 두 눈을 크게 뜨고 입을 살짝 벌린 굳은 얼굴 클로즈업\nS21sh10: 모니터 화면에 바다 지도가 펼쳐져 있고 붉은색 핀과 좌표 숫자가 떠 있는 클로즈업\nS21sh12: 수리영이 메모지가 들어간 겉옷 주머니에 손을 넣은 채 사무실 출입문을 향해 몸을 돌린 정지 순간\nS22sh1: 경찰서 건물 밖 도로 위에서 수리영이 자전거 안장에 앉아 상체를 앞으로 숙인 채 머리카락이 뒤로 흩날리는 측면"}
{"ts": "2026-07-11 21:07:17", "kind": "img", "engine": "gpt-image-2", "mode": "generate", "tag": "s34v2_conti_forest_i2", "refs": [], "size": "1024x1024", "attempt": 1, "dur_s": 158.5, "bytes": 1539141, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/conti8_forest_i2.png", "prompt": "Draw ONE storyboard (conti) sheet: 4 panels made by ONE vertical cut at exactly 50% of the width and ONE horizontal cut at exactly 50% of the height — a 2x2 grid, each panel exactly one quarter of the image.\nSTYLE: MINIMAL rough gesture sketch — the fastest possible working\nconti, a few confident graphite lines per figure on white paper.\nDraw ONLY what is needed to read three things: (1) the camera\nCOMPOSITION, (2) each figure's POSE, (3) WHICH figure is which\n(distinguish figures by simple silhouette/hair/build cues only).\nNO detail beyond that: no facial features except a hint, no\nclothing folds, no texture, no hatching, no shading gradations,\nno environmental detail except the few fixed features needed for\ncontinuity. If a line does not help composition, pose or figure\nidentity, leave it out. NOT photorealistic, no painting, no\nrendering. Monochrome graphite only — the ONLY colour allowed\nanywhere is BRIGHT RED, reserved exclusively for movement\nmarkings (see below).\n\nTHE LOCATION (same in all drawn panels): a dense Korean mountain forest with thick undergrowth.\n\nPURPOSE: each panel captures only the CAMERA COMPOSITION of one\nshot — framing (close-up / medium / wide), where the subject sits in\nthe frame, and continuity between panels. Keep every panel\nextremely simple: only what matters for composition.\nMOVEMENT MARKINGS IN RED: every figure or object that is MOVING in\na panel gets a clear BRIGHT RED storyboard arrow showing its\ndirection of travel (and a short red path line where the movement\ncrosses the frame); camera moves (pan/tilt/push-in) are marked with\nred camera-move arrows. Static figures and objects get NO arrow.\nRed appears ONLY as these movement markings — never as clothing,\nlighting or shading colour.\n\nGEOMETRY — ANALYSE BEFORE DRAWING: from each panel's Korean shot\ntext, first work out the spatial facts and draw EXACTLY those, never\nre-stage them: (a) each figure's DISTANCE from camera (tight insert /\nclose-up / medium / full / wide — a shot about a hand or an object\nis a tight insert, not a two-shot); (b) each figure's FACING and\nMOVEMENT DIRECTION relative to camera — '뒷모습' means seen from\nBEHIND, moving AWAY from camera into the depth of the frame, not\nsideways; a profile means lateral movement; (c) relative positions\nand distances BETWEEN figures. Keep every established screen\ndirection consistent across panels (180-degree rule): a person who\nleaves in one panel keeps the same on-screen direction wherever the\nmovement appears again.\nSIZE & DEPTH ARE CONTRACTUAL: each panel states every figure's\napparent size in the frame and the explicit near/far depth order.\nDraw exactly those proportions — a farther figure MUST be drawn\nclearly smaller than a nearer one; never equalize figure sizes,\nespecially when several figures share a panel or their paths\nrelate to each other.\nDEPARTING FIGURE — a figure running/walking AWAY must be\nunmistakably departing, never approaching: seen exactly from behind\n(back of the head only, no face, no chin, no cheek line), with the\nRED motion arrow starting AT the figure and pointing DEEPER into\nthe frame toward the vanishing point. THE STATED SIZE/DEPTH WINS:\ndraw the departing figure at exactly the apparent size and depth\nthe panel's FIGURES line states (if stated FARTHER/small, it stays\nsmall in the distance — never enlarge it into the foreground for\ndrama); sole-of-shoe and trailing speed-line cues apply only as far\nas they are visible at that stated scale.\n\nCONTINUITY: all drawn panels are the SAME single location — fixed\nfeatures (doors, stairs, windows, poles, desks) keep the same\nposition and left/right relationships across panels so the panels\ncut together as one continuous scene.\n\nPANELS (one shot per panel, Korean shot text):\n\nPANEL 1: 한쪽 신발이 벗겨진 한국인 남자가 우거진 수풀 사이를 달리며 한 발을 허공에 내딛고 있는 도중의 전신 구도\n  MOVEMENT (follow exactly): The terrified, injured Korean man flees forward through dense undergrowth with a strained, unsteady running posture, one shoe missing, one foot suspended mid-stride, and blood flowing from the large bite wound on his thigh; whether he runs toward or away from the camera is not specified.\n  FIGURES — apparent size & depth order (follow exactly): His full body fills roughly ~4/5 of the frame height; as the sole figure, he is both the NEAREST and FARTHEST person, with the dense brush surrounding and partly obstructing his route.\nPANEL 2: 검은 형상의 인영이 허공에 뛰어오른 채 한국인 남자를 향해 두 팔을 뻗고 있는 순간\n  MOVEMENT (follow exactly): A black silhouetted figure springs through the air toward the terrified Korean man, extending both arms to tackle him as he flees through the undergrowth; their movement toward or away from the camera is not specified.\n  FIGURES — apparent size & depth order (follow exactly): The airborne black figure and the man each occupy roughly ~1/2–2/3 of the frame height, with the attacker closing the remaining distance along a direct collision path toward the man; which figure is NEARER or FARTHER to the camera is not specified.\nPANEL 3: 형사 무리 한가운데 서서 손가락으로 한쪽을 가리키는 혜수의 상체\n  MOVEMENT (follow exactly): static: Hyesu stands upright amid the detectives, her upper body oriented toward one side as she points there with a finger while directing the investigation.\n  FIGURES — apparent size & depth order (follow exactly): Hyesu’s upper body fills roughly ~2/3 of the frame height, while the surrounding detectives appear as smaller or partial figures around her; Hyesu is the principal middle figure, but no specific detective is established as definitively NEARER or FARTHER than her.\n\nThere are 3 shots but 4 panel slots: draw the shots in\npanels 1..3 and leave the remaining panel(s) COMPLETELY\nBLANK PURE WHITE — empty white paper, not even a frame line inside.\n\nABSOLUTELY NO TEXT anywhere: no words, letters, captions, labels,\nsound effects or watermarks — the ONLY allowed marking is a small\nshot number digit (1, 2, 3) in a corner INSIDE each drawn panel.\nTHE PANEL GRID FILLS THE ENTIRE IMAGE EDGE-TO-EDGE: no outer paper\nmargin, no border area, nothing drawn outside the panels — the\nimage must be mechanically cuttable along the stated cut lines.\nPanels are separated only by thin straight black gutter lines at\nthe exact stated positions; ALL PANELS EXACTLY THE SAME SIZE."}
{"ts": "2026-07-11 21:08:55", "kind": "img", "engine": "gpt-image-2", "mode": "generate", "tag": "s34v2_conti_busstop_i2", "refs": [], "size": "1536x1024", "attempt": 1, "dur_s": 98.5, "bytes": 1542585, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/conti8_busstop_i2.png", "prompt": "Draw ONE storyboard (conti) sheet: 2 panels made by ONE vertical cut at exactly 50% of the image width — each panel is exactly half the width and the FULL height (1 row x 2 columns).\nSTYLE: MINIMAL rough gesture sketch — the fastest possible working\nconti, a few confident graphite lines per figure on white paper.\nDraw ONLY what is needed to read three things: (1) the camera\nCOMPOSITION, (2) each figure's POSE, (3) WHICH figure is which\n(distinguish figures by simple silhouette/hair/build cues only).\nNO detail beyond that: no facial features except a hint, no\nclothing folds, no texture, no hatching, no shading gradations,\nno environmental detail except the few fixed features needed for\ncontinuity. If a line does not help composition, pose or figure\nidentity, leave it out. NOT photorealistic, no painting, no\nrendering. Monochrome graphite only — the ONLY colour allowed\nanywhere is BRIGHT RED, reserved exclusively for movement\nmarkings (see below).\n\nTHE LOCATION (same in all drawn panels): a small seaside bus stop with a bench facing the sea at night on a quiet Korean coastal road.\n\nPURPOSE: each panel captures only the CAMERA COMPOSITION of one\nshot — framing (close-up / medium / wide), where the subject sits in\nthe frame, and continuity between panels. Keep every panel\nextremely simple: only what matters for composition.\nMOVEMENT MARKINGS IN RED: every figure or object that is MOVING in\na panel gets a clear BRIGHT RED storyboard arrow showing its\ndirection of travel (and a short red path line where the movement\ncrosses the frame); camera moves (pan/tilt/push-in) are marked with\nred camera-move arrows. Static figures and objects get NO arrow.\nRed appears ONLY as these movement markings — never as clothing,\nlighting or shading colour.\n\nGEOMETRY — ANALYSE BEFORE DRAWING: from each panel's Korean shot\ntext, first work out the spatial facts and draw EXACTLY those, never\nre-stage them: (a) each figure's DISTANCE from camera (tight insert /\nclose-up / medium / full / wide — a shot about a hand or an object\nis a tight insert, not a two-shot); (b) each figure's FACING and\nMOVEMENT DIRECTION relative to camera — '뒷모습' means seen from\nBEHIND, moving AWAY from camera into the depth of the frame, not\nsideways; a profile means lateral movement; (c) relative positions\nand distances BETWEEN figures. Keep every established screen\ndirection consistent across panels (180-degree rule): a person who\nleaves in one panel keeps the same on-screen direction wherever the\nmovement appears again.\nSIZE & DEPTH ARE CONTRACTUAL: each panel states every figure's\napparent size in the frame and the explicit near/far depth order.\nDraw exactly those proportions — a farther figure MUST be drawn\nclearly smaller than a nearer one; never equalize figure sizes,\nespecially when several figures share a panel or their paths\nrelate to each other.\nDEPARTING FIGURE — a figure running/walking AWAY must be\nunmistakably departing, never approaching: seen exactly from behind\n(back of the head only, no face, no chin, no cheek line), with the\nRED motion arrow starting AT the figure and pointing DEEPER into\nthe frame toward the vanishing point. THE STATED SIZE/DEPTH WINS:\ndraw the departing figure at exactly the apparent size and depth\nthe panel's FIGURES line states (if stated FARTHER/small, it stays\nsmall in the distance — never enlarge it into the foreground for\ndrama); sole-of-shoe and trailing speed-line cues apply only as far\nas they are visible at that stated scale.\n\nCONTINUITY: all drawn panels are the SAME single location — fixed\nfeatures (doors, stairs, windows, poles, desks) keep the same\nposition and left/right relationships across panels so the panels\ncut together as one continuous scene.\n\nPANELS (one shot per panel, Korean shot text):\n\nPANEL 1: 혜수의 손이 음료수 캔을 쥔 채 수리영 앞으로 내밀어진 순간\n  MOVEMENT (follow exactly): Hye-su extends her hand and the drink can from her side into the space directly in front of Suri-young, who remains seated and blankly oriented toward the sea.\n  FIGURES — apparent size & depth order (follow exactly): Hye-su's hand and can appear large at roughly ~1/3 of the frame height and are NEARER to the camera; seated Suri-young appears around ~1/2 of the frame height and is FARTHER behind the offered can.\nPANEL 2: 멀리서 혜수의 전신과 한 발을 공중에 띄운 mid-stride 자세로 달리는 수리영의 뒷모습을 한 프레임에 담은 넓은 구도\n  MOVEMENT (follow exactly): Suri-young runs away from Hye-su and away from the camera with her back visible and one foot airborne mid-stride, while Hye-su remains behind facing her path.\n  FIGURES — apparent size & depth order (follow exactly): Hye-su's full body appears about ~1/3 of the frame height and is NEARER to the camera, while the departing Suri-young appears smaller at ~1/5 and FARTHER along the route away. The distance between them increases as Suri-young runs ahead and Hye-su stays behind.\n\nABSOLUTELY NO TEXT anywhere: no words, letters, captions, labels,\nsound effects or watermarks — the ONLY allowed marking is a small\nshot number digit (1, 2) in a corner INSIDE each drawn panel.\nTHE PANEL GRID FILLS THE ENTIRE IMAGE EDGE-TO-EDGE: no outer paper\nmargin, no border area, nothing drawn outside the panels — the\nimage must be mechanically cuttable along the stated cut lines.\nPanels are separated only by thin straight black gutter lines at\nthe exact stated positions; ALL PANELS EXACTLY THE SAME SIZE."}
{"ts": "2026-07-11 21:10:48", "kind": "img", "engine": "gpt-image-2", "mode": "generate", "tag": "s34v2_conti_rooftop_ext_i2", "refs": [], "size": "1536x1024", "attempt": 1, "dur_s": 112.9, "bytes": 1818130, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/conti8_rooftop_ext_i2.png", "prompt": "Draw ONE storyboard (conti) sheet: 6 panels made by TWO vertical cuts at exactly 1/3 and 2/3 of the width and ONE horizontal cut at exactly 50% of the height — a 3-column x 2-row grid, all six panels exactly equal.\nSTYLE: MINIMAL rough gesture sketch — the fastest possible working\nconti, a few confident graphite lines per figure on white paper.\nDraw ONLY what is needed to read three things: (1) the camera\nCOMPOSITION, (2) each figure's POSE, (3) WHICH figure is which\n(distinguish figures by simple silhouette/hair/build cues only).\nNO detail beyond that: no facial features except a hint, no\nclothing folds, no texture, no hatching, no shading gradations,\nno environmental detail except the few fixed features needed for\ncontinuity. If a line does not help composition, pose or figure\nidentity, leave it out. NOT photorealistic, no painting, no\nrendering. Monochrome graphite only — the ONLY colour allowed\nanywhere is BRIGHT RED, reserved exclusively for movement\nmarkings (see below).\n\nTHE LOCATION (same in all drawn panels): the exterior of an old Korean multi-family villa: narrow alley and small yard at ground level, an added exterior steel staircase climbing the wall, and a rooftop with a small rooftop room (steel front door, one lit window), a water tank, a clothesline and a low parapet.\n\nPURPOSE: each panel captures only the CAMERA COMPOSITION of one\nshot — framing (close-up / medium / wide), where the subject sits in\nthe frame, and continuity between panels. Keep every panel\nextremely simple: only what matters for composition.\nMOVEMENT MARKINGS IN RED: every figure or object that is MOVING in\na panel gets a clear BRIGHT RED storyboard arrow showing its\ndirection of travel (and a short red path line where the movement\ncrosses the frame); camera moves (pan/tilt/push-in) are marked with\nred camera-move arrows. Static figures and objects get NO arrow.\nRed appears ONLY as these movement markings — never as clothing,\nlighting or shading colour.\n\nGEOMETRY — ANALYSE BEFORE DRAWING: from each panel's Korean shot\ntext, first work out the spatial facts and draw EXACTLY those, never\nre-stage them: (a) each figure's DISTANCE from camera (tight insert /\nclose-up / medium / full / wide — a shot about a hand or an object\nis a tight insert, not a two-shot); (b) each figure's FACING and\nMOVEMENT DIRECTION relative to camera — '뒷모습' means seen from\nBEHIND, moving AWAY from camera into the depth of the frame, not\nsideways; a profile means lateral movement; (c) relative positions\nand distances BETWEEN figures. Keep every established screen\ndirection consistent across panels (180-degree rule): a person who\nleaves in one panel keeps the same on-screen direction wherever the\nmovement appears again.\nSIZE & DEPTH ARE CONTRACTUAL: each panel states every figure's\napparent size in the frame and the explicit near/far depth order.\nDraw exactly those proportions — a farther figure MUST be drawn\nclearly smaller than a nearer one; never equalize figure sizes,\nespecially when several figures share a panel or their paths\nrelate to each other.\nDEPARTING FIGURE — a figure running/walking AWAY must be\nunmistakably departing, never approaching: seen exactly from behind\n(back of the head only, no face, no chin, no cheek line), with the\nRED motion arrow starting AT the figure and pointing DEEPER into\nthe frame toward the vanishing point. THE STATED SIZE/DEPTH WINS:\ndraw the departing figure at exactly the apparent size and depth\nthe panel's FIGURES line states (if stated FARTHER/small, it stays\nsmall in the distance — never enlarge it into the foreground for\ndrama); sole-of-shoe and trailing speed-line cues apply only as far\nas they are visible at that stated scale.\n\nCONTINUITY: all drawn panels are the SAME single location — fixed\nfeatures (doors, stairs, windows, poles, desks) keep the same\nposition and left/right relationships across panels so the panels\ncut together as one continuous scene.\n\nPANELS (one shot per panel, Korean shot text):\n\nPANEL 1: 현관 철문이 아주 살짝 열린 틈새로 보이는 어두운 실내와 신발 앞코\n  MOVEMENT (follow exactly): The stranger's shoe toe advances away from the rooftop camera through the barely opened iron door and into the dark room.\n  FIGURES — apparent size & depth order (follow exactly): The shoe toe is small, about ~1/6 of frame height, and is FARTHER than the NEARER iron door and its narrow opening; the dark interior recedes farthest beyond it.\nPANEL 2: 불이 켜진 옥탑방 창문에 거대한 그림자가 작은 그림자의 어깨 쪽으로 고개를 꺾은 형태가 맺혀 있는 정지 구도\n  MOVEMENT (follow exactly): static: the large shadow looms over the smaller shadow, its head sharply bent toward the smaller figure's shoulder as if biting it, while the smaller figure is pinned beneath the attack.\n  FIGURES — apparent size & depth order (follow exactly): The large shadow fills roughly ~3/4 of frame height and overlaps the smaller shadow, which fills about ~1/2; both appear on the same FAR window plane, behind the NEARER window surface, with no clear depth separation between them.\nPANEL 3: 철제 파이프 난간을 손으로 잡은 수리영이 코끝을 찡그린 채 계단 중간에 서 있는 얼굴 클로즈업\n  MOVEMENT (follow exactly): static: Su-ri-young pauses midway up the stairs, gripping the pipe railing with a tense hand and wrinkling her nose at the sudden foul smell while facing upward.\n  FIGURES — apparent size & depth order (follow exactly): Her close-up face fills about ~2/3 of frame height and is the NEAREST figure; her railing hand is slightly FARTHER, while the stairway behind her recedes farthest.\nPANEL 4: 옥상에 선 수리영의 시선 끝에 반쯤 열려 있는 어두운 현관 철문이 보이는 정면 구도\n  MOVEMENT (follow exactly): static: Su-ri-young stands on the rooftop facing the half-open iron entrance door, her attention fixed on the dark opening ahead.\n  FIGURES — apparent size & depth order (follow exactly): Su-ri-young occupies roughly ~1/2 of frame height in the NEARER plane, while the half-open door is FARTHER ahead and fills about ~1/3; her sightline runs directly across the rooftop into its dark gap.\nPANEL 5: 수리영이 초점을 잃은 눈으로 허공을 응시하며 서 있는 모습\n  MOVEMENT (follow exactly): static: Su-ri-young stands motionless after fleeing downstairs, her shocked body slack and her unfocused eyes staring into empty space.\n  FIGURES — apparent size & depth order (follow exactly): Su-ri-young fills roughly ~1/2 of frame height and is the sole, NEAREST figure, with the surrounding exterior space FARTHER behind her.\nPANEL 6: 고개를 든 채 혜수의 얼굴을 마주보고 있는 수리영의 측면 구도\n  MOVEMENT (follow exactly): static: Su-ri-young keeps her head raised toward Hye-su, meeting her face from the side with a stunned, unfocused posture.\n  FIGURES — apparent size & depth order (follow exactly): Su-ri-young and Hye-su each fill roughly ~1/2 of frame height in profile and stand at approximately the same camera distance, neither clearly NEARER than the other; they face one another at close conversational range.\n\nABSOLUTELY NO TEXT anywhere: no words, letters, captions, labels,\nsound effects or watermarks — the ONLY allowed marking is a small\nshot number digit (1, 2, 3, 4, 5, 6) in a corner INSIDE each drawn panel.\nTHE PANEL GRID FILLS THE ENTIRE IMAGE EDGE-TO-EDGE: no outer paper\nmargin, no border area, nothing drawn outside the panels — the\nimage must be mechanically cuttable along the stated cut lines.\nPanels are separated only by thin straight black gutter lines at\nthe exact stated positions; ALL PANELS EXACTLY THE SAME SIZE."}
{"ts": "2026-07-11 21:12:51", "kind": "img", "engine": "gpt-image-2", "mode": "generate", "tag": "s34v2_conti_rooftop_int_i2", "refs": [], "size": "1536x1024", "attempt": 1, "dur_s": 122.5, "bytes": 2978780, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/conti8_rooftop_int_i2.png", "prompt": "Draw ONE storyboard (conti) sheet: 6 panels made by TWO vertical cuts at exactly 1/3 and 2/3 of the width and ONE horizontal cut at exactly 50% of the height — a 3-column x 2-row grid, all six panels exactly equal.\nSTYLE: MINIMAL rough gesture sketch — the fastest possible working\nconti, a few confident graphite lines per figure on white paper.\nDraw ONLY what is needed to read three things: (1) the camera\nCOMPOSITION, (2) each figure's POSE, (3) WHICH figure is which\n(distinguish figures by simple silhouette/hair/build cues only).\nNO detail beyond that: no facial features except a hint, no\nclothing folds, no texture, no hatching, no shading gradations,\nno environmental detail except the few fixed features needed for\ncontinuity. If a line does not help composition, pose or figure\nidentity, leave it out. NOT photorealistic, no painting, no\nrendering. Monochrome graphite only — the ONLY colour allowed\nanywhere is BRIGHT RED, reserved exclusively for movement\nmarkings (see below).\n\nTHE LOCATION (same in all drawn panels): the interior of a small Korean rooftop home: living room with a small window, kitchenette and dining table; a bedroom with a bed against one wall and a curtained window; a tiny tiled bathroom with a mirror.\n\nPURPOSE: each panel captures only the CAMERA COMPOSITION of one\nshot — framing (close-up / medium / wide), where the subject sits in\nthe frame, and continuity between panels. Keep every panel\nextremely simple: only what matters for composition.\nMOVEMENT MARKINGS IN RED: every figure or object that is MOVING in\na panel gets a clear BRIGHT RED storyboard arrow showing its\ndirection of travel (and a short red path line where the movement\ncrosses the frame); camera moves (pan/tilt/push-in) are marked with\nred camera-move arrows. Static figures and objects get NO arrow.\nRed appears ONLY as these movement markings — never as clothing,\nlighting or shading colour.\n\nGEOMETRY — ANALYSE BEFORE DRAWING: from each panel's Korean shot\ntext, first work out the spatial facts and draw EXACTLY those, never\nre-stage them: (a) each figure's DISTANCE from camera (tight insert /\nclose-up / medium / full / wide — a shot about a hand or an object\nis a tight insert, not a two-shot); (b) each figure's FACING and\nMOVEMENT DIRECTION relative to camera — '뒷모습' means seen from\nBEHIND, moving AWAY from camera into the depth of the frame, not\nsideways; a profile means lateral movement; (c) relative positions\nand distances BETWEEN figures. Keep every established screen\ndirection consistent across panels (180-degree rule): a person who\nleaves in one panel keeps the same on-screen direction wherever the\nmovement appears again.\nSIZE & DEPTH ARE CONTRACTUAL: each panel states every figure's\napparent size in the frame and the explicit near/far depth order.\nDraw exactly those proportions — a farther figure MUST be drawn\nclearly smaller than a nearer one; never equalize figure sizes,\nespecially when several figures share a panel or their paths\nrelate to each other.\nDEPARTING FIGURE — a figure running/walking AWAY must be\nunmistakably departing, never approaching: seen exactly from behind\n(back of the head only, no face, no chin, no cheek line), with the\nRED motion arrow starting AT the figure and pointing DEEPER into\nthe frame toward the vanishing point. THE STATED SIZE/DEPTH WINS:\ndraw the departing figure at exactly the apparent size and depth\nthe panel's FIGURES line states (if stated FARTHER/small, it stays\nsmall in the distance — never enlarge it into the foreground for\ndrama); sole-of-shoe and trailing speed-line cues apply only as far\nas they are visible at that stated scale.\n\nCONTINUITY: all drawn panels are the SAME single location — fixed\nfeatures (doors, stairs, windows, poles, desks) keep the same\nposition and left/right relationships across panels so the panels\ncut together as one continuous scene.\n\nPANELS (one shot per panel, Korean shot text):\n\nPANEL 1: 옷과 피부가 피투성이가 된 민숙이 바닥에 주저앉아 고개를 푹 숙인 정지 상태\n  MOVEMENT (follow exactly): static: Minsuk is lifeless on the floor, collapsed in a seated fall with her head hanging forward, torso slumped asymmetrically, limp limbs, and her weight fully fallen rather than held upright.\n  FIGURES — apparent size & depth order (follow exactly): Minsuk fills roughly 2/3 of the frame height and is the NEARER subject, while the bloodied floor and room behind her are FARTHER. Her blood-soaked clothes and skin remain visible across her collapsed body.\nPANEL 2: 침대 위쪽 벽면에 붉은색 원형 표식이 절반쯤 나타난 상태\n  MOVEMENT (follow exactly): static: the half-formed red circle remains on the wall above the bed, with no person crossing the frame.\n  FIGURES — apparent size & depth order (follow exactly): The red circular mark fills about 1/2 of the frame height and is FARTHER on the wall, while the upper part of the bed is NEARER in the foreground.\nPANEL 3: 핏자국 없이 깨끗한 방 내부 전경\n  MOVEMENT (follow exactly): static: the excessively clean, bloodless room stands empty, with no one entering, leaving, or moving through it.\n  FIGURES — apparent size & depth order (follow exactly): The empty room fills the full frame, with the NEARER side of the room opening toward the camera and the clean back wall and far corners appearing FARTHER away. No person, bloodstain, red mark, or body is visible.\nPANEL 4: 거울 속 반사된 욕실 타일 벽면에 붉은색 원형 표식이 절반쯤 나타난 상태\n  MOVEMENT (follow exactly): static: a half-formed red circle is visible on the bathroom tile wall only through the mirror reflection, with no person moving through the shot.\n  FIGURES — apparent size & depth order (follow exactly): The reflected red circle fills roughly 1/3 to 1/2 of the frame height; the mirror surface is NEARER to the camera, while the reflected tiled wall and mark read as FARTHER within the reflection.\nPANEL 5: 해질 무렵 옥탑방 거실, 흙 묻은 발자국들이 찍힌 바닥과 쓰러진 식탁 의자들이 보이는 전경\n  MOVEMENT (follow exactly): static: muddy footprints lie across the living-room floor among overturned dining chairs, but their direction of travel cannot be determined from the shot.\n  FIGURES — apparent size & depth order (follow exactly): The living-room interior fills the frame; the muddy footprints spread across the NEARER floor, while the overturned dining chairs are FARTHER around the table. Individual footprints appear small, roughly 1/10 of the frame height, while the chairs occupy about 1/3 to 1/2.\nPANEL 6: 붉은 원 한가운데 피 묻은 낡은 흑백 사진이 벽에 꽂혀 있는 타이트 샷\n  MOVEMENT (follow exactly): static: the bloodstained old photograph remains fixed at the center of the red circle on the wall, with no hand or person entering the frame.\n  FIGURES — apparent size & depth order (follow exactly): The photograph fills roughly 1/2 to 2/3 of the frame height and is NEARER than the wall surface, while the red circle extends FARTHER behind it across the wall.\n\nABSOLUTELY NO TEXT anywhere: no words, letters, captions, labels,\nsound effects or watermarks — the ONLY allowed marking is a small\nshot number digit (1, 2, 3, 4, 5, 6) in a corner INSIDE each drawn panel.\nTHE PANEL GRID FILLS THE ENTIRE IMAGE EDGE-TO-EDGE: no outer paper\nmargin, no border area, nothing drawn outside the panels — the\nimage must be mechanically cuttable along the stated cut lines.\nPanels are separated only by thin straight black gutter lines at\nthe exact stated positions; ALL PANELS EXACTLY THE SAME SIZE."}
{"ts": "2026-07-11 21:14:40", "kind": "img", "engine": "gpt-image-2", "mode": "generate", "tag": "s34v2_conti_mart_i2", "refs": [], "size": "1536x1024", "attempt": 1, "dur_s": 109.4, "bytes": 1748082, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/conti8_mart_i2.png", "prompt": "Draw ONE storyboard (conti) sheet: 6 panels made by TWO vertical cuts at exactly 1/3 and 2/3 of the width and ONE horizontal cut at exactly 50% of the height — a 3-column x 2-row grid, all six panels exactly equal.\nSTYLE: MINIMAL rough gesture sketch — the fastest possible working\nconti, a few confident graphite lines per figure on white paper.\nDraw ONLY what is needed to read three things: (1) the camera\nCOMPOSITION, (2) each figure's POSE, (3) WHICH figure is which\n(distinguish figures by simple silhouette/hair/build cues only).\nNO detail beyond that: no facial features except a hint, no\nclothing folds, no texture, no hatching, no shading gradations,\nno environmental detail except the few fixed features needed for\ncontinuity. If a line does not help composition, pose or figure\nidentity, leave it out. NOT photorealistic, no painting, no\nrendering. Monochrome graphite only — the ONLY colour allowed\nanywhere is BRIGHT RED, reserved exclusively for movement\nmarkings (see below).\n\nTHE LOCATION (same in all drawn panels): a mid-size Korean supermarket: shelved sales floor inside; the entrance area outside with a bicycle rack and one wall-mounted CCTV camera above; a small back security office with CCTV monitors.\n\nPURPOSE: each panel captures only the CAMERA COMPOSITION of one\nshot — framing (close-up / medium / wide), where the subject sits in\nthe frame, and continuity between panels. Keep every panel\nextremely simple: only what matters for composition.\nMOVEMENT MARKINGS IN RED: every figure or object that is MOVING in\na panel gets a clear BRIGHT RED storyboard arrow showing its\ndirection of travel (and a short red path line where the movement\ncrosses the frame); camera moves (pan/tilt/push-in) are marked with\nred camera-move arrows. Static figures and objects get NO arrow.\nRed appears ONLY as these movement markings — never as clothing,\nlighting or shading colour.\n\nGEOMETRY — ANALYSE BEFORE DRAWING: from each panel's Korean shot\ntext, first work out the spatial facts and draw EXACTLY those, never\nre-stage them: (a) each figure's DISTANCE from camera (tight insert /\nclose-up / medium / full / wide — a shot about a hand or an object\nis a tight insert, not a two-shot); (b) each figure's FACING and\nMOVEMENT DIRECTION relative to camera — '뒷모습' means seen from\nBEHIND, moving AWAY from camera into the depth of the frame, not\nsideways; a profile means lateral movement; (c) relative positions\nand distances BETWEEN figures. Keep every established screen\ndirection consistent across panels (180-degree rule): a person who\nleaves in one panel keeps the same on-screen direction wherever the\nmovement appears again.\nSIZE & DEPTH ARE CONTRACTUAL: each panel states every figure's\napparent size in the frame and the explicit near/far depth order.\nDraw exactly those proportions — a farther figure MUST be drawn\nclearly smaller than a nearer one; never equalize figure sizes,\nespecially when several figures share a panel or their paths\nrelate to each other.\nDEPARTING FIGURE — a figure running/walking AWAY must be\nunmistakably departing, never approaching: seen exactly from behind\n(back of the head only, no face, no chin, no cheek line), with the\nRED motion arrow starting AT the figure and pointing DEEPER into\nthe frame toward the vanishing point. THE STATED SIZE/DEPTH WINS:\ndraw the departing figure at exactly the apparent size and depth\nthe panel's FIGURES line states (if stated FARTHER/small, it stays\nsmall in the distance — never enlarge it into the foreground for\ndrama); sole-of-shoe and trailing speed-line cues apply only as far\nas they are visible at that stated scale.\n\nCONTINUITY: all drawn panels are the SAME single location — fixed\nfeatures (doors, stairs, windows, poles, desks) keep the same\nposition and left/right relationships across panels so the panels\ncut together as one continuous scene.\n\nPANELS (one shot per panel, Korean shot text):\n\nPANEL 1: 수리영이 마트 유니폼을 입은 한국인 여성 직원을 마주보며 입을 살짝 벌린 측면 구도\n  MOVEMENT (follow exactly): static: Su-ri-young and the female supermarket employee stand facing each other in profile, Su-ri-young holding her mouth slightly open as she addresses the employee.\n  FIGURES — apparent size & depth order (follow exactly): Su-ri-young and the female employee each fill roughly ~1/2 of the frame height and occupy a comparable midground plane, with neither clearly nearer to the camera; they remain a short conversational distance apart across opposing sightlines.\nPANEL 2: 마트 밖으로 나온 수리영이 손에 든 스마트폰 액정을 내려다보는 상체\n  MOVEMENT (follow exactly): static: Having come out of the supermarket, Su-ri-young stands with her upper body angled toward the smartphone in her hand and her gaze lowered to its screen while trying to make contact.\n  FIGURES — apparent size & depth order (follow exactly): Su-ri-young’s upper body fills about ~2/3 of the frame height in the near foreground, while the smartphone is small, about ~1/10, and held within the same near plane below her face; she is the sole visible figure.\nPANEL 3: 수리영과 남자직원이 마트 밖에서 벽면의 CCTV를 올려다보는 뒷모습\n  MOVEMENT (follow exactly): static: Outside the supermarket, Su-ri-young and the male employee stand with their backs to the camera, bodies and heads tilted upward toward the wall-mounted CCTV camera as they check its coverage.\n  FIGURES — apparent size & depth order (follow exactly): Su-ri-young and the male employee each fill roughly ~1/2 of the frame height in the nearer foreground-to-midground, standing alongside each other at comparable depth, while the CCTV camera is much smaller, around ~1/15, and farther away high on the wall.\nPANEL 4: 수리영이 귀에 스마트폰을 댄 채 정면을 응시하는 상체 클로즈업\n  MOVEMENT (follow exactly): static: Su-ri-young holds a smartphone to her ear and faces forward, explaining the situation to Hye-su by phone.\n  FIGURES — apparent size & depth order (follow exactly): Su-ri-young’s upper body fills about ~3/4 of the frame height in the near foreground, with the smartphone small, around ~1/12, against her ear in the same near plane; no other person is visible.\nPANEL 5: 마트 총무과 책상 앞, 한국인 남성 보안직원과 혜수가 컴퓨터 모니터를 향해 몸을 기울인 측면\n  MOVEMENT (follow exactly): static: The male security employee and Hye-su lean forward from the desk toward the computer monitor, both directing their gaze at the CCTV footage.\n  FIGURES — apparent size & depth order (follow exactly): The security employee and Hye-su each fill roughly ~1/2 of the frame height and occupy a comparable midground depth, with neither clearly nearer to the camera; the monitor is smaller, about ~1/3, positioned directly along their converging sightlines.\nPANEL 6: 흑백 CCTV 화면 속 어두운 구석에 사람 형상이 희미하게 찍힌 모니터 클로즈업\n  MOVEMENT (follow exactly): static: A faint, unidentifiable human-shaped form remains in a dark corner of the black-and-white CCTV image, with no discernible direction of travel or body orientation.\n  FIGURES — apparent size & depth order (follow exactly): The monitor image fills nearly the entire frame and is the nearest visible object, while the indistinct human-shaped form is tiny, about ~1/10 of the frame height, and appears far away within the recorded space.\n\nABSOLUTELY NO TEXT anywhere: no words, letters, captions, labels,\nsound effects or watermarks — the ONLY allowed marking is a small\nshot number digit (1, 2, 3, 4, 5, 6) in a corner INSIDE each drawn panel.\nTHE PANEL GRID FILLS THE ENTIRE IMAGE EDGE-TO-EDGE: no outer paper\nmargin, no border area, nothing drawn outside the panels — the\nimage must be mechanically cuttable along the stated cut lines.\nPanels are separated only by thin straight black gutter lines at\nthe exact stated positions; ALL PANELS EXACTLY THE SAME SIZE."}
{"ts": "2026-07-11 21:16:32", "kind": "img", "engine": "gpt-image-2", "mode": "generate", "tag": "s34v2_conti_police_i2", "refs": [], "size": "1536x1024", "attempt": 1, "dur_s": 112.0, "bytes": 1652851, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/conti8_police_i2.png", "prompt": "Draw ONE storyboard (conti) sheet: 6 panels made by TWO vertical cuts at exactly 1/3 and 2/3 of the width and ONE horizontal cut at exactly 50% of the height — a 3-column x 2-row grid, all six panels exactly equal.\nSTYLE: MINIMAL rough gesture sketch — the fastest possible working\nconti, a few confident graphite lines per figure on white paper.\nDraw ONLY what is needed to read three things: (1) the camera\nCOMPOSITION, (2) each figure's POSE, (3) WHICH figure is which\n(distinguish figures by simple silhouette/hair/build cues only).\nNO detail beyond that: no facial features except a hint, no\nclothing folds, no texture, no hatching, no shading gradations,\nno environmental detail except the few fixed features needed for\ncontinuity. If a line does not help composition, pose or figure\nidentity, leave it out. NOT photorealistic, no painting, no\nrendering. Monochrome graphite only — the ONLY colour allowed\nanywhere is BRIGHT RED, reserved exclusively for movement\nmarkings (see below).\n\nTHE LOCATION (same in all drawn panels): a modest Korean provincial police station: a detectives' office with desks, monitors and a doorway; and the street right in front of the building.\n\nPURPOSE: each panel captures only the CAMERA COMPOSITION of one\nshot — framing (close-up / medium / wide), where the subject sits in\nthe frame, and continuity between panels. Keep every panel\nextremely simple: only what matters for composition.\nMOVEMENT MARKINGS IN RED: every figure or object that is MOVING in\na panel gets a clear BRIGHT RED storyboard arrow showing its\ndirection of travel (and a short red path line where the movement\ncrosses the frame); camera moves (pan/tilt/push-in) are marked with\nred camera-move arrows. Static figures and objects get NO arrow.\nRed appears ONLY as these movement markings — never as clothing,\nlighting or shading colour.\n\nGEOMETRY — ANALYSE BEFORE DRAWING: from each panel's Korean shot\ntext, first work out the spatial facts and draw EXACTLY those, never\nre-stage them: (a) each figure's DISTANCE from camera (tight insert /\nclose-up / medium / full / wide — a shot about a hand or an object\nis a tight insert, not a two-shot); (b) each figure's FACING and\nMOVEMENT DIRECTION relative to camera — '뒷모습' means seen from\nBEHIND, moving AWAY from camera into the depth of the frame, not\nsideways; a profile means lateral movement; (c) relative positions\nand distances BETWEEN figures. Keep every established screen\ndirection consistent across panels (180-degree rule): a person who\nleaves in one panel keeps the same on-screen direction wherever the\nmovement appears again.\nSIZE & DEPTH ARE CONTRACTUAL: each panel states every figure's\napparent size in the frame and the explicit near/far depth order.\nDraw exactly those proportions — a farther figure MUST be drawn\nclearly smaller than a nearer one; never equalize figure sizes,\nespecially when several figures share a panel or their paths\nrelate to each other.\nDEPARTING FIGURE — a figure running/walking AWAY must be\nunmistakably departing, never approaching: seen exactly from behind\n(back of the head only, no face, no chin, no cheek line), with the\nRED motion arrow starting AT the figure and pointing DEEPER into\nthe frame toward the vanishing point. THE STATED SIZE/DEPTH WINS:\ndraw the departing figure at exactly the apparent size and depth\nthe panel's FIGURES line states (if stated FARTHER/small, it stays\nsmall in the distance — never enlarge it into the foreground for\ndrama); sole-of-shoe and trailing speed-line cues apply only as far\nas they are visible at that stated scale.\n\nCONTINUITY: all drawn panels are the SAME single location — fixed\nfeatures (doors, stairs, windows, poles, desks) keep the same\nposition and left/right relationships across panels so the panels\ncut together as one continuous scene.\n\nPANELS (one shot per panel, Korean shot text):\n\nPANEL 1: 혜수가 스마트폰 액정을 김형사 쪽으로 불쑥 내민 순간\n  MOVEMENT (follow exactly): Hye-su abruptly thrusts the smartphone forward from her side toward Detective Kim, presenting Min-sook's saved number while remaining inside the office.\n  FIGURES — apparent size & depth order (follow exactly): Hye-su and Detective Kim each fill roughly ~1/2 of the frame height, with Hye-su NEARER to the camera and Detective Kim FARTHER across from her. The extended smartphone fills about ~1/5 of the frame height, projecting from Hye-su toward Detective Kim and lying between their positions.\nPANEL 2: 수리영이 두 눈을 크게 뜨고 입을 살짝 벌린 굳은 얼굴 클로즈업\n  MOVEMENT (follow exactly): static: Su-ri-young holds rigid with fear and shock, her widened eyes fixed forward and her lips slightly parted.\n  FIGURES — apparent size & depth order (follow exactly): Su-ri-young's face fills roughly ~3/4 of the frame height; she is the sole and therefore NEAREST visible figure, with no farther person shown.\nPANEL 3: 모니터 화면에 바다 지도가 펼쳐져 있고 붉은색 핀과 좌표 숫자가 떠 있는 클로즈업\n  MOVEMENT (follow exactly): static: the monitor displays a sea map with a red location pin and coordinate figures, with no physical movement in frame.\n  FIGURES — apparent size & depth order (follow exactly): The monitor image fills nearly the full frame and is the sole, NEAREST core object; the map, pin, and coordinate text occupy the same flat display plane with no farther figure visible.\nPANEL 4: 수리영이 메모지가 들어간 겉옷 주머니에 손을 넣은 채 사무실 출입문을 향해 몸을 돌린 정지 순간\n  MOVEMENT (follow exactly): static: Su-ri-young stands tensely with one hand inside the coat pocket holding the folded note, her body turned toward the office exit and poised to leave the room.\n  FIGURES — apparent size & depth order (follow exactly): Su-ri-young fills roughly ~2/3 of the frame height and is NEARER to the camera, while the office doorway is FARTHER in the direction she faces. Her intended path runs from her position inside the office toward and through that doorway.\nPANEL 5: 경찰서 건물 밖 도로 위에서 수리영이 자전거 안장에 앉아 상체를 앞으로 숙인 채 머리카락이 뒤로 흩날리는 측면\n  MOVEMENT (follow exactly): Su-ri-young rides the bicycle along the road outside the police station, moving laterally across the camera's side view with her torso pitched forward over the handlebars and her hair streaming backward, neither directly toward nor directly away from the camera.\n  FIGURES — apparent size & depth order (follow exactly): Su-ri-young fills roughly ~1/2 of the frame height, and the bicycle-and-rider silhouette together fills about ~2/3; both are NEARER to the camera than the FARTHER police-station exterior. Her path continues along the road parallel to the image plane.\n\nThere are 5 shots but 6 panel slots: draw the shots in\npanels 1..5 and leave the remaining panel(s) COMPLETELY\nBLANK PURE WHITE — empty white paper, not even a frame line inside.\n\nABSOLUTELY NO TEXT anywhere: no words, letters, captions, labels,\nsound effects or watermarks — the ONLY allowed marking is a small\nshot number digit (1, 2, 3, 4, 5) in a corner INSIDE each drawn panel.\nTHE PANEL GRID FILLS THE ENTIRE IMAGE EDGE-TO-EDGE: no outer paper\nmargin, no border area, nothing drawn outside the panels — the\nimage must be mechanically cuttable along the stated cut lines.\nPanels are separated only by thin straight black gutter lines at\nthe exact stated positions; ALL PANELS EXACTLY THE SAME SIZE."}
{"ts": "2026-07-11 21:34:52", "kind": "img", "engine": "gpt-image-2", "mode": "generate", "tag": "s34v2_conti_forest_i2", "refs": [], "size": "1024x1024", "attempt": 1, "dur_s": 168.7, "bytes": 2397562, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/conti9_forest_i2.png", "prompt": "Draw ONE storyboard (conti) sheet: 4 panels made by ONE vertical cut at exactly 50% of the width and ONE horizontal cut at exactly 50% of the height — a 2x2 grid, each panel exactly one quarter of the image.\nSTYLE: quick, rough HAND-DRAWN pencil sketch — loose gestural line\ndrawing in monochrome graphite on white paper, the kind a film\nstoryboard artist dashes off in seconds. NOT photorealistic, no\npainting, no rendering. The drawing itself stays monochrome — the\nONLY colour allowed anywhere is BRIGHT RED, reserved exclusively\nfor movement markings (see below).\n\nTHE LOCATION (same in all drawn panels): a dense Korean mountain forest with thick undergrowth.\n\nPURPOSE: each panel captures only the CAMERA COMPOSITION of one\nshot — framing (close-up / medium / wide), where the subject sits in\nthe frame, and continuity between panels. Keep every panel\nextremely simple: only what matters for composition.\nMOVEMENT MARKINGS IN RED: every figure or object that is MOVING in\na panel gets a clear BRIGHT RED storyboard arrow showing its\ndirection of travel (and a short red path line where the movement\ncrosses the frame); camera moves (pan/tilt/push-in) are marked with\nred camera-move arrows. Static figures and objects get NO arrow.\nRed appears ONLY as these movement markings — never as clothing,\nlighting or shading colour.\n\nGEOMETRY — ANALYSE BEFORE DRAWING: from each panel's Korean shot\ntext, first work out the spatial facts and draw EXACTLY those, never\nre-stage them: (a) each figure's DISTANCE from camera (tight insert /\nclose-up / medium / full / wide — a shot about a hand or an object\nis a tight insert, not a two-shot); (b) each figure's FACING and\nMOVEMENT DIRECTION relative to camera — '뒷모습' means seen from\nBEHIND, moving AWAY from camera into the depth of the frame, not\nsideways; a profile means lateral movement; (c) relative positions\nand distances BETWEEN figures. Keep every established screen\ndirection consistent across panels (180-degree rule): a person who\nleaves in one panel keeps the same on-screen direction wherever the\nmovement appears again.\nSIZE & DEPTH ARE CONTRACTUAL: each panel states every figure's\napparent size in the frame and the explicit near/far depth order.\nDraw exactly those proportions — a farther figure MUST be drawn\nclearly smaller than a nearer one; never equalize figure sizes,\nespecially when several figures share a panel or their paths\nrelate to each other.\nDEPARTING FIGURE — a figure running/walking AWAY must be\nunmistakably departing, never approaching: seen exactly from behind\n(back of the head only, no face, no chin, no cheek line), with the\nRED motion arrow starting AT the figure and pointing DEEPER into\nthe frame toward the vanishing point. THE STATED SIZE/DEPTH WINS:\ndraw the departing figure at exactly the apparent size and depth\nthe panel's FIGURES line states (if stated FARTHER/small, it stays\nsmall in the distance — never enlarge it into the foreground for\ndrama); sole-of-shoe and trailing speed-line cues apply only as far\nas they are visible at that stated scale.\n\nCONTINUITY: all drawn panels are the SAME single location — fixed\nfeatures (doors, stairs, windows, poles, desks) keep the same\nposition and left/right relationships across panels so the panels\ncut together as one continuous scene.\n\nPANELS (one shot per panel, Korean shot text):\n\nPANEL 1: 한쪽 신발이 벗겨진 한국인 남자가 우거진 수풀 사이를 달리며 한 발을 허공에 내딛고 있는 도중의 전신 구도\n  MOVEMENT (follow exactly): The terrified, injured Korean man flees forward through dense undergrowth with a strained, unsteady running posture, one shoe missing, one foot suspended mid-stride, and blood flowing from the large bite wound on his thigh; whether he runs toward or away from the camera is not specified.\n  FIGURES — apparent size & depth order (follow exactly): His full body fills roughly ~4/5 of the frame height; as the sole figure, he is both the NEAREST and FARTHEST person, with the dense brush surrounding and partly obstructing his route.\nPANEL 2: 검은 형상의 인영이 허공에 뛰어오른 채 한국인 남자를 향해 두 팔을 뻗고 있는 순간\n  MOVEMENT (follow exactly): A black silhouetted figure springs through the air toward the terrified Korean man, extending both arms to tackle him as he flees through the undergrowth; their movement toward or away from the camera is not specified.\n  FIGURES — apparent size & depth order (follow exactly): The airborne black figure and the man each occupy roughly ~1/2–2/3 of the frame height, with the attacker closing the remaining distance along a direct collision path toward the man; which figure is NEARER or FARTHER to the camera is not specified.\nPANEL 3: 형사 무리 한가운데 서서 손가락으로 한쪽을 가리키는 혜수의 상체\n  MOVEMENT (follow exactly): static: Hyesu stands upright amid the detectives, her upper body oriented toward one side as she points there with a finger while directing the investigation.\n  FIGURES — apparent size & depth order (follow exactly): Hyesu’s upper body fills roughly ~2/3 of the frame height, while the surrounding detectives appear as smaller or partial figures around her; Hyesu is the principal middle figure, but no specific detective is established as definitively NEARER or FARTHER than her.\n\nThere are 3 shots but 4 panel slots: draw the shots in\npanels 1..3 and leave the remaining panel(s) COMPLETELY\nBLANK PURE WHITE — empty white paper, not even a frame line inside.\n\nABSOLUTELY NO TEXT anywhere: no words, letters, captions, labels,\nsound effects or watermarks — the ONLY allowed marking is a small\nshot number digit (1, 2, 3) in a corner INSIDE each drawn panel.\nTHE PANEL GRID FILLS THE ENTIRE IMAGE EDGE-TO-EDGE: no outer paper\nmargin, no border area, nothing drawn outside the panels — the\nimage must be mechanically cuttable along the stated cut lines.\nPanels are separated only by thin straight black gutter lines at\nthe exact stated positions; ALL PANELS EXACTLY THE SAME SIZE."}
{"ts": "2026-07-11 21:36:41", "kind": "img", "engine": "gpt-image-2", "mode": "generate", "tag": "s34v2_conti_busstop_i2", "refs": [], "size": "1536x1024", "attempt": 1, "dur_s": 109.7, "bytes": 3981943, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/conti9_busstop_i2.png", "prompt": "Draw ONE storyboard (conti) sheet: 2 panels made by ONE vertical cut at exactly 50% of the image width — each panel is exactly half the width and the FULL height (1 row x 2 columns).\nSTYLE: quick, rough HAND-DRAWN pencil sketch — loose gestural line\ndrawing in monochrome graphite on white paper, the kind a film\nstoryboard artist dashes off in seconds. NOT photorealistic, no\npainting, no rendering. The drawing itself stays monochrome — the\nONLY colour allowed anywhere is BRIGHT RED, reserved exclusively\nfor movement markings (see below).\n\nTHE LOCATION (same in all drawn panels): a small seaside bus stop with a bench facing the sea at night on a quiet Korean coastal road.\n\nPURPOSE: each panel captures only the CAMERA COMPOSITION of one\nshot — framing (close-up / medium / wide), where the subject sits in\nthe frame, and continuity between panels. Keep every panel\nextremely simple: only what matters for composition.\nMOVEMENT MARKINGS IN RED: every figure or object that is MOVING in\na panel gets a clear BRIGHT RED storyboard arrow showing its\ndirection of travel (and a short red path line where the movement\ncrosses the frame); camera moves (pan/tilt/push-in) are marked with\nred camera-move arrows. Static figures and objects get NO arrow.\nRed appears ONLY as these movement markings — never as clothing,\nlighting or shading colour.\n\nGEOMETRY — ANALYSE BEFORE DRAWING: from each panel's Korean shot\ntext, first work out the spatial facts and draw EXACTLY those, never\nre-stage them: (a) each figure's DISTANCE from camera (tight insert /\nclose-up / medium / full / wide — a shot about a hand or an object\nis a tight insert, not a two-shot); (b) each figure's FACING and\nMOVEMENT DIRECTION relative to camera — '뒷모습' means seen from\nBEHIND, moving AWAY from camera into the depth of the frame, not\nsideways; a profile means lateral movement; (c) relative positions\nand distances BETWEEN figures. Keep every established screen\ndirection consistent across panels (180-degree rule): a person who\nleaves in one panel keeps the same on-screen direction wherever the\nmovement appears again.\nSIZE & DEPTH ARE CONTRACTUAL: each panel states every figure's\napparent size in the frame and the explicit near/far depth order.\nDraw exactly those proportions — a farther figure MUST be drawn\nclearly smaller than a nearer one; never equalize figure sizes,\nespecially when several figures share a panel or their paths\nrelate to each other.\nDEPARTING FIGURE — a figure running/walking AWAY must be\nunmistakably departing, never approaching: seen exactly from behind\n(back of the head only, no face, no chin, no cheek line), with the\nRED motion arrow starting AT the figure and pointing DEEPER into\nthe frame toward the vanishing point. THE STATED SIZE/DEPTH WINS:\ndraw the departing figure at exactly the apparent size and depth\nthe panel's FIGURES line states (if stated FARTHER/small, it stays\nsmall in the distance — never enlarge it into the foreground for\ndrama); sole-of-shoe and trailing speed-line cues apply only as far\nas they are visible at that stated scale.\n\nCONTINUITY: all drawn panels are the SAME single location — fixed\nfeatures (doors, stairs, windows, poles, desks) keep the same\nposition and left/right relationships across panels so the panels\ncut together as one continuous scene.\n\nPANELS (one shot per panel, Korean shot text):\n\nPANEL 1: 혜수의 손이 음료수 캔을 쥔 채 수리영 앞으로 내밀어진 순간\n  MOVEMENT (follow exactly): Hye-su extends her hand and the drink can from her side into the space directly in front of Suri-young, who remains seated and blankly oriented toward the sea.\n  FIGURES — apparent size & depth order (follow exactly): Hye-su's hand and can appear large at roughly ~1/3 of the frame height and are NEARER to the camera; seated Suri-young appears around ~1/2 of the frame height and is FARTHER behind the offered can.\nPANEL 2: 멀리서 혜수의 전신과 한 발을 공중에 띄운 mid-stride 자세로 달리는 수리영의 뒷모습을 한 프레임에 담은 넓은 구도\n  MOVEMENT (follow exactly): Suri-young runs away from Hye-su and away from the camera with her back visible and one foot airborne mid-stride, while Hye-su remains behind facing her path.\n  FIGURES — apparent size & depth order (follow exactly): Hye-su's full body appears about ~1/3 of the frame height and is NEARER to the camera, while the departing Suri-young appears smaller at ~1/5 and FARTHER along the route away. The distance between them increases as Suri-young runs ahead and Hye-su stays behind.\n\nABSOLUTELY NO TEXT anywhere: no words, letters, captions, labels,\nsound effects or watermarks — the ONLY allowed marking is a small\nshot number digit (1, 2) in a corner INSIDE each drawn panel.\nTHE PANEL GRID FILLS THE ENTIRE IMAGE EDGE-TO-EDGE: no outer paper\nmargin, no border area, nothing drawn outside the panels — the\nimage must be mechanically cuttable along the stated cut lines.\nPanels are separated only by thin straight black gutter lines at\nthe exact stated positions; ALL PANELS EXACTLY THE SAME SIZE."}
{"ts": "2026-07-11 21:38:40", "kind": "img", "engine": "gpt-image-2", "mode": "generate", "tag": "s34v2_conti_rooftop_ext_i2", "refs": [], "size": "1536x1024", "attempt": 1, "dur_s": 118.8, "bytes": 3553763, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/conti9_rooftop_ext_i2.png", "prompt": "Draw ONE storyboard (conti) sheet: 6 panels made by TWO vertical cuts at exactly 1/3 and 2/3 of the width and ONE horizontal cut at exactly 50% of the height — a 3-column x 2-row grid, all six panels exactly equal.\nSTYLE: quick, rough HAND-DRAWN pencil sketch — loose gestural line\ndrawing in monochrome graphite on white paper, the kind a film\nstoryboard artist dashes off in seconds. NOT photorealistic, no\npainting, no rendering. The drawing itself stays monochrome — the\nONLY colour allowed anywhere is BRIGHT RED, reserved exclusively\nfor movement markings (see below).\n\nTHE LOCATION (same in all drawn panels): the exterior of an old Korean multi-family villa: narrow alley and small yard at ground level, an added exterior steel staircase climbing the wall, and a rooftop with a small rooftop room (steel front door, one lit window), a water tank, a clothesline and a low parapet.\n\nPURPOSE: each panel captures only the CAMERA COMPOSITION of one\nshot — framing (close-up / medium / wide), where the subject sits in\nthe frame, and continuity between panels. Keep every panel\nextremely simple: only what matters for composition.\nMOVEMENT MARKINGS IN RED: every figure or object that is MOVING in\na panel gets a clear BRIGHT RED storyboard arrow showing its\ndirection of travel (and a short red path line where the movement\ncrosses the frame); camera moves (pan/tilt/push-in) are marked with\nred camera-move arrows. Static figures and objects get NO arrow.\nRed appears ONLY as these movement markings — never as clothing,\nlighting or shading colour.\n\nGEOMETRY — ANALYSE BEFORE DRAWING: from each panel's Korean shot\ntext, first work out the spatial facts and draw EXACTLY those, never\nre-stage them: (a) each figure's DISTANCE from camera (tight insert /\nclose-up / medium / full / wide — a shot about a hand or an object\nis a tight insert, not a two-shot); (b) each figure's FACING and\nMOVEMENT DIRECTION relative to camera — '뒷모습' means seen from\nBEHIND, moving AWAY from camera into the depth of the frame, not\nsideways; a profile means lateral movement; (c) relative positions\nand distances BETWEEN figures. Keep every established screen\ndirection consistent across panels (180-degree rule): a person who\nleaves in one panel keeps the same on-screen direction wherever the\nmovement appears again.\nSIZE & DEPTH ARE CONTRACTUAL: each panel states every figure's\napparent size in the frame and the explicit near/far depth order.\nDraw exactly those proportions — a farther figure MUST be drawn\nclearly smaller than a nearer one; never equalize figure sizes,\nespecially when several figures share a panel or their paths\nrelate to each other.\nDEPARTING FIGURE — a figure running/walking AWAY must be\nunmistakably departing, never approaching: seen exactly from behind\n(back of the head only, no face, no chin, no cheek line), with the\nRED motion arrow starting AT the figure and pointing DEEPER into\nthe frame toward the vanishing point. THE STATED SIZE/DEPTH WINS:\ndraw the departing figure at exactly the apparent size and depth\nthe panel's FIGURES line states (if stated FARTHER/small, it stays\nsmall in the distance — never enlarge it into the foreground for\ndrama); sole-of-shoe and trailing speed-line cues apply only as far\nas they are visible at that stated scale.\n\nCONTINUITY: all drawn panels are the SAME single location — fixed\nfeatures (doors, stairs, windows, poles, desks) keep the same\nposition and left/right relationships across panels so the panels\ncut together as one continuous scene.\n\nPANELS (one shot per panel, Korean shot text):\n\nPANEL 1: 현관 철문이 아주 살짝 열린 틈새로 보이는 어두운 실내와 신발 앞코\n  MOVEMENT (follow exactly): The stranger's shoe toe advances away from the rooftop camera through the barely opened iron door and into the dark room.\n  FIGURES — apparent size & depth order (follow exactly): The shoe toe is small, about ~1/6 of frame height, and is FARTHER than the NEARER iron door and its narrow opening; the dark interior recedes farthest beyond it.\nPANEL 2: 불이 켜진 옥탑방 창문에 거대한 그림자가 작은 그림자의 어깨 쪽으로 고개를 꺾은 형태가 맺혀 있는 정지 구도\n  MOVEMENT (follow exactly): static: the large shadow looms over the smaller shadow, its head sharply bent toward the smaller figure's shoulder as if biting it, while the smaller figure is pinned beneath the attack.\n  FIGURES — apparent size & depth order (follow exactly): The large shadow fills roughly ~3/4 of frame height and overlaps the smaller shadow, which fills about ~1/2; both appear on the same FAR window plane, behind the NEARER window surface, with no clear depth separation between them.\nPANEL 3: 철제 파이프 난간을 손으로 잡은 수리영이 코끝을 찡그린 채 계단 중간에 서 있는 얼굴 클로즈업\n  MOVEMENT (follow exactly): static: Su-ri-young pauses midway up the stairs, gripping the pipe railing with a tense hand and wrinkling her nose at the sudden foul smell while facing upward.\n  FIGURES — apparent size & depth order (follow exactly): Her close-up face fills about ~2/3 of frame height and is the NEAREST figure; her railing hand is slightly FARTHER, while the stairway behind her recedes farthest.\nPANEL 4: 옥상에 선 수리영의 시선 끝에 반쯤 열려 있는 어두운 현관 철문이 보이는 정면 구도\n  MOVEMENT (follow exactly): static: Su-ri-young stands on the rooftop facing the half-open iron entrance door, her attention fixed on the dark opening ahead.\n  FIGURES — apparent size & depth order (follow exactly): Su-ri-young occupies roughly ~1/2 of frame height in the NEARER plane, while the half-open door is FARTHER ahead and fills about ~1/3; her sightline runs directly across the rooftop into its dark gap.\nPANEL 5: 수리영이 초점을 잃은 눈으로 허공을 응시하며 서 있는 모습\n  MOVEMENT (follow exactly): static: Su-ri-young stands motionless after fleeing downstairs, her shocked body slack and her unfocused eyes staring into empty space.\n  FIGURES — apparent size & depth order (follow exactly): Su-ri-young fills roughly ~1/2 of frame height and is the sole, NEAREST figure, with the surrounding exterior space FARTHER behind her.\nPANEL 6: 고개를 든 채 혜수의 얼굴을 마주보고 있는 수리영의 측면 구도\n  MOVEMENT (follow exactly): static: Su-ri-young keeps her head raised toward Hye-su, meeting her face from the side with a stunned, unfocused posture.\n  FIGURES — apparent size & depth order (follow exactly): Su-ri-young and Hye-su each fill roughly ~1/2 of frame height in profile and stand at approximately the same camera distance, neither clearly NEARER than the other; they face one another at close conversational range.\n\nABSOLUTELY NO TEXT anywhere: no words, letters, captions, labels,\nsound effects or watermarks — the ONLY allowed marking is a small\nshot number digit (1, 2, 3, 4, 5, 6) in a corner INSIDE each drawn panel.\nTHE PANEL GRID FILLS THE ENTIRE IMAGE EDGE-TO-EDGE: no outer paper\nmargin, no border area, nothing drawn outside the panels — the\nimage must be mechanically cuttable along the stated cut lines.\nPanels are separated only by thin straight black gutter lines at\nthe exact stated positions; ALL PANELS EXACTLY THE SAME SIZE."}
{"ts": "2026-07-11 21:40:42", "kind": "img", "engine": "gpt-image-2", "mode": "generate", "tag": "s34v2_conti_rooftop_int_i2", "refs": [], "size": "1536x1024", "attempt": 1, "dur_s": 122.0, "bytes": 3336993, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/conti9_rooftop_int_i2.png", "prompt": "Draw ONE storyboard (conti) sheet: 6 panels made by TWO vertical cuts at exactly 1/3 and 2/3 of the width and ONE horizontal cut at exactly 50% of the height — a 3-column x 2-row grid, all six panels exactly equal.\nSTYLE: quick, rough HAND-DRAWN pencil sketch — loose gestural line\ndrawing in monochrome graphite on white paper, the kind a film\nstoryboard artist dashes off in seconds. NOT photorealistic, no\npainting, no rendering. The drawing itself stays monochrome — the\nONLY colour allowed anywhere is BRIGHT RED, reserved exclusively\nfor movement markings (see below).\n\nTHE LOCATION (same in all drawn panels): the interior of a small Korean rooftop home: living room with a small window, kitchenette and dining table; a bedroom with a bed against one wall and a curtained window; a tiny tiled bathroom with a mirror.\n\nPURPOSE: each panel captures only the CAMERA COMPOSITION of one\nshot — framing (close-up / medium / wide), where the subject sits in\nthe frame, and continuity between panels. Keep every panel\nextremely simple: only what matters for composition.\nMOVEMENT MARKINGS IN RED: every figure or object that is MOVING in\na panel gets a clear BRIGHT RED storyboard arrow showing its\ndirection of travel (and a short red path line where the movement\ncrosses the frame); camera moves (pan/tilt/push-in) are marked with\nred camera-move arrows. Static figures and objects get NO arrow.\nRed appears ONLY as these movement markings — never as clothing,\nlighting or shading colour.\n\nGEOMETRY — ANALYSE BEFORE DRAWING: from each panel's Korean shot\ntext, first work out the spatial facts and draw EXACTLY those, never\nre-stage them: (a) each figure's DISTANCE from camera (tight insert /\nclose-up / medium / full / wide — a shot about a hand or an object\nis a tight insert, not a two-shot); (b) each figure's FACING and\nMOVEMENT DIRECTION relative to camera — '뒷모습' means seen from\nBEHIND, moving AWAY from camera into the depth of the frame, not\nsideways; a profile means lateral movement; (c) relative positions\nand distances BETWEEN figures. Keep every established screen\ndirection consistent across panels (180-degree rule): a person who\nleaves in one panel keeps the same on-screen direction wherever the\nmovement appears again.\nSIZE & DEPTH ARE CONTRACTUAL: each panel states every figure's\napparent size in the frame and the explicit near/far depth order.\nDraw exactly those proportions — a farther figure MUST be drawn\nclearly smaller than a nearer one; never equalize figure sizes,\nespecially when several figures share a panel or their paths\nrelate to each other.\nDEPARTING FIGURE — a figure running/walking AWAY must be\nunmistakably departing, never approaching: seen exactly from behind\n(back of the head only, no face, no chin, no cheek line), with the\nRED motion arrow starting AT the figure and pointing DEEPER into\nthe frame toward the vanishing point. THE STATED SIZE/DEPTH WINS:\ndraw the departing figure at exactly the apparent size and depth\nthe panel's FIGURES line states (if stated FARTHER/small, it stays\nsmall in the distance — never enlarge it into the foreground for\ndrama); sole-of-shoe and trailing speed-line cues apply only as far\nas they are visible at that stated scale.\n\nCONTINUITY: all drawn panels are the SAME single location — fixed\nfeatures (doors, stairs, windows, poles, desks) keep the same\nposition and left/right relationships across panels so the panels\ncut together as one continuous scene.\n\nPANELS (one shot per panel, Korean shot text):\n\nPANEL 1: 옷과 피부가 피투성이가 된 민숙이 바닥에 주저앉아 고개를 푹 숙인 정지 상태\n  MOVEMENT (follow exactly): static: Minsuk is lifeless on the floor, collapsed in a seated fall with her head hanging forward, torso slumped asymmetrically, limp limbs, and her weight fully fallen rather than held upright.\n  FIGURES — apparent size & depth order (follow exactly): Minsuk fills roughly 2/3 of the frame height and is the NEARER subject, while the bloodied floor and room behind her are FARTHER. Her blood-soaked clothes and skin remain visible across her collapsed body.\nPANEL 2: 침대 위쪽 벽면에 붉은색 원형 표식이 절반쯤 나타난 상태\n  MOVEMENT (follow exactly): static: the half-formed red circle remains on the wall above the bed, with no person crossing the frame.\n  FIGURES — apparent size & depth order (follow exactly): The red circular mark fills about 1/2 of the frame height and is FARTHER on the wall, while the upper part of the bed is NEARER in the foreground.\nPANEL 3: 핏자국 없이 깨끗한 방 내부 전경\n  MOVEMENT (follow exactly): static: the excessively clean, bloodless room stands empty, with no one entering, leaving, or moving through it.\n  FIGURES — apparent size & depth order (follow exactly): The empty room fills the full frame, with the NEARER side of the room opening toward the camera and the clean back wall and far corners appearing FARTHER away. No person, bloodstain, red mark, or body is visible.\nPANEL 4: 거울 속 반사된 욕실 타일 벽면에 붉은색 원형 표식이 절반쯤 나타난 상태\n  MOVEMENT (follow exactly): static: a half-formed red circle is visible on the bathroom tile wall only through the mirror reflection, with no person moving through the shot.\n  FIGURES — apparent size & depth order (follow exactly): The reflected red circle fills roughly 1/3 to 1/2 of the frame height; the mirror surface is NEARER to the camera, while the reflected tiled wall and mark read as FARTHER within the reflection.\nPANEL 5: 해질 무렵 옥탑방 거실, 흙 묻은 발자국들이 찍힌 바닥과 쓰러진 식탁 의자들이 보이는 전경\n  MOVEMENT (follow exactly): static: muddy footprints lie across the living-room floor among overturned dining chairs, but their direction of travel cannot be determined from the shot.\n  FIGURES — apparent size & depth order (follow exactly): The living-room interior fills the frame; the muddy footprints spread across the NEARER floor, while the overturned dining chairs are FARTHER around the table. Individual footprints appear small, roughly 1/10 of the frame height, while the chairs occupy about 1/3 to 1/2.\nPANEL 6: 붉은 원 한가운데 피 묻은 낡은 흑백 사진이 벽에 꽂혀 있는 타이트 샷\n  MOVEMENT (follow exactly): static: the bloodstained old photograph remains fixed at the center of the red circle on the wall, with no hand or person entering the frame.\n  FIGURES — apparent size & depth order (follow exactly): The photograph fills roughly 1/2 to 2/3 of the frame height and is NEARER than the wall surface, while the red circle extends FARTHER behind it across the wall.\n\nABSOLUTELY NO TEXT anywhere: no words, letters, captions, labels,\nsound effects or watermarks — the ONLY allowed marking is a small\nshot number digit (1, 2, 3, 4, 5, 6) in a corner INSIDE each drawn panel.\nTHE PANEL GRID FILLS THE ENTIRE IMAGE EDGE-TO-EDGE: no outer paper\nmargin, no border area, nothing drawn outside the panels — the\nimage must be mechanically cuttable along the stated cut lines.\nPanels are separated only by thin straight black gutter lines at\nthe exact stated positions; ALL PANELS EXACTLY THE SAME SIZE."}
{"ts": "2026-07-11 21:42:38", "kind": "img", "engine": "gpt-image-2", "mode": "generate", "tag": "s34v2_conti_mart_i2", "refs": [], "size": "1536x1024", "attempt": 1, "dur_s": 115.7, "bytes": 3752011, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/conti9_mart_i2.png", "prompt": "Draw ONE storyboard (conti) sheet: 6 panels made by TWO vertical cuts at exactly 1/3 and 2/3 of the width and ONE horizontal cut at exactly 50% of the height — a 3-column x 2-row grid, all six panels exactly equal.\nSTYLE: quick, rough HAND-DRAWN pencil sketch — loose gestural line\ndrawing in monochrome graphite on white paper, the kind a film\nstoryboard artist dashes off in seconds. NOT photorealistic, no\npainting, no rendering. The drawing itself stays monochrome — the\nONLY colour allowed anywhere is BRIGHT RED, reserved exclusively\nfor movement markings (see below).\n\nTHE LOCATION (same in all drawn panels): a mid-size Korean supermarket: shelved sales floor inside; the entrance area outside with a bicycle rack and one wall-mounted CCTV camera above; a small back security office with CCTV monitors.\n\nPURPOSE: each panel captures only the CAMERA COMPOSITION of one\nshot — framing (close-up / medium / wide), where the subject sits in\nthe frame, and continuity between panels. Keep every panel\nextremely simple: only what matters for composition.\nMOVEMENT MARKINGS IN RED: every figure or object that is MOVING in\na panel gets a clear BRIGHT RED storyboard arrow showing its\ndirection of travel (and a short red path line where the movement\ncrosses the frame); camera moves (pan/tilt/push-in) are marked with\nred camera-move arrows. Static figures and objects get NO arrow.\nRed appears ONLY as these movement markings — never as clothing,\nlighting or shading colour.\n\nGEOMETRY — ANALYSE BEFORE DRAWING: from each panel's Korean shot\ntext, first work out the spatial facts and draw EXACTLY those, never\nre-stage them: (a) each figure's DISTANCE from camera (tight insert /\nclose-up / medium / full / wide — a shot about a hand or an object\nis a tight insert, not a two-shot); (b) each figure's FACING and\nMOVEMENT DIRECTION relative to camera — '뒷모습' means seen from\nBEHIND, moving AWAY from camera into the depth of the frame, not\nsideways; a profile means lateral movement; (c) relative positions\nand distances BETWEEN figures. Keep every established screen\ndirection consistent across panels (180-degree rule): a person who\nleaves in one panel keeps the same on-screen direction wherever the\nmovement appears again.\nSIZE & DEPTH ARE CONTRACTUAL: each panel states every figure's\napparent size in the frame and the explicit near/far depth order.\nDraw exactly those proportions — a farther figure MUST be drawn\nclearly smaller than a nearer one; never equalize figure sizes,\nespecially when several figures share a panel or their paths\nrelate to each other.\nDEPARTING FIGURE — a figure running/walking AWAY must be\nunmistakably departing, never approaching: seen exactly from behind\n(back of the head only, no face, no chin, no cheek line), with the\nRED motion arrow starting AT the figure and pointing DEEPER into\nthe frame toward the vanishing point. THE STATED SIZE/DEPTH WINS:\ndraw the departing figure at exactly the apparent size and depth\nthe panel's FIGURES line states (if stated FARTHER/small, it stays\nsmall in the distance — never enlarge it into the foreground for\ndrama); sole-of-shoe and trailing speed-line cues apply only as far\nas they are visible at that stated scale.\n\nCONTINUITY: all drawn panels are the SAME single location — fixed\nfeatures (doors, stairs, windows, poles, desks) keep the same\nposition and left/right relationships across panels so the panels\ncut together as one continuous scene.\n\nPANELS (one shot per panel, Korean shot text):\n\nPANEL 1: 수리영이 마트 유니폼을 입은 한국인 여성 직원을 마주보며 입을 살짝 벌린 측면 구도\n  MOVEMENT (follow exactly): static: Su-ri-young and the female supermarket employee stand facing each other in profile, Su-ri-young holding her mouth slightly open as she addresses the employee.\n  FIGURES — apparent size & depth order (follow exactly): Su-ri-young and the female employee each fill roughly ~1/2 of the frame height and occupy a comparable midground plane, with neither clearly nearer to the camera; they remain a short conversational distance apart across opposing sightlines.\nPANEL 2: 마트 밖으로 나온 수리영이 손에 든 스마트폰 액정을 내려다보는 상체\n  MOVEMENT (follow exactly): static: Having come out of the supermarket, Su-ri-young stands with her upper body angled toward the smartphone in her hand and her gaze lowered to its screen while trying to make contact.\n  FIGURES — apparent size & depth order (follow exactly): Su-ri-young’s upper body fills about ~2/3 of the frame height in the near foreground, while the smartphone is small, about ~1/10, and held within the same near plane below her face; she is the sole visible figure.\nPANEL 3: 수리영과 남자직원이 마트 밖에서 벽면의 CCTV를 올려다보는 뒷모습\n  MOVEMENT (follow exactly): static: Outside the supermarket, Su-ri-young and the male employee stand with their backs to the camera, bodies and heads tilted upward toward the wall-mounted CCTV camera as they check its coverage.\n  FIGURES — apparent size & depth order (follow exactly): Su-ri-young and the male employee each fill roughly ~1/2 of the frame height in the nearer foreground-to-midground, standing alongside each other at comparable depth, while the CCTV camera is much smaller, around ~1/15, and farther away high on the wall.\nPANEL 4: 수리영이 귀에 스마트폰을 댄 채 정면을 응시하는 상체 클로즈업\n  MOVEMENT (follow exactly): static: Su-ri-young holds a smartphone to her ear and faces forward, explaining the situation to Hye-su by phone.\n  FIGURES — apparent size & depth order (follow exactly): Su-ri-young’s upper body fills about ~3/4 of the frame height in the near foreground, with the smartphone small, around ~1/12, against her ear in the same near plane; no other person is visible.\nPANEL 5: 마트 총무과 책상 앞, 한국인 남성 보안직원과 혜수가 컴퓨터 모니터를 향해 몸을 기울인 측면\n  MOVEMENT (follow exactly): static: The male security employee and Hye-su lean forward from the desk toward the computer monitor, both directing their gaze at the CCTV footage.\n  FIGURES — apparent size & depth order (follow exactly): The security employee and Hye-su each fill roughly ~1/2 of the frame height and occupy a comparable midground depth, with neither clearly nearer to the camera; the monitor is smaller, about ~1/3, positioned directly along their converging sightlines.\nPANEL 6: 흑백 CCTV 화면 속 어두운 구석에 사람 형상이 희미하게 찍힌 모니터 클로즈업\n  MOVEMENT (follow exactly): static: A faint, unidentifiable human-shaped form remains in a dark corner of the black-and-white CCTV image, with no discernible direction of travel or body orientation.\n  FIGURES — apparent size & depth order (follow exactly): The monitor image fills nearly the entire frame and is the nearest visible object, while the indistinct human-shaped form is tiny, about ~1/10 of the frame height, and appears far away within the recorded space.\n\nABSOLUTELY NO TEXT anywhere: no words, letters, captions, labels,\nsound effects or watermarks — the ONLY allowed marking is a small\nshot number digit (1, 2, 3, 4, 5, 6) in a corner INSIDE each drawn panel.\nTHE PANEL GRID FILLS THE ENTIRE IMAGE EDGE-TO-EDGE: no outer paper\nmargin, no border area, nothing drawn outside the panels — the\nimage must be mechanically cuttable along the stated cut lines.\nPanels are separated only by thin straight black gutter lines at\nthe exact stated positions; ALL PANELS EXACTLY THE SAME SIZE."}
{"ts": "2026-07-11 21:44:29", "kind": "img", "engine": "gpt-image-2", "mode": "generate", "tag": "s34v2_conti_police_i2", "refs": [], "size": "1536x1024", "attempt": 1, "dur_s": 110.9, "bytes": 3191953, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/conti9_police_i2.png", "prompt": "Draw ONE storyboard (conti) sheet: 6 panels made by TWO vertical cuts at exactly 1/3 and 2/3 of the width and ONE horizontal cut at exactly 50% of the height — a 3-column x 2-row grid, all six panels exactly equal.\nSTYLE: quick, rough HAND-DRAWN pencil sketch — loose gestural line\ndrawing in monochrome graphite on white paper, the kind a film\nstoryboard artist dashes off in seconds. NOT photorealistic, no\npainting, no rendering. The drawing itself stays monochrome — the\nONLY colour allowed anywhere is BRIGHT RED, reserved exclusively\nfor movement markings (see below).\n\nTHE LOCATION (same in all drawn panels): a modest Korean provincial police station: a detectives' office with desks, monitors and a doorway; and the street right in front of the building.\n\nPURPOSE: each panel captures only the CAMERA COMPOSITION of one\nshot — framing (close-up / medium / wide), where the subject sits in\nthe frame, and continuity between panels. Keep every panel\nextremely simple: only what matters for composition.\nMOVEMENT MARKINGS IN RED: every figure or object that is MOVING in\na panel gets a clear BRIGHT RED storyboard arrow showing its\ndirection of travel (and a short red path line where the movement\ncrosses the frame); camera moves (pan/tilt/push-in) are marked with\nred camera-move arrows. Static figures and objects get NO arrow.\nRed appears ONLY as these movement markings — never as clothing,\nlighting or shading colour.\n\nGEOMETRY — ANALYSE BEFORE DRAWING: from each panel's Korean shot\ntext, first work out the spatial facts and draw EXACTLY those, never\nre-stage them: (a) each figure's DISTANCE from camera (tight insert /\nclose-up / medium / full / wide — a shot about a hand or an object\nis a tight insert, not a two-shot); (b) each figure's FACING and\nMOVEMENT DIRECTION relative to camera — '뒷모습' means seen from\nBEHIND, moving AWAY from camera into the depth of the frame, not\nsideways; a profile means lateral movement; (c) relative positions\nand distances BETWEEN figures. Keep every established screen\ndirection consistent across panels (180-degree rule): a person who\nleaves in one panel keeps the same on-screen direction wherever the\nmovement appears again.\nSIZE & DEPTH ARE CONTRACTUAL: each panel states every figure's\napparent size in the frame and the explicit near/far depth order.\nDraw exactly those proportions — a farther figure MUST be drawn\nclearly smaller than a nearer one; never equalize figure sizes,\nespecially when several figures share a panel or their paths\nrelate to each other.\nDEPARTING FIGURE — a figure running/walking AWAY must be\nunmistakably departing, never approaching: seen exactly from behind\n(back of the head only, no face, no chin, no cheek line), with the\nRED motion arrow starting AT the figure and pointing DEEPER into\nthe frame toward the vanishing point. THE STATED SIZE/DEPTH WINS:\ndraw the departing figure at exactly the apparent size and depth\nthe panel's FIGURES line states (if stated FARTHER/small, it stays\nsmall in the distance — never enlarge it into the foreground for\ndrama); sole-of-shoe and trailing speed-line cues apply only as far\nas they are visible at that stated scale.\n\nCONTINUITY: all drawn panels are the SAME single location — fixed\nfeatures (doors, stairs, windows, poles, desks) keep the same\nposition and left/right relationships across panels so the panels\ncut together as one continuous scene.\n\nPANELS (one shot per panel, Korean shot text):\n\nPANEL 1: 혜수가 스마트폰 액정을 김형사 쪽으로 불쑥 내민 순간\n  MOVEMENT (follow exactly): Hye-su abruptly thrusts the smartphone forward from her side toward Detective Kim, presenting Min-sook's saved number while remaining inside the office.\n  FIGURES — apparent size & depth order (follow exactly): Hye-su and Detective Kim each fill roughly ~1/2 of the frame height, with Hye-su NEARER to the camera and Detective Kim FARTHER across from her. The extended smartphone fills about ~1/5 of the frame height, projecting from Hye-su toward Detective Kim and lying between their positions.\nPANEL 2: 수리영이 두 눈을 크게 뜨고 입을 살짝 벌린 굳은 얼굴 클로즈업\n  MOVEMENT (follow exactly): static: Su-ri-young holds rigid with fear and shock, her widened eyes fixed forward and her lips slightly parted.\n  FIGURES — apparent size & depth order (follow exactly): Su-ri-young's face fills roughly ~3/4 of the frame height; she is the sole and therefore NEAREST visible figure, with no farther person shown.\nPANEL 3: 모니터 화면에 바다 지도가 펼쳐져 있고 붉은색 핀과 좌표 숫자가 떠 있는 클로즈업\n  MOVEMENT (follow exactly): static: the monitor displays a sea map with a red location pin and coordinate figures, with no physical movement in frame.\n  FIGURES — apparent size & depth order (follow exactly): The monitor image fills nearly the full frame and is the sole, NEAREST core object; the map, pin, and coordinate text occupy the same flat display plane with no farther figure visible.\nPANEL 4: 수리영이 메모지가 들어간 겉옷 주머니에 손을 넣은 채 사무실 출입문을 향해 몸을 돌린 정지 순간\n  MOVEMENT (follow exactly): static: Su-ri-young stands tensely with one hand inside the coat pocket holding the folded note, her body turned toward the office exit and poised to leave the room.\n  FIGURES — apparent size & depth order (follow exactly): Su-ri-young fills roughly ~2/3 of the frame height and is NEARER to the camera, while the office doorway is FARTHER in the direction she faces. Her intended path runs from her position inside the office toward and through that doorway.\nPANEL 5: 경찰서 건물 밖 도로 위에서 수리영이 자전거 안장에 앉아 상체를 앞으로 숙인 채 머리카락이 뒤로 흩날리는 측면\n  MOVEMENT (follow exactly): Su-ri-young rides the bicycle along the road outside the police station, moving laterally across the camera's side view with her torso pitched forward over the handlebars and her hair streaming backward, neither directly toward nor directly away from the camera.\n  FIGURES — apparent size & depth order (follow exactly): Su-ri-young fills roughly ~1/2 of the frame height, and the bicycle-and-rider silhouette together fills about ~2/3; both are NEARER to the camera than the FARTHER police-station exterior. Her path continues along the road parallel to the image plane.\n\nThere are 5 shots but 6 panel slots: draw the shots in\npanels 1..5 and leave the remaining panel(s) COMPLETELY\nBLANK PURE WHITE — empty white paper, not even a frame line inside.\n\nABSOLUTELY NO TEXT anywhere: no words, letters, captions, labels,\nsound effects or watermarks — the ONLY allowed marking is a small\nshot number digit (1, 2, 3, 4, 5) in a corner INSIDE each drawn panel.\nTHE PANEL GRID FILLS THE ENTIRE IMAGE EDGE-TO-EDGE: no outer paper\nmargin, no border area, nothing drawn outside the panels — the\nimage must be mechanically cuttable along the stated cut lines.\nPanels are separated only by thin straight black gutter lines at\nthe exact stated positions; ALL PANELS EXACTLY THE SAME SIZE."}
{"ts": "2026-07-11 21:54:43", "kind": "img", "engine": "gpt-image-2", "mode": "edit", "tag": "s34v10_busstop_refs_i2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/projects/8207aadc-7975-48f5-af17-ccc145a6660d/images/background_chain/canon_bg_coastal_bus_stop_master.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8207aadc-7975-48f5-af17-ccc145a6660d/images/background_chain/canon_bg_coastal_bus_stop_map.png"], "size": "1536x1024", "attempt": 1, "dur_s": 121.4, "bytes": 3972372, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/conti10_busstop_i2.png", "prompt": "Draw ONE storyboard (conti) sheet: 2 panels made by ONE vertical cut at exactly 50% of the image width — each panel is exactly half the width and the FULL height (1 row x 2 columns).\nSTYLE: quick, rough HAND-DRAWN pencil sketch — loose gestural line\ndrawing in monochrome graphite on white paper, the kind a film\nstoryboard artist dashes off in seconds. NOT photorealistic, no\npainting, no rendering. The drawing itself stays monochrome — the\nONLY colour allowed anywhere is BRIGHT RED, reserved exclusively\nfor movement markings (see below).\n\nTHE LOCATION (same in all drawn panels): a small seaside bus stop with a bench facing the sea at night on a quiet Korean coastal road.\n\nPURPOSE: each panel captures only the CAMERA COMPOSITION of one\nshot — framing (close-up / medium / wide), where the subject sits in\nthe frame, and continuity between panels. Keep every panel\nextremely simple: only what matters for composition.\nMOVEMENT MARKINGS IN RED: every figure or object that is MOVING in\na panel gets a clear BRIGHT RED storyboard arrow showing its\ndirection of travel (and a short red path line where the movement\ncrosses the frame); camera moves (pan/tilt/push-in) are marked with\nred camera-move arrows. Static figures and objects get NO arrow.\nRed appears ONLY as these movement markings — never as clothing,\nlighting or shading colour.\n\nGEOMETRY — ANALYSE BEFORE DRAWING: from each panel's Korean shot\ntext, first work out the spatial facts and draw EXACTLY those, never\nre-stage them: (a) each figure's DISTANCE from camera (tight insert /\nclose-up / medium / full / wide — a shot about a hand or an object\nis a tight insert, not a two-shot); (b) each figure's FACING and\nMOVEMENT DIRECTION relative to camera — '뒷모습' means seen from\nBEHIND, moving AWAY from camera into the depth of the frame, not\nsideways; a profile means lateral movement; (c) relative positions\nand distances BETWEEN figures. Keep every established screen\ndirection consistent across panels (180-degree rule): a person who\nleaves in one panel keeps the same on-screen direction wherever the\nmovement appears again.\nSIZE & DEPTH ARE CONTRACTUAL: each panel states every figure's\napparent size in the frame and the explicit near/far depth order.\nDraw exactly those proportions — a farther figure MUST be drawn\nclearly smaller than a nearer one; never equalize figure sizes,\nespecially when several figures share a panel or their paths\nrelate to each other.\nDEPARTING FIGURE — a figure running/walking AWAY must be\nunmistakably departing, never approaching: seen exactly from behind\n(back of the head only, no face, no chin, no cheek line), with the\nRED motion arrow starting AT the figure and pointing DEEPER into\nthe frame toward the vanishing point. THE STATED SIZE/DEPTH WINS:\ndraw the departing figure at exactly the apparent size and depth\nthe panel's FIGURES line states (if stated FARTHER/small, it stays\nsmall in the distance — never enlarge it into the foreground for\ndrama); sole-of-shoe and trailing speed-line cues apply only as far\nas they are visible at that stated scale.\n\nCONTINUITY: all drawn panels are the SAME single location — fixed\nfeatures (doors, stairs, windows, poles, desks) keep the same\nposition and left/right relationships across panels so the panels\ncut together as one continuous scene.\n\nPANELS (one shot per panel, Korean shot text):\n\nPANEL 1: 혜수의 손이 음료수 캔을 쥔 채 수리영 앞으로 내밀어진 순간\n  MOVEMENT (follow exactly): Hye-su extends her hand and the drink can from her side into the space directly in front of Suri-young, who remains seated and blankly oriented toward the sea.\n  FIGURES — apparent size & depth order (follow exactly): Hye-su's hand and can appear large at roughly ~1/3 of the frame height and are NEARER to the camera; seated Suri-young appears around ~1/2 of the frame height and is FARTHER behind the offered can.\nPANEL 2: 멀리서 혜수의 전신과 한 발을 공중에 띄운 mid-stride 자세로 달리는 수리영의 뒷모습을 한 프레임에 담은 넓은 구도\n  MOVEMENT (follow exactly): Suri-young runs away from Hye-su and away from the camera with her back visible and one foot airborne mid-stride, while Hye-su remains behind facing her path.\n  FIGURES — apparent size & depth order (follow exactly): Hye-su's full body appears about ~1/3 of the frame height and is NEARER to the camera, while the departing Suri-young appears smaller at ~1/5 and FARTHER along the route away. The distance between them increases as Suri-young runs ahead and Hye-su stays behind.\n\nABSOLUTELY NO TEXT anywhere: no words, letters, captions, labels,\nsound effects or watermarks — the ONLY allowed marking is a small\nshot number digit (1, 2) in a corner INSIDE each drawn panel.\nTHE PANEL GRID FILLS THE ENTIRE IMAGE EDGE-TO-EDGE: no outer paper\nmargin, no border area, nothing drawn outside the panels — the\nimage must be mechanically cuttable along the stated cut lines.\nPanels are separated only by thin straight black gutter lines at\nthe exact stated positions; ALL PANELS EXACTLY THE SAME SIZE.\n\nPANEL 2 CAMERA & PLACEMENT (follow exactly, from the site plan):\ncamera stands on the water-side portion of the bus stop, just\nbeyond the bench, looking along the length of the coastal road —\nin frame: the departing runner in full-body stride at center,\nthe bench with the other woman beside it in the left background,\nthe coastal land edge to the right and the open sea beyond it.\n\nREFERENCES (for grounding, not for style): the attached LOCATION\nPHOTOGRAPH shows how this exact bus stop looks (shelter, bench,\nroad, sea side); the attached flat SITE PLAN shows the layout from\nabove — never draw the plan itself or its markers. APPLY THEM TO\nPANEL 2 ONLY: panel 2's camera position, shelter/bench placement\nand figure positions must match the plan and the photograph's\ngeography. PANEL 1 is an earlier, tighter moment from a different\nangle — take only the stop's general look (bench, shelter) from\nthe references, not their viewpoint. The OUTPUT stays a rough\nhand-drawn pencil storyboard sketch — do not copy the photograph's\nrendering, only its spatial truth."}
{"ts": "2026-07-11 22:03:15", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s34v10_busstop_refs_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/projects/8207aadc-7975-48f5-af17-ccc145a6660d/images/background_chain/canon_bg_coastal_bus_stop_master.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8207aadc-7975-48f5-af17-ccc145a6660d/images/background_chain/canon_bg_coastal_bus_stop_map.png"], "ref_labels": ["LOCATION PHOTOGRAPH — this exact bus stop; spatial truth only, output stays a pencil sketch.", "SITE PLAN — top-down layout source only; never draw this plan or its markers."], "attempt": 1, "dur_s": 20.6, "bytes": 2392288, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/conti10_busstop_nb2.png", "prompt": "Draw ONE storyboard (conti) sheet: 2 panels made by ONE vertical cut at exactly 50% of the image width — each panel is exactly half the width and the FULL height (1 row x 2 columns).\nSTYLE: quick, rough HAND-DRAWN pencil sketch — loose gestural line\ndrawing in monochrome graphite on white paper, the kind a film\nstoryboard artist dashes off in seconds. NOT photorealistic, no\npainting, no rendering. The drawing itself stays monochrome — the\nONLY colour allowed anywhere is BRIGHT RED, reserved exclusively\nfor movement markings (see below).\n\nTHE LOCATION (same in all drawn panels): a small seaside bus stop with a bench facing the sea at night on a quiet Korean coastal road.\n\nPURPOSE: each panel captures only the CAMERA COMPOSITION of one\nshot — framing (close-up / medium / wide), where the subject sits in\nthe frame, and continuity between panels. Keep every panel\nextremely simple: only what matters for composition.\nMOVEMENT MARKINGS IN RED: every figure or object that is MOVING in\na panel gets a clear BRIGHT RED storyboard arrow showing its\ndirection of travel (and a short red path line where the movement\ncrosses the frame); camera moves (pan/tilt/push-in) are marked with\nred camera-move arrows. Static figures and objects get NO arrow.\nRed appears ONLY as these movement markings — never as clothing,\nlighting or shading colour.\n\nGEOMETRY — ANALYSE BEFORE DRAWING: from each panel's Korean shot\ntext, first work out the spatial facts and draw EXACTLY those, never\nre-stage them: (a) each figure's DISTANCE from camera (tight insert /\nclose-up / medium / full / wide — a shot about a hand or an object\nis a tight insert, not a two-shot); (b) each figure's FACING and\nMOVEMENT DIRECTION relative to camera — '뒷모습' means seen from\nBEHIND, moving AWAY from camera into the depth of the frame, not\nsideways; a profile means lateral movement; (c) relative positions\nand distances BETWEEN figures. Keep every established screen\ndirection consistent across panels (180-degree rule): a person who\nleaves in one panel keeps the same on-screen direction wherever the\nmovement appears again.\nSIZE & DEPTH ARE CONTRACTUAL: each panel states every figure's\napparent size in the frame and the explicit near/far depth order.\nDraw exactly those proportions — a farther figure MUST be drawn\nclearly smaller than a nearer one; never equalize figure sizes,\nespecially when several figures share a panel or their paths\nrelate to each other.\nDEPARTING FIGURE — a figure running/walking AWAY must be\nunmistakably departing, never approaching: seen exactly from behind\n(back of the head only, no face, no chin, no cheek line), with the\nRED motion arrow starting AT the figure and pointing DEEPER into\nthe frame toward the vanishing point. THE STATED SIZE/DEPTH WINS:\ndraw the departing figure at exactly the apparent size and depth\nthe panel's FIGURES line states (if stated FARTHER/small, it stays\nsmall in the distance — never enlarge it into the foreground for\ndrama); sole-of-shoe and trailing speed-line cues apply only as far\nas they are visible at that stated scale.\n\nCONTINUITY: all drawn panels are the SAME single location — fixed\nfeatures (doors, stairs, windows, poles, desks) keep the same\nposition and left/right relationships across panels so the panels\ncut together as one continuous scene.\n\nPANELS (one shot per panel, Korean shot text):\n\nPANEL 1: 혜수의 손이 음료수 캔을 쥔 채 수리영 앞으로 내밀어진 순간\n  MOVEMENT (follow exactly): Hye-su extends her hand and the drink can from her side into the space directly in front of Suri-young, who remains seated and blankly oriented toward the sea.\n  FIGURES — apparent size & depth order (follow exactly): Hye-su's hand and can appear large at roughly ~1/3 of the frame height and are NEARER to the camera; seated Suri-young appears around ~1/2 of the frame height and is FARTHER behind the offered can.\nPANEL 2: 멀리서 혜수의 전신과 한 발을 공중에 띄운 mid-stride 자세로 달리는 수리영의 뒷모습을 한 프레임에 담은 넓은 구도\n  MOVEMENT (follow exactly): Suri-young runs away from Hye-su and away from the camera with her back visible and one foot airborne mid-stride, while Hye-su remains behind facing her path.\n  FIGURES — apparent size & depth order (follow exactly): Hye-su's full body appears about ~1/3 of the frame height and is NEARER to the camera, while the departing Suri-young appears smaller at ~1/5 and FARTHER along the route away. The distance between them increases as Suri-young runs ahead and Hye-su stays behind.\n\nABSOLUTELY NO TEXT anywhere: no words, letters, captions, labels,\nsound effects or watermarks — the ONLY allowed marking is a small\nshot number digit (1, 2) in a corner INSIDE each drawn panel.\nTHE PANEL GRID FILLS THE ENTIRE IMAGE EDGE-TO-EDGE: no outer paper\nmargin, no border area, nothing drawn outside the panels — the\nimage must be mechanically cuttable along the stated cut lines.\nPanels are separated only by thin straight black gutter lines at\nthe exact stated positions; ALL PANELS EXACTLY THE SAME SIZE.\n\nPANEL 2 CAMERA & PLACEMENT (follow exactly, from the site plan):\ncamera stands on the water-side portion of the bus stop, just\nbeyond the bench, looking along the length of the coastal road —\nin frame: the departing runner in full-body stride at center,\nthe bench with the other woman beside it in the left background,\nthe coastal land edge to the right and the open sea beyond it.\n\nREFERENCES (for grounding, not for style): the attached LOCATION\nPHOTOGRAPH shows how this exact bus stop looks (shelter, bench,\nroad, sea side); the attached flat SITE PLAN shows the layout from\nabove — never draw the plan itself or its markers. APPLY THEM TO\nPANEL 2 ONLY: panel 2's camera position, shelter/bench placement\nand figure positions must match the plan and the photograph's\ngeography. PANEL 1 is an earlier, tighter moment from a different\nangle — take only the stop's general look (bench, shelter) from\nthe references, not their viewpoint. The OUTPUT stays a rough\nhand-drawn pencil storyboard sketch — do not copy the photograph's\nrendering, only its spatial truth."}
{"ts": "2026-07-11 22:24:04", "kind": "img", "engine": "gpt-image-2", "mode": "generate", "tag": "s34v2_conti_forest_i2", "refs": [], "size": "1024x1024", "attempt": 1, "dur_s": 183.1, "bytes": 2386561, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/conti11_forest_i2.png", "prompt": "Draw ONE storyboard (conti) sheet: 4 panels made by ONE vertical cut at exactly 50% of the width and ONE horizontal cut at exactly 50% of the height — a 2x2 grid, each panel exactly one quarter of the image.\nSTYLE: quick, rough HAND-DRAWN pencil sketch — loose gestural line\ndrawing in monochrome graphite on white paper, the kind a film\nstoryboard artist dashes off in seconds. NOT photorealistic, no\npainting, no rendering, no color — monochrome graphite only.\n\nTHE LOCATION (same in all drawn panels): a dense Korean mountain forest with thick undergrowth.\n\nPURPOSE: each panel captures only the CAMERA COMPOSITION of one\nshot — framing (close-up / medium / wide), where the subject sits in\nthe frame, and continuity between panels. Keep every panel\nextremely simple: only what matters for composition.\nMOVEMENT IS SHOWN BY THE FIGURE ITSELF, NEVER BY MARKINGS: convey\ndirection of travel purely through the body — stride mid-motion,\nbody lean into the path, back view vs front view, and the stated\nsize/depth cues. Do NOT draw arrows, motion lines, path lines,\nspeed lines or any diagram markings of any kind.\n\nGEOMETRY — ANALYSE BEFORE DRAWING: from each panel's Korean shot\ntext, first work out the spatial facts and draw EXACTLY those, never\nre-stage them: (a) each figure's DISTANCE from camera (tight insert /\nclose-up / medium / full / wide — a shot about a hand or an object\nis a tight insert, not a two-shot); (b) each figure's FACING and\nMOVEMENT DIRECTION relative to camera — '뒷모습' means seen from\nBEHIND, moving AWAY from camera into the depth of the frame, not\nsideways; a profile means lateral movement; (c) relative positions\nand distances BETWEEN figures. Keep every established screen\ndirection consistent across panels (180-degree rule): a person who\nleaves in one panel keeps the same on-screen direction wherever the\nmovement appears again.\nSIZE & DEPTH ARE CONTRACTUAL: each panel states every figure's\napparent size in the frame and the explicit near/far depth order.\nDraw exactly those proportions — a farther figure MUST be drawn\nclearly smaller than a nearer one; never equalize figure sizes,\nespecially when several figures share a panel or their paths\nrelate to each other.\nDEPARTING FIGURE — a figure running/walking AWAY must be\nunmistakably departing, never approaching: seen exactly from behind\n(back of the head only, no face, no chin, no cheek line), body\nleaning into the path, mid-stride with one shoe sole toward the\ncamera. THE STATED SIZE/DEPTH WINS: draw the departing figure at\nexactly the apparent size and depth the panel's FIGURES line states\n(if stated FARTHER/small, it stays small in the distance — never\nenlarge it into the foreground for drama).\n\nCONTINUITY: all drawn panels are the SAME single location — fixed\nfeatures (doors, stairs, windows, poles, desks) keep the same\nposition and left/right relationships across panels so the panels\ncut together as one continuous scene.\n\nPANELS (one shot per panel, Korean shot text):\n\nPANEL 1: 한쪽 신발이 벗겨진 한국인 남자가 우거진 수풀 사이를 달리며 한 발을 허공에 내딛고 있는 도중의 전신 구도\n  MOVEMENT (follow exactly): The terrified, injured Korean man flees forward through dense undergrowth with a strained, unsteady running posture, one shoe missing, one foot suspended mid-stride, and blood flowing from the large bite wound on his thigh; whether he runs toward or away from the camera is not specified.\n  FIGURES — apparent size & depth order (follow exactly): His full body fills roughly ~4/5 of the frame height; as the sole figure, he is both the NEAREST and FARTHEST person, with the dense brush surrounding and partly obstructing his route.\nPANEL 2: 검은 형상의 인영이 허공에 뛰어오른 채 한국인 남자를 향해 두 팔을 뻗고 있는 순간\n  MOVEMENT (follow exactly): A black silhouetted figure springs through the air toward the terrified Korean man, extending both arms to tackle him as he flees through the undergrowth; their movement toward or away from the camera is not specified.\n  FIGURES — apparent size & depth order (follow exactly): The airborne black figure and the man each occupy roughly ~1/2–2/3 of the frame height, with the attacker closing the remaining distance along a direct collision path toward the man; which figure is NEARER or FARTHER to the camera is not specified.\nPANEL 3: 형사 무리 한가운데 서서 손가락으로 한쪽을 가리키는 혜수의 상체\n  MOVEMENT (follow exactly): static: Hyesu stands upright amid the detectives, her upper body oriented toward one side as she points there with a finger while directing the investigation.\n  FIGURES — apparent size & depth order (follow exactly): Hyesu’s upper body fills roughly ~2/3 of the frame height, while the surrounding detectives appear as smaller or partial figures around her; Hyesu is the principal middle figure, but no specific detective is established as definitively NEARER or FARTHER than her.\n\nThere are 3 shots but 4 panel slots: draw the shots in\npanels 1..3 and leave the remaining panel(s) COMPLETELY\nBLANK PURE WHITE — empty white paper, not even a frame line inside.\n\nABSOLUTELY NO TEXT anywhere: no words, letters, captions, labels,\nsound effects or watermarks — the ONLY allowed marking is a small\nshot number digit (1, 2, 3) in a corner INSIDE each drawn panel.\nTHE PANEL GRID FILLS THE ENTIRE IMAGE EDGE-TO-EDGE: no outer paper\nmargin, no border area, nothing drawn outside the panels — the\nimage must be mechanically cuttable along the stated cut lines.\nPanels are separated only by thin straight black gutter lines at\nthe exact stated positions; ALL PANELS EXACTLY THE SAME SIZE."}
{"ts": "2026-07-11 22:25:54", "kind": "img", "engine": "gpt-image-2", "mode": "generate", "tag": "s34v2_conti_busstop_i2", "refs": [], "size": "1536x1024", "attempt": 1, "dur_s": 109.7, "bytes": 3418108, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/conti11_busstop_i2.png", "prompt": "Draw ONE storyboard (conti) sheet: 2 panels made by ONE vertical cut at exactly 50% of the image width — each panel is exactly half the width and the FULL height (1 row x 2 columns).\nSTYLE: quick, rough HAND-DRAWN pencil sketch — loose gestural line\ndrawing in monochrome graphite on white paper, the kind a film\nstoryboard artist dashes off in seconds. NOT photorealistic, no\npainting, no rendering, no color — monochrome graphite only.\n\nTHE LOCATION (same in all drawn panels): a small seaside bus stop with a bench facing the sea at night on a quiet Korean coastal road.\n\nPURPOSE: each panel captures only the CAMERA COMPOSITION of one\nshot — framing (close-up / medium / wide), where the subject sits in\nthe frame, and continuity between panels. Keep every panel\nextremely simple: only what matters for composition.\nMOVEMENT IS SHOWN BY THE FIGURE ITSELF, NEVER BY MARKINGS: convey\ndirection of travel purely through the body — stride mid-motion,\nbody lean into the path, back view vs front view, and the stated\nsize/depth cues. Do NOT draw arrows, motion lines, path lines,\nspeed lines or any diagram markings of any kind.\n\nGEOMETRY — ANALYSE BEFORE DRAWING: from each panel's Korean shot\ntext, first work out the spatial facts and draw EXACTLY those, never\nre-stage them: (a) each figure's DISTANCE from camera (tight insert /\nclose-up / medium / full / wide — a shot about a hand or an object\nis a tight insert, not a two-shot); (b) each figure's FACING and\nMOVEMENT DIRECTION relative to camera — '뒷모습' means seen from\nBEHIND, moving AWAY from camera into the depth of the frame, not\nsideways; a profile means lateral movement; (c) relative positions\nand distances BETWEEN figures. Keep every established screen\ndirection consistent across panels (180-degree rule): a person who\nleaves in one panel keeps the same on-screen direction wherever the\nmovement appears again.\nSIZE & DEPTH ARE CONTRACTUAL: each panel states every figure's\napparent size in the frame and the explicit near/far depth order.\nDraw exactly those proportions — a farther figure MUST be drawn\nclearly smaller than a nearer one; never equalize figure sizes,\nespecially when several figures share a panel or their paths\nrelate to each other.\nDEPARTING FIGURE — a figure running/walking AWAY must be\nunmistakably departing, never approaching: seen exactly from behind\n(back of the head only, no face, no chin, no cheek line), body\nleaning into the path, mid-stride with one shoe sole toward the\ncamera. THE STATED SIZE/DEPTH WINS: draw the departing figure at\nexactly the apparent size and depth the panel's FIGURES line states\n(if stated FARTHER/small, it stays small in the distance — never\nenlarge it into the foreground for drama).\n\nCONTINUITY: all drawn panels are the SAME single location — fixed\nfeatures (doors, stairs, windows, poles, desks) keep the same\nposition and left/right relationships across panels so the panels\ncut together as one continuous scene.\n\nPANELS (one shot per panel, Korean shot text):\n\nPANEL 1: 혜수의 손이 음료수 캔을 쥔 채 수리영 앞으로 내밀어진 순간\n  MOVEMENT (follow exactly): Hye-su extends her hand and the drink can from her side into the space directly in front of Suri-young, who remains seated and blankly oriented toward the sea.\n  FIGURES — apparent size & depth order (follow exactly): Hye-su's hand and can appear large at roughly ~1/3 of the frame height and are NEARER to the camera; seated Suri-young appears around ~1/2 of the frame height and is FARTHER behind the offered can.\nPANEL 2: 멀리서 혜수의 전신과 한 발을 공중에 띄운 mid-stride 자세로 달리는 수리영의 뒷모습을 한 프레임에 담은 넓은 구도\n  MOVEMENT (follow exactly): Suri-young runs away from Hye-su and away from the camera with her back visible and one foot airborne mid-stride, while Hye-su remains behind facing her path.\n  FIGURES — apparent size & depth order (follow exactly): Hye-su's full body appears about ~1/3 of the frame height and is NEARER to the camera, while the departing Suri-young appears smaller at ~1/5 and FARTHER along the route away. The distance between them increases as Suri-young runs ahead and Hye-su stays behind.\n\nABSOLUTELY NO TEXT anywhere: no words, letters, captions, labels,\nsound effects or watermarks — the ONLY allowed marking is a small\nshot number digit (1, 2) in a corner INSIDE each drawn panel.\nTHE PANEL GRID FILLS THE ENTIRE IMAGE EDGE-TO-EDGE: no outer paper\nmargin, no border area, nothing drawn outside the panels — the\nimage must be mechanically cuttable along the stated cut lines.\nPanels are separated only by thin straight black gutter lines at\nthe exact stated positions; ALL PANELS EXACTLY THE SAME SIZE."}
{"ts": "2026-07-11 22:27:54", "kind": "img", "engine": "gpt-image-2", "mode": "generate", "tag": "s34v2_conti_rooftop_ext_i2", "refs": [], "size": "1536x1024", "attempt": 1, "dur_s": 119.8, "bytes": 3803419, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/conti11_rooftop_ext_i2.png", "prompt": "Draw ONE storyboard (conti) sheet: 6 panels made by TWO vertical cuts at exactly 1/3 and 2/3 of the width and ONE horizontal cut at exactly 50% of the height — a 3-column x 2-row grid, all six panels exactly equal.\nSTYLE: quick, rough HAND-DRAWN pencil sketch — loose gestural line\ndrawing in monochrome graphite on white paper, the kind a film\nstoryboard artist dashes off in seconds. NOT photorealistic, no\npainting, no rendering, no color — monochrome graphite only.\n\nTHE LOCATION (same in all drawn panels): the exterior of an old Korean multi-family villa: narrow alley and small yard at ground level, an added exterior steel staircase climbing the wall, and a rooftop with a small rooftop room (steel front door, one lit window), a water tank, a clothesline and a low parapet.\n\nPURPOSE: each panel captures only the CAMERA COMPOSITION of one\nshot — framing (close-up / medium / wide), where the subject sits in\nthe frame, and continuity between panels. Keep every panel\nextremely simple: only what matters for composition.\nMOVEMENT IS SHOWN BY THE FIGURE ITSELF, NEVER BY MARKINGS: convey\ndirection of travel purely through the body — stride mid-motion,\nbody lean into the path, back view vs front view, and the stated\nsize/depth cues. Do NOT draw arrows, motion lines, path lines,\nspeed lines or any diagram markings of any kind.\n\nGEOMETRY — ANALYSE BEFORE DRAWING: from each panel's Korean shot\ntext, first work out the spatial facts and draw EXACTLY those, never\nre-stage them: (a) each figure's DISTANCE from camera (tight insert /\nclose-up / medium / full / wide — a shot about a hand or an object\nis a tight insert, not a two-shot); (b) each figure's FACING and\nMOVEMENT DIRECTION relative to camera — '뒷모습' means seen from\nBEHIND, moving AWAY from camera into the depth of the frame, not\nsideways; a profile means lateral movement; (c) relative positions\nand distances BETWEEN figures. Keep every established screen\ndirection consistent across panels (180-degree rule): a person who\nleaves in one panel keeps the same on-screen direction wherever the\nmovement appears again.\nSIZE & DEPTH ARE CONTRACTUAL: each panel states every figure's\napparent size in the frame and the explicit near/far depth order.\nDraw exactly those proportions — a farther figure MUST be drawn\nclearly smaller than a nearer one; never equalize figure sizes,\nespecially when several figures share a panel or their paths\nrelate to each other.\nDEPARTING FIGURE — a figure running/walking AWAY must be\nunmistakably departing, never approaching: seen exactly from behind\n(back of the head only, no face, no chin, no cheek line), body\nleaning into the path, mid-stride with one shoe sole toward the\ncamera. THE STATED SIZE/DEPTH WINS: draw the departing figure at\nexactly the apparent size and depth the panel's FIGURES line states\n(if stated FARTHER/small, it stays small in the distance — never\nenlarge it into the foreground for drama).\n\nCONTINUITY: all drawn panels are the SAME single location — fixed\nfeatures (doors, stairs, windows, poles, desks) keep the same\nposition and left/right relationships across panels so the panels\ncut together as one continuous scene.\n\nPANELS (one shot per panel, Korean shot text):\n\nPANEL 1: 현관 철문이 아주 살짝 열린 틈새로 보이는 어두운 실내와 신발 앞코\n  MOVEMENT (follow exactly): The stranger's shoe toe advances away from the rooftop camera through the barely opened iron door and into the dark room.\n  FIGURES — apparent size & depth order (follow exactly): The shoe toe is small, about ~1/6 of frame height, and is FARTHER than the NEARER iron door and its narrow opening; the dark interior recedes farthest beyond it.\nPANEL 2: 불이 켜진 옥탑방 창문에 거대한 그림자가 작은 그림자의 어깨 쪽으로 고개를 꺾은 형태가 맺혀 있는 정지 구도\n  MOVEMENT (follow exactly): static: the large shadow looms over the smaller shadow, its head sharply bent toward the smaller figure's shoulder as if biting it, while the smaller figure is pinned beneath the attack.\n  FIGURES — apparent size & depth order (follow exactly): The large shadow fills roughly ~3/4 of frame height and overlaps the smaller shadow, which fills about ~1/2; both appear on the same FAR window plane, behind the NEARER window surface, with no clear depth separation between them.\nPANEL 3: 철제 파이프 난간을 손으로 잡은 수리영이 코끝을 찡그린 채 계단 중간에 서 있는 얼굴 클로즈업\n  MOVEMENT (follow exactly): static: Su-ri-young pauses midway up the stairs, gripping the pipe railing with a tense hand and wrinkling her nose at the sudden foul smell while facing upward.\n  FIGURES — apparent size & depth order (follow exactly): Her close-up face fills about ~2/3 of frame height and is the NEAREST figure; her railing hand is slightly FARTHER, while the stairway behind her recedes farthest.\nPANEL 4: 옥상에 선 수리영의 시선 끝에 반쯤 열려 있는 어두운 현관 철문이 보이는 정면 구도\n  MOVEMENT (follow exactly): static: Su-ri-young stands on the rooftop facing the half-open iron entrance door, her attention fixed on the dark opening ahead.\n  FIGURES — apparent size & depth order (follow exactly): Su-ri-young occupies roughly ~1/2 of frame height in the NEARER plane, while the half-open door is FARTHER ahead and fills about ~1/3; her sightline runs directly across the rooftop into its dark gap.\nPANEL 5: 수리영이 초점을 잃은 눈으로 허공을 응시하며 서 있는 모습\n  MOVEMENT (follow exactly): static: Su-ri-young stands motionless after fleeing downstairs, her shocked body slack and her unfocused eyes staring into empty space.\n  FIGURES — apparent size & depth order (follow exactly): Su-ri-young fills roughly ~1/2 of frame height and is the sole, NEAREST figure, with the surrounding exterior space FARTHER behind her.\nPANEL 6: 고개를 든 채 혜수의 얼굴을 마주보고 있는 수리영의 측면 구도\n  MOVEMENT (follow exactly): static: Su-ri-young keeps her head raised toward Hye-su, meeting her face from the side with a stunned, unfocused posture.\n  FIGURES — apparent size & depth order (follow exactly): Su-ri-young and Hye-su each fill roughly ~1/2 of frame height in profile and stand at approximately the same camera distance, neither clearly NEARER than the other; they face one another at close conversational range.\n\nABSOLUTELY NO TEXT anywhere: no words, letters, captions, labels,\nsound effects or watermarks — the ONLY allowed marking is a small\nshot number digit (1, 2, 3, 4, 5, 6) in a corner INSIDE each drawn panel.\nTHE PANEL GRID FILLS THE ENTIRE IMAGE EDGE-TO-EDGE: no outer paper\nmargin, no border area, nothing drawn outside the panels — the\nimage must be mechanically cuttable along the stated cut lines.\nPanels are separated only by thin straight black gutter lines at\nthe exact stated positions; ALL PANELS EXACTLY THE SAME SIZE."}
{"ts": "2026-07-11 22:29:53", "kind": "img", "engine": "gpt-image-2", "mode": "generate", "tag": "s34v2_conti_rooftop_int_i2", "refs": [], "size": "1536x1024", "attempt": 1, "dur_s": 119.0, "bytes": 3569628, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/conti11_rooftop_int_i2.png", "prompt": "Draw ONE storyboard (conti) sheet: 6 panels made by TWO vertical cuts at exactly 1/3 and 2/3 of the width and ONE horizontal cut at exactly 50% of the height — a 3-column x 2-row grid, all six panels exactly equal.\nSTYLE: quick, rough HAND-DRAWN pencil sketch — loose gestural line\ndrawing in monochrome graphite on white paper, the kind a film\nstoryboard artist dashes off in seconds. NOT photorealistic, no\npainting, no rendering, no color — monochrome graphite only.\n\nTHE LOCATION (same in all drawn panels): the interior of a small Korean rooftop home: living room with a small window, kitchenette and dining table; a bedroom with a bed against one wall and a curtained window; a tiny tiled bathroom with a mirror.\n\nPURPOSE: each panel captures only the CAMERA COMPOSITION of one\nshot — framing (close-up / medium / wide), where the subject sits in\nthe frame, and continuity between panels. Keep every panel\nextremely simple: only what matters for composition.\nMOVEMENT IS SHOWN BY THE FIGURE ITSELF, NEVER BY MARKINGS: convey\ndirection of travel purely through the body — stride mid-motion,\nbody lean into the path, back view vs front view, and the stated\nsize/depth cues. Do NOT draw arrows, motion lines, path lines,\nspeed lines or any diagram markings of any kind.\n\nGEOMETRY — ANALYSE BEFORE DRAWING: from each panel's Korean shot\ntext, first work out the spatial facts and draw EXACTLY those, never\nre-stage them: (a) each figure's DISTANCE from camera (tight insert /\nclose-up / medium / full / wide — a shot about a hand or an object\nis a tight insert, not a two-shot); (b) each figure's FACING and\nMOVEMENT DIRECTION relative to camera — '뒷모습' means seen from\nBEHIND, moving AWAY from camera into the depth of the frame, not\nsideways; a profile means lateral movement; (c) relative positions\nand distances BETWEEN figures. Keep every established screen\ndirection consistent across panels (180-degree rule): a person who\nleaves in one panel keeps the same on-screen direction wherever the\nmovement appears again.\nSIZE & DEPTH ARE CONTRACTUAL: each panel states every figure's\napparent size in the frame and the explicit near/far depth order.\nDraw exactly those proportions — a farther figure MUST be drawn\nclearly smaller than a nearer one; never equalize figure sizes,\nespecially when several figures share a panel or their paths\nrelate to each other.\nDEPARTING FIGURE — a figure running/walking AWAY must be\nunmistakably departing, never approaching: seen exactly from behind\n(back of the head only, no face, no chin, no cheek line), body\nleaning into the path, mid-stride with one shoe sole toward the\ncamera. THE STATED SIZE/DEPTH WINS: draw the departing figure at\nexactly the apparent size and depth the panel's FIGURES line states\n(if stated FARTHER/small, it stays small in the distance — never\nenlarge it into the foreground for drama).\n\nCONTINUITY: all drawn panels are the SAME single location — fixed\nfeatures (doors, stairs, windows, poles, desks) keep the same\nposition and left/right relationships across panels so the panels\ncut together as one continuous scene.\n\nPANELS (one shot per panel, Korean shot text):\n\nPANEL 1: 옷과 피부가 피투성이가 된 민숙이 바닥에 주저앉아 고개를 푹 숙인 정지 상태\n  MOVEMENT (follow exactly): static: Minsuk is lifeless on the floor, collapsed in a seated fall with her head hanging forward, torso slumped asymmetrically, limp limbs, and her weight fully fallen rather than held upright.\n  FIGURES — apparent size & depth order (follow exactly): Minsuk fills roughly 2/3 of the frame height and is the NEARER subject, while the bloodied floor and room behind her are FARTHER. Her blood-soaked clothes and skin remain visible across her collapsed body.\nPANEL 2: 침대 위쪽 벽면에 붉은색 원형 표식이 절반쯤 나타난 상태\n  MOVEMENT (follow exactly): static: the half-formed red circle remains on the wall above the bed, with no person crossing the frame.\n  FIGURES — apparent size & depth order (follow exactly): The red circular mark fills about 1/2 of the frame height and is FARTHER on the wall, while the upper part of the bed is NEARER in the foreground.\nPANEL 3: 핏자국 없이 깨끗한 방 내부 전경\n  MOVEMENT (follow exactly): static: the excessively clean, bloodless room stands empty, with no one entering, leaving, or moving through it.\n  FIGURES — apparent size & depth order (follow exactly): The empty room fills the full frame, with the NEARER side of the room opening toward the camera and the clean back wall and far corners appearing FARTHER away. No person, bloodstain, red mark, or body is visible.\nPANEL 4: 거울 속 반사된 욕실 타일 벽면에 붉은색 원형 표식이 절반쯤 나타난 상태\n  MOVEMENT (follow exactly): static: a half-formed red circle is visible on the bathroom tile wall only through the mirror reflection, with no person moving through the shot.\n  FIGURES — apparent size & depth order (follow exactly): The reflected red circle fills roughly 1/3 to 1/2 of the frame height; the mirror surface is NEARER to the camera, while the reflected tiled wall and mark read as FARTHER within the reflection.\nPANEL 5: 해질 무렵 옥탑방 거실, 흙 묻은 발자국들이 찍힌 바닥과 쓰러진 식탁 의자들이 보이는 전경\n  MOVEMENT (follow exactly): static: muddy footprints lie across the living-room floor among overturned dining chairs, but their direction of travel cannot be determined from the shot.\n  FIGURES — apparent size & depth order (follow exactly): The living-room interior fills the frame; the muddy footprints spread across the NEARER floor, while the overturned dining chairs are FARTHER around the table. Individual footprints appear small, roughly 1/10 of the frame height, while the chairs occupy about 1/3 to 1/2.\nPANEL 6: 붉은 원 한가운데 피 묻은 낡은 흑백 사진이 벽에 꽂혀 있는 타이트 샷\n  MOVEMENT (follow exactly): static: the bloodstained old photograph remains fixed at the center of the red circle on the wall, with no hand or person entering the frame.\n  FIGURES — apparent size & depth order (follow exactly): The photograph fills roughly 1/2 to 2/3 of the frame height and is NEARER than the wall surface, while the red circle extends FARTHER behind it across the wall.\n\nABSOLUTELY NO TEXT anywhere: no words, letters, captions, labels,\nsound effects or watermarks — the ONLY allowed marking is a small\nshot number digit (1, 2, 3, 4, 5, 6) in a corner INSIDE each drawn panel.\nTHE PANEL GRID FILLS THE ENTIRE IMAGE EDGE-TO-EDGE: no outer paper\nmargin, no border area, nothing drawn outside the panels — the\nimage must be mechanically cuttable along the stated cut lines.\nPanels are separated only by thin straight black gutter lines at\nthe exact stated positions; ALL PANELS EXACTLY THE SAME SIZE."}
{"ts": "2026-07-11 22:31:50", "kind": "img", "engine": "gpt-image-2", "mode": "generate", "tag": "s34v2_conti_mart_i2", "refs": [], "size": "1536x1024", "attempt": 1, "dur_s": 117.1, "bytes": 3760420, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/conti11_mart_i2.png", "prompt": "Draw ONE storyboard (conti) sheet: 6 panels made by TWO vertical cuts at exactly 1/3 and 2/3 of the width and ONE horizontal cut at exactly 50% of the height — a 3-column x 2-row grid, all six panels exactly equal.\nSTYLE: quick, rough HAND-DRAWN pencil sketch — loose gestural line\ndrawing in monochrome graphite on white paper, the kind a film\nstoryboard artist dashes off in seconds. NOT photorealistic, no\npainting, no rendering, no color — monochrome graphite only.\n\nTHE LOCATION (same in all drawn panels): a mid-size Korean supermarket: shelved sales floor inside; the entrance area outside with a bicycle rack and one wall-mounted CCTV camera above; a small back security office with CCTV monitors.\n\nPURPOSE: each panel captures only the CAMERA COMPOSITION of one\nshot — framing (close-up / medium / wide), where the subject sits in\nthe frame, and continuity between panels. Keep every panel\nextremely simple: only what matters for composition.\nMOVEMENT IS SHOWN BY THE FIGURE ITSELF, NEVER BY MARKINGS: convey\ndirection of travel purely through the body — stride mid-motion,\nbody lean into the path, back view vs front view, and the stated\nsize/depth cues. Do NOT draw arrows, motion lines, path lines,\nspeed lines or any diagram markings of any kind.\n\nGEOMETRY — ANALYSE BEFORE DRAWING: from each panel's Korean shot\ntext, first work out the spatial facts and draw EXACTLY those, never\nre-stage them: (a) each figure's DISTANCE from camera (tight insert /\nclose-up / medium / full / wide — a shot about a hand or an object\nis a tight insert, not a two-shot); (b) each figure's FACING and\nMOVEMENT DIRECTION relative to camera — '뒷모습' means seen from\nBEHIND, moving AWAY from camera into the depth of the frame, not\nsideways; a profile means lateral movement; (c) relative positions\nand distances BETWEEN figures. Keep every established screen\ndirection consistent across panels (180-degree rule): a person who\nleaves in one panel keeps the same on-screen direction wherever the\nmovement appears again.\nSIZE & DEPTH ARE CONTRACTUAL: each panel states every figure's\napparent size in the frame and the explicit near/far depth order.\nDraw exactly those proportions — a farther figure MUST be drawn\nclearly smaller than a nearer one; never equalize figure sizes,\nespecially when several figures share a panel or their paths\nrelate to each other.\nDEPARTING FIGURE — a figure running/walking AWAY must be\nunmistakably departing, never approaching: seen exactly from behind\n(back of the head only, no face, no chin, no cheek line), body\nleaning into the path, mid-stride with one shoe sole toward the\ncamera. THE STATED SIZE/DEPTH WINS: draw the departing figure at\nexactly the apparent size and depth the panel's FIGURES line states\n(if stated FARTHER/small, it stays small in the distance — never\nenlarge it into the foreground for drama).\n\nCONTINUITY: all drawn panels are the SAME single location — fixed\nfeatures (doors, stairs, windows, poles, desks) keep the same\nposition and left/right relationships across panels so the panels\ncut together as one continuous scene.\n\nPANELS (one shot per panel, Korean shot text):\n\nPANEL 1: 수리영이 마트 유니폼을 입은 한국인 여성 직원을 마주보며 입을 살짝 벌린 측면 구도\n  MOVEMENT (follow exactly): static: Su-ri-young and the female supermarket employee stand facing each other in profile, Su-ri-young holding her mouth slightly open as she addresses the employee.\n  FIGURES — apparent size & depth order (follow exactly): Su-ri-young and the female employee each fill roughly ~1/2 of the frame height and occupy a comparable midground plane, with neither clearly nearer to the camera; they remain a short conversational distance apart across opposing sightlines.\nPANEL 2: 마트 밖으로 나온 수리영이 손에 든 스마트폰 액정을 내려다보는 상체\n  MOVEMENT (follow exactly): static: Having come out of the supermarket, Su-ri-young stands with her upper body angled toward the smartphone in her hand and her gaze lowered to its screen while trying to make contact.\n  FIGURES — apparent size & depth order (follow exactly): Su-ri-young’s upper body fills about ~2/3 of the frame height in the near foreground, while the smartphone is small, about ~1/10, and held within the same near plane below her face; she is the sole visible figure.\nPANEL 3: 수리영과 남자직원이 마트 밖에서 벽면의 CCTV를 올려다보는 뒷모습\n  MOVEMENT (follow exactly): static: Outside the supermarket, Su-ri-young and the male employee stand with their backs to the camera, bodies and heads tilted upward toward the wall-mounted CCTV camera as they check its coverage.\n  FIGURES — apparent size & depth order (follow exactly): Su-ri-young and the male employee each fill roughly ~1/2 of the frame height in the nearer foreground-to-midground, standing alongside each other at comparable depth, while the CCTV camera is much smaller, around ~1/15, and farther away high on the wall.\nPANEL 4: 수리영이 귀에 스마트폰을 댄 채 정면을 응시하는 상체 클로즈업\n  MOVEMENT (follow exactly): static: Su-ri-young holds a smartphone to her ear and faces forward, explaining the situation to Hye-su by phone.\n  FIGURES — apparent size & depth order (follow exactly): Su-ri-young’s upper body fills about ~3/4 of the frame height in the near foreground, with the smartphone small, around ~1/12, against her ear in the same near plane; no other person is visible.\nPANEL 5: 마트 총무과 책상 앞, 한국인 남성 보안직원과 혜수가 컴퓨터 모니터를 향해 몸을 기울인 측면\n  MOVEMENT (follow exactly): static: The male security employee and Hye-su lean forward from the desk toward the computer monitor, both directing their gaze at the CCTV footage.\n  FIGURES — apparent size & depth order (follow exactly): The security employee and Hye-su each fill roughly ~1/2 of the frame height and occupy a comparable midground depth, with neither clearly nearer to the camera; the monitor is smaller, about ~1/3, positioned directly along their converging sightlines.\nPANEL 6: 흑백 CCTV 화면 속 어두운 구석에 사람 형상이 희미하게 찍힌 모니터 클로즈업\n  MOVEMENT (follow exactly): static: A faint, unidentifiable human-shaped form remains in a dark corner of the black-and-white CCTV image, with no discernible direction of travel or body orientation.\n  FIGURES — apparent size & depth order (follow exactly): The monitor image fills nearly the entire frame and is the nearest visible object, while the indistinct human-shaped form is tiny, about ~1/10 of the frame height, and appears far away within the recorded space.\n\nABSOLUTELY NO TEXT anywhere: no words, letters, captions, labels,\nsound effects or watermarks — the ONLY allowed marking is a small\nshot number digit (1, 2, 3, 4, 5, 6) in a corner INSIDE each drawn panel.\nTHE PANEL GRID FILLS THE ENTIRE IMAGE EDGE-TO-EDGE: no outer paper\nmargin, no border area, nothing drawn outside the panels — the\nimage must be mechanically cuttable along the stated cut lines.\nPanels are separated only by thin straight black gutter lines at\nthe exact stated positions; ALL PANELS EXACTLY THE SAME SIZE."}
{"ts": "2026-07-11 22:33:47", "kind": "img", "engine": "gpt-image-2", "mode": "generate", "tag": "s34v2_conti_police_i2", "refs": [], "size": "1536x1024", "attempt": 1, "dur_s": 116.9, "bytes": 3030641, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/conti11_police_i2.png", "prompt": "Draw ONE storyboard (conti) sheet: 6 panels made by TWO vertical cuts at exactly 1/3 and 2/3 of the width and ONE horizontal cut at exactly 50% of the height — a 3-column x 2-row grid, all six panels exactly equal.\nSTYLE: quick, rough HAND-DRAWN pencil sketch — loose gestural line\ndrawing in monochrome graphite on white paper, the kind a film\nstoryboard artist dashes off in seconds. NOT photorealistic, no\npainting, no rendering, no color — monochrome graphite only.\n\nTHE LOCATION (same in all drawn panels): a modest Korean provincial police station: a detectives' office with desks, monitors and a doorway; and the street right in front of the building.\n\nPURPOSE: each panel captures only the CAMERA COMPOSITION of one\nshot — framing (close-up / medium / wide), where the subject sits in\nthe frame, and continuity between panels. Keep every panel\nextremely simple: only what matters for composition.\nMOVEMENT IS SHOWN BY THE FIGURE ITSELF, NEVER BY MARKINGS: convey\ndirection of travel purely through the body — stride mid-motion,\nbody lean into the path, back view vs front view, and the stated\nsize/depth cues. Do NOT draw arrows, motion lines, path lines,\nspeed lines or any diagram markings of any kind.\n\nGEOMETRY — ANALYSE BEFORE DRAWING: from each panel's Korean shot\ntext, first work out the spatial facts and draw EXACTLY those, never\nre-stage them: (a) each figure's DISTANCE from camera (tight insert /\nclose-up / medium / full / wide — a shot about a hand or an object\nis a tight insert, not a two-shot); (b) each figure's FACING and\nMOVEMENT DIRECTION relative to camera — '뒷모습' means seen from\nBEHIND, moving AWAY from camera into the depth of the frame, not\nsideways; a profile means lateral movement; (c) relative positions\nand distances BETWEEN figures. Keep every established screen\ndirection consistent across panels (180-degree rule): a person who\nleaves in one panel keeps the same on-screen direction wherever the\nmovement appears again.\nSIZE & DEPTH ARE CONTRACTUAL: each panel states every figure's\napparent size in the frame and the explicit near/far depth order.\nDraw exactly those proportions — a farther figure MUST be drawn\nclearly smaller than a nearer one; never equalize figure sizes,\nespecially when several figures share a panel or their paths\nrelate to each other.\nDEPARTING FIGURE — a figure running/walking AWAY must be\nunmistakably departing, never approaching: seen exactly from behind\n(back of the head only, no face, no chin, no cheek line), body\nleaning into the path, mid-stride with one shoe sole toward the\ncamera. THE STATED SIZE/DEPTH WINS: draw the departing figure at\nexactly the apparent size and depth the panel's FIGURES line states\n(if stated FARTHER/small, it stays small in the distance — never\nenlarge it into the foreground for drama).\n\nCONTINUITY: all drawn panels are the SAME single location — fixed\nfeatures (doors, stairs, windows, poles, desks) keep the same\nposition and left/right relationships across panels so the panels\ncut together as one continuous scene.\n\nPANELS (one shot per panel, Korean shot text):\n\nPANEL 1: 혜수가 스마트폰 액정을 김형사 쪽으로 불쑥 내민 순간\n  MOVEMENT (follow exactly): Hye-su abruptly thrusts the smartphone forward from her side toward Detective Kim, presenting Min-sook's saved number while remaining inside the office.\n  FIGURES — apparent size & depth order (follow exactly): Hye-su and Detective Kim each fill roughly ~1/2 of the frame height, with Hye-su NEARER to the camera and Detective Kim FARTHER across from her. The extended smartphone fills about ~1/5 of the frame height, projecting from Hye-su toward Detective Kim and lying between their positions.\nPANEL 2: 수리영이 두 눈을 크게 뜨고 입을 살짝 벌린 굳은 얼굴 클로즈업\n  MOVEMENT (follow exactly): static: Su-ri-young holds rigid with fear and shock, her widened eyes fixed forward and her lips slightly parted.\n  FIGURES — apparent size & depth order (follow exactly): Su-ri-young's face fills roughly ~3/4 of the frame height; she is the sole and therefore NEAREST visible figure, with no farther person shown.\nPANEL 3: 모니터 화면에 바다 지도가 펼쳐져 있고 붉은색 핀과 좌표 숫자가 떠 있는 클로즈업\n  MOVEMENT (follow exactly): static: the monitor displays a sea map with a red location pin and coordinate figures, with no physical movement in frame.\n  FIGURES — apparent size & depth order (follow exactly): The monitor image fills nearly the full frame and is the sole, NEAREST core object; the map, pin, and coordinate text occupy the same flat display plane with no farther figure visible.\nPANEL 4: 수리영이 메모지가 들어간 겉옷 주머니에 손을 넣은 채 사무실 출입문을 향해 몸을 돌린 정지 순간\n  MOVEMENT (follow exactly): static: Su-ri-young stands tensely with one hand inside the coat pocket holding the folded note, her body turned toward the office exit and poised to leave the room.\n  FIGURES — apparent size & depth order (follow exactly): Su-ri-young fills roughly ~2/3 of the frame height and is NEARER to the camera, while the office doorway is FARTHER in the direction she faces. Her intended path runs from her position inside the office toward and through that doorway.\nPANEL 5: 경찰서 건물 밖 도로 위에서 수리영이 자전거 안장에 앉아 상체를 앞으로 숙인 채 머리카락이 뒤로 흩날리는 측면\n  MOVEMENT (follow exactly): Su-ri-young rides the bicycle along the road outside the police station, moving laterally across the camera's side view with her torso pitched forward over the handlebars and her hair streaming backward, neither directly toward nor directly away from the camera.\n  FIGURES — apparent size & depth order (follow exactly): Su-ri-young fills roughly ~1/2 of the frame height, and the bicycle-and-rider silhouette together fills about ~2/3; both are NEARER to the camera than the FARTHER police-station exterior. Her path continues along the road parallel to the image plane.\n\nThere are 5 shots but 6 panel slots: draw the shots in\npanels 1..5 and leave the remaining panel(s) COMPLETELY\nBLANK PURE WHITE — empty white paper, not even a frame line inside.\n\nABSOLUTELY NO TEXT anywhere: no words, letters, captions, labels,\nsound effects or watermarks — the ONLY allowed marking is a small\nshot number digit (1, 2, 3, 4, 5) in a corner INSIDE each drawn panel.\nTHE PANEL GRID FILLS THE ENTIRE IMAGE EDGE-TO-EDGE: no outer paper\nmargin, no border area, nothing drawn outside the panels — the\nimage must be mechanically cuttable along the stated cut lines.\nPanels are separated only by thin straight black gutter lines at\nthe exact stated positions; ALL PANELS EXACTLY THE SAME SIZE."}
{"ts": "2026-07-11 22:35:51", "kind": "img", "engine": "gpt-image-2", "mode": "edit", "tag": "s34v12_busstop_refs_i2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/projects/8207aadc-7975-48f5-af17-ccc145a6660d/images/background_chain/canon_bg_coastal_bus_stop_master.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8207aadc-7975-48f5-af17-ccc145a6660d/images/background_chain/canon_bg_coastal_bus_stop_map.png"], "size": "1536x1024", "attempt": 1, "dur_s": 121.9, "bytes": 3914603, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/conti12_busstop_i2.png", "prompt": "Draw ONE storyboard (conti) sheet: 2 panels made by ONE vertical cut at exactly 50% of the image width — each panel is exactly half the width and the FULL height (1 row x 2 columns).\nSTYLE: quick, rough HAND-DRAWN pencil sketch — loose gestural line\ndrawing in monochrome graphite on white paper, the kind a film\nstoryboard artist dashes off in seconds. NOT photorealistic, no\npainting, no rendering, no color — monochrome graphite only.\n\nTHE LOCATION (same in all drawn panels): a small seaside bus stop with a bench facing the sea at night on a quiet Korean coastal road.\n\nPURPOSE: each panel captures only the CAMERA COMPOSITION of one\nshot — framing (close-up / medium / wide), where the subject sits in\nthe frame, and continuity between panels. Keep every panel\nextremely simple: only what matters for composition.\nMOVEMENT IS SHOWN BY THE FIGURE ITSELF, NEVER BY MARKINGS: convey\ndirection of travel purely through the body — stride mid-motion,\nbody lean into the path, back view vs front view, and the stated\nsize/depth cues. Do NOT draw arrows, motion lines, path lines,\nspeed lines or any diagram markings of any kind.\n\nGEOMETRY — ANALYSE BEFORE DRAWING: from each panel's Korean shot\ntext, first work out the spatial facts and draw EXACTLY those, never\nre-stage them: (a) each figure's DISTANCE from camera (tight insert /\nclose-up / medium / full / wide — a shot about a hand or an object\nis a tight insert, not a two-shot); (b) each figure's FACING and\nMOVEMENT DIRECTION relative to camera — '뒷모습' means seen from\nBEHIND, moving AWAY from camera into the depth of the frame, not\nsideways; a profile means lateral movement; (c) relative positions\nand distances BETWEEN figures. Keep every established screen\ndirection consistent across panels (180-degree rule): a person who\nleaves in one panel keeps the same on-screen direction wherever the\nmovement appears again.\nSIZE & DEPTH ARE CONTRACTUAL: each panel states every figure's\napparent size in the frame and the explicit near/far depth order.\nDraw exactly those proportions — a farther figure MUST be drawn\nclearly smaller than a nearer one; never equalize figure sizes,\nespecially when several figures share a panel or their paths\nrelate to each other.\nDEPARTING FIGURE — a figure running/walking AWAY must be\nunmistakably departing, never approaching: seen exactly from behind\n(back of the head only, no face, no chin, no cheek line), body\nleaning into the path, mid-stride with one shoe sole toward the\ncamera. THE STATED SIZE/DEPTH WINS: draw the departing figure at\nexactly the apparent size and depth the panel's FIGURES line states\n(if stated FARTHER/small, it stays small in the distance — never\nenlarge it into the foreground for drama).\n\nCONTINUITY: all drawn panels are the SAME single location — fixed\nfeatures (doors, stairs, windows, poles, desks) keep the same\nposition and left/right relationships across panels so the panels\ncut together as one continuous scene.\n\nPANELS (one shot per panel, Korean shot text):\n\nPANEL 1: 혜수의 손이 음료수 캔을 쥔 채 수리영 앞으로 내밀어진 순간\n  MOVEMENT (follow exactly): Hye-su extends her hand and the drink can from her side into the space directly in front of Suri-young, who remains seated and blankly oriented toward the sea.\n  FIGURES — apparent size & depth order (follow exactly): Hye-su's hand and can appear large at roughly ~1/3 of the frame height and are NEARER to the camera; seated Suri-young appears around ~1/2 of the frame height and is FARTHER behind the offered can.\nPANEL 2: 멀리서 혜수의 전신과 한 발을 공중에 띄운 mid-stride 자세로 달리는 수리영의 뒷모습을 한 프레임에 담은 넓은 구도\n  MOVEMENT (follow exactly): Suri-young runs away from Hye-su and away from the camera with her back visible and one foot airborne mid-stride, while Hye-su remains behind facing her path.\n  FIGURES — apparent size & depth order (follow exactly): Hye-su's full body appears about ~1/3 of the frame height and is NEARER to the camera, while the departing Suri-young appears smaller at ~1/5 and FARTHER along the route away. The distance between them increases as Suri-young runs ahead and Hye-su stays behind.\n\nABSOLUTELY NO TEXT anywhere: no words, letters, captions, labels,\nsound effects or watermarks — the ONLY allowed marking is a small\nshot number digit (1, 2) in a corner INSIDE each drawn panel.\nTHE PANEL GRID FILLS THE ENTIRE IMAGE EDGE-TO-EDGE: no outer paper\nmargin, no border area, nothing drawn outside the panels — the\nimage must be mechanically cuttable along the stated cut lines.\nPanels are separated only by thin straight black gutter lines at\nthe exact stated positions; ALL PANELS EXACTLY THE SAME SIZE.\n\nPANEL 2 CAMERA & PLACEMENT (follow exactly, from the site plan):\ncamera stands on the water-side portion of the bus stop, just\nbeyond the bench, looking along the length of the coastal road —\nin frame: the departing runner in full-body stride at center,\nthe bench with the other woman beside it in the left background,\nthe coastal land edge to the right and the open sea beyond it.\n\nREFERENCES (for grounding, not for style): the attached LOCATION\nPHOTOGRAPH shows how this exact bus stop looks (shelter, bench,\nroad, sea side); the attached flat SITE PLAN shows the layout from\nabove — never draw the plan itself or its markers. APPLY THEM TO\nPANEL 2 ONLY: panel 2's camera position, shelter/bench placement\nand figure positions must match the plan and the photograph's\ngeography. PANEL 1 is an earlier, tighter moment from a different\nangle — take only the stop's general look (bench, shelter) from\nthe references, not their viewpoint. The OUTPUT stays a rough\nhand-drawn pencil storyboard sketch — do not copy the photograph's\nrendering, only its spatial truth."}
{"ts": "2026-07-11 22:36:09", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s34v12_busstop_refs_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/projects/8207aadc-7975-48f5-af17-ccc145a6660d/images/background_chain/canon_bg_coastal_bus_stop_master.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8207aadc-7975-48f5-af17-ccc145a6660d/images/background_chain/canon_bg_coastal_bus_stop_map.png"], "ref_labels": ["LOCATION PHOTOGRAPH — this exact bus stop; spatial truth only, output stays a pencil sketch.", "SITE PLAN — top-down layout source only; never draw this plan or its markers."], "attempt": 1, "dur_s": 18.6, "bytes": 2048529, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/conti12_busstop_nb2.png", "prompt": "Draw ONE storyboard (conti) sheet: 2 panels made by ONE vertical cut at exactly 50% of the image width — each panel is exactly half the width and the FULL height (1 row x 2 columns).\nSTYLE: quick, rough HAND-DRAWN pencil sketch — loose gestural line\ndrawing in monochrome graphite on white paper, the kind a film\nstoryboard artist dashes off in seconds. NOT photorealistic, no\npainting, no rendering, no color — monochrome graphite only.\n\nTHE LOCATION (same in all drawn panels): a small seaside bus stop with a bench facing the sea at night on a quiet Korean coastal road.\n\nPURPOSE: each panel captures only the CAMERA COMPOSITION of one\nshot — framing (close-up / medium / wide), where the subject sits in\nthe frame, and continuity between panels. Keep every panel\nextremely simple: only what matters for composition.\nMOVEMENT IS SHOWN BY THE FIGURE ITSELF, NEVER BY MARKINGS: convey\ndirection of travel purely through the body — stride mid-motion,\nbody lean into the path, back view vs front view, and the stated\nsize/depth cues. Do NOT draw arrows, motion lines, path lines,\nspeed lines or any diagram markings of any kind.\n\nGEOMETRY — ANALYSE BEFORE DRAWING: from each panel's Korean shot\ntext, first work out the spatial facts and draw EXACTLY those, never\nre-stage them: (a) each figure's DISTANCE from camera (tight insert /\nclose-up / medium / full / wide — a shot about a hand or an object\nis a tight insert, not a two-shot); (b) each figure's FACING and\nMOVEMENT DIRECTION relative to camera — '뒷모습' means seen from\nBEHIND, moving AWAY from camera into the depth of the frame, not\nsideways; a profile means lateral movement; (c) relative positions\nand distances BETWEEN figures. Keep every established screen\ndirection consistent across panels (180-degree rule): a person who\nleaves in one panel keeps the same on-screen direction wherever the\nmovement appears again.\nSIZE & DEPTH ARE CONTRACTUAL: each panel states every figure's\napparent size in the frame and the explicit near/far depth order.\nDraw exactly those proportions — a farther figure MUST be drawn\nclearly smaller than a nearer one; never equalize figure sizes,\nespecially when several figures share a panel or their paths\nrelate to each other.\nDEPARTING FIGURE — a figure running/walking AWAY must be\nunmistakably departing, never approaching: seen exactly from behind\n(back of the head only, no face, no chin, no cheek line), body\nleaning into the path, mid-stride with one shoe sole toward the\ncamera. THE STATED SIZE/DEPTH WINS: draw the departing figure at\nexactly the apparent size and depth the panel's FIGURES line states\n(if stated FARTHER/small, it stays small in the distance — never\nenlarge it into the foreground for drama).\n\nCONTINUITY: all drawn panels are the SAME single location — fixed\nfeatures (doors, stairs, windows, poles, desks) keep the same\nposition and left/right relationships across panels so the panels\ncut together as one continuous scene.\n\nPANELS (one shot per panel, Korean shot text):\n\nPANEL 1: 혜수의 손이 음료수 캔을 쥔 채 수리영 앞으로 내밀어진 순간\n  MOVEMENT (follow exactly): Hye-su extends her hand and the drink can from her side into the space directly in front of Suri-young, who remains seated and blankly oriented toward the sea.\n  FIGURES — apparent size & depth order (follow exactly): Hye-su's hand and can appear large at roughly ~1/3 of the frame height and are NEARER to the camera; seated Suri-young appears around ~1/2 of the frame height and is FARTHER behind the offered can.\nPANEL 2: 멀리서 혜수의 전신과 한 발을 공중에 띄운 mid-stride 자세로 달리는 수리영의 뒷모습을 한 프레임에 담은 넓은 구도\n  MOVEMENT (follow exactly): Suri-young runs away from Hye-su and away from the camera with her back visible and one foot airborne mid-stride, while Hye-su remains behind facing her path.\n  FIGURES — apparent size & depth order (follow exactly): Hye-su's full body appears about ~1/3 of the frame height and is NEARER to the camera, while the departing Suri-young appears smaller at ~1/5 and FARTHER along the route away. The distance between them increases as Suri-young runs ahead and Hye-su stays behind.\n\nABSOLUTELY NO TEXT anywhere: no words, letters, captions, labels,\nsound effects or watermarks — the ONLY allowed marking is a small\nshot number digit (1, 2) in a corner INSIDE each drawn panel.\nTHE PANEL GRID FILLS THE ENTIRE IMAGE EDGE-TO-EDGE: no outer paper\nmargin, no border area, nothing drawn outside the panels — the\nimage must be mechanically cuttable along the stated cut lines.\nPanels are separated only by thin straight black gutter lines at\nthe exact stated positions; ALL PANELS EXACTLY THE SAME SIZE.\n\nPANEL 2 CAMERA & PLACEMENT (follow exactly, from the site plan):\ncamera stands on the water-side portion of the bus stop, just\nbeyond the bench, looking along the length of the coastal road —\nin frame: the departing runner in full-body stride at center,\nthe bench with the other woman beside it in the left background,\nthe coastal land edge to the right and the open sea beyond it.\n\nREFERENCES (for grounding, not for style): the attached LOCATION\nPHOTOGRAPH shows how this exact bus stop looks (shelter, bench,\nroad, sea side); the attached flat SITE PLAN shows the layout from\nabove — never draw the plan itself or its markers. APPLY THEM TO\nPANEL 2 ONLY: panel 2's camera position, shelter/bench placement\nand figure positions must match the plan and the photograph's\ngeography. PANEL 1 is an earlier, tighter moment from a different\nangle — take only the stop's general look (bench, shelter) from\nthe references, not their viewpoint. The OUTPUT stays a rough\nhand-drawn pencil storyboard sketch — do not copy the photograph's\nrendering, only its spatial truth."}
{"ts": "2026-07-12 01:59:03", "kind": "img", "engine": "gpt-image-2", "mode": "edit", "tag": "s34v13_busstop_maponly_i2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/projects/8207aadc-7975-48f5-af17-ccc145a6660d/images/background_chain/canon_bg_coastal_bus_stop_map.png"], "size": "1536x1024", "attempt": 1, "dur_s": 116.6, "bytes": 3571152, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/conti13_busstop_i2.png", "prompt": "Draw ONE storyboard (conti) sheet: 2 panels made by ONE vertical cut at exactly 50% of the image width — each panel is exactly half the width and the FULL height (1 row x 2 columns).\nSTYLE: quick, rough HAND-DRAWN pencil sketch — loose gestural line\ndrawing in monochrome graphite on white paper, the kind a film\nstoryboard artist dashes off in seconds. NOT photorealistic, no\npainting, no rendering, no color — monochrome graphite only.\n\nTHE LOCATION (same in all drawn panels): a small seaside bus stop with a bench facing the sea at night on a quiet Korean coastal road.\n\nPURPOSE: each panel captures only the CAMERA COMPOSITION of one\nshot — framing (close-up / medium / wide), where the subject sits in\nthe frame, and continuity between panels. Keep every panel\nextremely simple: only what matters for composition.\nMOVEMENT IS SHOWN BY THE FIGURE ITSELF, NEVER BY MARKINGS: convey\ndirection of travel purely through the body — stride mid-motion,\nbody lean into the path, back view vs front view, and the stated\nsize/depth cues. Do NOT draw arrows, motion lines, path lines,\nspeed lines or any diagram markings of any kind.\n\nGEOMETRY — ANALYSE BEFORE DRAWING: from each panel's Korean shot\ntext, first work out the spatial facts and draw EXACTLY those, never\nre-stage them: (a) each figure's DISTANCE from camera (tight insert /\nclose-up / medium / full / wide — a shot about a hand or an object\nis a tight insert, not a two-shot); (b) each figure's FACING and\nMOVEMENT DIRECTION relative to camera — '뒷모습' means seen from\nBEHIND, moving AWAY from camera into the depth of the frame, not\nsideways; a profile means lateral movement; (c) relative positions\nand distances BETWEEN figures. Keep every established screen\ndirection consistent across panels (180-degree rule): a person who\nleaves in one panel keeps the same on-screen direction wherever the\nmovement appears again.\nSIZE & DEPTH ARE CONTRACTUAL: each panel states every figure's\napparent size in the frame and the explicit near/far depth order.\nDraw exactly those proportions — a farther figure MUST be drawn\nclearly smaller than a nearer one; never equalize figure sizes,\nespecially when several figures share a panel or their paths\nrelate to each other.\nDEPARTING FIGURE — a figure running/walking AWAY must be\nunmistakably departing, never approaching: seen exactly from behind\n(back of the head only, no face, no chin, no cheek line), body\nleaning into the path, mid-stride with one shoe sole toward the\ncamera. THE STATED SIZE/DEPTH WINS: draw the departing figure at\nexactly the apparent size and depth the panel's FIGURES line states\n(if stated FARTHER/small, it stays small in the distance — never\nenlarge it into the foreground for drama).\n\nCONTINUITY: all drawn panels are the SAME single location — fixed\nfeatures (doors, stairs, windows, poles, desks) keep the same\nposition and left/right relationships across panels so the panels\ncut together as one continuous scene.\n\nPANELS (one shot per panel, Korean shot text):\n\nPANEL 1: 혜수의 손이 음료수 캔을 쥔 채 수리영 앞으로 내밀어진 순간\n  MOVEMENT (follow exactly): Hye-su extends her hand and the drink can from her side into the space directly in front of Suri-young, who remains seated and blankly oriented toward the sea.\n  FIGURES — apparent size & depth order (follow exactly): Hye-su's hand and can appear large at roughly ~1/3 of the frame height and are NEARER to the camera; seated Suri-young appears around ~1/2 of the frame height and is FARTHER behind the offered can.\nPANEL 2: 멀리서 혜수의 전신과 한 발을 공중에 띄운 mid-stride 자세로 달리는 수리영의 뒷모습을 한 프레임에 담은 넓은 구도\n  MOVEMENT (follow exactly): Suri-young runs away from Hye-su and away from the camera with her back visible and one foot airborne mid-stride, while Hye-su remains behind facing her path.\n  FIGURES — apparent size & depth order (follow exactly): Hye-su's full body appears about ~1/3 of the frame height and is NEARER to the camera, while the departing Suri-young appears smaller at ~1/5 and FARTHER along the route away. The distance between them increases as Suri-young runs ahead and Hye-su stays behind.\n\nABSOLUTELY NO TEXT anywhere: no words, letters, captions, labels,\nsound effects or watermarks — the ONLY allowed marking is a small\nshot number digit (1, 2) in a corner INSIDE each drawn panel.\nTHE PANEL GRID FILLS THE ENTIRE IMAGE EDGE-TO-EDGE: no outer paper\nmargin, no border area, nothing drawn outside the panels — the\nimage must be mechanically cuttable along the stated cut lines.\nPanels are separated only by thin straight black gutter lines at\nthe exact stated positions; ALL PANELS EXACTLY THE SAME SIZE.\n\nPANEL 2 CAMERA & PLACEMENT (follow exactly, from the site plan):\ncamera stands on the water-side portion of the bus stop, just\nbeyond the bench, looking along the length of the coastal road —\nin frame: the departing runner in full-body stride at center,\nthe bench with the other woman beside it in the left background,\nthe coastal land edge to the right and the open sea beyond it.\n\nREFERENCE (for grounding, not for style): the attached flat SITE\nPLAN shows this bus stop's layout from above — where the shelter,\nbench, road, land edge and sea are relative to each other. Never\ndraw the plan itself or its markers. APPLY IT TO PANEL 2 ONLY:\npanel 2's camera position, shelter/bench placement and figure\npositions must match this plan. PANEL 1 is an earlier, tighter\nmoment from a different angle — do not force the plan's viewpoint\nonto it. The OUTPUT stays a rough hand-drawn pencil storyboard\nsketch."}
{"ts": "2026-07-12 02:17:54", "kind": "img", "engine": "gpt-image-2", "mode": "edit", "tag": "s34_busstop_map_redraw", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/projects/8207aadc-7975-48f5-af17-ccc145a6660d/images/background_chain/canon_bg_coastal_bus_stop_master.png"], "size": "1024x1024", "attempt": 1, "dur_s": 167.5, "bytes": 2100970, "out": "out/conti/ref_busstop_map_v2.png", "prompt": "Redraw the attached aerial photograph as a FLAT TOP-DOWN SITE PLAN\n(architectural plan style, clean vector-like linework, soft flat\ncolours). PRESERVE THE REAL GEOGRAPHY EXACTLY as the photo shows:\n- the TWO-LANE ASPHALT CAR ROAD running along the coast, drawn\n  unmistakably as a car road with a dashed centre line and its\n  small side-road intersection at the top;\n- the roadside SIDEWALK strip between road and sea, with the BUS\n  SHELTER (roof rectangle + bench) standing on it facing the road;\n- the stone SEAWALL / rock revetment edge;\n- the SEA on the seaward side; scrubland vegetation opposite.\nMarkers: small circled labels only — R1 on the car road, A1 at the\nbus shelter, B1 on the seawall edge, B2 in the sea. No other text,\nno legend, no compass decorations beyond a small north arrow."}
{"ts": "2026-07-12 02:21:12", "kind": "img_error", "tag": "s34v14_busstop_annmap_i2", "attempt": 1, "error": "[Errno 2] No such file or directory: 'out/conti/ref_busstop_map_v2_annotated.png'"}
{"ts": "2026-07-12 02:21:12", "kind": "img_error", "tag": "s34v14_busstop_annmap_i2", "attempt": 2, "error": "[Errno 2] No such file or directory: 'out/conti/ref_busstop_map_v2_annotated.png'"}
{"ts": "2026-07-12 02:24:02", "kind": "img", "engine": "gpt-image-2", "mode": "edit", "tag": "s34v14_busstop_annmap_i2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/ref_busstop_map_v2_annotated.png"], "size": "1536x1024", "attempt": 1, "dur_s": 116.3, "bytes": 3832859, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/conti14_busstop_i2.png", "prompt": "Draw ONE storyboard (conti) sheet: 2 panels made by ONE vertical cut at exactly 50% of the image width — each panel is exactly half the width and the FULL height (1 row x 2 columns).\nSTYLE: quick, rough HAND-DRAWN pencil sketch — loose gestural line\ndrawing in monochrome graphite on white paper, the kind a film\nstoryboard artist dashes off in seconds. NOT photorealistic, no\npainting, no rendering, no color — monochrome graphite only.\n\nTHE LOCATION (same in all drawn panels): a small seaside bus stop with a bench facing the sea at night on a quiet Korean coastal road.\n\nPURPOSE: each panel captures only the CAMERA COMPOSITION of one\nshot — framing (close-up / medium / wide), where the subject sits in\nthe frame, and continuity between panels. Keep every panel\nextremely simple: only what matters for composition.\nMOVEMENT IS SHOWN BY THE FIGURE ITSELF, NEVER BY MARKINGS: convey\ndirection of travel purely through the body — stride mid-motion,\nbody lean into the path, back view vs front view, and the stated\nsize/depth cues. Do NOT draw arrows, motion lines, path lines,\nspeed lines or any diagram markings of any kind.\n\nGEOMETRY — ANALYSE BEFORE DRAWING: from each panel's Korean shot\ntext, first work out the spatial facts and draw EXACTLY those, never\nre-stage them: (a) each figure's DISTANCE from camera (tight insert /\nclose-up / medium / full / wide — a shot about a hand or an object\nis a tight insert, not a two-shot); (b) each figure's FACING and\nMOVEMENT DIRECTION relative to camera — '뒷모습' means seen from\nBEHIND, moving AWAY from camera into the depth of the frame, not\nsideways; a profile means lateral movement; (c) relative positions\nand distances BETWEEN figures. Keep every established screen\ndirection consistent across panels (180-degree rule): a person who\nleaves in one panel keeps the same on-screen direction wherever the\nmovement appears again.\nSIZE & DEPTH ARE CONTRACTUAL: each panel states every figure's\napparent size in the frame and the explicit near/far depth order.\nDraw exactly those proportions — a farther figure MUST be drawn\nclearly smaller than a nearer one; never equalize figure sizes,\nespecially when several figures share a panel or their paths\nrelate to each other.\nDEPARTING FIGURE — a figure running/walking AWAY must be\nunmistakably departing, never approaching: seen exactly from behind\n(back of the head only, no face, no chin, no cheek line), body\nleaning into the path, mid-stride with one shoe sole toward the\ncamera. THE STATED SIZE/DEPTH WINS: draw the departing figure at\nexactly the apparent size and depth the panel's FIGURES line states\n(if stated FARTHER/small, it stays small in the distance — never\nenlarge it into the foreground for drama).\n\nCONTINUITY: all drawn panels are the SAME single location — fixed\nfeatures (doors, stairs, windows, poles, desks) keep the same\nposition and left/right relationships across panels so the panels\ncut together as one continuous scene.\n\nPANELS (one shot per panel, Korean shot text):\n\nPANEL 1: 혜수의 손이 음료수 캔을 쥔 채 수리영 앞으로 내밀어진 순간\n  MOVEMENT (follow exactly): Hye-su extends her hand and the drink can from her side into the space directly in front of Suri-young, who remains seated and blankly oriented toward the sea.\n  FIGURES — apparent size & depth order (follow exactly): Hye-su's hand and can appear large at roughly ~1/3 of the frame height and are NEARER to the camera; seated Suri-young appears around ~1/2 of the frame height and is FARTHER behind the offered can.\nPANEL 2: 멀리서 혜수의 전신과 한 발을 공중에 띄운 mid-stride 자세로 달리는 수리영의 뒷모습을 한 프레임에 담은 넓은 구도\n  MOVEMENT (follow exactly): Suri-young runs away from Hye-su and away from the camera with her back visible and one foot airborne mid-stride, while Hye-su remains behind facing her path.\n  FIGURES — apparent size & depth order (follow exactly): Hye-su's full body appears about ~1/3 of the frame height and is NEARER to the camera, while the departing Suri-young appears smaller at ~1/5 and FARTHER along the route away. The distance between them increases as Suri-young runs ahead and Hye-su stays behind.\n\nABSOLUTELY NO TEXT anywhere: no words, letters, captions, labels,\nsound effects or watermarks — the ONLY allowed marking is a small\nshot number digit (1, 2) in a corner INSIDE each drawn panel.\nTHE PANEL GRID FILLS THE ENTIRE IMAGE EDGE-TO-EDGE: no outer paper\nmargin, no border area, nothing drawn outside the panels — the\nimage must be mechanically cuttable along the stated cut lines.\nPanels are separated only by thin straight black gutter lines at\nthe exact stated positions; ALL PANELS EXACTLY THE SAME SIZE.\n\nPANEL 2 CAMERA & PLACEMENT (follow exactly, from the annotated site\nplan): a TWO-LANE ASPHALT CAR ROAD (R1, dashed centre line) runs\nalong the coast; the bus shelter (A1) stands on the roadside\nsidewalk facing that car road, with the stone seawall (B1) and the\nsea (B2) behind it. The red dot is the CAMERA: it stands on the\nwater-side of the sidewalk just beyond the shelter, looking along\nthe road/sidewalk in the direction of the red view cone. Inside\nthe frame: S (green dot) is the departing runner, already up the\nsidewalk along the car road, moving in the green arrow direction;\nH (blue dot) is the other woman standing by the shelter bench,\nleft side of frame. The car road MUST be clearly visible as a car\nroad beside the stop.\n\nREFERENCE (for grounding, not for style): the attached ANNOTATED\nSITE PLAN is the layout truth — road, sidewalk, shelter, seawall,\nsea, plus CAMERA position (red), its view cone, and figure\npositions (H, S with movement arrow). APPLY IT TO PANEL 2 ONLY.\nNever draw the plan itself, its markers, letters or arrows in the\noutput. PANEL 1 is an earlier, tighter moment from a different\nangle — do not force the plan's viewpoint onto it. The OUTPUT\nstays a rough hand-drawn monochrome pencil storyboard sketch."}
{"ts": "2026-07-12 02:31:25", "kind": "img", "engine": "gpt-image-2", "mode": "edit", "tag": "s34_busstop_map_overlay_t2i", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/ref_busstop_map_v2.png"], "size": "1024x1024", "attempt": 1, "dur_s": 162.0, "bytes": 1878119, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/ref_busstop_map_v3_t2i.png", "prompt": "Reproduce the attached SITE PLAN exactly as it is — same layout,\nsame colours, same markers (R1 road, A1 bus shelter, B1 seawall,\nB2 sea), same north arrow — and ADD a camera-and-staging overlay\nON TOP of it, drawn in clean diagram style:\n- CAMERA: a solid RED dot with a translucent red VIEW CONE. The\n  camera stands on the sidewalk on the water side of the bus\n  shelter, just past the shelter, and its cone opens along the\n  sidewalk/road toward the intersection (the direction the road\n  runs away from the shelter) — wide enough to include both the\n  shelter area and the sidewalk ahead.\n- H: a solid BLUE dot labeled H, standing right beside the bus\n  shelter bench (this person stays at the stop).\n- S: a solid GREEN dot labeled S on the sidewalk further along\n  the car road, INSIDE the camera cone, ahead of the camera, with\n  a GREEN ARROW starting at S and pointing further along the\n  road AWAY from the shelter (the running-away direction, toward\n  the intersection). The arrow must clearly point away from the\n  bus stop, never back toward it.\nNo other text or markings beyond CAMERA, H, S labels."}
{"ts": "2026-07-12 02:34:51", "kind": "img", "engine": "gpt-image-2", "mode": "edit", "tag": "s34_busstop_map_overlay_t2i_v4", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/ref_busstop_map_v2.png"], "size": "1024x1024", "attempt": 1, "dur_s": 168.8, "bytes": 1905250, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/ref_busstop_map_v4_t2i.png", "prompt": "Reproduce the attached SITE PLAN exactly as it is — same layout,\nsame colours, same markers (R1 road, A1 bus shelter, B1 seawall,\nB2 sea), same north arrow — and ADD a camera-and-staging overlay\nON TOP of it, drawn in clean diagram style.\nEXACTLY THREE overlay elements, no more, no fewer, one each:\n1) CAMERA — exactly ONE solid RED dot with a translucent red VIEW\n   CONE. It stands on the sidewalk on the water side of the bus\n   shelter, just past the shelter; the cone opens along the\n   sidewalk/road toward the intersection, wide enough to include\n   the shelter area and the sidewalk ahead.\n2) H — exactly ONE solid BLUE dot labeled H, right beside the bus\n   shelter bench. Draw H ONCE only: a single blue dot anywhere in\n   the whole image.\n3) S — exactly ONE solid GREEN dot labeled S on the sidewalk\n   further along the car road, inside the camera cone, with ONE\n   GREEN ARROW starting at S and pointing further along the road\n   AWAY from the shelter (toward the intersection), never back\n   toward the stop.\nCount check before finishing: one red dot, one blue dot, one\ngreen dot, one green arrow. No other text beyond CAMERA, H, S."}
{"ts": "2026-07-12 02:37:31", "kind": "img", "engine": "gpt-image-2", "mode": "edit", "tag": "s34v15_busstop_t2imap_i2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/ref_busstop_map_v4_t2i.png"], "size": "1536x1024", "attempt": 1, "dur_s": 120.7, "bytes": 3540673, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/conti15_busstop_i2.png", "prompt": "Draw ONE storyboard (conti) sheet: 2 panels made by ONE vertical cut at exactly 50% of the image width — each panel is exactly half the width and the FULL height (1 row x 2 columns).\nSTYLE: quick, rough HAND-DRAWN pencil sketch — loose gestural line\ndrawing in monochrome graphite on white paper, the kind a film\nstoryboard artist dashes off in seconds. NOT photorealistic, no\npainting, no rendering, no color — monochrome graphite only.\n\nTHE LOCATION (same in all drawn panels): a small seaside bus stop with a bench facing the sea at night on a quiet Korean coastal road.\n\nPURPOSE: each panel captures only the CAMERA COMPOSITION of one\nshot — framing (close-up / medium / wide), where the subject sits in\nthe frame, and continuity between panels. Keep every panel\nextremely simple: only what matters for composition.\nMOVEMENT IS SHOWN BY THE FIGURE ITSELF, NEVER BY MARKINGS: convey\ndirection of travel purely through the body — stride mid-motion,\nbody lean into the path, back view vs front view, and the stated\nsize/depth cues. Do NOT draw arrows, motion lines, path lines,\nspeed lines or any diagram markings of any kind.\n\nGEOMETRY — ANALYSE BEFORE DRAWING: from each panel's Korean shot\ntext, first work out the spatial facts and draw EXACTLY those, never\nre-stage them: (a) each figure's DISTANCE from camera (tight insert /\nclose-up / medium / full / wide — a shot about a hand or an object\nis a tight insert, not a two-shot); (b) each figure's FACING and\nMOVEMENT DIRECTION relative to camera — '뒷모습' means seen from\nBEHIND, moving AWAY from camera into the depth of the frame, not\nsideways; a profile means lateral movement; (c) relative positions\nand distances BETWEEN figures. Keep every established screen\ndirection consistent across panels (180-degree rule): a person who\nleaves in one panel keeps the same on-screen direction wherever the\nmovement appears again.\nSIZE & DEPTH ARE CONTRACTUAL: each panel states every figure's\napparent size in the frame and the explicit near/far depth order.\nDraw exactly those proportions — a farther figure MUST be drawn\nclearly smaller than a nearer one; never equalize figure sizes,\nespecially when several figures share a panel or their paths\nrelate to each other.\nDEPARTING FIGURE — a figure running/walking AWAY must be\nunmistakably departing, never approaching: seen exactly from behind\n(back of the head only, no face, no chin, no cheek line), body\nleaning into the path, mid-stride with one shoe sole toward the\ncamera. THE STATED SIZE/DEPTH WINS: draw the departing figure at\nexactly the apparent size and depth the panel's FIGURES line states\n(if stated FARTHER/small, it stays small in the distance — never\nenlarge it into the foreground for drama).\n\nCONTINUITY: all drawn panels are the SAME single location — fixed\nfeatures (doors, stairs, windows, poles, desks) keep the same\nposition and left/right relationships across panels so the panels\ncut together as one continuous scene.\n\nPANELS (one shot per panel, Korean shot text):\n\nPANEL 1: 혜수의 손이 음료수 캔을 쥔 채 수리영 앞으로 내밀어진 순간\n  MOVEMENT (follow exactly): Hye-su extends her hand and the drink can from her side into the space directly in front of Suri-young, who remains seated and blankly oriented toward the sea.\n  FIGURES — apparent size & depth order (follow exactly): Hye-su's hand and can appear large at roughly ~1/3 of the frame height and are NEARER to the camera; seated Suri-young appears around ~1/2 of the frame height and is FARTHER behind the offered can.\nPANEL 2: 멀리서 혜수의 전신과 한 발을 공중에 띄운 mid-stride 자세로 달리는 수리영의 뒷모습을 한 프레임에 담은 넓은 구도\n  MOVEMENT (follow exactly): Suri-young runs away from Hye-su and away from the camera with her back visible and one foot airborne mid-stride, while Hye-su remains behind facing her path.\n  FIGURES — apparent size & depth order (follow exactly): Hye-su's full body appears about ~1/3 of the frame height and is NEARER to the camera, while the departing Suri-young appears smaller at ~1/5 and FARTHER along the route away. The distance between them increases as Suri-young runs ahead and Hye-su stays behind.\n\nABSOLUTELY NO TEXT anywhere: no words, letters, captions, labels,\nsound effects or watermarks — the ONLY allowed marking is a small\nshot number digit (1, 2) in a corner INSIDE each drawn panel.\nTHE PANEL GRID FILLS THE ENTIRE IMAGE EDGE-TO-EDGE: no outer paper\nmargin, no border area, nothing drawn outside the panels — the\nimage must be mechanically cuttable along the stated cut lines.\nPanels are separated only by thin straight black gutter lines at\nthe exact stated positions; ALL PANELS EXACTLY THE SAME SIZE.\n\nPANEL 2 CAMERA & PLACEMENT (follow exactly, from the annotated site\nplan): a TWO-LANE ASPHALT CAR ROAD (R1, dashed centre line) runs\nalong the coast; the bus shelter (A1) stands on the roadside\nsidewalk facing that car road, with the stone seawall (B1) and the\nsea (B2) behind it. The RED dot is the CAMERA standing on the\nwater-side sidewalk just past the shelter, looking along the\nsidewalk/road in the direction of the red view cone. In frame:\nS (green dot) is the departing runner already further up the\nsidewalk beside the car road, moving in the green arrow direction\naway from the stop; H (blue dot) is the other woman standing by\nthe shelter bench, left side of frame. The car road MUST be\nclearly visible as a car road beside the stop.\n\nREFERENCE (for grounding, not for style): the attached ANNOTATED\nSITE PLAN is the layout truth — road, sidewalk, shelter, seawall,\nsea, plus CAMERA (red dot + view cone) and figure positions\n(H, S with movement arrow). APPLY IT TO PANEL 2 ONLY. Never draw\nthe plan itself, its markers, letters, cone or arrows in the\noutput. PANEL 1 is an earlier, tighter moment from a different\nangle — do not force the plan's viewpoint onto it. The OUTPUT\nstays a rough hand-drawn monochrome pencil storyboard sketch."}
{"ts": "2026-07-12 02:51:25", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s34_busstop_map_redraw_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/projects/8207aadc-7975-48f5-af17-ccc145a6660d/images/background_chain/canon_bg_coastal_bus_stop_master.png"], "ref_labels": ["AERIAL PHOTOGRAPH — the real location; redraw as plan."], "attempt": 1, "dur_s": 17.5, "bytes": 2297890, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/ref_busstop_map_nb2.png", "prompt": "Redraw the attached aerial photograph as a FLAT TOP-DOWN SITE PLAN\n(architectural plan style, clean vector-like linework, soft flat\ncolours). PRESERVE THE REAL GEOGRAPHY EXACTLY as the photo shows:\n- the TWO-LANE ASPHALT CAR ROAD running along the coast, drawn\n  unmistakably as a car road with a dashed centre line and its\n  small side-road intersection at the top;\n- the roadside SIDEWALK strip between road and sea, with the BUS\n  SHELTER (roof rectangle + bench) standing on it facing the road;\n- the stone SEAWALL / rock revetment edge;\n- the SEA on the seaward side; scrubland vegetation opposite.\nMarkers: small circled labels only — R1 on the car road, A1 at the\nbus shelter, B1 on the seawall edge, B2 in the sea. No other text,\nno legend, no compass decorations beyond a small north arrow."}
{"ts": "2026-07-12 02:52:05", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s34_busstop_map_overlay_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/ref_busstop_map_nb2.png"], "ref_labels": ["SITE PLAN — reproduce unchanged and add the overlay."], "attempt": 1, "dur_s": 22.1, "bytes": 2389655, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/ref_busstop_map_nb2_overlay.png", "prompt": "Reproduce the attached SITE PLAN exactly as it is — same layout,\nsame colours, same markers, same north arrow — and ADD a\ncamera-and-staging overlay ON TOP of it, drawn in clean diagram\nstyle. EXACTLY THREE overlay elements, no more, no fewer, one each:\n1) CAMERA — exactly ONE solid RED dot with a translucent red VIEW\n   CONE. It stands on the sidewalk on the water side of the bus\n   shelter, just past the shelter; the cone opens along the\n   sidewalk/road toward the intersection, wide enough to include\n   the shelter area and the sidewalk ahead.\n2) H — exactly ONE solid BLUE dot labeled H, right beside the bus\n   shelter bench. Draw H ONCE only: a single blue dot anywhere in\n   the whole image.\n3) S — exactly ONE solid GREEN dot labeled S on the sidewalk\n   further along the car road, inside the camera cone, with ONE\n   GREEN ARROW starting at S and pointing further along the road\n   AWAY from the shelter (toward the intersection), never back\n   toward the stop.\nCount check before finishing: one red dot, one blue dot, one\ngreen dot, one green arrow. No other text beyond CAMERA, H, S."}
{"ts": "2026-07-12 03:09:18", "kind": "llm", "step": "s34_busstop_camera_judge", "model": "gpt", "dur_s": 47.2, "system_prompt": "당신은 콘티의 카메라 배치를 판정하는 촬영감독 보조다. 씬 원문과\n샷 텍스트만 근거로, 이 샷의 카메라가 지도 위 어디에 서서 어느\n방향을 보는지 정확히 판정하라. 발명 금지, 샷 텍스트가 프레임에\n담으라고 한 것이 전부 시야 콘 안에 들어오는 배치여야 한다.\n지형(지도): 해안을 따라 달리는 2차선 찻길(R1), 찻길과 바다 사이의\n보도, 보도 위 버스 셸터+벤치(A1), 그 뒤 호안 바위(B1), 바다(B2),\n찻길 건너편은 관목지. 도로는 지도의 좌하→우상 방향으로 뻗고\n우상단에 교차로가 있다.\n판정할 것: (a) 카메라 위치 — 지도 지형 기준 서술 (b) 시선 방향\n(c) 시야 콘에 반드시 포함될 것들과 각각의 프레임 내 위치 (d) 두\n인물(벤치에 있던 여자=H, 달려가는 여자=S)의 지도 위 위치와 S의\n이동 방향. 모두 영어로, 마커 코드 인용은 R1/A1/B1/B2 만 허용.", "user_prompt": "[씬 15 원문]\nS#15. 해안가. 버스정류장 부근 / N\nS#15. 해안가. 버스정류장 부근 / N\n바다를 바라보며 멍한 채로 앉아있는 수리영, 여전히 엄마는 전화를 받지않고.\n자신이 진짜로 헛 것을 본 것일까... 헷갈린다. 그럼 엄마는 어디있을까.\n혜수, 사온 음료수를 수리영에게 건네며\n\n혜수\n괜찮아?\n\n수리영\n내가 뭘 잘 못 본 거야, 이모. 그게 맞는 말 같애.\n엄마가 갑자기...그런 일을 당할 리 없잖아\n(훅 일어나며) 집에 가봐야 겠어.\n\n혜수\n엉? 어. 혼자 갈 수 있겠어?\n\n수리영\n응. 나 갈게 (달려간다)\n\n혜수\n(등 뒤에 대고 소리친다) 엄마 보면 나한테 전화 하라고 해!\n\n두 사람을 지켜보는 듯한 카메라 시선.\n\n\n\n[판정 대상 샷 (콘티 P2)]\n멀리서 혜수의 전신과 한 발을 공중에 띄운 mid-stride 자세로 달리는 수리영의 뒷모습을 한 프레임에 담은 넓은 구도\n\n이 샷의 카메라 배치를 판정하라. 특히 '멀리서 혜수의 전신과 달리는 수리영의 뒷모습을 한 프레임에'가 성립하려면 카메라가 어디 있어야 하는지 신중히."}
{"ts": "2026-07-12 03:12:23", "kind": "img", "engine": "gpt-image-2", "mode": "edit", "tag": "s34_busstop_map_flat2d", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/projects/8207aadc-7975-48f5-af17-ccc145a6660d/images/background_chain/canon_bg_coastal_bus_stop_master.png"], "size": "1024x1024", "attempt": 1, "dur_s": 147.5, "bytes": 1345794, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/ref_busstop_map_v5_flat.png", "prompt": "Redraw the attached aerial photograph as a STRICT 2D ORTHOGRAPHIC\nPLAN VIEW — a true top-down map seen from directly overhead, like\nan architectural site plan or cadastral map. ABSOLUTELY NO\nperspective, no isometric, no oblique angle, no 3D volume, no\nshadows: every object is a FLAT 2D symbol seen from straight\nabove. The bus shelter is ONLY a flat rectangle outline (roof\nfootprint) with a thin bench line inside — never drawn with legs,\nsides or depth. Clean vector linework, soft flat colours.\nPRESERVE THE REAL GEOGRAPHY of the photo:\n- the TWO-LANE ASPHALT CAR ROAD along the coast with a dashed\n  centre line, running lower-left to upper-right, with the small\n  side-road intersection at the upper right;\n- the SIDEWALK strip between the road and the sea, with the bus\n  shelter footprint on it facing the road;\n- the stone SEAWALL / rock revetment edge as a flat textured band;\n- the SEA as a flat blue field; scrubland as flat green patches\n  across the road.\nMarkers: small circled labels only — R1 on the car road, A1 at the\nbus shelter, B1 on the seawall band, B2 in the sea. No other text;\none small north arrow."}
{"ts": "2026-07-12 03:15:47", "kind": "img", "engine": "gpt-image-2", "mode": "edit", "tag": "s34_busstop_map_v5_overlay", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/ref_busstop_map_v5_flat.png"], "size": "1024x1024", "attempt": 1, "dur_s": 160.8, "bytes": 1385532, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/ref_busstop_map_v5_overlay.png", "prompt": "Reproduce the attached flat 2D SITE PLAN exactly as it is — same\ntop-down view, same layout, colours, markers (R1, A1, B1, B2) and\nnorth arrow — and ADD a camera-and-staging overlay ON TOP, in\nclean flat diagram style (the overlay is also strictly top-down:\ndots, a flat 2D view cone, a flat arrow — no 3D).\nEXACTLY THREE overlay elements, no more, no fewer, one each:\n1) CAMERA — exactly ONE solid RED dot with a translucent red 2D\n   VIEW CONE. Placement per the shot: the camera stands BEHIND the\n   action — on the sidewalk DOWN-ROAD of the bus shelter (toward\n   the lower-left along the road, before the shelter), offset\n   slightly toward the road edge so the two figures do not\n   overlap. Its cone opens diagonally UP-ROAD toward the\n   upper-right intersection and MUST contain both the shelter\n   area and the sidewalk far ahead.\n2) H — exactly ONE solid BLUE dot labeled H, on the sidewalk\n   right beside the shelter bench (the nearer figure in frame).\n   Draw H once only.\n3) S — exactly ONE solid GREEN dot labeled S on the sidewalk\n   well PAST the shelter toward the upper-right (much farther\n   from the camera than H), inside the cone, with ONE GREEN ARROW\n   starting at S and pointing further up-road toward the\n   intersection — away from both the shelter and the camera,\n   never back toward them.\nCount check: one red dot, one blue dot, one green dot, one green\narrow. No other text beyond CAMERA, H, S."}
{"ts": "2026-07-12 03:18:21", "kind": "img", "engine": "gpt-image-2", "mode": "edit", "tag": "s34v16_busstop_flatmap_i2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/ref_busstop_map_v5_overlay.png"], "size": "1536x1024", "attempt": 1, "dur_s": 113.3, "bytes": 3601226, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/conti16_busstop_i2.png", "prompt": "Draw ONE storyboard (conti) sheet: 2 panels made by ONE vertical cut at exactly 50% of the image width — each panel is exactly half the width and the FULL height (1 row x 2 columns).\nSTYLE: quick, rough HAND-DRAWN pencil sketch — loose gestural line\ndrawing in monochrome graphite on white paper, the kind a film\nstoryboard artist dashes off in seconds. NOT photorealistic, no\npainting, no rendering, no color — monochrome graphite only.\n\nTHE LOCATION (same in all drawn panels): a small seaside bus stop with a bench facing the sea at night on a quiet Korean coastal road.\n\nPURPOSE: each panel captures only the CAMERA COMPOSITION of one\nshot — framing (close-up / medium / wide), where the subject sits in\nthe frame, and continuity between panels. Keep every panel\nextremely simple: only what matters for composition.\nMOVEMENT IS SHOWN BY THE FIGURE ITSELF, NEVER BY MARKINGS: convey\ndirection of travel purely through the body — stride mid-motion,\nbody lean into the path, back view vs front view, and the stated\nsize/depth cues. Do NOT draw arrows, motion lines, path lines,\nspeed lines or any diagram markings of any kind.\n\nGEOMETRY — ANALYSE BEFORE DRAWING: from each panel's Korean shot\ntext, first work out the spatial facts and draw EXACTLY those, never\nre-stage them: (a) each figure's DISTANCE from camera (tight insert /\nclose-up / medium / full / wide — a shot about a hand or an object\nis a tight insert, not a two-shot); (b) each figure's FACING and\nMOVEMENT DIRECTION relative to camera — '뒷모습' means seen from\nBEHIND, moving AWAY from camera into the depth of the frame, not\nsideways; a profile means lateral movement; (c) relative positions\nand distances BETWEEN figures. Keep every established screen\ndirection consistent across panels (180-degree rule): a person who\nleaves in one panel keeps the same on-screen direction wherever the\nmovement appears again.\nSIZE & DEPTH ARE CONTRACTUAL: each panel states every figure's\napparent size in the frame and the explicit near/far depth order.\nDraw exactly those proportions — a farther figure MUST be drawn\nclearly smaller than a nearer one; never equalize figure sizes,\nespecially when several figures share a panel or their paths\nrelate to each other.\nDEPARTING FIGURE — a figure running/walking AWAY must be\nunmistakably departing, never approaching: seen exactly from behind\n(back of the head only, no face, no chin, no cheek line), body\nleaning into the path, mid-stride with one shoe sole toward the\ncamera. THE STATED SIZE/DEPTH WINS: draw the departing figure at\nexactly the apparent size and depth the panel's FIGURES line states\n(if stated FARTHER/small, it stays small in the distance — never\nenlarge it into the foreground for drama).\n\nCONTINUITY: all drawn panels are the SAME single location — fixed\nfeatures (doors, stairs, windows, poles, desks) keep the same\nposition and left/right relationships across panels so the panels\ncut together as one continuous scene.\n\nPANELS (one shot per panel, Korean shot text):\n\nPANEL 1: 혜수의 손이 음료수 캔을 쥔 채 수리영 앞으로 내밀어진 순간\n  MOVEMENT (follow exactly): Hye-su extends her hand and the drink can from her side into the space directly in front of Suri-young, who remains seated and blankly oriented toward the sea.\n  FIGURES — apparent size & depth order (follow exactly): Hye-su's hand and can appear large at roughly ~1/3 of the frame height and are NEARER to the camera; seated Suri-young appears around ~1/2 of the frame height and is FARTHER behind the offered can.\nPANEL 2: 멀리서 혜수의 전신과 한 발을 공중에 띄운 mid-stride 자세로 달리는 수리영의 뒷모습을 한 프레임에 담은 넓은 구도\n  MOVEMENT (follow exactly): Suri-young runs away from Hye-su and away from the camera with her back visible and one foot airborne mid-stride, while Hye-su remains behind facing her path.\n  FIGURES — apparent size & depth order (follow exactly): Hye-su's full body appears about ~1/3 of the frame height and is NEARER to the camera, while the departing Suri-young appears smaller at ~1/5 and FARTHER along the route away. The distance between them increases as Suri-young runs ahead and Hye-su stays behind.\n\nABSOLUTELY NO TEXT anywhere: no words, letters, captions, labels,\nsound effects or watermarks — the ONLY allowed marking is a small\nshot number digit (1, 2) in a corner INSIDE each drawn panel.\nTHE PANEL GRID FILLS THE ENTIRE IMAGE EDGE-TO-EDGE: no outer paper\nmargin, no border area, nothing drawn outside the panels — the\nimage must be mechanically cuttable along the stated cut lines.\nPanels are separated only by thin straight black gutter lines at\nthe exact stated positions; ALL PANELS EXACTLY THE SAME SIZE.\n\nPANEL 2 CAMERA & PLACEMENT (follow exactly — judged from the shot\ntext, shown on the annotated plan): the camera stands BEHIND the\naction, on the seaside sidewalk DOWN-ROAD of the bus shelter,\nslightly offset toward the road edge, looking diagonally UP-ROAD\nalong the sidewalk toward the distant intersection. DEPTH ORDER IN\nFRAME: H (the woman who stayed) is the NEARER figure — her full\nbody head-to-toe beside the shelter bench; S (the departing\nrunner) is FARTHER ahead in depth on the same sidewalk, seen from\nbehind mid-stride with one foot airborne, clearly smaller than H\nand laterally separated so H never occludes S. The TWO-LANE CAR\nROAD with its dashed centre line runs beside the sidewalk and\nmust read clearly as a car road.\n\nREFERENCE (for grounding, not for style): the attached flat 2D\nANNOTATED SITE PLAN is the layout truth — car road, sidewalk,\nshelter, seawall, sea, plus CAMERA (red dot + view cone) and\nfigure positions (H nearer, S farther, green arrow = S's running\ndirection away from camera and shelter). APPLY IT TO PANEL 2\nONLY. Never draw the plan itself, its markers, letters, cone or\narrows in the output. PANEL 1 is an earlier, tighter moment from\na different angle — do not force the plan's viewpoint onto it.\nThe OUTPUT stays a rough hand-drawn monochrome pencil storyboard\nsketch."}
{"ts": "2026-07-12 03:24:25", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s34_busstop_map_flat2d_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/projects/8207aadc-7975-48f5-af17-ccc145a6660d/images/background_chain/canon_bg_coastal_bus_stop_master.png"], "ref_labels": ["AERIAL PHOTOGRAPH — the real location; redraw as flat plan."], "attempt": 1, "dur_s": 16.6, "bytes": 2323589, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/ref_busstop_map_v5_flat_nb2.png", "prompt": "Redraw the attached aerial photograph as a STRICT 2D ORTHOGRAPHIC\nPLAN VIEW — a true top-down map seen from directly overhead, like\nan architectural site plan or cadastral map. ABSOLUTELY NO\nperspective, no isometric, no oblique angle, no 3D volume, no\nshadows: every object is a FLAT 2D symbol seen from straight\nabove. The bus shelter is ONLY a flat rectangle outline (roof\nfootprint) with a thin bench line inside — never drawn with legs,\nsides or depth. Clean vector linework, soft flat colours,\nNO photographic texture anywhere — the entire image is drawn plan\nlinework, including the rocks and the sea.\nPRESERVE THE REAL GEOGRAPHY of the photo:\n- the TWO-LANE ASPHALT CAR ROAD along the coast with a dashed\n  centre line, running lower-left to upper-right, with the small\n  side-road intersection at the upper right;\n- the SIDEWALK strip between the road and the sea, with the bus\n  shelter footprint on it facing the road;\n- the stone SEAWALL / rock revetment edge as a flat textured band;\n- the SEA as a flat blue field; scrubland as flat green patches\n  across the road.\nMarkers: small circled labels only — R1 on the car road, A1 at the\nbus shelter, B1 on the seawall band, B2 in the sea. No other text;\none small north arrow."}
{"ts": "2026-07-12 03:25:33", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s34_busstop_map_v5_overlay_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/ref_busstop_map_v5_flat_nb2.png"], "ref_labels": ["SITE PLAN — reproduce unchanged and add the overlay."], "attempt": 1, "dur_s": 25.4, "bytes": 2400286, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/ref_busstop_map_v5_overlay_nb2.png", "prompt": "Reproduce the attached flat 2D SITE PLAN exactly as it is — same\ntop-down view, same layout, colours, markers (R1, A1, B1, B2) and\nnorth arrow — and ADD a camera-and-staging overlay ON TOP, in\nclean flat diagram style (the overlay is also strictly top-down:\ndots, a flat 2D view cone, a flat arrow — no 3D).\nEXACTLY THREE overlay elements, no more, no fewer, one each:\n1) CAMERA — exactly ONE solid RED dot with a translucent red 2D\n   VIEW CONE. Placement per the shot: the camera stands BEHIND the\n   action — on the sidewalk DOWN-ROAD of the bus shelter (toward\n   the lower-left along the road, before the shelter), offset\n   slightly toward the road edge so the two figures do not\n   overlap. Its cone opens diagonally UP-ROAD toward the\n   upper-right intersection and MUST contain both the shelter\n   area and the sidewalk far ahead.\n2) H — exactly ONE solid BLUE dot labeled H, on the sidewalk\n   right beside the shelter bench (the nearer figure in frame).\n   Draw H once only.\n3) S — exactly ONE solid GREEN dot labeled S on the sidewalk\n   well PAST the shelter toward the upper-right (much farther\n   from the camera than H), inside the cone, with ONE GREEN ARROW\n   starting at S and pointing further up-road toward the\n   intersection — away from both the shelter and the camera,\n   never back toward them.\nCount check: one red dot, one blue dot, one green dot, one green\narrow. No other text beyond CAMERA, H, S."}
{"ts": "2026-07-12 03:51:17", "kind": "img", "engine": "gpt-image-2", "mode": "edit", "tag": "s34v17_busstop_nb2map_i2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/ref_busstop_map_v5_overlay_nb2.png"], "size": "1536x1024", "attempt": 1, "dur_s": 122.6, "bytes": 3733110, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/conti17_busstop_i2.png", "prompt": "Draw ONE storyboard (conti) sheet: 2 panels made by ONE vertical cut at exactly 50% of the image width — each panel is exactly half the width and the FULL height (1 row x 2 columns).\nSTYLE: quick, rough HAND-DRAWN pencil sketch — loose gestural line\ndrawing in monochrome graphite on white paper, the kind a film\nstoryboard artist dashes off in seconds. NOT photorealistic, no\npainting, no rendering, no color — monochrome graphite only.\n\nTHE LOCATION (same in all drawn panels): a small seaside bus stop with a bench facing the sea at night on a quiet Korean coastal road.\n\nPURPOSE: each panel captures only the CAMERA COMPOSITION of one\nshot — framing (close-up / medium / wide), where the subject sits in\nthe frame, and continuity between panels. Keep every panel\nextremely simple: only what matters for composition.\nMOVEMENT IS SHOWN BY THE FIGURE ITSELF, NEVER BY MARKINGS: convey\ndirection of travel purely through the body — stride mid-motion,\nbody lean into the path, back view vs front view, and the stated\nsize/depth cues. Do NOT draw arrows, motion lines, path lines,\nspeed lines or any diagram markings of any kind.\n\nGEOMETRY — ANALYSE BEFORE DRAWING: from each panel's Korean shot\ntext, first work out the spatial facts and draw EXACTLY those, never\nre-stage them: (a) each figure's DISTANCE from camera (tight insert /\nclose-up / medium / full / wide — a shot about a hand or an object\nis a tight insert, not a two-shot); (b) each figure's FACING and\nMOVEMENT DIRECTION relative to camera — '뒷모습' means seen from\nBEHIND, moving AWAY from camera into the depth of the frame, not\nsideways; a profile means lateral movement; (c) relative positions\nand distances BETWEEN figures. Keep every established screen\ndirection consistent across panels (180-degree rule): a person who\nleaves in one panel keeps the same on-screen direction wherever the\nmovement appears again.\nSIZE & DEPTH ARE CONTRACTUAL: each panel states every figure's\napparent size in the frame and the explicit near/far depth order.\nDraw exactly those proportions — a farther figure MUST be drawn\nclearly smaller than a nearer one; never equalize figure sizes,\nespecially when several figures share a panel or their paths\nrelate to each other.\nDEPARTING FIGURE — a figure running/walking AWAY must be\nunmistakably departing, never approaching: seen exactly from behind\n(back of the head only, no face, no chin, no cheek line), body\nleaning into the path, mid-stride with one shoe sole toward the\ncamera. THE STATED SIZE/DEPTH WINS: draw the departing figure at\nexactly the apparent size and depth the panel's FIGURES line states\n(if stated FARTHER/small, it stays small in the distance — never\nenlarge it into the foreground for drama).\n\nCONTINUITY: all drawn panels are the SAME single location — fixed\nfeatures (doors, stairs, windows, poles, desks) keep the same\nposition and left/right relationships across panels so the panels\ncut together as one continuous scene.\n\nPANELS (one shot per panel, Korean shot text):\n\nPANEL 1: 혜수의 손이 음료수 캔을 쥔 채 수리영 앞으로 내밀어진 순간\n  MOVEMENT (follow exactly): Hye-su extends her hand and the drink can from her side into the space directly in front of Suri-young, who remains seated and blankly oriented toward the sea.\n  FIGURES — apparent size & depth order (follow exactly): Hye-su's hand and can appear large at roughly ~1/3 of the frame height and are NEARER to the camera; seated Suri-young appears around ~1/2 of the frame height and is FARTHER behind the offered can.\nPANEL 2: 멀리서 혜수의 전신과 한 발을 공중에 띄운 mid-stride 자세로 달리는 수리영의 뒷모습을 한 프레임에 담은 넓은 구도\n  MOVEMENT (follow exactly): Suri-young runs away from Hye-su and away from the camera with her back visible and one foot airborne mid-stride, while Hye-su remains behind facing her path.\n  FIGURES — apparent size & depth order (follow exactly): Hye-su's full body appears about ~1/3 of the frame height and is NEARER to the camera, while the departing Suri-young appears smaller at ~1/5 and FARTHER along the route away. The distance between them increases as Suri-young runs ahead and Hye-su stays behind.\n\nABSOLUTELY NO TEXT anywhere: no words, letters, captions, labels,\nsound effects or watermarks — the ONLY allowed marking is a small\nshot number digit (1, 2) in a corner INSIDE each drawn panel.\nTHE PANEL GRID FILLS THE ENTIRE IMAGE EDGE-TO-EDGE: no outer paper\nmargin, no border area, nothing drawn outside the panels — the\nimage must be mechanically cuttable along the stated cut lines.\nPanels are separated only by thin straight black gutter lines at\nthe exact stated positions; ALL PANELS EXACTLY THE SAME SIZE.\n\nPANEL 2 CAMERA & PLACEMENT (follow exactly — judged from the shot\ntext, shown on the annotated plan): the camera stands BEHIND the\naction, on the seaside sidewalk DOWN-ROAD of the bus shelter,\nslightly offset toward the road edge, looking diagonally UP-ROAD\nalong the sidewalk toward the distant intersection. DEPTH ORDER IN\nFRAME: H (the woman who stayed) is the NEARER figure — her full\nbody head-to-toe beside the shelter bench; S (the departing\nrunner) is FARTHER ahead in depth on the same sidewalk, seen from\nbehind mid-stride with one foot airborne, clearly smaller than H\nand laterally separated so H never occludes S. The TWO-LANE CAR\nROAD with its dashed centre line runs beside the sidewalk and\nmust read clearly as a car road.\n\nREFERENCE (for grounding, not for style): the attached ANNOTATED\nSITE PLAN is the layout truth — car road, sidewalk, shelter,\nseawall, sea, plus CAMERA (red dot + view cone) and figure\npositions (H nearer, S farther, green arrow = S's running\ndirection away from camera and shelter). APPLY IT TO PANEL 2\nONLY. Never draw the plan itself, its markers, letters, cone or\narrows in the output. PANEL 1 is an earlier, tighter moment from\na different angle — do not force the plan's viewpoint onto it.\nThe OUTPUT stays a rough hand-drawn monochrome pencil storyboard\nsketch."}
{"ts": "2026-07-12 03:51:35", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s34v17_busstop_nb2map_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/ref_busstop_map_v5_overlay_nb2.png"], "ref_labels": ["ANNOTATED SITE PLAN — layout truth; apply to panel 2 only; never draw the plan or its markers."], "attempt": 1, "dur_s": 17.7, "bytes": 1983937, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/conti17_busstop_nb2.png", "prompt": "Draw ONE storyboard (conti) sheet: 2 panels made by ONE vertical cut at exactly 50% of the image width — each panel is exactly half the width and the FULL height (1 row x 2 columns).\nSTYLE: quick, rough HAND-DRAWN pencil sketch — loose gestural line\ndrawing in monochrome graphite on white paper, the kind a film\nstoryboard artist dashes off in seconds. NOT photorealistic, no\npainting, no rendering, no color — monochrome graphite only.\n\nTHE LOCATION (same in all drawn panels): a small seaside bus stop with a bench facing the sea at night on a quiet Korean coastal road.\n\nPURPOSE: each panel captures only the CAMERA COMPOSITION of one\nshot — framing (close-up / medium / wide), where the subject sits in\nthe frame, and continuity between panels. Keep every panel\nextremely simple: only what matters for composition.\nMOVEMENT IS SHOWN BY THE FIGURE ITSELF, NEVER BY MARKINGS: convey\ndirection of travel purely through the body — stride mid-motion,\nbody lean into the path, back view vs front view, and the stated\nsize/depth cues. Do NOT draw arrows, motion lines, path lines,\nspeed lines or any diagram markings of any kind.\n\nGEOMETRY — ANALYSE BEFORE DRAWING: from each panel's Korean shot\ntext, first work out the spatial facts and draw EXACTLY those, never\nre-stage them: (a) each figure's DISTANCE from camera (tight insert /\nclose-up / medium / full / wide — a shot about a hand or an object\nis a tight insert, not a two-shot); (b) each figure's FACING and\nMOVEMENT DIRECTION relative to camera — '뒷모습' means seen from\nBEHIND, moving AWAY from camera into the depth of the frame, not\nsideways; a profile means lateral movement; (c) relative positions\nand distances BETWEEN figures. Keep every established screen\ndirection consistent across panels (180-degree rule): a person who\nleaves in one panel keeps the same on-screen direction wherever the\nmovement appears again.\nSIZE & DEPTH ARE CONTRACTUAL: each panel states every figure's\napparent size in the frame and the explicit near/far depth order.\nDraw exactly those proportions — a farther figure MUST be drawn\nclearly smaller than a nearer one; never equalize figure sizes,\nespecially when several figures share a panel or their paths\nrelate to each other.\nDEPARTING FIGURE — a figure running/walking AWAY must be\nunmistakably departing, never approaching: seen exactly from behind\n(back of the head only, no face, no chin, no cheek line), body\nleaning into the path, mid-stride with one shoe sole toward the\ncamera. THE STATED SIZE/DEPTH WINS: draw the departing figure at\nexactly the apparent size and depth the panel's FIGURES line states\n(if stated FARTHER/small, it stays small in the distance — never\nenlarge it into the foreground for drama).\n\nCONTINUITY: all drawn panels are the SAME single location — fixed\nfeatures (doors, stairs, windows, poles, desks) keep the same\nposition and left/right relationships across panels so the panels\ncut together as one continuous scene.\n\nPANELS (one shot per panel, Korean shot text):\n\nPANEL 1: 혜수의 손이 음료수 캔을 쥔 채 수리영 앞으로 내밀어진 순간\n  MOVEMENT (follow exactly): Hye-su extends her hand and the drink can from her side into the space directly in front of Suri-young, who remains seated and blankly oriented toward the sea.\n  FIGURES — apparent size & depth order (follow exactly): Hye-su's hand and can appear large at roughly ~1/3 of the frame height and are NEARER to the camera; seated Suri-young appears around ~1/2 of the frame height and is FARTHER behind the offered can.\nPANEL 2: 멀리서 혜수의 전신과 한 발을 공중에 띄운 mid-stride 자세로 달리는 수리영의 뒷모습을 한 프레임에 담은 넓은 구도\n  MOVEMENT (follow exactly): Suri-young runs away from Hye-su and away from the camera with her back visible and one foot airborne mid-stride, while Hye-su remains behind facing her path.\n  FIGURES — apparent size & depth order (follow exactly): Hye-su's full body appears about ~1/3 of the frame height and is NEARER to the camera, while the departing Suri-young appears smaller at ~1/5 and FARTHER along the route away. The distance between them increases as Suri-young runs ahead and Hye-su stays behind.\n\nABSOLUTELY NO TEXT anywhere: no words, letters, captions, labels,\nsound effects or watermarks — the ONLY allowed marking is a small\nshot number digit (1, 2) in a corner INSIDE each drawn panel.\nTHE PANEL GRID FILLS THE ENTIRE IMAGE EDGE-TO-EDGE: no outer paper\nmargin, no border area, nothing drawn outside the panels — the\nimage must be mechanically cuttable along the stated cut lines.\nPanels are separated only by thin straight black gutter lines at\nthe exact stated positions; ALL PANELS EXACTLY THE SAME SIZE.\n\nPANEL 2 CAMERA & PLACEMENT (follow exactly — judged from the shot\ntext, shown on the annotated plan): the camera stands BEHIND the\naction, on the seaside sidewalk DOWN-ROAD of the bus shelter,\nslightly offset toward the road edge, looking diagonally UP-ROAD\nalong the sidewalk toward the distant intersection. DEPTH ORDER IN\nFRAME: H (the woman who stayed) is the NEARER figure — her full\nbody head-to-toe beside the shelter bench; S (the departing\nrunner) is FARTHER ahead in depth on the same sidewalk, seen from\nbehind mid-stride with one foot airborne, clearly smaller than H\nand laterally separated so H never occludes S. The TWO-LANE CAR\nROAD with its dashed centre line runs beside the sidewalk and\nmust read clearly as a car road.\n\nREFERENCE (for grounding, not for style): the attached ANNOTATED\nSITE PLAN is the layout truth — car road, sidewalk, shelter,\nseawall, sea, plus CAMERA (red dot + view cone) and figure\npositions (H nearer, S farther, green arrow = S's running\ndirection away from camera and shelter). APPLY IT TO PANEL 2\nONLY. Never draw the plan itself, its markers, letters, cone or\narrows in the output. PANEL 1 is an earlier, tighter moment from\na different angle — do not force the plan's viewpoint onto it.\nThe OUTPUT stays a rough hand-drawn monochrome pencil storyboard\nsketch."}
{"ts": "2026-07-12 04:07:29", "kind": "img", "engine": "gpt-image-2", "mode": "edit", "tag": "s34v18_busstop_nb2map_i2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/ref_busstop_map_v5_overlay_nb2.png"], "size": "1536x1024", "attempt": 1, "dur_s": 111.7, "bytes": 3850720, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/conti18_busstop_i2.png", "prompt": "Draw ONE storyboard (conti) sheet: 2 panels made by ONE vertical cut at exactly 50% of the image width — each panel is exactly half the width and the FULL height (1 row x 2 columns).\nSTYLE: quick, rough HAND-DRAWN pencil sketch — loose gestural line\ndrawing in monochrome graphite on white paper, the kind a film\nstoryboard artist dashes off in seconds. NOT photorealistic, no\npainting, no rendering, no color — monochrome graphite only.\n\nTHE LOCATION (same in all drawn panels): a small seaside bus stop with a bench facing the sea at night on a quiet Korean coastal road.\n\nPURPOSE: each panel captures only the CAMERA COMPOSITION of one\nshot — framing (close-up / medium / wide), where the subject sits in\nthe frame, and continuity between panels. Keep every panel\nextremely simple: only what matters for composition.\nMOVEMENT IS SHOWN BY THE FIGURE ITSELF, NEVER BY MARKINGS: convey\ndirection of travel purely through the body — stride mid-motion,\nbody lean into the path, back view vs front view, and the stated\nsize/depth cues. Do NOT draw arrows, motion lines, path lines,\nspeed lines or any diagram markings of any kind.\n\nGEOMETRY — ANALYSE BEFORE DRAWING: from each panel's Korean shot\ntext, first work out the spatial facts and draw EXACTLY those, never\nre-stage them: (a) each figure's DISTANCE from camera (tight insert /\nclose-up / medium / full / wide — a shot about a hand or an object\nis a tight insert, not a two-shot); (b) each figure's FACING and\nMOVEMENT DIRECTION relative to camera — '뒷모습' means seen from\nBEHIND, moving AWAY from camera into the depth of the frame, not\nsideways; a profile means lateral movement; (c) relative positions\nand distances BETWEEN figures. Keep every established screen\ndirection consistent across panels (180-degree rule): a person who\nleaves in one panel keeps the same on-screen direction wherever the\nmovement appears again.\nSIZE & DEPTH ARE CONTRACTUAL: each panel states every figure's\napparent size in the frame and the explicit near/far depth order.\nDraw exactly those proportions — a farther figure MUST be drawn\nclearly smaller than a nearer one; never equalize figure sizes,\nespecially when several figures share a panel or their paths\nrelate to each other.\nDEPARTING FIGURE — a figure running/walking AWAY must be\nunmistakably departing, never approaching: seen exactly from behind\n(back of the head only, no face, no chin, no cheek line), body\nleaning into the path, mid-stride with one shoe sole toward the\ncamera. THE STATED SIZE/DEPTH WINS: draw the departing figure at\nexactly the apparent size and depth the panel's FIGURES line states\n(if stated FARTHER/small, it stays small in the distance — never\nenlarge it into the foreground for drama).\n\nCONTINUITY: all drawn panels are the SAME single location — fixed\nfeatures (doors, stairs, windows, poles, desks) keep the same\nposition and left/right relationships across panels so the panels\ncut together as one continuous scene.\n\nPANELS (one shot per panel, Korean shot text):\n\nPANEL 1: 혜수의 손이 음료수 캔을 쥔 채 수리영 앞으로 내밀어진 순간\n  MOVEMENT (follow exactly): Hye-su extends her hand and the drink can from her side into the space directly in front of Suri-young, who remains seated and blankly oriented toward the sea.\n  FIGURES — apparent size & depth order (follow exactly): Hye-su's hand and can appear large at roughly ~1/3 of the frame height and are NEARER to the camera; seated Suri-young appears around ~1/2 of the frame height and is FARTHER behind the offered can.\nPANEL 2: 멀리서 혜수의 전신과 한 발을 공중에 띄운 mid-stride 자세로 달리는 수리영의 뒷모습을 한 프레임에 담은 넓은 구도\n  MOVEMENT (follow exactly): Suri-young runs away from Hye-su and away from the camera with her back visible and one foot airborne mid-stride, while Hye-su remains behind facing her path.\n  FIGURES — apparent size & depth order (follow exactly): Hye-su's full body appears about ~1/3 of the frame height and is NEARER to the camera, while the departing Suri-young appears smaller at ~1/5 and FARTHER along the route away. The distance between them increases as Suri-young runs ahead and Hye-su stays behind.\n\nABSOLUTELY NO TEXT anywhere: no words, letters, captions, labels,\nsound effects or watermarks — the ONLY allowed marking is a small\nshot number digit (1, 2) in a corner INSIDE each drawn panel.\nTHE PANEL GRID FILLS THE ENTIRE IMAGE EDGE-TO-EDGE: no outer paper\nmargin, no border area, nothing drawn outside the panels — the\nimage must be mechanically cuttable along the stated cut lines.\nPanels are separated only by thin straight black gutter lines at\nthe exact stated positions; ALL PANELS EXACTLY THE SAME SIZE.\n\nPANEL 2 CAMERA & PLACEMENT (follow exactly — judged from the shot\ntext, shown on the annotated plan): the camera stands BEHIND the\naction, on the seaside sidewalk DOWN-ROAD of the bus shelter,\nslightly offset toward the road edge, looking diagonally UP-ROAD\nalong the sidewalk toward the distant intersection. DEPTH ORDER IN\nFRAME: H (the woman who stayed) is the NEARER figure — her full\nbody head-to-toe beside the shelter bench; S (the departing\nrunner) is FARTHER ahead in depth on the same sidewalk, seen from\nbehind mid-stride with one foot airborne, clearly smaller than H\nand laterally separated so H never occludes S. The TWO-LANE CAR\nROAD with its dashed centre line runs beside the sidewalk and\nmust read clearly as a car road.\n\nREFERENCE (for grounding, not for style): the attached ANNOTATED\nSITE PLAN is the layout truth — car road, sidewalk, shelter,\nseawall, sea, plus CAMERA (red dot + view cone) and figure\npositions (H nearer, S farther, green arrow = S's running\ndirection away from camera and shelter). APPLY IT TO PANEL 2\nONLY. Never draw the plan itself, its markers, letters, cone or\narrows in the output. PANEL 1 is an earlier, tighter moment from\na different angle — do not force the plan's viewpoint onto it.\nThe OUTPUT stays a rough hand-drawn monochrome pencil storyboard\nsketch."}
{"ts": "2026-07-12 04:07:49", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s34v18_busstop_nb2map_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/ref_busstop_map_v5_overlay_nb2.png"], "ref_labels": ["ANNOTATED SITE PLAN — layout truth; apply to panel 2 only; never draw the plan or its markers."], "attempt": 1, "dur_s": 19.3, "bytes": 2265464, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/conti18_busstop_nb2.png", "prompt": "Draw ONE storyboard (conti) sheet: 2 panels made by ONE vertical cut at exactly 50% of the image width — each panel is exactly half the width and the FULL height (1 row x 2 columns).\nSTYLE: quick, rough HAND-DRAWN pencil sketch — loose gestural line\ndrawing in monochrome graphite on white paper, the kind a film\nstoryboard artist dashes off in seconds. NOT photorealistic, no\npainting, no rendering, no color — monochrome graphite only.\n\nTHE LOCATION (same in all drawn panels): a small seaside bus stop with a bench facing the sea at night on a quiet Korean coastal road.\n\nPURPOSE: each panel captures only the CAMERA COMPOSITION of one\nshot — framing (close-up / medium / wide), where the subject sits in\nthe frame, and continuity between panels. Keep every panel\nextremely simple: only what matters for composition.\nMOVEMENT IS SHOWN BY THE FIGURE ITSELF, NEVER BY MARKINGS: convey\ndirection of travel purely through the body — stride mid-motion,\nbody lean into the path, back view vs front view, and the stated\nsize/depth cues. Do NOT draw arrows, motion lines, path lines,\nspeed lines or any diagram markings of any kind.\n\nGEOMETRY — ANALYSE BEFORE DRAWING: from each panel's Korean shot\ntext, first work out the spatial facts and draw EXACTLY those, never\nre-stage them: (a) each figure's DISTANCE from camera (tight insert /\nclose-up / medium / full / wide — a shot about a hand or an object\nis a tight insert, not a two-shot); (b) each figure's FACING and\nMOVEMENT DIRECTION relative to camera — '뒷모습' means seen from\nBEHIND, moving AWAY from camera into the depth of the frame, not\nsideways; a profile means lateral movement; (c) relative positions\nand distances BETWEEN figures. Keep every established screen\ndirection consistent across panels (180-degree rule): a person who\nleaves in one panel keeps the same on-screen direction wherever the\nmovement appears again.\nSIZE & DEPTH ARE CONTRACTUAL: each panel states every figure's\napparent size in the frame and the explicit near/far depth order.\nDraw exactly those proportions — a farther figure MUST be drawn\nclearly smaller than a nearer one; never equalize figure sizes,\nespecially when several figures share a panel or their paths\nrelate to each other.\nDEPARTING FIGURE — a figure running/walking AWAY must be\nunmistakably departing, never approaching: seen exactly from behind\n(back of the head only, no face, no chin, no cheek line), body\nleaning into the path, mid-stride with one shoe sole toward the\ncamera. THE STATED SIZE/DEPTH WINS: draw the departing figure at\nexactly the apparent size and depth the panel's FIGURES line states\n(if stated FARTHER/small, it stays small in the distance — never\nenlarge it into the foreground for drama).\n\nCONTINUITY: all drawn panels are the SAME single location — fixed\nfeatures (doors, stairs, windows, poles, desks) keep the same\nposition and left/right relationships across panels so the panels\ncut together as one continuous scene.\n\nPANELS (one shot per panel, Korean shot text):\n\nPANEL 1: 혜수의 손이 음료수 캔을 쥔 채 수리영 앞으로 내밀어진 순간\n  MOVEMENT (follow exactly): Hye-su extends her hand and the drink can from her side into the space directly in front of Suri-young, who remains seated and blankly oriented toward the sea.\n  FIGURES — apparent size & depth order (follow exactly): Hye-su's hand and can appear large at roughly ~1/3 of the frame height and are NEARER to the camera; seated Suri-young appears around ~1/2 of the frame height and is FARTHER behind the offered can.\nPANEL 2: 멀리서 혜수의 전신과 한 발을 공중에 띄운 mid-stride 자세로 달리는 수리영의 뒷모습을 한 프레임에 담은 넓은 구도\n  MOVEMENT (follow exactly): Suri-young runs away from Hye-su and away from the camera with her back visible and one foot airborne mid-stride, while Hye-su remains behind facing her path.\n  FIGURES — apparent size & depth order (follow exactly): Hye-su's full body appears about ~1/3 of the frame height and is NEARER to the camera, while the departing Suri-young appears smaller at ~1/5 and FARTHER along the route away. The distance between them increases as Suri-young runs ahead and Hye-su stays behind.\n\nABSOLUTELY NO TEXT anywhere: no words, letters, captions, labels,\nsound effects or watermarks — the ONLY allowed marking is a small\nshot number digit (1, 2) in a corner INSIDE each drawn panel.\nTHE PANEL GRID FILLS THE ENTIRE IMAGE EDGE-TO-EDGE: no outer paper\nmargin, no border area, nothing drawn outside the panels — the\nimage must be mechanically cuttable along the stated cut lines.\nPanels are separated only by thin straight black gutter lines at\nthe exact stated positions; ALL PANELS EXACTLY THE SAME SIZE.\n\nPANEL 2 CAMERA & PLACEMENT (follow exactly — judged from the shot\ntext, shown on the annotated plan): the camera stands BEHIND the\naction, on the seaside sidewalk DOWN-ROAD of the bus shelter,\nslightly offset toward the road edge, looking diagonally UP-ROAD\nalong the sidewalk toward the distant intersection. DEPTH ORDER IN\nFRAME: H (the woman who stayed) is the NEARER figure — her full\nbody head-to-toe beside the shelter bench; S (the departing\nrunner) is FARTHER ahead in depth on the same sidewalk, seen from\nbehind mid-stride with one foot airborne, clearly smaller than H\nand laterally separated so H never occludes S. The TWO-LANE CAR\nROAD with its dashed centre line runs beside the sidewalk and\nmust read clearly as a car road.\n\nREFERENCE (for grounding, not for style): the attached ANNOTATED\nSITE PLAN is the layout truth — car road, sidewalk, shelter,\nseawall, sea, plus CAMERA (red dot + view cone) and figure\npositions (H nearer, S farther, green arrow = S's running\ndirection away from camera and shelter). APPLY IT TO PANEL 2\nONLY. Never draw the plan itself, its markers, letters, cone or\narrows in the output. PANEL 1 is an earlier, tighter moment from\na different angle — do not force the plan's viewpoint onto it.\nThe OUTPUT stays a rough hand-drawn monochrome pencil storyboard\nsketch."}
{"ts": "2026-07-12 04:12:07", "kind": "img", "engine": "gpt-image-2", "mode": "edit", "tag": "s34v19_busstop_nb2map_i2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/ref_busstop_map_v5_overlay_nb2.png"], "size": "1536x1024", "attempt": 1, "dur_s": 258.4, "bytes": 3735297, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/conti19_busstop_i2.png", "prompt": "Draw ONE storyboard (conti) sheet: 2 panels made by ONE vertical cut at exactly 50% of the image width — each panel is exactly half the width and the FULL height (1 row x 2 columns).\nSTYLE: quick, rough HAND-DRAWN pencil sketch — loose gestural line\ndrawing in monochrome graphite on white paper, the kind a film\nstoryboard artist dashes off in seconds. NOT photorealistic, no\npainting, no rendering, no color — monochrome graphite only.\n\nTHE LOCATION (same in all drawn panels): a small seaside bus stop with a bench facing the sea at night on a quiet Korean coastal road.\n\nPURPOSE: each panel captures only the CAMERA COMPOSITION of one\nshot — framing (close-up / medium / wide), where the subject sits in\nthe frame, and continuity between panels. Keep every panel\nextremely simple: only what matters for composition.\nMOVEMENT IS SHOWN BY THE FIGURE ITSELF, NEVER BY MARKINGS: convey\ndirection of travel purely through the body — stride mid-motion,\nbody lean into the path, back view vs front view, and the stated\nsize/depth cues. Do NOT draw arrows, motion lines, path lines,\nspeed lines or any diagram markings of any kind.\n\nGEOMETRY — ANALYSE BEFORE DRAWING: from each panel's Korean shot\ntext, first work out the spatial facts and draw EXACTLY those, never\nre-stage them: (a) each figure's DISTANCE from camera (tight insert /\nclose-up / medium / full / wide — a shot about a hand or an object\nis a tight insert, not a two-shot); (b) each figure's FACING and\nMOVEMENT DIRECTION relative to camera — '뒷모습' means seen from\nBEHIND, moving AWAY from camera into the depth of the frame, not\nsideways; a profile means lateral movement; (c) relative positions\nand distances BETWEEN figures. Keep every established screen\ndirection consistent across panels (180-degree rule): a person who\nleaves in one panel keeps the same on-screen direction wherever the\nmovement appears again.\nSIZE & DEPTH ARE CONTRACTUAL: each panel states every figure's\napparent size in the frame and the explicit near/far depth order.\nDraw exactly those proportions — a farther figure MUST be drawn\nclearly smaller than a nearer one; never equalize figure sizes,\nespecially when several figures share a panel or their paths\nrelate to each other.\nDEPARTING FIGURE — a figure running/walking AWAY must be\nunmistakably departing, never approaching: seen exactly from behind\n(back of the head only, no face, no chin, no cheek line), body\nleaning into the path, mid-stride with one shoe sole toward the\ncamera. THE STATED SIZE/DEPTH WINS: draw the departing figure at\nexactly the apparent size and depth the panel's FIGURES line states\n(if stated FARTHER/small, it stays small in the distance — never\nenlarge it into the foreground for drama).\n\nCONTINUITY: all drawn panels are the SAME single location — fixed\nfeatures (doors, stairs, windows, poles, desks) keep the same\nposition and left/right relationships across panels so the panels\ncut together as one continuous scene.\n\nPANELS (one shot per panel, Korean shot text):\n\nPANEL 1: 혜수의 손이 음료수 캔을 쥔 채 수리영 앞으로 내밀어진 순간\n  MOVEMENT (follow exactly): Hye-su extends her hand and the drink can from her side into the space directly in front of Suri-young, who remains seated and blankly oriented toward the sea.\n  FIGURES — apparent size & depth order (follow exactly): Hye-su's hand and can appear large at roughly ~1/3 of the frame height and are NEARER to the camera; seated Suri-young appears around ~1/2 of the frame height and is FARTHER behind the offered can.\nPANEL 2: 멀리서 혜수의 전신과 한 발을 공중에 띄운 mid-stride 자세로 달리는 수리영의 뒷모습을 한 프레임에 담은 넓은 구도\n  MOVEMENT (follow exactly): Suri-young runs away from Hye-su and away from the camera with her back visible and one foot airborne mid-stride, while Hye-su remains behind facing her path.\n  FIGURES — apparent size & depth order (follow exactly): Hye-su's full body appears about ~1/3 of the frame height and is NEARER to the camera, while the departing Suri-young appears smaller at ~1/5 and FARTHER along the route away. The distance between them increases as Suri-young runs ahead and Hye-su stays behind.\n\nABSOLUTELY NO TEXT anywhere: no words, letters, captions, labels,\nsound effects or watermarks — the ONLY allowed marking is a small\nshot number digit (1, 2) in a corner INSIDE each drawn panel.\nTHE PANEL GRID FILLS THE ENTIRE IMAGE EDGE-TO-EDGE: no outer paper\nmargin, no border area, nothing drawn outside the panels — the\nimage must be mechanically cuttable along the stated cut lines.\nPanels are separated only by thin straight black gutter lines at\nthe exact stated positions; ALL PANELS EXACTLY THE SAME SIZE.\n\nPANEL 2 CAMERA & PLACEMENT (follow exactly — judged from the shot\ntext, shown on the annotated plan): the camera stands BEHIND the\naction, on the seaside sidewalk DOWN-ROAD of the bus shelter,\nslightly offset toward the road edge, looking diagonally UP-ROAD\nalong the sidewalk toward the distant intersection. DEPTH ORDER IN\nFRAME: H (the woman who stayed) is the NEARER figure — her full\nbody head-to-toe beside the shelter bench; S (the departing\nrunner) is FARTHER ahead in depth on the same sidewalk, seen from\nbehind mid-stride with one foot airborne, clearly smaller than H\nand laterally separated so H never occludes S. The TWO-LANE CAR\nROAD with its dashed centre line runs beside the sidewalk and\nmust read clearly as a car road.\n\nREFERENCE (for grounding, not for style): the attached ANNOTATED\nSITE PLAN is the layout truth — car road, sidewalk, shelter,\nseawall, sea, plus CAMERA (red dot + view cone) and figure\npositions (H nearer, S farther, green arrow = S's running\ndirection away from camera and shelter). APPLY IT TO PANEL 2\nONLY. Never draw the plan itself, its markers, letters, cone or\narrows in the output. PANEL 1 is an earlier, tighter moment from\na different angle — do not force the plan's viewpoint onto it.\nThe OUTPUT stays a rough hand-drawn monochrome pencil storyboard\nsketch."}
{"ts": "2026-07-12 04:12:24", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s34v19_busstop_nb2map_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/ref_busstop_map_v5_overlay_nb2.png"], "ref_labels": ["ANNOTATED SITE PLAN — layout truth; apply to panel 2 only; never draw the plan or its markers."], "attempt": 1, "dur_s": 16.6, "bytes": 2275294, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/conti19_busstop_nb2.png", "prompt": "Draw ONE storyboard (conti) sheet: 2 panels made by ONE vertical cut at exactly 50% of the image width — each panel is exactly half the width and the FULL height (1 row x 2 columns).\nSTYLE: quick, rough HAND-DRAWN pencil sketch — loose gestural line\ndrawing in monochrome graphite on white paper, the kind a film\nstoryboard artist dashes off in seconds. NOT photorealistic, no\npainting, no rendering, no color — monochrome graphite only.\n\nTHE LOCATION (same in all drawn panels): a small seaside bus stop with a bench facing the sea at night on a quiet Korean coastal road.\n\nPURPOSE: each panel captures only the CAMERA COMPOSITION of one\nshot — framing (close-up / medium / wide), where the subject sits in\nthe frame, and continuity between panels. Keep every panel\nextremely simple: only what matters for composition.\nMOVEMENT IS SHOWN BY THE FIGURE ITSELF, NEVER BY MARKINGS: convey\ndirection of travel purely through the body — stride mid-motion,\nbody lean into the path, back view vs front view, and the stated\nsize/depth cues. Do NOT draw arrows, motion lines, path lines,\nspeed lines or any diagram markings of any kind.\n\nGEOMETRY — ANALYSE BEFORE DRAWING: from each panel's Korean shot\ntext, first work out the spatial facts and draw EXACTLY those, never\nre-stage them: (a) each figure's DISTANCE from camera (tight insert /\nclose-up / medium / full / wide — a shot about a hand or an object\nis a tight insert, not a two-shot); (b) each figure's FACING and\nMOVEMENT DIRECTION relative to camera — '뒷모습' means seen from\nBEHIND, moving AWAY from camera into the depth of the frame, not\nsideways; a profile means lateral movement; (c) relative positions\nand distances BETWEEN figures. Keep every established screen\ndirection consistent across panels (180-degree rule): a person who\nleaves in one panel keeps the same on-screen direction wherever the\nmovement appears again.\nSIZE & DEPTH ARE CONTRACTUAL: each panel states every figure's\napparent size in the frame and the explicit near/far depth order.\nDraw exactly those proportions — a farther figure MUST be drawn\nclearly smaller than a nearer one; never equalize figure sizes,\nespecially when several figures share a panel or their paths\nrelate to each other.\nDEPARTING FIGURE — a figure running/walking AWAY must be\nunmistakably departing, never approaching: seen exactly from behind\n(back of the head only, no face, no chin, no cheek line), body\nleaning into the path, mid-stride with one shoe sole toward the\ncamera. THE STATED SIZE/DEPTH WINS: draw the departing figure at\nexactly the apparent size and depth the panel's FIGURES line states\n(if stated FARTHER/small, it stays small in the distance — never\nenlarge it into the foreground for drama).\n\nCONTINUITY: all drawn panels are the SAME single location — fixed\nfeatures (doors, stairs, windows, poles, desks) keep the same\nposition and left/right relationships across panels so the panels\ncut together as one continuous scene.\n\nPANELS (one shot per panel, Korean shot text):\n\nPANEL 1: 혜수의 손이 음료수 캔을 쥔 채 수리영 앞으로 내밀어진 순간\n  MOVEMENT (follow exactly): Hye-su extends her hand and the drink can from her side into the space directly in front of Suri-young, who remains seated and blankly oriented toward the sea.\n  FIGURES — apparent size & depth order (follow exactly): Hye-su's hand and can appear large at roughly ~1/3 of the frame height and are NEARER to the camera; seated Suri-young appears around ~1/2 of the frame height and is FARTHER behind the offered can.\nPANEL 2: 멀리서 혜수의 전신과 한 발을 공중에 띄운 mid-stride 자세로 달리는 수리영의 뒷모습을 한 프레임에 담은 넓은 구도\n  MOVEMENT (follow exactly): Suri-young runs away from Hye-su and away from the camera with her back visible and one foot airborne mid-stride, while Hye-su remains behind facing her path.\n  FIGURES — apparent size & depth order (follow exactly): Hye-su's full body appears about ~1/3 of the frame height and is NEARER to the camera, while the departing Suri-young appears smaller at ~1/5 and FARTHER along the route away. The distance between them increases as Suri-young runs ahead and Hye-su stays behind.\n\nABSOLUTELY NO TEXT anywhere: no words, letters, captions, labels,\nsound effects or watermarks — the ONLY allowed marking is a small\nshot number digit (1, 2) in a corner INSIDE each drawn panel.\nTHE PANEL GRID FILLS THE ENTIRE IMAGE EDGE-TO-EDGE: no outer paper\nmargin, no border area, nothing drawn outside the panels — the\nimage must be mechanically cuttable along the stated cut lines.\nPanels are separated only by thin straight black gutter lines at\nthe exact stated positions; ALL PANELS EXACTLY THE SAME SIZE.\n\nPANEL 2 CAMERA & PLACEMENT (follow exactly — judged from the shot\ntext, shown on the annotated plan): the camera stands BEHIND the\naction, on the seaside sidewalk DOWN-ROAD of the bus shelter,\nslightly offset toward the road edge, looking diagonally UP-ROAD\nalong the sidewalk toward the distant intersection. DEPTH ORDER IN\nFRAME: H (the woman who stayed) is the NEARER figure — her full\nbody head-to-toe beside the shelter bench; S (the departing\nrunner) is FARTHER ahead in depth on the same sidewalk, seen from\nbehind mid-stride with one foot airborne, clearly smaller than H\nand laterally separated so H never occludes S. The TWO-LANE CAR\nROAD with its dashed centre line runs beside the sidewalk and\nmust read clearly as a car road.\n\nREFERENCE (for grounding, not for style): the attached ANNOTATED\nSITE PLAN is the layout truth — car road, sidewalk, shelter,\nseawall, sea, plus CAMERA (red dot + view cone) and figure\npositions (H nearer, S farther, green arrow = S's running\ndirection away from camera and shelter). APPLY IT TO PANEL 2\nONLY. Never draw the plan itself, its markers, letters, cone or\narrows in the output. PANEL 1 is an earlier, tighter moment from\na different angle — do not force the plan's viewpoint onto it.\nThe OUTPUT stays a rough hand-drawn monochrome pencil storyboard\nsketch."}
{"ts": "2026-07-12 04:23:33", "kind": "img", "engine": "gpt-image-2", "mode": "edit", "tag": "s34_still_S15sh2_i2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/panel_S15sh2_nb2.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/bddad176-aa6a-4a71-b5d3-d02e36e19657.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/39864973-d3d5-4886-bfb2-f8db608a005b.png"], "size": "1536x1024", "attempt": 1, "dur_s": 114.9, "bytes": 2115357, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/still_S15sh2_i2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the\nmoment below — contemporary South Korea, 2026; all people are\nKorean. Night scene: keep true night lighting throughout.\nCOMPOSITION SOURCE: the attached STORYBOARD PANEL sketch defines\nthis shot's camera framing, figure placement and depth order —\nfollow its composition faithfully, but the OUTPUT is a fully\nphotorealistic photograph, never a sketch; do not copy its line\nstyle, paper texture or panel border.\nCHARACTER REFERENCES: the attached person photos are the exact\npeople in the shot — match each person's identity (face, hair,\nbuild) exactly; dress and pose them as the moment describes.\nSETTING (drawn from text only, no background reference): a small\nseaside bus stop shelter with a bench on a roadside sidewalk, a\ntwo-lane coastal car road with a dashed centre line beside it,\na stone seawall and the open sea behind. No text, captions,\nwatermarks or annotations anywhere.\n\nSHOT TEXT (authoritative, Korean): 혜수의 손이 음료수 캔을 쥔 채 수리영 앞으로 내밀어진 순간\n\nMOVEMENT (follow exactly): Hye-su extends her hand and the drink can from her side into the space directly in front of Suri-young, who remains seated and blankly oriented toward the sea.\n\nFIGURES — size & depth (follow exactly): Hye-su's hand and can appear large at roughly ~1/3 of the frame height and are NEARER to the camera; seated Suri-young appears around ~1/2 of the frame height and is FARTHER behind the offered can."}
{"ts": "2026-07-12 04:23:55", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s34_still_S15sh2_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/panel_S15sh2_nb2.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/bddad176-aa6a-4a71-b5d3-d02e36e19657.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/39864973-d3d5-4886-bfb2-f8db608a005b.png"], "ref_labels": ["STORYBOARD PANEL — composition, framing and depth source only; output is photorealistic, never a sketch.", "CHARACTER REFERENCE — the older woman (the one who stayed at the stop): exact identity.", "CHARACTER REFERENCE — the young woman (the one who runs away): exact identity."], "attempt": 1, "dur_s": 22.3, "bytes": 2703860, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/still_S15sh2_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the\nmoment below — contemporary South Korea, 2026; all people are\nKorean. Night scene: keep true night lighting throughout.\nCOMPOSITION SOURCE: the attached STORYBOARD PANEL sketch defines\nthis shot's camera framing, figure placement and depth order —\nfollow its composition faithfully, but the OUTPUT is a fully\nphotorealistic photograph, never a sketch; do not copy its line\nstyle, paper texture or panel border.\nCHARACTER REFERENCES: the attached person photos are the exact\npeople in the shot — match each person's identity (face, hair,\nbuild) exactly; dress and pose them as the moment describes.\nSETTING (drawn from text only, no background reference): a small\nseaside bus stop shelter with a bench on a roadside sidewalk, a\ntwo-lane coastal car road with a dashed centre line beside it,\na stone seawall and the open sea behind. No text, captions,\nwatermarks or annotations anywhere.\n\nSHOT TEXT (authoritative, Korean): 혜수의 손이 음료수 캔을 쥔 채 수리영 앞으로 내밀어진 순간\n\nMOVEMENT (follow exactly): Hye-su extends her hand and the drink can from her side into the space directly in front of Suri-young, who remains seated and blankly oriented toward the sea.\n\nFIGURES — size & depth (follow exactly): Hye-su's hand and can appear large at roughly ~1/3 of the frame height and are NEARER to the camera; seated Suri-young appears around ~1/2 of the frame height and is FARTHER behind the offered can."}
{"ts": "2026-07-12 04:25:51", "kind": "img", "engine": "gpt-image-2", "mode": "edit", "tag": "s34_still_S15sh6_i2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/panel_S15sh6_nb2.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/bddad176-aa6a-4a71-b5d3-d02e36e19657.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/39864973-d3d5-4886-bfb2-f8db608a005b.png"], "size": "1536x1024", "attempt": 1, "dur_s": 115.5, "bytes": 2480368, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/still_S15sh6_i2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the\nmoment below — contemporary South Korea, 2026; all people are\nKorean. Night scene: keep true night lighting throughout.\nCOMPOSITION SOURCE: the attached STORYBOARD PANEL sketch defines\nthis shot's camera framing, figure placement and depth order —\nfollow its composition faithfully, but the OUTPUT is a fully\nphotorealistic photograph, never a sketch; do not copy its line\nstyle, paper texture or panel border.\nCHARACTER REFERENCES: the attached person photos are the exact\npeople in the shot — match each person's identity (face, hair,\nbuild) exactly; dress and pose them as the moment describes.\nSETTING (drawn from text only, no background reference): a small\nseaside bus stop shelter with a bench on a roadside sidewalk, a\ntwo-lane coastal car road with a dashed centre line beside it,\na stone seawall and the open sea behind. No text, captions,\nwatermarks or annotations anywhere.\n\nSHOT TEXT (authoritative, Korean): 멀리서 혜수의 전신과 한 발을 공중에 띄운 mid-stride 자세로 달리는 수리영의 뒷모습을 한 프레임에 담은 넓은 구도\n\nMOVEMENT (follow exactly): Suri-young runs away from Hye-su and away from the camera with her back visible and one foot airborne mid-stride, while Hye-su remains behind facing her path.\n\nFIGURES — size & depth (follow exactly): Hye-su's full body appears about ~1/3 of the frame height and is NEARER to the camera, while the departing Suri-young appears smaller at ~1/5 and FARTHER along the route away. The distance between them increases as Suri-young runs ahead and Hye-su stays behind."}
{"ts": "2026-07-12 04:26:10", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s34_still_S15sh6_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/panel_S15sh6_nb2.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/bddad176-aa6a-4a71-b5d3-d02e36e19657.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/39864973-d3d5-4886-bfb2-f8db608a005b.png"], "ref_labels": ["STORYBOARD PANEL — composition, framing and depth source only; output is photorealistic, never a sketch.", "CHARACTER REFERENCE — the older woman (the one who stayed at the stop): exact identity.", "CHARACTER REFERENCE — the young woman (the one who runs away): exact identity."], "attempt": 1, "dur_s": 19.2, "bytes": 2602372, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/still_S15sh6_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the\nmoment below — contemporary South Korea, 2026; all people are\nKorean. Night scene: keep true night lighting throughout.\nCOMPOSITION SOURCE: the attached STORYBOARD PANEL sketch defines\nthis shot's camera framing, figure placement and depth order —\nfollow its composition faithfully, but the OUTPUT is a fully\nphotorealistic photograph, never a sketch; do not copy its line\nstyle, paper texture or panel border.\nCHARACTER REFERENCES: the attached person photos are the exact\npeople in the shot — match each person's identity (face, hair,\nbuild) exactly; dress and pose them as the moment describes.\nSETTING (drawn from text only, no background reference): a small\nseaside bus stop shelter with a bench on a roadside sidewalk, a\ntwo-lane coastal car road with a dashed centre line beside it,\na stone seawall and the open sea behind. No text, captions,\nwatermarks or annotations anywhere.\n\nSHOT TEXT (authoritative, Korean): 멀리서 혜수의 전신과 한 발을 공중에 띄운 mid-stride 자세로 달리는 수리영의 뒷모습을 한 프레임에 담은 넓은 구도\n\nMOVEMENT (follow exactly): Suri-young runs away from Hye-su and away from the camera with her back visible and one foot airborne mid-stride, while Hye-su remains behind facing her path.\n\nFIGURES — size & depth (follow exactly): Hye-su's full body appears about ~1/3 of the frame height and is NEARER to the camera, while the departing Suri-young appears smaller at ~1/5 and FARTHER along the route away. The distance between them increases as Suri-young runs ahead and Hye-su stays behind."}
{"ts": "2026-07-12 04:34:02", "kind": "img", "engine": "gpt-image-2", "mode": "edit", "tag": "s34_still2_S15sh6_i2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/panel_S15sh6_nb2.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/still_S15sh2_i2.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/bddad176-aa6a-4a71-b5d3-d02e36e19657.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/39864973-d3d5-4886-bfb2-f8db608a005b.png"], "size": "1536x1024", "attempt": 1, "dur_s": 122.2, "bytes": 2408105, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/still2_S15sh6_i2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the\nmoment below — contemporary South Korea, 2026; all people are\nKorean. Night scene: keep true night lighting throughout.\nCOMPOSITION SOURCE: the attached STORYBOARD PANEL sketch defines\nthis shot's camera framing, figure placement and depth order —\nfollow its composition faithfully, but the OUTPUT is a fully\nphotorealistic photograph, never a sketch; do not copy its line\nstyle, paper texture or panel border.\nPREVIOUS SHOT (continuity SOT): the attached photograph is the\nPREVIOUS shot of this same scene, moments earlier at this same\nbus stop — the place's look is LOCKED to it: same shelter design\nand materials, same bench, same road surface and markings, same\nseawall and sea, same lighting mood and the same clothing on each\nperson. Do NOT copy its camera framing — only its look.\nCHARACTER REFERENCES: the attached person photos are the exact\npeople in the shot — match each person's identity (face, hair,\nbuild) exactly, and keep the clothing they wear in the PREVIOUS\nSHOT still.\nNo text, captions, watermarks or annotations anywhere.\n\nSHOT TEXT (authoritative, Korean): 멀리서 혜수의 전신과 한 발을 공중에 띄운 mid-stride 자세로 달리는 수리영의 뒷모습을 한 프레임에 담은 넓은 구도\n\nMOVEMENT (follow exactly): Suri-young runs away from Hye-su and away from the camera with her back visible and one foot airborne mid-stride, while Hye-su remains behind facing her path.\n\nFIGURES — size & depth (follow exactly): Hye-su's full body appears about ~1/3 of the frame height and is NEARER to the camera, while the departing Suri-young appears smaller at ~1/5 and FARTHER along the route away. The distance between them increases as Suri-young runs ahead and Hye-su stays behind."}
{"ts": "2026-07-12 04:34:24", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s34_still2_S15sh6_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/panel_S15sh6_nb2.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/still_S15sh2_nb2.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/bddad176-aa6a-4a71-b5d3-d02e36e19657.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/39864973-d3d5-4886-bfb2-f8db608a005b.png"], "ref_labels": ["STORYBOARD PANEL — composition/framing/depth source only; output is photorealistic, never a sketch.", "PREVIOUS SHOT STILL — same scene moments earlier; the place's look, materials, lighting and each person's clothing are locked to this photo; never copy its framing.", "CHARACTER REFERENCE — the older woman who stays at the stop: exact identity.", "CHARACTER REFERENCE — the young woman who runs away: exact identity."], "attempt": 1, "dur_s": 22.3, "bytes": 2721244, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/still2_S15sh6_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the\nmoment below — contemporary South Korea, 2026; all people are\nKorean. Night scene: keep true night lighting throughout.\nCOMPOSITION SOURCE: the attached STORYBOARD PANEL sketch defines\nthis shot's camera framing, figure placement and depth order —\nfollow its composition faithfully, but the OUTPUT is a fully\nphotorealistic photograph, never a sketch; do not copy its line\nstyle, paper texture or panel border.\nPREVIOUS SHOT (continuity SOT): the attached photograph is the\nPREVIOUS shot of this same scene, moments earlier at this same\nbus stop — the place's look is LOCKED to it: same shelter design\nand materials, same bench, same road surface and markings, same\nseawall and sea, same lighting mood and the same clothing on each\nperson. Do NOT copy its camera framing — only its look.\nCHARACTER REFERENCES: the attached person photos are the exact\npeople in the shot — match each person's identity (face, hair,\nbuild) exactly, and keep the clothing they wear in the PREVIOUS\nSHOT still.\nNo text, captions, watermarks or annotations anywhere.\n\nSHOT TEXT (authoritative, Korean): 멀리서 혜수의 전신과 한 발을 공중에 띄운 mid-stride 자세로 달리는 수리영의 뒷모습을 한 프레임에 담은 넓은 구도\n\nMOVEMENT (follow exactly): Suri-young runs away from Hye-su and away from the camera with her back visible and one foot airborne mid-stride, while Hye-su remains behind facing her path.\n\nFIGURES — size & depth (follow exactly): Hye-su's full body appears about ~1/3 of the frame height and is NEARER to the camera, while the departing Suri-young appears smaller at ~1/5 and FARTHER along the route away. The distance between them increases as Suri-young runs ahead and Hye-su stays behind."}
{"ts": "2026-07-12 04:38:09", "kind": "img", "engine": "gpt-image-2", "mode": "edit", "tag": "s34_still3_S15sh6_i2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/panel_S15sh6_nb2.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/still_S15sh2_i2.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/bddad176-aa6a-4a71-b5d3-d02e36e19657.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/39864973-d3d5-4886-bfb2-f8db608a005b.png"], "size": "1536x1024", "attempt": 1, "dur_s": 111.5, "bytes": 2401999, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/still3_S15sh6_i2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the\nmoment below — contemporary South Korea, 2026; all people are\nKorean. Night scene: keep true night lighting throughout.\nATTACHED IMAGE ORDER — ROLES ARE BOUND, NEVER SWAP THEM:\nimage 1 = STORYBOARD PANEL: this shot's camera framing, figure\nplacement and depth order (composition only — output is a\nphotograph, never a sketch);\nimage 2 = PREVIOUS SHOT of this same scene moments earlier: the\nplace's look is LOCKED to it (shelter design/materials, bench,\nroad surface and markings, seawall, sea, lighting mood) and each\nwoman keeps exactly the clothing she wears there — but never copy\nits camera framing;\nimage 3 = the woman who STAYS standing by the shelter (the one\nwho handed the can in the previous shot): exact identity;\nimage 4 = the young woman who RUNS AWAY from the stop (the one\nwho sat on the bench in the previous shot): exact identity — she\nis the departing runner seen from behind.\nNo text, captions, watermarks or annotations anywhere.\n\nSHOT TEXT (authoritative, Korean): 멀리서 혜수의 전신과 한 발을 공중에 띄운 mid-stride 자세로 달리는 수리영의 뒷모습을 한 프레임에 담은 넓은 구도\n\nMOVEMENT (follow exactly): Suri-young runs away from Hye-su and away from the camera with her back visible and one foot airborne mid-stride, while Hye-su remains behind facing her path.\n\nFIGURES — size & depth (follow exactly): Hye-su's full body appears about ~1/3 of the frame height and is NEARER to the camera, while the departing Suri-young appears smaller at ~1/5 and FARTHER along the route away. The distance between them increases as Suri-young runs ahead and Hye-su stays behind."}
{"ts": "2026-07-12 04:45:48", "kind": "llm", "step": "s34run_prev_forest", "model": "gpt", "dur_s": 4.2, "system_prompt": "당신은 콘티 연속성 판정가다. 같은 장소 그룹의 샷 목록(순서대로)과\n씬 원문을 보고, 각 샷마다 '시각적으로 관련된 앞쪽 샷'이 있는지\n판정하라. 시각적 관련 = 같은 공간·연속된 액션·같은 인물 구도가\n이어져 앞 샷의 생성 이미지를 참조로 붙이면 일관성에 도움이 되는\n경우. 다른 시간대·다른 서브 공간·연결 단서가 없으면 null.\n앞쪽 샷은 반드시 목록에서 자기보다 앞에 있는 샷이어야 한다.\n각 샷마다 prev(태그 또는 null)와 reason_ko(한 구절)를 반환.", "user_prompt": "씬 원문:\n[씬 1] S#1. 숲속 / 해 질 무렵\nS#1. 숲속 / 해 질 무렵\n우거진 수풀을 헤치며 도망치는. 벗겨진 한쪽 신발.\n허벅지에 커다란 이빨 자국. 피가 흐르고.\n잔뜩 겁에 질린 남자 표정(T.S) 그때 어디선가 쏜살같이 달려온\n검은 인영이 남자를 덮친다. 아아~ 악!!!\n\n\n\n[씬 3] S#3. 현장 / D\nS#3. 현장 / D\n지역 뉴스 화면. 기자는 보이지 않고 멘트만 흘러나온다.\n씬1, 2 현장을 감식하는 경찰, 폴리스 라인을 치고 시신을 수거한다.\n형사무리 속에 사건을 지휘하는 혜수의 모습이 보인다.\n\n기자(E)\n(이어서) 형체를 알아볼 수 없는 시신 두 구가 잇달아\n발견되면서 경찰은 수사본부를 차리고 갑호 비상령을\n내린 상탭니다.\n(중략)\n\n\n\n샷 목록(순서):\nS1sh1: 한쪽 신발이 벗겨진 한국인 남자가 우거진 수풀 사이를 달리며 한 발을 허공에 내딛고 있는 도중의 전신 구도\nS1sh4: 검은 형상의 인영이 허공에 뛰어오른 채 한국인 남자를 향해 두 팔을 뻗고 있는 순간\nS3sh3: 형사 무리 한가운데 서서 손가락으로 한쪽을 가리키는 혜수의 상체"}
{"ts": "2026-07-12 04:45:51", "kind": "llm", "step": "s34run_prev_busstop", "model": "gpt", "dur_s": 3.1, "system_prompt": "당신은 콘티 연속성 판정가다. 같은 장소 그룹의 샷 목록(순서대로)과\n씬 원문을 보고, 각 샷마다 '시각적으로 관련된 앞쪽 샷'이 있는지\n판정하라. 시각적 관련 = 같은 공간·연속된 액션·같은 인물 구도가\n이어져 앞 샷의 생성 이미지를 참조로 붙이면 일관성에 도움이 되는\n경우. 다른 시간대·다른 서브 공간·연결 단서가 없으면 null.\n앞쪽 샷은 반드시 목록에서 자기보다 앞에 있는 샷이어야 한다.\n각 샷마다 prev(태그 또는 null)와 reason_ko(한 구절)를 반환.", "user_prompt": "씬 원문:\n[씬 15] S#15. 해안가. 버스정류장 부근 / N\nS#15. 해안가. 버스정류장 부근 / N\n바다를 바라보며 멍한 채로 앉아있는 수리영, 여전히 엄마는 전화를 받지않고.\n자신이 진짜로 헛 것을 본 것일까... 헷갈린다. 그럼 엄마는 어디있을까.\n혜수, 사온 음료수를 수리영에게 건네며\n\n혜수\n괜찮아?\n\n수리영\n내가 뭘 잘 못 본 거야, 이모. 그게 맞는 말 같애.\n엄마가 갑자기...그런 일을 당할 리 없잖아\n(훅 일어나며) 집에 가봐야 겠어.\n\n혜수\n엉? 어. 혼자 갈 수 있겠어?\n\n수리영\n응. 나 갈게 (달려간다)\n\n혜수\n(등 뒤에 대고 소리친다) 엄마 보면 나한테 전화 하라고 해!\n\n두 사람을 지켜보는 듯한 카메라 시선.\n\n\n\n샷 목록(순서):\nS15sh2: 혜수의 손이 음료수 캔을 쥔 채 수리영 앞으로 내밀어진 순간\nS15sh6: 멀리서 혜수의 전신과 한 발을 공중에 띄운 mid-stride 자세로 달리는 수리영의 뒷모습을 한 프레임에 담은 넓은 구도"}
{"ts": "2026-07-12 04:46:00", "kind": "llm", "step": "s34run_prev_rooftop_ext", "model": "gpt", "dur_s": 9.2, "system_prompt": "당신은 콘티 연속성 판정가다. 같은 장소 그룹의 샷 목록(순서대로)과\n씬 원문을 보고, 각 샷마다 '시각적으로 관련된 앞쪽 샷'이 있는지\n판정하라. 시각적 관련 = 같은 공간·연속된 액션·같은 인물 구도가\n이어져 앞 샷의 생성 이미지를 참조로 붙이면 일관성에 도움이 되는\n경우. 다른 시간대·다른 서브 공간·연결 단서가 없으면 null.\n앞쪽 샷은 반드시 목록에서 자기보다 앞에 있는 샷이어야 한다.\n각 샷마다 prev(태그 또는 null)와 reason_ko(한 구절)를 반환.", "user_prompt": "씬 원문:\n[씬 10] S#10. 옥탑방 / N\nS#10. 옥탑방 / N\n그 시각. 옥탑방 옥상. 물탱크. 바람에 빨랫줄이 툭- 툭-\n평상에 놓인 말린 석창포가 바람에 날리는데...\n말린 잎이 걸어오는 낯선 남자의 신발 위를 스친다.\n남자의 긴 그림자. (얼굴은 보이지 않는다)\n\n신발은 옥탑방 철문 현관 앞에 멈춰 선다.\n문틈에 낀 광고 전단지.\n전단지를 뽑아서 손가락으로 문틈에 꾹 밀어 넣는다.\n‘철컥’ 하고 잠금 새가 풀리는 소리.\n문이 미세하게 열리고 안으로 들어가는 남자.\n창문에 비친 그림자. 민숙을 덮쳐 어깨를 물어뜯는 듯한 모습 ‘아악-’\n\n\n\n[씬 11] S#11. 옥탑 방 밖 / N\nS#11. 옥탑 방 밖 / N\n자전거를 타고 골목길을 달리는 수리영.\n다세대 빌라 문을 열고 들어와 마당 후미진 곳에 자전거를 대충 세우고,\n옥탑방과 연결되는 계단을 급히 오른다.\n\n갑자기 훅- 느껴지는 역겨운 냄새. 뭐지?\n옥상에 올라와 보니 반쯤 열린 현관 철문.\n\n\n\n[씬 13] S#13. 옥탑방 외곽 / N\nS#13. 옥탑방 외곽 / N\n비명을 지르며 옥탑방을 빠져나오는 수리영, 허겁지겁 계단을 내려간다.\n동시에 사이렌이 울리고~. (포즈)\n차에서 내린 혜수(40대 중반, 여자, 경위) 초점을 잃고 멍하니 서있는\n수리영의 모습을 발견하고 달려간다.\n\n혜수\n영아? 왜! 무슨 일이야?\n\n수리영\n(올라다보며) 엄마가, 엄마가... 죽어있어.\n\n혜수\n(놀라) 뭐?!\n\n옥탑 방으로 뛰어 올라가는 혜수와 후배 형사(30대 남/ 이하 김형사)\n\n\n\n샷 목록(순서):\nS10sh6: 현관 철문이 아주 살짝 열린 틈새로 보이는 어두운 실내와 신발 앞코\nS10sh7: 불이 켜진 옥탑방 창문에 거대한 그림자가 작은 그림자의 어깨 쪽으로 고개를 꺾은 형태가 맺혀 있는 정지 구도\nS11sh4: 철제 파이프 난간을 손으로 잡은 수리영이 코끝을 찡그린 채 계단 중간에 서 있는 얼굴 클로즈업\nS11sh5: 옥상에 선 수리영의 시선 끝에 반쯤 열려 있는 어두운 현관 철문이 보이는 정면 구도\nS13sh4: 수리영이 초점을 잃은 눈으로 허공을 응시하며 서 있는 모습\nS13sh6: 고개를 든 채 혜수의 얼굴을 마주보고 있는 수리영의 측면 구도"}
{"ts": "2026-07-12 04:46:22", "kind": "llm", "step": "s34run_prev_rooftop_int", "model": "gpt", "dur_s": 22.0, "system_prompt": "당신은 콘티 연속성 판정가다. 같은 장소 그룹의 샷 목록(순서대로)과\n씬 원문을 보고, 각 샷마다 '시각적으로 관련된 앞쪽 샷'이 있는지\n판정하라. 시각적 관련 = 같은 공간·연속된 액션·같은 인물 구도가\n이어져 앞 샷의 생성 이미지를 참조로 붙이면 일관성에 도움이 되는\n경우. 다른 시간대·다른 서브 공간·연결 단서가 없으면 null.\n앞쪽 샷은 반드시 목록에서 자기보다 앞에 있는 샷이어야 한다.\n각 샷마다 prev(태그 또는 null)와 reason_ko(한 구절)를 반환.", "user_prompt": "씬 원문:\n[씬 12] S#12. 옥탑방 안 / N\nS#12. 옥탑방 안 / N\n/거실\n‘엄마?’를 부르며 들어오는 수리영,\n끓다 식은 냄비. 켜져 있는 TV. 희미한 거실 스탠드 불빛,\n\n/민숙 방\n안방 문을 여는데... 없다.\n거실 식탁에 놓여있는 찻잔 두 개. 하나는 엎어져있다.\n\n/수리영 방\n마지막으로 자기 방문을 연다\n헉!- 여기저기 핏자국. 바닥에 흥건한 혈흔.\n피묻은 발자국은 커튼으로 이어져 있다\n호흡을 가두고 커튼을 젖히자\n앉은 채로 고개를 떨군 채 죽어있는 엄마- 민숙!!!!\n\n수리영\n(달려가) 어어어어----엄마\n\n충격에 온 몸이 얼어붙은 수리영,\n살점이 뜯긴 어깨와 쇄골, 마치 동물에게 물어뜯긴 듯한 거친 상처가 고스란히\n드러나있다. 덜렁거리는 살점과 뜯겨진 부위에 흘러내리는 피.\n\n수리영\n(놀라 뒤로 주춤) 어-어-어- 엄마….\n\n부들부들 떨며 핸드폰을 누른다. 2번 혜수이모\n\n수리영\n받아, 이모. 받아….\n\n혜수(E)\n영아, 영아, 왜?\n\n답은 안 나오고… 엄마 손안에 구겨진 사진 한 장이 보인다.\n다가가 사진을 꺼내는데 엄마 손목에 있던 문신이 붉은색으로 변한다.\n헉! 호흡이 빨라지고... 침대 위 벽에 붉은 원이 생겨난다\n(마치 누군가 붓으로 벽에 원으로 그리는 것처럼).\n소름끼치는 으아악---!\n\n\n\n[씬 14] S#14. 옥탑방 안 / N\nS#14. 옥탑방 안 / N\n/현관\n집안 여기저기를 확인하면서 나오는 형사와 혜수\n\n김형사\n(허탈한 표정) 없는데.. 아무 것도.\n\n혜수\n(뒤따라온 수리영에게) 영아, 없어. 뭘 봤는데...?\n\n어? 수리영, 부리나케 방 안으로 뛰어 들어간다.\n\n/수리영 방 안\n지나칠 정도로 깨끗하게 정돈된 방안. 핏자국도 보이지 않고,\n침대 위에 붉은 표식은 물론 커튼 뒤의 시신도 감쪽 같이 사라졌다.\n얼굴이 파리해지는 수리영. ‘어----?’ ‘분명히 봤는데...’\n\n뛰쳐나가 식탁으로 가본다. 식탁 역시 깨끗한.\n\n수리영\n여기 찻잔도 두 개 있었고...\n\n김형사\n(답답) 허 참! 죽은 사람이 발이 달렸을 리도 없고. 쯧쯧\n그러게 살인사건은 자세하게 보도하면 안 된다구요...(궁시렁)\n이봐요. 학생? 장난전화 하면 안 되는 거 몰라? (짜증)\n안 그래도 살인사건으로 난리도 아닌데...\n\n혜수\n(김형사 째리고) 김형사. 먼저 가 있어. (김형사 나가면)\n(수리영 어깨를 어루만지며) 영아.\n\n수리영\n엄마(시신), 어디갔을까? 분명히 봤는데...\n\n혜수\n네가 요즘 과로했잖아. 공부에다 알바까지...\n악몽을 꾼 걸 수도 있으니... 바람이나 쐬러 가자.\n수리영 방안에 놓여진 백팩, 인형. 약간씩 위치가 달라진.\n(시신을 발견했을 때와 다른)\n\n\n\n[씬 18] S#18. 안방 안 / D\nS#18. 안방 안 / D\n침대에 머리를 대고 앉아있는 수리영, 밤새 엄마를 기다리다 깜박 졸았다\n고양이 울음소리에 번쩍 눈을 뜨고, ‘엄마? ’혹시나 해서 집안을 살피지만\n아무런 인기척도 보이지 않는다\n\n/수리영 방안\n닫혀있는 자신의 방을 바라본다.\n[F.B: 1부12씬] 커튼 뒤에 죽어있던 엄마. 상처. 혈흔\n\n크게 심호흡하고 조심스럽게 문을 연다.\n지나치리만큼 깨끗하게 정돈된 방안.\n창문에 다가가 커튼을 확 열어젖힌다. 시신은 없다.\n\n한숨 후~ 다행이긴 한데.\n그때, 울리는 폰 벨소리, 화들짝 놀라는 수리영. 달려가 받자마자\n\n수리영\n엄마?\n\n혜수(E)\n아직이니?\n\n수리영\n응. 아무래도 이상해. 이럴 리가 없잖아! 우리 엄마가.\n이모, 사고 난 게 분명해\n\n혜수(E)\n실종신고 냈어. 이모가 엄마 폰 위치추적하고 있으니까\n조금만 기다려 별일 없을 거야. 알았지?\n\n수리영\n응.\n\n무작정 기다리는게 불안한 수리영,\n인형이 달린 자신의 백팩을 꺼내 나온다\n\n/욕실 안\n얼굴을 씻고 거울을 보며\n\n수리영\n엄마, 도대체 어딨는 거야...\n\n거울에 비친 욕실 벽에 갑자기 또 발생하는 붉은 원.\n호흡이 가빠지고... 훅 고개를 돌려 벽을 보는 수리영\n거짓말처럼 사라지고 없다.\n거실로 튀어나와 물 한컵 마시고 식탁에 놓인 엄마와 수리영의 사진을 보는데...\n환하게 웃는 엄마 얼굴이 뭉개져 흘러내린다\n\n수리영\n아아악~~~ (다시보니 멀쩡하다) 나 왜 이러는 거지.\n(자신의 뺨을 치며) 정신 차려 수리영!\n\n\n\n[씬 25] S#25. 옥탑방 안 / 해질 무렵\nS#25. 옥탑방 안 / 해질 무렵\n누군가 다녀간 흔적으로 보이는 발자국들.\n다시 호흡이 가빠지는 수리영.\n집안에서 뭔가를 찾기 위해 가재도구를 온통 헤집은 것으로 보인다.\n거실에 난 창은 열려있고, 식탁 의자들을 쓰러져있다.\n\n/수리영 방\n열린 자신의 방을 힐끗 보는데\n벽에 또 붉은 원이 그려져있다. 그 가운데 꽂혀있는 피묻은 사진 한 장!\n사진을 떼어서 자세히 본다.\n어? 그 사진!!!\n\n[F.B: 1부 12씬] 죽은 엄마의 손에 구겨져있던 바로 그 사진이다.\n7-80년대 쯤 보이는 시골 식당과 지붕위에 둥근 원이 설치된 (마치 십자가처럼)\n식당 앞에는 어린 여자애 둘(12살)이 앉아있다. 그중에 한 아이는 분명히\n어릴 적 엄마다.\n\n침대에 털썩 주저앉는 수리영. 연속해서 벌어지는 기이한 상황에 정신이 혼미한\n엉망이 된 집 안을 한번 획 둘러보는 수리영,\n마치 이끌리듯 백팩을 메고 밖으로 나간다. 사진을 손에 꼭 쥔 채.\n\n\n\n샷 목록(순서):\nS12sh11: 옷과 피부가 피투성이가 된 민숙이 바닥에 주저앉아 고개를 푹 숙인 정지 상태\nS12sh21: 침대 위쪽 벽면에 붉은색 원형 표식이 절반쯤 나타난 상태\nS14sh5: 핏자국 없이 깨끗한 방 내부 전경\nS18sh11: 거울 속 반사된 욕실 타일 벽면에 붉은색 원형 표식이 절반쯤 나타난 상태\nS25sh1: 해질 무렵 옥탑방 거실, 흙 묻은 발자국들이 찍힌 바닥과 쓰러진 식탁 의자들이 보이는 전경\nS25sh5: 붉은 원 한가운데 피 묻은 낡은 흑백 사진이 벽에 꽂혀 있는 타이트 샷"}
{"ts": "2026-07-12 04:46:35", "kind": "llm", "step": "s34run_prev_mart", "model": "gpt", "dur_s": 13.2, "system_prompt": "당신은 콘티 연속성 판정가다. 같은 장소 그룹의 샷 목록(순서대로)과\n씬 원문을 보고, 각 샷마다 '시각적으로 관련된 앞쪽 샷'이 있는지\n판정하라. 시각적 관련 = 같은 공간·연속된 액션·같은 인물 구도가\n이어져 앞 샷의 생성 이미지를 참조로 붙이면 일관성에 도움이 되는\n경우. 다른 시간대·다른 서브 공간·연결 단서가 없으면 null.\n앞쪽 샷은 반드시 목록에서 자기보다 앞에 있는 샷이어야 한다.\n각 샷마다 prev(태그 또는 null)와 reason_ko(한 구절)를 반환.", "user_prompt": "씬 원문:\n[씬 8] S#8. 번화가·대형 마트 / 해질 무렵\nS#8. 번화가·대형 마트 / 해질 무렵\n포구와 인접해 있는 번화가, 네온사인, 택시, 호객 행위, 길거리 포장마차\n사이로 능숙하게 자전거를 모는 수리영.\n\n마트에 도착해 자전거를 세우고, 안으로 들어간다.\n민숙은 이 마트의 진열담당 직원. 이리저리 엄마를 찾아보지만 보이지 않는다\n평소 민숙과 가깝게 지냈던 직원에게 다가가\n\n수리영\n아줌마 안녕하세요? 그런데 우리 엄마는 어딨어요?\n\n여직원\n영이구나. 어? 아까 너 만나러 간다고 조퇴했는데. 길이\n엇갈렸나 보네.\n\n수리영\n(헷갈림) 어? 여기서 만나기로 했는데.\n\n남자 직원\n(박스 들고와 진열하면서) 민숙씨 아까 밖에서 누구랑\n얘기하는 거 봤는데...\n\n수리영\n(의아) 네? 누구랑요?\n\n직원\n그것까진 (모르지)...\n\n여직원\n집에 간 거 아냐? 얼른 가봐.\n\n수리영 마트 밖을 나오면서 연락을 취해보지만 받지않는다.\n일단 집으로-\n\n\n\n[씬 19] S#19. 마트 / D\nS#19. 마트 / D\n이른 아침, 아직은 한산한 마트 안.\n자전거를 주차하고 안으로 들어가는 수리영.\n마트 여기저기를 돌아다니며 어제 만났던 남자 직원을 찾는다\n\n수리영\n아저씨, 저 어제 봤죠? 강민숙씨 딸.\n\n남자직원\n어? 그래. 엄마 오늘도 결근했는데... 무슨 일 있어?\n\n수리영\n(답하지 않고 대신) 어제 저한테, 우리 엄마가 누군가와 얘길\n나누는 걸 봤다고 하셨죠?\n\n남자직원\n응. 남자였던 거 같은데.\n\n수리영\n남자요? 혹시 CCTV 같은 거 볼 수 있을까요?\n\n남자직원\n그게 CCTV에 찍혔을까.\n\n/ 마트 밖\n엄마와 남자 직원CCTV 위치를 확인하다. 찍혔을 만한 위치다.\n수리영, 혜수에게 전화 걸어 상황을 설명한다.\n\n\n\n[씬 20] S#20. 마트 총무과 / 실내\nS#20. 마트 총무과 / 실내\nCCTV화면을 돌려보는 보안팀 직원과 혜수,\n뒤에서 초조한 모습으로 화면을 주시하는 수리영\n\n보안직원\n이거네요. (갸우뚱) 근데 왜 이리 어둡지. 이 부분만 더 안\n보이네. 잘 보면 남자와 얘길 나누는 거 같긴 하죠. 뭐 보이세요?\n\n몇 번을 다시 돌려보지만 보안직원 말대로 그 부분만 유독 어두워\n식별이 불가능하다. 수리영 불안이 깊어지고.\n\n혜수\n흠... 일단 어제 CCTV 전체 잠깐 가져가도 될까요?\n복사하고 돌려드릴테니까.\n\n보안직원\n그러시죠.\n\n\n\n샷 목록(순서):\nS8sh3: 수리영이 마트 유니폼을 입은 한국인 여성 직원을 마주보며 입을 살짝 벌린 측면 구도\nS8sh5: 마트 밖으로 나온 수리영이 손에 든 스마트폰 액정을 내려다보는 상체\nS19sh5: 수리영과 남자직원이 마트 밖에서 벽면의 CCTV를 올려다보는 뒷모습\nS19sh6: 수리영이 귀에 스마트폰을 댄 채 정면을 응시하는 상체 클로즈업\nS20sh1: 마트 총무과 책상 앞, 한국인 남성 보안직원과 혜수가 컴퓨터 모니터를 향해 몸을 기울인 측면\nS20sh3: 흑백 CCTV 화면 속 어두운 구석에 사람 형상이 희미하게 찍힌 모니터 클로즈업"}
{"ts": "2026-07-12 04:46:47", "kind": "llm", "step": "s34run_prev_police", "model": "gpt", "dur_s": 11.3, "system_prompt": "당신은 콘티 연속성 판정가다. 같은 장소 그룹의 샷 목록(순서대로)과\n씬 원문을 보고, 각 샷마다 '시각적으로 관련된 앞쪽 샷'이 있는지\n판정하라. 시각적 관련 = 같은 공간·연속된 액션·같은 인물 구도가\n이어져 앞 샷의 생성 이미지를 참조로 붙이면 일관성에 도움이 되는\n경우. 다른 시간대·다른 서브 공간·연결 단서가 없으면 null.\n앞쪽 샷은 반드시 목록에서 자기보다 앞에 있는 샷이어야 한다.\n각 샷마다 prev(태그 또는 null)와 reason_ko(한 구절)를 반환.", "user_prompt": "씬 원문:\n[씬 16] S#16. 경찰서 사무실 / N\nS#16. 경찰서 사무실 / N\n사무실 안으로 들어오면서 민숙에게 전화를 거는 혜수,\n계속 무응답이다. 수리영에게 내색은 안했지만 왠지 불길한.\n사무실 안에는 김형사 혼자 당직 근무 중이다.\n\n김형사\n그 애는 요? 갔어요?\n\n혜수\n(핸드폰에 저장된 민숙번호 보여주며) 이 번호 위치 좀 따봐.\n\n김형사\n게 엄마예요? (투덜) 오늘은 좀 기다려보시죠.\n\n혜수\n아냐. 딸과의 약속을 어기고 이렇게 연락이 안 될 애가 아냐.\n갈 곳도, 아는 사람도 별로 없는 애야. 밖에 나다니는 스타일도\n아니고.... 이상해, 예감이 안 좋아.\n\n\n\n[씬 21] S#21. 경찰서 안 / D\nS#21. 경찰서 안 / D\n경찰서 전경.\n수리영과 함께 사무실 안으로 들어오는 혜수,\n자신을 마뜩치 않게 보는 김형사에게 공손하게 인사하는.\n\n김형사\n마침 잘 왔네. (서류 보여주며) 실종신고서야. 여기 사인하고.\n통화의뢰도 할거지? 여기도 사인하고.\n\n혜수\n(김형사에게) 휴대전화 위치 확인 됐어?\n\n김형사\n(사인서류 들고) 이거 전송하면 보내줄 거예요.(나간다)\n\n들어오는 김형사\n\n김형사\n빨리 답 달라고 재촉했으니까... (짜증) 선배님, 회의.\n살인사건으로 초비상인데. 지금 이러고 있을 때가 (아니지\n않나)..\n\n혜수\n(시계보더니 난감한 얼굴로 수리영보면서)... 여기 내 자리에\n앉아서 잠깐 기다려. 저 커피 마셔도 돼. 괜찮지? 금방 올게\n\n아니나 다를까, ‘빨리 안들어오고 뭐해!’ 팀장 소리치고 형사들 다들\n우르르 몰려 나간다.\n사무실에 홀로 앉아있는 수리영.\n혜수 책상위에는 살인사건(1부 1,2,3씬) 확대 사진들이 어지럽게 널려있다.\n넘겨보며 놀라는 수리영, 환각상태에서 본 엄마의 시신모습과\n너무도 흡사한 - 목, 어깨, 얼굴등 살점이 떨어져 보는 것만으로도 끔찍하다.\n이때, 띠링- 김형사 모니터에서 뭔가 뜬다.\n주위를 둘러본다. 아무도 없는 것을 확인하고 수리영 망설이다가 커서를 누른다\n엄마 폰 위치추적 결과다.\n\n<화면내용>\n실종 강민숙(41세)\n핸드폰 번호 (010-000-0000) LAST LOCATION\n해상 지도위에 좌표. 37.484400 N / 126. 072486 E\nTimestamp 2026-02-18 11:21:08\nSource:GPS /Network\nStatus: offline\n\n‘바다라고?’ 사색이 된 수리영,\n필기도구를 찾아 좌표를 메모 한다. 메모쪽지를 접어 주머니에 넣고\n다시 한번 슬쩍 주위를 둘러본 후 사무실을 나온다.\n\n\n\n[씬 22] S#22. 경찰서 밖 / D\nS#22. 경찰서 밖 / D\n주차된 자전거를 타고 이내 달리는 수리영\n\n\n\n샷 목록(순서):\nS16sh3: 혜수가 스마트폰 액정을 김형사 쪽으로 불쑥 내민 순간\nS21sh7: 수리영이 두 눈을 크게 뜨고 입을 살짝 벌린 굳은 얼굴 클로즈업\nS21sh10: 모니터 화면에 바다 지도가 펼쳐져 있고 붉은색 핀과 좌표 숫자가 떠 있는 클로즈업\nS21sh12: 수리영이 메모지가 들어간 겉옷 주머니에 손을 넣은 채 사무실 출입문을 향해 몸을 돌린 정지 순간\nS22sh1: 경찰서 건물 밖 도로 위에서 수리영이 자전거 안장에 앉아 상체를 앞으로 숙인 채 머리카락이 뒤로 흩날리는 측면"}
{"ts": "2026-07-12 04:47:37", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s34run_S1sh1_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/panels/S1sh1.png"], "ref_labels": ["STORYBOARD PANEL — this shot's camera framing, figure placement and depth order; composition source ONLY — the output is a fully photorealistic photograph, never a sketch; do not copy its line style, paper texture or borders."], "attempt": 1, "dur_s": 18.5, "bytes": 3123402, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills/S1sh1_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): dusk, just after sunset.\n\nSHOT TEXT (authoritative, Korean): 한쪽 신발이 벗겨진 한국인 남자가 우거진 수풀 사이를 달리며 한 발을 허공에 내딛고 있는 도중의 전신 구도\n\nMOVEMENT (follow exactly): The terrified, injured Korean man flees forward through dense undergrowth with a strained, unsteady running posture, one shoe missing, one foot suspended mid-stride, and blood flowing from the large bite wound on his thigh; whether he runs toward or away from the camera is not specified.\n\nFIGURES — size & depth (follow exactly): His full body fills roughly ~4/5 of the frame height; as the sole figure, he is both the NEAREST and FARTHEST person, with the dense brush surrounding and partly obstructing his route.\n\nNo people appear unless the shot text itself says so.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-12 04:47:57", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s34run_S1sh4_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/panels/S1sh4.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills/S1sh1_nb2.png"], "ref_labels": ["STORYBOARD PANEL — this shot's camera framing, figure placement and depth order; composition source ONLY — the output is a fully photorealistic photograph, never a sketch; do not copy its line style, paper texture or borders.", "PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing."], "attempt": 1, "dur_s": 19.2, "bytes": 2809450, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills/S1sh4_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): dusk, just after sunset.\n\nSHOT TEXT (authoritative, Korean): 검은 형상의 인영이 허공에 뛰어오른 채 한국인 남자를 향해 두 팔을 뻗고 있는 순간\n\nMOVEMENT (follow exactly): A black silhouetted figure springs through the air toward the terrified Korean man, extending both arms to tackle him as he flees through the undergrowth; their movement toward or away from the camera is not specified.\n\nFIGURES — size & depth (follow exactly): The airborne black figure and the man each occupy roughly ~1/2–2/3 of the frame height, with the attacker closing the remaining distance along a direct collision path toward the man; which figure is NEARER or FARTHER to the camera is not specified.\n\nNo people appear unless the shot text itself says so.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-12 04:48:11", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s34run_S3sh3_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/panels/S3sh3.png"], "ref_labels": ["STORYBOARD PANEL — this shot's camera framing, figure placement and depth order; composition source ONLY — the output is a fully photorealistic photograph, never a sketch; do not copy its line style, paper texture or borders."], "attempt": 1, "dur_s": 14.2, "bytes": 2755553, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills/S3sh3_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): daytime.\n\nSHOT TEXT (authoritative, Korean): 형사 무리 한가운데 서서 손가락으로 한쪽을 가리키는 혜수의 상체\n\nMOVEMENT (follow exactly): static: Hyesu stands upright amid the detectives, her upper body oriented toward one side as she points there with a finger while directing the investigation.\n\nFIGURES — size & depth (follow exactly): Hyesu’s upper body fills roughly ~2/3 of the frame height, while the surrounding detectives appear as smaller or partial figures around her; Hyesu is the principal middle figure, but no specific detective is established as definitively NEARER or FARTHER than her.\n\nNo people appear unless the shot text itself says so.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-12 04:48:27", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s34run_S15sh2_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/panels/S15sh2.png"], "ref_labels": ["STORYBOARD PANEL — this shot's camera framing, figure placement and depth order; composition source ONLY — the output is a fully photorealistic photograph, never a sketch; do not copy its line style, paper texture or borders."], "attempt": 1, "dur_s": 15.7, "bytes": 2354909, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills/S15sh2_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\n\nSHOT TEXT (authoritative, Korean): 혜수의 손이 음료수 캔을 쥔 채 수리영 앞으로 내밀어진 순간\n\nMOVEMENT (follow exactly): Hye-su extends her hand and the drink can from her side into the space directly in front of Suri-young, who remains seated and blankly oriented toward the sea.\n\nFIGURES — size & depth (follow exactly): Hye-su's hand and can appear large at roughly ~1/3 of the frame height and are NEARER to the camera; seated Suri-young appears around ~1/2 of the frame height and is FARTHER behind the offered can.\n\nNo people appear unless the shot text itself says so.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-12 04:48:54", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s34run_S15sh6_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/panels/S15sh6.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills/S15sh2_nb2.png"], "ref_labels": ["STORYBOARD PANEL — this shot's camera framing, figure placement and depth order; composition source ONLY — the output is a fully photorealistic photograph, never a sketch; do not copy its line style, paper texture or borders.", "PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing."], "attempt": 1, "dur_s": 27.6, "bytes": 2687860, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills/S15sh6_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\n\nSHOT TEXT (authoritative, Korean): 멀리서 혜수의 전신과 한 발을 공중에 띄운 mid-stride 자세로 달리는 수리영의 뒷모습을 한 프레임에 담은 넓은 구도\n\nMOVEMENT (follow exactly): Suri-young runs away from Hye-su and away from the camera with her back visible and one foot airborne mid-stride, while Hye-su remains behind facing her path.\n\nFIGURES — size & depth (follow exactly): Hye-su's full body appears about ~1/3 of the frame height and is NEARER to the camera, while the departing Suri-young appears smaller at ~1/5 and FARTHER along the route away. The distance between them increases as Suri-young runs ahead and Hye-su stays behind.\n\nNo people appear unless the shot text itself says so.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-12 04:49:11", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s34run_S10sh6_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/panels/S10sh6.png"], "ref_labels": ["STORYBOARD PANEL — this shot's camera framing, figure placement and depth order; composition source ONLY — the output is a fully photorealistic photograph, never a sketch; do not copy its line style, paper texture or borders."], "attempt": 1, "dur_s": 16.5, "bytes": 2159494, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills/S10sh6_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\n\nSHOT TEXT (authoritative, Korean): 현관 철문이 아주 살짝 열린 틈새로 보이는 어두운 실내와 신발 앞코\n\nMOVEMENT (follow exactly): The stranger's shoe toe advances away from the rooftop camera through the barely opened iron door and into the dark room.\n\nFIGURES — size & depth (follow exactly): The shoe toe is small, about ~1/6 of frame height, and is FARTHER than the NEARER iron door and its narrow opening; the dark interior recedes farthest beyond it.\n\nNo people appear unless the shot text itself says so.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-12 04:49:31", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s34run_S10sh7_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/panels/S10sh7.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills/S10sh6_nb2.png"], "ref_labels": ["STORYBOARD PANEL — this shot's camera framing, figure placement and depth order; composition source ONLY — the output is a fully photorealistic photograph, never a sketch; do not copy its line style, paper texture or borders.", "PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing."], "attempt": 1, "dur_s": 19.9, "bytes": 2386443, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills/S10sh7_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\n\nSHOT TEXT (authoritative, Korean): 불이 켜진 옥탑방 창문에 거대한 그림자가 작은 그림자의 어깨 쪽으로 고개를 꺾은 형태가 맺혀 있는 정지 구도\n\nMOVEMENT (follow exactly): static: the large shadow looms over the smaller shadow, its head sharply bent toward the smaller figure's shoulder as if biting it, while the smaller figure is pinned beneath the attack.\n\nFIGURES — size & depth (follow exactly): The large shadow fills roughly ~3/4 of frame height and overlaps the smaller shadow, which fills about ~1/2; both appear on the same FAR window plane, behind the NEARER window surface, with no clear depth separation between them.\n\nNo people appear unless the shot text itself says so.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-12 04:49:45", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s34run_S11sh4_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/panels/S11sh4.png"], "ref_labels": ["STORYBOARD PANEL — this shot's camera framing, figure placement and depth order; composition source ONLY — the output is a fully photorealistic photograph, never a sketch; do not copy its line style, paper texture or borders."], "attempt": 1, "dur_s": 14.6, "bytes": 2575967, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills/S11sh4_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\n\nSHOT TEXT (authoritative, Korean): 철제 파이프 난간을 손으로 잡은 수리영이 코끝을 찡그린 채 계단 중간에 서 있는 얼굴 클로즈업\n\nMOVEMENT (follow exactly): static: Su-ri-young pauses midway up the stairs, gripping the pipe railing with a tense hand and wrinkling her nose at the sudden foul smell while facing upward.\n\nFIGURES — size & depth (follow exactly): Her close-up face fills about ~2/3 of frame height and is the NEAREST figure; her railing hand is slightly FARTHER, while the stairway behind her recedes farthest.\n\nNo people appear unless the shot text itself says so.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-12 04:50:05", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s34run_S11sh5_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/panels/S11sh5.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills/S11sh4_nb2.png"], "ref_labels": ["STORYBOARD PANEL — this shot's camera framing, figure placement and depth order; composition source ONLY — the output is a fully photorealistic photograph, never a sketch; do not copy its line style, paper texture or borders.", "PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing."], "attempt": 1, "dur_s": 20.1, "bytes": 2463743, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills/S11sh5_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\n\nSHOT TEXT (authoritative, Korean): 옥상에 선 수리영의 시선 끝에 반쯤 열려 있는 어두운 현관 철문이 보이는 정면 구도\n\nMOVEMENT (follow exactly): static: Su-ri-young stands on the rooftop facing the half-open iron entrance door, her attention fixed on the dark opening ahead.\n\nFIGURES — size & depth (follow exactly): Su-ri-young occupies roughly ~1/2 of frame height in the NEARER plane, while the half-open door is FARTHER ahead and fills about ~1/3; her sightline runs directly across the rooftop into its dark gap.\n\nNo people appear unless the shot text itself says so.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-12 04:50:25", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s34run_S13sh4_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/panels/S13sh4.png"], "ref_labels": ["STORYBOARD PANEL — this shot's camera framing, figure placement and depth order; composition source ONLY — the output is a fully photorealistic photograph, never a sketch; do not copy its line style, paper texture or borders."], "attempt": 1, "dur_s": 19.5, "bytes": 2517146, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills/S13sh4_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\n\nSHOT TEXT (authoritative, Korean): 수리영이 초점을 잃은 눈으로 허공을 응시하며 서 있는 모습\n\nMOVEMENT (follow exactly): static: Su-ri-young stands motionless after fleeing downstairs, her shocked body slack and her unfocused eyes staring into empty space.\n\nFIGURES — size & depth (follow exactly): Su-ri-young fills roughly ~1/2 of frame height and is the sole, NEAREST figure, with the surrounding exterior space FARTHER behind her.\n\nNo people appear unless the shot text itself says so.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-12 04:50:43", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s34run_S13sh6_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/panels/S13sh6.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills/S13sh4_nb2.png"], "ref_labels": ["STORYBOARD PANEL — this shot's camera framing, figure placement and depth order; composition source ONLY — the output is a fully photorealistic photograph, never a sketch; do not copy its line style, paper texture or borders.", "PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing."], "attempt": 1, "dur_s": 18.7, "bytes": 2559804, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills/S13sh6_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\n\nSHOT TEXT (authoritative, Korean): 고개를 든 채 혜수의 얼굴을 마주보고 있는 수리영의 측면 구도\n\nMOVEMENT (follow exactly): static: Su-ri-young keeps her head raised toward Hye-su, meeting her face from the side with a stunned, unfocused posture.\n\nFIGURES — size & depth (follow exactly): Su-ri-young and Hye-su each fill roughly ~1/2 of frame height in profile and stand at approximately the same camera distance, neither clearly NEARER than the other; they face one another at close conversational range.\n\nNo people appear unless the shot text itself says so.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-12 04:51:01", "kind": "img_error", "tag": "s34run_S12sh11_nb2", "attempt": 1, "error": "Gemini i2i returned no image: {\"candidates\": [{\"content\": {}, \"finishReason\": \"IMAGE_SAFETY\", \"index\": 0, \"finishMessage\": \"Unable to show the generated image. The image was filtered out because it violated Google's [Generative AI Prohibited Use policy](https://policies.google.com/terms/generative-ai/use-policy). You will not be charged for blocked images. Try rephrasing the prompt. If you think this was an error, [send feedback](https://ai.google.dev/gemini-api/docs/troubleshooting).\"}], \"usage"}
{"ts": "2026-07-12 04:51:18", "kind": "img_error", "tag": "s34run_S12sh11_nb2", "attempt": 2, "error": "Gemini i2i returned no image: {\"candidates\": [{\"content\": {}, \"finishReason\": \"IMAGE_SAFETY\", \"index\": 0, \"finishMessage\": \"Unable to show the generated image. The image was filtered out because it violated Google's [Generative AI Prohibited Use policy](https://policies.google.com/terms/generative-ai/use-policy). You will not be charged for blocked images. Try rephrasing the prompt. If you think this was an error, [send feedback](https://ai.google.dev/gemini-api/docs/troubleshooting).\"}], \"usage"}
{"ts": "2026-07-12 04:53:33", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s34run_S12sh11_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/panels/S12sh11.png"], "ref_labels": ["STORYBOARD PANEL — this shot's camera framing, figure placement and depth order; composition source ONLY — the output is a fully photorealistic photograph, never a sketch; do not copy its line style, paper texture or borders."], "attempt": 1, "dur_s": 17.0, "bytes": 2586564, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills/S12sh11_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\n\nSHOT TEXT (authoritative, Korean): 옷과 피부가 힘없이 무너져 미동이 없는 민숙이 바닥에 주저앉아 고개를 푹 숙인 정지 상태\n\nMOVEMENT (follow exactly): static: Minsuk is utterly motionless, collapsed on the floor, collapsed in a seated fall with her head hanging forward, torso slumped asymmetrically, limp limbs, and her weight fully fallen rather than held upright.\n\nFIGURES — size & depth (follow exactly): Minsuk fills roughly 2/3 of the frame height and is the NEARER subject, while the dark-stained floor and room behind her are FARTHER. Her dark-stained clothes and skin remain visible across her collapsed body.\n\nNo people appear unless the shot text itself says so.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-12 04:53:51", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s34run_S12sh21_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/panels/S12sh21.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills/S12sh11_nb2.png"], "ref_labels": ["STORYBOARD PANEL — this shot's camera framing, figure placement and depth order; composition source ONLY — the output is a fully photorealistic photograph, never a sketch; do not copy its line style, paper texture or borders.", "PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing."], "attempt": 1, "dur_s": 18.0, "bytes": 2373218, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills/S12sh21_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\n\nSHOT TEXT (authoritative, Korean): 침대 위쪽 벽면에 붉은색 원형 표식이 절반쯤 나타난 상태\n\nMOVEMENT (follow exactly): static: the half-formed red circle remains on the wall above the bed, with no person crossing the frame.\n\nFIGURES — size & depth (follow exactly): The red circular mark fills about 1/2 of the frame height and is FARTHER on the wall, while the upper part of the bed is NEARER in the foreground.\n\nNo people appear unless the shot text itself says so.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-12 04:54:08", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s34run_S14sh5_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/panels/S14sh5.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills/S12sh21_nb2.png"], "ref_labels": ["STORYBOARD PANEL — this shot's camera framing, figure placement and depth order; composition source ONLY — the output is a fully photorealistic photograph, never a sketch; do not copy its line style, paper texture or borders.", "PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing."], "attempt": 1, "dur_s": 17.1, "bytes": 2200091, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills/S14sh5_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\n\nSHOT TEXT (authoritative, Korean): 어두운 얼룩 없이 깨끗한 방 내부 전경\n\nMOVEMENT (follow exactly): static: the excessively clean, dark stainsless room stands empty, with no one entering, leaving, or moving through it.\n\nFIGURES — size & depth (follow exactly): The empty room fills the full frame, with the NEARER side of the room opening toward the camera and the clean back wall and far corners appearing FARTHER away. No person, dark stainsstain, red mark, or body is visible.\n\nNo people appear unless the shot text itself says so.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-12 04:54:24", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s34run_S18sh11_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/panels/S18sh11.png"], "ref_labels": ["STORYBOARD PANEL — this shot's camera framing, figure placement and depth order; composition source ONLY — the output is a fully photorealistic photograph, never a sketch; do not copy its line style, paper texture or borders."], "attempt": 1, "dur_s": 15.9, "bytes": 1756798, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills/S18sh11_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): daytime.\n\nSHOT TEXT (authoritative, Korean): 거울 속 반사된 욕실 타일 벽면에 붉은색 원형 표식이 절반쯤 나타난 상태\n\nMOVEMENT (follow exactly): static: a half-formed red circle is visible on the bathroom tile wall only through the mirror reflection, with no person moving through the shot.\n\nFIGURES — size & depth (follow exactly): The reflected red circle fills roughly 1/3 to 1/2 of the frame height; the mirror surface is NEARER to the camera, while the reflected tiled wall and mark read as FARTHER within the reflection.\n\nNo people appear unless the shot text itself says so.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-12 04:54:39", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s34run_S25sh1_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/panels/S25sh1.png"], "ref_labels": ["STORYBOARD PANEL — this shot's camera framing, figure placement and depth order; composition source ONLY — the output is a fully photorealistic photograph, never a sketch; do not copy its line style, paper texture or borders."], "attempt": 1, "dur_s": 15.0, "bytes": 2548565, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills/S25sh1_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): dusk, just after sunset.\n\nSHOT TEXT (authoritative, Korean): 해질 무렵 옥탑방 거실, 흙 묻은 발자국들이 찍힌 바닥과 쓰러진 식탁 의자들이 보이는 전경\n\nMOVEMENT (follow exactly): static: muddy footprints lie across the living-room floor among overturned dining chairs, but their direction of travel cannot be determined from the shot.\n\nFIGURES — size & depth (follow exactly): The living-room interior fills the frame; the muddy footprints spread across the NEARER floor, while the overturned dining chairs are FARTHER around the table. Individual footprints appear small, roughly 1/10 of the frame height, while the chairs occupy about 1/3 to 1/2.\n\nNo people appear unless the shot text itself says so.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-12 04:55:00", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s34run_S25sh5_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/panels/S25sh5.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills/S12sh21_nb2.png"], "ref_labels": ["STORYBOARD PANEL — this shot's camera framing, figure placement and depth order; composition source ONLY — the output is a fully photorealistic photograph, never a sketch; do not copy its line style, paper texture or borders.", "PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing."], "attempt": 1, "dur_s": 21.5, "bytes": 2874209, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills/S25sh5_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): dusk, just after sunset.\n\nSHOT TEXT (authoritative, Korean): 붉은 원 한가운데 얼룩진 낡은 흑백 사진이 벽에 꽂혀 있는 타이트 샷\n\nMOVEMENT (follow exactly): static: the stained old photograph remains fixed at the center of the red circle on the wall, with no hand or person entering the frame.\n\nFIGURES — size & depth (follow exactly): The photograph fills roughly 1/2 to 2/3 of the frame height and is NEARER than the wall surface, while the red circle extends FARTHER behind it across the wall.\n\nNo people appear unless the shot text itself says so.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-12 04:55:17", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s34run_S8sh3_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/panels/S8sh3.png"], "ref_labels": ["STORYBOARD PANEL — this shot's camera framing, figure placement and depth order; composition source ONLY — the output is a fully photorealistic photograph, never a sketch; do not copy its line style, paper texture or borders."], "attempt": 1, "dur_s": 16.6, "bytes": 2415271, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills/S8sh3_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): dusk, just after sunset.\n\nSHOT TEXT (authoritative, Korean): 수리영이 마트 유니폼을 입은 한국인 여성 직원을 마주보며 입을 살짝 벌린 측면 구도\n\nMOVEMENT (follow exactly): static: Su-ri-young and the female supermarket employee stand facing each other in profile, Su-ri-young holding her mouth slightly open as she addresses the employee.\n\nFIGURES — size & depth (follow exactly): Su-ri-young and the female employee each fill roughly ~1/2 of the frame height and occupy a comparable midground plane, with neither clearly nearer to the camera; they remain a short conversational distance apart across opposing sightlines.\n\nNo people appear unless the shot text itself says so.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-12 04:55:34", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s34run_S8sh5_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/panels/S8sh5.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills/S8sh3_nb2.png"], "ref_labels": ["STORYBOARD PANEL — this shot's camera framing, figure placement and depth order; composition source ONLY — the output is a fully photorealistic photograph, never a sketch; do not copy its line style, paper texture or borders.", "PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing."], "attempt": 1, "dur_s": 17.3, "bytes": 2267249, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills/S8sh5_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): dusk, just after sunset.\n\nSHOT TEXT (authoritative, Korean): 마트 밖으로 나온 수리영이 손에 든 스마트폰 액정을 내려다보는 상체\n\nMOVEMENT (follow exactly): static: Having come out of the supermarket, Su-ri-young stands with her upper body angled toward the smartphone in her hand and her gaze lowered to its screen while trying to make contact.\n\nFIGURES — size & depth (follow exactly): Su-ri-young’s upper body fills about ~2/3 of the frame height in the near foreground, while the smartphone is small, about ~1/10, and held within the same near plane below her face; she is the sole visible figure.\n\nNo people appear unless the shot text itself says so.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-12 04:55:50", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s34run_S19sh5_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/panels/S19sh5.png"], "ref_labels": ["STORYBOARD PANEL — this shot's camera framing, figure placement and depth order; composition source ONLY — the output is a fully photorealistic photograph, never a sketch; do not copy its line style, paper texture or borders."], "attempt": 1, "dur_s": 15.3, "bytes": 2632033, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills/S19sh5_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): daytime.\n\nSHOT TEXT (authoritative, Korean): 수리영과 남자직원이 마트 밖에서 벽면의 CCTV를 올려다보는 뒷모습\n\nMOVEMENT (follow exactly): static: Outside the supermarket, Su-ri-young and the male employee stand with their backs to the camera, bodies and heads tilted upward toward the wall-mounted CCTV camera as they check its coverage.\n\nFIGURES — size & depth (follow exactly): Su-ri-young and the male employee each fill roughly ~1/2 of the frame height in the nearer foreground-to-midground, standing alongside each other at comparable depth, while the CCTV camera is much smaller, around ~1/15, and farther away high on the wall.\n\nNo people appear unless the shot text itself says so.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-12 04:56:08", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s34run_S19sh6_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/panels/S19sh6.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills/S19sh5_nb2.png"], "ref_labels": ["STORYBOARD PANEL — this shot's camera framing, figure placement and depth order; composition source ONLY — the output is a fully photorealistic photograph, never a sketch; do not copy its line style, paper texture or borders.", "PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing."], "attempt": 1, "dur_s": 18.2, "bytes": 2552031, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills/S19sh6_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): daytime.\n\nSHOT TEXT (authoritative, Korean): 수리영이 귀에 스마트폰을 댄 채 정면을 응시하는 상체 클로즈업\n\nMOVEMENT (follow exactly): static: Su-ri-young holds a smartphone to her ear and faces forward, explaining the situation to Hye-su by phone.\n\nFIGURES — size & depth (follow exactly): Su-ri-young’s upper body fills about ~3/4 of the frame height in the near foreground, with the smartphone small, around ~1/12, against her ear in the same near plane; no other person is visible.\n\nNo people appear unless the shot text itself says so.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-12 04:56:24", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s34run_S20sh1_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/panels/S20sh1.png"], "ref_labels": ["STORYBOARD PANEL — this shot's camera framing, figure placement and depth order; composition source ONLY — the output is a fully photorealistic photograph, never a sketch; do not copy its line style, paper texture or borders."], "attempt": 1, "dur_s": 16.2, "bytes": 2795758, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills/S20sh1_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): interior ambient light.\n\nSHOT TEXT (authoritative, Korean): 마트 총무과 책상 앞, 한국인 남성 보안직원과 혜수가 컴퓨터 모니터를 향해 몸을 기울인 측면\n\nMOVEMENT (follow exactly): static: The male security employee and Hye-su lean forward from the desk toward the computer monitor, both directing their gaze at the CCTV footage.\n\nFIGURES — size & depth (follow exactly): The security employee and Hye-su each fill roughly ~1/2 of the frame height and occupy a comparable midground depth, with neither clearly nearer to the camera; the monitor is smaller, about ~1/3, positioned directly along their converging sightlines.\n\nNo people appear unless the shot text itself says so.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-12 04:56:42", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s34run_S20sh3_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/panels/S20sh3.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills/S20sh1_nb2.png"], "ref_labels": ["STORYBOARD PANEL — this shot's camera framing, figure placement and depth order; composition source ONLY — the output is a fully photorealistic photograph, never a sketch; do not copy its line style, paper texture or borders.", "PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing."], "attempt": 1, "dur_s": 17.9, "bytes": 2487105, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills/S20sh3_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): interior ambient light.\n\nSHOT TEXT (authoritative, Korean): 흑백 CCTV 화면 속 어두운 구석에 사람 형상이 희미하게 찍힌 모니터 클로즈업\n\nMOVEMENT (follow exactly): static: A faint, unidentifiable human-shaped form remains in a dark corner of the black-and-white CCTV image, with no discernible direction of travel or body orientation.\n\nFIGURES — size & depth (follow exactly): The monitor image fills nearly the entire frame and is the nearest visible object, while the indistinct human-shaped form is tiny, about ~1/10 of the frame height, and appears far away within the recorded space.\n\nNo people appear unless the shot text itself says so.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-12 04:56:58", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s34run_S16sh3_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/panels/S16sh3.png"], "ref_labels": ["STORYBOARD PANEL — this shot's camera framing, figure placement and depth order; composition source ONLY — the output is a fully photorealistic photograph, never a sketch; do not copy its line style, paper texture or borders."], "attempt": 1, "dur_s": 15.7, "bytes": 2530304, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills/S16sh3_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\n\nSHOT TEXT (authoritative, Korean): 혜수가 스마트폰 액정을 김형사 쪽으로 불쑥 내민 순간\n\nMOVEMENT (follow exactly): Hye-su abruptly thrusts the smartphone forward from her side toward Detective Kim, presenting Min-sook's saved number while remaining inside the office.\n\nFIGURES — size & depth (follow exactly): Hye-su and Detective Kim each fill roughly ~1/2 of the frame height, with Hye-su NEARER to the camera and Detective Kim FARTHER across from her. The extended smartphone fills about ~1/5 of the frame height, projecting from Hye-su toward Detective Kim and lying between their positions.\n\nNo people appear unless the shot text itself says so.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-12 04:57:12", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s34run_S21sh7_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/panels/S21sh7.png"], "ref_labels": ["STORYBOARD PANEL — this shot's camera framing, figure placement and depth order; composition source ONLY — the output is a fully photorealistic photograph, never a sketch; do not copy its line style, paper texture or borders."], "attempt": 1, "dur_s": 14.5, "bytes": 2722120, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills/S21sh7_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): daytime.\n\nSHOT TEXT (authoritative, Korean): 수리영이 두 눈을 크게 뜨고 입을 살짝 벌린 굳은 얼굴 클로즈업\n\nMOVEMENT (follow exactly): static: Su-ri-young holds rigid with fear and shock, her widened eyes fixed forward and her lips slightly parted.\n\nFIGURES — size & depth (follow exactly): Su-ri-young's face fills roughly ~3/4 of the frame height; she is the sole and therefore NEAREST visible figure, with no farther person shown.\n\nNo people appear unless the shot text itself says so.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-12 04:57:32", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s34run_S21sh10_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/panels/S21sh10.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills/S21sh7_nb2.png"], "ref_labels": ["STORYBOARD PANEL — this shot's camera framing, figure placement and depth order; composition source ONLY — the output is a fully photorealistic photograph, never a sketch; do not copy its line style, paper texture or borders.", "PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing."], "attempt": 1, "dur_s": 19.4, "bytes": 2666830, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills/S21sh10_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): daytime.\n\nSHOT TEXT (authoritative, Korean): 모니터 화면에 바다 지도가 펼쳐져 있고 붉은색 핀과 좌표 숫자가 떠 있는 클로즈업\n\nMOVEMENT (follow exactly): static: the monitor displays a sea map with a red location pin and coordinate figures, with no physical movement in frame.\n\nFIGURES — size & depth (follow exactly): The monitor image fills nearly the full frame and is the sole, NEAREST core object; the map, pin, and coordinate text occupy the same flat display plane with no farther figure visible.\n\nNo people appear unless the shot text itself says so.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-12 04:57:51", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s34run_S21sh12_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/panels/S21sh12.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills/S21sh10_nb2.png"], "ref_labels": ["STORYBOARD PANEL — this shot's camera framing, figure placement and depth order; composition source ONLY — the output is a fully photorealistic photograph, never a sketch; do not copy its line style, paper texture or borders.", "PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing."], "attempt": 1, "dur_s": 19.0, "bytes": 2083393, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills/S21sh12_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): daytime.\n\nSHOT TEXT (authoritative, Korean): 수리영이 메모지가 들어간 겉옷 주머니에 손을 넣은 채 사무실 출입문을 향해 몸을 돌린 정지 순간\n\nMOVEMENT (follow exactly): static: Su-ri-young stands tensely with one hand inside the coat pocket holding the folded note, her body turned toward the office exit and poised to leave the room.\n\nFIGURES — size & depth (follow exactly): Su-ri-young fills roughly ~2/3 of the frame height and is NEARER to the camera, while the office doorway is FARTHER in the direction she faces. Her intended path runs from her position inside the office toward and through that doorway.\n\nNo people appear unless the shot text itself says so.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-12 04:58:09", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s34run_S22sh1_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/panels/S22sh1.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills/S21sh12_nb2.png"], "ref_labels": ["STORYBOARD PANEL — this shot's camera framing, figure placement and depth order; composition source ONLY — the output is a fully photorealistic photograph, never a sketch; do not copy its line style, paper texture or borders.", "PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing."], "attempt": 1, "dur_s": 17.8, "bytes": 2420467, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills/S22sh1_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): daytime.\n\nSHOT TEXT (authoritative, Korean): 경찰서 건물 밖 도로 위에서 수리영이 자전거 안장에 앉아 상체를 앞으로 숙인 채 머리카락이 뒤로 흩날리는 측면\n\nMOVEMENT (follow exactly): Su-ri-young rides the bicycle along the road outside the police station, moving laterally across the camera's side view with her torso pitched forward over the handlebars and her hair streaming backward, neither directly toward nor directly away from the camera.\n\nFIGURES — size & depth (follow exactly): Su-ri-young fills roughly ~1/2 of the frame height, and the bicycle-and-rider silhouette together fills about ~2/3; both are NEARER to the camera than the FARTHER police-station exterior. Her path continues along the road parallel to the image plane.\n\nNo people appear unless the shot text itself says so.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-12 05:00:42", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s34run_S1sh1_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/panels/S1sh1.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/efc879db-5f82-4f77-bf83-75e3d2d41f1c.png"], "ref_labels": ["STORYBOARD PANEL — this shot's camera framing, figure placement and depth order; composition source ONLY — the output is a fully photorealistic photograph, never a sketch; do not copy its line style, paper texture or borders.", "CHARACTER REFERENCE — 한국인 남자: the exact person appearing in this shot; match face, hair and build exactly."], "attempt": 1, "dur_s": 16.2, "bytes": 3005610, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills/S1sh1_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): dusk, just after sunset.\n\nSHOT TEXT (authoritative, Korean): 한쪽 신발이 벗겨진 한국인 남자가 우거진 수풀 사이를 달리며 한 발을 허공에 내딛고 있는 도중의 전신 구도\n\nMOVEMENT (follow exactly): The terrified, injured Korean man flees forward through dense undergrowth with a strained, unsteady running posture, one shoe missing, one foot suspended mid-stride, and dark stains flowing from the large bite wound on his thigh; whether he runs toward or away from the camera is not specified.\n\nFIGURES — size & depth (follow exactly): His full body fills roughly ~4/5 of the frame height; as the sole figure, he is both the NEAREST and FARTHEST person, with the dense brush surrounding and partly obstructing his route.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of the referenced people (한국인 남자) matched exactly to their reference photo — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-12 05:01:04", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s34run_S1sh4_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/panels/S1sh4.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills/S1sh1_nb2.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/efc879db-5f82-4f77-bf83-75e3d2d41f1c.png"], "ref_labels": ["STORYBOARD PANEL — this shot's camera framing, figure placement and depth order; composition source ONLY — the output is a fully photorealistic photograph, never a sketch; do not copy its line style, paper texture or borders.", "PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing.", "CHARACTER REFERENCE — 한국인 남자: the exact person appearing in this shot; match face, hair and build exactly."], "attempt": 1, "dur_s": 22.7, "bytes": 2860928, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills/S1sh4_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): dusk, just after sunset.\n\nSHOT TEXT (authoritative, Korean): 검은 형상의 인영이 허공에 뛰어오른 채 한국인 남자를 향해 두 팔을 뻗고 있는 순간\n\nMOVEMENT (follow exactly): A black silhouetted figure springs through the air toward the terrified Korean man, extending both arms to tackle him as he flees through the undergrowth; their movement toward or away from the camera is not specified.\n\nFIGURES — size & depth (follow exactly): The airborne black figure and the man each occupy roughly ~1/2–2/3 of the frame height, with the attacker closing the remaining distance along a direct collision path toward the man; which figure is NEARER or FARTHER to the camera is not specified.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of the referenced people (한국인 남자) matched exactly to their reference photo — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-12 05:01:19", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s34run_S3sh3_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/panels/S3sh3.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/bddad176-aa6a-4a71-b5d3-d02e36e19657.png"], "ref_labels": ["STORYBOARD PANEL — this shot's camera framing, figure placement and depth order; composition source ONLY — the output is a fully photorealistic photograph, never a sketch; do not copy its line style, paper texture or borders.", "CHARACTER REFERENCE — 혜수: the exact person appearing in this shot; match face, hair and build exactly."], "attempt": 1, "dur_s": 14.3, "bytes": 2519525, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills/S3sh3_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): daytime.\n\nSHOT TEXT (authoritative, Korean): 형사 무리 한가운데 서서 손가락으로 한쪽을 가리키는 혜수의 상체\n\nMOVEMENT (follow exactly): static: Hyesu stands upright amid the detectives, her upper body oriented toward one side as she points there with a finger while directing the investigation.\n\nFIGURES — size & depth (follow exactly): Hyesu’s upper body fills roughly ~2/3 of the frame height, while the surrounding detectives appear as smaller or partial figures around her; Hyesu is the principal middle figure, but no specific detective is established as definitively NEARER or FARTHER than her.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of the referenced people (혜수) matched exactly to their reference photo — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-12 05:01:35", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s34run_S15sh2_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/panels/S15sh2.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/bddad176-aa6a-4a71-b5d3-d02e36e19657.png"], "ref_labels": ["STORYBOARD PANEL — this shot's camera framing, figure placement and depth order; composition source ONLY — the output is a fully photorealistic photograph, never a sketch; do not copy its line style, paper texture or borders.", "CHARACTER REFERENCE — 혜수: the exact person appearing in this shot; match face, hair and build exactly."], "attempt": 1, "dur_s": 16.1, "bytes": 2031155, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills/S15sh2_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\n\nSHOT TEXT (authoritative, Korean): 혜수의 손이 음료수 캔을 쥔 채 수리영 앞으로 내밀어진 순간\n\nMOVEMENT (follow exactly): Hye-su extends her hand and the drink can from her side into the space directly in front of Suri-young, who remains seated and blankly oriented toward the sea.\n\nFIGURES — size & depth (follow exactly): Hye-su's hand and can appear large at roughly ~1/3 of the frame height and are NEARER to the camera; seated Suri-young appears around ~1/2 of the frame height and is FARTHER behind the offered can.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of the referenced people (혜수) matched exactly to their reference photo — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-12 05:01:55", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s34run_S15sh6_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/panels/S15sh6.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills/S15sh2_nb2.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/39864973-d3d5-4886-bfb2-f8db608a005b.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/bddad176-aa6a-4a71-b5d3-d02e36e19657.png"], "ref_labels": ["STORYBOARD PANEL — this shot's camera framing, figure placement and depth order; composition source ONLY — the output is a fully photorealistic photograph, never a sketch; do not copy its line style, paper texture or borders.", "PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing.", "CHARACTER REFERENCE — 수리영: the exact person appearing in this shot; match face, hair and build exactly.", "CHARACTER REFERENCE — 혜수: the exact person appearing in this shot; match face, hair and build exactly."], "attempt": 1, "dur_s": 20.0, "bytes": 2270612, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills/S15sh6_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\n\nSHOT TEXT (authoritative, Korean): 멀리서 혜수의 전신과 한 발을 공중에 띄운 mid-stride 자세로 달리는 수리영의 뒷모습을 한 프레임에 담은 넓은 구도\n\nMOVEMENT (follow exactly): Suri-young runs away from Hye-su and away from the camera with her back visible and one foot airborne mid-stride, while Hye-su remains behind facing her path.\n\nFIGURES — size & depth (follow exactly): Hye-su's full body appears about ~1/3 of the frame height and is NEARER to the camera, while the departing Suri-young appears smaller at ~1/5 and FARTHER along the route away. The distance between them increases as Suri-young runs ahead and Hye-su stays behind.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of the referenced people (수리영, 혜수) matched exactly to their reference photo — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-12 05:02:12", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s34run_S11sh4_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/panels/S11sh4.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/39864973-d3d5-4886-bfb2-f8db608a005b.png"], "ref_labels": ["STORYBOARD PANEL — this shot's camera framing, figure placement and depth order; composition source ONLY — the output is a fully photorealistic photograph, never a sketch; do not copy its line style, paper texture or borders.", "CHARACTER REFERENCE — 수리영: the exact person appearing in this shot; match face, hair and build exactly."], "attempt": 1, "dur_s": 17.0, "bytes": 2678143, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills/S11sh4_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\n\nSHOT TEXT (authoritative, Korean): 철제 파이프 난간을 손으로 잡은 수리영이 코끝을 찡그린 채 계단 중간에 서 있는 얼굴 클로즈업\n\nMOVEMENT (follow exactly): static: Su-ri-young pauses midway up the stairs, gripping the pipe railing with a tense hand and wrinkling her nose at the sudden foul smell while facing upward.\n\nFIGURES — size & depth (follow exactly): Her close-up face fills about ~2/3 of frame height and is the NEAREST figure; her railing hand is slightly FARTHER, while the stairway behind her recedes farthest.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of the referenced people (수리영) matched exactly to their reference photo — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-12 05:02:32", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s34run_S11sh5_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/panels/S11sh5.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills/S11sh4_nb2.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/39864973-d3d5-4886-bfb2-f8db608a005b.png"], "ref_labels": ["STORYBOARD PANEL — this shot's camera framing, figure placement and depth order; composition source ONLY — the output is a fully photorealistic photograph, never a sketch; do not copy its line style, paper texture or borders.", "PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing.", "CHARACTER REFERENCE — 수리영: the exact person appearing in this shot; match face, hair and build exactly."], "attempt": 1, "dur_s": 20.4, "bytes": 2855006, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills/S11sh5_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\n\nSHOT TEXT (authoritative, Korean): 옥상에 선 수리영의 시선 끝에 반쯤 열려 있는 어두운 현관 철문이 보이는 정면 구도\n\nMOVEMENT (follow exactly): static: Su-ri-young stands on the rooftop facing the half-open iron entrance door, her attention fixed on the dark opening ahead.\n\nFIGURES — size & depth (follow exactly): Su-ri-young occupies roughly ~1/2 of frame height in the NEARER plane, while the half-open door is FARTHER ahead and fills about ~1/3; her sightline runs directly across the rooftop into its dark gap.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of the referenced people (수리영) matched exactly to their reference photo — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-12 05:02:47", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s34run_S13sh4_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/panels/S13sh4.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/39864973-d3d5-4886-bfb2-f8db608a005b.png"], "ref_labels": ["STORYBOARD PANEL — this shot's camera framing, figure placement and depth order; composition source ONLY — the output is a fully photorealistic photograph, never a sketch; do not copy its line style, paper texture or borders.", "CHARACTER REFERENCE — 수리영: the exact person appearing in this shot; match face, hair and build exactly."], "attempt": 1, "dur_s": 14.8, "bytes": 2571423, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills/S13sh4_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\n\nSHOT TEXT (authoritative, Korean): 수리영이 초점을 잃은 눈으로 허공을 응시하며 서 있는 모습\n\nMOVEMENT (follow exactly): static: Su-ri-young stands motionless after fleeing downstairs, her shocked body slack and her unfocused eyes staring into empty space.\n\nFIGURES — size & depth (follow exactly): Su-ri-young fills roughly ~1/2 of frame height and is the sole, NEAREST figure, with the surrounding exterior space FARTHER behind her.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of the referenced people (수리영) matched exactly to their reference photo — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-12 05:03:08", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s34run_S13sh6_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/panels/S13sh6.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills/S13sh4_nb2.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/39864973-d3d5-4886-bfb2-f8db608a005b.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/bddad176-aa6a-4a71-b5d3-d02e36e19657.png"], "ref_labels": ["STORYBOARD PANEL — this shot's camera framing, figure placement and depth order; composition source ONLY — the output is a fully photorealistic photograph, never a sketch; do not copy its line style, paper texture or borders.", "PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing.", "CHARACTER REFERENCE — 수리영: the exact person appearing in this shot; match face, hair and build exactly.", "CHARACTER REFERENCE — 혜수: the exact person appearing in this shot; match face, hair and build exactly."], "attempt": 1, "dur_s": 20.9, "bytes": 2658159, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills/S13sh6_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\n\nSHOT TEXT (authoritative, Korean): 고개를 든 채 혜수의 얼굴을 마주보고 있는 수리영의 측면 구도\n\nMOVEMENT (follow exactly): static: Su-ri-young keeps her head raised toward Hye-su, meeting her face from the side with a stunned, unfocused posture.\n\nFIGURES — size & depth (follow exactly): Su-ri-young and Hye-su each fill roughly ~1/2 of frame height in profile and stand at approximately the same camera distance, neither clearly NEARER than the other; they face one another at close conversational range.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of the referenced people (수리영, 혜수) matched exactly to their reference photo — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-12 05:03:23", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s34run_S12sh11_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/panels/S12sh11.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/1d7902d5-8b31-4ab6-9e6a-5da6ab5d842f.png"], "ref_labels": ["STORYBOARD PANEL — this shot's camera framing, figure placement and depth order; composition source ONLY — the output is a fully photorealistic photograph, never a sketch; do not copy its line style, paper texture or borders.", "CHARACTER REFERENCE — 민숙 (환시): the exact person appearing in this shot; match face, hair and build exactly."], "attempt": 1, "dur_s": 15.5, "bytes": 2309975, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills/S12sh11_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\n\nSHOT TEXT (authoritative, Korean): 옷과 피부가 힘없이 무너져 미동이 없는 민숙이 바닥에 주저앉아 고개를 푹 숙인 정지 상태\n\nMOVEMENT (follow exactly): static: Minsuk is utterly motionless, collapsed on the floor, collapsed in a seated fall with her head hanging forward, torso slumped asymmetrically, limp limbs, and her weight fully fallen rather than held upright.\n\nFIGURES — size & depth (follow exactly): Minsuk fills roughly 2/3 of the frame height and is the NEARER subject, while the dark-stained floor and room behind her are FARTHER. Her dark-stained clothes and skin remain visible across her collapsed body.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of the referenced people (민숙 (환시)) matched exactly to their reference photo — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-12 05:03:40", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s34run_S12sh21_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/panels/S12sh21.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills/S12sh11_nb2.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/1d7902d5-8b31-4ab6-9e6a-5da6ab5d842f.png"], "ref_labels": ["STORYBOARD PANEL — this shot's camera framing, figure placement and depth order; composition source ONLY — the output is a fully photorealistic photograph, never a sketch; do not copy its line style, paper texture or borders.", "PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing.", "CHARACTER REFERENCE — 민숙 (환시): the exact person appearing in this shot; match face, hair and build exactly."], "attempt": 1, "dur_s": 16.8, "bytes": 2738974, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills/S12sh21_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\n\nSHOT TEXT (authoritative, Korean): 침대 위쪽 벽면에 붉은색 원형 표식이 절반쯤 나타난 상태\n\nMOVEMENT (follow exactly): static: the half-formed red circle remains on the wall above the bed, with no person crossing the frame.\n\nFIGURES — size & depth (follow exactly): The red circular mark fills about 1/2 of the frame height and is FARTHER on the wall, while the upper part of the bed is NEARER in the foreground.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of the referenced people (민숙 (환시)) matched exactly to their reference photo — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-12 05:04:02", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s34run_S14sh5_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/panels/S14sh5.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills/S12sh21_nb2.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/39864973-d3d5-4886-bfb2-f8db608a005b.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/bddad176-aa6a-4a71-b5d3-d02e36e19657.png"], "ref_labels": ["STORYBOARD PANEL — this shot's camera framing, figure placement and depth order; composition source ONLY — the output is a fully photorealistic photograph, never a sketch; do not copy its line style, paper texture or borders.", "PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing.", "CHARACTER REFERENCE — 수리영: the exact person appearing in this shot; match face, hair and build exactly.", "CHARACTER REFERENCE — 혜수: the exact person appearing in this shot; match face, hair and build exactly."], "attempt": 1, "dur_s": 21.9, "bytes": 2281907, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills/S14sh5_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\n\nSHOT TEXT (authoritative, Korean): 어두운 얼룩 없이 깨끗한 방 내부 전경\n\nMOVEMENT (follow exactly): static: the excessively clean, dark stainsless room stands empty, with no one entering, leaving, or moving through it.\n\nFIGURES — size & depth (follow exactly): The empty room fills the full frame, with the NEARER side of the room opening toward the camera and the clean back wall and far corners appearing FARTHER away. No person, dark stainsstain, red mark, or body is visible.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of the referenced people (수리영, 혜수) matched exactly to their reference photo — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-12 05:04:17", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s34run_S18sh11_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/panels/S18sh11.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/39864973-d3d5-4886-bfb2-f8db608a005b.png"], "ref_labels": ["STORYBOARD PANEL — this shot's camera framing, figure placement and depth order; composition source ONLY — the output is a fully photorealistic photograph, never a sketch; do not copy its line style, paper texture or borders.", "CHARACTER REFERENCE — 수리영: the exact person appearing in this shot; match face, hair and build exactly."], "attempt": 1, "dur_s": 14.7, "bytes": 1885618, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills/S18sh11_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): daytime.\n\nSHOT TEXT (authoritative, Korean): 거울 속 반사된 욕실 타일 벽면에 붉은색 원형 표식이 절반쯤 나타난 상태\n\nMOVEMENT (follow exactly): static: a half-formed red circle is visible on the bathroom tile wall only through the mirror reflection, with no person moving through the shot.\n\nFIGURES — size & depth (follow exactly): The reflected red circle fills roughly 1/3 to 1/2 of the frame height; the mirror surface is NEARER to the camera, while the reflected tiled wall and mark read as FARTHER within the reflection.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of the referenced people (수리영) matched exactly to their reference photo — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-12 05:04:35", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s34run_S25sh1_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/panels/S25sh1.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/39864973-d3d5-4886-bfb2-f8db608a005b.png"], "ref_labels": ["STORYBOARD PANEL — this shot's camera framing, figure placement and depth order; composition source ONLY — the output is a fully photorealistic photograph, never a sketch; do not copy its line style, paper texture or borders.", "CHARACTER REFERENCE — 수리영: the exact person appearing in this shot; match face, hair and build exactly."], "attempt": 1, "dur_s": 17.9, "bytes": 2399569, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills/S25sh1_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): dusk, just after sunset.\n\nSHOT TEXT (authoritative, Korean): 해질 무렵 옥탑방 거실, 흙 묻은 발자국들이 찍힌 바닥과 쓰러진 식탁 의자들이 보이는 전경\n\nMOVEMENT (follow exactly): static: muddy footprints lie across the living-room floor among overturned dining chairs, but their direction of travel cannot be determined from the shot.\n\nFIGURES — size & depth (follow exactly): The living-room interior fills the frame; the muddy footprints spread across the NEARER floor, while the overturned dining chairs are FARTHER around the table. Individual footprints appear small, roughly 1/10 of the frame height, while the chairs occupy about 1/3 to 1/2.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of the referenced people (수리영) matched exactly to their reference photo — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-12 05:04:53", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s34run_S25sh5_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/panels/S25sh5.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills/S12sh21_nb2.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/39864973-d3d5-4886-bfb2-f8db608a005b.png"], "ref_labels": ["STORYBOARD PANEL — this shot's camera framing, figure placement and depth order; composition source ONLY — the output is a fully photorealistic photograph, never a sketch; do not copy its line style, paper texture or borders.", "PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing.", "CHARACTER REFERENCE — 수리영: the exact person appearing in this shot; match face, hair and build exactly."], "attempt": 1, "dur_s": 18.8, "bytes": 2468978, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills/S25sh5_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): dusk, just after sunset.\n\nSHOT TEXT (authoritative, Korean): 붉은 원 한가운데 얼룩진 낡은 흑백 사진이 벽에 꽂혀 있는 타이트 샷\n\nMOVEMENT (follow exactly): static: the stained old photograph remains fixed at the center of the red circle on the wall, with no hand or person entering the frame.\n\nFIGURES — size & depth (follow exactly): The photograph fills roughly 1/2 to 2/3 of the frame height and is NEARER than the wall surface, while the red circle extends FARTHER behind it across the wall.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of the referenced people (수리영) matched exactly to their reference photo — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-12 05:05:08", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s34run_S8sh3_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/panels/S8sh3.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/39864973-d3d5-4886-bfb2-f8db608a005b.png"], "ref_labels": ["STORYBOARD PANEL — this shot's camera framing, figure placement and depth order; composition source ONLY — the output is a fully photorealistic photograph, never a sketch; do not copy its line style, paper texture or borders.", "CHARACTER REFERENCE — 수리영: the exact person appearing in this shot; match face, hair and build exactly."], "attempt": 1, "dur_s": 14.9, "bytes": 2400506, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills/S8sh3_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): dusk, just after sunset.\n\nSHOT TEXT (authoritative, Korean): 수리영이 마트 유니폼을 입은 한국인 여성 직원을 마주보며 입을 살짝 벌린 측면 구도\n\nMOVEMENT (follow exactly): static: Su-ri-young and the female supermarket employee stand facing each other in profile, Su-ri-young holding her mouth slightly open as she addresses the employee.\n\nFIGURES — size & depth (follow exactly): Su-ri-young and the female employee each fill roughly ~1/2 of the frame height and occupy a comparable midground plane, with neither clearly nearer to the camera; they remain a short conversational distance apart across opposing sightlines.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of the referenced people (수리영) matched exactly to their reference photo — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-12 05:05:30", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s34run_S8sh5_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/panels/S8sh5.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills/S8sh3_nb2.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/39864973-d3d5-4886-bfb2-f8db608a005b.png"], "ref_labels": ["STORYBOARD PANEL — this shot's camera framing, figure placement and depth order; composition source ONLY — the output is a fully photorealistic photograph, never a sketch; do not copy its line style, paper texture or borders.", "PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing.", "CHARACTER REFERENCE — 수리영: the exact person appearing in this shot; match face, hair and build exactly."], "attempt": 1, "dur_s": 22.0, "bytes": 2209828, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills/S8sh5_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): dusk, just after sunset.\n\nSHOT TEXT (authoritative, Korean): 마트 밖으로 나온 수리영이 손에 든 스마트폰 액정을 내려다보는 상체\n\nMOVEMENT (follow exactly): static: Having come out of the supermarket, Su-ri-young stands with her upper body angled toward the smartphone in her hand and her gaze lowered to its screen while trying to make contact.\n\nFIGURES — size & depth (follow exactly): Su-ri-young’s upper body fills about ~2/3 of the frame height in the near foreground, while the smartphone is small, about ~1/10, and held within the same near plane below her face; she is the sole visible figure.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of the referenced people (수리영) matched exactly to their reference photo — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-12 05:05:46", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s34run_S19sh5_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/panels/S19sh5.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/39864973-d3d5-4886-bfb2-f8db608a005b.png"], "ref_labels": ["STORYBOARD PANEL — this shot's camera framing, figure placement and depth order; composition source ONLY — the output is a fully photorealistic photograph, never a sketch; do not copy its line style, paper texture or borders.", "CHARACTER REFERENCE — 수리영: the exact person appearing in this shot; match face, hair and build exactly."], "attempt": 1, "dur_s": 15.2, "bytes": 2466842, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills/S19sh5_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): daytime.\n\nSHOT TEXT (authoritative, Korean): 수리영과 남자직원이 마트 밖에서 벽면의 CCTV를 올려다보는 뒷모습\n\nMOVEMENT (follow exactly): static: Outside the supermarket, Su-ri-young and the male employee stand with their backs to the camera, bodies and heads tilted upward toward the wall-mounted CCTV camera as they check its coverage.\n\nFIGURES — size & depth (follow exactly): Su-ri-young and the male employee each fill roughly ~1/2 of the frame height in the nearer foreground-to-midground, standing alongside each other at comparable depth, while the CCTV camera is much smaller, around ~1/15, and farther away high on the wall.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of the referenced people (수리영) matched exactly to their reference photo — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-12 05:06:06", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s34run_S19sh6_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/panels/S19sh6.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills/S19sh5_nb2.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/39864973-d3d5-4886-bfb2-f8db608a005b.png"], "ref_labels": ["STORYBOARD PANEL — this shot's camera framing, figure placement and depth order; composition source ONLY — the output is a fully photorealistic photograph, never a sketch; do not copy its line style, paper texture or borders.", "PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing.", "CHARACTER REFERENCE — 수리영: the exact person appearing in this shot; match face, hair and build exactly."], "attempt": 1, "dur_s": 20.4, "bytes": 2459035, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills/S19sh6_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): daytime.\n\nSHOT TEXT (authoritative, Korean): 수리영이 귀에 스마트폰을 댄 채 정면을 응시하는 상체 클로즈업\n\nMOVEMENT (follow exactly): static: Su-ri-young holds a smartphone to her ear and faces forward, explaining the situation to Hye-su by phone.\n\nFIGURES — size & depth (follow exactly): Su-ri-young’s upper body fills about ~3/4 of the frame height in the near foreground, with the smartphone small, around ~1/12, against her ear in the same near plane; no other person is visible.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of the referenced people (수리영) matched exactly to their reference photo — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-12 05:06:21", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s34run_S20sh1_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/panels/S20sh1.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/bddad176-aa6a-4a71-b5d3-d02e36e19657.png"], "ref_labels": ["STORYBOARD PANEL — this shot's camera framing, figure placement and depth order; composition source ONLY — the output is a fully photorealistic photograph, never a sketch; do not copy its line style, paper texture or borders.", "CHARACTER REFERENCE — 혜수: the exact person appearing in this shot; match face, hair and build exactly."], "attempt": 1, "dur_s": 14.9, "bytes": 2372790, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills/S20sh1_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): interior ambient light.\n\nSHOT TEXT (authoritative, Korean): 마트 총무과 책상 앞, 한국인 남성 보안직원과 혜수가 컴퓨터 모니터를 향해 몸을 기울인 측면\n\nMOVEMENT (follow exactly): static: The male security employee and Hye-su lean forward from the desk toward the computer monitor, both directing their gaze at the CCTV footage.\n\nFIGURES — size & depth (follow exactly): The security employee and Hye-su each fill roughly ~1/2 of the frame height and occupy a comparable midground depth, with neither clearly nearer to the camera; the monitor is smaller, about ~1/3, positioned directly along their converging sightlines.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of the referenced people (혜수) matched exactly to their reference photo — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-12 05:06:41", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s34run_S20sh3_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/panels/S20sh3.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills/S20sh1_nb2.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/bddad176-aa6a-4a71-b5d3-d02e36e19657.png"], "ref_labels": ["STORYBOARD PANEL — this shot's camera framing, figure placement and depth order; composition source ONLY — the output is a fully photorealistic photograph, never a sketch; do not copy its line style, paper texture or borders.", "PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing.", "CHARACTER REFERENCE — 혜수: the exact person appearing in this shot; match face, hair and build exactly."], "attempt": 1, "dur_s": 20.5, "bytes": 2736805, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills/S20sh3_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): interior ambient light.\n\nSHOT TEXT (authoritative, Korean): 흑백 CCTV 화면 속 어두운 구석에 사람 형상이 희미하게 찍힌 모니터 클로즈업\n\nMOVEMENT (follow exactly): static: A faint, unidentifiable human-shaped form remains in a dark corner of the black-and-white CCTV image, with no discernible direction of travel or body orientation.\n\nFIGURES — size & depth (follow exactly): The monitor image fills nearly the entire frame and is the nearest visible object, while the indistinct human-shaped form is tiny, about ~1/10 of the frame height, and appears far away within the recorded space.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of the referenced people (혜수) matched exactly to their reference photo — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-12 05:06:56", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s34run_S16sh3_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/panels/S16sh3.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/bddad176-aa6a-4a71-b5d3-d02e36e19657.png"], "ref_labels": ["STORYBOARD PANEL — this shot's camera framing, figure placement and depth order; composition source ONLY — the output is a fully photorealistic photograph, never a sketch; do not copy its line style, paper texture or borders.", "CHARACTER REFERENCE — 혜수: the exact person appearing in this shot; match face, hair and build exactly."], "attempt": 1, "dur_s": 14.2, "bytes": 2564700, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills/S16sh3_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\n\nSHOT TEXT (authoritative, Korean): 혜수가 스마트폰 액정을 김형사 쪽으로 불쑥 내민 순간\n\nMOVEMENT (follow exactly): Hye-su abruptly thrusts the smartphone forward from her side toward Detective Kim, presenting Min-sook's saved number while remaining inside the office.\n\nFIGURES — size & depth (follow exactly): Hye-su and Detective Kim each fill roughly ~1/2 of the frame height, with Hye-su NEARER to the camera and Detective Kim FARTHER across from her. The extended smartphone fills about ~1/5 of the frame height, projecting from Hye-su toward Detective Kim and lying between their positions.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of the referenced people (혜수) matched exactly to their reference photo — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-12 05:07:10", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s34run_S21sh7_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/panels/S21sh7.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/39864973-d3d5-4886-bfb2-f8db608a005b.png"], "ref_labels": ["STORYBOARD PANEL — this shot's camera framing, figure placement and depth order; composition source ONLY — the output is a fully photorealistic photograph, never a sketch; do not copy its line style, paper texture or borders.", "CHARACTER REFERENCE — 수리영: the exact person appearing in this shot; match face, hair and build exactly."], "attempt": 1, "dur_s": 14.4, "bytes": 2254155, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills/S21sh7_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): daytime.\n\nSHOT TEXT (authoritative, Korean): 수리영이 두 눈을 크게 뜨고 입을 살짝 벌린 굳은 얼굴 클로즈업\n\nMOVEMENT (follow exactly): static: Su-ri-young holds rigid with fear and shock, her widened eyes fixed forward and her lips slightly parted.\n\nFIGURES — size & depth (follow exactly): Su-ri-young's face fills roughly ~3/4 of the frame height; she is the sole and therefore NEAREST visible figure, with no farther person shown.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of the referenced people (수리영) matched exactly to their reference photo — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-12 05:07:27", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s34run_S21sh10_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/panels/S21sh10.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills/S21sh7_nb2.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/39864973-d3d5-4886-bfb2-f8db608a005b.png"], "ref_labels": ["STORYBOARD PANEL — this shot's camera framing, figure placement and depth order; composition source ONLY — the output is a fully photorealistic photograph, never a sketch; do not copy its line style, paper texture or borders.", "PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing.", "CHARACTER REFERENCE — 수리영: the exact person appearing in this shot; match face, hair and build exactly."], "attempt": 1, "dur_s": 17.4, "bytes": 2335380, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills/S21sh10_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): daytime.\n\nSHOT TEXT (authoritative, Korean): 모니터 화면에 바다 지도가 펼쳐져 있고 붉은색 핀과 좌표 숫자가 떠 있는 클로즈업\n\nMOVEMENT (follow exactly): static: the monitor displays a sea map with a red location pin and coordinate figures, with no physical movement in frame.\n\nFIGURES — size & depth (follow exactly): The monitor image fills nearly the full frame and is the sole, NEAREST core object; the map, pin, and coordinate text occupy the same flat display plane with no farther figure visible.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of the referenced people (수리영) matched exactly to their reference photo — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-12 05:07:47", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s34run_S21sh12_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/panels/S21sh12.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills/S21sh10_nb2.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/39864973-d3d5-4886-bfb2-f8db608a005b.png"], "ref_labels": ["STORYBOARD PANEL — this shot's camera framing, figure placement and depth order; composition source ONLY — the output is a fully photorealistic photograph, never a sketch; do not copy its line style, paper texture or borders.", "PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing.", "CHARACTER REFERENCE — 수리영: the exact person appearing in this shot; match face, hair and build exactly."], "attempt": 1, "dur_s": 19.9, "bytes": 2098171, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills/S21sh12_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): daytime.\n\nSHOT TEXT (authoritative, Korean): 수리영이 메모지가 들어간 겉옷 주머니에 손을 넣은 채 사무실 출입문을 향해 몸을 돌린 정지 순간\n\nMOVEMENT (follow exactly): static: Su-ri-young stands tensely with one hand inside the coat pocket holding the folded note, her body turned toward the office exit and poised to leave the room.\n\nFIGURES — size & depth (follow exactly): Su-ri-young fills roughly ~2/3 of the frame height and is NEARER to the camera, while the office doorway is FARTHER in the direction she faces. Her intended path runs from her position inside the office toward and through that doorway.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of the referenced people (수리영) matched exactly to their reference photo — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-12 05:08:08", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s34run_S22sh1_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/panels/S22sh1.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills/S21sh12_nb2.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/39864973-d3d5-4886-bfb2-f8db608a005b.png"], "ref_labels": ["STORYBOARD PANEL — this shot's camera framing, figure placement and depth order; composition source ONLY — the output is a fully photorealistic photograph, never a sketch; do not copy its line style, paper texture or borders.", "PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing.", "CHARACTER REFERENCE — 수리영: the exact person appearing in this shot; match face, hair and build exactly."], "attempt": 1, "dur_s": 20.5, "bytes": 2535259, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills/S22sh1_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): daytime.\n\nSHOT TEXT (authoritative, Korean): 경찰서 건물 밖 도로 위에서 수리영이 자전거 안장에 앉아 상체를 앞으로 숙인 채 머리카락이 뒤로 흩날리는 측면\n\nMOVEMENT (follow exactly): Su-ri-young rides the bicycle along the road outside the police station, moving laterally across the camera's side view with her torso pitched forward over the handlebars and her hair streaming backward, neither directly toward nor directly away from the camera.\n\nFIGURES — size & depth (follow exactly): Su-ri-young fills roughly ~1/2 of the frame height, and the bicycle-and-rider silhouette together fills about ~2/3; both are NEARER to the camera than the FARTHER police-station exterior. Her path continues along the road parallel to the image plane.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of the referenced people (수리영) matched exactly to their reference photo — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-12 05:14:05", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s34v2_conti_forest_nb2", "refs": [], "ref_labels": [], "attempt": 1, "dur_s": 14.9, "bytes": 3363296, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/conti11_forest_nb2.png", "prompt": "Draw ONE storyboard (conti) sheet: 4 panels made by ONE vertical cut at exactly 50% of the width and ONE horizontal cut at exactly 50% of the height — a 2x2 grid, each panel exactly one quarter of the image.\nSTYLE: quick, rough HAND-DRAWN pencil sketch — loose gestural line\ndrawing in monochrome graphite on white paper, the kind a film\nstoryboard artist dashes off in seconds. NOT photorealistic, no\npainting, no rendering, no color — monochrome graphite only.\n\nTHE LOCATION (same in all drawn panels): a dense Korean mountain forest with thick undergrowth.\n\nPURPOSE: each panel captures only the CAMERA COMPOSITION of one\nshot — framing (close-up / medium / wide), where the subject sits in\nthe frame, and continuity between panels. Keep every panel\nextremely simple: only what matters for composition.\nMOVEMENT IS SHOWN BY THE FIGURE ITSELF, NEVER BY MARKINGS: convey\ndirection of travel purely through the body — stride mid-motion,\nbody lean into the path, back view vs front view, and the stated\nsize/depth cues. Do NOT draw arrows, motion lines, path lines,\nspeed lines or any diagram markings of any kind.\n\nGEOMETRY — ANALYSE BEFORE DRAWING: from each panel's Korean shot\ntext, first work out the spatial facts and draw EXACTLY those, never\nre-stage them: (a) each figure's DISTANCE from camera (tight insert /\nclose-up / medium / full / wide — a shot about a hand or an object\nis a tight insert, not a two-shot); (b) each figure's FACING and\nMOVEMENT DIRECTION relative to camera — '뒷모습' means seen from\nBEHIND, moving AWAY from camera into the depth of the frame, not\nsideways; a profile means lateral movement; (c) relative positions\nand distances BETWEEN figures. Keep every established screen\ndirection consistent across panels (180-degree rule): a person who\nleaves in one panel keeps the same on-screen direction wherever the\nmovement appears again.\nSIZE & DEPTH ARE CONTRACTUAL: each panel states every figure's\napparent size in the frame and the explicit near/far depth order.\nDraw exactly those proportions — a farther figure MUST be drawn\nclearly smaller than a nearer one; never equalize figure sizes,\nespecially when several figures share a panel or their paths\nrelate to each other.\nDEPARTING FIGURE — a figure running/walking AWAY must be\nunmistakably departing, never approaching: seen exactly from behind\n(back of the head only, no face, no chin, no cheek line), body\nleaning into the path, mid-stride with one shoe sole toward the\ncamera. THE STATED SIZE/DEPTH WINS: draw the departing figure at\nexactly the apparent size and depth the panel's FIGURES line states\n(if stated FARTHER/small, it stays small in the distance — never\nenlarge it into the foreground for drama).\n\nCONTINUITY: all drawn panels are the SAME single location — fixed\nfeatures (doors, stairs, windows, poles, desks) keep the same\nposition and left/right relationships across panels so the panels\ncut together as one continuous scene.\n\nPANELS (one shot per panel, Korean shot text):\n\nPANEL 1: 한쪽 신발이 벗겨진 한국인 남자가 우거진 수풀 사이를 달리며 한 발을 허공에 내딛고 있는 도중의 전신 구도\n  MOVEMENT (follow exactly): The terrified, injured Korean man flees forward through dense undergrowth with a strained, unsteady running posture, one shoe missing, one foot suspended mid-stride, and blood flowing from the large bite wound on his thigh; whether he runs toward or away from the camera is not specified.\n  FIGURES — apparent size & depth order (follow exactly): His full body fills roughly ~4/5 of the frame height; as the sole figure, he is both the NEAREST and FARTHEST person, with the dense brush surrounding and partly obstructing his route.\nPANEL 2: 검은 형상의 인영이 허공에 뛰어오른 채 한국인 남자를 향해 두 팔을 뻗고 있는 순간\n  MOVEMENT (follow exactly): A black silhouetted figure springs through the air toward the terrified Korean man, extending both arms to tackle him as he flees through the undergrowth; their movement toward or away from the camera is not specified.\n  FIGURES — apparent size & depth order (follow exactly): The airborne black figure and the man each occupy roughly ~1/2–2/3 of the frame height, with the attacker closing the remaining distance along a direct collision path toward the man; which figure is NEARER or FARTHER to the camera is not specified.\nPANEL 3: 형사 무리 한가운데 서서 손가락으로 한쪽을 가리키는 혜수의 상체\n  MOVEMENT (follow exactly): static: Hyesu stands upright amid the detectives, her upper body oriented toward one side as she points there with a finger while directing the investigation.\n  FIGURES — apparent size & depth order (follow exactly): Hyesu’s upper body fills roughly ~2/3 of the frame height, while the surrounding detectives appear as smaller or partial figures around her; Hyesu is the principal middle figure, but no specific detective is established as definitively NEARER or FARTHER than her.\n\nThere are 3 shots but 4 panel slots: draw the shots in\npanels 1..3 and leave the remaining panel(s) COMPLETELY\nBLANK PURE WHITE — empty white paper, not even a frame line inside.\n\nABSOLUTELY NO TEXT anywhere: no words, letters, captions, labels,\nsound effects or watermarks — the ONLY allowed marking is a small\nshot number digit (1, 2, 3) in a corner INSIDE each drawn panel.\nTHE PANEL GRID FILLS THE ENTIRE IMAGE EDGE-TO-EDGE: no outer paper\nmargin, no border area, nothing drawn outside the panels — the\nimage must be mechanically cuttable along the stated cut lines.\nPanels are separated only by thin straight black gutter lines at\nthe exact stated positions; ALL PANELS EXACTLY THE SAME SIZE."}
{"ts": "2026-07-12 05:14:18", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s34v2_conti_busstop_nb2", "refs": [], "ref_labels": [], "attempt": 1, "dur_s": 13.5, "bytes": 2459972, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/conti11_busstop_nb2.png", "prompt": "Draw ONE storyboard (conti) sheet: 2 panels made by ONE vertical cut at exactly 50% of the image width — each panel is exactly half the width and the FULL height (1 row x 2 columns).\nSTYLE: quick, rough HAND-DRAWN pencil sketch — loose gestural line\ndrawing in monochrome graphite on white paper, the kind a film\nstoryboard artist dashes off in seconds. NOT photorealistic, no\npainting, no rendering, no color — monochrome graphite only.\n\nTHE LOCATION (same in all drawn panels): a small seaside bus stop with a bench facing the sea at night on a quiet Korean coastal road.\n\nPURPOSE: each panel captures only the CAMERA COMPOSITION of one\nshot — framing (close-up / medium / wide), where the subject sits in\nthe frame, and continuity between panels. Keep every panel\nextremely simple: only what matters for composition.\nMOVEMENT IS SHOWN BY THE FIGURE ITSELF, NEVER BY MARKINGS: convey\ndirection of travel purely through the body — stride mid-motion,\nbody lean into the path, back view vs front view, and the stated\nsize/depth cues. Do NOT draw arrows, motion lines, path lines,\nspeed lines or any diagram markings of any kind.\n\nGEOMETRY — ANALYSE BEFORE DRAWING: from each panel's Korean shot\ntext, first work out the spatial facts and draw EXACTLY those, never\nre-stage them: (a) each figure's DISTANCE from camera (tight insert /\nclose-up / medium / full / wide — a shot about a hand or an object\nis a tight insert, not a two-shot); (b) each figure's FACING and\nMOVEMENT DIRECTION relative to camera — '뒷모습' means seen from\nBEHIND, moving AWAY from camera into the depth of the frame, not\nsideways; a profile means lateral movement; (c) relative positions\nand distances BETWEEN figures. Keep every established screen\ndirection consistent across panels (180-degree rule): a person who\nleaves in one panel keeps the same on-screen direction wherever the\nmovement appears again.\nSIZE & DEPTH ARE CONTRACTUAL: each panel states every figure's\napparent size in the frame and the explicit near/far depth order.\nDraw exactly those proportions — a farther figure MUST be drawn\nclearly smaller than a nearer one; never equalize figure sizes,\nespecially when several figures share a panel or their paths\nrelate to each other.\nDEPARTING FIGURE — a figure running/walking AWAY must be\nunmistakably departing, never approaching: seen exactly from behind\n(back of the head only, no face, no chin, no cheek line), body\nleaning into the path, mid-stride with one shoe sole toward the\ncamera. THE STATED SIZE/DEPTH WINS: draw the departing figure at\nexactly the apparent size and depth the panel's FIGURES line states\n(if stated FARTHER/small, it stays small in the distance — never\nenlarge it into the foreground for drama).\n\nCONTINUITY: all drawn panels are the SAME single location — fixed\nfeatures (doors, stairs, windows, poles, desks) keep the same\nposition and left/right relationships across panels so the panels\ncut together as one continuous scene.\n\nPANELS (one shot per panel, Korean shot text):\n\nPANEL 1: 혜수의 손이 음료수 캔을 쥔 채 수리영 앞으로 내밀어진 순간\n  MOVEMENT (follow exactly): Hye-su extends her hand and the drink can from her side into the space directly in front of Suri-young, who remains seated and blankly oriented toward the sea.\n  FIGURES — apparent size & depth order (follow exactly): Hye-su's hand and can appear large at roughly ~1/3 of the frame height and are NEARER to the camera; seated Suri-young appears around ~1/2 of the frame height and is FARTHER behind the offered can.\nPANEL 2: 멀리서 혜수의 전신과 한 발을 공중에 띄운 mid-stride 자세로 달리는 수리영의 뒷모습을 한 프레임에 담은 넓은 구도\n  MOVEMENT (follow exactly): Suri-young runs away from Hye-su and away from the camera with her back visible and one foot airborne mid-stride, while Hye-su remains behind facing her path.\n  FIGURES — apparent size & depth order (follow exactly): Hye-su's full body appears about ~1/3 of the frame height and is NEARER to the camera, while the departing Suri-young appears smaller at ~1/5 and FARTHER along the route away. The distance between them increases as Suri-young runs ahead and Hye-su stays behind.\n\nABSOLUTELY NO TEXT anywhere: no words, letters, captions, labels,\nsound effects or watermarks — the ONLY allowed marking is a small\nshot number digit (1, 2) in a corner INSIDE each drawn panel.\nTHE PANEL GRID FILLS THE ENTIRE IMAGE EDGE-TO-EDGE: no outer paper\nmargin, no border area, nothing drawn outside the panels — the\nimage must be mechanically cuttable along the stated cut lines.\nPanels are separated only by thin straight black gutter lines at\nthe exact stated positions; ALL PANELS EXACTLY THE SAME SIZE."}
{"ts": "2026-07-12 05:14:34", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s34v2_conti_rooftop_ext_nb2", "refs": [], "ref_labels": [], "attempt": 1, "dur_s": 15.9, "bytes": 2558623, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/conti11_rooftop_ext_nb2.png", "prompt": "Draw ONE storyboard (conti) sheet: 6 panels made by TWO vertical cuts at exactly 1/3 and 2/3 of the width and ONE horizontal cut at exactly 50% of the height — a 3-column x 2-row grid, all six panels exactly equal.\nSTYLE: quick, rough HAND-DRAWN pencil sketch — loose gestural line\ndrawing in monochrome graphite on white paper, the kind a film\nstoryboard artist dashes off in seconds. NOT photorealistic, no\npainting, no rendering, no color — monochrome graphite only.\n\nTHE LOCATION (same in all drawn panels): the exterior of an old Korean multi-family villa: narrow alley and small yard at ground level, an added exterior steel staircase climbing the wall, and a rooftop with a small rooftop room (steel front door, one lit window), a water tank, a clothesline and a low parapet.\n\nPURPOSE: each panel captures only the CAMERA COMPOSITION of one\nshot — framing (close-up / medium / wide), where the subject sits in\nthe frame, and continuity between panels. Keep every panel\nextremely simple: only what matters for composition.\nMOVEMENT IS SHOWN BY THE FIGURE ITSELF, NEVER BY MARKINGS: convey\ndirection of travel purely through the body — stride mid-motion,\nbody lean into the path, back view vs front view, and the stated\nsize/depth cues. Do NOT draw arrows, motion lines, path lines,\nspeed lines or any diagram markings of any kind.\n\nGEOMETRY — ANALYSE BEFORE DRAWING: from each panel's Korean shot\ntext, first work out the spatial facts and draw EXACTLY those, never\nre-stage them: (a) each figure's DISTANCE from camera (tight insert /\nclose-up / medium / full / wide — a shot about a hand or an object\nis a tight insert, not a two-shot); (b) each figure's FACING and\nMOVEMENT DIRECTION relative to camera — '뒷모습' means seen from\nBEHIND, moving AWAY from camera into the depth of the frame, not\nsideways; a profile means lateral movement; (c) relative positions\nand distances BETWEEN figures. Keep every established screen\ndirection consistent across panels (180-degree rule): a person who\nleaves in one panel keeps the same on-screen direction wherever the\nmovement appears again.\nSIZE & DEPTH ARE CONTRACTUAL: each panel states every figure's\napparent size in the frame and the explicit near/far depth order.\nDraw exactly those proportions — a farther figure MUST be drawn\nclearly smaller than a nearer one; never equalize figure sizes,\nespecially when several figures share a panel or their paths\nrelate to each other.\nDEPARTING FIGURE — a figure running/walking AWAY must be\nunmistakably departing, never approaching: seen exactly from behind\n(back of the head only, no face, no chin, no cheek line), body\nleaning into the path, mid-stride with one shoe sole toward the\ncamera. THE STATED SIZE/DEPTH WINS: draw the departing figure at\nexactly the apparent size and depth the panel's FIGURES line states\n(if stated FARTHER/small, it stays small in the distance — never\nenlarge it into the foreground for drama).\n\nCONTINUITY: all drawn panels are the SAME single location — fixed\nfeatures (doors, stairs, windows, poles, desks) keep the same\nposition and left/right relationships across panels so the panels\ncut together as one continuous scene.\n\nPANELS (one shot per panel, Korean shot text):\n\nPANEL 1: 현관 철문이 아주 살짝 열린 틈새로 보이는 어두운 실내와 신발 앞코\n  MOVEMENT (follow exactly): The stranger's shoe toe advances away from the rooftop camera through the barely opened iron door and into the dark room.\n  FIGURES — apparent size & depth order (follow exactly): The shoe toe is small, about ~1/6 of frame height, and is FARTHER than the NEARER iron door and its narrow opening; the dark interior recedes farthest beyond it.\nPANEL 2: 불이 켜진 옥탑방 창문에 거대한 그림자가 작은 그림자의 어깨 쪽으로 고개를 꺾은 형태가 맺혀 있는 정지 구도\n  MOVEMENT (follow exactly): static: the large shadow looms over the smaller shadow, its head sharply bent toward the smaller figure's shoulder as if biting it, while the smaller figure is pinned beneath the attack.\n  FIGURES — apparent size & depth order (follow exactly): The large shadow fills roughly ~3/4 of frame height and overlaps the smaller shadow, which fills about ~1/2; both appear on the same FAR window plane, behind the NEARER window surface, with no clear depth separation between them.\nPANEL 3: 철제 파이프 난간을 손으로 잡은 수리영이 코끝을 찡그린 채 계단 중간에 서 있는 얼굴 클로즈업\n  MOVEMENT (follow exactly): static: Su-ri-young pauses midway up the stairs, gripping the pipe railing with a tense hand and wrinkling her nose at the sudden foul smell while facing upward.\n  FIGURES — apparent size & depth order (follow exactly): Her close-up face fills about ~2/3 of frame height and is the NEAREST figure; her railing hand is slightly FARTHER, while the stairway behind her recedes farthest.\nPANEL 4: 옥상에 선 수리영의 시선 끝에 반쯤 열려 있는 어두운 현관 철문이 보이는 정면 구도\n  MOVEMENT (follow exactly): static: Su-ri-young stands on the rooftop facing the half-open iron entrance door, her attention fixed on the dark opening ahead.\n  FIGURES — apparent size & depth order (follow exactly): Su-ri-young occupies roughly ~1/2 of frame height in the NEARER plane, while the half-open door is FARTHER ahead and fills about ~1/3; her sightline runs directly across the rooftop into its dark gap.\nPANEL 5: 수리영이 초점을 잃은 눈으로 허공을 응시하며 서 있는 모습\n  MOVEMENT (follow exactly): static: Su-ri-young stands motionless after fleeing downstairs, her shocked body slack and her unfocused eyes staring into empty space.\n  FIGURES — apparent size & depth order (follow exactly): Su-ri-young fills roughly ~1/2 of frame height and is the sole, NEAREST figure, with the surrounding exterior space FARTHER behind her.\nPANEL 6: 고개를 든 채 혜수의 얼굴을 마주보고 있는 수리영의 측면 구도\n  MOVEMENT (follow exactly): static: Su-ri-young keeps her head raised toward Hye-su, meeting her face from the side with a stunned, unfocused posture.\n  FIGURES — apparent size & depth order (follow exactly): Su-ri-young and Hye-su each fill roughly ~1/2 of frame height in profile and stand at approximately the same camera distance, neither clearly NEARER than the other; they face one another at close conversational range.\n\nABSOLUTELY NO TEXT anywhere: no words, letters, captions, labels,\nsound effects or watermarks — the ONLY allowed marking is a small\nshot number digit (1, 2, 3, 4, 5, 6) in a corner INSIDE each drawn panel.\nTHE PANEL GRID FILLS THE ENTIRE IMAGE EDGE-TO-EDGE: no outer paper\nmargin, no border area, nothing drawn outside the panels — the\nimage must be mechanically cuttable along the stated cut lines.\nPanels are separated only by thin straight black gutter lines at\nthe exact stated positions; ALL PANELS EXACTLY THE SAME SIZE."}
{"ts": "2026-07-12 05:14:48", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s34v2_conti_rooftop_int_nb2", "refs": [], "ref_labels": [], "attempt": 1, "dur_s": 14.2, "bytes": 2489106, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/conti11_rooftop_int_nb2.png", "prompt": "Draw ONE storyboard (conti) sheet: 6 panels made by TWO vertical cuts at exactly 1/3 and 2/3 of the width and ONE horizontal cut at exactly 50% of the height — a 3-column x 2-row grid, all six panels exactly equal.\nSTYLE: quick, rough HAND-DRAWN pencil sketch — loose gestural line\ndrawing in monochrome graphite on white paper, the kind a film\nstoryboard artist dashes off in seconds. NOT photorealistic, no\npainting, no rendering, no color — monochrome graphite only.\n\nTHE LOCATION (same in all drawn panels): the interior of a small Korean rooftop home: living room with a small window, kitchenette and dining table; a bedroom with a bed against one wall and a curtained window; a tiny tiled bathroom with a mirror.\n\nPURPOSE: each panel captures only the CAMERA COMPOSITION of one\nshot — framing (close-up / medium / wide), where the subject sits in\nthe frame, and continuity between panels. Keep every panel\nextremely simple: only what matters for composition.\nMOVEMENT IS SHOWN BY THE FIGURE ITSELF, NEVER BY MARKINGS: convey\ndirection of travel purely through the body — stride mid-motion,\nbody lean into the path, back view vs front view, and the stated\nsize/depth cues. Do NOT draw arrows, motion lines, path lines,\nspeed lines or any diagram markings of any kind.\n\nGEOMETRY — ANALYSE BEFORE DRAWING: from each panel's Korean shot\ntext, first work out the spatial facts and draw EXACTLY those, never\nre-stage them: (a) each figure's DISTANCE from camera (tight insert /\nclose-up / medium / full / wide — a shot about a hand or an object\nis a tight insert, not a two-shot); (b) each figure's FACING and\nMOVEMENT DIRECTION relative to camera — '뒷모습' means seen from\nBEHIND, moving AWAY from camera into the depth of the frame, not\nsideways; a profile means lateral movement; (c) relative positions\nand distances BETWEEN figures. Keep every established screen\ndirection consistent across panels (180-degree rule): a person who\nleaves in one panel keeps the same on-screen direction wherever the\nmovement appears again.\nSIZE & DEPTH ARE CONTRACTUAL: each panel states every figure's\napparent size in the frame and the explicit near/far depth order.\nDraw exactly those proportions — a farther figure MUST be drawn\nclearly smaller than a nearer one; never equalize figure sizes,\nespecially when several figures share a panel or their paths\nrelate to each other.\nDEPARTING FIGURE — a figure running/walking AWAY must be\nunmistakably departing, never approaching: seen exactly from behind\n(back of the head only, no face, no chin, no cheek line), body\nleaning into the path, mid-stride with one shoe sole toward the\ncamera. THE STATED SIZE/DEPTH WINS: draw the departing figure at\nexactly the apparent size and depth the panel's FIGURES line states\n(if stated FARTHER/small, it stays small in the distance — never\nenlarge it into the foreground for drama).\n\nCONTINUITY: all drawn panels are the SAME single location — fixed\nfeatures (doors, stairs, windows, poles, desks) keep the same\nposition and left/right relationships across panels so the panels\ncut together as one continuous scene.\n\nPANELS (one shot per panel, Korean shot text):\n\nPANEL 1: 옷과 피부가 피투성이가 된 민숙이 바닥에 주저앉아 고개를 푹 숙인 정지 상태\n  MOVEMENT (follow exactly): static: Minsuk is lifeless on the floor, collapsed in a seated fall with her head hanging forward, torso slumped asymmetrically, limp limbs, and her weight fully fallen rather than held upright.\n  FIGURES — apparent size & depth order (follow exactly): Minsuk fills roughly 2/3 of the frame height and is the NEARER subject, while the bloodied floor and room behind her are FARTHER. Her blood-soaked clothes and skin remain visible across her collapsed body.\nPANEL 2: 침대 위쪽 벽면에 붉은색 원형 표식이 절반쯤 나타난 상태\n  MOVEMENT (follow exactly): static: the half-formed red circle remains on the wall above the bed, with no person crossing the frame.\n  FIGURES — apparent size & depth order (follow exactly): The red circular mark fills about 1/2 of the frame height and is FARTHER on the wall, while the upper part of the bed is NEARER in the foreground.\nPANEL 3: 핏자국 없이 깨끗한 방 내부 전경\n  MOVEMENT (follow exactly): static: the excessively clean, bloodless room stands empty, with no one entering, leaving, or moving through it.\n  FIGURES — apparent size & depth order (follow exactly): The empty room fills the full frame, with the NEARER side of the room opening toward the camera and the clean back wall and far corners appearing FARTHER away. No person, bloodstain, red mark, or body is visible.\nPANEL 4: 거울 속 반사된 욕실 타일 벽면에 붉은색 원형 표식이 절반쯤 나타난 상태\n  MOVEMENT (follow exactly): static: a half-formed red circle is visible on the bathroom tile wall only through the mirror reflection, with no person moving through the shot.\n  FIGURES — apparent size & depth order (follow exactly): The reflected red circle fills roughly 1/3 to 1/2 of the frame height; the mirror surface is NEARER to the camera, while the reflected tiled wall and mark read as FARTHER within the reflection.\nPANEL 5: 해질 무렵 옥탑방 거실, 흙 묻은 발자국들이 찍힌 바닥과 쓰러진 식탁 의자들이 보이는 전경\n  MOVEMENT (follow exactly): static: muddy footprints lie across the living-room floor among overturned dining chairs, but their direction of travel cannot be determined from the shot.\n  FIGURES — apparent size & depth order (follow exactly): The living-room interior fills the frame; the muddy footprints spread across the NEARER floor, while the overturned dining chairs are FARTHER around the table. Individual footprints appear small, roughly 1/10 of the frame height, while the chairs occupy about 1/3 to 1/2.\nPANEL 6: 붉은 원 한가운데 피 묻은 낡은 흑백 사진이 벽에 꽂혀 있는 타이트 샷\n  MOVEMENT (follow exactly): static: the bloodstained old photograph remains fixed at the center of the red circle on the wall, with no hand or person entering the frame.\n  FIGURES — apparent size & depth order (follow exactly): The photograph fills roughly 1/2 to 2/3 of the frame height and is NEARER than the wall surface, while the red circle extends FARTHER behind it across the wall.\n\nABSOLUTELY NO TEXT anywhere: no words, letters, captions, labels,\nsound effects or watermarks — the ONLY allowed marking is a small\nshot number digit (1, 2, 3, 4, 5, 6) in a corner INSIDE each drawn panel.\nTHE PANEL GRID FILLS THE ENTIRE IMAGE EDGE-TO-EDGE: no outer paper\nmargin, no border area, nothing drawn outside the panels — the\nimage must be mechanically cuttable along the stated cut lines.\nPanels are separated only by thin straight black gutter lines at\nthe exact stated positions; ALL PANELS EXACTLY THE SAME SIZE."}
{"ts": "2026-07-12 05:15:03", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s34v2_conti_mart_nb2", "refs": [], "ref_labels": [], "attempt": 1, "dur_s": 14.2, "bytes": 2476590, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/conti11_mart_nb2.png", "prompt": "Draw ONE storyboard (conti) sheet: 6 panels made by TWO vertical cuts at exactly 1/3 and 2/3 of the width and ONE horizontal cut at exactly 50% of the height — a 3-column x 2-row grid, all six panels exactly equal.\nSTYLE: quick, rough HAND-DRAWN pencil sketch — loose gestural line\ndrawing in monochrome graphite on white paper, the kind a film\nstoryboard artist dashes off in seconds. NOT photorealistic, no\npainting, no rendering, no color — monochrome graphite only.\n\nTHE LOCATION (same in all drawn panels): a mid-size Korean supermarket: shelved sales floor inside; the entrance area outside with a bicycle rack and one wall-mounted CCTV camera above; a small back security office with CCTV monitors.\n\nPURPOSE: each panel captures only the CAMERA COMPOSITION of one\nshot — framing (close-up / medium / wide), where the subject sits in\nthe frame, and continuity between panels. Keep every panel\nextremely simple: only what matters for composition.\nMOVEMENT IS SHOWN BY THE FIGURE ITSELF, NEVER BY MARKINGS: convey\ndirection of travel purely through the body — stride mid-motion,\nbody lean into the path, back view vs front view, and the stated\nsize/depth cues. Do NOT draw arrows, motion lines, path lines,\nspeed lines or any diagram markings of any kind.\n\nGEOMETRY — ANALYSE BEFORE DRAWING: from each panel's Korean shot\ntext, first work out the spatial facts and draw EXACTLY those, never\nre-stage them: (a) each figure's DISTANCE from camera (tight insert /\nclose-up / medium / full / wide — a shot about a hand or an object\nis a tight insert, not a two-shot); (b) each figure's FACING and\nMOVEMENT DIRECTION relative to camera — '뒷모습' means seen from\nBEHIND, moving AWAY from camera into the depth of the frame, not\nsideways; a profile means lateral movement; (c) relative positions\nand distances BETWEEN figures. Keep every established screen\ndirection consistent across panels (180-degree rule): a person who\nleaves in one panel keeps the same on-screen direction wherever the\nmovement appears again.\nSIZE & DEPTH ARE CONTRACTUAL: each panel states every figure's\napparent size in the frame and the explicit near/far depth order.\nDraw exactly those proportions — a farther figure MUST be drawn\nclearly smaller than a nearer one; never equalize figure sizes,\nespecially when several figures share a panel or their paths\nrelate to each other.\nDEPARTING FIGURE — a figure running/walking AWAY must be\nunmistakably departing, never approaching: seen exactly from behind\n(back of the head only, no face, no chin, no cheek line), body\nleaning into the path, mid-stride with one shoe sole toward the\ncamera. THE STATED SIZE/DEPTH WINS: draw the departing figure at\nexactly the apparent size and depth the panel's FIGURES line states\n(if stated FARTHER/small, it stays small in the distance — never\nenlarge it into the foreground for drama).\n\nCONTINUITY: all drawn panels are the SAME single location — fixed\nfeatures (doors, stairs, windows, poles, desks) keep the same\nposition and left/right relationships across panels so the panels\ncut together as one continuous scene.\n\nPANELS (one shot per panel, Korean shot text):\n\nPANEL 1: 수리영이 마트 유니폼을 입은 한국인 여성 직원을 마주보며 입을 살짝 벌린 측면 구도\n  MOVEMENT (follow exactly): static: Su-ri-young and the female supermarket employee stand facing each other in profile, Su-ri-young holding her mouth slightly open as she addresses the employee.\n  FIGURES — apparent size & depth order (follow exactly): Su-ri-young and the female employee each fill roughly ~1/2 of the frame height and occupy a comparable midground plane, with neither clearly nearer to the camera; they remain a short conversational distance apart across opposing sightlines.\nPANEL 2: 마트 밖으로 나온 수리영이 손에 든 스마트폰 액정을 내려다보는 상체\n  MOVEMENT (follow exactly): static: Having come out of the supermarket, Su-ri-young stands with her upper body angled toward the smartphone in her hand and her gaze lowered to its screen while trying to make contact.\n  FIGURES — apparent size & depth order (follow exactly): Su-ri-young’s upper body fills about ~2/3 of the frame height in the near foreground, while the smartphone is small, about ~1/10, and held within the same near plane below her face; she is the sole visible figure.\nPANEL 3: 수리영과 남자직원이 마트 밖에서 벽면의 CCTV를 올려다보는 뒷모습\n  MOVEMENT (follow exactly): static: Outside the supermarket, Su-ri-young and the male employee stand with their backs to the camera, bodies and heads tilted upward toward the wall-mounted CCTV camera as they check its coverage.\n  FIGURES — apparent size & depth order (follow exactly): Su-ri-young and the male employee each fill roughly ~1/2 of the frame height in the nearer foreground-to-midground, standing alongside each other at comparable depth, while the CCTV camera is much smaller, around ~1/15, and farther away high on the wall.\nPANEL 4: 수리영이 귀에 스마트폰을 댄 채 정면을 응시하는 상체 클로즈업\n  MOVEMENT (follow exactly): static: Su-ri-young holds a smartphone to her ear and faces forward, explaining the situation to Hye-su by phone.\n  FIGURES — apparent size & depth order (follow exactly): Su-ri-young’s upper body fills about ~3/4 of the frame height in the near foreground, with the smartphone small, around ~1/12, against her ear in the same near plane; no other person is visible.\nPANEL 5: 마트 총무과 책상 앞, 한국인 남성 보안직원과 혜수가 컴퓨터 모니터를 향해 몸을 기울인 측면\n  MOVEMENT (follow exactly): static: The male security employee and Hye-su lean forward from the desk toward the computer monitor, both directing their gaze at the CCTV footage.\n  FIGURES — apparent size & depth order (follow exactly): The security employee and Hye-su each fill roughly ~1/2 of the frame height and occupy a comparable midground depth, with neither clearly nearer to the camera; the monitor is smaller, about ~1/3, positioned directly along their converging sightlines.\nPANEL 6: 흑백 CCTV 화면 속 어두운 구석에 사람 형상이 희미하게 찍힌 모니터 클로즈업\n  MOVEMENT (follow exactly): static: A faint, unidentifiable human-shaped form remains in a dark corner of the black-and-white CCTV image, with no discernible direction of travel or body orientation.\n  FIGURES — apparent size & depth order (follow exactly): The monitor image fills nearly the entire frame and is the nearest visible object, while the indistinct human-shaped form is tiny, about ~1/10 of the frame height, and appears far away within the recorded space.\n\nABSOLUTELY NO TEXT anywhere: no words, letters, captions, labels,\nsound effects or watermarks — the ONLY allowed marking is a small\nshot number digit (1, 2, 3, 4, 5, 6) in a corner INSIDE each drawn panel.\nTHE PANEL GRID FILLS THE ENTIRE IMAGE EDGE-TO-EDGE: no outer paper\nmargin, no border area, nothing drawn outside the panels — the\nimage must be mechanically cuttable along the stated cut lines.\nPanels are separated only by thin straight black gutter lines at\nthe exact stated positions; ALL PANELS EXACTLY THE SAME SIZE."}
{"ts": "2026-07-12 05:15:17", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s34v2_conti_police_nb2", "refs": [], "ref_labels": [], "attempt": 1, "dur_s": 14.3, "bytes": 2202816, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/conti11_police_nb2.png", "prompt": "Draw ONE storyboard (conti) sheet: 6 panels made by TWO vertical cuts at exactly 1/3 and 2/3 of the width and ONE horizontal cut at exactly 50% of the height — a 3-column x 2-row grid, all six panels exactly equal.\nSTYLE: quick, rough HAND-DRAWN pencil sketch — loose gestural line\ndrawing in monochrome graphite on white paper, the kind a film\nstoryboard artist dashes off in seconds. NOT photorealistic, no\npainting, no rendering, no color — monochrome graphite only.\n\nTHE LOCATION (same in all drawn panels): a modest Korean provincial police station: a detectives' office with desks, monitors and a doorway; and the street right in front of the building.\n\nPURPOSE: each panel captures only the CAMERA COMPOSITION of one\nshot — framing (close-up / medium / wide), where the subject sits in\nthe frame, and continuity between panels. Keep every panel\nextremely simple: only what matters for composition.\nMOVEMENT IS SHOWN BY THE FIGURE ITSELF, NEVER BY MARKINGS: convey\ndirection of travel purely through the body — stride mid-motion,\nbody lean into the path, back view vs front view, and the stated\nsize/depth cues. Do NOT draw arrows, motion lines, path lines,\nspeed lines or any diagram markings of any kind.\n\nGEOMETRY — ANALYSE BEFORE DRAWING: from each panel's Korean shot\ntext, first work out the spatial facts and draw EXACTLY those, never\nre-stage them: (a) each figure's DISTANCE from camera (tight insert /\nclose-up / medium / full / wide — a shot about a hand or an object\nis a tight insert, not a two-shot); (b) each figure's FACING and\nMOVEMENT DIRECTION relative to camera — '뒷모습' means seen from\nBEHIND, moving AWAY from camera into the depth of the frame, not\nsideways; a profile means lateral movement; (c) relative positions\nand distances BETWEEN figures. Keep every established screen\ndirection consistent across panels (180-degree rule): a person who\nleaves in one panel keeps the same on-screen direction wherever the\nmovement appears again.\nSIZE & DEPTH ARE CONTRACTUAL: each panel states every figure's\napparent size in the frame and the explicit near/far depth order.\nDraw exactly those proportions — a farther figure MUST be drawn\nclearly smaller than a nearer one; never equalize figure sizes,\nespecially when several figures share a panel or their paths\nrelate to each other.\nDEPARTING FIGURE — a figure running/walking AWAY must be\nunmistakably departing, never approaching: seen exactly from behind\n(back of the head only, no face, no chin, no cheek line), body\nleaning into the path, mid-stride with one shoe sole toward the\ncamera. THE STATED SIZE/DEPTH WINS: draw the departing figure at\nexactly the apparent size and depth the panel's FIGURES line states\n(if stated FARTHER/small, it stays small in the distance — never\nenlarge it into the foreground for drama).\n\nCONTINUITY: all drawn panels are the SAME single location — fixed\nfeatures (doors, stairs, windows, poles, desks) keep the same\nposition and left/right relationships across panels so the panels\ncut together as one continuous scene.\n\nPANELS (one shot per panel, Korean shot text):\n\nPANEL 1: 혜수가 스마트폰 액정을 김형사 쪽으로 불쑥 내민 순간\n  MOVEMENT (follow exactly): Hye-su abruptly thrusts the smartphone forward from her side toward Detective Kim, presenting Min-sook's saved number while remaining inside the office.\n  FIGURES — apparent size & depth order (follow exactly): Hye-su and Detective Kim each fill roughly ~1/2 of the frame height, with Hye-su NEARER to the camera and Detective Kim FARTHER across from her. The extended smartphone fills about ~1/5 of the frame height, projecting from Hye-su toward Detective Kim and lying between their positions.\nPANEL 2: 수리영이 두 눈을 크게 뜨고 입을 살짝 벌린 굳은 얼굴 클로즈업\n  MOVEMENT (follow exactly): static: Su-ri-young holds rigid with fear and shock, her widened eyes fixed forward and her lips slightly parted.\n  FIGURES — apparent size & depth order (follow exactly): Su-ri-young's face fills roughly ~3/4 of the frame height; she is the sole and therefore NEAREST visible figure, with no farther person shown.\nPANEL 3: 모니터 화면에 바다 지도가 펼쳐져 있고 붉은색 핀과 좌표 숫자가 떠 있는 클로즈업\n  MOVEMENT (follow exactly): static: the monitor displays a sea map with a red location pin and coordinate figures, with no physical movement in frame.\n  FIGURES — apparent size & depth order (follow exactly): The monitor image fills nearly the full frame and is the sole, NEAREST core object; the map, pin, and coordinate text occupy the same flat display plane with no farther figure visible.\nPANEL 4: 수리영이 메모지가 들어간 겉옷 주머니에 손을 넣은 채 사무실 출입문을 향해 몸을 돌린 정지 순간\n  MOVEMENT (follow exactly): static: Su-ri-young stands tensely with one hand inside the coat pocket holding the folded note, her body turned toward the office exit and poised to leave the room.\n  FIGURES — apparent size & depth order (follow exactly): Su-ri-young fills roughly ~2/3 of the frame height and is NEARER to the camera, while the office doorway is FARTHER in the direction she faces. Her intended path runs from her position inside the office toward and through that doorway.\nPANEL 5: 경찰서 건물 밖 도로 위에서 수리영이 자전거 안장에 앉아 상체를 앞으로 숙인 채 머리카락이 뒤로 흩날리는 측면\n  MOVEMENT (follow exactly): Su-ri-young rides the bicycle along the road outside the police station, moving laterally across the camera's side view with her torso pitched forward over the handlebars and her hair streaming backward, neither directly toward nor directly away from the camera.\n  FIGURES — apparent size & depth order (follow exactly): Su-ri-young fills roughly ~1/2 of the frame height, and the bicycle-and-rider silhouette together fills about ~2/3; both are NEARER to the camera than the FARTHER police-station exterior. Her path continues along the road parallel to the image plane.\n\nThere are 5 shots but 6 panel slots: draw the shots in\npanels 1..5 and leave the remaining panel(s) COMPLETELY\nBLANK PURE WHITE — empty white paper, not even a frame line inside.\n\nABSOLUTELY NO TEXT anywhere: no words, letters, captions, labels,\nsound effects or watermarks — the ONLY allowed marking is a small\nshot number digit (1, 2, 3, 4, 5) in a corner INSIDE each drawn panel.\nTHE PANEL GRID FILLS THE ENTIRE IMAGE EDGE-TO-EDGE: no outer paper\nmargin, no border area, nothing drawn outside the panels — the\nimage must be mechanically cuttable along the stated cut lines.\nPanels are separated only by thin straight black gutter lines at\nthe exact stated positions; ALL PANELS EXACTLY THE SAME SIZE."}
{"ts": "2026-07-12 05:20:21", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s34run_S1sh1_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/panels/S1sh1.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/efc879db-5f82-4f77-bf83-75e3d2d41f1c.png"], "ref_labels": ["STORYBOARD PANEL — this shot's camera framing, figure placement and depth order; composition source ONLY — the output is a fully photorealistic photograph, never a sketch; do not copy its line style, paper texture or borders.", "CHARACTER REFERENCE — 한국인 남자: the exact person appearing in this shot; match face, hair and build exactly."], "attempt": 1, "dur_s": 15.9, "bytes": 3043523, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills/S1sh1_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): dusk, just after sunset.\n\nSHOT TEXT (authoritative, Korean): 한쪽 신발이 벗겨진 한국인 남자가 우거진 수풀 사이를 달리며 한 발을 허공에 내딛고 있는 도중의 전신 구도\n\nMOVEMENT (follow exactly): The terrified, injured Korean man flees forward through dense undergrowth with a strained, unsteady running posture, one shoe missing, one foot suspended mid-stride, and dark stains flowing from the large bite wound on his thigh; whether he runs toward or away from the camera is not specified.\n\nFIGURES — size & depth (follow exactly): His full body fills roughly ~4/5 of the frame height; as the sole figure, he is both the NEAREST and FARTHEST person, with the dense brush surrounding and partly obstructing his route.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of the referenced people (한국인 남자) matched exactly to their reference photo — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-12 05:20:43", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s34run_S1sh4_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/panels/S1sh4.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills/S1sh1_nb2.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/efc879db-5f82-4f77-bf83-75e3d2d41f1c.png"], "ref_labels": ["STORYBOARD PANEL — this shot's camera framing, figure placement and depth order; composition source ONLY — the output is a fully photorealistic photograph, never a sketch; do not copy its line style, paper texture or borders.", "PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing.", "CHARACTER REFERENCE — 한국인 남자: the exact person appearing in this shot; match face, hair and build exactly."], "attempt": 1, "dur_s": 22.0, "bytes": 2943680, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills/S1sh4_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): dusk, just after sunset.\n\nSHOT TEXT (authoritative, Korean): 검은 형상의 인영이 허공에 뛰어오른 채 한국인 남자를 향해 두 팔을 뻗고 있는 순간\n\nMOVEMENT (follow exactly): A black silhouetted figure springs through the air toward the terrified Korean man, extending both arms to tackle him as he flees through the undergrowth; their movement toward or away from the camera is not specified.\n\nFIGURES — size & depth (follow exactly): The airborne black figure and the man each occupy roughly ~1/2–2/3 of the frame height, with the attacker closing the remaining distance along a direct collision path toward the man; which figure is NEARER or FARTHER to the camera is not specified.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of the referenced people (한국인 남자) matched exactly to their reference photo — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-12 05:21:00", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s34run_S3sh3_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/panels/S3sh3.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/bddad176-aa6a-4a71-b5d3-d02e36e19657.png"], "ref_labels": ["STORYBOARD PANEL — this shot's camera framing, figure placement and depth order; composition source ONLY — the output is a fully photorealistic photograph, never a sketch; do not copy its line style, paper texture or borders.", "CHARACTER REFERENCE — 혜수: the exact person appearing in this shot; match face, hair and build exactly."], "attempt": 1, "dur_s": 16.3, "bytes": 2763038, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills/S3sh3_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): daytime.\n\nSHOT TEXT (authoritative, Korean): 형사 무리 한가운데 서서 손가락으로 한쪽을 가리키는 혜수의 상체\n\nMOVEMENT (follow exactly): static: Hyesu stands upright amid the detectives, her upper body oriented toward one side as she points there with a finger while directing the investigation.\n\nFIGURES — size & depth (follow exactly): Hyesu’s upper body fills roughly ~2/3 of the frame height, while the surrounding detectives appear as smaller or partial figures around her; Hyesu is the principal middle figure, but no specific detective is established as definitively NEARER or FARTHER than her.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of the referenced people (혜수) matched exactly to their reference photo — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-12 05:21:17", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s34run_S15sh2_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/panels/S15sh2.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/bddad176-aa6a-4a71-b5d3-d02e36e19657.png"], "ref_labels": ["STORYBOARD PANEL — this shot's camera framing, figure placement and depth order; composition source ONLY — the output is a fully photorealistic photograph, never a sketch; do not copy its line style, paper texture or borders.", "CHARACTER REFERENCE — 혜수: the exact person appearing in this shot; match face, hair and build exactly."], "attempt": 1, "dur_s": 17.4, "bytes": 1833152, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills/S15sh2_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\n\nSHOT TEXT (authoritative, Korean): 혜수의 손이 음료수 캔을 쥔 채 수리영 앞으로 내밀어진 순간\n\nMOVEMENT (follow exactly): Hye-su extends her hand and the drink can from her side into the space directly in front of Suri-young, who remains seated and blankly oriented toward the sea.\n\nFIGURES — size & depth (follow exactly): Hye-su's hand and can appear large at roughly ~1/3 of the frame height and are NEARER to the camera; seated Suri-young appears around ~1/2 of the frame height and is FARTHER behind the offered can.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of the referenced people (혜수) matched exactly to their reference photo — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-12 05:21:42", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s34run_S15sh6_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/panels/S15sh6.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills/S15sh2_nb2.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/39864973-d3d5-4886-bfb2-f8db608a005b.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/bddad176-aa6a-4a71-b5d3-d02e36e19657.png"], "ref_labels": ["STORYBOARD PANEL — this shot's camera framing, figure placement and depth order; composition source ONLY — the output is a fully photorealistic photograph, never a sketch; do not copy its line style, paper texture or borders.", "PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing.", "CHARACTER REFERENCE — 수리영: the exact person appearing in this shot; match face, hair and build exactly.", "CHARACTER REFERENCE — 혜수: the exact person appearing in this shot; match face, hair and build exactly."], "attempt": 1, "dur_s": 25.0, "bytes": 2291309, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills/S15sh6_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\n\nSHOT TEXT (authoritative, Korean): 멀리서 혜수의 전신과 한 발을 공중에 띄운 mid-stride 자세로 달리는 수리영의 뒷모습을 한 프레임에 담은 넓은 구도\n\nMOVEMENT (follow exactly): Suri-young runs away from Hye-su and away from the camera with her back visible and one foot airborne mid-stride, while Hye-su remains behind facing her path.\n\nFIGURES — size & depth (follow exactly): Hye-su's full body appears about ~1/3 of the frame height and is NEARER to the camera, while the departing Suri-young appears smaller at ~1/5 and FARTHER along the route away. The distance between them increases as Suri-young runs ahead and Hye-su stays behind.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of the referenced people (수리영, 혜수) matched exactly to their reference photo — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-12 05:21:58", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s34run_S10sh6_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/panels/S10sh6.png"], "ref_labels": ["STORYBOARD PANEL — this shot's camera framing, figure placement and depth order; composition source ONLY — the output is a fully photorealistic photograph, never a sketch; do not copy its line style, paper texture or borders."], "attempt": 1, "dur_s": 15.5, "bytes": 1865058, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills/S10sh6_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\n\nSHOT TEXT (authoritative, Korean): 현관 철문이 아주 살짝 열린 틈새로 보이는 어두운 실내와 신발 앞코\n\nMOVEMENT (follow exactly): The stranger's shoe toe advances away from the rooftop camera through the barely opened iron door and into the dark room.\n\nFIGURES — size & depth (follow exactly): The shoe toe is small, about ~1/6 of frame height, and is FARTHER than the NEARER iron door and its narrow opening; the dark interior recedes farthest beyond it.\n\nNo people appear unless the shot text itself says so.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-12 05:22:18", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s34run_S10sh7_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/panels/S10sh7.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills/S10sh6_nb2.png"], "ref_labels": ["STORYBOARD PANEL — this shot's camera framing, figure placement and depth order; composition source ONLY — the output is a fully photorealistic photograph, never a sketch; do not copy its line style, paper texture or borders.", "PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing."], "attempt": 1, "dur_s": 20.7, "bytes": 2002037, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills/S10sh7_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\n\nSHOT TEXT (authoritative, Korean): 불이 켜진 옥탑방 창문에 거대한 그림자가 작은 그림자의 어깨 쪽으로 고개를 꺾은 형태가 맺혀 있는 정지 구도\n\nMOVEMENT (follow exactly): static: the large shadow looms over the smaller shadow, its head sharply bent toward the smaller figure's shoulder as if biting it, while the smaller figure is pinned beneath the attack.\n\nFIGURES — size & depth (follow exactly): The large shadow fills roughly ~3/4 of frame height and overlaps the smaller shadow, which fills about ~1/2; both appear on the same FAR window plane, behind the NEARER window surface, with no clear depth separation between them.\n\nNo people appear unless the shot text itself says so.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-12 05:22:33", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s34run_S11sh4_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/panels/S11sh4.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/39864973-d3d5-4886-bfb2-f8db608a005b.png"], "ref_labels": ["STORYBOARD PANEL — this shot's camera framing, figure placement and depth order; composition source ONLY — the output is a fully photorealistic photograph, never a sketch; do not copy its line style, paper texture or borders.", "CHARACTER REFERENCE — 수리영: the exact person appearing in this shot; match face, hair and build exactly."], "attempt": 1, "dur_s": 15.0, "bytes": 2717655, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills/S11sh4_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\n\nSHOT TEXT (authoritative, Korean): 철제 파이프 난간을 손으로 잡은 수리영이 코끝을 찡그린 채 계단 중간에 서 있는 얼굴 클로즈업\n\nMOVEMENT (follow exactly): static: Su-ri-young pauses midway up the stairs, gripping the pipe railing with a tense hand and wrinkling her nose at the sudden foul smell while facing upward.\n\nFIGURES — size & depth (follow exactly): Her close-up face fills about ~2/3 of frame height and is the NEAREST figure; her railing hand is slightly FARTHER, while the stairway behind her recedes farthest.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of the referenced people (수리영) matched exactly to their reference photo — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-12 05:22:54", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s34run_S11sh5_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/panels/S11sh5.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills/S11sh4_nb2.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/39864973-d3d5-4886-bfb2-f8db608a005b.png"], "ref_labels": ["STORYBOARD PANEL — this shot's camera framing, figure placement and depth order; composition source ONLY — the output is a fully photorealistic photograph, never a sketch; do not copy its line style, paper texture or borders.", "PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing.", "CHARACTER REFERENCE — 수리영: the exact person appearing in this shot; match face, hair and build exactly."], "attempt": 1, "dur_s": 20.9, "bytes": 2910337, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills/S11sh5_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\n\nSHOT TEXT (authoritative, Korean): 옥상에 선 수리영의 시선 끝에 반쯤 열려 있는 어두운 현관 철문이 보이는 정면 구도\n\nMOVEMENT (follow exactly): static: Su-ri-young stands on the rooftop facing the half-open iron entrance door, her attention fixed on the dark opening ahead.\n\nFIGURES — size & depth (follow exactly): Su-ri-young occupies roughly ~1/2 of frame height in the NEARER plane, while the half-open door is FARTHER ahead and fills about ~1/3; her sightline runs directly across the rooftop into its dark gap.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of the referenced people (수리영) matched exactly to their reference photo — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-12 05:23:09", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s34run_S13sh4_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/panels/S13sh4.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/39864973-d3d5-4886-bfb2-f8db608a005b.png"], "ref_labels": ["STORYBOARD PANEL — this shot's camera framing, figure placement and depth order; composition source ONLY — the output is a fully photorealistic photograph, never a sketch; do not copy its line style, paper texture or borders.", "CHARACTER REFERENCE — 수리영: the exact person appearing in this shot; match face, hair and build exactly."], "attempt": 1, "dur_s": 14.8, "bytes": 2742977, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills/S13sh4_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\n\nSHOT TEXT (authoritative, Korean): 수리영이 초점을 잃은 눈으로 허공을 응시하며 서 있는 모습\n\nMOVEMENT (follow exactly): static: Su-ri-young stands motionless after fleeing downstairs, her shocked body slack and her unfocused eyes staring into empty space.\n\nFIGURES — size & depth (follow exactly): Su-ri-young fills roughly ~1/2 of frame height and is the sole, NEAREST figure, with the surrounding exterior space FARTHER behind her.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of the referenced people (수리영) matched exactly to their reference photo — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-12 05:23:29", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s34run_S13sh6_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/panels/S13sh6.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills/S13sh4_nb2.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/39864973-d3d5-4886-bfb2-f8db608a005b.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/bddad176-aa6a-4a71-b5d3-d02e36e19657.png"], "ref_labels": ["STORYBOARD PANEL — this shot's camera framing, figure placement and depth order; composition source ONLY — the output is a fully photorealistic photograph, never a sketch; do not copy its line style, paper texture or borders.", "PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing.", "CHARACTER REFERENCE — 수리영: the exact person appearing in this shot; match face, hair and build exactly.", "CHARACTER REFERENCE — 혜수: the exact person appearing in this shot; match face, hair and build exactly."], "attempt": 1, "dur_s": 20.3, "bytes": 2688707, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills/S13sh6_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\n\nSHOT TEXT (authoritative, Korean): 고개를 든 채 혜수의 얼굴을 마주보고 있는 수리영의 측면 구도\n\nMOVEMENT (follow exactly): static: Su-ri-young keeps her head raised toward Hye-su, meeting her face from the side with a stunned, unfocused posture.\n\nFIGURES — size & depth (follow exactly): Su-ri-young and Hye-su each fill roughly ~1/2 of frame height in profile and stand at approximately the same camera distance, neither clearly NEARER than the other; they face one another at close conversational range.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of the referenced people (수리영, 혜수) matched exactly to their reference photo — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-12 05:23:44", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s34run_S12sh11_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/panels/S12sh11.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/1d7902d5-8b31-4ab6-9e6a-5da6ab5d842f.png"], "ref_labels": ["STORYBOARD PANEL — this shot's camera framing, figure placement and depth order; composition source ONLY — the output is a fully photorealistic photograph, never a sketch; do not copy its line style, paper texture or borders.", "CHARACTER REFERENCE — 민숙 (환시): the exact person appearing in this shot; match face, hair and build exactly."], "attempt": 1, "dur_s": 15.0, "bytes": 2261005, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills/S12sh11_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\n\nSHOT TEXT (authoritative, Korean): 옷과 피부가 힘없이 무너져 미동이 없는 민숙이 바닥에 주저앉아 고개를 푹 숙인 정지 상태\n\nMOVEMENT (follow exactly): static: Minsuk is utterly motionless, collapsed on the floor, collapsed in a seated fall with her head hanging forward, torso slumped asymmetrically, limp limbs, and her weight fully fallen rather than held upright.\n\nFIGURES — size & depth (follow exactly): Minsuk fills roughly 2/3 of the frame height and is the NEARER subject, while the dark-stained floor and room behind her are FARTHER. Her dark-stained clothes and skin remain visible across her collapsed body.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of the referenced people (민숙 (환시)) matched exactly to their reference photo — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-12 05:24:03", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s34run_S12sh21_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/panels/S12sh21.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills/S12sh11_nb2.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/1d7902d5-8b31-4ab6-9e6a-5da6ab5d842f.png"], "ref_labels": ["STORYBOARD PANEL — this shot's camera framing, figure placement and depth order; composition source ONLY — the output is a fully photorealistic photograph, never a sketch; do not copy its line style, paper texture or borders.", "PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing.", "CHARACTER REFERENCE — 민숙 (환시): the exact person appearing in this shot; match face, hair and build exactly."], "attempt": 1, "dur_s": 18.6, "bytes": 2324412, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills/S12sh21_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\n\nSHOT TEXT (authoritative, Korean): 침대 위쪽 벽면에 붉은색 원형 표식이 절반쯤 나타난 상태\n\nMOVEMENT (follow exactly): static: the half-formed red circle remains on the wall above the bed, with no person crossing the frame.\n\nFIGURES — size & depth (follow exactly): The red circular mark fills about 1/2 of the frame height and is FARTHER on the wall, while the upper part of the bed is NEARER in the foreground.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of the referenced people (민숙 (환시)) matched exactly to their reference photo — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-12 05:24:22", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s34run_S14sh5_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/panels/S14sh5.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills/S12sh21_nb2.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/39864973-d3d5-4886-bfb2-f8db608a005b.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/bddad176-aa6a-4a71-b5d3-d02e36e19657.png"], "ref_labels": ["STORYBOARD PANEL — this shot's camera framing, figure placement and depth order; composition source ONLY — the output is a fully photorealistic photograph, never a sketch; do not copy its line style, paper texture or borders.", "PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing.", "CHARACTER REFERENCE — 수리영: the exact person appearing in this shot; match face, hair and build exactly.", "CHARACTER REFERENCE — 혜수: the exact person appearing in this shot; match face, hair and build exactly."], "attempt": 1, "dur_s": 19.1, "bytes": 1953273, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills/S14sh5_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\n\nSHOT TEXT (authoritative, Korean): 어두운 얼룩 없이 깨끗한 방 내부 전경\n\nMOVEMENT (follow exactly): static: the excessively clean, dark stainsless room stands empty, with no one entering, leaving, or moving through it.\n\nFIGURES — size & depth (follow exactly): The empty room fills the full frame, with the NEARER side of the room opening toward the camera and the clean back wall and far corners appearing FARTHER away. No person, dark stainsstain, red mark, or body is visible.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of the referenced people (수리영, 혜수) matched exactly to their reference photo — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-12 05:24:37", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s34run_S18sh11_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/panels/S18sh11.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/39864973-d3d5-4886-bfb2-f8db608a005b.png"], "ref_labels": ["STORYBOARD PANEL — this shot's camera framing, figure placement and depth order; composition source ONLY — the output is a fully photorealistic photograph, never a sketch; do not copy its line style, paper texture or borders.", "CHARACTER REFERENCE — 수리영: the exact person appearing in this shot; match face, hair and build exactly."], "attempt": 1, "dur_s": 14.8, "bytes": 2230113, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills/S18sh11_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): daytime.\n\nSHOT TEXT (authoritative, Korean): 거울 속 반사된 욕실 타일 벽면에 붉은색 원형 표식이 절반쯤 나타난 상태\n\nMOVEMENT (follow exactly): static: a half-formed red circle is visible on the bathroom tile wall only through the mirror reflection, with no person moving through the shot.\n\nFIGURES — size & depth (follow exactly): The reflected red circle fills roughly 1/3 to 1/2 of the frame height; the mirror surface is NEARER to the camera, while the reflected tiled wall and mark read as FARTHER within the reflection.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of the referenced people (수리영) matched exactly to their reference photo — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-12 05:24:52", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s34run_S25sh1_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/panels/S25sh1.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/39864973-d3d5-4886-bfb2-f8db608a005b.png"], "ref_labels": ["STORYBOARD PANEL — this shot's camera framing, figure placement and depth order; composition source ONLY — the output is a fully photorealistic photograph, never a sketch; do not copy its line style, paper texture or borders.", "CHARACTER REFERENCE — 수리영: the exact person appearing in this shot; match face, hair and build exactly."], "attempt": 1, "dur_s": 15.5, "bytes": 2520877, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills/S25sh1_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): dusk, just after sunset.\n\nSHOT TEXT (authoritative, Korean): 해질 무렵 옥탑방 거실, 흙 묻은 발자국들이 찍힌 바닥과 쓰러진 식탁 의자들이 보이는 전경\n\nMOVEMENT (follow exactly): static: muddy footprints lie across the living-room floor among overturned dining chairs, but their direction of travel cannot be determined from the shot.\n\nFIGURES — size & depth (follow exactly): The living-room interior fills the frame; the muddy footprints spread across the NEARER floor, while the overturned dining chairs are FARTHER around the table. Individual footprints appear small, roughly 1/10 of the frame height, while the chairs occupy about 1/3 to 1/2.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of the referenced people (수리영) matched exactly to their reference photo — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-12 05:25:13", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s34run_S25sh5_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/panels/S25sh5.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills/S12sh21_nb2.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/39864973-d3d5-4886-bfb2-f8db608a005b.png"], "ref_labels": ["STORYBOARD PANEL — this shot's camera framing, figure placement and depth order; composition source ONLY — the output is a fully photorealistic photograph, never a sketch; do not copy its line style, paper texture or borders.", "PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing.", "CHARACTER REFERENCE — 수리영: the exact person appearing in this shot; match face, hair and build exactly."], "attempt": 1, "dur_s": 20.4, "bytes": 2470441, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills/S25sh5_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): dusk, just after sunset.\n\nSHOT TEXT (authoritative, Korean): 붉은 원 한가운데 얼룩진 낡은 흑백 사진이 벽에 꽂혀 있는 타이트 샷\n\nMOVEMENT (follow exactly): static: the stained old photograph remains fixed at the center of the red circle on the wall, with no hand or person entering the frame.\n\nFIGURES — size & depth (follow exactly): The photograph fills roughly 1/2 to 2/3 of the frame height and is NEARER than the wall surface, while the red circle extends FARTHER behind it across the wall.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of the referenced people (수리영) matched exactly to their reference photo — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-12 05:25:28", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s34run_S8sh3_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/panels/S8sh3.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/39864973-d3d5-4886-bfb2-f8db608a005b.png"], "ref_labels": ["STORYBOARD PANEL — this shot's camera framing, figure placement and depth order; composition source ONLY — the output is a fully photorealistic photograph, never a sketch; do not copy its line style, paper texture or borders.", "CHARACTER REFERENCE — 수리영: the exact person appearing in this shot; match face, hair and build exactly."], "attempt": 1, "dur_s": 15.5, "bytes": 2674142, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills/S8sh3_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): dusk, just after sunset.\n\nSHOT TEXT (authoritative, Korean): 수리영이 마트 유니폼을 입은 한국인 여성 직원을 마주보며 입을 살짝 벌린 측면 구도\n\nMOVEMENT (follow exactly): static: Su-ri-young and the female supermarket employee stand facing each other in profile, Su-ri-young holding her mouth slightly open as she addresses the employee.\n\nFIGURES — size & depth (follow exactly): Su-ri-young and the female employee each fill roughly ~1/2 of the frame height and occupy a comparable midground plane, with neither clearly nearer to the camera; they remain a short conversational distance apart across opposing sightlines.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of the referenced people (수리영) matched exactly to their reference photo — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-12 05:25:49", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s34run_S8sh5_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/panels/S8sh5.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills/S8sh3_nb2.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/39864973-d3d5-4886-bfb2-f8db608a005b.png"], "ref_labels": ["STORYBOARD PANEL — this shot's camera framing, figure placement and depth order; composition source ONLY — the output is a fully photorealistic photograph, never a sketch; do not copy its line style, paper texture or borders.", "PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing.", "CHARACTER REFERENCE — 수리영: the exact person appearing in this shot; match face, hair and build exactly."], "attempt": 1, "dur_s": 20.7, "bytes": 2450427, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills/S8sh5_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): dusk, just after sunset.\n\nSHOT TEXT (authoritative, Korean): 마트 밖으로 나온 수리영이 손에 든 스마트폰 액정을 내려다보는 상체\n\nMOVEMENT (follow exactly): static: Having come out of the supermarket, Su-ri-young stands with her upper body angled toward the smartphone in her hand and her gaze lowered to its screen while trying to make contact.\n\nFIGURES — size & depth (follow exactly): Su-ri-young’s upper body fills about ~2/3 of the frame height in the near foreground, while the smartphone is small, about ~1/10, and held within the same near plane below her face; she is the sole visible figure.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of the referenced people (수리영) matched exactly to their reference photo — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-12 05:26:04", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s34run_S19sh5_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/panels/S19sh5.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/39864973-d3d5-4886-bfb2-f8db608a005b.png"], "ref_labels": ["STORYBOARD PANEL — this shot's camera framing, figure placement and depth order; composition source ONLY — the output is a fully photorealistic photograph, never a sketch; do not copy its line style, paper texture or borders.", "CHARACTER REFERENCE — 수리영: the exact person appearing in this shot; match face, hair and build exactly."], "attempt": 1, "dur_s": 14.9, "bytes": 2273371, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills/S19sh5_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): daytime.\n\nSHOT TEXT (authoritative, Korean): 수리영과 남자직원이 마트 밖에서 벽면의 CCTV를 올려다보는 뒷모습\n\nMOVEMENT (follow exactly): static: Outside the supermarket, Su-ri-young and the male employee stand with their backs to the camera, bodies and heads tilted upward toward the wall-mounted CCTV camera as they check its coverage.\n\nFIGURES — size & depth (follow exactly): Su-ri-young and the male employee each fill roughly ~1/2 of the frame height in the nearer foreground-to-midground, standing alongside each other at comparable depth, while the CCTV camera is much smaller, around ~1/15, and farther away high on the wall.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of the referenced people (수리영) matched exactly to their reference photo — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-12 05:26:25", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s34run_S19sh6_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/panels/S19sh6.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills/S19sh5_nb2.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/39864973-d3d5-4886-bfb2-f8db608a005b.png"], "ref_labels": ["STORYBOARD PANEL — this shot's camera framing, figure placement and depth order; composition source ONLY — the output is a fully photorealistic photograph, never a sketch; do not copy its line style, paper texture or borders.", "PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing.", "CHARACTER REFERENCE — 수리영: the exact person appearing in this shot; match face, hair and build exactly."], "attempt": 1, "dur_s": 20.5, "bytes": 2173805, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills/S19sh6_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): daytime.\n\nSHOT TEXT (authoritative, Korean): 수리영이 귀에 스마트폰을 댄 채 정면을 응시하는 상체 클로즈업\n\nMOVEMENT (follow exactly): static: Su-ri-young holds a smartphone to her ear and faces forward, explaining the situation to Hye-su by phone.\n\nFIGURES — size & depth (follow exactly): Su-ri-young’s upper body fills about ~3/4 of the frame height in the near foreground, with the smartphone small, around ~1/12, against her ear in the same near plane; no other person is visible.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of the referenced people (수리영) matched exactly to their reference photo — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-12 05:26:39", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s34run_S20sh1_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/panels/S20sh1.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/bddad176-aa6a-4a71-b5d3-d02e36e19657.png"], "ref_labels": ["STORYBOARD PANEL — this shot's camera framing, figure placement and depth order; composition source ONLY — the output is a fully photorealistic photograph, never a sketch; do not copy its line style, paper texture or borders.", "CHARACTER REFERENCE — 혜수: the exact person appearing in this shot; match face, hair and build exactly."], "attempt": 1, "dur_s": 15.0, "bytes": 2478038, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills/S20sh1_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): interior ambient light.\n\nSHOT TEXT (authoritative, Korean): 마트 총무과 책상 앞, 한국인 남성 보안직원과 혜수가 컴퓨터 모니터를 향해 몸을 기울인 측면\n\nMOVEMENT (follow exactly): static: The male security employee and Hye-su lean forward from the desk toward the computer monitor, both directing their gaze at the CCTV footage.\n\nFIGURES — size & depth (follow exactly): The security employee and Hye-su each fill roughly ~1/2 of the frame height and occupy a comparable midground depth, with neither clearly nearer to the camera; the monitor is smaller, about ~1/3, positioned directly along their converging sightlines.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of the referenced people (혜수) matched exactly to their reference photo — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-12 05:26:57", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s34run_S20sh3_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/panels/S20sh3.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills/S20sh1_nb2.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/bddad176-aa6a-4a71-b5d3-d02e36e19657.png"], "ref_labels": ["STORYBOARD PANEL — this shot's camera framing, figure placement and depth order; composition source ONLY — the output is a fully photorealistic photograph, never a sketch; do not copy its line style, paper texture or borders.", "PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing.", "CHARACTER REFERENCE — 혜수: the exact person appearing in this shot; match face, hair and build exactly."], "attempt": 1, "dur_s": 18.0, "bytes": 2562960, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills/S20sh3_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): interior ambient light.\n\nSHOT TEXT (authoritative, Korean): 흑백 CCTV 화면 속 어두운 구석에 사람 형상이 희미하게 찍힌 모니터 클로즈업\n\nMOVEMENT (follow exactly): static: A faint, unidentifiable human-shaped form remains in a dark corner of the black-and-white CCTV image, with no discernible direction of travel or body orientation.\n\nFIGURES — size & depth (follow exactly): The monitor image fills nearly the entire frame and is the nearest visible object, while the indistinct human-shaped form is tiny, about ~1/10 of the frame height, and appears far away within the recorded space.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of the referenced people (혜수) matched exactly to their reference photo — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-12 05:27:14", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s34run_S16sh3_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/panels/S16sh3.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/bddad176-aa6a-4a71-b5d3-d02e36e19657.png"], "ref_labels": ["STORYBOARD PANEL — this shot's camera framing, figure placement and depth order; composition source ONLY — the output is a fully photorealistic photograph, never a sketch; do not copy its line style, paper texture or borders.", "CHARACTER REFERENCE — 혜수: the exact person appearing in this shot; match face, hair and build exactly."], "attempt": 1, "dur_s": 16.8, "bytes": 2781415, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills/S16sh3_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\n\nSHOT TEXT (authoritative, Korean): 혜수가 스마트폰 액정을 김형사 쪽으로 불쑥 내민 순간\n\nMOVEMENT (follow exactly): Hye-su abruptly thrusts the smartphone forward from her side toward Detective Kim, presenting Min-sook's saved number while remaining inside the office.\n\nFIGURES — size & depth (follow exactly): Hye-su and Detective Kim each fill roughly ~1/2 of the frame height, with Hye-su NEARER to the camera and Detective Kim FARTHER across from her. The extended smartphone fills about ~1/5 of the frame height, projecting from Hye-su toward Detective Kim and lying between their positions.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of the referenced people (혜수) matched exactly to their reference photo — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-12 05:27:30", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s34run_S21sh7_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/panels/S21sh7.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/39864973-d3d5-4886-bfb2-f8db608a005b.png"], "ref_labels": ["STORYBOARD PANEL — this shot's camera framing, figure placement and depth order; composition source ONLY — the output is a fully photorealistic photograph, never a sketch; do not copy its line style, paper texture or borders.", "CHARACTER REFERENCE — 수리영: the exact person appearing in this shot; match face, hair and build exactly."], "attempt": 1, "dur_s": 15.9, "bytes": 2072902, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills/S21sh7_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): daytime.\n\nSHOT TEXT (authoritative, Korean): 수리영이 두 눈을 크게 뜨고 입을 살짝 벌린 굳은 얼굴 클로즈업\n\nMOVEMENT (follow exactly): static: Su-ri-young holds rigid with fear and shock, her widened eyes fixed forward and her lips slightly parted.\n\nFIGURES — size & depth (follow exactly): Su-ri-young's face fills roughly ~3/4 of the frame height; she is the sole and therefore NEAREST visible figure, with no farther person shown.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of the referenced people (수리영) matched exactly to their reference photo — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-12 05:27:49", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s34run_S21sh10_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/panels/S21sh10.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills/S21sh7_nb2.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/39864973-d3d5-4886-bfb2-f8db608a005b.png"], "ref_labels": ["STORYBOARD PANEL — this shot's camera framing, figure placement and depth order; composition source ONLY — the output is a fully photorealistic photograph, never a sketch; do not copy its line style, paper texture or borders.", "PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing.", "CHARACTER REFERENCE — 수리영: the exact person appearing in this shot; match face, hair and build exactly."], "attempt": 1, "dur_s": 18.8, "bytes": 2516403, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills/S21sh10_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): daytime.\n\nSHOT TEXT (authoritative, Korean): 모니터 화면에 바다 지도가 펼쳐져 있고 붉은색 핀과 좌표 숫자가 떠 있는 클로즈업\n\nMOVEMENT (follow exactly): static: the monitor displays a sea map with a red location pin and coordinate figures, with no physical movement in frame.\n\nFIGURES — size & depth (follow exactly): The monitor image fills nearly the full frame and is the sole, NEAREST core object; the map, pin, and coordinate text occupy the same flat display plane with no farther figure visible.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of the referenced people (수리영) matched exactly to their reference photo — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-12 05:28:09", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s34run_S21sh12_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/panels/S21sh12.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills/S21sh10_nb2.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/39864973-d3d5-4886-bfb2-f8db608a005b.png"], "ref_labels": ["STORYBOARD PANEL — this shot's camera framing, figure placement and depth order; composition source ONLY — the output is a fully photorealistic photograph, never a sketch; do not copy its line style, paper texture or borders.", "PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing.", "CHARACTER REFERENCE — 수리영: the exact person appearing in this shot; match face, hair and build exactly."], "attempt": 1, "dur_s": 19.8, "bytes": 2081850, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills/S21sh12_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): daytime.\n\nSHOT TEXT (authoritative, Korean): 수리영이 메모지가 들어간 겉옷 주머니에 손을 넣은 채 사무실 출입문을 향해 몸을 돌린 정지 순간\n\nMOVEMENT (follow exactly): static: Su-ri-young stands tensely with one hand inside the coat pocket holding the folded note, her body turned toward the office exit and poised to leave the room.\n\nFIGURES — size & depth (follow exactly): Su-ri-young fills roughly ~2/3 of the frame height and is NEARER to the camera, while the office doorway is FARTHER in the direction she faces. Her intended path runs from her position inside the office toward and through that doorway.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of the referenced people (수리영) matched exactly to their reference photo — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-12 05:28:31", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s34run_S22sh1_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/panels/S22sh1.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills/S21sh12_nb2.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/39864973-d3d5-4886-bfb2-f8db608a005b.png"], "ref_labels": ["STORYBOARD PANEL — this shot's camera framing, figure placement and depth order; composition source ONLY — the output is a fully photorealistic photograph, never a sketch; do not copy its line style, paper texture or borders.", "PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing.", "CHARACTER REFERENCE — 수리영: the exact person appearing in this shot; match face, hair and build exactly."], "attempt": 1, "dur_s": 21.9, "bytes": 2233152, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills/S22sh1_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): daytime.\n\nSHOT TEXT (authoritative, Korean): 경찰서 건물 밖 도로 위에서 수리영이 자전거 안장에 앉아 상체를 앞으로 숙인 채 머리카락이 뒤로 흩날리는 측면\n\nMOVEMENT (follow exactly): Su-ri-young rides the bicycle along the road outside the police station, moving laterally across the camera's side view with her torso pitched forward over the handlebars and her hair streaming backward, neither directly toward nor directly away from the camera.\n\nFIGURES — size & depth (follow exactly): Su-ri-young fills roughly ~1/2 of the frame height, and the bicycle-and-rider silhouette together fills about ~2/3; both are NEARER to the camera than the FARTHER police-station exterior. Her path continues along the road parallel to the image plane.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of the referenced people (수리영) matched exactly to their reference photo — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-12 13:51:32", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s34v2_conti_forest_nb2", "refs": [], "ref_labels": [], "attempt": 1, "dur_s": 18.0, "bytes": 3739928, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/conti20_forest_nb2.png", "prompt": "Draw ONE storyboard (conti) sheet: 4 panels made by ONE vertical cut at exactly 50% of the width and ONE horizontal cut at exactly 50% of the height — a 2x2 grid, each panel exactly one quarter of the image.\nSTYLE: hand-drawn PRE-PRODUCTION STORYBOARD FOR A LIVE-ACTION FILM\nSHOOT — the working drawings a professional film storyboard artist\nmakes for the director and cinematographer of a real movie:\nREALISTIC adult human proportions and faces (ordinary Korean\nadults, film-actor realism), true cinematic lens framing, and\nnaturalistic light-and-shadow blocking rendered in monochrome\ngraphite pencil tone on white paper.\nABSOLUTELY NOT manga, NOT anime, NOT cartoon, NOT webtoon, NOT\ncomic-book style: no stylized or enlarged eyes, no cute or\nyouthful idealized faces, no clean ink outlines — every panel\nmust read like a frame of a live-action film sketched in pencil.\nNo color anywhere.\n\nTHE LOCATION (same in all drawn panels): a dense Korean mountain forest with thick undergrowth.\n\nPURPOSE: each panel captures only the CAMERA COMPOSITION of one\nshot — framing (close-up / medium / wide), where the subject sits in\nthe frame, and continuity between panels. Keep every panel\nextremely simple: only what matters for composition.\nMOVEMENT IS SHOWN BY THE FIGURE ITSELF, NEVER BY MARKINGS: convey\ndirection of travel purely through the body — stride mid-motion,\nbody lean into the path, back view vs front view, and the stated\nsize/depth cues. Do NOT draw arrows, motion lines, path lines,\nspeed lines or any diagram markings of any kind.\n\nGEOMETRY — ANALYSE BEFORE DRAWING: from each panel's Korean shot\ntext, first work out the spatial facts and draw EXACTLY those, never\nre-stage them: (a) each figure's DISTANCE from camera (tight insert /\nclose-up / medium / full / wide — a shot about a hand or an object\nis a tight insert, not a two-shot); (b) each figure's FACING and\nMOVEMENT DIRECTION relative to camera — '뒷모습' means seen from\nBEHIND, moving AWAY from camera into the depth of the frame, not\nsideways; a profile means lateral movement; (c) relative positions\nand distances BETWEEN figures. Keep every established screen\ndirection consistent across panels (180-degree rule): a person who\nleaves in one panel keeps the same on-screen direction wherever the\nmovement appears again.\nSIZE & DEPTH ARE CONTRACTUAL: each panel states every figure's\napparent size in the frame and the explicit near/far depth order.\nDraw exactly those proportions — a farther figure MUST be drawn\nclearly smaller than a nearer one; never equalize figure sizes,\nespecially when several figures share a panel or their paths\nrelate to each other.\nDEPARTING FIGURE — a figure running/walking AWAY must be\nunmistakably departing, never approaching: seen exactly from behind\n(back of the head only, no face, no chin, no cheek line), body\nleaning into the path, mid-stride with one shoe sole toward the\ncamera. THE STATED SIZE/DEPTH WINS: draw the departing figure at\nexactly the apparent size and depth the panel's FIGURES line states\n(if stated FARTHER/small, it stays small in the distance — never\nenlarge it into the foreground for drama).\n\nCONTINUITY: all drawn panels are the SAME single location — fixed\nfeatures (doors, stairs, windows, poles, desks) keep the same\nposition and left/right relationships across panels so the panels\ncut together as one continuous scene.\n\nPANELS (one shot per panel, Korean shot text):\n\nPANEL 1: 한쪽 신발이 벗겨진 한국인 남자가 우거진 수풀 사이를 달리며 한 발을 허공에 내딛고 있는 도중의 전신 구도\n  MOVEMENT (follow exactly): The terrified, injured Korean man flees forward through dense undergrowth with a strained, unsteady running posture, one shoe missing, one foot suspended mid-stride, and blood flowing from the large bite wound on his thigh; whether he runs toward or away from the camera is not specified.\n  FIGURES — apparent size & depth order (follow exactly): His full body fills roughly ~4/5 of the frame height; as the sole figure, he is both the NEAREST and FARTHEST person, with the dense brush surrounding and partly obstructing his route.\nPANEL 2: 검은 형상의 인영이 허공에 뛰어오른 채 한국인 남자를 향해 두 팔을 뻗고 있는 순간\n  MOVEMENT (follow exactly): A black silhouetted figure springs through the air toward the terrified Korean man, extending both arms to tackle him as he flees through the undergrowth; their movement toward or away from the camera is not specified.\n  FIGURES — apparent size & depth order (follow exactly): The airborne black figure and the man each occupy roughly ~1/2–2/3 of the frame height, with the attacker closing the remaining distance along a direct collision path toward the man; which figure is NEARER or FARTHER to the camera is not specified.\nPANEL 3: 형사 무리 한가운데 서서 손가락으로 한쪽을 가리키는 혜수의 상체\n  MOVEMENT (follow exactly): static: Hyesu stands upright amid the detectives, her upper body oriented toward one side as she points there with a finger while directing the investigation.\n  FIGURES — apparent size & depth order (follow exactly): Hyesu’s upper body fills roughly ~2/3 of the frame height, while the surrounding detectives appear as smaller or partial figures around her; Hyesu is the principal middle figure, but no specific detective is established as definitively NEARER or FARTHER than her.\n\nThere are 3 shots but 4 panel slots: draw the shots in\npanels 1..3 and leave the remaining panel(s) COMPLETELY\nBLANK PURE WHITE — empty white paper, not even a frame line inside.\n\nABSOLUTELY NO TEXT anywhere: no words, letters, captions, labels,\nsound effects or watermarks — the ONLY allowed marking is a small\nshot number digit (1, 2, 3) in a corner INSIDE each drawn panel.\nTHE PANEL GRID FILLS THE ENTIRE IMAGE EDGE-TO-EDGE: no outer paper\nmargin, no border area, nothing drawn outside the panels — the\nimage must be mechanically cuttable along the stated cut lines.\nPanels are separated only by thin straight black gutter lines at\nthe exact stated positions; ALL PANELS EXACTLY THE SAME SIZE."}
{"ts": "2026-07-12 13:51:48", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s34v2_conti_busstop_nb2", "refs": [], "ref_labels": [], "attempt": 1, "dur_s": 15.6, "bytes": 2587025, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/conti20_busstop_nb2.png", "prompt": "Draw ONE storyboard (conti) sheet: 2 panels made by ONE vertical cut at exactly 50% of the image width — each panel is exactly half the width and the FULL height (1 row x 2 columns).\nSTYLE: hand-drawn PRE-PRODUCTION STORYBOARD FOR A LIVE-ACTION FILM\nSHOOT — the working drawings a professional film storyboard artist\nmakes for the director and cinematographer of a real movie:\nREALISTIC adult human proportions and faces (ordinary Korean\nadults, film-actor realism), true cinematic lens framing, and\nnaturalistic light-and-shadow blocking rendered in monochrome\ngraphite pencil tone on white paper.\nABSOLUTELY NOT manga, NOT anime, NOT cartoon, NOT webtoon, NOT\ncomic-book style: no stylized or enlarged eyes, no cute or\nyouthful idealized faces, no clean ink outlines — every panel\nmust read like a frame of a live-action film sketched in pencil.\nNo color anywhere.\n\nTHE LOCATION (same in all drawn panels): a small seaside bus stop with a bench facing the sea at night on a quiet Korean coastal road.\n\nPURPOSE: each panel captures only the CAMERA COMPOSITION of one\nshot — framing (close-up / medium / wide), where the subject sits in\nthe frame, and continuity between panels. Keep every panel\nextremely simple: only what matters for composition.\nMOVEMENT IS SHOWN BY THE FIGURE ITSELF, NEVER BY MARKINGS: convey\ndirection of travel purely through the body — stride mid-motion,\nbody lean into the path, back view vs front view, and the stated\nsize/depth cues. Do NOT draw arrows, motion lines, path lines,\nspeed lines or any diagram markings of any kind.\n\nGEOMETRY — ANALYSE BEFORE DRAWING: from each panel's Korean shot\ntext, first work out the spatial facts and draw EXACTLY those, never\nre-stage them: (a) each figure's DISTANCE from camera (tight insert /\nclose-up / medium / full / wide — a shot about a hand or an object\nis a tight insert, not a two-shot); (b) each figure's FACING and\nMOVEMENT DIRECTION relative to camera — '뒷모습' means seen from\nBEHIND, moving AWAY from camera into the depth of the frame, not\nsideways; a profile means lateral movement; (c) relative positions\nand distances BETWEEN figures. Keep every established screen\ndirection consistent across panels (180-degree rule): a person who\nleaves in one panel keeps the same on-screen direction wherever the\nmovement appears again.\nSIZE & DEPTH ARE CONTRACTUAL: each panel states every figure's\napparent size in the frame and the explicit near/far depth order.\nDraw exactly those proportions — a farther figure MUST be drawn\nclearly smaller than a nearer one; never equalize figure sizes,\nespecially when several figures share a panel or their paths\nrelate to each other.\nDEPARTING FIGURE — a figure running/walking AWAY must be\nunmistakably departing, never approaching: seen exactly from behind\n(back of the head only, no face, no chin, no cheek line), body\nleaning into the path, mid-stride with one shoe sole toward the\ncamera. THE STATED SIZE/DEPTH WINS: draw the departing figure at\nexactly the apparent size and depth the panel's FIGURES line states\n(if stated FARTHER/small, it stays small in the distance — never\nenlarge it into the foreground for drama).\n\nCONTINUITY: all drawn panels are the SAME single location — fixed\nfeatures (doors, stairs, windows, poles, desks) keep the same\nposition and left/right relationships across panels so the panels\ncut together as one continuous scene.\n\nPANELS (one shot per panel, Korean shot text):\n\nPANEL 1: 혜수의 손이 음료수 캔을 쥔 채 수리영 앞으로 내밀어진 순간\n  MOVEMENT (follow exactly): Hye-su extends her hand and the drink can from her side into the space directly in front of Suri-young, who remains seated and blankly oriented toward the sea.\n  FIGURES — apparent size & depth order (follow exactly): Hye-su's hand and can appear large at roughly ~1/3 of the frame height and are NEARER to the camera; seated Suri-young appears around ~1/2 of the frame height and is FARTHER behind the offered can.\nPANEL 2: 멀리서 혜수의 전신과 한 발을 공중에 띄운 mid-stride 자세로 달리는 수리영의 뒷모습을 한 프레임에 담은 넓은 구도\n  MOVEMENT (follow exactly): Suri-young runs away from Hye-su and away from the camera with her back visible and one foot airborne mid-stride, while Hye-su remains behind facing her path.\n  FIGURES — apparent size & depth order (follow exactly): Hye-su's full body appears about ~1/3 of the frame height and is NEARER to the camera, while the departing Suri-young appears smaller at ~1/5 and FARTHER along the route away. The distance between them increases as Suri-young runs ahead and Hye-su stays behind.\n\nABSOLUTELY NO TEXT anywhere: no words, letters, captions, labels,\nsound effects or watermarks — the ONLY allowed marking is a small\nshot number digit (1, 2) in a corner INSIDE each drawn panel.\nTHE PANEL GRID FILLS THE ENTIRE IMAGE EDGE-TO-EDGE: no outer paper\nmargin, no border area, nothing drawn outside the panels — the\nimage must be mechanically cuttable along the stated cut lines.\nPanels are separated only by thin straight black gutter lines at\nthe exact stated positions; ALL PANELS EXACTLY THE SAME SIZE."}
{"ts": "2026-07-12 13:52:07", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s34v2_conti_rooftop_ext_nb2", "refs": [], "ref_labels": [], "attempt": 1, "dur_s": 19.7, "bytes": 3132294, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/conti20_rooftop_ext_nb2.png", "prompt": "Draw ONE storyboard (conti) sheet: 6 panels made by TWO vertical cuts at exactly 1/3 and 2/3 of the width and ONE horizontal cut at exactly 50% of the height — a 3-column x 2-row grid, all six panels exactly equal.\nSTYLE: hand-drawn PRE-PRODUCTION STORYBOARD FOR A LIVE-ACTION FILM\nSHOOT — the working drawings a professional film storyboard artist\nmakes for the director and cinematographer of a real movie:\nREALISTIC adult human proportions and faces (ordinary Korean\nadults, film-actor realism), true cinematic lens framing, and\nnaturalistic light-and-shadow blocking rendered in monochrome\ngraphite pencil tone on white paper.\nABSOLUTELY NOT manga, NOT anime, NOT cartoon, NOT webtoon, NOT\ncomic-book style: no stylized or enlarged eyes, no cute or\nyouthful idealized faces, no clean ink outlines — every panel\nmust read like a frame of a live-action film sketched in pencil.\nNo color anywhere.\n\nTHE LOCATION (same in all drawn panels): the exterior of an old Korean multi-family villa: narrow alley and small yard at ground level, an added exterior steel staircase climbing the wall, and a rooftop with a small rooftop room (steel front door, one lit window), a water tank, a clothesline and a low parapet.\n\nPURPOSE: each panel captures only the CAMERA COMPOSITION of one\nshot — framing (close-up / medium / wide), where the subject sits in\nthe frame, and continuity between panels. Keep every panel\nextremely simple: only what matters for composition.\nMOVEMENT IS SHOWN BY THE FIGURE ITSELF, NEVER BY MARKINGS: convey\ndirection of travel purely through the body — stride mid-motion,\nbody lean into the path, back view vs front view, and the stated\nsize/depth cues. Do NOT draw arrows, motion lines, path lines,\nspeed lines or any diagram markings of any kind.\n\nGEOMETRY — ANALYSE BEFORE DRAWING: from each panel's Korean shot\ntext, first work out the spatial facts and draw EXACTLY those, never\nre-stage them: (a) each figure's DISTANCE from camera (tight insert /\nclose-up / medium / full / wide — a shot about a hand or an object\nis a tight insert, not a two-shot); (b) each figure's FACING and\nMOVEMENT DIRECTION relative to camera — '뒷모습' means seen from\nBEHIND, moving AWAY from camera into the depth of the frame, not\nsideways; a profile means lateral movement; (c) relative positions\nand distances BETWEEN figures. Keep every established screen\ndirection consistent across panels (180-degree rule): a person who\nleaves in one panel keeps the same on-screen direction wherever the\nmovement appears again.\nSIZE & DEPTH ARE CONTRACTUAL: each panel states every figure's\napparent size in the frame and the explicit near/far depth order.\nDraw exactly those proportions — a farther figure MUST be drawn\nclearly smaller than a nearer one; never equalize figure sizes,\nespecially when several figures share a panel or their paths\nrelate to each other.\nDEPARTING FIGURE — a figure running/walking AWAY must be\nunmistakably departing, never approaching: seen exactly from behind\n(back of the head only, no face, no chin, no cheek line), body\nleaning into the path, mid-stride with one shoe sole toward the\ncamera. THE STATED SIZE/DEPTH WINS: draw the departing figure at\nexactly the apparent size and depth the panel's FIGURES line states\n(if stated FARTHER/small, it stays small in the distance — never\nenlarge it into the foreground for drama).\n\nCONTINUITY: all drawn panels are the SAME single location — fixed\nfeatures (doors, stairs, windows, poles, desks) keep the same\nposition and left/right relationships across panels so the panels\ncut together as one continuous scene.\n\nPANELS (one shot per panel, Korean shot text):\n\nPANEL 1: 현관 철문이 아주 살짝 열린 틈새로 보이는 어두운 실내와 신발 앞코\n  MOVEMENT (follow exactly): The stranger's shoe toe advances away from the rooftop camera through the barely opened iron door and into the dark room.\n  FIGURES — apparent size & depth order (follow exactly): The shoe toe is small, about ~1/6 of frame height, and is FARTHER than the NEARER iron door and its narrow opening; the dark interior recedes farthest beyond it.\nPANEL 2: 불이 켜진 옥탑방 창문에 거대한 그림자가 작은 그림자의 어깨 쪽으로 고개를 꺾은 형태가 맺혀 있는 정지 구도\n  MOVEMENT (follow exactly): static: the large shadow looms over the smaller shadow, its head sharply bent toward the smaller figure's shoulder as if biting it, while the smaller figure is pinned beneath the attack.\n  FIGURES — apparent size & depth order (follow exactly): The large shadow fills roughly ~3/4 of frame height and overlaps the smaller shadow, which fills about ~1/2; both appear on the same FAR window plane, behind the NEARER window surface, with no clear depth separation between them.\nPANEL 3: 철제 파이프 난간을 손으로 잡은 수리영이 코끝을 찡그린 채 계단 중간에 서 있는 얼굴 클로즈업\n  MOVEMENT (follow exactly): static: Su-ri-young pauses midway up the stairs, gripping the pipe railing with a tense hand and wrinkling her nose at the sudden foul smell while facing upward.\n  FIGURES — apparent size & depth order (follow exactly): Her close-up face fills about ~2/3 of frame height and is the NEAREST figure; her railing hand is slightly FARTHER, while the stairway behind her recedes farthest.\nPANEL 4: 옥상에 선 수리영의 시선 끝에 반쯤 열려 있는 어두운 현관 철문이 보이는 정면 구도\n  MOVEMENT (follow exactly): static: Su-ri-young stands on the rooftop facing the half-open iron entrance door, her attention fixed on the dark opening ahead.\n  FIGURES — apparent size & depth order (follow exactly): Su-ri-young occupies roughly ~1/2 of frame height in the NEARER plane, while the half-open door is FARTHER ahead and fills about ~1/3; her sightline runs directly across the rooftop into its dark gap.\nPANEL 5: 수리영이 초점을 잃은 눈으로 허공을 응시하며 서 있는 모습\n  MOVEMENT (follow exactly): static: Su-ri-young stands motionless after fleeing downstairs, her shocked body slack and her unfocused eyes staring into empty space.\n  FIGURES — apparent size & depth order (follow exactly): Su-ri-young fills roughly ~1/2 of frame height and is the sole, NEAREST figure, with the surrounding exterior space FARTHER behind her.\nPANEL 6: 고개를 든 채 혜수의 얼굴을 마주보고 있는 수리영의 측면 구도\n  MOVEMENT (follow exactly): static: Su-ri-young keeps her head raised toward Hye-su, meeting her face from the side with a stunned, unfocused posture.\n  FIGURES — apparent size & depth order (follow exactly): Su-ri-young and Hye-su each fill roughly ~1/2 of frame height in profile and stand at approximately the same camera distance, neither clearly NEARER than the other; they face one another at close conversational range.\n\nABSOLUTELY NO TEXT anywhere: no words, letters, captions, labels,\nsound effects or watermarks — the ONLY allowed marking is a small\nshot number digit (1, 2, 3, 4, 5, 6) in a corner INSIDE each drawn panel.\nTHE PANEL GRID FILLS THE ENTIRE IMAGE EDGE-TO-EDGE: no outer paper\nmargin, no border area, nothing drawn outside the panels — the\nimage must be mechanically cuttable along the stated cut lines.\nPanels are separated only by thin straight black gutter lines at\nthe exact stated positions; ALL PANELS EXACTLY THE SAME SIZE."}
{"ts": "2026-07-12 13:52:22", "kind": "img_error", "tag": "s34v2_conti_rooftop_int_nb2", "attempt": 1, "error": "Gemini i2i returned no image: {\"candidates\": [{\"content\": {}, \"finishReason\": \"IMAGE_SAFETY\", \"index\": 0, \"finishMessage\": \"Unable to show the generated image. The image was filtered out because it violated Google's [Generative AI Prohibited Use policy](https://policies.google.com/terms/generative-ai/use-policy). You will not be charged for blocked images. Try rephrasing the prompt. If you think this was an error, [send feedback](https://ai.google.dev/gemini-api/docs/troubleshooting).\"}], \"usage"}
{"ts": "2026-07-12 13:52:39", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s34v2_conti_rooftop_int_nb2", "refs": [], "ref_labels": [], "attempt": 2, "dur_s": 31.7, "bytes": 3038065, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/conti20_rooftop_int_nb2.png", "prompt": "Draw ONE storyboard (conti) sheet: 6 panels made by TWO vertical cuts at exactly 1/3 and 2/3 of the width and ONE horizontal cut at exactly 50% of the height — a 3-column x 2-row grid, all six panels exactly equal.\nSTYLE: hand-drawn PRE-PRODUCTION STORYBOARD FOR A LIVE-ACTION FILM\nSHOOT — the working drawings a professional film storyboard artist\nmakes for the director and cinematographer of a real movie:\nREALISTIC adult human proportions and faces (ordinary Korean\nadults, film-actor realism), true cinematic lens framing, and\nnaturalistic light-and-shadow blocking rendered in monochrome\ngraphite pencil tone on white paper.\nABSOLUTELY NOT manga, NOT anime, NOT cartoon, NOT webtoon, NOT\ncomic-book style: no stylized or enlarged eyes, no cute or\nyouthful idealized faces, no clean ink outlines — every panel\nmust read like a frame of a live-action film sketched in pencil.\nNo color anywhere.\n\nTHE LOCATION (same in all drawn panels): the interior of a small Korean rooftop home: living room with a small window, kitchenette and dining table; a bedroom with a bed against one wall and a curtained window; a tiny tiled bathroom with a mirror.\n\nPURPOSE: each panel captures only the CAMERA COMPOSITION of one\nshot — framing (close-up / medium / wide), where the subject sits in\nthe frame, and continuity between panels. Keep every panel\nextremely simple: only what matters for composition.\nMOVEMENT IS SHOWN BY THE FIGURE ITSELF, NEVER BY MARKINGS: convey\ndirection of travel purely through the body — stride mid-motion,\nbody lean into the path, back view vs front view, and the stated\nsize/depth cues. Do NOT draw arrows, motion lines, path lines,\nspeed lines or any diagram markings of any kind.\n\nGEOMETRY — ANALYSE BEFORE DRAWING: from each panel's Korean shot\ntext, first work out the spatial facts and draw EXACTLY those, never\nre-stage them: (a) each figure's DISTANCE from camera (tight insert /\nclose-up / medium / full / wide — a shot about a hand or an object\nis a tight insert, not a two-shot); (b) each figure's FACING and\nMOVEMENT DIRECTION relative to camera — '뒷모습' means seen from\nBEHIND, moving AWAY from camera into the depth of the frame, not\nsideways; a profile means lateral movement; (c) relative positions\nand distances BETWEEN figures. Keep every established screen\ndirection consistent across panels (180-degree rule): a person who\nleaves in one panel keeps the same on-screen direction wherever the\nmovement appears again.\nSIZE & DEPTH ARE CONTRACTUAL: each panel states every figure's\napparent size in the frame and the explicit near/far depth order.\nDraw exactly those proportions — a farther figure MUST be drawn\nclearly smaller than a nearer one; never equalize figure sizes,\nespecially when several figures share a panel or their paths\nrelate to each other.\nDEPARTING FIGURE — a figure running/walking AWAY must be\nunmistakably departing, never approaching: seen exactly from behind\n(back of the head only, no face, no chin, no cheek line), body\nleaning into the path, mid-stride with one shoe sole toward the\ncamera. THE STATED SIZE/DEPTH WINS: draw the departing figure at\nexactly the apparent size and depth the panel's FIGURES line states\n(if stated FARTHER/small, it stays small in the distance — never\nenlarge it into the foreground for drama).\n\nCONTINUITY: all drawn panels are the SAME single location — fixed\nfeatures (doors, stairs, windows, poles, desks) keep the same\nposition and left/right relationships across panels so the panels\ncut together as one continuous scene.\n\nPANELS (one shot per panel, Korean shot text):\n\nPANEL 1: 옷과 피부가 피투성이가 된 민숙이 바닥에 주저앉아 고개를 푹 숙인 정지 상태\n  MOVEMENT (follow exactly): static: Minsuk is lifeless on the floor, collapsed in a seated fall with her head hanging forward, torso slumped asymmetrically, limp limbs, and her weight fully fallen rather than held upright.\n  FIGURES — apparent size & depth order (follow exactly): Minsuk fills roughly 2/3 of the frame height and is the NEARER subject, while the bloodied floor and room behind her are FARTHER. Her dark red paint-soaked clothes and skin remain visible across her collapsed body.\nPANEL 2: 침대 위쪽 벽면에 붉은색 원형 표식이 절반쯤 나타난 상태\n  MOVEMENT (follow exactly): static: the half-formed red circle remains on the wall above the bed, with no person crossing the frame.\n  FIGURES — apparent size & depth order (follow exactly): The red circular mark fills about 1/2 of the frame height and is FARTHER on the wall, while the upper part of the bed is NEARER in the foreground.\nPANEL 3: 붉은 자국 없이 깨끗한 방 내부 전경\n  MOVEMENT (follow exactly): static: the excessively clean, bloodless room stands empty, with no one entering, leaving, or moving through it.\n  FIGURES — apparent size & depth order (follow exactly): The empty room fills the full frame, with the NEARER side of the room opening toward the camera and the clean back wall and far corners appearing FARTHER away. No person, bloodstain, red mark, or body is visible.\nPANEL 4: 거울 속 반사된 욕실 타일 벽면에 붉은색 원형 표식이 절반쯤 나타난 상태\n  MOVEMENT (follow exactly): static: a half-formed red circle is visible on the bathroom tile wall only through the mirror reflection, with no person moving through the shot.\n  FIGURES — apparent size & depth order (follow exactly): The reflected red circle fills roughly 1/3 to 1/2 of the frame height; the mirror surface is NEARER to the camera, while the reflected tiled wall and mark read as FARTHER within the reflection.\nPANEL 5: 해질 무렵 옥탑방 거실, 흙 묻은 발자국들이 찍힌 바닥과 쓰러진 식탁 의자들이 보이는 전경\n  MOVEMENT (follow exactly): static: muddy footprints lie across the living-room floor among overturned dining chairs, but their direction of travel cannot be determined from the shot.\n  FIGURES — apparent size & depth order (follow exactly): The living-room interior fills the frame; the muddy footprints spread across the NEARER floor, while the overturned dining chairs are FARTHER around the table. Individual footprints appear small, roughly 1/10 of the frame height, while the chairs occupy about 1/3 to 1/2.\nPANEL 6: 붉은 원 한가운데 붉은 물감이 묻은 낡은 흑백 사진이 벽에 꽂혀 있는 타이트 샷\n  MOVEMENT (follow exactly): static: the dark-red-stained old photograph remains fixed at the center of the red circle on the wall, with no hand or person entering the frame.\n  FIGURES — apparent size & depth order (follow exactly): The photograph fills roughly 1/2 to 2/3 of the frame height and is NEARER than the wall surface, while the red circle extends FARTHER behind it across the wall.\n\nABSOLUTELY NO TEXT anywhere: no words, letters, captions, labels,\nsound effects or watermarks — the ONLY allowed marking is a small\nshot number digit (1, 2, 3, 4, 5, 6) in a corner INSIDE each drawn panel.\nTHE PANEL GRID FILLS THE ENTIRE IMAGE EDGE-TO-EDGE: no outer paper\nmargin, no border area, nothing drawn outside the panels — the\nimage must be mechanically cuttable along the stated cut lines.\nPanels are separated only by thin straight black gutter lines at\nthe exact stated positions; ALL PANELS EXACTLY THE SAME SIZE."}
{"ts": "2026-07-12 13:52:55", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s34v2_conti_mart_nb2", "refs": [], "ref_labels": [], "attempt": 1, "dur_s": 16.2, "bytes": 2768290, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/conti20_mart_nb2.png", "prompt": "Draw ONE storyboard (conti) sheet: 6 panels made by TWO vertical cuts at exactly 1/3 and 2/3 of the width and ONE horizontal cut at exactly 50% of the height — a 3-column x 2-row grid, all six panels exactly equal.\nSTYLE: hand-drawn PRE-PRODUCTION STORYBOARD FOR A LIVE-ACTION FILM\nSHOOT — the working drawings a professional film storyboard artist\nmakes for the director and cinematographer of a real movie:\nREALISTIC adult human proportions and faces (ordinary Korean\nadults, film-actor realism), true cinematic lens framing, and\nnaturalistic light-and-shadow blocking rendered in monochrome\ngraphite pencil tone on white paper.\nABSOLUTELY NOT manga, NOT anime, NOT cartoon, NOT webtoon, NOT\ncomic-book style: no stylized or enlarged eyes, no cute or\nyouthful idealized faces, no clean ink outlines — every panel\nmust read like a frame of a live-action film sketched in pencil.\nNo color anywhere.\n\nTHE LOCATION (same in all drawn panels): a mid-size Korean supermarket: shelved sales floor inside; the entrance area outside with a bicycle rack and one wall-mounted CCTV camera above; a small back security office with CCTV monitors.\n\nPURPOSE: each panel captures only the CAMERA COMPOSITION of one\nshot — framing (close-up / medium / wide), where the subject sits in\nthe frame, and continuity between panels. Keep every panel\nextremely simple: only what matters for composition.\nMOVEMENT IS SHOWN BY THE FIGURE ITSELF, NEVER BY MARKINGS: convey\ndirection of travel purely through the body — stride mid-motion,\nbody lean into the path, back view vs front view, and the stated\nsize/depth cues. Do NOT draw arrows, motion lines, path lines,\nspeed lines or any diagram markings of any kind.\n\nGEOMETRY — ANALYSE BEFORE DRAWING: from each panel's Korean shot\ntext, first work out the spatial facts and draw EXACTLY those, never\nre-stage them: (a) each figure's DISTANCE from camera (tight insert /\nclose-up / medium / full / wide — a shot about a hand or an object\nis a tight insert, not a two-shot); (b) each figure's FACING and\nMOVEMENT DIRECTION relative to camera — '뒷모습' means seen from\nBEHIND, moving AWAY from camera into the depth of the frame, not\nsideways; a profile means lateral movement; (c) relative positions\nand distances BETWEEN figures. Keep every established screen\ndirection consistent across panels (180-degree rule): a person who\nleaves in one panel keeps the same on-screen direction wherever the\nmovement appears again.\nSIZE & DEPTH ARE CONTRACTUAL: each panel states every figure's\napparent size in the frame and the explicit near/far depth order.\nDraw exactly those proportions — a farther figure MUST be drawn\nclearly smaller than a nearer one; never equalize figure sizes,\nespecially when several figures share a panel or their paths\nrelate to each other.\nDEPARTING FIGURE — a figure running/walking AWAY must be\nunmistakably departing, never approaching: seen exactly from behind\n(back of the head only, no face, no chin, no cheek line), body\nleaning into the path, mid-stride with one shoe sole toward the\ncamera. THE STATED SIZE/DEPTH WINS: draw the departing figure at\nexactly the apparent size and depth the panel's FIGURES line states\n(if stated FARTHER/small, it stays small in the distance — never\nenlarge it into the foreground for drama).\n\nCONTINUITY: all drawn panels are the SAME single location — fixed\nfeatures (doors, stairs, windows, poles, desks) keep the same\nposition and left/right relationships across panels so the panels\ncut together as one continuous scene.\n\nPANELS (one shot per panel, Korean shot text):\n\nPANEL 1: 수리영이 마트 유니폼을 입은 한국인 여성 직원을 마주보며 입을 살짝 벌린 측면 구도\n  MOVEMENT (follow exactly): static: Su-ri-young and the female supermarket employee stand facing each other in profile, Su-ri-young holding her mouth slightly open as she addresses the employee.\n  FIGURES — apparent size & depth order (follow exactly): Su-ri-young and the female employee each fill roughly ~1/2 of the frame height and occupy a comparable midground plane, with neither clearly nearer to the camera; they remain a short conversational distance apart across opposing sightlines.\nPANEL 2: 마트 밖으로 나온 수리영이 손에 든 스마트폰 액정을 내려다보는 상체\n  MOVEMENT (follow exactly): static: Having come out of the supermarket, Su-ri-young stands with her upper body angled toward the smartphone in her hand and her gaze lowered to its screen while trying to make contact.\n  FIGURES — apparent size & depth order (follow exactly): Su-ri-young’s upper body fills about ~2/3 of the frame height in the near foreground, while the smartphone is small, about ~1/10, and held within the same near plane below her face; she is the sole visible figure.\nPANEL 3: 수리영과 남자직원이 마트 밖에서 벽면의 CCTV를 올려다보는 뒷모습\n  MOVEMENT (follow exactly): static: Outside the supermarket, Su-ri-young and the male employee stand with their backs to the camera, bodies and heads tilted upward toward the wall-mounted CCTV camera as they check its coverage.\n  FIGURES — apparent size & depth order (follow exactly): Su-ri-young and the male employee each fill roughly ~1/2 of the frame height in the nearer foreground-to-midground, standing alongside each other at comparable depth, while the CCTV camera is much smaller, around ~1/15, and farther away high on the wall.\nPANEL 4: 수리영이 귀에 스마트폰을 댄 채 정면을 응시하는 상체 클로즈업\n  MOVEMENT (follow exactly): static: Su-ri-young holds a smartphone to her ear and faces forward, explaining the situation to Hye-su by phone.\n  FIGURES — apparent size & depth order (follow exactly): Su-ri-young’s upper body fills about ~3/4 of the frame height in the near foreground, with the smartphone small, around ~1/12, against her ear in the same near plane; no other person is visible.\nPANEL 5: 마트 총무과 책상 앞, 한국인 남성 보안직원과 혜수가 컴퓨터 모니터를 향해 몸을 기울인 측면\n  MOVEMENT (follow exactly): static: The male security employee and Hye-su lean forward from the desk toward the computer monitor, both directing their gaze at the CCTV footage.\n  FIGURES — apparent size & depth order (follow exactly): The security employee and Hye-su each fill roughly ~1/2 of the frame height and occupy a comparable midground depth, with neither clearly nearer to the camera; the monitor is smaller, about ~1/3, positioned directly along their converging sightlines.\nPANEL 6: 흑백 CCTV 화면 속 어두운 구석에 사람 형상이 희미하게 찍힌 모니터 클로즈업\n  MOVEMENT (follow exactly): static: A faint, unidentifiable human-shaped form remains in a dark corner of the black-and-white CCTV image, with no discernible direction of travel or body orientation.\n  FIGURES — apparent size & depth order (follow exactly): The monitor image fills nearly the entire frame and is the nearest visible object, while the indistinct human-shaped form is tiny, about ~1/10 of the frame height, and appears far away within the recorded space.\n\nABSOLUTELY NO TEXT anywhere: no words, letters, captions, labels,\nsound effects or watermarks — the ONLY allowed marking is a small\nshot number digit (1, 2, 3, 4, 5, 6) in a corner INSIDE each drawn panel.\nTHE PANEL GRID FILLS THE ENTIRE IMAGE EDGE-TO-EDGE: no outer paper\nmargin, no border area, nothing drawn outside the panels — the\nimage must be mechanically cuttable along the stated cut lines.\nPanels are separated only by thin straight black gutter lines at\nthe exact stated positions; ALL PANELS EXACTLY THE SAME SIZE."}
{"ts": "2026-07-12 13:53:12", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s34v2_conti_police_nb2", "refs": [], "ref_labels": [], "attempt": 1, "dur_s": 16.6, "bytes": 2760466, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/conti20_police_nb2.png", "prompt": "Draw ONE storyboard (conti) sheet: 6 panels made by TWO vertical cuts at exactly 1/3 and 2/3 of the width and ONE horizontal cut at exactly 50% of the height — a 3-column x 2-row grid, all six panels exactly equal.\nSTYLE: hand-drawn PRE-PRODUCTION STORYBOARD FOR A LIVE-ACTION FILM\nSHOOT — the working drawings a professional film storyboard artist\nmakes for the director and cinematographer of a real movie:\nREALISTIC adult human proportions and faces (ordinary Korean\nadults, film-actor realism), true cinematic lens framing, and\nnaturalistic light-and-shadow blocking rendered in monochrome\ngraphite pencil tone on white paper.\nABSOLUTELY NOT manga, NOT anime, NOT cartoon, NOT webtoon, NOT\ncomic-book style: no stylized or enlarged eyes, no cute or\nyouthful idealized faces, no clean ink outlines — every panel\nmust read like a frame of a live-action film sketched in pencil.\nNo color anywhere.\n\nTHE LOCATION (same in all drawn panels): a modest Korean provincial police station: a detectives' office with desks, monitors and a doorway; and the street right in front of the building.\n\nPURPOSE: each panel captures only the CAMERA COMPOSITION of one\nshot — framing (close-up / medium / wide), where the subject sits in\nthe frame, and continuity between panels. Keep every panel\nextremely simple: only what matters for composition.\nMOVEMENT IS SHOWN BY THE FIGURE ITSELF, NEVER BY MARKINGS: convey\ndirection of travel purely through the body — stride mid-motion,\nbody lean into the path, back view vs front view, and the stated\nsize/depth cues. Do NOT draw arrows, motion lines, path lines,\nspeed lines or any diagram markings of any kind.\n\nGEOMETRY — ANALYSE BEFORE DRAWING: from each panel's Korean shot\ntext, first work out the spatial facts and draw EXACTLY those, never\nre-stage them: (a) each figure's DISTANCE from camera (tight insert /\nclose-up / medium / full / wide — a shot about a hand or an object\nis a tight insert, not a two-shot); (b) each figure's FACING and\nMOVEMENT DIRECTION relative to camera — '뒷모습' means seen from\nBEHIND, moving AWAY from camera into the depth of the frame, not\nsideways; a profile means lateral movement; (c) relative positions\nand distances BETWEEN figures. Keep every established screen\ndirection consistent across panels (180-degree rule): a person who\nleaves in one panel keeps the same on-screen direction wherever the\nmovement appears again.\nSIZE & DEPTH ARE CONTRACTUAL: each panel states every figure's\napparent size in the frame and the explicit near/far depth order.\nDraw exactly those proportions — a farther figure MUST be drawn\nclearly smaller than a nearer one; never equalize figure sizes,\nespecially when several figures share a panel or their paths\nrelate to each other.\nDEPARTING FIGURE — a figure running/walking AWAY must be\nunmistakably departing, never approaching: seen exactly from behind\n(back of the head only, no face, no chin, no cheek line), body\nleaning into the path, mid-stride with one shoe sole toward the\ncamera. THE STATED SIZE/DEPTH WINS: draw the departing figure at\nexactly the apparent size and depth the panel's FIGURES line states\n(if stated FARTHER/small, it stays small in the distance — never\nenlarge it into the foreground for drama).\n\nCONTINUITY: all drawn panels are the SAME single location — fixed\nfeatures (doors, stairs, windows, poles, desks) keep the same\nposition and left/right relationships across panels so the panels\ncut together as one continuous scene.\n\nPANELS (one shot per panel, Korean shot text):\n\nPANEL 1: 혜수가 스마트폰 액정을 김형사 쪽으로 불쑥 내민 순간\n  MOVEMENT (follow exactly): Hye-su abruptly thrusts the smartphone forward from her side toward Detective Kim, presenting Min-sook's saved number while remaining inside the office.\n  FIGURES — apparent size & depth order (follow exactly): Hye-su and Detective Kim each fill roughly ~1/2 of the frame height, with Hye-su NEARER to the camera and Detective Kim FARTHER across from her. The extended smartphone fills about ~1/5 of the frame height, projecting from Hye-su toward Detective Kim and lying between their positions.\nPANEL 2: 수리영이 두 눈을 크게 뜨고 입을 살짝 벌린 굳은 얼굴 클로즈업\n  MOVEMENT (follow exactly): static: Su-ri-young holds rigid with fear and shock, her widened eyes fixed forward and her lips slightly parted.\n  FIGURES — apparent size & depth order (follow exactly): Su-ri-young's face fills roughly ~3/4 of the frame height; she is the sole and therefore NEAREST visible figure, with no farther person shown.\nPANEL 3: 모니터 화면에 바다 지도가 펼쳐져 있고 붉은색 핀과 좌표 숫자가 떠 있는 클로즈업\n  MOVEMENT (follow exactly): static: the monitor displays a sea map with a red location pin and coordinate figures, with no physical movement in frame.\n  FIGURES — apparent size & depth order (follow exactly): The monitor image fills nearly the full frame and is the sole, NEAREST core object; the map, pin, and coordinate text occupy the same flat display plane with no farther figure visible.\nPANEL 4: 수리영이 메모지가 들어간 겉옷 주머니에 손을 넣은 채 사무실 출입문을 향해 몸을 돌린 정지 순간\n  MOVEMENT (follow exactly): static: Su-ri-young stands tensely with one hand inside the coat pocket holding the folded note, her body turned toward the office exit and poised to leave the room.\n  FIGURES — apparent size & depth order (follow exactly): Su-ri-young fills roughly ~2/3 of the frame height and is NEARER to the camera, while the office doorway is FARTHER in the direction she faces. Her intended path runs from her position inside the office toward and through that doorway.\nPANEL 5: 경찰서 건물 밖 도로 위에서 수리영이 자전거 안장에 앉아 상체를 앞으로 숙인 채 머리카락이 뒤로 흩날리는 측면\n  MOVEMENT (follow exactly): Su-ri-young rides the bicycle along the road outside the police station, moving laterally across the camera's side view with her torso pitched forward over the handlebars and her hair streaming backward, neither directly toward nor directly away from the camera.\n  FIGURES — apparent size & depth order (follow exactly): Su-ri-young fills roughly ~1/2 of the frame height, and the bicycle-and-rider silhouette together fills about ~2/3; both are NEARER to the camera than the FARTHER police-station exterior. Her path continues along the road parallel to the image plane.\n\nThere are 5 shots but 6 panel slots: draw the shots in\npanels 1..5 and leave the remaining panel(s) COMPLETELY\nBLANK PURE WHITE — empty white paper, not even a frame line inside.\n\nABSOLUTELY NO TEXT anywhere: no words, letters, captions, labels,\nsound effects or watermarks — the ONLY allowed marking is a small\nshot number digit (1, 2, 3, 4, 5) in a corner INSIDE each drawn panel.\nTHE PANEL GRID FILLS THE ENTIRE IMAGE EDGE-TO-EDGE: no outer paper\nmargin, no border area, nothing drawn outside the panels — the\nimage must be mechanically cuttable along the stated cut lines.\nPanels are separated only by thin straight black gutter lines at\nthe exact stated positions; ALL PANELS EXACTLY THE SAME SIZE."}
{"ts": "2026-07-12 13:58:30", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s34v2_conti_mart_nb2", "refs": [], "ref_labels": [], "attempt": 1, "dur_s": 14.1, "bytes": 3046949, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/conti20_mart_nb2.png", "prompt": "Draw ONE storyboard (conti) sheet: 6 panels made by TWO vertical cuts at exactly 1/3 and 2/3 of the width and ONE horizontal cut at exactly 50% of the height — a 3-column x 2-row grid, all six panels exactly equal.\nSTYLE: hand-drawn PRE-PRODUCTION STORYBOARD FOR A LIVE-ACTION FILM\nSHOOT — the working drawings a professional film storyboard artist\nmakes for the director and cinematographer of a real movie:\nREALISTIC adult human proportions and faces (ordinary Korean\nadults, film-actor realism), true cinematic lens framing, and\nnaturalistic light-and-shadow blocking rendered in monochrome\ngraphite pencil tone on white paper.\nABSOLUTELY NOT manga, NOT anime, NOT cartoon, NOT webtoon, NOT\ncomic-book style: no stylized or enlarged eyes, no cute or\nyouthful idealized faces, no clean ink outlines — every panel\nmust read like a frame of a live-action film sketched in pencil.\nNo color anywhere.\n\nTHE LOCATION (same in all drawn panels): a mid-size Korean supermarket: shelved sales floor inside; the entrance area outside with a bicycle rack and one wall-mounted CCTV camera above; a small back security office with CCTV monitors.\n\nPURPOSE: each panel captures only the CAMERA COMPOSITION of one\nshot — framing (close-up / medium / wide), where the subject sits in\nthe frame, and continuity between panels. Keep every panel\nextremely simple: only what matters for composition.\nMOVEMENT IS SHOWN BY THE FIGURE ITSELF, NEVER BY MARKINGS: convey\ndirection of travel purely through the body — stride mid-motion,\nbody lean into the path, back view vs front view, and the stated\nsize/depth cues. Do NOT draw arrows, motion lines, path lines,\nspeed lines or any diagram markings of any kind.\n\nGEOMETRY — ANALYSE BEFORE DRAWING: from each panel's Korean shot\ntext, first work out the spatial facts and draw EXACTLY those, never\nre-stage them: (a) each figure's DISTANCE from camera (tight insert /\nclose-up / medium / full / wide — a shot about a hand or an object\nis a tight insert, not a two-shot); (b) each figure's FACING and\nMOVEMENT DIRECTION relative to camera — '뒷모습' means seen from\nBEHIND, moving AWAY from camera into the depth of the frame, not\nsideways; a profile means lateral movement; (c) relative positions\nand distances BETWEEN figures. Keep every established screen\ndirection consistent across panels (180-degree rule): a person who\nleaves in one panel keeps the same on-screen direction wherever the\nmovement appears again.\nSIZE & DEPTH ARE CONTRACTUAL: each panel states every figure's\napparent size in the frame and the explicit near/far depth order.\nDraw exactly those proportions — a farther figure MUST be drawn\nclearly smaller than a nearer one; never equalize figure sizes,\nespecially when several figures share a panel or their paths\nrelate to each other.\nDEPARTING FIGURE — a figure running/walking AWAY must be\nunmistakably departing, never approaching: seen exactly from behind\n(back of the head only, no face, no chin, no cheek line), body\nleaning into the path, mid-stride with one shoe sole toward the\ncamera. THE STATED SIZE/DEPTH WINS: draw the departing figure at\nexactly the apparent size and depth the panel's FIGURES line states\n(if stated FARTHER/small, it stays small in the distance — never\nenlarge it into the foreground for drama).\n\nCONTINUITY: all drawn panels are the SAME single location — fixed\nfeatures (doors, stairs, windows, poles, desks) keep the same\nposition and left/right relationships across panels so the panels\ncut together as one continuous scene.\n\nPANELS (one shot per panel, Korean shot text):\n\nPANEL 1: 수리영이 마트 유니폼을 입은 한국인 여성 직원을 마주보며 입을 살짝 벌린 측면 구도\n  MOVEMENT (follow exactly): static: Su-ri-young and the female supermarket employee stand facing each other in profile, Su-ri-young holding her mouth slightly open as she addresses the employee.\n  FIGURES — apparent size & depth order (follow exactly): Su-ri-young and the female employee each fill roughly ~1/2 of the frame height and occupy a comparable midground plane, with neither clearly nearer to the camera; they remain a short conversational distance apart across opposing sightlines.\nPANEL 2: 마트 밖으로 나온 수리영이 손에 든 스마트폰 액정을 내려다보는 상체\n  MOVEMENT (follow exactly): static: Having come out of the supermarket, Su-ri-young stands with her upper body angled toward the smartphone in her hand and her gaze lowered to its screen while trying to make contact.\n  FIGURES — apparent size & depth order (follow exactly): Su-ri-young’s upper body fills about ~2/3 of the frame height in the near foreground, while the smartphone is small, about ~1/10, and held within the same near plane below her face; she is the sole visible figure.\nPANEL 3: 수리영과 남자직원이 마트 밖에서 벽면의 CCTV를 올려다보는 뒷모습\n  MOVEMENT (follow exactly): static: Outside the supermarket, Su-ri-young and the male employee stand with their backs to the camera, bodies and heads tilted upward toward the wall-mounted CCTV camera as they check its coverage.\n  FIGURES — apparent size & depth order (follow exactly): Su-ri-young and the male employee each fill roughly ~1/2 of the frame height in the nearer foreground-to-midground, standing alongside each other at comparable depth, while the CCTV camera is much smaller, around ~1/15, and farther away high on the wall.\nPANEL 4: 수리영이 귀에 스마트폰을 댄 채 정면을 응시하는 상체 클로즈업\n  MOVEMENT (follow exactly): static: Su-ri-young holds a smartphone to her ear and faces forward, explaining the situation to Hye-su by phone.\n  FIGURES — apparent size & depth order (follow exactly): Su-ri-young’s upper body fills about ~3/4 of the frame height in the near foreground, with the smartphone small, around ~1/12, against her ear in the same near plane; no other person is visible.\nPANEL 5: 마트 총무과 책상 앞, 한국인 남성 보안직원과 혜수가 컴퓨터 모니터를 향해 몸을 기울인 측면\n  MOVEMENT (follow exactly): static: The male security employee and Hye-su lean forward from the desk toward the computer monitor, both directing their gaze at the CCTV footage.\n  FIGURES — apparent size & depth order (follow exactly): The security employee and Hye-su each fill roughly ~1/2 of the frame height and occupy a comparable midground depth, with neither clearly nearer to the camera; the monitor is smaller, about ~1/3, positioned directly along their converging sightlines.\nPANEL 6: 흑백 CCTV 화면 속 어두운 구석에 사람 형상이 희미하게 찍힌 모니터 클로즈업\n  MOVEMENT (follow exactly): static: A faint, unidentifiable human-shaped form remains in a dark corner of the black-and-white CCTV image, with no discernible direction of travel or body orientation.\n  FIGURES — apparent size & depth order (follow exactly): The monitor image fills nearly the entire frame and is the nearest visible object, while the indistinct human-shaped form is tiny, about ~1/10 of the frame height, and appears far away within the recorded space.\n\nABSOLUTELY NO TEXT anywhere: no words, letters, captions, labels,\nsound effects or watermarks — the ONLY allowed marking is a small\nshot number digit (1, 2, 3, 4, 5, 6) in a corner INSIDE each drawn panel.\nTHE PANEL GRID FILLS THE ENTIRE IMAGE EDGE-TO-EDGE: no outer paper\nmargin, no border area, nothing drawn outside the panels — the\nimage must be mechanically cuttable along the stated cut lines.\nPanels are separated only by thin straight black gutter lines at\nthe exact stated positions; ALL PANELS EXACTLY THE SAME SIZE."}
{"ts": "2026-07-12 13:58:45", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s34v2_conti_police_nb2", "refs": [], "ref_labels": [], "attempt": 1, "dur_s": 15.2, "bytes": 2585083, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/conti20_police_nb2.png", "prompt": "Draw ONE storyboard (conti) sheet: 6 panels made by TWO vertical cuts at exactly 1/3 and 2/3 of the width and ONE horizontal cut at exactly 50% of the height — a 3-column x 2-row grid, all six panels exactly equal.\nSTYLE: hand-drawn PRE-PRODUCTION STORYBOARD FOR A LIVE-ACTION FILM\nSHOOT — the working drawings a professional film storyboard artist\nmakes for the director and cinematographer of a real movie:\nREALISTIC adult human proportions and faces (ordinary Korean\nadults, film-actor realism), true cinematic lens framing, and\nnaturalistic light-and-shadow blocking rendered in monochrome\ngraphite pencil tone on white paper.\nABSOLUTELY NOT manga, NOT anime, NOT cartoon, NOT webtoon, NOT\ncomic-book style: no stylized or enlarged eyes, no cute or\nyouthful idealized faces, no clean ink outlines — every panel\nmust read like a frame of a live-action film sketched in pencil.\nNo color anywhere.\n\nTHE LOCATION (same in all drawn panels): a modest Korean provincial police station: a detectives' office with desks, monitors and a doorway; and the street right in front of the building.\n\nPURPOSE: each panel captures only the CAMERA COMPOSITION of one\nshot — framing (close-up / medium / wide), where the subject sits in\nthe frame, and continuity between panels. Keep every panel\nextremely simple: only what matters for composition.\nMOVEMENT IS SHOWN BY THE FIGURE ITSELF, NEVER BY MARKINGS: convey\ndirection of travel purely through the body — stride mid-motion,\nbody lean into the path, back view vs front view, and the stated\nsize/depth cues. Do NOT draw arrows, motion lines, path lines,\nspeed lines or any diagram markings of any kind.\n\nGEOMETRY — ANALYSE BEFORE DRAWING: from each panel's Korean shot\ntext, first work out the spatial facts and draw EXACTLY those, never\nre-stage them: (a) each figure's DISTANCE from camera (tight insert /\nclose-up / medium / full / wide — a shot about a hand or an object\nis a tight insert, not a two-shot); (b) each figure's FACING and\nMOVEMENT DIRECTION relative to camera — '뒷모습' means seen from\nBEHIND, moving AWAY from camera into the depth of the frame, not\nsideways; a profile means lateral movement; (c) relative positions\nand distances BETWEEN figures. Keep every established screen\ndirection consistent across panels (180-degree rule): a person who\nleaves in one panel keeps the same on-screen direction wherever the\nmovement appears again.\nSIZE & DEPTH ARE CONTRACTUAL: each panel states every figure's\napparent size in the frame and the explicit near/far depth order.\nDraw exactly those proportions — a farther figure MUST be drawn\nclearly smaller than a nearer one; never equalize figure sizes,\nespecially when several figures share a panel or their paths\nrelate to each other.\nDEPARTING FIGURE — a figure running/walking AWAY must be\nunmistakably departing, never approaching: seen exactly from behind\n(back of the head only, no face, no chin, no cheek line), body\nleaning into the path, mid-stride with one shoe sole toward the\ncamera. THE STATED SIZE/DEPTH WINS: draw the departing figure at\nexactly the apparent size and depth the panel's FIGURES line states\n(if stated FARTHER/small, it stays small in the distance — never\nenlarge it into the foreground for drama).\n\nCONTINUITY: all drawn panels are the SAME single location — fixed\nfeatures (doors, stairs, windows, poles, desks) keep the same\nposition and left/right relationships across panels so the panels\ncut together as one continuous scene.\n\nPANELS (one shot per panel, Korean shot text):\n\nPANEL 1: 혜수가 스마트폰 액정을 김형사 쪽으로 불쑥 내민 순간\n  MOVEMENT (follow exactly): Hye-su abruptly thrusts the smartphone forward from her side toward Detective Kim, presenting Min-sook's saved number while remaining inside the office.\n  FIGURES — apparent size & depth order (follow exactly): Hye-su and Detective Kim each fill roughly ~1/2 of the frame height, with Hye-su NEARER to the camera and Detective Kim FARTHER across from her. The extended smartphone fills about ~1/5 of the frame height, projecting from Hye-su toward Detective Kim and lying between their positions.\nPANEL 2: 수리영이 두 눈을 크게 뜨고 입을 살짝 벌린 굳은 얼굴 클로즈업\n  MOVEMENT (follow exactly): static: Su-ri-young holds rigid with fear and shock, her widened eyes fixed forward and her lips slightly parted.\n  FIGURES — apparent size & depth order (follow exactly): Su-ri-young's face fills roughly ~3/4 of the frame height; she is the sole and therefore NEAREST visible figure, with no farther person shown.\nPANEL 3: 모니터 화면에 바다 지도가 펼쳐져 있고 붉은색 핀과 좌표 숫자가 떠 있는 클로즈업\n  MOVEMENT (follow exactly): static: the monitor displays a sea map with a red location pin and coordinate figures, with no physical movement in frame.\n  FIGURES — apparent size & depth order (follow exactly): The monitor image fills nearly the full frame and is the sole, NEAREST core object; the map, pin, and coordinate text occupy the same flat display plane with no farther figure visible.\nPANEL 4: 수리영이 메모지가 들어간 겉옷 주머니에 손을 넣은 채 사무실 출입문을 향해 몸을 돌린 정지 순간\n  MOVEMENT (follow exactly): static: Su-ri-young stands tensely with one hand inside the coat pocket holding the folded note, her body turned toward the office exit and poised to leave the room.\n  FIGURES — apparent size & depth order (follow exactly): Su-ri-young fills roughly ~2/3 of the frame height and is NEARER to the camera, while the office doorway is FARTHER in the direction she faces. Her intended path runs from her position inside the office toward and through that doorway.\nPANEL 5: 경찰서 건물 밖 도로 위에서 수리영이 자전거 안장에 앉아 상체를 앞으로 숙인 채 머리카락이 뒤로 흩날리는 측면\n  MOVEMENT (follow exactly): Su-ri-young rides the bicycle along the road outside the police station, moving laterally across the camera's side view with her torso pitched forward over the handlebars and her hair streaming backward, neither directly toward nor directly away from the camera.\n  FIGURES — apparent size & depth order (follow exactly): Su-ri-young fills roughly ~1/2 of the frame height, and the bicycle-and-rider silhouette together fills about ~2/3; both are NEARER to the camera than the FARTHER police-station exterior. Her path continues along the road parallel to the image plane.\n\nThere are 5 shots but 6 panel slots: draw the shots in\npanels 1..5 and leave the remaining panel(s) COMPLETELY\nBLANK PURE WHITE — empty white paper, not even a frame line inside.\n\nABSOLUTELY NO TEXT anywhere: no words, letters, captions, labels,\nsound effects or watermarks — the ONLY allowed marking is a small\nshot number digit (1, 2, 3, 4, 5) in a corner INSIDE each drawn panel.\nTHE PANEL GRID FILLS THE ENTIRE IMAGE EDGE-TO-EDGE: no outer paper\nmargin, no border area, nothing drawn outside the panels — the\nimage must be mechanically cuttable along the stated cut lines.\nPanels are separated only by thin straight black gutter lines at\nthe exact stated positions; ALL PANELS EXACTLY THE SAME SIZE."}
{"ts": "2026-07-12 14:12:30", "kind": "llm", "step": "s34_move_ko_forest", "model": "gpt", "dur_s": 21.2, "system_prompt": "당신은 콘티 작가를 돕는 동선 분석가다. 씬 원문(한국어 전문)과 샷\n목록을 읽고, 각 샷에서 인물이 공간을 어떻게 통과하는지(동선)를\n판정하라. 원문에 근거한 것만 쓰고 발명 금지. 마커나 ID 코드 금지.\n출력은 전부 한국어로 쓴다(영어 번역 금지 — 원문의 표현을 살릴 것).\n샷마다 두 필드를 채워라:\n1) movement_ko — 한국어 한 문장: 누가/무엇이 움직이는지, 이동\n경로와 방향(오르는지 내려오는지, 들어가는지 나오는지, 카메라\n쪽인지 반대인지), 몸의 진행 자세, 어디에서 와서 어디로 가는 중인지.\n정지 샷이면 '정지:'로 시작해 시선·몸 방향만.\n★인물의 신체·의식 상태가 원문에 있으면 자세 서술에 반드시 반영:\n죽었거나 의식이 없으면 '숨이 끊긴 채 무너져 사지가 비대칭으로\n늘어지고 체중이 쏟아진 자세'처럼 무너진 자세로 명시(단정하게\n앉거나 웅크린 자세로 쓰지 말 것), 부상·긴장·공포도 자세에\n드러나게. 어둠 속 실루엣·그림자로 보이는 존재도 실제로는 사람이면\n사람의 신체 비례임을 유지해 서술하라.\n2) figures_ko — 한국어 1~2문장: 프레임에 보이는 인물/핵심 물체\n각각에 대해 (a) 프레임 안 겉보기 크기(화면 높이의 몇 분의 몇\n수준인지: 예. 화면 높이의 약 2/3 / 작게 약 1/5), (b) 카메라 기준\n원근 서열(누가 더 가깝고 누가 더 먼지 — 명시적 비교), (c) 인물이\n여럿이거나 동선이 얽히면 서로의 경로·거리 관계까지.\n인물 1명 단순 샷이어도 크기와 근/원은 반드시 기록.", "user_prompt": "씬 원문 전문:\n[씬 1] S#1. 숲속 / 해 질 무렵\nS#1. 숲속 / 해 질 무렵\n우거진 수풀을 헤치며 도망치는. 벗겨진 한쪽 신발.\n허벅지에 커다란 이빨 자국. 피가 흐르고.\n잔뜩 겁에 질린 남자 표정(T.S) 그때 어디선가 쏜살같이 달려온\n검은 인영이 남자를 덮친다. 아아~ 악!!!\n\n\n\n[씬 3] S#3. 현장 / D\nS#3. 현장 / D\n지역 뉴스 화면. 기자는 보이지 않고 멘트만 흘러나온다.\n씬1, 2 현장을 감식하는 경찰, 폴리스 라인을 치고 시신을 수거한다.\n형사무리 속에 사건을 지휘하는 혜수의 모습이 보인다.\n\n기자(E)\n(이어서) 형체를 알아볼 수 없는 시신 두 구가 잇달아\n발견되면서 경찰은 수사본부를 차리고 갑호 비상령을\n내린 상탭니다.\n(중략)\n\n\n\n샷 목록(각각 동선 판정):\nS1sh1: 한쪽 신발이 벗겨진 한국인 남자가 우거진 수풀 사이를 달리며 한 발을 허공에 내딛고 있는 도중의 전신 구도\nS1sh4: 검은 형상의 인영이 허공에 뛰어오른 채 한국인 남자를 향해 두 팔을 뻗고 있는 순간\nS3sh3: 형사 무리 한가운데 서서 손가락으로 한쪽을 가리키는 혜수의 상체"}
{"ts": "2026-07-12 14:12:45", "kind": "llm", "step": "s34_move_ko_busstop", "model": "gpt", "dur_s": 14.5, "system_prompt": "당신은 콘티 작가를 돕는 동선 분석가다. 씬 원문(한국어 전문)과 샷\n목록을 읽고, 각 샷에서 인물이 공간을 어떻게 통과하는지(동선)를\n판정하라. 원문에 근거한 것만 쓰고 발명 금지. 마커나 ID 코드 금지.\n출력은 전부 한국어로 쓴다(영어 번역 금지 — 원문의 표현을 살릴 것).\n샷마다 두 필드를 채워라:\n1) movement_ko — 한국어 한 문장: 누가/무엇이 움직이는지, 이동\n경로와 방향(오르는지 내려오는지, 들어가는지 나오는지, 카메라\n쪽인지 반대인지), 몸의 진행 자세, 어디에서 와서 어디로 가는 중인지.\n정지 샷이면 '정지:'로 시작해 시선·몸 방향만.\n★인물의 신체·의식 상태가 원문에 있으면 자세 서술에 반드시 반영:\n죽었거나 의식이 없으면 '숨이 끊긴 채 무너져 사지가 비대칭으로\n늘어지고 체중이 쏟아진 자세'처럼 무너진 자세로 명시(단정하게\n앉거나 웅크린 자세로 쓰지 말 것), 부상·긴장·공포도 자세에\n드러나게. 어둠 속 실루엣·그림자로 보이는 존재도 실제로는 사람이면\n사람의 신체 비례임을 유지해 서술하라.\n2) figures_ko — 한국어 1~2문장: 프레임에 보이는 인물/핵심 물체\n각각에 대해 (a) 프레임 안 겉보기 크기(화면 높이의 몇 분의 몇\n수준인지: 예. 화면 높이의 약 2/3 / 작게 약 1/5), (b) 카메라 기준\n원근 서열(누가 더 가깝고 누가 더 먼지 — 명시적 비교), (c) 인물이\n여럿이거나 동선이 얽히면 서로의 경로·거리 관계까지.\n인물 1명 단순 샷이어도 크기와 근/원은 반드시 기록.", "user_prompt": "씬 원문 전문:\n[씬 15] S#15. 해안가. 버스정류장 부근 / N\nS#15. 해안가. 버스정류장 부근 / N\n바다를 바라보며 멍한 채로 앉아있는 수리영, 여전히 엄마는 전화를 받지않고.\n자신이 진짜로 헛 것을 본 것일까... 헷갈린다. 그럼 엄마는 어디있을까.\n혜수, 사온 음료수를 수리영에게 건네며\n\n혜수\n괜찮아?\n\n수리영\n내가 뭘 잘 못 본 거야, 이모. 그게 맞는 말 같애.\n엄마가 갑자기...그런 일을 당할 리 없잖아\n(훅 일어나며) 집에 가봐야 겠어.\n\n혜수\n엉? 어. 혼자 갈 수 있겠어?\n\n수리영\n응. 나 갈게 (달려간다)\n\n혜수\n(등 뒤에 대고 소리친다) 엄마 보면 나한테 전화 하라고 해!\n\n두 사람을 지켜보는 듯한 카메라 시선.\n\n\n\n샷 목록(각각 동선 판정):\nS15sh2: 혜수의 손이 음료수 캔을 쥔 채 수리영 앞으로 내밀어진 순간\nS15sh6: 멀리서 혜수의 전신과 한 발을 공중에 띄운 mid-stride 자세로 달리는 수리영의 뒷모습을 한 프레임에 담은 넓은 구도"}
{"ts": "2026-07-12 14:13:18", "kind": "llm", "step": "s34_move_ko_rooftop_ext", "model": "gpt", "dur_s": 33.3, "system_prompt": "당신은 콘티 작가를 돕는 동선 분석가다. 씬 원문(한국어 전문)과 샷\n목록을 읽고, 각 샷에서 인물이 공간을 어떻게 통과하는지(동선)를\n판정하라. 원문에 근거한 것만 쓰고 발명 금지. 마커나 ID 코드 금지.\n출력은 전부 한국어로 쓴다(영어 번역 금지 — 원문의 표현을 살릴 것).\n샷마다 두 필드를 채워라:\n1) movement_ko — 한국어 한 문장: 누가/무엇이 움직이는지, 이동\n경로와 방향(오르는지 내려오는지, 들어가는지 나오는지, 카메라\n쪽인지 반대인지), 몸의 진행 자세, 어디에서 와서 어디로 가는 중인지.\n정지 샷이면 '정지:'로 시작해 시선·몸 방향만.\n★인물의 신체·의식 상태가 원문에 있으면 자세 서술에 반드시 반영:\n죽었거나 의식이 없으면 '숨이 끊긴 채 무너져 사지가 비대칭으로\n늘어지고 체중이 쏟아진 자세'처럼 무너진 자세로 명시(단정하게\n앉거나 웅크린 자세로 쓰지 말 것), 부상·긴장·공포도 자세에\n드러나게. 어둠 속 실루엣·그림자로 보이는 존재도 실제로는 사람이면\n사람의 신체 비례임을 유지해 서술하라.\n2) figures_ko — 한국어 1~2문장: 프레임에 보이는 인물/핵심 물체\n각각에 대해 (a) 프레임 안 겉보기 크기(화면 높이의 몇 분의 몇\n수준인지: 예. 화면 높이의 약 2/3 / 작게 약 1/5), (b) 카메라 기준\n원근 서열(누가 더 가깝고 누가 더 먼지 — 명시적 비교), (c) 인물이\n여럿이거나 동선이 얽히면 서로의 경로·거리 관계까지.\n인물 1명 단순 샷이어도 크기와 근/원은 반드시 기록.", "user_prompt": "씬 원문 전문:\n[씬 10] S#10. 옥탑방 / N\nS#10. 옥탑방 / N\n그 시각. 옥탑방 옥상. 물탱크. 바람에 빨랫줄이 툭- 툭-\n평상에 놓인 말린 석창포가 바람에 날리는데...\n말린 잎이 걸어오는 낯선 남자의 신발 위를 스친다.\n남자의 긴 그림자. (얼굴은 보이지 않는다)\n\n신발은 옥탑방 철문 현관 앞에 멈춰 선다.\n문틈에 낀 광고 전단지.\n전단지를 뽑아서 손가락으로 문틈에 꾹 밀어 넣는다.\n‘철컥’ 하고 잠금 새가 풀리는 소리.\n문이 미세하게 열리고 안으로 들어가는 남자.\n창문에 비친 그림자. 민숙을 덮쳐 어깨를 물어뜯는 듯한 모습 ‘아악-’\n\n\n\n[씬 11] S#11. 옥탑 방 밖 / N\nS#11. 옥탑 방 밖 / N\n자전거를 타고 골목길을 달리는 수리영.\n다세대 빌라 문을 열고 들어와 마당 후미진 곳에 자전거를 대충 세우고,\n옥탑방과 연결되는 계단을 급히 오른다.\n\n갑자기 훅- 느껴지는 역겨운 냄새. 뭐지?\n옥상에 올라와 보니 반쯤 열린 현관 철문.\n\n\n\n[씬 13] S#13. 옥탑방 외곽 / N\nS#13. 옥탑방 외곽 / N\n비명을 지르며 옥탑방을 빠져나오는 수리영, 허겁지겁 계단을 내려간다.\n동시에 사이렌이 울리고~. (포즈)\n차에서 내린 혜수(40대 중반, 여자, 경위) 초점을 잃고 멍하니 서있는\n수리영의 모습을 발견하고 달려간다.\n\n혜수\n영아? 왜! 무슨 일이야?\n\n수리영\n(올라다보며) 엄마가, 엄마가... 죽어있어.\n\n혜수\n(놀라) 뭐?!\n\n옥탑 방으로 뛰어 올라가는 혜수와 후배 형사(30대 남/ 이하 김형사)\n\n\n\n샷 목록(각각 동선 판정):\nS10sh6: 현관 철문이 아주 살짝 열린 틈새로 보이는 어두운 실내와 신발 앞코\nS10sh7: 불이 켜진 옥탑방 창문에 거대한 그림자가 작은 그림자의 어깨 쪽으로 고개를 꺾은 형태가 맺혀 있는 정지 구도\nS11sh4: 철제 파이프 난간을 손으로 잡은 수리영이 코끝을 찡그린 채 계단 중간에 서 있는 얼굴 클로즈업\nS11sh5: 옥상에 선 수리영의 시선 끝에 반쯤 열려 있는 어두운 현관 철문이 보이는 정면 구도\nS13sh4: 수리영이 초점을 잃은 눈으로 허공을 응시하며 서 있는 모습\nS13sh6: 고개를 든 채 혜수의 얼굴을 마주보고 있는 수리영의 측면 구도"}
{"ts": "2026-07-12 14:13:47", "kind": "llm", "step": "s34_move_ko_rooftop_int", "model": "gpt", "dur_s": 28.8, "system_prompt": "당신은 콘티 작가를 돕는 동선 분석가다. 씬 원문(한국어 전문)과 샷\n목록을 읽고, 각 샷에서 인물이 공간을 어떻게 통과하는지(동선)를\n판정하라. 원문에 근거한 것만 쓰고 발명 금지. 마커나 ID 코드 금지.\n출력은 전부 한국어로 쓴다(영어 번역 금지 — 원문의 표현을 살릴 것).\n샷마다 두 필드를 채워라:\n1) movement_ko — 한국어 한 문장: 누가/무엇이 움직이는지, 이동\n경로와 방향(오르는지 내려오는지, 들어가는지 나오는지, 카메라\n쪽인지 반대인지), 몸의 진행 자세, 어디에서 와서 어디로 가는 중인지.\n정지 샷이면 '정지:'로 시작해 시선·몸 방향만.\n★인물의 신체·의식 상태가 원문에 있으면 자세 서술에 반드시 반영:\n죽었거나 의식이 없으면 '숨이 끊긴 채 무너져 사지가 비대칭으로\n늘어지고 체중이 쏟아진 자세'처럼 무너진 자세로 명시(단정하게\n앉거나 웅크린 자세로 쓰지 말 것), 부상·긴장·공포도 자세에\n드러나게. 어둠 속 실루엣·그림자로 보이는 존재도 실제로는 사람이면\n사람의 신체 비례임을 유지해 서술하라.\n2) figures_ko — 한국어 1~2문장: 프레임에 보이는 인물/핵심 물체\n각각에 대해 (a) 프레임 안 겉보기 크기(화면 높이의 몇 분의 몇\n수준인지: 예. 화면 높이의 약 2/3 / 작게 약 1/5), (b) 카메라 기준\n원근 서열(누가 더 가깝고 누가 더 먼지 — 명시적 비교), (c) 인물이\n여럿이거나 동선이 얽히면 서로의 경로·거리 관계까지.\n인물 1명 단순 샷이어도 크기와 근/원은 반드시 기록.", "user_prompt": "씬 원문 전문:\n[씬 12] S#12. 옥탑방 안 / N\nS#12. 옥탑방 안 / N\n/거실\n‘엄마?’를 부르며 들어오는 수리영,\n끓다 식은 냄비. 켜져 있는 TV. 희미한 거실 스탠드 불빛,\n\n/민숙 방\n안방 문을 여는데... 없다.\n거실 식탁에 놓여있는 찻잔 두 개. 하나는 엎어져있다.\n\n/수리영 방\n마지막으로 자기 방문을 연다\n헉!- 여기저기 핏자국. 바닥에 흥건한 혈흔.\n피묻은 발자국은 커튼으로 이어져 있다\n호흡을 가두고 커튼을 젖히자\n앉은 채로 고개를 떨군 채 죽어있는 엄마- 민숙!!!!\n\n수리영\n(달려가) 어어어어----엄마\n\n충격에 온 몸이 얼어붙은 수리영,\n살점이 뜯긴 어깨와 쇄골, 마치 동물에게 물어뜯긴 듯한 거친 상처가 고스란히\n드러나있다. 덜렁거리는 살점과 뜯겨진 부위에 흘러내리는 피.\n\n수리영\n(놀라 뒤로 주춤) 어-어-어- 엄마….\n\n부들부들 떨며 핸드폰을 누른다. 2번 혜수이모\n\n수리영\n받아, 이모. 받아….\n\n혜수(E)\n영아, 영아, 왜?\n\n답은 안 나오고… 엄마 손안에 구겨진 사진 한 장이 보인다.\n다가가 사진을 꺼내는데 엄마 손목에 있던 문신이 붉은색으로 변한다.\n헉! 호흡이 빨라지고... 침대 위 벽에 붉은 원이 생겨난다\n(마치 누군가 붓으로 벽에 원으로 그리는 것처럼).\n소름끼치는 으아악---!\n\n\n\n[씬 14] S#14. 옥탑방 안 / N\nS#14. 옥탑방 안 / N\n/현관\n집안 여기저기를 확인하면서 나오는 형사와 혜수\n\n김형사\n(허탈한 표정) 없는데.. 아무 것도.\n\n혜수\n(뒤따라온 수리영에게) 영아, 없어. 뭘 봤는데...?\n\n어? 수리영, 부리나케 방 안으로 뛰어 들어간다.\n\n/수리영 방 안\n지나칠 정도로 깨끗하게 정돈된 방안. 핏자국도 보이지 않고,\n침대 위에 붉은 표식은 물론 커튼 뒤의 시신도 감쪽 같이 사라졌다.\n얼굴이 파리해지는 수리영. ‘어----?’ ‘분명히 봤는데...’\n\n뛰쳐나가 식탁으로 가본다. 식탁 역시 깨끗한.\n\n수리영\n여기 찻잔도 두 개 있었고...\n\n김형사\n(답답) 허 참! 죽은 사람이 발이 달렸을 리도 없고. 쯧쯧\n그러게 살인사건은 자세하게 보도하면 안 된다구요...(궁시렁)\n이봐요. 학생? 장난전화 하면 안 되는 거 몰라? (짜증)\n안 그래도 살인사건으로 난리도 아닌데...\n\n혜수\n(김형사 째리고) 김형사. 먼저 가 있어. (김형사 나가면)\n(수리영 어깨를 어루만지며) 영아.\n\n수리영\n엄마(시신), 어디갔을까? 분명히 봤는데...\n\n혜수\n네가 요즘 과로했잖아. 공부에다 알바까지...\n악몽을 꾼 걸 수도 있으니... 바람이나 쐬러 가자.\n수리영 방안에 놓여진 백팩, 인형. 약간씩 위치가 달라진.\n(시신을 발견했을 때와 다른)\n\n\n\n[씬 18] S#18. 안방 안 / D\nS#18. 안방 안 / D\n침대에 머리를 대고 앉아있는 수리영, 밤새 엄마를 기다리다 깜박 졸았다\n고양이 울음소리에 번쩍 눈을 뜨고, ‘엄마? ’혹시나 해서 집안을 살피지만\n아무런 인기척도 보이지 않는다\n\n/수리영 방안\n닫혀있는 자신의 방을 바라본다.\n[F.B: 1부12씬] 커튼 뒤에 죽어있던 엄마. 상처. 혈흔\n\n크게 심호흡하고 조심스럽게 문을 연다.\n지나치리만큼 깨끗하게 정돈된 방안.\n창문에 다가가 커튼을 확 열어젖힌다. 시신은 없다.\n\n한숨 후~ 다행이긴 한데.\n그때, 울리는 폰 벨소리, 화들짝 놀라는 수리영. 달려가 받자마자\n\n수리영\n엄마?\n\n혜수(E)\n아직이니?\n\n수리영\n응. 아무래도 이상해. 이럴 리가 없잖아! 우리 엄마가.\n이모, 사고 난 게 분명해\n\n혜수(E)\n실종신고 냈어. 이모가 엄마 폰 위치추적하고 있으니까\n조금만 기다려 별일 없을 거야. 알았지?\n\n수리영\n응.\n\n무작정 기다리는게 불안한 수리영,\n인형이 달린 자신의 백팩을 꺼내 나온다\n\n/욕실 안\n얼굴을 씻고 거울을 보며\n\n수리영\n엄마, 도대체 어딨는 거야...\n\n거울에 비친 욕실 벽에 갑자기 또 발생하는 붉은 원.\n호흡이 가빠지고... 훅 고개를 돌려 벽을 보는 수리영\n거짓말처럼 사라지고 없다.\n거실로 튀어나와 물 한컵 마시고 식탁에 놓인 엄마와 수리영의 사진을 보는데...\n환하게 웃는 엄마 얼굴이 뭉개져 흘러내린다\n\n수리영\n아아악~~~ (다시보니 멀쩡하다) 나 왜 이러는 거지.\n(자신의 뺨을 치며) 정신 차려 수리영!\n\n\n\n[씬 25] S#25. 옥탑방 안 / 해질 무렵\nS#25. 옥탑방 안 / 해질 무렵\n누군가 다녀간 흔적으로 보이는 발자국들.\n다시 호흡이 가빠지는 수리영.\n집안에서 뭔가를 찾기 위해 가재도구를 온통 헤집은 것으로 보인다.\n거실에 난 창은 열려있고, 식탁 의자들을 쓰러져있다.\n\n/수리영 방\n열린 자신의 방을 힐끗 보는데\n벽에 또 붉은 원이 그려져있다. 그 가운데 꽂혀있는 피묻은 사진 한 장!\n사진을 떼어서 자세히 본다.\n어? 그 사진!!!\n\n[F.B: 1부 12씬] 죽은 엄마의 손에 구겨져있던 바로 그 사진이다.\n7-80년대 쯤 보이는 시골 식당과 지붕위에 둥근 원이 설치된 (마치 십자가처럼)\n식당 앞에는 어린 여자애 둘(12살)이 앉아있다. 그중에 한 아이는 분명히\n어릴 적 엄마다.\n\n침대에 털썩 주저앉는 수리영. 연속해서 벌어지는 기이한 상황에 정신이 혼미한\n엉망이 된 집 안을 한번 획 둘러보는 수리영,\n마치 이끌리듯 백팩을 메고 밖으로 나간다. 사진을 손에 꼭 쥔 채.\n\n\n\n샷 목록(각각 동선 판정):\nS12sh11: 옷과 피부가 피투성이가 된 민숙이 바닥에 주저앉아 고개를 푹 숙인 정지 상태\nS12sh21: 침대 위쪽 벽면에 붉은색 원형 표식이 절반쯤 나타난 상태\nS14sh5: 핏자국 없이 깨끗한 방 내부 전경\nS18sh11: 거울 속 반사된 욕실 타일 벽면에 붉은색 원형 표식이 절반쯤 나타난 상태\nS25sh1: 해질 무렵 옥탑방 거실, 흙 묻은 발자국들이 찍힌 바닥과 쓰러진 식탁 의자들이 보이는 전경\nS25sh5: 붉은 원 한가운데 피 묻은 낡은 흑백 사진이 벽에 꽂혀 있는 타이트 샷"}
{"ts": "2026-07-12 14:14:12", "kind": "llm", "step": "s34_move_ko_mart", "model": "gpt", "dur_s": 25.3, "system_prompt": "당신은 콘티 작가를 돕는 동선 분석가다. 씬 원문(한국어 전문)과 샷\n목록을 읽고, 각 샷에서 인물이 공간을 어떻게 통과하는지(동선)를\n판정하라. 원문에 근거한 것만 쓰고 발명 금지. 마커나 ID 코드 금지.\n출력은 전부 한국어로 쓴다(영어 번역 금지 — 원문의 표현을 살릴 것).\n샷마다 두 필드를 채워라:\n1) movement_ko — 한국어 한 문장: 누가/무엇이 움직이는지, 이동\n경로와 방향(오르는지 내려오는지, 들어가는지 나오는지, 카메라\n쪽인지 반대인지), 몸의 진행 자세, 어디에서 와서 어디로 가는 중인지.\n정지 샷이면 '정지:'로 시작해 시선·몸 방향만.\n★인물의 신체·의식 상태가 원문에 있으면 자세 서술에 반드시 반영:\n죽었거나 의식이 없으면 '숨이 끊긴 채 무너져 사지가 비대칭으로\n늘어지고 체중이 쏟아진 자세'처럼 무너진 자세로 명시(단정하게\n앉거나 웅크린 자세로 쓰지 말 것), 부상·긴장·공포도 자세에\n드러나게. 어둠 속 실루엣·그림자로 보이는 존재도 실제로는 사람이면\n사람의 신체 비례임을 유지해 서술하라.\n2) figures_ko — 한국어 1~2문장: 프레임에 보이는 인물/핵심 물체\n각각에 대해 (a) 프레임 안 겉보기 크기(화면 높이의 몇 분의 몇\n수준인지: 예. 화면 높이의 약 2/3 / 작게 약 1/5), (b) 카메라 기준\n원근 서열(누가 더 가깝고 누가 더 먼지 — 명시적 비교), (c) 인물이\n여럿이거나 동선이 얽히면 서로의 경로·거리 관계까지.\n인물 1명 단순 샷이어도 크기와 근/원은 반드시 기록.", "user_prompt": "씬 원문 전문:\n[씬 8] S#8. 번화가·대형 마트 / 해질 무렵\nS#8. 번화가·대형 마트 / 해질 무렵\n포구와 인접해 있는 번화가, 네온사인, 택시, 호객 행위, 길거리 포장마차\n사이로 능숙하게 자전거를 모는 수리영.\n\n마트에 도착해 자전거를 세우고, 안으로 들어간다.\n민숙은 이 마트의 진열담당 직원. 이리저리 엄마를 찾아보지만 보이지 않는다\n평소 민숙과 가깝게 지냈던 직원에게 다가가\n\n수리영\n아줌마 안녕하세요? 그런데 우리 엄마는 어딨어요?\n\n여직원\n영이구나. 어? 아까 너 만나러 간다고 조퇴했는데. 길이\n엇갈렸나 보네.\n\n수리영\n(헷갈림) 어? 여기서 만나기로 했는데.\n\n남자 직원\n(박스 들고와 진열하면서) 민숙씨 아까 밖에서 누구랑\n얘기하는 거 봤는데...\n\n수리영\n(의아) 네? 누구랑요?\n\n직원\n그것까진 (모르지)...\n\n여직원\n집에 간 거 아냐? 얼른 가봐.\n\n수리영 마트 밖을 나오면서 연락을 취해보지만 받지않는다.\n일단 집으로-\n\n\n\n[씬 19] S#19. 마트 / D\nS#19. 마트 / D\n이른 아침, 아직은 한산한 마트 안.\n자전거를 주차하고 안으로 들어가는 수리영.\n마트 여기저기를 돌아다니며 어제 만났던 남자 직원을 찾는다\n\n수리영\n아저씨, 저 어제 봤죠? 강민숙씨 딸.\n\n남자직원\n어? 그래. 엄마 오늘도 결근했는데... 무슨 일 있어?\n\n수리영\n(답하지 않고 대신) 어제 저한테, 우리 엄마가 누군가와 얘길\n나누는 걸 봤다고 하셨죠?\n\n남자직원\n응. 남자였던 거 같은데.\n\n수리영\n남자요? 혹시 CCTV 같은 거 볼 수 있을까요?\n\n남자직원\n그게 CCTV에 찍혔을까.\n\n/ 마트 밖\n엄마와 남자 직원CCTV 위치를 확인하다. 찍혔을 만한 위치다.\n수리영, 혜수에게 전화 걸어 상황을 설명한다.\n\n\n\n[씬 20] S#20. 마트 총무과 / 실내\nS#20. 마트 총무과 / 실내\nCCTV화면을 돌려보는 보안팀 직원과 혜수,\n뒤에서 초조한 모습으로 화면을 주시하는 수리영\n\n보안직원\n이거네요. (갸우뚱) 근데 왜 이리 어둡지. 이 부분만 더 안\n보이네. 잘 보면 남자와 얘길 나누는 거 같긴 하죠. 뭐 보이세요?\n\n몇 번을 다시 돌려보지만 보안직원 말대로 그 부분만 유독 어두워\n식별이 불가능하다. 수리영 불안이 깊어지고.\n\n혜수\n흠... 일단 어제 CCTV 전체 잠깐 가져가도 될까요?\n복사하고 돌려드릴테니까.\n\n보안직원\n그러시죠.\n\n\n\n샷 목록(각각 동선 판정):\nS8sh3: 수리영이 마트 유니폼을 입은 한국인 여성 직원을 마주보며 입을 살짝 벌린 측면 구도\nS8sh5: 마트 밖으로 나온 수리영이 손에 든 스마트폰 액정을 내려다보는 상체\nS19sh5: 수리영과 남자직원이 마트 밖에서 벽면의 CCTV를 올려다보는 뒷모습\nS19sh6: 수리영이 귀에 스마트폰을 댄 채 정면을 응시하는 상체 클로즈업\nS20sh1: 마트 총무과 책상 앞, 한국인 남성 보안직원과 혜수가 컴퓨터 모니터를 향해 몸을 기울인 측면\nS20sh3: 흑백 CCTV 화면 속 어두운 구석에 사람 형상이 희미하게 찍힌 모니터 클로즈업"}
{"ts": "2026-07-12 14:14:27", "kind": "llm", "step": "s34_move_ko_police", "model": "gpt", "dur_s": 14.8, "system_prompt": "당신은 콘티 작가를 돕는 동선 분석가다. 씬 원문(한국어 전문)과 샷\n목록을 읽고, 각 샷에서 인물이 공간을 어떻게 통과하는지(동선)를\n판정하라. 원문에 근거한 것만 쓰고 발명 금지. 마커나 ID 코드 금지.\n출력은 전부 한국어로 쓴다(영어 번역 금지 — 원문의 표현을 살릴 것).\n샷마다 두 필드를 채워라:\n1) movement_ko — 한국어 한 문장: 누가/무엇이 움직이는지, 이동\n경로와 방향(오르는지 내려오는지, 들어가는지 나오는지, 카메라\n쪽인지 반대인지), 몸의 진행 자세, 어디에서 와서 어디로 가는 중인지.\n정지 샷이면 '정지:'로 시작해 시선·몸 방향만.\n★인물의 신체·의식 상태가 원문에 있으면 자세 서술에 반드시 반영:\n죽었거나 의식이 없으면 '숨이 끊긴 채 무너져 사지가 비대칭으로\n늘어지고 체중이 쏟아진 자세'처럼 무너진 자세로 명시(단정하게\n앉거나 웅크린 자세로 쓰지 말 것), 부상·긴장·공포도 자세에\n드러나게. 어둠 속 실루엣·그림자로 보이는 존재도 실제로는 사람이면\n사람의 신체 비례임을 유지해 서술하라.\n2) figures_ko — 한국어 1~2문장: 프레임에 보이는 인물/핵심 물체\n각각에 대해 (a) 프레임 안 겉보기 크기(화면 높이의 몇 분의 몇\n수준인지: 예. 화면 높이의 약 2/3 / 작게 약 1/5), (b) 카메라 기준\n원근 서열(누가 더 가깝고 누가 더 먼지 — 명시적 비교), (c) 인물이\n여럿이거나 동선이 얽히면 서로의 경로·거리 관계까지.\n인물 1명 단순 샷이어도 크기와 근/원은 반드시 기록.", "user_prompt": "씬 원문 전문:\n[씬 16] S#16. 경찰서 사무실 / N\nS#16. 경찰서 사무실 / N\n사무실 안으로 들어오면서 민숙에게 전화를 거는 혜수,\n계속 무응답이다. 수리영에게 내색은 안했지만 왠지 불길한.\n사무실 안에는 김형사 혼자 당직 근무 중이다.\n\n김형사\n그 애는 요? 갔어요?\n\n혜수\n(핸드폰에 저장된 민숙번호 보여주며) 이 번호 위치 좀 따봐.\n\n김형사\n게 엄마예요? (투덜) 오늘은 좀 기다려보시죠.\n\n혜수\n아냐. 딸과의 약속을 어기고 이렇게 연락이 안 될 애가 아냐.\n갈 곳도, 아는 사람도 별로 없는 애야. 밖에 나다니는 스타일도\n아니고.... 이상해, 예감이 안 좋아.\n\n\n\n[씬 21] S#21. 경찰서 안 / D\nS#21. 경찰서 안 / D\n경찰서 전경.\n수리영과 함께 사무실 안으로 들어오는 혜수,\n자신을 마뜩치 않게 보는 김형사에게 공손하게 인사하는.\n\n김형사\n마침 잘 왔네. (서류 보여주며) 실종신고서야. 여기 사인하고.\n통화의뢰도 할거지? 여기도 사인하고.\n\n혜수\n(김형사에게) 휴대전화 위치 확인 됐어?\n\n김형사\n(사인서류 들고) 이거 전송하면 보내줄 거예요.(나간다)\n\n들어오는 김형사\n\n김형사\n빨리 답 달라고 재촉했으니까... (짜증) 선배님, 회의.\n살인사건으로 초비상인데. 지금 이러고 있을 때가 (아니지\n않나)..\n\n혜수\n(시계보더니 난감한 얼굴로 수리영보면서)... 여기 내 자리에\n앉아서 잠깐 기다려. 저 커피 마셔도 돼. 괜찮지? 금방 올게\n\n아니나 다를까, ‘빨리 안들어오고 뭐해!’ 팀장 소리치고 형사들 다들\n우르르 몰려 나간다.\n사무실에 홀로 앉아있는 수리영.\n혜수 책상위에는 살인사건(1부 1,2,3씬) 확대 사진들이 어지럽게 널려있다.\n넘겨보며 놀라는 수리영, 환각상태에서 본 엄마의 시신모습과\n너무도 흡사한 - 목, 어깨, 얼굴등 살점이 떨어져 보는 것만으로도 끔찍하다.\n이때, 띠링- 김형사 모니터에서 뭔가 뜬다.\n주위를 둘러본다. 아무도 없는 것을 확인하고 수리영 망설이다가 커서를 누른다\n엄마 폰 위치추적 결과다.\n\n<화면내용>\n실종 강민숙(41세)\n핸드폰 번호 (010-000-0000) LAST LOCATION\n해상 지도위에 좌표. 37.484400 N / 126. 072486 E\nTimestamp 2026-02-18 11:21:08\nSource:GPS /Network\nStatus: offline\n\n‘바다라고?’ 사색이 된 수리영,\n필기도구를 찾아 좌표를 메모 한다. 메모쪽지를 접어 주머니에 넣고\n다시 한번 슬쩍 주위를 둘러본 후 사무실을 나온다.\n\n\n\n[씬 22] S#22. 경찰서 밖 / D\nS#22. 경찰서 밖 / D\n주차된 자전거를 타고 이내 달리는 수리영\n\n\n\n샷 목록(각각 동선 판정):\nS16sh3: 혜수가 스마트폰 액정을 김형사 쪽으로 불쑥 내민 순간\nS21sh7: 수리영이 두 눈을 크게 뜨고 입을 살짝 벌린 굳은 얼굴 클로즈업\nS21sh10: 모니터 화면에 바다 지도가 펼쳐져 있고 붉은색 핀과 좌표 숫자가 떠 있는 클로즈업\nS21sh12: 수리영이 메모지가 들어간 겉옷 주머니에 손을 넣은 채 사무실 출입문을 향해 몸을 돌린 정지 순간\nS22sh1: 경찰서 건물 밖 도로 위에서 수리영이 자전거 안장에 앉아 상체를 앞으로 숙인 채 머리카락이 뒤로 흩날리는 측면"}
{"ts": "2026-07-12 14:15:09", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s34v2_conti_forest_nb2", "refs": [], "ref_labels": [], "attempt": 1, "dur_s": 18.4, "bytes": 3683068, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/conti21_forest_nb2.png", "prompt": "콘티(스토리보드) 시트 한 장을 그려라: 가로 정확히 50% 지점의 세로 절단선 1개 + 높이 정확히 50% 지점의 가로 절단선 1개로 만든 2×2 그리드 패널 4개 — 각 패널은 정확히 이미지의 1/4.\n스타일: 실사 영화 촬영을 위한 손그림 프리프로덕션 스토리보드 —\n실제 영화의 감독과 촬영감독에게 전달하기 위해 전문 영화 스토리보드\n작가가 그리는 작업용 드로잉이다: 사실적인 성인 인체 비례와 얼굴\n(평범한 한국 성인, 실사 배우 수준의 사실성), 실제 시네마 렌즈\n프레이밍, 자연스러운 명암 블로킹을 흰 종이 위 흑연 연필 톤\n단색으로 그린다.\n만화·애니메이션·카툰·웹툰·코믹북 스타일 절대 금지: 과장되거나\n커진 눈 금지, 귀엽거나 앳되게 이상화된 얼굴 금지, 깔끔한 잉크\n외곽선 금지 — 모든 패널이 연필로 스케치한 실사 영화의 한\n프레임처럼 읽혀야 한다. 어디에도 색을 쓰지 말 것.\n\n장소 (그려지는 모든 패널에서 동일): 덤불이 우거진 한국의 깊은 산속 숲.\n\n목적: 각 패널은 해당 샷의 카메라 구도만 담는다 — 프레이밍\n(클로즈업/미디엄/와이드), 피사체가 프레임 안 어디에 놓이는지,\n그리고 패널 간 연속성. 모든 패널은 극도로 단순하게: 구도에\n필요한 것만 그린다.\n움직임은 마킹이 아니라 인물 자체로 보여준다: 이동 방향은 오로지\n몸으로 전달하라 — 내딛는 중의 보폭, 진행 방향으로 기운 몸,\n뒷모습인지 정면인지, 그리고 명시된 크기·깊이 단서. 화살표·모션\n라인·경로선·속도선 등 어떤 종류의 도식 마킹도 그리지 말 것.\n\n공간 기하 — 그리기 전에 분석하라: 각 패널의 샷 텍스트에서 공간\n사실을 먼저 파악한 뒤 정확히 그대로 그려라, 절대 임의로 재연출하지\n말 것: (a) 각 인물의 카메라와의 거리(타이트 인서트/클로즈업/\n미디엄/풀/와이드 — 손이나 사물이 주제인 샷은 타이트 인서트지\n투샷이 아니다); (b) 각 인물의 카메라 기준 향한 방향과 이동 방향 —\n'뒷모습'은 뒤에서 본 모습으로, 카메라에서 멀어져 화면 깊이 속으로\n가는 것이지 옆으로 가는 게 아니다; 옆모습은 측면 이동을 뜻한다;\n(c) 인물들 사이의 상대 위치와 거리. 확립된 화면 방향은 패널 간\n일관되게 유지하라(180도 규칙): 한 패널에서 떠난 사람은 그 움직임이\n다시 등장하는 곳마다 같은 화면 방향을 유지한다.\n크기와 깊이는 계약이다: 각 패널에는 모든 인물의 프레임 내 겉보기\n크기와 명시적 근/원 깊이 순서가 적혀 있다. 정확히 그 비례로\n그려라 — 더 먼 인물은 더 가까운 인물보다 분명히 작게 그려야 하며,\n인물 크기를 균등화하지 말 것, 특히 여러 인물이 한 패널에 있거나\n동선이 서로 얽힐 때 더욱 그렇다.\n떠나는 인물 — 멀어지며 달리는/걷는 인물은 절대 다가오는 것처럼\n보이면 안 된다: 정확히 뒤에서만 보이게(뒤통수만, 얼굴·턱·볼선\n금지), 몸은 진행 방향으로 기울고, 내딛는 중에 신발 밑창 하나가\n카메라 쪽을 향한다. 명시된 크기/깊이가 우선한다: 패널의 인물\n크기·깊이 줄이 말한 겉보기 크기와 깊이 그대로 그려라(멀리/작게로\n명시됐으면 먼 곳에 작게 유지 — 극적 효과를 위해 전경으로 키우지\n말 것).\n\n연속성: 그려지는 모든 패널은 동일한 하나의 장소다 — 고정\n지형지물(문·계단·창문·기둥·책상)은 패널 간 같은 위치와 좌우\n관계를 유지해, 패널들이 하나의 연속된 씬으로 컷 연결되어야 한다.\n\n패널 목록 (패널당 샷 1개):\n\n패널 1: 한쪽 신발이 벗겨진 한국인 남자가 우거진 수풀 사이를 달리며 한 발을 허공에 내딛고 있는 도중의 전신 구도\n  동선 (정확히 따를 것): 한쪽 신발이 벗겨지고 허벅지의 커다란 이빨 자국에서 피가 흐르는 남자가 겁에 질려 몸을 앞으로 기울인 채, 한 발을 허공에 내디디며 우거진 수풀 사이를 헤치고 도망치는 중이다.\n  인물 크기·깊이 순서 (정확히 따를 것): 남자는 전신이 화면 높이의 약 4/5로 크게 보이며, 프레임에 보이는 인물 중 카메라에 가장 가까운 단독 인물이다.\n패널 2: 검은 형상의 인영이 허공에 뛰어오른 채 한국인 남자를 향해 두 팔을 뻗고 있는 순간\n  동선 (정확히 따를 것): 사람의 신체 비례를 지닌 검은 인영이 허공으로 뛰어올라 두 팔을 앞으로 뻗은 채 달아나는 남자를 향해 쏜살같이 덮쳐 가고, 허벅지에서 피를 흘리는 남자는 겁에 질린 도주 자세로 그 앞에 놓여 있다.\n  인물 크기·깊이 순서 (정확히 따를 것): 사람의 신체 비례를 지닌 검은 인영과 남자가 각각 화면 높이의 약 1/2 수준으로 보이며, 인영은 남자와의 거리를 급격히 좁히는 위치에 있고 남자는 그 공격 경로 바로 앞에 있다.\n패널 3: 형사 무리 한가운데 서서 손가락으로 한쪽을 가리키는 혜수의 상체\n  동선 (정확히 따를 것): 정지: 혜수는 형사 무리 한가운데 똑바로 서서 상체를 한쪽으로 향하고, 손가락을 뻗어 사건 현장의 한쪽을 가리키며 지휘한다.\n  인물 크기·깊이 순서 (정확히 따를 것): 혜수의 상체가 화면 높이의 약 2/3로 가장 크게 보이고, 주위 형사들은 화면 높이의 약 1/3~1/2 크기로 혜수와 비슷한 거리 또는 그보다 뒤에서 무리를 이룬다. 혜수는 형사들 한가운데 있으며, 가리킨 쪽으로 형사들의 동선이 이어질 수 있는 배치다.\n\n샷은 3개인데 패널 슬롯은 4개다: 샷을 패널\n1..3에 그리고, 남는 패널은 완전한 순백으로 비워 두어라 —\n빈 흰 종이 그대로, 안쪽에 프레임 선 하나도 그리지 말 것.\n\n어디에도 글자 절대 금지: 단어·문자·캡션·라벨·효과음·워터마크\n금지 — 허용되는 유일한 표기는 그려진 각 패널 안 구석의 작은 샷\n번호 숫자(1, 2, 3)뿐이다.\n패널 그리드는 이미지 가장자리까지 빈틈없이 가득 채운다: 바깥 종이\n여백 없음, 테두리 영역 없음, 패널 밖에는 아무것도 그리지 않음 —\n명시된 절단선 위치를 따라 기계적으로 자를 수 있어야 한다.\n패널 사이는 명시된 정확한 위치의 가는 검은 직선 거터선뿐이며,\n모든 패널은 정확히 같은 크기다."}
{"ts": "2026-07-12 14:15:24", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s34v2_conti_busstop_nb2", "refs": [], "ref_labels": [], "attempt": 1, "dur_s": 15.1, "bytes": 2807436, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/conti21_busstop_nb2.png", "prompt": "콘티(스토리보드) 시트 한 장을 그려라: 이미지 가로 정확히 50% 지점의 세로 절단선 1개로 만든 패널 2개 — 각 패널은 정확히 가로 절반 × 세로 전체 (1행 2열).\n스타일: 실사 영화 촬영을 위한 손그림 프리프로덕션 스토리보드 —\n실제 영화의 감독과 촬영감독에게 전달하기 위해 전문 영화 스토리보드\n작가가 그리는 작업용 드로잉이다: 사실적인 성인 인체 비례와 얼굴\n(평범한 한국 성인, 실사 배우 수준의 사실성), 실제 시네마 렌즈\n프레이밍, 자연스러운 명암 블로킹을 흰 종이 위 흑연 연필 톤\n단색으로 그린다.\n만화·애니메이션·카툰·웹툰·코믹북 스타일 절대 금지: 과장되거나\n커진 눈 금지, 귀엽거나 앳되게 이상화된 얼굴 금지, 깔끔한 잉크\n외곽선 금지 — 모든 패널이 연필로 스케치한 실사 영화의 한\n프레임처럼 읽혀야 한다. 어디에도 색을 쓰지 말 것.\n\n장소 (그려지는 모든 패널에서 동일): 밤의 한적한 한국 해안도로변, 바다를 마주한 벤치가 있는 작은 해안가 버스정류장.\n\n목적: 각 패널은 해당 샷의 카메라 구도만 담는다 — 프레이밍\n(클로즈업/미디엄/와이드), 피사체가 프레임 안 어디에 놓이는지,\n그리고 패널 간 연속성. 모든 패널은 극도로 단순하게: 구도에\n필요한 것만 그린다.\n움직임은 마킹이 아니라 인물 자체로 보여준다: 이동 방향은 오로지\n몸으로 전달하라 — 내딛는 중의 보폭, 진행 방향으로 기운 몸,\n뒷모습인지 정면인지, 그리고 명시된 크기·깊이 단서. 화살표·모션\n라인·경로선·속도선 등 어떤 종류의 도식 마킹도 그리지 말 것.\n\n공간 기하 — 그리기 전에 분석하라: 각 패널의 샷 텍스트에서 공간\n사실을 먼저 파악한 뒤 정확히 그대로 그려라, 절대 임의로 재연출하지\n말 것: (a) 각 인물의 카메라와의 거리(타이트 인서트/클로즈업/\n미디엄/풀/와이드 — 손이나 사물이 주제인 샷은 타이트 인서트지\n투샷이 아니다); (b) 각 인물의 카메라 기준 향한 방향과 이동 방향 —\n'뒷모습'은 뒤에서 본 모습으로, 카메라에서 멀어져 화면 깊이 속으로\n가는 것이지 옆으로 가는 게 아니다; 옆모습은 측면 이동을 뜻한다;\n(c) 인물들 사이의 상대 위치와 거리. 확립된 화면 방향은 패널 간\n일관되게 유지하라(180도 규칙): 한 패널에서 떠난 사람은 그 움직임이\n다시 등장하는 곳마다 같은 화면 방향을 유지한다.\n크기와 깊이는 계약이다: 각 패널에는 모든 인물의 프레임 내 겉보기\n크기와 명시적 근/원 깊이 순서가 적혀 있다. 정확히 그 비례로\n그려라 — 더 먼 인물은 더 가까운 인물보다 분명히 작게 그려야 하며,\n인물 크기를 균등화하지 말 것, 특히 여러 인물이 한 패널에 있거나\n동선이 서로 얽힐 때 더욱 그렇다.\n떠나는 인물 — 멀어지며 달리는/걷는 인물은 절대 다가오는 것처럼\n보이면 안 된다: 정확히 뒤에서만 보이게(뒤통수만, 얼굴·턱·볼선\n금지), 몸은 진행 방향으로 기울고, 내딛는 중에 신발 밑창 하나가\n카메라 쪽을 향한다. 명시된 크기/깊이가 우선한다: 패널의 인물\n크기·깊이 줄이 말한 겉보기 크기와 깊이 그대로 그려라(멀리/작게로\n명시됐으면 먼 곳에 작게 유지 — 극적 효과를 위해 전경으로 키우지\n말 것).\n\n연속성: 그려지는 모든 패널은 동일한 하나의 장소다 — 고정\n지형지물(문·계단·창문·기둥·책상)은 패널 간 같은 위치와 좌우\n관계를 유지해, 패널들이 하나의 연속된 씬으로 컷 연결되어야 한다.\n\n패널 목록 (패널당 샷 1개):\n\n패널 1: 혜수의 손이 음료수 캔을 쥔 채 수리영 앞으로 내밀어진 순간\n  동선 (정확히 따를 것): 혜수가 음료수 캔을 쥔 손을 앉아 있는 수리영의 앞쪽으로 뻗어 건넨다.\n  인물 크기·깊이 순서 (정확히 따를 것): 혜수의 손과 음료수 캔이 화면 높이의 약 1/3 크기로 가까이 보이고, 수리영은 그보다 뒤쪽에 앉아 있다. 캔은 혜수의 손에서 수리영 쪽으로 향한다.\n패널 2: 멀리서 혜수의 전신과 한 발을 공중에 띄운 mid-stride 자세로 달리는 수리영의 뒷모습을 한 프레임에 담은 넓은 구도\n  동선 (정확히 따를 것): 수리영은 혜수를 등진 채 한 발을 공중에 띄운 달리기 자세로 혜수에게서 멀어지며 카메라 반대쪽으로 달려가고, 혜수는 뒤에 남아 수리영의 등을 향한다.\n  인물 크기·깊이 순서 (정확히 따를 것): 넓은 화면에서 혜수의 전신은 화면 높이의 약 1/5, 달려가는 수리영은 약 1/6 크기로 작게 보이며, 혜수가 카메라에 더 가깝고 수리영이 더 멀다. 두 사람 사이의 거리는 수리영의 진행 방향을 따라 벌어진다.\n\n어디에도 글자 절대 금지: 단어·문자·캡션·라벨·효과음·워터마크\n금지 — 허용되는 유일한 표기는 그려진 각 패널 안 구석의 작은 샷\n번호 숫자(1, 2)뿐이다.\n패널 그리드는 이미지 가장자리까지 빈틈없이 가득 채운다: 바깥 종이\n여백 없음, 테두리 영역 없음, 패널 밖에는 아무것도 그리지 않음 —\n명시된 절단선 위치를 따라 기계적으로 자를 수 있어야 한다.\n패널 사이는 명시된 정확한 위치의 가는 검은 직선 거터선뿐이며,\n모든 패널은 정확히 같은 크기다."}
{"ts": "2026-07-12 14:15:44", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s34v2_conti_rooftop_ext_nb2", "refs": [], "ref_labels": [], "attempt": 1, "dur_s": 19.6, "bytes": 2779865, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/conti21_rooftop_ext_nb2.png", "prompt": "콘티(스토리보드) 시트 한 장을 그려라: 가로 정확히 1/3·2/3 지점의 세로 절단선 2개 + 높이 정확히 50% 지점의 가로 절단선 1개로 만든 3열×2행 그리드 패널 6개 — 여섯 패널 모두 정확히 같은 크기.\n스타일: 실사 영화 촬영을 위한 손그림 프리프로덕션 스토리보드 —\n실제 영화의 감독과 촬영감독에게 전달하기 위해 전문 영화 스토리보드\n작가가 그리는 작업용 드로잉이다: 사실적인 성인 인체 비례와 얼굴\n(평범한 한국 성인, 실사 배우 수준의 사실성), 실제 시네마 렌즈\n프레이밍, 자연스러운 명암 블로킹을 흰 종이 위 흑연 연필 톤\n단색으로 그린다.\n만화·애니메이션·카툰·웹툰·코믹북 스타일 절대 금지: 과장되거나\n커진 눈 금지, 귀엽거나 앳되게 이상화된 얼굴 금지, 깔끔한 잉크\n외곽선 금지 — 모든 패널이 연필로 스케치한 실사 영화의 한\n프레임처럼 읽혀야 한다. 어디에도 색을 쓰지 말 것.\n\n장소 (그려지는 모든 패널에서 동일): 오래된 한국 다세대 빌라의 외부: 지상의 좁은 골목과 작은 마당, 건물 벽을 따라 오르는 증축 철제 외부 계단, 그리고 작은 옥탑방(철제 현관문, 불 켜진 창 하나)·물탱크·빨랫줄·낮은 난간이 있는 옥상.\n\n목적: 각 패널은 해당 샷의 카메라 구도만 담는다 — 프레이밍\n(클로즈업/미디엄/와이드), 피사체가 프레임 안 어디에 놓이는지,\n그리고 패널 간 연속성. 모든 패널은 극도로 단순하게: 구도에\n필요한 것만 그린다.\n움직임은 마킹이 아니라 인물 자체로 보여준다: 이동 방향은 오로지\n몸으로 전달하라 — 내딛는 중의 보폭, 진행 방향으로 기운 몸,\n뒷모습인지 정면인지, 그리고 명시된 크기·깊이 단서. 화살표·모션\n라인·경로선·속도선 등 어떤 종류의 도식 마킹도 그리지 말 것.\n\n공간 기하 — 그리기 전에 분석하라: 각 패널의 샷 텍스트에서 공간\n사실을 먼저 파악한 뒤 정확히 그대로 그려라, 절대 임의로 재연출하지\n말 것: (a) 각 인물의 카메라와의 거리(타이트 인서트/클로즈업/\n미디엄/풀/와이드 — 손이나 사물이 주제인 샷은 타이트 인서트지\n투샷이 아니다); (b) 각 인물의 카메라 기준 향한 방향과 이동 방향 —\n'뒷모습'은 뒤에서 본 모습으로, 카메라에서 멀어져 화면 깊이 속으로\n가는 것이지 옆으로 가는 게 아니다; 옆모습은 측면 이동을 뜻한다;\n(c) 인물들 사이의 상대 위치와 거리. 확립된 화면 방향은 패널 간\n일관되게 유지하라(180도 규칙): 한 패널에서 떠난 사람은 그 움직임이\n다시 등장하는 곳마다 같은 화면 방향을 유지한다.\n크기와 깊이는 계약이다: 각 패널에는 모든 인물의 프레임 내 겉보기\n크기와 명시적 근/원 깊이 순서가 적혀 있다. 정확히 그 비례로\n그려라 — 더 먼 인물은 더 가까운 인물보다 분명히 작게 그려야 하며,\n인물 크기를 균등화하지 말 것, 특히 여러 인물이 한 패널에 있거나\n동선이 서로 얽힐 때 더욱 그렇다.\n떠나는 인물 — 멀어지며 달리는/걷는 인물은 절대 다가오는 것처럼\n보이면 안 된다: 정확히 뒤에서만 보이게(뒤통수만, 얼굴·턱·볼선\n금지), 몸은 진행 방향으로 기울고, 내딛는 중에 신발 밑창 하나가\n카메라 쪽을 향한다. 명시된 크기/깊이가 우선한다: 패널의 인물\n크기·깊이 줄이 말한 겉보기 크기와 깊이 그대로 그려라(멀리/작게로\n명시됐으면 먼 곳에 작게 유지 — 극적 효과를 위해 전경으로 키우지\n말 것).\n\n연속성: 그려지는 모든 패널은 동일한 하나의 장소다 — 고정\n지형지물(문·계단·창문·기둥·책상)은 패널 간 같은 위치와 좌우\n관계를 유지해, 패널들이 하나의 연속된 씬으로 컷 연결되어야 한다.\n\n패널 목록 (패널당 샷 1개):\n\n패널 1: 현관 철문이 아주 살짝 열린 틈새로 보이는 어두운 실내와 신발 앞코\n  동선 (정확히 따를 것): 낯선 남자가 몸은 철문 뒤에 가려진 채 신발 앞코부터 옥상 현관 문턱을 넘어 어두운 옥탑방 안으로 들어간다.\n  인물 크기·깊이 순서 (정확히 따를 것): 살짝 열린 철문과 어두운 실내가 화면 대부분을 차지하고, 틈새로 보이는 남자의 신발 앞코는 화면 높이의 약 1/8로 작게 보인다. 철문이 카메라에 가장 가깝고 신발 앞코와 실내는 그보다 안쪽에 있다.\n패널 2: 불이 켜진 옥탑방 창문에 거대한 그림자가 작은 그림자의 어깨 쪽으로 고개를 꺾은 형태가 맺혀 있는 정지 구도\n  동선 (정확히 따를 것): 정지: 사람의 신체 비례를 지닌 낯선 남자의 거대한 그림자가 민숙의 작은 그림자 뒤에서 어깨 쪽으로 고개를 꺾어 물어뜯는 듯 붙고, 민숙은 비명을 지르며 공격받는 방향 반대쪽으로 몸이 긴장해 있다.\n  인물 크기·깊이 순서 (정확히 따를 것): 남자의 그림자는 화면 높이의 약 3/4로 크게, 민숙의 그림자는 약 1/2로 더 작게 창문에 겹쳐 보인다. 두 그림자는 같은 창면에 맺혀 카메라와의 원근 차이는 드러나지 않으며, 남자의 머리와 민숙의 어깨 사이 거리는 거의 붙어 있다.\n패널 3: 철제 파이프 난간을 손으로 잡은 수리영이 코끝을 찡그린 채 계단 중간에 서 있는 얼굴 클로즈업\n  동선 (정확히 따를 것): 정지: 계단 아래에서 옥상으로 급히 오르던 수리영이 계단 중간에서 철제 파이프 난간을 붙잡고 멈춰, 역겨운 냄새에 코끝을 찡그린 채 몸과 시선을 계단 위쪽으로 향한다.\n  인물 크기·깊이 순서 (정확히 따를 것): 클로즈업된 수리영의 얼굴은 화면 높이의 약 2/3를 차지하고, 난간을 잡은 손과 철제 파이프는 화면 가장자리에서 일부 보인다. 수리영의 얼굴이 카메라에 가장 가깝고 손과 난간, 계단 위쪽 공간이 차례로 더 멀다.\n패널 4: 옥상에 선 수리영의 시선 끝에 반쯤 열려 있는 어두운 현관 철문이 보이는 정면 구도\n  동선 (정확히 따를 것): 정지: 계단을 다 올라 옥상에 선 수리영이 반쯤 열린 현관 철문 쪽으로 몸을 향하고, 어두운 옥탑방 안을 긴장해 바라본다.\n  인물 크기·깊이 순서 (정확히 따를 것): 수리영은 화면 높이의 약 1/2로 보이고, 시선 끝의 반쯤 열린 철문은 약 1/3 높이로 뒤쪽에 자리한다. 수리영이 카메라에 더 가깝고 철문과 그 너머의 어두운 실내가 더 멀며, 수리영의 시선 경로가 두 공간을 잇는다.\n패널 5: 수리영이 초점을 잃은 눈으로 허공을 응시하며 서 있는 모습\n  동선 (정확히 따를 것): 정지: 옥탑방에서 비명을 지르며 빠져나와 계단을 내려온 수리영이 멈춰 서서, 충격으로 초점을 잃은 눈을 허공에 둔 채 몸도 어느 곳으로 나아가지 못한다.\n  인물 크기·깊이 순서 (정확히 따를 것): 수리영은 화면 높이의 약 2/3로 보이며 프레임 안에서 유일한 인물로 카메라에 가장 가깝고, 주변 공간은 그 뒤로 멀어진다.\n패널 6: 고개를 든 채 혜수의 얼굴을 마주보고 있는 수리영의 측면 구도\n  동선 (정확히 따를 것): 정지: 계단 아래에 멈춰 선 수리영이 고개를 들어 달려온 혜수의 얼굴을 마주 보며, 충격으로 굳은 몸과 초점을 잃은 눈으로 엄마가 죽어 있다고 말한다.\n  인물 크기·깊이 순서 (정확히 따를 것): 측면의 수리영은 화면 높이의 약 1/2, 마주 선 혜수는 약 1/2로 비슷하게 보인다. 수리영이 카메라에 조금 더 가깝고 혜수는 그 맞은편에 있으며, 두 사람은 얼굴을 마주 볼 만큼 가까운 거리를 두고 서 있다.\n\n어디에도 글자 절대 금지: 단어·문자·캡션·라벨·효과음·워터마크\n금지 — 허용되는 유일한 표기는 그려진 각 패널 안 구석의 작은 샷\n번호 숫자(1, 2, 3, 4, 5, 6)뿐이다.\n패널 그리드는 이미지 가장자리까지 빈틈없이 가득 채운다: 바깥 종이\n여백 없음, 테두리 영역 없음, 패널 밖에는 아무것도 그리지 않음 —\n명시된 절단선 위치를 따라 기계적으로 자를 수 있어야 한다.\n패널 사이는 명시된 정확한 위치의 가는 검은 직선 거터선뿐이며,\n모든 패널은 정확히 같은 크기다."}
{"ts": "2026-07-12 14:16:00", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s34v2_conti_rooftop_int_nb2", "refs": [], "ref_labels": [], "attempt": 1, "dur_s": 16.2, "bytes": 3021469, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/conti21_rooftop_int_nb2.png", "prompt": "콘티(스토리보드) 시트 한 장을 그려라: 가로 정확히 1/3·2/3 지점의 세로 절단선 2개 + 높이 정확히 50% 지점의 가로 절단선 1개로 만든 3열×2행 그리드 패널 6개 — 여섯 패널 모두 정확히 같은 크기.\n스타일: 실사 영화 촬영을 위한 손그림 프리프로덕션 스토리보드 —\n실제 영화의 감독과 촬영감독에게 전달하기 위해 전문 영화 스토리보드\n작가가 그리는 작업용 드로잉이다: 사실적인 성인 인체 비례와 얼굴\n(평범한 한국 성인, 실사 배우 수준의 사실성), 실제 시네마 렌즈\n프레이밍, 자연스러운 명암 블로킹을 흰 종이 위 흑연 연필 톤\n단색으로 그린다.\n만화·애니메이션·카툰·웹툰·코믹북 스타일 절대 금지: 과장되거나\n커진 눈 금지, 귀엽거나 앳되게 이상화된 얼굴 금지, 깔끔한 잉크\n외곽선 금지 — 모든 패널이 연필로 스케치한 실사 영화의 한\n프레임처럼 읽혀야 한다. 어디에도 색을 쓰지 말 것.\n\n장소 (그려지는 모든 패널에서 동일): 작은 한국 옥탑방의 내부: 작은 창과 간이 주방·식탁이 있는 거실, 한쪽 벽에 침대와 커튼 친 창이 있는 침실, 거울이 달린 좁은 타일 욕실.\n\n목적: 각 패널은 해당 샷의 카메라 구도만 담는다 — 프레이밍\n(클로즈업/미디엄/와이드), 피사체가 프레임 안 어디에 놓이는지,\n그리고 패널 간 연속성. 모든 패널은 극도로 단순하게: 구도에\n필요한 것만 그린다.\n움직임은 마킹이 아니라 인물 자체로 보여준다: 이동 방향은 오로지\n몸으로 전달하라 — 내딛는 중의 보폭, 진행 방향으로 기운 몸,\n뒷모습인지 정면인지, 그리고 명시된 크기·깊이 단서. 화살표·모션\n라인·경로선·속도선 등 어떤 종류의 도식 마킹도 그리지 말 것.\n\n공간 기하 — 그리기 전에 분석하라: 각 패널의 샷 텍스트에서 공간\n사실을 먼저 파악한 뒤 정확히 그대로 그려라, 절대 임의로 재연출하지\n말 것: (a) 각 인물의 카메라와의 거리(타이트 인서트/클로즈업/\n미디엄/풀/와이드 — 손이나 사물이 주제인 샷은 타이트 인서트지\n투샷이 아니다); (b) 각 인물의 카메라 기준 향한 방향과 이동 방향 —\n'뒷모습'은 뒤에서 본 모습으로, 카메라에서 멀어져 화면 깊이 속으로\n가는 것이지 옆으로 가는 게 아니다; 옆모습은 측면 이동을 뜻한다;\n(c) 인물들 사이의 상대 위치와 거리. 확립된 화면 방향은 패널 간\n일관되게 유지하라(180도 규칙): 한 패널에서 떠난 사람은 그 움직임이\n다시 등장하는 곳마다 같은 화면 방향을 유지한다.\n크기와 깊이는 계약이다: 각 패널에는 모든 인물의 프레임 내 겉보기\n크기와 명시적 근/원 깊이 순서가 적혀 있다. 정확히 그 비례로\n그려라 — 더 먼 인물은 더 가까운 인물보다 분명히 작게 그려야 하며,\n인물 크기를 균등화하지 말 것, 특히 여러 인물이 한 패널에 있거나\n동선이 서로 얽힐 때 더욱 그렇다.\n떠나는 인물 — 멀어지며 달리는/걷는 인물은 절대 다가오는 것처럼\n보이면 안 된다: 정확히 뒤에서만 보이게(뒤통수만, 얼굴·턱·볼선\n금지), 몸은 진행 방향으로 기울고, 내딛는 중에 신발 밑창 하나가\n카메라 쪽을 향한다. 명시된 크기/깊이가 우선한다: 패널의 인물\n크기·깊이 줄이 말한 겉보기 크기와 깊이 그대로 그려라(멀리/작게로\n명시됐으면 먼 곳에 작게 유지 — 극적 효과를 위해 전경으로 키우지\n말 것).\n\n연속성: 그려지는 모든 패널은 동일한 하나의 장소다 — 고정\n지형지물(문·계단·창문·기둥·책상)은 패널 간 같은 위치와 좌우\n관계를 유지해, 패널들이 하나의 연속된 씬으로 컷 연결되어야 한다.\n\n패널 목록 (패널당 샷 1개):\n\n패널 1: 옷과 피부가 피투성이가 된 민숙이 바닥에 주저앉아 고개를 푹 숙인 정지 상태\n  동선 (정확히 따를 것): 정지: 민숙은 죽어 숨이 끊긴 채 피투성이로 바닥에 주저앉아 고개를 깊이 떨구고, 상처 입은 어깨와 쇄골 아래로 체중이 무너지며 사지가 비대칭으로 늘어진 자세로 진행 방향 없이 멈춰 있다.\n  인물 크기·깊이 순서 (정확히 따를 것): 민숙은 화면 높이의 약 2/3를 차지하며 카메라에 가장 가까운 유일한 인물이고, 피 묻은 바닥과 주변 공간은 그 뒤로 놓인다.\n패널 2: 침대 위쪽 벽면에 붉은색 원형 표식이 절반쯤 나타난 상태\n  동선 (정확히 따를 것): 붉은색 원형 표식이 침대 위쪽 벽면에서 원의 형태를 따라 절반가량 생겨나는 중이다.\n  인물 크기·깊이 순서 (정확히 따를 것): 붉은 원형 표식은 화면 높이의 약 1/2 수준으로 보이며 벽면과 같은 원근면에 있고, 침대 쪽 공간은 그보다 카메라에 가깝다.\n패널 3: 핏자국 없이 깨끗한 방 내부 전경\n  동선 (정확히 따를 것): 정지: 방 안에는 움직이는 인물이 없고, 핏자국과 시신이 사라진 지나치게 깨끗한 공간만 비어 있다.\n  인물 크기·깊이 순서 (정확히 따를 것): 깨끗하게 정돈된 방 내부가 화면 전체를 채우며, 카메라에 가까운 방 안쪽 바닥에서 더 먼 벽면까지 빈 공간의 원근만 이어진다.\n패널 4: 거울 속 반사된 욕실 타일 벽면에 붉은색 원형 표식이 절반쯤 나타난 상태\n  동선 (정확히 따를 것): 붉은색 원형 표식이 거울에 반사된 욕실 타일 벽면에서 절반가량 나타나는 중이다.\n  인물 크기·깊이 순서 (정확히 따를 것): 거울 면은 화면 높이의 대부분을 차지하고 반사된 붉은 원형 표식은 약 1/2 수준으로 보이며, 카메라에는 거울 면이 가장 가깝고 표식의 반사상은 거울 너머 깊이에 놓인다.\n패널 5: 해질 무렵 옥탑방 거실, 흙 묻은 발자국들이 찍힌 바닥과 쓰러진 식탁 의자들이 보이는 전경\n  동선 (정확히 따를 것): 정지: 인물은 없고, 흙 묻은 발자국들이 누군가 집 안을 지나간 경로를 바닥에 남긴 채 쓰러진 식탁 의자들과 함께 멈춰 있다.\n  인물 크기·깊이 순서 (정확히 따를 것): 발자국이 찍힌 바닥은 화면 아래쪽에서 높이의 약 1/2를 차지하며 카메라에 가장 가깝고, 쓰러진 식탁 의자들은 각각 화면 높이의 약 1/3 수준으로 그보다 먼 거실 안쪽에 놓인다.\n패널 6: 붉은 원 한가운데 피 묻은 낡은 흑백 사진이 벽에 꽂혀 있는 타이트 샷\n  동선 (정확히 따를 것): 정지: 피 묻은 낡은 흑백 사진 한 장이 붉은 원의 한가운데 벽에 꽂힌 채 움직이지 않는다.\n  인물 크기·깊이 순서 (정확히 따를 것): 타이트한 화면에서 사진은 화면 높이의 약 1/2를 차지해 가장 가까운 핵심 물체로 보이고, 사진을 둘러싼 붉은 원은 화면 대부분까지 퍼져 같은 벽면의 바로 뒤 배경을 이룬다.\n\n어디에도 글자 절대 금지: 단어·문자·캡션·라벨·효과음·워터마크\n금지 — 허용되는 유일한 표기는 그려진 각 패널 안 구석의 작은 샷\n번호 숫자(1, 2, 3, 4, 5, 6)뿐이다.\n패널 그리드는 이미지 가장자리까지 빈틈없이 가득 채운다: 바깥 종이\n여백 없음, 테두리 영역 없음, 패널 밖에는 아무것도 그리지 않음 —\n명시된 절단선 위치를 따라 기계적으로 자를 수 있어야 한다.\n패널 사이는 명시된 정확한 위치의 가는 검은 직선 거터선뿐이며,\n모든 패널은 정확히 같은 크기다."}
{"ts": "2026-07-12 14:16:15", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s34v2_conti_mart_nb2", "refs": [], "ref_labels": [], "attempt": 1, "dur_s": 14.6, "bytes": 3679174, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/conti21_mart_nb2.png", "prompt": "콘티(스토리보드) 시트 한 장을 그려라: 가로 정확히 1/3·2/3 지점의 세로 절단선 2개 + 높이 정확히 50% 지점의 가로 절단선 1개로 만든 3열×2행 그리드 패널 6개 — 여섯 패널 모두 정확히 같은 크기.\n스타일: 실사 영화 촬영을 위한 손그림 프리프로덕션 스토리보드 —\n실제 영화의 감독과 촬영감독에게 전달하기 위해 전문 영화 스토리보드\n작가가 그리는 작업용 드로잉이다: 사실적인 성인 인체 비례와 얼굴\n(평범한 한국 성인, 실사 배우 수준의 사실성), 실제 시네마 렌즈\n프레이밍, 자연스러운 명암 블로킹을 흰 종이 위 흑연 연필 톤\n단색으로 그린다.\n만화·애니메이션·카툰·웹툰·코믹북 스타일 절대 금지: 과장되거나\n커진 눈 금지, 귀엽거나 앳되게 이상화된 얼굴 금지, 깔끔한 잉크\n외곽선 금지 — 모든 패널이 연필로 스케치한 실사 영화의 한\n프레임처럼 읽혀야 한다. 어디에도 색을 쓰지 말 것.\n\n장소 (그려지는 모든 패널에서 동일): 중형 한국 마트: 진열대가 늘어선 매장 내부, 자전거 거치대와 벽면 CCTV 카메라 한 대가 위에 달린 입구 바깥, CCTV 모니터가 있는 작은 뒤편 보안 사무실.\n\n목적: 각 패널은 해당 샷의 카메라 구도만 담는다 — 프레이밍\n(클로즈업/미디엄/와이드), 피사체가 프레임 안 어디에 놓이는지,\n그리고 패널 간 연속성. 모든 패널은 극도로 단순하게: 구도에\n필요한 것만 그린다.\n움직임은 마킹이 아니라 인물 자체로 보여준다: 이동 방향은 오로지\n몸으로 전달하라 — 내딛는 중의 보폭, 진행 방향으로 기운 몸,\n뒷모습인지 정면인지, 그리고 명시된 크기·깊이 단서. 화살표·모션\n라인·경로선·속도선 등 어떤 종류의 도식 마킹도 그리지 말 것.\n\n공간 기하 — 그리기 전에 분석하라: 각 패널의 샷 텍스트에서 공간\n사실을 먼저 파악한 뒤 정확히 그대로 그려라, 절대 임의로 재연출하지\n말 것: (a) 각 인물의 카메라와의 거리(타이트 인서트/클로즈업/\n미디엄/풀/와이드 — 손이나 사물이 주제인 샷은 타이트 인서트지\n투샷이 아니다); (b) 각 인물의 카메라 기준 향한 방향과 이동 방향 —\n'뒷모습'은 뒤에서 본 모습으로, 카메라에서 멀어져 화면 깊이 속으로\n가는 것이지 옆으로 가는 게 아니다; 옆모습은 측면 이동을 뜻한다;\n(c) 인물들 사이의 상대 위치와 거리. 확립된 화면 방향은 패널 간\n일관되게 유지하라(180도 규칙): 한 패널에서 떠난 사람은 그 움직임이\n다시 등장하는 곳마다 같은 화면 방향을 유지한다.\n크기와 깊이는 계약이다: 각 패널에는 모든 인물의 프레임 내 겉보기\n크기와 명시적 근/원 깊이 순서가 적혀 있다. 정확히 그 비례로\n그려라 — 더 먼 인물은 더 가까운 인물보다 분명히 작게 그려야 하며,\n인물 크기를 균등화하지 말 것, 특히 여러 인물이 한 패널에 있거나\n동선이 서로 얽힐 때 더욱 그렇다.\n떠나는 인물 — 멀어지며 달리는/걷는 인물은 절대 다가오는 것처럼\n보이면 안 된다: 정확히 뒤에서만 보이게(뒤통수만, 얼굴·턱·볼선\n금지), 몸은 진행 방향으로 기울고, 내딛는 중에 신발 밑창 하나가\n카메라 쪽을 향한다. 명시된 크기/깊이가 우선한다: 패널의 인물\n크기·깊이 줄이 말한 겉보기 크기와 깊이 그대로 그려라(멀리/작게로\n명시됐으면 먼 곳에 작게 유지 — 극적 효과를 위해 전경으로 키우지\n말 것).\n\n연속성: 그려지는 모든 패널은 동일한 하나의 장소다 — 고정\n지형지물(문·계단·창문·기둥·책상)은 패널 간 같은 위치와 좌우\n관계를 유지해, 패널들이 하나의 연속된 씬으로 컷 연결되어야 한다.\n\n패널 목록 (패널당 샷 1개):\n\n패널 1: 수리영이 마트 유니폼을 입은 한국인 여성 직원을 마주보며 입을 살짝 벌린 측면 구도\n  동선 (정확히 따를 것): 정지: 수리영과 마트 유니폼 차림의 여직원이 서로 마주 선 채, 수리영은 입을 살짝 벌리고 여직원 쪽으로 얼굴과 몸을 향한다.\n  인물 크기·깊이 순서 (정확히 따를 것): 수리영과 여직원은 각각 화면 높이의 약 1/2 수준으로 비슷하게 보이며, 측면 구도에서 카메라와의 거리도 거의 같은 채 서로 가까이 마주한다.\n패널 2: 마트 밖으로 나온 수리영이 손에 든 스마트폰 액정을 내려다보는 상체\n  동선 (정확히 따를 것): 수리영은 마트 안에서 밖으로 나온 뒤 입구 바깥으로 나아가면서, 연락을 시도하는 스마트폰을 손에 들고 상체와 시선을 액정 쪽으로 숙인다.\n  인물 크기·깊이 순서 (정확히 따를 것): 수리영의 상체는 화면 높이의 약 2/3를 차지해 가깝게 보이고, 손의 스마트폰은 몸 앞쪽에 있어 얼굴보다 카메라에 조금 더 가깝다.\n패널 3: 수리영과 남자직원이 마트 밖에서 벽면의 CCTV를 올려다보는 뒷모습\n  동선 (정확히 따를 것): 정지: 수리영과 남자 직원은 마트 밖 벽면 앞에 나란히 서서, CCTV가 설치된 위쪽으로 고개와 시선을 들어 올린다.\n  인물 크기·깊이 순서 (정확히 따를 것): 두 사람의 뒷모습은 각각 화면 높이의 약 1/2 수준이며 서로 비슷한 거리에 나란히 있고, 벽면 위 CCTV는 두 사람보다 멀리 작게 보인다.\n패널 4: 수리영이 귀에 스마트폰을 댄 채 정면을 응시하는 상체 클로즈업\n  동선 (정확히 따를 것): 정지: 수리영은 마트 밖에 선 채 스마트폰을 귀에 대고 혜수와 통화하며, 몸과 불안한 시선을 카메라 정면으로 향한다.\n  인물 크기·깊이 순서 (정확히 따를 것): 수리영의 상체는 화면 높이의 약 2/3를 차지하는 클로즈업으로 가장 가깝고, 귀에 붙인 스마트폰도 얼굴과 거의 같은 거리에서 보인다.\n패널 5: 마트 총무과 책상 앞, 한국인 남성 보안직원과 혜수가 컴퓨터 모니터를 향해 몸을 기울인 측면\n  동선 (정확히 따를 것): 정지: 보안직원과 혜수는 마트 총무과 책상 앞에서 나란히 컴퓨터 모니터 쪽으로 상체를 기울이고, CCTV 화면을 향해 얼굴과 시선을 고정한다.\n  인물 크기·깊이 순서 (정확히 따를 것): 보안직원과 혜수는 각각 화면 높이의 약 1/2 수준으로 비슷하게 보이며 카메라와의 거리도 거의 같고, 두 사람 앞의 모니터는 몸보다 약간 먼 책상 안쪽에 놓인다.\n패널 6: 흑백 CCTV 화면 속 어두운 구석에 사람 형상이 희미하게 찍힌 모니터 클로즈업\n  동선 (정확히 따를 것): 정지: 모니터 속 어두운 구석에서 사람의 신체 비례를 지닌 두 형상이 서로 마주 보고 대화하는 듯 서 있으나, 유독 짙은 어둠 때문에 세부 움직임은 식별되지 않는다.\n  인물 크기·깊이 순서 (정확히 따를 것): CCTV 모니터 화면은 프레임 높이의 대부분을 차지해 가장 가깝고, 화면 안 두 사람 형상은 각각 화면 높이의 약 1/5 이하로 희미하고 작게 보인다. 두 형상 가운데 누가 카메라에 더 가깝고 먼지는 어둠 때문에 구분되지 않는다.\n\n어디에도 글자 절대 금지: 단어·문자·캡션·라벨·효과음·워터마크\n금지 — 허용되는 유일한 표기는 그려진 각 패널 안 구석의 작은 샷\n번호 숫자(1, 2, 3, 4, 5, 6)뿐이다.\n패널 그리드는 이미지 가장자리까지 빈틈없이 가득 채운다: 바깥 종이\n여백 없음, 테두리 영역 없음, 패널 밖에는 아무것도 그리지 않음 —\n명시된 절단선 위치를 따라 기계적으로 자를 수 있어야 한다.\n패널 사이는 명시된 정확한 위치의 가는 검은 직선 거터선뿐이며,\n모든 패널은 정확히 같은 크기다."}
{"ts": "2026-07-12 14:16:31", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s34v2_conti_police_nb2", "refs": [], "ref_labels": [], "attempt": 1, "dur_s": 16.7, "bytes": 3202070, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/conti21_police_nb2.png", "prompt": "콘티(스토리보드) 시트 한 장을 그려라: 가로 정확히 1/3·2/3 지점의 세로 절단선 2개 + 높이 정확히 50% 지점의 가로 절단선 1개로 만든 3열×2행 그리드 패널 6개 — 여섯 패널 모두 정확히 같은 크기.\n스타일: 실사 영화 촬영을 위한 손그림 프리프로덕션 스토리보드 —\n실제 영화의 감독과 촬영감독에게 전달하기 위해 전문 영화 스토리보드\n작가가 그리는 작업용 드로잉이다: 사실적인 성인 인체 비례와 얼굴\n(평범한 한국 성인, 실사 배우 수준의 사실성), 실제 시네마 렌즈\n프레이밍, 자연스러운 명암 블로킹을 흰 종이 위 흑연 연필 톤\n단색으로 그린다.\n만화·애니메이션·카툰·웹툰·코믹북 스타일 절대 금지: 과장되거나\n커진 눈 금지, 귀엽거나 앳되게 이상화된 얼굴 금지, 깔끔한 잉크\n외곽선 금지 — 모든 패널이 연필로 스케치한 실사 영화의 한\n프레임처럼 읽혀야 한다. 어디에도 색을 쓰지 말 것.\n\n장소 (그려지는 모든 패널에서 동일): 수수한 한국 지방 경찰서: 책상·모니터·출입문이 있는 형사 사무실, 그리고 건물 바로 앞 거리.\n\n목적: 각 패널은 해당 샷의 카메라 구도만 담는다 — 프레이밍\n(클로즈업/미디엄/와이드), 피사체가 프레임 안 어디에 놓이는지,\n그리고 패널 간 연속성. 모든 패널은 극도로 단순하게: 구도에\n필요한 것만 그린다.\n움직임은 마킹이 아니라 인물 자체로 보여준다: 이동 방향은 오로지\n몸으로 전달하라 — 내딛는 중의 보폭, 진행 방향으로 기운 몸,\n뒷모습인지 정면인지, 그리고 명시된 크기·깊이 단서. 화살표·모션\n라인·경로선·속도선 등 어떤 종류의 도식 마킹도 그리지 말 것.\n\n공간 기하 — 그리기 전에 분석하라: 각 패널의 샷 텍스트에서 공간\n사실을 먼저 파악한 뒤 정확히 그대로 그려라, 절대 임의로 재연출하지\n말 것: (a) 각 인물의 카메라와의 거리(타이트 인서트/클로즈업/\n미디엄/풀/와이드 — 손이나 사물이 주제인 샷은 타이트 인서트지\n투샷이 아니다); (b) 각 인물의 카메라 기준 향한 방향과 이동 방향 —\n'뒷모습'은 뒤에서 본 모습으로, 카메라에서 멀어져 화면 깊이 속으로\n가는 것이지 옆으로 가는 게 아니다; 옆모습은 측면 이동을 뜻한다;\n(c) 인물들 사이의 상대 위치와 거리. 확립된 화면 방향은 패널 간\n일관되게 유지하라(180도 규칙): 한 패널에서 떠난 사람은 그 움직임이\n다시 등장하는 곳마다 같은 화면 방향을 유지한다.\n크기와 깊이는 계약이다: 각 패널에는 모든 인물의 프레임 내 겉보기\n크기와 명시적 근/원 깊이 순서가 적혀 있다. 정확히 그 비례로\n그려라 — 더 먼 인물은 더 가까운 인물보다 분명히 작게 그려야 하며,\n인물 크기를 균등화하지 말 것, 특히 여러 인물이 한 패널에 있거나\n동선이 서로 얽힐 때 더욱 그렇다.\n떠나는 인물 — 멀어지며 달리는/걷는 인물은 절대 다가오는 것처럼\n보이면 안 된다: 정확히 뒤에서만 보이게(뒤통수만, 얼굴·턱·볼선\n금지), 몸은 진행 방향으로 기울고, 내딛는 중에 신발 밑창 하나가\n카메라 쪽을 향한다. 명시된 크기/깊이가 우선한다: 패널의 인물\n크기·깊이 줄이 말한 겉보기 크기와 깊이 그대로 그려라(멀리/작게로\n명시됐으면 먼 곳에 작게 유지 — 극적 효과를 위해 전경으로 키우지\n말 것).\n\n연속성: 그려지는 모든 패널은 동일한 하나의 장소다 — 고정\n지형지물(문·계단·창문·기둥·책상)은 패널 간 같은 위치와 좌우\n관계를 유지해, 패널들이 하나의 연속된 씬으로 컷 연결되어야 한다.\n\n패널 목록 (패널당 샷 1개):\n\n패널 1: 혜수가 스마트폰 액정을 김형사 쪽으로 불쑥 내민 순간\n  동선 (정확히 따를 것): 혜수가 김형사 앞에서 스마트폰 액정을 그의 쪽으로 불쑥 내밀어 민숙의 저장된 번호를 보여준다.\n  인물 크기·깊이 순서 (정확히 따를 것): 김형사 쪽으로 돌출된 스마트폰이 화면 높이의 약 1/4로 가장 가깝고, 혜수와 김형사는 각각 화면 높이의 약 1/2 크기로 그 뒤에 마주한다.\n패널 2: 수리영이 두 눈을 크게 뜨고 입을 살짝 벌린 굳은 얼굴 클로즈업\n  동선 (정확히 따를 것): 정지: 수리영이 끔찍한 사진에 놀라 두 눈을 크게 뜨고 입을 살짝 벌린 채, 긴장으로 얼굴과 몸이 굳어 시선을 앞에 고정한다.\n  인물 크기·깊이 순서 (정확히 따를 것): 수리영의 얼굴이 화면 높이의 약 3/4를 차지하는 클로즈업으로 카메라에 가장 가깝고, 다른 인물은 보이지 않는다.\n패널 3: 모니터 화면에 바다 지도가 펼쳐져 있고 붉은색 핀과 좌표 숫자가 떠 있는 클로즈업\n  동선 (정확히 따를 것): 정지: 모니터 화면의 해상 지도 위에 민숙의 휴대전화 마지막 위치를 나타내는 붉은색 핀과 좌표가 떠 있다.\n  인물 크기·깊이 순서 (정확히 따를 것): 바다 지도와 붉은색 핀·좌표가 표시된 모니터 화면이 프레임 높이의 거의 전부를 차지하며 카메라에 가장 가깝고, 인물은 보이지 않는다.\n패널 4: 수리영이 메모지가 들어간 겉옷 주머니에 손을 넣은 채 사무실 출입문을 향해 몸을 돌린 정지 순간\n  동선 (정확히 따를 것): 정지: 수리영이 좌표 메모를 넣은 겉옷 주머니에 손을 둔 채, 사무실 안쪽에서 출입문을 향해 몸을 돌려 나가려는 자세로 멈춰 있다.\n  인물 크기·깊이 순서 (정확히 따를 것): 수리영이 화면 높이의 약 2/3 크기로 출입문보다 카메라에 가깝고, 출입문은 수리영의 진행 방향 앞쪽이자 더 먼 곳에 놓인다.\n패널 5: 경찰서 건물 밖 도로 위에서 수리영이 자전거 안장에 앉아 상체를 앞으로 숙인 채 머리카락이 뒤로 흩날리는 측면\n  동선 (정확히 따를 것): 수리영이 경찰서 밖 도로에서 자전거 안장에 앉아 상체를 앞으로 숙이고 페달을 밟아 달리며, 머리카락은 진행 반대쪽으로 흩날린다.\n  인물 크기·깊이 순서 (정확히 따를 것): 자전거를 탄 수리영과 자전거가 함께 화면 높이의 약 2/3 크기로 보이며 카메라에 가장 가깝고, 경찰서 건물과 도로 배경은 그보다 멀다.\n\n샷은 5개인데 패널 슬롯은 6개다: 샷을 패널\n1..5에 그리고, 남는 패널은 완전한 순백으로 비워 두어라 —\n빈 흰 종이 그대로, 안쪽에 프레임 선 하나도 그리지 말 것.\n\n어디에도 글자 절대 금지: 단어·문자·캡션·라벨·효과음·워터마크\n금지 — 허용되는 유일한 표기는 그려진 각 패널 안 구석의 작은 샷\n번호 숫자(1, 2, 3, 4, 5)뿐이다.\n패널 그리드는 이미지 가장자리까지 빈틈없이 가득 채운다: 바깥 종이\n여백 없음, 테두리 영역 없음, 패널 밖에는 아무것도 그리지 않음 —\n명시된 절단선 위치를 따라 기계적으로 자를 수 있어야 한다.\n패널 사이는 명시된 정확한 위치의 가는 검은 직선 거터선뿐이며,\n모든 패널은 정확히 같은 크기다."}
{"ts": "2026-07-12 14:17:45", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s34v2_conti_rooftop_ext_nb2", "refs": [], "ref_labels": [], "attempt": 1, "dur_s": 16.9, "bytes": 3386796, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/conti21_rooftop_ext_nb2.png", "prompt": "콘티(스토리보드) 시트 한 장을 그려라: 가로 정확히 1/3·2/3 지점의 세로 절단선 2개 + 높이 정확히 50% 지점의 가로 절단선 1개로 만든 3열×2행 그리드 패널 6개 — 여섯 패널 모두 정확히 같은 크기.\n스타일: 실사 영화 촬영을 위한 손그림 프리프로덕션 스토리보드 —\n실제 영화의 감독과 촬영감독에게 전달하기 위해 전문 영화 스토리보드\n작가가 그리는 작업용 드로잉이다: 사실적인 성인 인체 비례와 얼굴\n(평범한 한국 성인, 실사 배우 수준의 사실성), 실제 시네마 렌즈\n프레이밍, 자연스러운 명암 블로킹을 흰 종이 위 흑연 연필 톤\n단색으로 그린다.\n만화·애니메이션·카툰·웹툰·코믹북 스타일 절대 금지: 과장되거나\n커진 눈 금지, 귀엽거나 앳되게 이상화된 얼굴 금지, 깔끔한 잉크\n외곽선 금지 — 모든 패널이 연필로 스케치한 실사 영화의 한\n프레임처럼 읽혀야 한다. 어디에도 색을 쓰지 말 것.\n\n장소 (그려지는 모든 패널에서 동일): 오래된 한국 다세대 빌라의 외부: 지상의 좁은 골목과 작은 마당, 건물 벽을 따라 오르는 증축 철제 외부 계단, 그리고 작은 옥탑방(철제 현관문, 불 켜진 창 하나)·물탱크·빨랫줄·낮은 난간이 있는 옥상.\n\n목적: 각 패널은 해당 샷의 카메라 구도만 담는다 — 프레이밍\n(클로즈업/미디엄/와이드), 피사체가 프레임 안 어디에 놓이는지,\n그리고 패널 간 연속성. 모든 패널은 극도로 단순하게: 구도에\n필요한 것만 그린다.\n움직임은 마킹이 아니라 인물 자체로 보여준다: 이동 방향은 오로지\n몸으로 전달하라 — 내딛는 중의 보폭, 진행 방향으로 기운 몸,\n뒷모습인지 정면인지, 그리고 명시된 크기·깊이 단서. 화살표·모션\n라인·경로선·속도선 등 어떤 종류의 도식 마킹도 그리지 말 것.\n\n공간 기하 — 그리기 전에 분석하라: 각 패널의 샷 텍스트에서 공간\n사실을 먼저 파악한 뒤 정확히 그대로 그려라, 절대 임의로 재연출하지\n말 것: (a) 각 인물의 카메라와의 거리(타이트 인서트/클로즈업/\n미디엄/풀/와이드 — 손이나 사물이 주제인 샷은 타이트 인서트지\n투샷이 아니다); (b) 각 인물의 카메라 기준 향한 방향과 이동 방향 —\n'뒷모습'은 뒤에서 본 모습으로, 카메라에서 멀어져 화면 깊이 속으로\n가는 것이지 옆으로 가는 게 아니다; 옆모습은 측면 이동을 뜻한다;\n(c) 인물들 사이의 상대 위치와 거리. 확립된 화면 방향은 패널 간\n일관되게 유지하라(180도 규칙): 한 패널에서 떠난 사람은 그 움직임이\n다시 등장하는 곳마다 같은 화면 방향을 유지한다.\n크기와 깊이는 계약이다: 각 패널에는 모든 인물의 프레임 내 겉보기\n크기와 명시적 근/원 깊이 순서가 적혀 있다. 정확히 그 비례로\n그려라 — 더 먼 인물은 더 가까운 인물보다 분명히 작게 그려야 하며,\n인물 크기를 균등화하지 말 것, 특히 여러 인물이 한 패널에 있거나\n동선이 서로 얽힐 때 더욱 그렇다.\n떠나는 인물 — 멀어지며 달리는/걷는 인물은 절대 다가오는 것처럼\n보이면 안 된다: 정확히 뒤에서만 보이게(뒤통수만, 얼굴·턱·볼선\n금지), 몸은 진행 방향으로 기울고, 내딛는 중에 신발 밑창 하나가\n카메라 쪽을 향한다. 명시된 크기/깊이가 우선한다: 패널의 인물\n크기·깊이 줄이 말한 겉보기 크기와 깊이 그대로 그려라(멀리/작게로\n명시됐으면 먼 곳에 작게 유지 — 극적 효과를 위해 전경으로 키우지\n말 것).\n\n연속성: 그려지는 모든 패널은 동일한 하나의 장소다 — 고정\n지형지물(문·계단·창문·기둥·책상)은 패널 간 같은 위치와 좌우\n관계를 유지해, 패널들이 하나의 연속된 씬으로 컷 연결되어야 한다.\n\n패널 목록 (패널당 샷 1개):\n\n패널 1: 현관 철문이 아주 살짝 열린 틈새로 보이는 어두운 실내와 신발 앞코\n  동선 (정확히 따를 것): 낯선 남자가 몸은 철문 뒤에 가려진 채 신발 앞코부터 옥상 현관 문턱을 넘어 어두운 옥탑방 안으로 들어간다.\n  인물 크기·깊이 순서 (정확히 따를 것): 살짝 열린 철문과 어두운 실내가 화면 대부분을 차지하고, 틈새로 보이는 남자의 신발 앞코는 화면 높이의 약 1/8로 작게 보인다. 철문이 카메라에 가장 가깝고 신발 앞코와 실내는 그보다 안쪽에 있다.\n패널 2: 불이 켜진 옥탑방 창문에 거대한 그림자가 작은 그림자의 어깨 쪽으로 고개를 꺾은 형태가 맺혀 있는 정지 구도\n  동선 (정확히 따를 것): 정지: 사람의 신체 비례를 지닌 낯선 남자의 거대한 그림자가 민숙의 작은 그림자 뒤에서 어깨 쪽으로 고개를 꺾어 물어뜯는 듯 붙고, 민숙은 비명을 지르며 공격받는 방향 반대쪽으로 몸이 긴장해 있다.\n  인물 크기·깊이 순서 (정확히 따를 것): 남자의 그림자는 화면 높이의 약 3/4로 크게, 민숙의 그림자는 약 1/2로 더 작게 창문에 겹쳐 보인다. 두 그림자는 같은 창면에 맺혀 카메라와의 원근 차이는 드러나지 않으며, 남자의 머리와 민숙의 어깨 사이 거리는 거의 붙어 있다.\n패널 3: 철제 파이프 난간을 손으로 잡은 수리영이 코끝을 찡그린 채 계단 중간에 서 있는 얼굴 클로즈업\n  동선 (정확히 따를 것): 정지: 계단 아래에서 옥상으로 급히 오르던 수리영이 계단 중간에서 철제 파이프 난간을 붙잡고 멈춰, 역겨운 냄새에 코끝을 찡그린 채 몸과 시선을 계단 위쪽으로 향한다.\n  인물 크기·깊이 순서 (정확히 따를 것): 클로즈업된 수리영의 얼굴은 화면 높이의 약 2/3를 차지하고, 난간을 잡은 손과 철제 파이프는 화면 가장자리에서 일부 보인다. 수리영의 얼굴이 카메라에 가장 가깝고 손과 난간, 계단 위쪽 공간이 차례로 더 멀다.\n패널 4: 옥상에 선 수리영의 시선 끝에 반쯤 열려 있는 어두운 현관 철문이 보이는 정면 구도\n  동선 (정확히 따를 것): 정지: 계단을 다 올라 옥상에 선 수리영이 반쯤 열린 현관 철문 쪽으로 몸을 향하고, 어두운 옥탑방 안을 긴장해 바라본다.\n  인물 크기·깊이 순서 (정확히 따를 것): 수리영은 화면 높이의 약 1/2로 보이고, 시선 끝의 반쯤 열린 철문은 약 1/3 높이로 뒤쪽에 자리한다. 수리영이 카메라에 더 가깝고 철문과 그 너머의 어두운 실내가 더 멀며, 수리영의 시선 경로가 두 공간을 잇는다.\n패널 5: 수리영이 초점을 잃은 눈으로 허공을 응시하며 서 있는 모습\n  동선 (정확히 따를 것): 정지: 옥탑방에서 비명을 지르며 빠져나와 계단을 내려온 수리영이 멈춰 서서, 충격으로 초점을 잃은 눈을 허공에 둔 채 몸도 어느 곳으로 나아가지 못한다.\n  인물 크기·깊이 순서 (정확히 따를 것): 수리영은 화면 높이의 약 2/3로 보이며 프레임 안에서 유일한 인물로 카메라에 가장 가깝고, 주변 공간은 그 뒤로 멀어진다.\n패널 6: 고개를 든 채 혜수의 얼굴을 마주보고 있는 수리영의 측면 구도\n  동선 (정확히 따를 것): 정지: 계단 아래에 멈춰 선 수리영이 고개를 들어 달려온 혜수의 얼굴을 마주 보며, 충격으로 굳은 몸과 초점을 잃은 눈으로 엄마가 죽어 있다고 말한다.\n  인물 크기·깊이 순서 (정확히 따를 것): 측면의 수리영은 화면 높이의 약 1/2, 마주 선 혜수는 약 1/2로 비슷하게 보인다. 수리영이 카메라에 조금 더 가깝고 혜수는 그 맞은편에 있으며, 두 사람은 얼굴을 마주 볼 만큼 가까운 거리를 두고 서 있다.\n\n어디에도 글자 절대 금지: 단어·문자·캡션·라벨·효과음·워터마크\n금지 — 허용되는 유일한 표기는 그려진 각 패널 안 구석의 작은 샷\n번호 숫자(1, 2, 3, 4, 5, 6)뿐이다.\n패널 그리드는 이미지 가장자리까지 빈틈없이 가득 채운다: 바깥 종이\n여백 없음, 테두리 영역 없음, 패널 밖에는 아무것도 그리지 않음 —\n명시된 절단선 위치를 따라 기계적으로 자를 수 있어야 한다.\n패널 사이는 명시된 정확한 위치의 가는 검은 직선 거터선뿐이며,\n모든 패널은 정확히 같은 크기다."}
{"ts": "2026-07-12 14:18:41", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s34v2_conti_mart_nb2", "refs": [], "ref_labels": [], "attempt": 1, "dur_s": 17.0, "bytes": 3190802, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/conti21_mart_nb2.png", "prompt": "콘티(스토리보드) 시트 한 장을 그려라: 가로 정확히 1/3·2/3 지점의 세로 절단선 2개 + 높이 정확히 50% 지점의 가로 절단선 1개로 만든 3열×2행 그리드 패널 6개 — 여섯 패널 모두 정확히 같은 크기.\n스타일: 실사 영화 촬영을 위한 손그림 프리프로덕션 스토리보드 —\n실제 영화의 감독과 촬영감독에게 전달하기 위해 전문 영화 스토리보드\n작가가 그리는 작업용 드로잉이다: 사실적인 성인 인체 비례와 얼굴\n(평범한 한국 성인, 실사 배우 수준의 사실성), 실제 시네마 렌즈\n프레이밍, 자연스러운 명암 블로킹을 흰 종이 위 흑연 연필 톤\n단색으로 그린다.\n만화·애니메이션·카툰·웹툰·코믹북 스타일 절대 금지: 과장되거나\n커진 눈 금지, 귀엽거나 앳되게 이상화된 얼굴 금지, 깔끔한 잉크\n외곽선 금지 — 모든 패널이 연필로 스케치한 실사 영화의 한\n프레임처럼 읽혀야 한다. 어디에도 색을 쓰지 말 것.\n\n장소 (그려지는 모든 패널에서 동일): 중형 한국 마트: 진열대가 늘어선 매장 내부, 자전거 거치대와 벽면 CCTV 카메라 한 대가 위에 달린 입구 바깥, CCTV 모니터가 있는 작은 뒤편 보안 사무실.\n\n목적: 각 패널은 해당 샷의 카메라 구도만 담는다 — 프레이밍\n(클로즈업/미디엄/와이드), 피사체가 프레임 안 어디에 놓이는지,\n그리고 패널 간 연속성. 모든 패널은 극도로 단순하게: 구도에\n필요한 것만 그린다.\n움직임은 마킹이 아니라 인물 자체로 보여준다: 이동 방향은 오로지\n몸으로 전달하라 — 내딛는 중의 보폭, 진행 방향으로 기운 몸,\n뒷모습인지 정면인지, 그리고 명시된 크기·깊이 단서. 화살표·모션\n라인·경로선·속도선 등 어떤 종류의 도식 마킹도 그리지 말 것.\n\n공간 기하 — 그리기 전에 분석하라: 각 패널의 샷 텍스트에서 공간\n사실을 먼저 파악한 뒤 정확히 그대로 그려라, 절대 임의로 재연출하지\n말 것: (a) 각 인물의 카메라와의 거리(타이트 인서트/클로즈업/\n미디엄/풀/와이드 — 손이나 사물이 주제인 샷은 타이트 인서트지\n투샷이 아니다); (b) 각 인물의 카메라 기준 향한 방향과 이동 방향 —\n'뒷모습'은 뒤에서 본 모습으로, 카메라에서 멀어져 화면 깊이 속으로\n가는 것이지 옆으로 가는 게 아니다; 옆모습은 측면 이동을 뜻한다;\n(c) 인물들 사이의 상대 위치와 거리. 확립된 화면 방향은 패널 간\n일관되게 유지하라(180도 규칙): 한 패널에서 떠난 사람은 그 움직임이\n다시 등장하는 곳마다 같은 화면 방향을 유지한다.\n크기와 깊이는 계약이다: 각 패널에는 모든 인물의 프레임 내 겉보기\n크기와 명시적 근/원 깊이 순서가 적혀 있다. 정확히 그 비례로\n그려라 — 더 먼 인물은 더 가까운 인물보다 분명히 작게 그려야 하며,\n인물 크기를 균등화하지 말 것, 특히 여러 인물이 한 패널에 있거나\n동선이 서로 얽힐 때 더욱 그렇다.\n떠나는 인물 — 멀어지며 달리는/걷는 인물은 절대 다가오는 것처럼\n보이면 안 된다: 정확히 뒤에서만 보이게(뒤통수만, 얼굴·턱·볼선\n금지), 몸은 진행 방향으로 기울고, 내딛는 중에 신발 밑창 하나가\n카메라 쪽을 향한다. 명시된 크기/깊이가 우선한다: 패널의 인물\n크기·깊이 줄이 말한 겉보기 크기와 깊이 그대로 그려라(멀리/작게로\n명시됐으면 먼 곳에 작게 유지 — 극적 효과를 위해 전경으로 키우지\n말 것).\n\n연속성: 그려지는 모든 패널은 동일한 하나의 장소다 — 고정\n지형지물(문·계단·창문·기둥·책상)은 패널 간 같은 위치와 좌우\n관계를 유지해, 패널들이 하나의 연속된 씬으로 컷 연결되어야 한다.\n\n패널 목록 (패널당 샷 1개):\n\n패널 1: 수리영이 마트 유니폼을 입은 한국인 여성 직원을 마주보며 입을 살짝 벌린 측면 구도\n  동선 (정확히 따를 것): 정지: 수리영과 마트 유니폼 차림의 여직원이 서로 마주 선 채, 수리영은 입을 살짝 벌리고 여직원 쪽으로 얼굴과 몸을 향한다.\n  인물 크기·깊이 순서 (정확히 따를 것): 수리영과 여직원은 각각 화면 높이의 약 1/2 수준으로 비슷하게 보이며, 측면 구도에서 카메라와의 거리도 거의 같은 채 서로 가까이 마주한다.\n패널 2: 마트 밖으로 나온 수리영이 손에 든 스마트폰 액정을 내려다보는 상체\n  동선 (정확히 따를 것): 수리영은 마트 안에서 밖으로 나온 뒤 입구 바깥으로 나아가면서, 연락을 시도하는 스마트폰을 손에 들고 상체와 시선을 액정 쪽으로 숙인다.\n  인물 크기·깊이 순서 (정확히 따를 것): 수리영의 상체는 화면 높이의 약 2/3를 차지해 가깝게 보이고, 손의 스마트폰은 몸 앞쪽에 있어 얼굴보다 카메라에 조금 더 가깝다.\n패널 3: 수리영과 남자직원이 마트 밖에서 벽면의 CCTV를 올려다보는 뒷모습\n  동선 (정확히 따를 것): 정지: 수리영과 남자 직원은 마트 밖 벽면 앞에 나란히 서서, CCTV가 설치된 위쪽으로 고개와 시선을 들어 올린다.\n  인물 크기·깊이 순서 (정확히 따를 것): 두 사람의 뒷모습은 각각 화면 높이의 약 1/2 수준이며 서로 비슷한 거리에 나란히 있고, 벽면 위 CCTV는 두 사람보다 멀리 작게 보인다.\n패널 4: 수리영이 귀에 스마트폰을 댄 채 정면을 응시하는 상체 클로즈업\n  동선 (정확히 따를 것): 정지: 수리영은 마트 밖에 선 채 스마트폰을 귀에 대고 혜수와 통화하며, 몸과 불안한 시선을 카메라 정면으로 향한다.\n  인물 크기·깊이 순서 (정확히 따를 것): 수리영의 상체는 화면 높이의 약 2/3를 차지하는 클로즈업으로 가장 가깝고, 귀에 붙인 스마트폰도 얼굴과 거의 같은 거리에서 보인다.\n패널 5: 마트 총무과 책상 앞, 한국인 남성 보안직원과 혜수가 컴퓨터 모니터를 향해 몸을 기울인 측면\n  동선 (정확히 따를 것): 정지: 보안직원과 혜수는 마트 총무과 책상 앞에서 나란히 컴퓨터 모니터 쪽으로 상체를 기울이고, CCTV 화면을 향해 얼굴과 시선을 고정한다.\n  인물 크기·깊이 순서 (정확히 따를 것): 보안직원과 혜수는 각각 화면 높이의 약 1/2 수준으로 비슷하게 보이며 카메라와의 거리도 거의 같고, 두 사람 앞의 모니터는 몸보다 약간 먼 책상 안쪽에 놓인다.\n패널 6: 흑백 CCTV 화면 속 어두운 구석에 사람 형상이 희미하게 찍힌 모니터 클로즈업\n  동선 (정확히 따를 것): 정지: 모니터 속 어두운 구석에서 사람의 신체 비례를 지닌 두 형상이 서로 마주 보고 대화하는 듯 서 있으나, 유독 짙은 어둠 때문에 세부 움직임은 식별되지 않는다.\n  인물 크기·깊이 순서 (정확히 따를 것): CCTV 모니터 화면은 프레임 높이의 대부분을 차지해 가장 가깝고, 화면 안 두 사람 형상은 각각 화면 높이의 약 1/5 이하로 희미하고 작게 보인다. 두 형상 가운데 누가 카메라에 더 가깝고 먼지는 어둠 때문에 구분되지 않는다.\n\n어디에도 글자 절대 금지: 단어·문자·캡션·라벨·효과음·워터마크\n금지 — 허용되는 유일한 표기는 그려진 각 패널 안 구석의 작은 샷\n번호 숫자(1, 2, 3, 4, 5, 6)뿐이다.\n패널 그리드는 이미지 가장자리까지 빈틈없이 가득 채운다: 바깥 종이\n여백 없음, 테두리 영역 없음, 패널 밖에는 아무것도 그리지 않음 —\n명시된 절단선 위치를 따라 기계적으로 자를 수 있어야 한다.\n패널 사이는 명시된 정확한 위치의 가는 검은 직선 거터선뿐이며,\n모든 패널은 정확히 같은 크기다."}
{"ts": "2026-07-12 14:50:43", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s34v2_conti_forest_nb2", "refs": [], "ref_labels": [], "attempt": 1, "dur_s": 14.8, "bytes": 4065503, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/conti22_forest_nb2.png", "prompt": "Draw ONE storyboard (conti) sheet: 4 panels made by ONE vertical cut at exactly 50% of the width and ONE horizontal cut at exactly 50% of the height — a 2x2 grid, each panel exactly one quarter of the image.\nSTYLE: hand-drawn PRE-PRODUCTION STORYBOARD FOR A LIVE-ACTION FILM\nSHOOT — the working drawings a professional film storyboard artist\nmakes for the director and cinematographer of a real movie:\nREALISTIC adult human proportions and faces (ordinary Korean\nadults, film-actor realism), true cinematic lens framing, and\nnaturalistic light-and-shadow blocking rendered in monochrome\ngraphite pencil tone on white paper.\nABSOLUTELY NOT manga, NOT anime, NOT cartoon, NOT webtoon, NOT\ncomic-book style: no stylized or enlarged eyes, no cute or\nyouthful idealized faces, no clean ink outlines — every panel\nmust read like a frame of a live-action film sketched in pencil.\nNo color anywhere.\n\nTHE LOCATION (same in all drawn panels): a dense Korean mountain forest with thick undergrowth.\n\nPURPOSE: each panel captures only the CAMERA COMPOSITION of one\nshot — framing (close-up / medium / wide), where the subject sits in\nthe frame, and continuity between panels. Keep every panel\nextremely simple: only what matters for composition.\nMOVEMENT IS SHOWN BY THE FIGURE ITSELF, NEVER BY MARKINGS: convey\ndirection of travel purely through the body — stride mid-motion,\nbody lean into the path, back view vs front view, and the stated\nsize/depth cues. Do NOT draw arrows, motion lines, path lines,\nspeed lines or any diagram markings of any kind.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration — a person seen as a black shape/shadow/silhouette, a\nmonstrous or unnaturally large impression, an inhuman-seeming\npresence. Draw what a real movie camera would actually record on a\nphysical set: a REAL HUMAN BEING with normal human anatomy, whose\nlook is achieved by lighting, exposure, distance, angle and\nwardrobe — e.g. a 'black figure' is a real person rendered very\ndark by backlight/underexposure (human build, human head and\nhands, clothing folds still readable), NEVER a solid-black\ncreature, monster, alien or special-effects being. Exaggerated\nimpressions become realistic staging choices, not literal fantasy\ndrawings.\n\nGEOMETRY — ANALYSE BEFORE DRAWING: from each panel's Korean shot\ntext, first work out the spatial facts and draw EXACTLY those, never\nre-stage them: (a) each figure's DISTANCE from camera (tight insert /\nclose-up / medium / full / wide — a shot about a hand or an object\nis a tight insert, not a two-shot); (b) each figure's FACING and\nMOVEMENT DIRECTION relative to camera — '뒷모습' means seen from\nBEHIND, moving AWAY from camera into the depth of the frame, not\nsideways; a profile means lateral movement; (c) relative positions\nand distances BETWEEN figures. Keep every established screen\ndirection consistent across panels (180-degree rule): a person who\nleaves in one panel keeps the same on-screen direction wherever the\nmovement appears again.\nSIZE & DEPTH ARE CONTRACTUAL: each panel states every figure's\napparent size in the frame and the explicit near/far depth order.\nDraw exactly those proportions — a farther figure MUST be drawn\nclearly smaller than a nearer one; never equalize figure sizes,\nespecially when several figures share a panel or their paths\nrelate to each other.\nDEPARTING FIGURE — a figure running/walking AWAY must be\nunmistakably departing, never approaching: seen exactly from behind\n(back of the head only, no face, no chin, no cheek line), body\nleaning into the path, mid-stride with one shoe sole toward the\ncamera. THE STATED SIZE/DEPTH WINS: draw the departing figure at\nexactly the apparent size and depth the panel's FIGURES line states\n(if stated FARTHER/small, it stays small in the distance — never\nenlarge it into the foreground for drama).\n\nCONTINUITY: all drawn panels are the SAME single location — fixed\nfeatures (doors, stairs, windows, poles, desks) keep the same\nposition and left/right relationships across panels so the panels\ncut together as one continuous scene.\n\nPANELS (one shot per panel, Korean shot text):\n\nPANEL 1: 한쪽 신발이 벗겨진 한국인 남자가 우거진 수풀 사이를 달리며 한 발을 허공에 내딛고 있는 도중의 전신 구도\n  MOVEMENT (follow exactly): The terrified, injured Korean man flees forward through dense undergrowth with a strained, unsteady running posture, one shoe missing, one foot suspended mid-stride, and blood flowing from the large bite wound on his thigh; whether he runs toward or away from the camera is not specified.\n  FIGURES — apparent size & depth order (follow exactly): His full body fills roughly ~4/5 of the frame height; as the sole figure, he is both the NEAREST and FARTHEST person, with the dense brush surrounding and partly obstructing his route.\nPANEL 2: 검은 형상의 인영이 허공에 뛰어오른 채 한국인 남자를 향해 두 팔을 뻗고 있는 순간\n  MOVEMENT (follow exactly): A black silhouetted figure springs through the air toward the terrified Korean man, extending both arms to tackle him as he flees through the undergrowth; their movement toward or away from the camera is not specified.\n  FIGURES — apparent size & depth order (follow exactly): The airborne black figure and the man each occupy roughly ~1/2–2/3 of the frame height, with the attacker closing the remaining distance along a direct collision path toward the man; which figure is NEARER or FARTHER to the camera is not specified.\nPANEL 3: 형사 무리 한가운데 서서 손가락으로 한쪽을 가리키는 혜수의 상체\n  MOVEMENT (follow exactly): static: Hyesu stands upright amid the detectives, her upper body oriented toward one side as she points there with a finger while directing the investigation.\n  FIGURES — apparent size & depth order (follow exactly): Hyesu’s upper body fills roughly ~2/3 of the frame height, while the surrounding detectives appear as smaller or partial figures around her; Hyesu is the principal middle figure, but no specific detective is established as definitively NEARER or FARTHER than her.\n\nThere are 3 shots but 4 panel slots: draw the shots in\npanels 1..3 and leave the remaining panel(s) COMPLETELY\nBLANK PURE WHITE — empty white paper, not even a frame line inside.\n\nABSOLUTELY NO TEXT anywhere: no words, letters, captions, labels,\nsound effects or watermarks — the ONLY allowed marking is a small\nshot number digit (1, 2, 3) in a corner INSIDE each drawn panel.\nTHE PANEL GRID FILLS THE ENTIRE IMAGE EDGE-TO-EDGE: no outer paper\nmargin, no border area, nothing drawn outside the panels — the\nimage must be mechanically cuttable along the stated cut lines.\nPanels are separated only by thin straight black gutter lines at\nthe exact stated positions; ALL PANELS EXACTLY THE SAME SIZE."}
{"ts": "2026-07-12 14:51:00", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s34v2_conti_busstop_nb2", "refs": [], "ref_labels": [], "attempt": 1, "dur_s": 16.4, "bytes": 3043668, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/conti22_busstop_nb2.png", "prompt": "Draw ONE storyboard (conti) sheet: 2 panels made by ONE vertical cut at exactly 50% of the image width — each panel is exactly half the width and the FULL height (1 row x 2 columns).\nSTYLE: hand-drawn PRE-PRODUCTION STORYBOARD FOR A LIVE-ACTION FILM\nSHOOT — the working drawings a professional film storyboard artist\nmakes for the director and cinematographer of a real movie:\nREALISTIC adult human proportions and faces (ordinary Korean\nadults, film-actor realism), true cinematic lens framing, and\nnaturalistic light-and-shadow blocking rendered in monochrome\ngraphite pencil tone on white paper.\nABSOLUTELY NOT manga, NOT anime, NOT cartoon, NOT webtoon, NOT\ncomic-book style: no stylized or enlarged eyes, no cute or\nyouthful idealized faces, no clean ink outlines — every panel\nmust read like a frame of a live-action film sketched in pencil.\nNo color anywhere.\n\nTHE LOCATION (same in all drawn panels): a small seaside bus stop with a bench facing the sea at night on a quiet Korean coastal road.\n\nPURPOSE: each panel captures only the CAMERA COMPOSITION of one\nshot — framing (close-up / medium / wide), where the subject sits in\nthe frame, and continuity between panels. Keep every panel\nextremely simple: only what matters for composition.\nMOVEMENT IS SHOWN BY THE FIGURE ITSELF, NEVER BY MARKINGS: convey\ndirection of travel purely through the body — stride mid-motion,\nbody lean into the path, back view vs front view, and the stated\nsize/depth cues. Do NOT draw arrows, motion lines, path lines,\nspeed lines or any diagram markings of any kind.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration — a person seen as a black shape/shadow/silhouette, a\nmonstrous or unnaturally large impression, an inhuman-seeming\npresence. Draw what a real movie camera would actually record on a\nphysical set: a REAL HUMAN BEING with normal human anatomy, whose\nlook is achieved by lighting, exposure, distance, angle and\nwardrobe — e.g. a 'black figure' is a real person rendered very\ndark by backlight/underexposure (human build, human head and\nhands, clothing folds still readable), NEVER a solid-black\ncreature, monster, alien or special-effects being. Exaggerated\nimpressions become realistic staging choices, not literal fantasy\ndrawings.\n\nGEOMETRY — ANALYSE BEFORE DRAWING: from each panel's Korean shot\ntext, first work out the spatial facts and draw EXACTLY those, never\nre-stage them: (a) each figure's DISTANCE from camera (tight insert /\nclose-up / medium / full / wide — a shot about a hand or an object\nis a tight insert, not a two-shot); (b) each figure's FACING and\nMOVEMENT DIRECTION relative to camera — '뒷모습' means seen from\nBEHIND, moving AWAY from camera into the depth of the frame, not\nsideways; a profile means lateral movement; (c) relative positions\nand distances BETWEEN figures. Keep every established screen\ndirection consistent across panels (180-degree rule): a person who\nleaves in one panel keeps the same on-screen direction wherever the\nmovement appears again.\nSIZE & DEPTH ARE CONTRACTUAL: each panel states every figure's\napparent size in the frame and the explicit near/far depth order.\nDraw exactly those proportions — a farther figure MUST be drawn\nclearly smaller than a nearer one; never equalize figure sizes,\nespecially when several figures share a panel or their paths\nrelate to each other.\nDEPARTING FIGURE — a figure running/walking AWAY must be\nunmistakably departing, never approaching: seen exactly from behind\n(back of the head only, no face, no chin, no cheek line), body\nleaning into the path, mid-stride with one shoe sole toward the\ncamera. THE STATED SIZE/DEPTH WINS: draw the departing figure at\nexactly the apparent size and depth the panel's FIGURES line states\n(if stated FARTHER/small, it stays small in the distance — never\nenlarge it into the foreground for drama).\n\nCONTINUITY: all drawn panels are the SAME single location — fixed\nfeatures (doors, stairs, windows, poles, desks) keep the same\nposition and left/right relationships across panels so the panels\ncut together as one continuous scene.\n\nPANELS (one shot per panel, Korean shot text):\n\nPANEL 1: 혜수의 손이 음료수 캔을 쥔 채 수리영 앞으로 내밀어진 순간\n  MOVEMENT (follow exactly): Hye-su extends her hand and the drink can from her side into the space directly in front of Suri-young, who remains seated and blankly oriented toward the sea.\n  FIGURES — apparent size & depth order (follow exactly): Hye-su's hand and can appear large at roughly ~1/3 of the frame height and are NEARER to the camera; seated Suri-young appears around ~1/2 of the frame height and is FARTHER behind the offered can.\nPANEL 2: 멀리서 혜수의 전신과 한 발을 공중에 띄운 mid-stride 자세로 달리는 수리영의 뒷모습을 한 프레임에 담은 넓은 구도\n  MOVEMENT (follow exactly): Suri-young runs away from Hye-su and away from the camera with her back visible and one foot airborne mid-stride, while Hye-su remains behind facing her path.\n  FIGURES — apparent size & depth order (follow exactly): Hye-su's full body appears about ~1/3 of the frame height and is NEARER to the camera, while the departing Suri-young appears smaller at ~1/5 and FARTHER along the route away. The distance between them increases as Suri-young runs ahead and Hye-su stays behind.\n\nABSOLUTELY NO TEXT anywhere: no words, letters, captions, labels,\nsound effects or watermarks — the ONLY allowed marking is a small\nshot number digit (1, 2) in a corner INSIDE each drawn panel.\nTHE PANEL GRID FILLS THE ENTIRE IMAGE EDGE-TO-EDGE: no outer paper\nmargin, no border area, nothing drawn outside the panels — the\nimage must be mechanically cuttable along the stated cut lines.\nPanels are separated only by thin straight black gutter lines at\nthe exact stated positions; ALL PANELS EXACTLY THE SAME SIZE."}
{"ts": "2026-07-12 15:20:03", "kind": "llm", "step": "s34_move_forest", "model": "gpt", "dur_s": 33.9, "system_prompt": "당신은 콘티 작가를 돕는 동선 분석가다. 씬 원문(한국어 전문)과 샷\n목록을 읽고, 각 샷에서 인물이 공간을 어떻게 통과하는지(동선)를\n판정하라. 원문에 근거한 것만 쓰고 발명 금지. 마커나 ID 코드 금지.\n샷마다 두 필드를 채워라:\n1) movement_en — 영어 한 문장: 누가/무엇이 움직이는지, 이동 경로와\n방향(오르는지 내려오는지, 들어가는지 나오는지, 카메라 쪽인지\n반대인지), 몸의 진행 자세, 어디에서 와서 어디로 가는 중인지.\n정지 샷이면 'static:'으로 시작해 시선·몸 방향만.\n★인물의 신체·의식 상태가 원문에 있으면 자세 서술에 반드시 반영:\n죽었거나 의식이 없으면 'lifeless: collapsed, asymmetric, limp\nlimbs, weight fallen' 처럼 무너진 자세로 명시(단정하게 앉거나\n웅크린 자세로 쓰지 말 것), 부상·긴장·공포도 자세에 드러나게.\n어둠 속 실루엣·그림자로 보이는 존재도 실제로는 사람이면 사람의\n신체 비례임을 유지해 서술하라(예: 'a real person appearing as a\ndark silhouette, normal human build').\n2) figures_en — 영어 1~2문장: 프레임에 보이는 인물/핵심 물체\n각각에 대해 (a) 프레임 안 겉보기 크기(화면 높이의 몇 분의 몇\n수준인지: e.g. fills ~2/3 of frame height / small ~1/5), (b) 카메라\n기준 원근 서열(which is NEARER, which is FARTHER — 명시적 비교),\n(c) 인물이 여럿이거나 동선이 얽히면 서로의 경로·거리 관계까지.\n인물 1명 단순 샷이어도 크기와 근원(near/far)은 반드시 기록.", "user_prompt": "씬 원문 전문:\n[씬 1] S#1. 숲속 / 해 질 무렵\nS#1. 숲속 / 해 질 무렵\n우거진 수풀을 헤치며 도망치는. 벗겨진 한쪽 신발.\n허벅지에 커다란 이빨 자국. 피가 흐르고.\n잔뜩 겁에 질린 남자 표정(T.S) 그때 어디선가 쏜살같이 달려온\n검은 인영이 남자를 덮친다. 아아~ 악!!!\n\n\n\n[씬 3] S#3. 현장 / D\nS#3. 현장 / D\n지역 뉴스 화면. 기자는 보이지 않고 멘트만 흘러나온다.\n씬1, 2 현장을 감식하는 경찰, 폴리스 라인을 치고 시신을 수거한다.\n형사무리 속에 사건을 지휘하는 혜수의 모습이 보인다.\n\n기자(E)\n(이어서) 형체를 알아볼 수 없는 시신 두 구가 잇달아\n발견되면서 경찰은 수사본부를 차리고 갑호 비상령을\n내린 상탭니다.\n(중략)\n\n\n\n샷 목록(각각 동선 판정):\nS1sh1: 한쪽 신발이 벗겨진 한국인 남자가 우거진 수풀 사이를 달리며 한 발을 허공에 내딛고 있는 도중의 전신 구도\nS1sh4: 검은 형상의 인영이 허공에 뛰어오른 채 한국인 남자를 향해 두 팔을 뻗고 있는 순간\nS3sh3: 형사 무리 한가운데 서서 손가락으로 한쪽을 가리키는 혜수의 상체"}
{"ts": "2026-07-12 15:20:31", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s34v2_conti_forest_nb2", "refs": [], "ref_labels": [], "attempt": 1, "dur_s": 15.8, "bytes": 3362960, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/conti23_forest_nb2.png", "prompt": "Draw ONE storyboard (conti) sheet: 4 panels made by ONE vertical cut at exactly 50% of the width and ONE horizontal cut at exactly 50% of the height — a 2x2 grid, each panel exactly one quarter of the image.\nSTYLE: hand-drawn PRE-PRODUCTION STORYBOARD FOR A LIVE-ACTION FILM\nSHOOT — the working drawings a professional film storyboard artist\nmakes for the director and cinematographer of a real movie:\nREALISTIC adult human proportions and faces (ordinary Korean\nadults, film-actor realism), true cinematic lens framing, and\nnaturalistic light-and-shadow blocking rendered in monochrome\ngraphite pencil tone on white paper.\nABSOLUTELY NOT manga, NOT anime, NOT cartoon, NOT webtoon, NOT\ncomic-book style: no stylized or enlarged eyes, no cute or\nyouthful idealized faces, no clean ink outlines — every panel\nmust read like a frame of a live-action film sketched in pencil.\nNo color anywhere.\n\nTHE LOCATION (same in all drawn panels): a dense Korean mountain forest with thick undergrowth.\n\nPURPOSE: each panel captures only the CAMERA COMPOSITION of one\nshot — framing (close-up / medium / wide), where the subject sits in\nthe frame, and continuity between panels. Keep every panel\nextremely simple: only what matters for composition.\nMOVEMENT IS SHOWN BY THE FIGURE ITSELF, NEVER BY MARKINGS: convey\ndirection of travel purely through the body — stride mid-motion,\nbody lean into the path, back view vs front view, and the stated\nsize/depth cues. Do NOT draw arrows, motion lines, path lines,\nspeed lines or any diagram markings of any kind.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration — a person seen as a black shape/shadow/silhouette, a\nmonstrous or unnaturally large impression, an inhuman-seeming\npresence. Draw what a real movie camera would actually record on a\nphysical set: a REAL HUMAN BEING with normal human anatomy, whose\nlook is achieved by lighting, exposure, distance, angle and\nwardrobe — e.g. a 'black figure' is a real person rendered very\ndark by backlight/underexposure (human build, human head and\nhands, clothing folds still readable), NEVER a solid-black\ncreature, monster, alien or special-effects being. Exaggerated\nimpressions become realistic staging choices, not literal fantasy\ndrawings.\nHARD RULE — NO SOLID-BLACK FIGURES: never fill any figure with\nflat solid black. Even the darkest figure is drawn with the same\ngraphite pencil hatching as the rest of the panel, only in darker\ntones: visible internal shading variation, readable fabric folds\nand sleeve/trouser seams, hands with individual fingers, a hint of\nfacial planes (brow, nose, jaw) in the shadow, and a thin light\nrim edge where ambient light catches the head and shoulders.\nDarkness is a TONE VALUE (heavy pencil shading, dark grey), not a\nsilhouette fill — if the text calls someone a black shape, draw an\nordinary man in dark clothing at night rendered in dark greys with\ndetail, never a paper-cutout or ink-blot silhouette.\n\nGEOMETRY — ANALYSE BEFORE DRAWING: from each panel's Korean shot\ntext, first work out the spatial facts and draw EXACTLY those, never\nre-stage them: (a) each figure's DISTANCE from camera (tight insert /\nclose-up / medium / full / wide — a shot about a hand or an object\nis a tight insert, not a two-shot); (b) each figure's FACING and\nMOVEMENT DIRECTION relative to camera — '뒷모습' means seen from\nBEHIND, moving AWAY from camera into the depth of the frame, not\nsideways; a profile means lateral movement; (c) relative positions\nand distances BETWEEN figures. Keep every established screen\ndirection consistent across panels (180-degree rule): a person who\nleaves in one panel keeps the same on-screen direction wherever the\nmovement appears again.\nSIZE & DEPTH ARE CONTRACTUAL: each panel states every figure's\napparent size in the frame and the explicit near/far depth order.\nDraw exactly those proportions — a farther figure MUST be drawn\nclearly smaller than a nearer one; never equalize figure sizes,\nespecially when several figures share a panel or their paths\nrelate to each other.\nDEPARTING FIGURE — a figure running/walking AWAY must be\nunmistakably departing, never approaching: seen exactly from behind\n(back of the head only, no face, no chin, no cheek line), body\nleaning into the path, mid-stride with one shoe sole toward the\ncamera. THE STATED SIZE/DEPTH WINS: draw the departing figure at\nexactly the apparent size and depth the panel's FIGURES line states\n(if stated FARTHER/small, it stays small in the distance — never\nenlarge it into the foreground for drama).\n\nCONTINUITY: all drawn panels are the SAME single location — fixed\nfeatures (doors, stairs, windows, poles, desks) keep the same\nposition and left/right relationships across panels so the panels\ncut together as one continuous scene.\n\nPANELS (one shot per panel, Korean shot text):\n\nPANEL 1: 한쪽 신발이 벗겨진 한국인 남자가 우거진 수풀 사이를 달리며 한 발을 허공에 내딛고 있는 도중의 전신 구도\n  MOVEMENT (follow exactly): The terrified, wounded Korean man runs through dense undergrowth while fleeing an unseen threat, driving forward with one foot airborne, one shoe missing, and a pain-guarded, unsteady stride; his direction relative to the camera is unspecified.\n  FIGURES — apparent size & depth order (follow exactly): The man's full body fills roughly ~4/5 of the frame height; he is the sole visible figure and thus both the nearest and farthest person in the frame.\nPANEL 2: 검은 형상의 인영이 허공에 뛰어오른 채 한국인 남자를 향해 두 팔을 뻗고 있는 순간\n  MOVEMENT (follow exactly): A real, normal-human-proportioned person appearing as a dark silhouette springs through the air toward the terrified, wounded Korean man, reaching both arms forward to pounce on him as he flees; their movement toward or away from the camera is unspecified.\n  FIGURES — apparent size & depth order (follow exactly): The airborne dark figure and the Korean man each read at roughly ~1/2–2/3 of the frame height as their paths rapidly converge. Neither is established as nearer or farther from the camera, but the dark figure is closing the physical gap to the man.\nPANEL 3: 형사 무리 한가운데 서서 손가락으로 한쪽을 가리키는 혜수의 상체\n  MOVEMENT (follow exactly): static: Hyesu stands upright at the center of the detectives, directing the investigation by pointing one finger toward one side while her gaze and upper body orient toward that indicated direction.\n  FIGURES — apparent size & depth order (follow exactly): Hyesu's upper body fills roughly ~2/3 of the frame height and is the nearer, dominant figure; the surrounding detectives appear smaller, roughly ~1/3–1/2 of the frame height, and farther from the camera around her.\n\nThere are 3 shots but 4 panel slots: draw the shots in\npanels 1..3 and leave the remaining panel(s) COMPLETELY\nBLANK PURE WHITE — empty white paper, not even a frame line inside.\n\nABSOLUTELY NO TEXT anywhere: no words, letters, captions, labels,\nsound effects or watermarks — the ONLY allowed marking is a small\nshot number digit (1, 2, 3) in a corner INSIDE each drawn panel.\nTHE PANEL GRID FILLS THE ENTIRE IMAGE EDGE-TO-EDGE: no outer paper\nmargin, no border area, nothing drawn outside the panels — the\nimage must be mechanically cuttable along the stated cut lines.\nPanels are separated only by thin straight black gutter lines at\nthe exact stated positions; ALL PANELS EXACTLY THE SAME SIZE."}
{"ts": "2026-07-12 15:29:32", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s34v2_conti_forest_nb2", "refs": [], "ref_labels": [], "attempt": 1, "dur_s": 16.9, "bytes": 3800255, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/conti24_forest_nb2.png", "prompt": "Draw ONE storyboard (conti) sheet: 4 panels made by ONE vertical cut at exactly 50% of the width and ONE horizontal cut at exactly 50% of the height — a 2x2 grid, each panel exactly one quarter of the image.\nSTYLE: hand-drawn PRE-PRODUCTION STORYBOARD FOR A LIVE-ACTION FILM\nSHOOT — the working drawings a professional film storyboard artist\nmakes for the director and cinematographer of a real movie:\nREALISTIC adult human proportions and faces (ordinary Korean\nadults, film-actor realism), true cinematic lens framing, and\nnaturalistic light-and-shadow blocking rendered in monochrome\ngraphite pencil tone on white paper.\nABSOLUTELY NOT manga, NOT anime, NOT cartoon, NOT webtoon, NOT\ncomic-book style: no stylized or enlarged eyes, no cute or\nyouthful idealized faces, no clean ink outlines — every panel\nmust read like a frame of a live-action film sketched in pencil.\nNo color anywhere.\n\nTHE LOCATION (same in all drawn panels): a dense Korean mountain forest with thick undergrowth.\n\nPURPOSE: each panel captures only the CAMERA COMPOSITION of one\nshot — framing (close-up / medium / wide), where the subject sits in\nthe frame, and continuity between panels. Keep every panel\nextremely simple: only what matters for composition.\nMOVEMENT IS SHOWN BY THE FIGURE ITSELF, NEVER BY MARKINGS: convey\ndirection of travel purely through the body — stride mid-motion,\nbody lean into the path, back view vs front view, and the stated\nsize/depth cues. Do NOT draw arrows, motion lines, path lines,\nspeed lines or any diagram markings of any kind.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Draw what a real movie camera would actually record\non a physical set — exaggerated or figurative impressions become\nrealistic staging choices (lighting, distance, angle, wardrobe),\nnot literal fantasy drawings.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still draw them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nGEOMETRY — ANALYSE BEFORE DRAWING: from each panel's Korean shot\ntext, first work out the spatial facts and draw EXACTLY those, never\nre-stage them: (a) each figure's DISTANCE from camera (tight insert /\nclose-up / medium / full / wide — a shot about a hand or an object\nis a tight insert, not a two-shot); (b) each figure's FACING and\nMOVEMENT DIRECTION relative to camera — '뒷모습' means seen from\nBEHIND, moving AWAY from camera into the depth of the frame, not\nsideways; a profile means lateral movement; (c) relative positions\nand distances BETWEEN figures. Keep every established screen\ndirection consistent across panels (180-degree rule): a person who\nleaves in one panel keeps the same on-screen direction wherever the\nmovement appears again.\nSIZE & DEPTH ARE CONTRACTUAL: each panel states every figure's\napparent size in the frame and the explicit near/far depth order.\nDraw exactly those proportions — a farther figure MUST be drawn\nclearly smaller than a nearer one; never equalize figure sizes,\nespecially when several figures share a panel or their paths\nrelate to each other.\nDEPARTING FIGURE — a figure running/walking AWAY must be\nunmistakably departing, never approaching: seen exactly from behind\n(back of the head only, no face, no chin, no cheek line), body\nleaning into the path, mid-stride with one shoe sole toward the\ncamera. THE STATED SIZE/DEPTH WINS: draw the departing figure at\nexactly the apparent size and depth the panel's FIGURES line states\n(if stated FARTHER/small, it stays small in the distance — never\nenlarge it into the foreground for drama).\n\nCONTINUITY: all drawn panels are the SAME single location — fixed\nfeatures (doors, stairs, windows, poles, desks) keep the same\nposition and left/right relationships across panels so the panels\ncut together as one continuous scene.\n\nPANELS (one shot per panel, Korean shot text):\n\nPANEL 1: 한쪽 신발이 벗겨진 한국인 남자가 우거진 수풀 사이를 달리며 한 발을 허공에 내딛고 있는 도중의 전신 구도\n  MOVEMENT (follow exactly): The terrified, wounded Korean man runs through dense undergrowth while fleeing an unseen threat, driving forward with one foot airborne, one shoe missing, and a pain-guarded, unsteady stride; his direction relative to the camera is unspecified.\n  FIGURES — apparent size & depth order (follow exactly): The man's full body fills roughly ~4/5 of the frame height; he is the sole visible figure and thus both the nearest and farthest person in the frame.\nPANEL 2: 검은 형상의 인영이 허공에 뛰어오른 채 한국인 남자를 향해 두 팔을 뻗고 있는 순간\n  MOVEMENT (follow exactly): A real, normal-human-proportioned person appearing as a dark silhouette springs through the air toward the terrified, wounded Korean man, reaching both arms forward to pounce on him as he flees; their movement toward or away from the camera is unspecified.\n  FIGURES — apparent size & depth order (follow exactly): The airborne dark figure and the Korean man each read at roughly ~1/2–2/3 of the frame height as their paths rapidly converge. Neither is established as nearer or farther from the camera, but the dark figure is closing the physical gap to the man.\nPANEL 3: 형사 무리 한가운데 서서 손가락으로 한쪽을 가리키는 혜수의 상체\n  MOVEMENT (follow exactly): static: Hyesu stands upright at the center of the detectives, directing the investigation by pointing one finger toward one side while her gaze and upper body orient toward that indicated direction.\n  FIGURES — apparent size & depth order (follow exactly): Hyesu's upper body fills roughly ~2/3 of the frame height and is the nearer, dominant figure; the surrounding detectives appear smaller, roughly ~1/3–1/2 of the frame height, and farther from the camera around her.\n\nThere are 3 shots but 4 panel slots: draw the shots in\npanels 1..3 and leave the remaining panel(s) COMPLETELY\nBLANK PURE WHITE — empty white paper, not even a frame line inside.\n\nABSOLUTELY NO TEXT anywhere: no words, letters, captions, labels,\nsound effects or watermarks — the ONLY allowed marking is a small\nshot number digit (1, 2, 3) in a corner INSIDE each drawn panel.\nTHE PANEL GRID FILLS THE ENTIRE IMAGE EDGE-TO-EDGE: no outer paper\nmargin, no border area, nothing drawn outside the panels — the\nimage must be mechanically cuttable along the stated cut lines.\nPanels are separated only by thin straight black gutter lines at\nthe exact stated positions; ALL PANELS EXACTLY THE SAME SIZE."}
{"ts": "2026-07-12 15:36:30", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s34v2_conti_busstop_nb2", "refs": [], "ref_labels": [], "attempt": 1, "dur_s": 15.1, "bytes": 2879224, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/conti24_busstop_nb2.png", "prompt": "Draw ONE storyboard (conti) sheet: 2 panels made by ONE vertical cut at exactly 50% of the image width — each panel is exactly half the width and the FULL height (1 row x 2 columns).\nSTYLE: hand-drawn PRE-PRODUCTION STORYBOARD FOR A LIVE-ACTION FILM\nSHOOT — the working drawings a professional film storyboard artist\nmakes for the director and cinematographer of a real movie:\nREALISTIC adult human proportions and faces (ordinary Korean\nadults, film-actor realism), true cinematic lens framing, and\nnaturalistic light-and-shadow blocking rendered in monochrome\ngraphite pencil tone on white paper.\nABSOLUTELY NOT manga, NOT anime, NOT cartoon, NOT webtoon, NOT\ncomic-book style: no stylized or enlarged eyes, no cute or\nyouthful idealized faces, no clean ink outlines — every panel\nmust read like a frame of a live-action film sketched in pencil.\nNo color anywhere.\n\nTHE LOCATION (same in all drawn panels): a small seaside bus stop with a bench facing the sea at night on a quiet Korean coastal road.\n\nPURPOSE: each panel captures only the CAMERA COMPOSITION of one\nshot — framing (close-up / medium / wide), where the subject sits in\nthe frame, and continuity between panels. Keep every panel\nextremely simple: only what matters for composition.\nMOVEMENT IS SHOWN BY THE FIGURE ITSELF, NEVER BY MARKINGS: convey\ndirection of travel purely through the body — stride mid-motion,\nbody lean into the path, back view vs front view, and the stated\nsize/depth cues. Do NOT draw arrows, motion lines, path lines,\nspeed lines or any diagram markings of any kind.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Draw what a real movie camera would actually record\non a physical set — exaggerated or figurative impressions become\nrealistic staging choices (lighting, distance, angle, wardrobe),\nnot literal fantasy drawings.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still draw them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nGEOMETRY — ANALYSE BEFORE DRAWING: from each panel's Korean shot\ntext, first work out the spatial facts and draw EXACTLY those, never\nre-stage them: (a) each figure's DISTANCE from camera (tight insert /\nclose-up / medium / full / wide — a shot about a hand or an object\nis a tight insert, not a two-shot); (b) each figure's FACING and\nMOVEMENT DIRECTION relative to camera — '뒷모습' means seen from\nBEHIND, moving AWAY from camera into the depth of the frame, not\nsideways; a profile means lateral movement; (c) relative positions\nand distances BETWEEN figures. Keep every established screen\ndirection consistent across panels (180-degree rule): a person who\nleaves in one panel keeps the same on-screen direction wherever the\nmovement appears again.\nSIZE & DEPTH ARE CONTRACTUAL: each panel states every figure's\napparent size in the frame and the explicit near/far depth order.\nDraw exactly those proportions — a farther figure MUST be drawn\nclearly smaller than a nearer one; never equalize figure sizes,\nespecially when several figures share a panel or their paths\nrelate to each other.\nDEPARTING FIGURE — a figure running/walking AWAY must be\nunmistakably departing, never approaching: seen exactly from behind\n(back of the head only, no face, no chin, no cheek line), body\nleaning into the path, mid-stride with one shoe sole toward the\ncamera. THE STATED SIZE/DEPTH WINS: draw the departing figure at\nexactly the apparent size and depth the panel's FIGURES line states\n(if stated FARTHER/small, it stays small in the distance — never\nenlarge it into the foreground for drama).\n\nCONTINUITY: all drawn panels are the SAME single location — fixed\nfeatures (doors, stairs, windows, poles, desks) keep the same\nposition and left/right relationships across panels so the panels\ncut together as one continuous scene.\n\nPANELS (one shot per panel, Korean shot text):\n\nPANEL 1: 혜수의 손이 음료수 캔을 쥔 채 수리영 앞으로 내밀어진 순간\n  MOVEMENT (follow exactly): Hye-su extends her hand and the drink can from her side into the space directly in front of Suri-young, who remains seated and blankly oriented toward the sea.\n  FIGURES — apparent size & depth order (follow exactly): Hye-su's hand and can appear large at roughly ~1/3 of the frame height and are NEARER to the camera; seated Suri-young appears around ~1/2 of the frame height and is FARTHER behind the offered can.\nPANEL 2: 멀리서 혜수의 전신과 한 발을 공중에 띄운 mid-stride 자세로 달리는 수리영의 뒷모습을 한 프레임에 담은 넓은 구도\n  MOVEMENT (follow exactly): Suri-young runs away from Hye-su and away from the camera with her back visible and one foot airborne mid-stride, while Hye-su remains behind facing her path.\n  FIGURES — apparent size & depth order (follow exactly): Hye-su's full body appears about ~1/3 of the frame height and is NEARER to the camera, while the departing Suri-young appears smaller at ~1/5 and FARTHER along the route away. The distance between them increases as Suri-young runs ahead and Hye-su stays behind.\n\nABSOLUTELY NO TEXT anywhere: no words, letters, captions, labels,\nsound effects or watermarks — the ONLY allowed marking is a small\nshot number digit (1, 2) in a corner INSIDE each drawn panel.\nTHE PANEL GRID FILLS THE ENTIRE IMAGE EDGE-TO-EDGE: no outer paper\nmargin, no border area, nothing drawn outside the panels — the\nimage must be mechanically cuttable along the stated cut lines.\nPanels are separated only by thin straight black gutter lines at\nthe exact stated positions; ALL PANELS EXACTLY THE SAME SIZE."}
{"ts": "2026-07-12 15:36:47", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s34v2_conti_rooftop_ext_nb2", "refs": [], "ref_labels": [], "attempt": 1, "dur_s": 17.2, "bytes": 3103967, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/conti24_rooftop_ext_nb2.png", "prompt": "Draw ONE storyboard (conti) sheet: 6 panels made by TWO vertical cuts at exactly 1/3 and 2/3 of the width and ONE horizontal cut at exactly 50% of the height — a 3-column x 2-row grid, all six panels exactly equal.\nSTYLE: hand-drawn PRE-PRODUCTION STORYBOARD FOR A LIVE-ACTION FILM\nSHOOT — the working drawings a professional film storyboard artist\nmakes for the director and cinematographer of a real movie:\nREALISTIC adult human proportions and faces (ordinary Korean\nadults, film-actor realism), true cinematic lens framing, and\nnaturalistic light-and-shadow blocking rendered in monochrome\ngraphite pencil tone on white paper.\nABSOLUTELY NOT manga, NOT anime, NOT cartoon, NOT webtoon, NOT\ncomic-book style: no stylized or enlarged eyes, no cute or\nyouthful idealized faces, no clean ink outlines — every panel\nmust read like a frame of a live-action film sketched in pencil.\nNo color anywhere.\n\nTHE LOCATION (same in all drawn panels): the exterior of an old Korean multi-family villa: narrow alley and small yard at ground level, an added exterior steel staircase climbing the wall, and a rooftop with a small rooftop room (steel front door, one lit window), a water tank, a clothesline and a low parapet.\n\nPURPOSE: each panel captures only the CAMERA COMPOSITION of one\nshot — framing (close-up / medium / wide), where the subject sits in\nthe frame, and continuity between panels. Keep every panel\nextremely simple: only what matters for composition.\nMOVEMENT IS SHOWN BY THE FIGURE ITSELF, NEVER BY MARKINGS: convey\ndirection of travel purely through the body — stride mid-motion,\nbody lean into the path, back view vs front view, and the stated\nsize/depth cues. Do NOT draw arrows, motion lines, path lines,\nspeed lines or any diagram markings of any kind.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Draw what a real movie camera would actually record\non a physical set — exaggerated or figurative impressions become\nrealistic staging choices (lighting, distance, angle, wardrobe),\nnot literal fantasy drawings.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still draw them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nGEOMETRY — ANALYSE BEFORE DRAWING: from each panel's Korean shot\ntext, first work out the spatial facts and draw EXACTLY those, never\nre-stage them: (a) each figure's DISTANCE from camera (tight insert /\nclose-up / medium / full / wide — a shot about a hand or an object\nis a tight insert, not a two-shot); (b) each figure's FACING and\nMOVEMENT DIRECTION relative to camera — '뒷모습' means seen from\nBEHIND, moving AWAY from camera into the depth of the frame, not\nsideways; a profile means lateral movement; (c) relative positions\nand distances BETWEEN figures. Keep every established screen\ndirection consistent across panels (180-degree rule): a person who\nleaves in one panel keeps the same on-screen direction wherever the\nmovement appears again.\nSIZE & DEPTH ARE CONTRACTUAL: each panel states every figure's\napparent size in the frame and the explicit near/far depth order.\nDraw exactly those proportions — a farther figure MUST be drawn\nclearly smaller than a nearer one; never equalize figure sizes,\nespecially when several figures share a panel or their paths\nrelate to each other.\nDEPARTING FIGURE — a figure running/walking AWAY must be\nunmistakably departing, never approaching: seen exactly from behind\n(back of the head only, no face, no chin, no cheek line), body\nleaning into the path, mid-stride with one shoe sole toward the\ncamera. THE STATED SIZE/DEPTH WINS: draw the departing figure at\nexactly the apparent size and depth the panel's FIGURES line states\n(if stated FARTHER/small, it stays small in the distance — never\nenlarge it into the foreground for drama).\n\nCONTINUITY: all drawn panels are the SAME single location — fixed\nfeatures (doors, stairs, windows, poles, desks) keep the same\nposition and left/right relationships across panels so the panels\ncut together as one continuous scene.\n\nPANELS (one shot per panel, Korean shot text):\n\nPANEL 1: 현관 철문이 아주 살짝 열린 틈새로 보이는 어두운 실내와 신발 앞코\n  MOVEMENT (follow exactly): The stranger's shoe toe advances away from the rooftop camera through the barely opened iron door and into the dark room.\n  FIGURES — apparent size & depth order (follow exactly): The shoe toe is small, about ~1/6 of frame height, and is FARTHER than the NEARER iron door and its narrow opening; the dark interior recedes farthest beyond it.\nPANEL 2: 불이 켜진 옥탑방 창문에 거대한 그림자가 작은 그림자의 어깨 쪽으로 고개를 꺾은 형태가 맺혀 있는 정지 구도\n  MOVEMENT (follow exactly): static: the large shadow looms over the smaller shadow, its head sharply bent toward the smaller figure's shoulder as if biting it, while the smaller figure is pinned beneath the attack.\n  FIGURES — apparent size & depth order (follow exactly): The large shadow fills roughly ~3/4 of frame height and overlaps the smaller shadow, which fills about ~1/2; both appear on the same FAR window plane, behind the NEARER window surface, with no clear depth separation between them.\nPANEL 3: 철제 파이프 난간을 손으로 잡은 수리영이 코끝을 찡그린 채 계단 중간에 서 있는 얼굴 클로즈업\n  MOVEMENT (follow exactly): static: Su-ri-young pauses midway up the stairs, gripping the pipe railing with a tense hand and wrinkling her nose at the sudden foul smell while facing upward.\n  FIGURES — apparent size & depth order (follow exactly): Her close-up face fills about ~2/3 of frame height and is the NEAREST figure; her railing hand is slightly FARTHER, while the stairway behind her recedes farthest.\nPANEL 4: 옥상에 선 수리영의 시선 끝에 반쯤 열려 있는 어두운 현관 철문이 보이는 정면 구도\n  MOVEMENT (follow exactly): static: Su-ri-young stands on the rooftop facing the half-open iron entrance door, her attention fixed on the dark opening ahead.\n  FIGURES — apparent size & depth order (follow exactly): Su-ri-young occupies roughly ~1/2 of frame height in the NEARER plane, while the half-open door is FARTHER ahead and fills about ~1/3; her sightline runs directly across the rooftop into its dark gap.\nPANEL 5: 수리영이 초점을 잃은 눈으로 허공을 응시하며 서 있는 모습\n  MOVEMENT (follow exactly): static: Su-ri-young stands motionless after fleeing downstairs, her shocked body slack and her unfocused eyes staring into empty space.\n  FIGURES — apparent size & depth order (follow exactly): Su-ri-young fills roughly ~1/2 of frame height and is the sole, NEAREST figure, with the surrounding exterior space FARTHER behind her.\nPANEL 6: 고개를 든 채 혜수의 얼굴을 마주보고 있는 수리영의 측면 구도\n  MOVEMENT (follow exactly): static: Su-ri-young keeps her head raised toward Hye-su, meeting her face from the side with a stunned, unfocused posture.\n  FIGURES — apparent size & depth order (follow exactly): Su-ri-young and Hye-su each fill roughly ~1/2 of frame height in profile and stand at approximately the same camera distance, neither clearly NEARER than the other; they face one another at close conversational range.\n\nABSOLUTELY NO TEXT anywhere: no words, letters, captions, labels,\nsound effects or watermarks — the ONLY allowed marking is a small\nshot number digit (1, 2, 3, 4, 5, 6) in a corner INSIDE each drawn panel.\nTHE PANEL GRID FILLS THE ENTIRE IMAGE EDGE-TO-EDGE: no outer paper\nmargin, no border area, nothing drawn outside the panels — the\nimage must be mechanically cuttable along the stated cut lines.\nPanels are separated only by thin straight black gutter lines at\nthe exact stated positions; ALL PANELS EXACTLY THE SAME SIZE."}
{"ts": "2026-07-12 15:37:04", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s34v2_conti_rooftop_int_nb2", "refs": [], "ref_labels": [], "attempt": 1, "dur_s": 17.2, "bytes": 3097413, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/conti24_rooftop_int_nb2.png", "prompt": "Draw ONE storyboard (conti) sheet: 6 panels made by TWO vertical cuts at exactly 1/3 and 2/3 of the width and ONE horizontal cut at exactly 50% of the height — a 3-column x 2-row grid, all six panels exactly equal.\nSTYLE: hand-drawn PRE-PRODUCTION STORYBOARD FOR A LIVE-ACTION FILM\nSHOOT — the working drawings a professional film storyboard artist\nmakes for the director and cinematographer of a real movie:\nREALISTIC adult human proportions and faces (ordinary Korean\nadults, film-actor realism), true cinematic lens framing, and\nnaturalistic light-and-shadow blocking rendered in monochrome\ngraphite pencil tone on white paper.\nABSOLUTELY NOT manga, NOT anime, NOT cartoon, NOT webtoon, NOT\ncomic-book style: no stylized or enlarged eyes, no cute or\nyouthful idealized faces, no clean ink outlines — every panel\nmust read like a frame of a live-action film sketched in pencil.\nNo color anywhere.\n\nTHE LOCATION (same in all drawn panels): the interior of a small Korean rooftop home: living room with a small window, kitchenette and dining table; a bedroom with a bed against one wall and a curtained window; a tiny tiled bathroom with a mirror.\n\nPURPOSE: each panel captures only the CAMERA COMPOSITION of one\nshot — framing (close-up / medium / wide), where the subject sits in\nthe frame, and continuity between panels. Keep every panel\nextremely simple: only what matters for composition.\nMOVEMENT IS SHOWN BY THE FIGURE ITSELF, NEVER BY MARKINGS: convey\ndirection of travel purely through the body — stride mid-motion,\nbody lean into the path, back view vs front view, and the stated\nsize/depth cues. Do NOT draw arrows, motion lines, path lines,\nspeed lines or any diagram markings of any kind.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Draw what a real movie camera would actually record\non a physical set — exaggerated or figurative impressions become\nrealistic staging choices (lighting, distance, angle, wardrobe),\nnot literal fantasy drawings.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still draw them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nGEOMETRY — ANALYSE BEFORE DRAWING: from each panel's Korean shot\ntext, first work out the spatial facts and draw EXACTLY those, never\nre-stage them: (a) each figure's DISTANCE from camera (tight insert /\nclose-up / medium / full / wide — a shot about a hand or an object\nis a tight insert, not a two-shot); (b) each figure's FACING and\nMOVEMENT DIRECTION relative to camera — '뒷모습' means seen from\nBEHIND, moving AWAY from camera into the depth of the frame, not\nsideways; a profile means lateral movement; (c) relative positions\nand distances BETWEEN figures. Keep every established screen\ndirection consistent across panels (180-degree rule): a person who\nleaves in one panel keeps the same on-screen direction wherever the\nmovement appears again.\nSIZE & DEPTH ARE CONTRACTUAL: each panel states every figure's\napparent size in the frame and the explicit near/far depth order.\nDraw exactly those proportions — a farther figure MUST be drawn\nclearly smaller than a nearer one; never equalize figure sizes,\nespecially when several figures share a panel or their paths\nrelate to each other.\nDEPARTING FIGURE — a figure running/walking AWAY must be\nunmistakably departing, never approaching: seen exactly from behind\n(back of the head only, no face, no chin, no cheek line), body\nleaning into the path, mid-stride with one shoe sole toward the\ncamera. THE STATED SIZE/DEPTH WINS: draw the departing figure at\nexactly the apparent size and depth the panel's FIGURES line states\n(if stated FARTHER/small, it stays small in the distance — never\nenlarge it into the foreground for drama).\n\nCONTINUITY: all drawn panels are the SAME single location — fixed\nfeatures (doors, stairs, windows, poles, desks) keep the same\nposition and left/right relationships across panels so the panels\ncut together as one continuous scene.\n\nPANELS (one shot per panel, Korean shot text):\n\nPANEL 1: 옷과 피부가 피투성이가 된 민숙이 바닥에 주저앉아 고개를 푹 숙인 정지 상태\n  MOVEMENT (follow exactly): static: Minsuk is lifeless on the floor, collapsed in a seated fall with her head hanging forward, torso slumped asymmetrically, limp limbs, and her weight fully fallen rather than held upright.\n  FIGURES — apparent size & depth order (follow exactly): Minsuk fills roughly 2/3 of the frame height and is the NEARER subject, while the bloodied floor and room behind her are FARTHER. Her blood-soaked clothes and skin remain visible across her collapsed body.\nPANEL 2: 침대 위쪽 벽면에 붉은색 원형 표식이 절반쯤 나타난 상태\n  MOVEMENT (follow exactly): static: the half-formed red circle remains on the wall above the bed, with no person crossing the frame.\n  FIGURES — apparent size & depth order (follow exactly): The red circular mark fills about 1/2 of the frame height and is FARTHER on the wall, while the upper part of the bed is NEARER in the foreground.\nPANEL 3: 핏자국 없이 깨끗한 방 내부 전경\n  MOVEMENT (follow exactly): static: the excessively clean, bloodless room stands empty, with no one entering, leaving, or moving through it.\n  FIGURES — apparent size & depth order (follow exactly): The empty room fills the full frame, with the NEARER side of the room opening toward the camera and the clean back wall and far corners appearing FARTHER away. No person, bloodstain, red mark, or body is visible.\nPANEL 4: 거울 속 반사된 욕실 타일 벽면에 붉은색 원형 표식이 절반쯤 나타난 상태\n  MOVEMENT (follow exactly): static: a half-formed red circle is visible on the bathroom tile wall only through the mirror reflection, with no person moving through the shot.\n  FIGURES — apparent size & depth order (follow exactly): The reflected red circle fills roughly 1/3 to 1/2 of the frame height; the mirror surface is NEARER to the camera, while the reflected tiled wall and mark read as FARTHER within the reflection.\nPANEL 5: 해질 무렵 옥탑방 거실, 흙 묻은 발자국들이 찍힌 바닥과 쓰러진 식탁 의자들이 보이는 전경\n  MOVEMENT (follow exactly): static: muddy footprints lie across the living-room floor among overturned dining chairs, but their direction of travel cannot be determined from the shot.\n  FIGURES — apparent size & depth order (follow exactly): The living-room interior fills the frame; the muddy footprints spread across the NEARER floor, while the overturned dining chairs are FARTHER around the table. Individual footprints appear small, roughly 1/10 of the frame height, while the chairs occupy about 1/3 to 1/2.\nPANEL 6: 붉은 원 한가운데 피 묻은 낡은 흑백 사진이 벽에 꽂혀 있는 타이트 샷\n  MOVEMENT (follow exactly): static: the bloodstained old photograph remains fixed at the center of the red circle on the wall, with no hand or person entering the frame.\n  FIGURES — apparent size & depth order (follow exactly): The photograph fills roughly 1/2 to 2/3 of the frame height and is NEARER than the wall surface, while the red circle extends FARTHER behind it across the wall.\n\nABSOLUTELY NO TEXT anywhere: no words, letters, captions, labels,\nsound effects or watermarks — the ONLY allowed marking is a small\nshot number digit (1, 2, 3, 4, 5, 6) in a corner INSIDE each drawn panel.\nTHE PANEL GRID FILLS THE ENTIRE IMAGE EDGE-TO-EDGE: no outer paper\nmargin, no border area, nothing drawn outside the panels — the\nimage must be mechanically cuttable along the stated cut lines.\nPanels are separated only by thin straight black gutter lines at\nthe exact stated positions; ALL PANELS EXACTLY THE SAME SIZE."}
{"ts": "2026-07-12 15:37:18", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s34v2_conti_mart_nb2", "refs": [], "ref_labels": [], "attempt": 1, "dur_s": 14.2, "bytes": 2805165, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/conti24_mart_nb2.png", "prompt": "Draw ONE storyboard (conti) sheet: 6 panels made by TWO vertical cuts at exactly 1/3 and 2/3 of the width and ONE horizontal cut at exactly 50% of the height — a 3-column x 2-row grid, all six panels exactly equal.\nSTYLE: hand-drawn PRE-PRODUCTION STORYBOARD FOR A LIVE-ACTION FILM\nSHOOT — the working drawings a professional film storyboard artist\nmakes for the director and cinematographer of a real movie:\nREALISTIC adult human proportions and faces (ordinary Korean\nadults, film-actor realism), true cinematic lens framing, and\nnaturalistic light-and-shadow blocking rendered in monochrome\ngraphite pencil tone on white paper.\nABSOLUTELY NOT manga, NOT anime, NOT cartoon, NOT webtoon, NOT\ncomic-book style: no stylized or enlarged eyes, no cute or\nyouthful idealized faces, no clean ink outlines — every panel\nmust read like a frame of a live-action film sketched in pencil.\nNo color anywhere.\n\nTHE LOCATION (same in all drawn panels): a mid-size Korean supermarket: shelved sales floor inside; the entrance area outside with a bicycle rack and one wall-mounted CCTV camera above; a small back security office with CCTV monitors.\n\nPURPOSE: each panel captures only the CAMERA COMPOSITION of one\nshot — framing (close-up / medium / wide), where the subject sits in\nthe frame, and continuity between panels. Keep every panel\nextremely simple: only what matters for composition.\nMOVEMENT IS SHOWN BY THE FIGURE ITSELF, NEVER BY MARKINGS: convey\ndirection of travel purely through the body — stride mid-motion,\nbody lean into the path, back view vs front view, and the stated\nsize/depth cues. Do NOT draw arrows, motion lines, path lines,\nspeed lines or any diagram markings of any kind.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Draw what a real movie camera would actually record\non a physical set — exaggerated or figurative impressions become\nrealistic staging choices (lighting, distance, angle, wardrobe),\nnot literal fantasy drawings.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still draw them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nGEOMETRY — ANALYSE BEFORE DRAWING: from each panel's Korean shot\ntext, first work out the spatial facts and draw EXACTLY those, never\nre-stage them: (a) each figure's DISTANCE from camera (tight insert /\nclose-up / medium / full / wide — a shot about a hand or an object\nis a tight insert, not a two-shot); (b) each figure's FACING and\nMOVEMENT DIRECTION relative to camera — '뒷모습' means seen from\nBEHIND, moving AWAY from camera into the depth of the frame, not\nsideways; a profile means lateral movement; (c) relative positions\nand distances BETWEEN figures. Keep every established screen\ndirection consistent across panels (180-degree rule): a person who\nleaves in one panel keeps the same on-screen direction wherever the\nmovement appears again.\nSIZE & DEPTH ARE CONTRACTUAL: each panel states every figure's\napparent size in the frame and the explicit near/far depth order.\nDraw exactly those proportions — a farther figure MUST be drawn\nclearly smaller than a nearer one; never equalize figure sizes,\nespecially when several figures share a panel or their paths\nrelate to each other.\nDEPARTING FIGURE — a figure running/walking AWAY must be\nunmistakably departing, never approaching: seen exactly from behind\n(back of the head only, no face, no chin, no cheek line), body\nleaning into the path, mid-stride with one shoe sole toward the\ncamera. THE STATED SIZE/DEPTH WINS: draw the departing figure at\nexactly the apparent size and depth the panel's FIGURES line states\n(if stated FARTHER/small, it stays small in the distance — never\nenlarge it into the foreground for drama).\n\nCONTINUITY: all drawn panels are the SAME single location — fixed\nfeatures (doors, stairs, windows, poles, desks) keep the same\nposition and left/right relationships across panels so the panels\ncut together as one continuous scene.\n\nPANELS (one shot per panel, Korean shot text):\n\nPANEL 1: 수리영이 마트 유니폼을 입은 한국인 여성 직원을 마주보며 입을 살짝 벌린 측면 구도\n  MOVEMENT (follow exactly): static: Su-ri-young and the female supermarket employee stand facing each other in profile, Su-ri-young holding her mouth slightly open as she addresses the employee.\n  FIGURES — apparent size & depth order (follow exactly): Su-ri-young and the female employee each fill roughly ~1/2 of the frame height and occupy a comparable midground plane, with neither clearly nearer to the camera; they remain a short conversational distance apart across opposing sightlines.\nPANEL 2: 마트 밖으로 나온 수리영이 손에 든 스마트폰 액정을 내려다보는 상체\n  MOVEMENT (follow exactly): static: Having come out of the supermarket, Su-ri-young stands with her upper body angled toward the smartphone in her hand and her gaze lowered to its screen while trying to make contact.\n  FIGURES — apparent size & depth order (follow exactly): Su-ri-young’s upper body fills about ~2/3 of the frame height in the near foreground, while the smartphone is small, about ~1/10, and held within the same near plane below her face; she is the sole visible figure.\nPANEL 3: 수리영과 남자직원이 마트 밖에서 벽면의 CCTV를 올려다보는 뒷모습\n  MOVEMENT (follow exactly): static: Outside the supermarket, Su-ri-young and the male employee stand with their backs to the camera, bodies and heads tilted upward toward the wall-mounted CCTV camera as they check its coverage.\n  FIGURES — apparent size & depth order (follow exactly): Su-ri-young and the male employee each fill roughly ~1/2 of the frame height in the nearer foreground-to-midground, standing alongside each other at comparable depth, while the CCTV camera is much smaller, around ~1/15, and farther away high on the wall.\nPANEL 4: 수리영이 귀에 스마트폰을 댄 채 정면을 응시하는 상체 클로즈업\n  MOVEMENT (follow exactly): static: Su-ri-young holds a smartphone to her ear and faces forward, explaining the situation to Hye-su by phone.\n  FIGURES — apparent size & depth order (follow exactly): Su-ri-young’s upper body fills about ~3/4 of the frame height in the near foreground, with the smartphone small, around ~1/12, against her ear in the same near plane; no other person is visible.\nPANEL 5: 마트 총무과 책상 앞, 한국인 남성 보안직원과 혜수가 컴퓨터 모니터를 향해 몸을 기울인 측면\n  MOVEMENT (follow exactly): static: The male security employee and Hye-su lean forward from the desk toward the computer monitor, both directing their gaze at the CCTV footage.\n  FIGURES — apparent size & depth order (follow exactly): The security employee and Hye-su each fill roughly ~1/2 of the frame height and occupy a comparable midground depth, with neither clearly nearer to the camera; the monitor is smaller, about ~1/3, positioned directly along their converging sightlines.\nPANEL 6: 흑백 CCTV 화면 속 어두운 구석에 사람 형상이 희미하게 찍힌 모니터 클로즈업\n  MOVEMENT (follow exactly): static: A faint, unidentifiable human-shaped form remains in a dark corner of the black-and-white CCTV image, with no discernible direction of travel or body orientation.\n  FIGURES — apparent size & depth order (follow exactly): The monitor image fills nearly the entire frame and is the nearest visible object, while the indistinct human-shaped form is tiny, about ~1/10 of the frame height, and appears far away within the recorded space.\n\nABSOLUTELY NO TEXT anywhere: no words, letters, captions, labels,\nsound effects or watermarks — the ONLY allowed marking is a small\nshot number digit (1, 2, 3, 4, 5, 6) in a corner INSIDE each drawn panel.\nTHE PANEL GRID FILLS THE ENTIRE IMAGE EDGE-TO-EDGE: no outer paper\nmargin, no border area, nothing drawn outside the panels — the\nimage must be mechanically cuttable along the stated cut lines.\nPanels are separated only by thin straight black gutter lines at\nthe exact stated positions; ALL PANELS EXACTLY THE SAME SIZE."}
{"ts": "2026-07-12 15:37:35", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s34v2_conti_police_nb2", "refs": [], "ref_labels": [], "attempt": 1, "dur_s": 16.8, "bytes": 2717312, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/conti24_police_nb2.png", "prompt": "Draw ONE storyboard (conti) sheet: 6 panels made by TWO vertical cuts at exactly 1/3 and 2/3 of the width and ONE horizontal cut at exactly 50% of the height — a 3-column x 2-row grid, all six panels exactly equal.\nSTYLE: hand-drawn PRE-PRODUCTION STORYBOARD FOR A LIVE-ACTION FILM\nSHOOT — the working drawings a professional film storyboard artist\nmakes for the director and cinematographer of a real movie:\nREALISTIC adult human proportions and faces (ordinary Korean\nadults, film-actor realism), true cinematic lens framing, and\nnaturalistic light-and-shadow blocking rendered in monochrome\ngraphite pencil tone on white paper.\nABSOLUTELY NOT manga, NOT anime, NOT cartoon, NOT webtoon, NOT\ncomic-book style: no stylized or enlarged eyes, no cute or\nyouthful idealized faces, no clean ink outlines — every panel\nmust read like a frame of a live-action film sketched in pencil.\nNo color anywhere.\n\nTHE LOCATION (same in all drawn panels): a modest Korean provincial police station: a detectives' office with desks, monitors and a doorway; and the street right in front of the building.\n\nPURPOSE: each panel captures only the CAMERA COMPOSITION of one\nshot — framing (close-up / medium / wide), where the subject sits in\nthe frame, and continuity between panels. Keep every panel\nextremely simple: only what matters for composition.\nMOVEMENT IS SHOWN BY THE FIGURE ITSELF, NEVER BY MARKINGS: convey\ndirection of travel purely through the body — stride mid-motion,\nbody lean into the path, back view vs front view, and the stated\nsize/depth cues. Do NOT draw arrows, motion lines, path lines,\nspeed lines or any diagram markings of any kind.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Draw what a real movie camera would actually record\non a physical set — exaggerated or figurative impressions become\nrealistic staging choices (lighting, distance, angle, wardrobe),\nnot literal fantasy drawings.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still draw them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nGEOMETRY — ANALYSE BEFORE DRAWING: from each panel's Korean shot\ntext, first work out the spatial facts and draw EXACTLY those, never\nre-stage them: (a) each figure's DISTANCE from camera (tight insert /\nclose-up / medium / full / wide — a shot about a hand or an object\nis a tight insert, not a two-shot); (b) each figure's FACING and\nMOVEMENT DIRECTION relative to camera — '뒷모습' means seen from\nBEHIND, moving AWAY from camera into the depth of the frame, not\nsideways; a profile means lateral movement; (c) relative positions\nand distances BETWEEN figures. Keep every established screen\ndirection consistent across panels (180-degree rule): a person who\nleaves in one panel keeps the same on-screen direction wherever the\nmovement appears again.\nSIZE & DEPTH ARE CONTRACTUAL: each panel states every figure's\napparent size in the frame and the explicit near/far depth order.\nDraw exactly those proportions — a farther figure MUST be drawn\nclearly smaller than a nearer one; never equalize figure sizes,\nespecially when several figures share a panel or their paths\nrelate to each other.\nDEPARTING FIGURE — a figure running/walking AWAY must be\nunmistakably departing, never approaching: seen exactly from behind\n(back of the head only, no face, no chin, no cheek line), body\nleaning into the path, mid-stride with one shoe sole toward the\ncamera. THE STATED SIZE/DEPTH WINS: draw the departing figure at\nexactly the apparent size and depth the panel's FIGURES line states\n(if stated FARTHER/small, it stays small in the distance — never\nenlarge it into the foreground for drama).\n\nCONTINUITY: all drawn panels are the SAME single location — fixed\nfeatures (doors, stairs, windows, poles, desks) keep the same\nposition and left/right relationships across panels so the panels\ncut together as one continuous scene.\n\nPANELS (one shot per panel, Korean shot text):\n\nPANEL 1: 혜수가 스마트폰 액정을 김형사 쪽으로 불쑥 내민 순간\n  MOVEMENT (follow exactly): Hye-su abruptly thrusts the smartphone forward from her side toward Detective Kim, presenting Min-sook's saved number while remaining inside the office.\n  FIGURES — apparent size & depth order (follow exactly): Hye-su and Detective Kim each fill roughly ~1/2 of the frame height, with Hye-su NEARER to the camera and Detective Kim FARTHER across from her. The extended smartphone fills about ~1/5 of the frame height, projecting from Hye-su toward Detective Kim and lying between their positions.\nPANEL 2: 수리영이 두 눈을 크게 뜨고 입을 살짝 벌린 굳은 얼굴 클로즈업\n  MOVEMENT (follow exactly): static: Su-ri-young holds rigid with fear and shock, her widened eyes fixed forward and her lips slightly parted.\n  FIGURES — apparent size & depth order (follow exactly): Su-ri-young's face fills roughly ~3/4 of the frame height; she is the sole and therefore NEAREST visible figure, with no farther person shown.\nPANEL 3: 모니터 화면에 바다 지도가 펼쳐져 있고 붉은색 핀과 좌표 숫자가 떠 있는 클로즈업\n  MOVEMENT (follow exactly): static: the monitor displays a sea map with a red location pin and coordinate figures, with no physical movement in frame.\n  FIGURES — apparent size & depth order (follow exactly): The monitor image fills nearly the full frame and is the sole, NEAREST core object; the map, pin, and coordinate text occupy the same flat display plane with no farther figure visible.\nPANEL 4: 수리영이 메모지가 들어간 겉옷 주머니에 손을 넣은 채 사무실 출입문을 향해 몸을 돌린 정지 순간\n  MOVEMENT (follow exactly): static: Su-ri-young stands tensely with one hand inside the coat pocket holding the folded note, her body turned toward the office exit and poised to leave the room.\n  FIGURES — apparent size & depth order (follow exactly): Su-ri-young fills roughly ~2/3 of the frame height and is NEARER to the camera, while the office doorway is FARTHER in the direction she faces. Her intended path runs from her position inside the office toward and through that doorway.\nPANEL 5: 경찰서 건물 밖 도로 위에서 수리영이 자전거 안장에 앉아 상체를 앞으로 숙인 채 머리카락이 뒤로 흩날리는 측면\n  MOVEMENT (follow exactly): Su-ri-young rides the bicycle along the road outside the police station, moving laterally across the camera's side view with her torso pitched forward over the handlebars and her hair streaming backward, neither directly toward nor directly away from the camera.\n  FIGURES — apparent size & depth order (follow exactly): Su-ri-young fills roughly ~1/2 of the frame height, and the bicycle-and-rider silhouette together fills about ~2/3; both are NEARER to the camera than the FARTHER police-station exterior. Her path continues along the road parallel to the image plane.\n\nThere are 5 shots but 6 panel slots: draw the shots in\npanels 1..5 and leave the remaining panel(s) COMPLETELY\nBLANK PURE WHITE — empty white paper, not even a frame line inside.\n\nABSOLUTELY NO TEXT anywhere: no words, letters, captions, labels,\nsound effects or watermarks — the ONLY allowed marking is a small\nshot number digit (1, 2, 3, 4, 5) in a corner INSIDE each drawn panel.\nTHE PANEL GRID FILLS THE ENTIRE IMAGE EDGE-TO-EDGE: no outer paper\nmargin, no border area, nothing drawn outside the panels — the\nimage must be mechanically cuttable along the stated cut lines.\nPanels are separated only by thin straight black gutter lines at\nthe exact stated positions; ALL PANELS EXACTLY THE SAME SIZE."}
{"ts": "2026-07-12 15:40:36", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s34v2_conti_rooftop_int_nb2", "refs": [], "ref_labels": [], "attempt": 1, "dur_s": 16.8, "bytes": 3306714, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/conti24_rooftop_int_nb2.png", "prompt": "Draw ONE storyboard (conti) sheet: 6 panels made by TWO vertical cuts at exactly 1/3 and 2/3 of the width and ONE horizontal cut at exactly 50% of the height — a 3-column x 2-row grid, all six panels exactly equal.\nSTYLE: hand-drawn PRE-PRODUCTION STORYBOARD FOR A LIVE-ACTION FILM\nSHOOT — the working drawings a professional film storyboard artist\nmakes for the director and cinematographer of a real movie:\nREALISTIC adult human proportions and faces (ordinary Korean\nadults, film-actor realism), true cinematic lens framing, and\nnaturalistic light-and-shadow blocking rendered in monochrome\ngraphite pencil tone on white paper.\nABSOLUTELY NOT manga, NOT anime, NOT cartoon, NOT webtoon, NOT\ncomic-book style: no stylized or enlarged eyes, no cute or\nyouthful idealized faces, no clean ink outlines — every panel\nmust read like a frame of a live-action film sketched in pencil.\nNo color anywhere.\n\nTHE LOCATION (same in all drawn panels): the interior of a small Korean rooftop home: living room with a small window, kitchenette and dining table; a bedroom with a bed against one wall and a curtained window; a tiny tiled bathroom with a mirror.\n\nPURPOSE: each panel captures only the CAMERA COMPOSITION of one\nshot — framing (close-up / medium / wide), where the subject sits in\nthe frame, and continuity between panels. Keep every panel\nextremely simple: only what matters for composition.\nMOVEMENT IS SHOWN BY THE FIGURE ITSELF, NEVER BY MARKINGS: convey\ndirection of travel purely through the body — stride mid-motion,\nbody lean into the path, back view vs front view, and the stated\nsize/depth cues. Do NOT draw arrows, motion lines, path lines,\nspeed lines or any diagram markings of any kind.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Draw what a real movie camera would actually record\non a physical set — exaggerated or figurative impressions become\nrealistic staging choices (lighting, distance, angle, wardrobe),\nnot literal fantasy drawings.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still draw them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nGEOMETRY — ANALYSE BEFORE DRAWING: from each panel's Korean shot\ntext, first work out the spatial facts and draw EXACTLY those, never\nre-stage them: (a) each figure's DISTANCE from camera (tight insert /\nclose-up / medium / full / wide — a shot about a hand or an object\nis a tight insert, not a two-shot); (b) each figure's FACING and\nMOVEMENT DIRECTION relative to camera — '뒷모습' means seen from\nBEHIND, moving AWAY from camera into the depth of the frame, not\nsideways; a profile means lateral movement; (c) relative positions\nand distances BETWEEN figures. Keep every established screen\ndirection consistent across panels (180-degree rule): a person who\nleaves in one panel keeps the same on-screen direction wherever the\nmovement appears again.\nSIZE & DEPTH ARE CONTRACTUAL: each panel states every figure's\napparent size in the frame and the explicit near/far depth order.\nDraw exactly those proportions — a farther figure MUST be drawn\nclearly smaller than a nearer one; never equalize figure sizes,\nespecially when several figures share a panel or their paths\nrelate to each other.\nDEPARTING FIGURE — a figure running/walking AWAY must be\nunmistakably departing, never approaching: seen exactly from behind\n(back of the head only, no face, no chin, no cheek line), body\nleaning into the path, mid-stride with one shoe sole toward the\ncamera. THE STATED SIZE/DEPTH WINS: draw the departing figure at\nexactly the apparent size and depth the panel's FIGURES line states\n(if stated FARTHER/small, it stays small in the distance — never\nenlarge it into the foreground for drama).\n\nCONTINUITY: all drawn panels are the SAME single location — fixed\nfeatures (doors, stairs, windows, poles, desks) keep the same\nposition and left/right relationships across panels so the panels\ncut together as one continuous scene.\n\nPANELS (one shot per panel, Korean shot text):\n\nPANEL 1: 옷과 피부가 피투성이가 된 민숙이 바닥에 주저앉아 고개를 푹 숙인 정지 상태\n  MOVEMENT (follow exactly): static: Minsuk is lifeless on the floor, collapsed in a seated fall with her head hanging forward, torso slumped asymmetrically, limp limbs, and her weight fully fallen rather than held upright.\n  FIGURES — apparent size & depth order (follow exactly): Minsuk fills roughly 2/3 of the frame height and is the NEARER subject, while the bloodied floor and room behind her are FARTHER. Her blood-soaked clothes and skin remain visible across her collapsed body.\nPANEL 2: 침대 위쪽 벽면에 붉은색 원형 표식이 절반쯤 나타난 상태\n  MOVEMENT (follow exactly): static: the half-formed red circle remains on the wall above the bed, with no person crossing the frame.\n  FIGURES — apparent size & depth order (follow exactly): The red circular mark fills about 1/2 of the frame height and is FARTHER on the wall, while the upper part of the bed is NEARER in the foreground.\nPANEL 3: 핏자국 없이 깨끗한 방 내부 전경\n  MOVEMENT (follow exactly): static: the excessively clean, bloodless room stands empty, with no one entering, leaving, or moving through it.\n  FIGURES — apparent size & depth order (follow exactly): The empty room fills the full frame, with the NEARER side of the room opening toward the camera and the clean back wall and far corners appearing FARTHER away. No person, bloodstain, red mark, or body is visible.\nPANEL 4: 거울 속 반사된 욕실 타일 벽면에 붉은색 원형 표식이 절반쯤 나타난 상태\n  MOVEMENT (follow exactly): static: a half-formed red circle is visible on the bathroom tile wall only through the mirror reflection, with no person moving through the shot.\n  FIGURES — apparent size & depth order (follow exactly): The reflected red circle fills roughly 1/3 to 1/2 of the frame height; the mirror surface is NEARER to the camera, while the reflected tiled wall and mark read as FARTHER within the reflection.\nPANEL 5: 해질 무렵 옥탑방 거실, 흙 묻은 발자국들이 찍힌 바닥과 쓰러진 식탁 의자들이 보이는 전경\n  MOVEMENT (follow exactly): static: muddy footprints lie across the living-room floor among overturned dining chairs, but their direction of travel cannot be determined from the shot.\n  FIGURES — apparent size & depth order (follow exactly): The living-room interior fills the frame; the muddy footprints spread across the NEARER floor, while the overturned dining chairs are FARTHER around the table. Individual footprints appear small, roughly 1/10 of the frame height, while the chairs occupy about 1/3 to 1/2.\nPANEL 6: 붉은 원 한가운데 피 묻은 낡은 흑백 사진이 벽에 꽂혀 있는 타이트 샷\n  MOVEMENT (follow exactly): static: the bloodstained old photograph remains fixed at the center of the red circle on the wall, with no hand or person entering the frame.\n  FIGURES — apparent size & depth order (follow exactly): The photograph fills roughly 1/2 to 2/3 of the frame height and is NEARER than the wall surface, while the red circle extends FARTHER behind it across the wall.\n\nABSOLUTELY NO TEXT anywhere: no words, letters, captions, labels,\nsound effects or watermarks — the ONLY allowed marking is a small\nshot number digit (1, 2, 3, 4, 5, 6) in a corner INSIDE each drawn panel.\nTHE PANEL GRID FILLS THE ENTIRE IMAGE EDGE-TO-EDGE: no outer paper\nmargin, no border area, nothing drawn outside the panels — the\nimage must be mechanically cuttable along the stated cut lines.\nPanels are separated only by thin straight black gutter lines at\nthe exact stated positions; ALL PANELS EXACTLY THE SAME SIZE."}
{"ts": "2026-07-12 15:42:01", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s34run_S1sh1_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/panels24/S1sh1.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/efc879db-5f82-4f77-bf83-75e3d2d41f1c.png"], "ref_labels": ["STORYBOARD PANEL — this shot's camera framing, figure placement and depth order; composition source ONLY — the output is a fully photorealistic photograph, never a sketch; do not copy its line style, paper texture or borders.", "CHARACTER REFERENCE — 한국인 남자: the exact person appearing in this shot; match face, hair and build exactly."], "attempt": 1, "dur_s": 22.6, "bytes": 2998212, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills24/S1sh1_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): dusk, just after sunset.\n\nSHOT TEXT (authoritative, Korean): 한쪽 신발이 벗겨진 한국인 남자가 우거진 수풀 사이를 달리며 한 발을 허공에 내딛고 있는 도중의 전신 구도\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nMOVEMENT (follow exactly): The terrified, wounded Korean man runs through dense undergrowth while fleeing an unseen threat, driving forward with one foot airborne, one shoe missing, and a pain-guarded, unsteady stride; his direction relative to the camera is unspecified.\n\nFIGURES — size & depth (follow exactly): The man's full body fills roughly ~4/5 of the frame height; he is the sole visible figure and thus both the nearest and farthest person in the frame.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of the referenced people (한국인 남자) matched exactly to their reference photo — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-12 15:42:24", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s34run_S1sh4_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/panels24/S1sh4.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills24/S1sh1_nb2.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/efc879db-5f82-4f77-bf83-75e3d2d41f1c.png"], "ref_labels": ["STORYBOARD PANEL — this shot's camera framing, figure placement and depth order; composition source ONLY — the output is a fully photorealistic photograph, never a sketch; do not copy its line style, paper texture or borders.", "PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing.", "CHARACTER REFERENCE — 한국인 남자: the exact person appearing in this shot; match face, hair and build exactly."], "attempt": 1, "dur_s": 23.1, "bytes": 2915771, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills24/S1sh4_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): dusk, just after sunset.\n\nSHOT TEXT (authoritative, Korean): 검은 형상의 인영이 허공에 뛰어오른 채 한국인 남자를 향해 두 팔을 뻗고 있는 순간\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nMOVEMENT (follow exactly): A real, normal-human-proportioned person appearing as a dark silhouette springs through the air toward the terrified, wounded Korean man, reaching both arms forward to pounce on him as he flees; their movement toward or away from the camera is unspecified.\n\nFIGURES — size & depth (follow exactly): The airborne dark figure and the Korean man each read at roughly ~1/2–2/3 of the frame height as their paths rapidly converge. Neither is established as nearer or farther from the camera, but the dark figure is closing the physical gap to the man.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of the referenced people (한국인 남자) matched exactly to their reference photo — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-12 15:42:44", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s34run_S3sh3_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/panels24/S3sh3.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/bddad176-aa6a-4a71-b5d3-d02e36e19657.png"], "ref_labels": ["STORYBOARD PANEL — this shot's camera framing, figure placement and depth order; composition source ONLY — the output is a fully photorealistic photograph, never a sketch; do not copy its line style, paper texture or borders.", "CHARACTER REFERENCE — 혜수: the exact person appearing in this shot; match face, hair and build exactly."], "attempt": 1, "dur_s": 19.4, "bytes": 2790584, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills24/S3sh3_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): daytime.\n\nSHOT TEXT (authoritative, Korean): 형사 무리 한가운데 서서 손가락으로 한쪽을 가리키는 혜수의 상체\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nMOVEMENT (follow exactly): static: Hyesu stands upright at the center of the detectives, directing the investigation by pointing one finger toward one side while her gaze and upper body orient toward that indicated direction.\n\nFIGURES — size & depth (follow exactly): Hyesu's upper body fills roughly ~2/3 of the frame height and is the nearer, dominant figure; the surrounding detectives appear smaller, roughly ~1/3–1/2 of the frame height, and farther from the camera around her.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of the referenced people (혜수) matched exactly to their reference photo — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-12 15:43:02", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s34run_S15sh2_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/panels24/S15sh2.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/bddad176-aa6a-4a71-b5d3-d02e36e19657.png"], "ref_labels": ["STORYBOARD PANEL — this shot's camera framing, figure placement and depth order; composition source ONLY — the output is a fully photorealistic photograph, never a sketch; do not copy its line style, paper texture or borders.", "CHARACTER REFERENCE — 혜수: the exact person appearing in this shot; match face, hair and build exactly."], "attempt": 1, "dur_s": 18.4, "bytes": 2069041, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills24/S15sh2_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\n\nSHOT TEXT (authoritative, Korean): 혜수의 손이 음료수 캔을 쥔 채 수리영 앞으로 내밀어진 순간\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nMOVEMENT (follow exactly): Hye-su extends her hand and the drink can from her side into the space directly in front of Suri-young, who remains seated and blankly oriented toward the sea.\n\nFIGURES — size & depth (follow exactly): Hye-su's hand and can appear large at roughly ~1/3 of the frame height and are NEARER to the camera; seated Suri-young appears around ~1/2 of the frame height and is FARTHER behind the offered can.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of the referenced people (혜수) matched exactly to their reference photo — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-12 15:43:33", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s34run_S15sh6_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/panels24/S15sh6.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills24/S15sh2_nb2.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/39864973-d3d5-4886-bfb2-f8db608a005b.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/bddad176-aa6a-4a71-b5d3-d02e36e19657.png"], "ref_labels": ["STORYBOARD PANEL — this shot's camera framing, figure placement and depth order; composition source ONLY — the output is a fully photorealistic photograph, never a sketch; do not copy its line style, paper texture or borders.", "PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing.", "CHARACTER REFERENCE — 수리영: the exact person appearing in this shot; match face, hair and build exactly.", "CHARACTER REFERENCE — 혜수: the exact person appearing in this shot; match face, hair and build exactly."], "attempt": 1, "dur_s": 30.6, "bytes": 2221269, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills24/S15sh6_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\n\nSHOT TEXT (authoritative, Korean): 멀리서 혜수의 전신과 한 발을 공중에 띄운 mid-stride 자세로 달리는 수리영의 뒷모습을 한 프레임에 담은 넓은 구도\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nMOVEMENT (follow exactly): Suri-young runs away from Hye-su and away from the camera with her back visible and one foot airborne mid-stride, while Hye-su remains behind facing her path.\n\nFIGURES — size & depth (follow exactly): Hye-su's full body appears about ~1/3 of the frame height and is NEARER to the camera, while the departing Suri-young appears smaller at ~1/5 and FARTHER along the route away. The distance between them increases as Suri-young runs ahead and Hye-su stays behind.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of the referenced people (수리영, 혜수) matched exactly to their reference photo — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-12 15:43:52", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s34run_S10sh6_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/panels24/S10sh6.png"], "ref_labels": ["STORYBOARD PANEL — this shot's camera framing, figure placement and depth order; composition source ONLY — the output is a fully photorealistic photograph, never a sketch; do not copy its line style, paper texture or borders."], "attempt": 1, "dur_s": 19.5, "bytes": 2745097, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills24/S10sh6_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\n\nSHOT TEXT (authoritative, Korean): 현관 철문이 아주 살짝 열린 틈새로 보이는 어두운 실내와 신발 앞코\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nMOVEMENT (follow exactly): The stranger's shoe toe advances away from the rooftop camera through the barely opened iron door and into the dark room.\n\nFIGURES — size & depth (follow exactly): The shoe toe is small, about ~1/6 of frame height, and is FARTHER than the NEARER iron door and its narrow opening; the dark interior recedes farthest beyond it.\n\nNo people appear unless the shot text itself says so.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-12 15:44:17", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s34run_S10sh7_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/panels24/S10sh7.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills24/S10sh6_nb2.png"], "ref_labels": ["STORYBOARD PANEL — this shot's camera framing, figure placement and depth order; composition source ONLY — the output is a fully photorealistic photograph, never a sketch; do not copy its line style, paper texture or borders.", "PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing."], "attempt": 1, "dur_s": 24.6, "bytes": 2631051, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills24/S10sh7_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\n\nSHOT TEXT (authoritative, Korean): 불이 켜진 옥탑방 창문에 거대한 그림자가 작은 그림자의 어깨 쪽으로 고개를 꺾은 형태가 맺혀 있는 정지 구도\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nMOVEMENT (follow exactly): static: the large shadow looms over the smaller shadow, its head sharply bent toward the smaller figure's shoulder as if biting it, while the smaller figure is pinned beneath the attack.\n\nFIGURES — size & depth (follow exactly): The large shadow fills roughly ~3/4 of frame height and overlaps the smaller shadow, which fills about ~1/2; both appear on the same FAR window plane, behind the NEARER window surface, with no clear depth separation between them.\n\nNo people appear unless the shot text itself says so.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-12 15:44:35", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s34run_S11sh4_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/panels24/S11sh4.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/39864973-d3d5-4886-bfb2-f8db608a005b.png"], "ref_labels": ["STORYBOARD PANEL — this shot's camera framing, figure placement and depth order; composition source ONLY — the output is a fully photorealistic photograph, never a sketch; do not copy its line style, paper texture or borders.", "CHARACTER REFERENCE — 수리영: the exact person appearing in this shot; match face, hair and build exactly."], "attempt": 1, "dur_s": 18.3, "bytes": 2352227, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills24/S11sh4_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\n\nSHOT TEXT (authoritative, Korean): 철제 파이프 난간을 손으로 잡은 수리영이 코끝을 찡그린 채 계단 중간에 서 있는 얼굴 클로즈업\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nMOVEMENT (follow exactly): static: Su-ri-young pauses midway up the stairs, gripping the pipe railing with a tense hand and wrinkling her nose at the sudden foul smell while facing upward.\n\nFIGURES — size & depth (follow exactly): Her close-up face fills about ~2/3 of frame height and is the NEAREST figure; her railing hand is slightly FARTHER, while the stairway behind her recedes farthest.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of the referenced people (수리영) matched exactly to their reference photo — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-12 15:45:09", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s34run_S11sh5_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/panels24/S11sh5.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills24/S11sh4_nb2.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/39864973-d3d5-4886-bfb2-f8db608a005b.png"], "ref_labels": ["STORYBOARD PANEL — this shot's camera framing, figure placement and depth order; composition source ONLY — the output is a fully photorealistic photograph, never a sketch; do not copy its line style, paper texture or borders.", "PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing.", "CHARACTER REFERENCE — 수리영: the exact person appearing in this shot; match face, hair and build exactly."], "attempt": 1, "dur_s": 33.7, "bytes": 2562142, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills24/S11sh5_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\n\nSHOT TEXT (authoritative, Korean): 옥상에 선 수리영의 시선 끝에 반쯤 열려 있는 어두운 현관 철문이 보이는 정면 구도\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nMOVEMENT (follow exactly): static: Su-ri-young stands on the rooftop facing the half-open iron entrance door, her attention fixed on the dark opening ahead.\n\nFIGURES — size & depth (follow exactly): Su-ri-young occupies roughly ~1/2 of frame height in the NEARER plane, while the half-open door is FARTHER ahead and fills about ~1/3; her sightline runs directly across the rooftop into its dark gap.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of the referenced people (수리영) matched exactly to their reference photo — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-12 15:45:33", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s34run_S13sh4_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/panels24/S13sh4.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/39864973-d3d5-4886-bfb2-f8db608a005b.png"], "ref_labels": ["STORYBOARD PANEL — this shot's camera framing, figure placement and depth order; composition source ONLY — the output is a fully photorealistic photograph, never a sketch; do not copy its line style, paper texture or borders.", "CHARACTER REFERENCE — 수리영: the exact person appearing in this shot; match face, hair and build exactly."], "attempt": 1, "dur_s": 24.4, "bytes": 2589919, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills24/S13sh4_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\n\nSHOT TEXT (authoritative, Korean): 수리영이 초점을 잃은 눈으로 허공을 응시하며 서 있는 모습\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nMOVEMENT (follow exactly): static: Su-ri-young stands motionless after fleeing downstairs, her shocked body slack and her unfocused eyes staring into empty space.\n\nFIGURES — size & depth (follow exactly): Su-ri-young fills roughly ~1/2 of frame height and is the sole, NEAREST figure, with the surrounding exterior space FARTHER behind her.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of the referenced people (수리영) matched exactly to their reference photo — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-12 15:46:03", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s34run_S13sh6_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/panels24/S13sh6.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills24/S13sh4_nb2.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/39864973-d3d5-4886-bfb2-f8db608a005b.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/bddad176-aa6a-4a71-b5d3-d02e36e19657.png"], "ref_labels": ["STORYBOARD PANEL — this shot's camera framing, figure placement and depth order; composition source ONLY — the output is a fully photorealistic photograph, never a sketch; do not copy its line style, paper texture or borders.", "PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing.", "CHARACTER REFERENCE — 수리영: the exact person appearing in this shot; match face, hair and build exactly.", "CHARACTER REFERENCE — 혜수: the exact person appearing in this shot; match face, hair and build exactly."], "attempt": 1, "dur_s": 29.3, "bytes": 2622071, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills24/S13sh6_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\n\nSHOT TEXT (authoritative, Korean): 고개를 든 채 혜수의 얼굴을 마주보고 있는 수리영의 측면 구도\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nMOVEMENT (follow exactly): static: Su-ri-young keeps her head raised toward Hye-su, meeting her face from the side with a stunned, unfocused posture.\n\nFIGURES — size & depth (follow exactly): Su-ri-young and Hye-su each fill roughly ~1/2 of frame height in profile and stand at approximately the same camera distance, neither clearly NEARER than the other; they face one another at close conversational range.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of the referenced people (수리영, 혜수) matched exactly to their reference photo — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-12 15:46:21", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s34run_S12sh11_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/panels24/S12sh11.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/1d7902d5-8b31-4ab6-9e6a-5da6ab5d842f.png"], "ref_labels": ["STORYBOARD PANEL — this shot's camera framing, figure placement and depth order; composition source ONLY — the output is a fully photorealistic photograph, never a sketch; do not copy its line style, paper texture or borders.", "CHARACTER REFERENCE — 민숙 (환시): the exact person appearing in this shot; match face, hair and build exactly."], "attempt": 1, "dur_s": 18.6, "bytes": 2163567, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills24/S12sh11_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\n\nSHOT TEXT (authoritative, Korean): 옷과 피부가 힘없이 무너져 미동이 없는 민숙이 바닥에 주저앉아 고개를 푹 숙인 정지 상태\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nMOVEMENT (follow exactly): static: Minsuk is utterly motionless, collapsed on the floor, collapsed in a seated fall with her head hanging forward, torso slumped asymmetrically, limp limbs, and her weight fully fallen rather than held upright.\n\nFIGURES — size & depth (follow exactly): Minsuk fills roughly 2/3 of the frame height and is the NEARER subject, while the dark-stained floor and room behind her are FARTHER. Her dark-stained clothes and skin remain visible across her collapsed body.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of the referenced people (민숙 (환시)) matched exactly to their reference photo — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-12 15:46:42", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s34run_S12sh21_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/panels24/S12sh21.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills24/S12sh11_nb2.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/1d7902d5-8b31-4ab6-9e6a-5da6ab5d842f.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/fc23070d-a644-45e4-a5d8-ecb98fe8d2d3.png"], "ref_labels": ["STORYBOARD PANEL — this shot's camera framing, figure placement and depth order; composition source ONLY — the output is a fully photorealistic photograph, never a sketch; do not copy its line style, paper texture or borders.", "PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing.", "CHARACTER REFERENCE — 민숙 (환시): the exact person appearing in this shot; match face, hair and build exactly.", "PROP REFERENCE — 구겨진 피 묻은 낡은 흑백 사진: the exact object appearing in this shot; match its look, material and wear exactly."], "attempt": 1, "dur_s": 21.2, "bytes": 1956706, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills24/S12sh21_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\n\nSHOT TEXT (authoritative, Korean): 침대 위쪽 벽면에 붉은색 원형 표식이 절반쯤 나타난 상태\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nMOVEMENT (follow exactly): static: the half-formed red circle remains on the wall above the bed, with no person crossing the frame.\n\nFIGURES — size & depth (follow exactly): The red circular mark fills about 1/2 of the frame height and is FARTHER on the wall, while the upper part of the bed is NEARER in the foreground.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of the referenced people (민숙 (환시)) matched exactly to their reference photo — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-12 15:47:05", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s34run_S14sh5_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/panels24/S14sh5.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills24/S12sh21_nb2.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/39864973-d3d5-4886-bfb2-f8db608a005b.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/bddad176-aa6a-4a71-b5d3-d02e36e19657.png"], "ref_labels": ["STORYBOARD PANEL — this shot's camera framing, figure placement and depth order; composition source ONLY — the output is a fully photorealistic photograph, never a sketch; do not copy its line style, paper texture or borders.", "PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing.", "CHARACTER REFERENCE — 수리영: the exact person appearing in this shot; match face, hair and build exactly.", "CHARACTER REFERENCE — 혜수: the exact person appearing in this shot; match face, hair and build exactly."], "attempt": 1, "dur_s": 23.0, "bytes": 2002888, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills24/S14sh5_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\n\nSHOT TEXT (authoritative, Korean): 어두운 얼룩 없이 깨끗한 방 내부 전경\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nMOVEMENT (follow exactly): static: the excessively clean, dark stainsless room stands empty, with no one entering, leaving, or moving through it.\n\nFIGURES — size & depth (follow exactly): The empty room fills the full frame, with the NEARER side of the room opening toward the camera and the clean back wall and far corners appearing FARTHER away. No person, dark stainsstain, red mark, or body is visible.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of the referenced people (수리영, 혜수) matched exactly to their reference photo — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-12 15:47:23", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s34run_S18sh11_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/panels24/S18sh11.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/39864973-d3d5-4886-bfb2-f8db608a005b.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/70af1a1c-b2e4-45ad-a166-7cef7e66e156.png"], "ref_labels": ["STORYBOARD PANEL — this shot's camera framing, figure placement and depth order; composition source ONLY — the output is a fully photorealistic photograph, never a sketch; do not copy its line style, paper texture or borders.", "CHARACTER REFERENCE — 수리영: the exact person appearing in this shot; match face, hair and build exactly.", "PROP REFERENCE — 민숙과 수리영의 액자 사진: the exact object appearing in this shot; match its look, material and wear exactly."], "attempt": 1, "dur_s": 17.9, "bytes": 1824837, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills24/S18sh11_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): daytime.\n\nSHOT TEXT (authoritative, Korean): 거울 속 반사된 욕실 타일 벽면에 붉은색 원형 표식이 절반쯤 나타난 상태\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nMOVEMENT (follow exactly): static: a half-formed red circle is visible on the bathroom tile wall only through the mirror reflection, with no person moving through the shot.\n\nFIGURES — size & depth (follow exactly): The reflected red circle fills roughly 1/3 to 1/2 of the frame height; the mirror surface is NEARER to the camera, while the reflected tiled wall and mark read as FARTHER within the reflection.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of the referenced people (수리영) matched exactly to their reference photo — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-12 15:47:41", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s34run_S25sh1_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/panels24/S25sh1.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/39864973-d3d5-4886-bfb2-f8db608a005b.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/fc23070d-a644-45e4-a5d8-ecb98fe8d2d3.png"], "ref_labels": ["STORYBOARD PANEL — this shot's camera framing, figure placement and depth order; composition source ONLY — the output is a fully photorealistic photograph, never a sketch; do not copy its line style, paper texture or borders.", "CHARACTER REFERENCE — 수리영: the exact person appearing in this shot; match face, hair and build exactly.", "PROP REFERENCE — 구겨진 피 묻은 낡은 흑백 사진: the exact object appearing in this shot; match its look, material and wear exactly."], "attempt": 1, "dur_s": 17.6, "bytes": 2595276, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills24/S25sh1_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): dusk, just after sunset.\n\nSHOT TEXT (authoritative, Korean): 해질 무렵 옥탑방 거실, 흙 묻은 발자국들이 찍힌 바닥과 쓰러진 식탁 의자들이 보이는 전경\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nMOVEMENT (follow exactly): static: muddy footprints lie across the living-room floor among overturned dining chairs, but their direction of travel cannot be determined from the shot.\n\nFIGURES — size & depth (follow exactly): The living-room interior fills the frame; the muddy footprints spread across the NEARER floor, while the overturned dining chairs are FARTHER around the table. Individual footprints appear small, roughly 1/10 of the frame height, while the chairs occupy about 1/3 to 1/2.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of the referenced people (수리영) matched exactly to their reference photo — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-12 15:48:10", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s34run_S25sh5_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/panels24/S25sh5.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills24/S12sh21_nb2.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/fc23070d-a644-45e4-a5d8-ecb98fe8d2d3.png"], "ref_labels": ["STORYBOARD PANEL — this shot's camera framing, figure placement and depth order; composition source ONLY — the output is a fully photorealistic photograph, never a sketch; do not copy its line style, paper texture or borders.", "PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing.", "PROP REFERENCE — 구겨진 피 묻은 낡은 흑백 사진: the exact object appearing in this shot; match its look, material and wear exactly."], "attempt": 1, "dur_s": 29.4, "bytes": 2565449, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills24/S25sh5_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): dusk, just after sunset.\n\nSHOT TEXT (authoritative, Korean): 붉은 원 한가운데 얼룩진 낡은 흑백 사진이 벽에 꽂혀 있는 타이트 샷\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nMOVEMENT (follow exactly): static: the stained old photograph remains fixed at the center of the red circle on the wall, with no hand or person entering the frame.\n\nFIGURES — size & depth (follow exactly): The photograph fills roughly 1/2 to 2/3 of the frame height and is NEARER than the wall surface, while the red circle extends FARTHER behind it across the wall.\n\nNo people appear unless the shot text itself says so.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-12 15:48:30", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s34run_S8sh3_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/panels24/S8sh3.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/39864973-d3d5-4886-bfb2-f8db608a005b.png"], "ref_labels": ["STORYBOARD PANEL — this shot's camera framing, figure placement and depth order; composition source ONLY — the output is a fully photorealistic photograph, never a sketch; do not copy its line style, paper texture or borders.", "CHARACTER REFERENCE — 수리영: the exact person appearing in this shot; match face, hair and build exactly."], "attempt": 1, "dur_s": 19.4, "bytes": 2583393, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills24/S8sh3_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): dusk, just after sunset.\n\nSHOT TEXT (authoritative, Korean): 수리영이 마트 유니폼을 입은 한국인 여성 직원을 마주보며 입을 살짝 벌린 측면 구도\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nMOVEMENT (follow exactly): static: Su-ri-young and the female supermarket employee stand facing each other in profile, Su-ri-young holding her mouth slightly open as she addresses the employee.\n\nFIGURES — size & depth (follow exactly): Su-ri-young and the female employee each fill roughly ~1/2 of the frame height and occupy a comparable midground plane, with neither clearly nearer to the camera; they remain a short conversational distance apart across opposing sightlines.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of the referenced people (수리영) matched exactly to their reference photo — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-12 15:49:00", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s34run_S8sh5_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/panels24/S8sh5.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills24/S8sh3_nb2.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/39864973-d3d5-4886-bfb2-f8db608a005b.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/99d4b721-040d-41ad-8c0b-a3f6d3ee727f.png"], "ref_labels": ["STORYBOARD PANEL — this shot's camera framing, figure placement and depth order; composition source ONLY — the output is a fully photorealistic photograph, never a sketch; do not copy its line style, paper texture or borders.", "PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing.", "CHARACTER REFERENCE — 수리영: the exact person appearing in this shot; match face, hair and build exactly.", "PROP REFERENCE — 스마트폰: the exact object appearing in this shot; match its look, material and wear exactly."], "attempt": 1, "dur_s": 30.5, "bytes": 2404646, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills24/S8sh5_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): dusk, just after sunset.\n\nSHOT TEXT (authoritative, Korean): 마트 밖으로 나온 수리영이 손에 든 스마트폰 액정을 내려다보는 상체\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nMOVEMENT (follow exactly): static: Having come out of the supermarket, Su-ri-young stands with her upper body angled toward the smartphone in her hand and her gaze lowered to its screen while trying to make contact.\n\nFIGURES — size & depth (follow exactly): Su-ri-young’s upper body fills about ~2/3 of the frame height in the near foreground, while the smartphone is small, about ~1/10, and held within the same near plane below her face; she is the sole visible figure.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of the referenced people (수리영) matched exactly to their reference photo — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-12 15:49:20", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s34run_S19sh5_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/panels24/S19sh5.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/39864973-d3d5-4886-bfb2-f8db608a005b.png"], "ref_labels": ["STORYBOARD PANEL — this shot's camera framing, figure placement and depth order; composition source ONLY — the output is a fully photorealistic photograph, never a sketch; do not copy its line style, paper texture or borders.", "CHARACTER REFERENCE — 수리영: the exact person appearing in this shot; match face, hair and build exactly."], "attempt": 1, "dur_s": 19.9, "bytes": 2426195, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills24/S19sh5_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): daytime.\n\nSHOT TEXT (authoritative, Korean): 수리영과 남자직원이 마트 밖에서 벽면의 CCTV를 올려다보는 뒷모습\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nMOVEMENT (follow exactly): static: Outside the supermarket, Su-ri-young and the male employee stand with their backs to the camera, bodies and heads tilted upward toward the wall-mounted CCTV camera as they check its coverage.\n\nFIGURES — size & depth (follow exactly): Su-ri-young and the male employee each fill roughly ~1/2 of the frame height in the nearer foreground-to-midground, standing alongside each other at comparable depth, while the CCTV camera is much smaller, around ~1/15, and farther away high on the wall.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of the referenced people (수리영) matched exactly to their reference photo — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-12 15:49:47", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s34run_S19sh6_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/panels24/S19sh6.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills24/S19sh5_nb2.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/39864973-d3d5-4886-bfb2-f8db608a005b.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/99d4b721-040d-41ad-8c0b-a3f6d3ee727f.png"], "ref_labels": ["STORYBOARD PANEL — this shot's camera framing, figure placement and depth order; composition source ONLY — the output is a fully photorealistic photograph, never a sketch; do not copy its line style, paper texture or borders.", "PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing.", "CHARACTER REFERENCE — 수리영: the exact person appearing in this shot; match face, hair and build exactly.", "PROP REFERENCE — 스마트폰: the exact object appearing in this shot; match its look, material and wear exactly."], "attempt": 1, "dur_s": 27.3, "bytes": 2366851, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills24/S19sh6_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): daytime.\n\nSHOT TEXT (authoritative, Korean): 수리영이 귀에 스마트폰을 댄 채 정면을 응시하는 상체 클로즈업\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nMOVEMENT (follow exactly): static: Su-ri-young holds a smartphone to her ear and faces forward, explaining the situation to Hye-su by phone.\n\nFIGURES — size & depth (follow exactly): Su-ri-young’s upper body fills about ~3/4 of the frame height in the near foreground, with the smartphone small, around ~1/12, against her ear in the same near plane; no other person is visible.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of the referenced people (수리영) matched exactly to their reference photo — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-12 15:50:06", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s34run_S20sh1_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/panels24/S20sh1.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/bddad176-aa6a-4a71-b5d3-d02e36e19657.png"], "ref_labels": ["STORYBOARD PANEL — this shot's camera framing, figure placement and depth order; composition source ONLY — the output is a fully photorealistic photograph, never a sketch; do not copy its line style, paper texture or borders.", "CHARACTER REFERENCE — 혜수: the exact person appearing in this shot; match face, hair and build exactly."], "attempt": 1, "dur_s": 18.1, "bytes": 2738444, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills24/S20sh1_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): interior ambient light.\n\nSHOT TEXT (authoritative, Korean): 마트 총무과 책상 앞, 한국인 남성 보안직원과 혜수가 컴퓨터 모니터를 향해 몸을 기울인 측면\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nMOVEMENT (follow exactly): static: The male security employee and Hye-su lean forward from the desk toward the computer monitor, both directing their gaze at the CCTV footage.\n\nFIGURES — size & depth (follow exactly): The security employee and Hye-su each fill roughly ~1/2 of the frame height and occupy a comparable midground depth, with neither clearly nearer to the camera; the monitor is smaller, about ~1/3, positioned directly along their converging sightlines.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of the referenced people (혜수) matched exactly to their reference photo — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-12 15:50:26", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s34run_S20sh3_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/panels24/S20sh3.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills24/S20sh1_nb2.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/bddad176-aa6a-4a71-b5d3-d02e36e19657.png"], "ref_labels": ["STORYBOARD PANEL — this shot's camera framing, figure placement and depth order; composition source ONLY — the output is a fully photorealistic photograph, never a sketch; do not copy its line style, paper texture or borders.", "PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing.", "CHARACTER REFERENCE — 혜수: the exact person appearing in this shot; match face, hair and build exactly."], "attempt": 1, "dur_s": 20.3, "bytes": 2365912, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills24/S20sh3_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): interior ambient light.\n\nSHOT TEXT (authoritative, Korean): 흑백 CCTV 화면 속 어두운 구석에 사람 형상이 희미하게 찍힌 모니터 클로즈업\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nMOVEMENT (follow exactly): static: A faint, unidentifiable human-shaped form remains in a dark corner of the black-and-white CCTV image, with no discernible direction of travel or body orientation.\n\nFIGURES — size & depth (follow exactly): The monitor image fills nearly the entire frame and is the nearest visible object, while the indistinct human-shaped form is tiny, about ~1/10 of the frame height, and appears far away within the recorded space.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of the referenced people (혜수) matched exactly to their reference photo — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-12 15:50:51", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s34run_S16sh3_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/panels24/S16sh3.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/bddad176-aa6a-4a71-b5d3-d02e36e19657.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/99d4b721-040d-41ad-8c0b-a3f6d3ee727f.png"], "ref_labels": ["STORYBOARD PANEL — this shot's camera framing, figure placement and depth order; composition source ONLY — the output is a fully photorealistic photograph, never a sketch; do not copy its line style, paper texture or borders.", "CHARACTER REFERENCE — 혜수: the exact person appearing in this shot; match face, hair and build exactly.", "PROP REFERENCE — 스마트폰: the exact object appearing in this shot; match its look, material and wear exactly."], "attempt": 1, "dur_s": 25.3, "bytes": 2487048, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills24/S16sh3_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\n\nSHOT TEXT (authoritative, Korean): 혜수가 스마트폰 액정을 김형사 쪽으로 불쑥 내민 순간\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nMOVEMENT (follow exactly): Hye-su abruptly thrusts the smartphone forward from her side toward Detective Kim, presenting Min-sook's saved number while remaining inside the office.\n\nFIGURES — size & depth (follow exactly): Hye-su and Detective Kim each fill roughly ~1/2 of the frame height, with Hye-su NEARER to the camera and Detective Kim FARTHER across from her. The extended smartphone fills about ~1/5 of the frame height, projecting from Hye-su toward Detective Kim and lying between their positions.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of the referenced people (혜수) matched exactly to their reference photo — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-12 15:51:09", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s34run_S21sh7_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/panels24/S21sh7.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/39864973-d3d5-4886-bfb2-f8db608a005b.png"], "ref_labels": ["STORYBOARD PANEL — this shot's camera framing, figure placement and depth order; composition source ONLY — the output is a fully photorealistic photograph, never a sketch; do not copy its line style, paper texture or borders.", "CHARACTER REFERENCE — 수리영: the exact person appearing in this shot; match face, hair and build exactly."], "attempt": 1, "dur_s": 17.5, "bytes": 2623440, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills24/S21sh7_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): daytime.\n\nSHOT TEXT (authoritative, Korean): 수리영이 두 눈을 크게 뜨고 입을 살짝 벌린 굳은 얼굴 클로즈업\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nMOVEMENT (follow exactly): static: Su-ri-young holds rigid with fear and shock, her widened eyes fixed forward and her lips slightly parted.\n\nFIGURES — size & depth (follow exactly): Su-ri-young's face fills roughly ~3/4 of the frame height; she is the sole and therefore NEAREST visible figure, with no farther person shown.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of the referenced people (수리영) matched exactly to their reference photo — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-12 15:51:38", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s34run_S21sh10_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/panels24/S21sh10.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills24/S21sh7_nb2.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/39864973-d3d5-4886-bfb2-f8db608a005b.png"], "ref_labels": ["STORYBOARD PANEL — this shot's camera framing, figure placement and depth order; composition source ONLY — the output is a fully photorealistic photograph, never a sketch; do not copy its line style, paper texture or borders.", "PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing.", "CHARACTER REFERENCE — 수리영: the exact person appearing in this shot; match face, hair and build exactly."], "attempt": 1, "dur_s": 29.2, "bytes": 2846755, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills24/S21sh10_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): daytime.\n\nSHOT TEXT (authoritative, Korean): 모니터 화면에 바다 지도가 펼쳐져 있고 붉은색 핀과 좌표 숫자가 떠 있는 클로즈업\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nMOVEMENT (follow exactly): static: the monitor displays a sea map with a red location pin and coordinate figures, with no physical movement in frame.\n\nFIGURES — size & depth (follow exactly): The monitor image fills nearly the full frame and is the sole, NEAREST core object; the map, pin, and coordinate text occupy the same flat display plane with no farther figure visible.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of the referenced people (수리영) matched exactly to their reference photo — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-12 15:51:59", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s34run_S21sh12_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/panels24/S21sh12.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills24/S21sh10_nb2.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/39864973-d3d5-4886-bfb2-f8db608a005b.png"], "ref_labels": ["STORYBOARD PANEL — this shot's camera framing, figure placement and depth order; composition source ONLY — the output is a fully photorealistic photograph, never a sketch; do not copy its line style, paper texture or borders.", "PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing.", "CHARACTER REFERENCE — 수리영: the exact person appearing in this shot; match face, hair and build exactly."], "attempt": 1, "dur_s": 20.8, "bytes": 2474354, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills24/S21sh12_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): daytime.\n\nSHOT TEXT (authoritative, Korean): 수리영이 메모지가 들어간 겉옷 주머니에 손을 넣은 채 사무실 출입문을 향해 몸을 돌린 정지 순간\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nMOVEMENT (follow exactly): static: Su-ri-young stands tensely with one hand inside the coat pocket holding the folded note, her body turned toward the office exit and poised to leave the room.\n\nFIGURES — size & depth (follow exactly): Su-ri-young fills roughly ~2/3 of the frame height and is NEARER to the camera, while the office doorway is FARTHER in the direction she faces. Her intended path runs from her position inside the office toward and through that doorway.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of the referenced people (수리영) matched exactly to their reference photo — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-12 15:52:28", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s34run_S22sh1_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/panels24/S22sh1.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills24/S21sh12_nb2.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/39864973-d3d5-4886-bfb2-f8db608a005b.png"], "ref_labels": ["STORYBOARD PANEL — this shot's camera framing, figure placement and depth order; composition source ONLY — the output is a fully photorealistic photograph, never a sketch; do not copy its line style, paper texture or borders.", "PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing.", "CHARACTER REFERENCE — 수리영: the exact person appearing in this shot; match face, hair and build exactly."], "attempt": 1, "dur_s": 29.2, "bytes": 2411467, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills24/S22sh1_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): daytime.\n\nSHOT TEXT (authoritative, Korean): 경찰서 건물 밖 도로 위에서 수리영이 자전거 안장에 앉아 상체를 앞으로 숙인 채 머리카락이 뒤로 흩날리는 측면\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nMOVEMENT (follow exactly): Su-ri-young rides the bicycle along the road outside the police station, moving laterally across the camera's side view with her torso pitched forward over the handlebars and her hair streaming backward, neither directly toward nor directly away from the camera.\n\nFIGURES — size & depth (follow exactly): Su-ri-young fills roughly ~1/2 of the frame height, and the bicycle-and-rider silhouette together fills about ~2/3; both are NEARER to the camera than the FARTHER police-station exterior. Her path continues along the road parallel to the image plane.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of the referenced people (수리영) matched exactly to their reference photo — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-12 16:10:56", "kind": "img", "engine": "gpt-image-2", "mode": "generate", "tag": "s34v2_conti_forest_i2", "refs": [], "size": "1024x1024", "attempt": 1, "dur_s": 172.2, "bytes": 2147095, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/conti24_forest_i2.png", "prompt": "Draw ONE storyboard (conti) sheet: 4 panels made by ONE vertical cut at exactly 50% of the width and ONE horizontal cut at exactly 50% of the height — a 2x2 grid, each panel exactly one quarter of the image.\nSTYLE: hand-drawn PRE-PRODUCTION STORYBOARD FOR A LIVE-ACTION FILM\nSHOOT — the working drawings a professional film storyboard artist\nmakes for the director and cinematographer of a real movie:\nREALISTIC adult human proportions and faces (ordinary Korean\nadults, film-actor realism), true cinematic lens framing, and\nnaturalistic light-and-shadow blocking rendered in monochrome\ngraphite pencil tone on white paper.\nABSOLUTELY NOT manga, NOT anime, NOT cartoon, NOT webtoon, NOT\ncomic-book style: no stylized or enlarged eyes, no cute or\nyouthful idealized faces, no clean ink outlines — every panel\nmust read like a frame of a live-action film sketched in pencil.\nNo color anywhere.\n\nTHE LOCATION (same in all drawn panels): a dense Korean mountain forest with thick undergrowth.\n\nPURPOSE: each panel captures only the CAMERA COMPOSITION of one\nshot — framing (close-up / medium / wide), where the subject sits in\nthe frame, and continuity between panels. Keep every panel\nextremely simple: only what matters for composition.\nMOVEMENT IS SHOWN BY THE FIGURE ITSELF, NEVER BY MARKINGS: convey\ndirection of travel purely through the body — stride mid-motion,\nbody lean into the path, back view vs front view, and the stated\nsize/depth cues. Do NOT draw arrows, motion lines, path lines,\nspeed lines or any diagram markings of any kind.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Draw what a real movie camera would actually record\non a physical set — exaggerated or figurative impressions become\nrealistic staging choices (lighting, distance, angle, wardrobe),\nnot literal fantasy drawings.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still draw them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nGEOMETRY — ANALYSE BEFORE DRAWING: from each panel's Korean shot\ntext, first work out the spatial facts and draw EXACTLY those, never\nre-stage them: (a) each figure's DISTANCE from camera (tight insert /\nclose-up / medium / full / wide — a shot about a hand or an object\nis a tight insert, not a two-shot); (b) each figure's FACING and\nMOVEMENT DIRECTION relative to camera — '뒷모습' means seen from\nBEHIND, moving AWAY from camera into the depth of the frame, not\nsideways; a profile means lateral movement; (c) relative positions\nand distances BETWEEN figures. Keep every established screen\ndirection consistent across panels (180-degree rule): a person who\nleaves in one panel keeps the same on-screen direction wherever the\nmovement appears again.\nSIZE & DEPTH ARE CONTRACTUAL: each panel states every figure's\napparent size in the frame and the explicit near/far depth order.\nDraw exactly those proportions — a farther figure MUST be drawn\nclearly smaller than a nearer one; never equalize figure sizes,\nespecially when several figures share a panel or their paths\nrelate to each other.\nDEPARTING FIGURE — a figure running/walking AWAY must be\nunmistakably departing, never approaching: seen exactly from behind\n(back of the head only, no face, no chin, no cheek line), body\nleaning into the path, mid-stride with one shoe sole toward the\ncamera. THE STATED SIZE/DEPTH WINS: draw the departing figure at\nexactly the apparent size and depth the panel's FIGURES line states\n(if stated FARTHER/small, it stays small in the distance — never\nenlarge it into the foreground for drama).\n\nCONTINUITY: all drawn panels are the SAME single location — fixed\nfeatures (doors, stairs, windows, poles, desks) keep the same\nposition and left/right relationships across panels so the panels\ncut together as one continuous scene.\n\nPANELS (one shot per panel, Korean shot text):\n\nPANEL 1: 한쪽 신발이 벗겨진 한국인 남자가 우거진 수풀 사이를 달리며 한 발을 허공에 내딛고 있는 도중의 전신 구도\n  MOVEMENT (follow exactly): The terrified, wounded Korean man runs through dense undergrowth while fleeing an unseen threat, driving forward with one foot airborne, one shoe missing, and a pain-guarded, unsteady stride; his direction relative to the camera is unspecified.\n  FIGURES — apparent size & depth order (follow exactly): The man's full body fills roughly ~4/5 of the frame height; he is the sole visible figure and thus both the nearest and farthest person in the frame.\nPANEL 2: 검은 형상의 인영이 허공에 뛰어오른 채 한국인 남자를 향해 두 팔을 뻗고 있는 순간\n  MOVEMENT (follow exactly): A real, normal-human-proportioned person appearing as a dark silhouette springs through the air toward the terrified, wounded Korean man, reaching both arms forward to pounce on him as he flees; their movement toward or away from the camera is unspecified.\n  FIGURES — apparent size & depth order (follow exactly): The airborne dark figure and the Korean man each read at roughly ~1/2–2/3 of the frame height as their paths rapidly converge. Neither is established as nearer or farther from the camera, but the dark figure is closing the physical gap to the man.\nPANEL 3: 형사 무리 한가운데 서서 손가락으로 한쪽을 가리키는 혜수의 상체\n  MOVEMENT (follow exactly): static: Hyesu stands upright at the center of the detectives, directing the investigation by pointing one finger toward one side while her gaze and upper body orient toward that indicated direction.\n  FIGURES — apparent size & depth order (follow exactly): Hyesu's upper body fills roughly ~2/3 of the frame height and is the nearer, dominant figure; the surrounding detectives appear smaller, roughly ~1/3–1/2 of the frame height, and farther from the camera around her.\n\nThere are 3 shots but 4 panel slots: draw the shots in\npanels 1..3 and leave the remaining panel(s) COMPLETELY\nBLANK PURE WHITE — empty white paper, not even a frame line inside.\n\nABSOLUTELY NO TEXT anywhere: no words, letters, captions, labels,\nsound effects or watermarks — the ONLY allowed marking is a small\nshot number digit (1, 2, 3) in a corner INSIDE each drawn panel.\nTHE PANEL GRID FILLS THE ENTIRE IMAGE EDGE-TO-EDGE: no outer paper\nmargin, no border area, nothing drawn outside the panels — the\nimage must be mechanically cuttable along the stated cut lines.\nPanels are separated only by thin straight black gutter lines at\nthe exact stated positions; ALL PANELS EXACTLY THE SAME SIZE."}
{"ts": "2026-07-12 16:12:47", "kind": "img", "engine": "gpt-image-2", "mode": "generate", "tag": "s34v2_conti_busstop_i2", "refs": [], "size": "1536x1024", "attempt": 1, "dur_s": 111.6, "bytes": 3442930, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/conti24_busstop_i2.png", "prompt": "Draw ONE storyboard (conti) sheet: 2 panels made by ONE vertical cut at exactly 50% of the image width — each panel is exactly half the width and the FULL height (1 row x 2 columns).\nSTYLE: hand-drawn PRE-PRODUCTION STORYBOARD FOR A LIVE-ACTION FILM\nSHOOT — the working drawings a professional film storyboard artist\nmakes for the director and cinematographer of a real movie:\nREALISTIC adult human proportions and faces (ordinary Korean\nadults, film-actor realism), true cinematic lens framing, and\nnaturalistic light-and-shadow blocking rendered in monochrome\ngraphite pencil tone on white paper.\nABSOLUTELY NOT manga, NOT anime, NOT cartoon, NOT webtoon, NOT\ncomic-book style: no stylized or enlarged eyes, no cute or\nyouthful idealized faces, no clean ink outlines — every panel\nmust read like a frame of a live-action film sketched in pencil.\nNo color anywhere.\n\nTHE LOCATION (same in all drawn panels): a small seaside bus stop with a bench facing the sea at night on a quiet Korean coastal road.\n\nPURPOSE: each panel captures only the CAMERA COMPOSITION of one\nshot — framing (close-up / medium / wide), where the subject sits in\nthe frame, and continuity between panels. Keep every panel\nextremely simple: only what matters for composition.\nMOVEMENT IS SHOWN BY THE FIGURE ITSELF, NEVER BY MARKINGS: convey\ndirection of travel purely through the body — stride mid-motion,\nbody lean into the path, back view vs front view, and the stated\nsize/depth cues. Do NOT draw arrows, motion lines, path lines,\nspeed lines or any diagram markings of any kind.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Draw what a real movie camera would actually record\non a physical set — exaggerated or figurative impressions become\nrealistic staging choices (lighting, distance, angle, wardrobe),\nnot literal fantasy drawings.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still draw them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nGEOMETRY — ANALYSE BEFORE DRAWING: from each panel's Korean shot\ntext, first work out the spatial facts and draw EXACTLY those, never\nre-stage them: (a) each figure's DISTANCE from camera (tight insert /\nclose-up / medium / full / wide — a shot about a hand or an object\nis a tight insert, not a two-shot); (b) each figure's FACING and\nMOVEMENT DIRECTION relative to camera — '뒷모습' means seen from\nBEHIND, moving AWAY from camera into the depth of the frame, not\nsideways; a profile means lateral movement; (c) relative positions\nand distances BETWEEN figures. Keep every established screen\ndirection consistent across panels (180-degree rule): a person who\nleaves in one panel keeps the same on-screen direction wherever the\nmovement appears again.\nSIZE & DEPTH ARE CONTRACTUAL: each panel states every figure's\napparent size in the frame and the explicit near/far depth order.\nDraw exactly those proportions — a farther figure MUST be drawn\nclearly smaller than a nearer one; never equalize figure sizes,\nespecially when several figures share a panel or their paths\nrelate to each other.\nDEPARTING FIGURE — a figure running/walking AWAY must be\nunmistakably departing, never approaching: seen exactly from behind\n(back of the head only, no face, no chin, no cheek line), body\nleaning into the path, mid-stride with one shoe sole toward the\ncamera. THE STATED SIZE/DEPTH WINS: draw the departing figure at\nexactly the apparent size and depth the panel's FIGURES line states\n(if stated FARTHER/small, it stays small in the distance — never\nenlarge it into the foreground for drama).\n\nCONTINUITY: all drawn panels are the SAME single location — fixed\nfeatures (doors, stairs, windows, poles, desks) keep the same\nposition and left/right relationships across panels so the panels\ncut together as one continuous scene.\n\nPANELS (one shot per panel, Korean shot text):\n\nPANEL 1: 혜수의 손이 음료수 캔을 쥔 채 수리영 앞으로 내밀어진 순간\n  MOVEMENT (follow exactly): Hye-su extends her hand and the drink can from her side into the space directly in front of Suri-young, who remains seated and blankly oriented toward the sea.\n  FIGURES — apparent size & depth order (follow exactly): Hye-su's hand and can appear large at roughly ~1/3 of the frame height and are NEARER to the camera; seated Suri-young appears around ~1/2 of the frame height and is FARTHER behind the offered can.\nPANEL 2: 멀리서 혜수의 전신과 한 발을 공중에 띄운 mid-stride 자세로 달리는 수리영의 뒷모습을 한 프레임에 담은 넓은 구도\n  MOVEMENT (follow exactly): Suri-young runs away from Hye-su and away from the camera with her back visible and one foot airborne mid-stride, while Hye-su remains behind facing her path.\n  FIGURES — apparent size & depth order (follow exactly): Hye-su's full body appears about ~1/3 of the frame height and is NEARER to the camera, while the departing Suri-young appears smaller at ~1/5 and FARTHER along the route away. The distance between them increases as Suri-young runs ahead and Hye-su stays behind.\n\nABSOLUTELY NO TEXT anywhere: no words, letters, captions, labels,\nsound effects or watermarks — the ONLY allowed marking is a small\nshot number digit (1, 2) in a corner INSIDE each drawn panel.\nTHE PANEL GRID FILLS THE ENTIRE IMAGE EDGE-TO-EDGE: no outer paper\nmargin, no border area, nothing drawn outside the panels — the\nimage must be mechanically cuttable along the stated cut lines.\nPanels are separated only by thin straight black gutter lines at\nthe exact stated positions; ALL PANELS EXACTLY THE SAME SIZE."}
{"ts": "2026-07-12 16:14:41", "kind": "img", "engine": "gpt-image-2", "mode": "generate", "tag": "s34v2_conti_rooftop_ext_i2", "refs": [], "size": "1536x1024", "attempt": 1, "dur_s": 113.8, "bytes": 3298049, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/conti24_rooftop_ext_i2.png", "prompt": "Draw ONE storyboard (conti) sheet: 6 panels made by TWO vertical cuts at exactly 1/3 and 2/3 of the width and ONE horizontal cut at exactly 50% of the height — a 3-column x 2-row grid, all six panels exactly equal.\nSTYLE: hand-drawn PRE-PRODUCTION STORYBOARD FOR A LIVE-ACTION FILM\nSHOOT — the working drawings a professional film storyboard artist\nmakes for the director and cinematographer of a real movie:\nREALISTIC adult human proportions and faces (ordinary Korean\nadults, film-actor realism), true cinematic lens framing, and\nnaturalistic light-and-shadow blocking rendered in monochrome\ngraphite pencil tone on white paper.\nABSOLUTELY NOT manga, NOT anime, NOT cartoon, NOT webtoon, NOT\ncomic-book style: no stylized or enlarged eyes, no cute or\nyouthful idealized faces, no clean ink outlines — every panel\nmust read like a frame of a live-action film sketched in pencil.\nNo color anywhere.\n\nTHE LOCATION (same in all drawn panels): the exterior of an old Korean multi-family villa: narrow alley and small yard at ground level, an added exterior steel staircase climbing the wall, and a rooftop with a small rooftop room (steel front door, one lit window), a water tank, a clothesline and a low parapet.\n\nPURPOSE: each panel captures only the CAMERA COMPOSITION of one\nshot — framing (close-up / medium / wide), where the subject sits in\nthe frame, and continuity between panels. Keep every panel\nextremely simple: only what matters for composition.\nMOVEMENT IS SHOWN BY THE FIGURE ITSELF, NEVER BY MARKINGS: convey\ndirection of travel purely through the body — stride mid-motion,\nbody lean into the path, back view vs front view, and the stated\nsize/depth cues. Do NOT draw arrows, motion lines, path lines,\nspeed lines or any diagram markings of any kind.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Draw what a real movie camera would actually record\non a physical set — exaggerated or figurative impressions become\nrealistic staging choices (lighting, distance, angle, wardrobe),\nnot literal fantasy drawings.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still draw them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nGEOMETRY — ANALYSE BEFORE DRAWING: from each panel's Korean shot\ntext, first work out the spatial facts and draw EXACTLY those, never\nre-stage them: (a) each figure's DISTANCE from camera (tight insert /\nclose-up / medium / full / wide — a shot about a hand or an object\nis a tight insert, not a two-shot); (b) each figure's FACING and\nMOVEMENT DIRECTION relative to camera — '뒷모습' means seen from\nBEHIND, moving AWAY from camera into the depth of the frame, not\nsideways; a profile means lateral movement; (c) relative positions\nand distances BETWEEN figures. Keep every established screen\ndirection consistent across panels (180-degree rule): a person who\nleaves in one panel keeps the same on-screen direction wherever the\nmovement appears again.\nSIZE & DEPTH ARE CONTRACTUAL: each panel states every figure's\napparent size in the frame and the explicit near/far depth order.\nDraw exactly those proportions — a farther figure MUST be drawn\nclearly smaller than a nearer one; never equalize figure sizes,\nespecially when several figures share a panel or their paths\nrelate to each other.\nDEPARTING FIGURE — a figure running/walking AWAY must be\nunmistakably departing, never approaching: seen exactly from behind\n(back of the head only, no face, no chin, no cheek line), body\nleaning into the path, mid-stride with one shoe sole toward the\ncamera. THE STATED SIZE/DEPTH WINS: draw the departing figure at\nexactly the apparent size and depth the panel's FIGURES line states\n(if stated FARTHER/small, it stays small in the distance — never\nenlarge it into the foreground for drama).\n\nCONTINUITY: all drawn panels are the SAME single location — fixed\nfeatures (doors, stairs, windows, poles, desks) keep the same\nposition and left/right relationships across panels so the panels\ncut together as one continuous scene.\n\nPANELS (one shot per panel, Korean shot text):\n\nPANEL 1: 현관 철문이 아주 살짝 열린 틈새로 보이는 어두운 실내와 신발 앞코\n  MOVEMENT (follow exactly): The stranger's shoe toe advances away from the rooftop camera through the barely opened iron door and into the dark room.\n  FIGURES — apparent size & depth order (follow exactly): The shoe toe is small, about ~1/6 of frame height, and is FARTHER than the NEARER iron door and its narrow opening; the dark interior recedes farthest beyond it.\nPANEL 2: 불이 켜진 옥탑방 창문에 거대한 그림자가 작은 그림자의 어깨 쪽으로 고개를 꺾은 형태가 맺혀 있는 정지 구도\n  MOVEMENT (follow exactly): static: the large shadow looms over the smaller shadow, its head sharply bent toward the smaller figure's shoulder as if biting it, while the smaller figure is pinned beneath the attack.\n  FIGURES — apparent size & depth order (follow exactly): The large shadow fills roughly ~3/4 of frame height and overlaps the smaller shadow, which fills about ~1/2; both appear on the same FAR window plane, behind the NEARER window surface, with no clear depth separation between them.\nPANEL 3: 철제 파이프 난간을 손으로 잡은 수리영이 코끝을 찡그린 채 계단 중간에 서 있는 얼굴 클로즈업\n  MOVEMENT (follow exactly): static: Su-ri-young pauses midway up the stairs, gripping the pipe railing with a tense hand and wrinkling her nose at the sudden foul smell while facing upward.\n  FIGURES — apparent size & depth order (follow exactly): Her close-up face fills about ~2/3 of frame height and is the NEAREST figure; her railing hand is slightly FARTHER, while the stairway behind her recedes farthest.\nPANEL 4: 옥상에 선 수리영의 시선 끝에 반쯤 열려 있는 어두운 현관 철문이 보이는 정면 구도\n  MOVEMENT (follow exactly): static: Su-ri-young stands on the rooftop facing the half-open iron entrance door, her attention fixed on the dark opening ahead.\n  FIGURES — apparent size & depth order (follow exactly): Su-ri-young occupies roughly ~1/2 of frame height in the NEARER plane, while the half-open door is FARTHER ahead and fills about ~1/3; her sightline runs directly across the rooftop into its dark gap.\nPANEL 5: 수리영이 초점을 잃은 눈으로 허공을 응시하며 서 있는 모습\n  MOVEMENT (follow exactly): static: Su-ri-young stands motionless after fleeing downstairs, her shocked body slack and her unfocused eyes staring into empty space.\n  FIGURES — apparent size & depth order (follow exactly): Su-ri-young fills roughly ~1/2 of frame height and is the sole, NEAREST figure, with the surrounding exterior space FARTHER behind her.\nPANEL 6: 고개를 든 채 혜수의 얼굴을 마주보고 있는 수리영의 측면 구도\n  MOVEMENT (follow exactly): static: Su-ri-young keeps her head raised toward Hye-su, meeting her face from the side with a stunned, unfocused posture.\n  FIGURES — apparent size & depth order (follow exactly): Su-ri-young and Hye-su each fill roughly ~1/2 of frame height in profile and stand at approximately the same camera distance, neither clearly NEARER than the other; they face one another at close conversational range.\n\nABSOLUTELY NO TEXT anywhere: no words, letters, captions, labels,\nsound effects or watermarks — the ONLY allowed marking is a small\nshot number digit (1, 2, 3, 4, 5, 6) in a corner INSIDE each drawn panel.\nTHE PANEL GRID FILLS THE ENTIRE IMAGE EDGE-TO-EDGE: no outer paper\nmargin, no border area, nothing drawn outside the panels — the\nimage must be mechanically cuttable along the stated cut lines.\nPanels are separated only by thin straight black gutter lines at\nthe exact stated positions; ALL PANELS EXACTLY THE SAME SIZE."}
{"ts": "2026-07-12 16:16:35", "kind": "img", "engine": "gpt-image-2", "mode": "generate", "tag": "s34v2_conti_rooftop_int_i2", "refs": [], "size": "1536x1024", "attempt": 1, "dur_s": 114.3, "bytes": 3145959, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/conti24_rooftop_int_i2.png", "prompt": "Draw ONE storyboard (conti) sheet: 6 panels made by TWO vertical cuts at exactly 1/3 and 2/3 of the width and ONE horizontal cut at exactly 50% of the height — a 3-column x 2-row grid, all six panels exactly equal.\nSTYLE: hand-drawn PRE-PRODUCTION STORYBOARD FOR A LIVE-ACTION FILM\nSHOOT — the working drawings a professional film storyboard artist\nmakes for the director and cinematographer of a real movie:\nREALISTIC adult human proportions and faces (ordinary Korean\nadults, film-actor realism), true cinematic lens framing, and\nnaturalistic light-and-shadow blocking rendered in monochrome\ngraphite pencil tone on white paper.\nABSOLUTELY NOT manga, NOT anime, NOT cartoon, NOT webtoon, NOT\ncomic-book style: no stylized or enlarged eyes, no cute or\nyouthful idealized faces, no clean ink outlines — every panel\nmust read like a frame of a live-action film sketched in pencil.\nNo color anywhere.\n\nTHE LOCATION (same in all drawn panels): the interior of a small Korean rooftop home: living room with a small window, kitchenette and dining table; a bedroom with a bed against one wall and a curtained window; a tiny tiled bathroom with a mirror.\n\nPURPOSE: each panel captures only the CAMERA COMPOSITION of one\nshot — framing (close-up / medium / wide), where the subject sits in\nthe frame, and continuity between panels. Keep every panel\nextremely simple: only what matters for composition.\nMOVEMENT IS SHOWN BY THE FIGURE ITSELF, NEVER BY MARKINGS: convey\ndirection of travel purely through the body — stride mid-motion,\nbody lean into the path, back view vs front view, and the stated\nsize/depth cues. Do NOT draw arrows, motion lines, path lines,\nspeed lines or any diagram markings of any kind.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Draw what a real movie camera would actually record\non a physical set — exaggerated or figurative impressions become\nrealistic staging choices (lighting, distance, angle, wardrobe),\nnot literal fantasy drawings.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still draw them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nGEOMETRY — ANALYSE BEFORE DRAWING: from each panel's Korean shot\ntext, first work out the spatial facts and draw EXACTLY those, never\nre-stage them: (a) each figure's DISTANCE from camera (tight insert /\nclose-up / medium / full / wide — a shot about a hand or an object\nis a tight insert, not a two-shot); (b) each figure's FACING and\nMOVEMENT DIRECTION relative to camera — '뒷모습' means seen from\nBEHIND, moving AWAY from camera into the depth of the frame, not\nsideways; a profile means lateral movement; (c) relative positions\nand distances BETWEEN figures. Keep every established screen\ndirection consistent across panels (180-degree rule): a person who\nleaves in one panel keeps the same on-screen direction wherever the\nmovement appears again.\nSIZE & DEPTH ARE CONTRACTUAL: each panel states every figure's\napparent size in the frame and the explicit near/far depth order.\nDraw exactly those proportions — a farther figure MUST be drawn\nclearly smaller than a nearer one; never equalize figure sizes,\nespecially when several figures share a panel or their paths\nrelate to each other.\nDEPARTING FIGURE — a figure running/walking AWAY must be\nunmistakably departing, never approaching: seen exactly from behind\n(back of the head only, no face, no chin, no cheek line), body\nleaning into the path, mid-stride with one shoe sole toward the\ncamera. THE STATED SIZE/DEPTH WINS: draw the departing figure at\nexactly the apparent size and depth the panel's FIGURES line states\n(if stated FARTHER/small, it stays small in the distance — never\nenlarge it into the foreground for drama).\n\nCONTINUITY: all drawn panels are the SAME single location — fixed\nfeatures (doors, stairs, windows, poles, desks) keep the same\nposition and left/right relationships across panels so the panels\ncut together as one continuous scene.\n\nPANELS (one shot per panel, Korean shot text):\n\nPANEL 1: 옷과 피부가 피투성이가 된 민숙이 바닥에 주저앉아 고개를 푹 숙인 정지 상태\n  MOVEMENT (follow exactly): static: Minsuk is lifeless on the floor, collapsed in a seated fall with her head hanging forward, torso slumped asymmetrically, limp limbs, and her weight fully fallen rather than held upright.\n  FIGURES — apparent size & depth order (follow exactly): Minsuk fills roughly 2/3 of the frame height and is the NEARER subject, while the bloodied floor and room behind her are FARTHER. Her blood-soaked clothes and skin remain visible across her collapsed body.\nPANEL 2: 침대 위쪽 벽면에 붉은색 원형 표식이 절반쯤 나타난 상태\n  MOVEMENT (follow exactly): static: the half-formed red circle remains on the wall above the bed, with no person crossing the frame.\n  FIGURES — apparent size & depth order (follow exactly): The red circular mark fills about 1/2 of the frame height and is FARTHER on the wall, while the upper part of the bed is NEARER in the foreground.\nPANEL 3: 핏자국 없이 깨끗한 방 내부 전경\n  MOVEMENT (follow exactly): static: the excessively clean, bloodless room stands empty, with no one entering, leaving, or moving through it.\n  FIGURES — apparent size & depth order (follow exactly): The empty room fills the full frame, with the NEARER side of the room opening toward the camera and the clean back wall and far corners appearing FARTHER away. No person, bloodstain, red mark, or body is visible.\nPANEL 4: 거울 속 반사된 욕실 타일 벽면에 붉은색 원형 표식이 절반쯤 나타난 상태\n  MOVEMENT (follow exactly): static: a half-formed red circle is visible on the bathroom tile wall only through the mirror reflection, with no person moving through the shot.\n  FIGURES — apparent size & depth order (follow exactly): The reflected red circle fills roughly 1/3 to 1/2 of the frame height; the mirror surface is NEARER to the camera, while the reflected tiled wall and mark read as FARTHER within the reflection.\nPANEL 5: 해질 무렵 옥탑방 거실, 흙 묻은 발자국들이 찍힌 바닥과 쓰러진 식탁 의자들이 보이는 전경\n  MOVEMENT (follow exactly): static: muddy footprints lie across the living-room floor among overturned dining chairs, but their direction of travel cannot be determined from the shot.\n  FIGURES — apparent size & depth order (follow exactly): The living-room interior fills the frame; the muddy footprints spread across the NEARER floor, while the overturned dining chairs are FARTHER around the table. Individual footprints appear small, roughly 1/10 of the frame height, while the chairs occupy about 1/3 to 1/2.\nPANEL 6: 붉은 원 한가운데 피 묻은 낡은 흑백 사진이 벽에 꽂혀 있는 타이트 샷\n  MOVEMENT (follow exactly): static: the bloodstained old photograph remains fixed at the center of the red circle on the wall, with no hand or person entering the frame.\n  FIGURES — apparent size & depth order (follow exactly): The photograph fills roughly 1/2 to 2/3 of the frame height and is NEARER than the wall surface, while the red circle extends FARTHER behind it across the wall.\n\nABSOLUTELY NO TEXT anywhere: no words, letters, captions, labels,\nsound effects or watermarks — the ONLY allowed marking is a small\nshot number digit (1, 2, 3, 4, 5, 6) in a corner INSIDE each drawn panel.\nTHE PANEL GRID FILLS THE ENTIRE IMAGE EDGE-TO-EDGE: no outer paper\nmargin, no border area, nothing drawn outside the panels — the\nimage must be mechanically cuttable along the stated cut lines.\nPanels are separated only by thin straight black gutter lines at\nthe exact stated positions; ALL PANELS EXACTLY THE SAME SIZE."}
{"ts": "2026-07-12 16:18:30", "kind": "img", "engine": "gpt-image-2", "mode": "generate", "tag": "s34v2_conti_mart_i2", "refs": [], "size": "1536x1024", "attempt": 1, "dur_s": 114.7, "bytes": 3340193, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/conti24_mart_i2.png", "prompt": "Draw ONE storyboard (conti) sheet: 6 panels made by TWO vertical cuts at exactly 1/3 and 2/3 of the width and ONE horizontal cut at exactly 50% of the height — a 3-column x 2-row grid, all six panels exactly equal.\nSTYLE: hand-drawn PRE-PRODUCTION STORYBOARD FOR A LIVE-ACTION FILM\nSHOOT — the working drawings a professional film storyboard artist\nmakes for the director and cinematographer of a real movie:\nREALISTIC adult human proportions and faces (ordinary Korean\nadults, film-actor realism), true cinematic lens framing, and\nnaturalistic light-and-shadow blocking rendered in monochrome\ngraphite pencil tone on white paper.\nABSOLUTELY NOT manga, NOT anime, NOT cartoon, NOT webtoon, NOT\ncomic-book style: no stylized or enlarged eyes, no cute or\nyouthful idealized faces, no clean ink outlines — every panel\nmust read like a frame of a live-action film sketched in pencil.\nNo color anywhere.\n\nTHE LOCATION (same in all drawn panels): a mid-size Korean supermarket: shelved sales floor inside; the entrance area outside with a bicycle rack and one wall-mounted CCTV camera above; a small back security office with CCTV monitors.\n\nPURPOSE: each panel captures only the CAMERA COMPOSITION of one\nshot — framing (close-up / medium / wide), where the subject sits in\nthe frame, and continuity between panels. Keep every panel\nextremely simple: only what matters for composition.\nMOVEMENT IS SHOWN BY THE FIGURE ITSELF, NEVER BY MARKINGS: convey\ndirection of travel purely through the body — stride mid-motion,\nbody lean into the path, back view vs front view, and the stated\nsize/depth cues. Do NOT draw arrows, motion lines, path lines,\nspeed lines or any diagram markings of any kind.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Draw what a real movie camera would actually record\non a physical set — exaggerated or figurative impressions become\nrealistic staging choices (lighting, distance, angle, wardrobe),\nnot literal fantasy drawings.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still draw them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nGEOMETRY — ANALYSE BEFORE DRAWING: from each panel's Korean shot\ntext, first work out the spatial facts and draw EXACTLY those, never\nre-stage them: (a) each figure's DISTANCE from camera (tight insert /\nclose-up / medium / full / wide — a shot about a hand or an object\nis a tight insert, not a two-shot); (b) each figure's FACING and\nMOVEMENT DIRECTION relative to camera — '뒷모습' means seen from\nBEHIND, moving AWAY from camera into the depth of the frame, not\nsideways; a profile means lateral movement; (c) relative positions\nand distances BETWEEN figures. Keep every established screen\ndirection consistent across panels (180-degree rule): a person who\nleaves in one panel keeps the same on-screen direction wherever the\nmovement appears again.\nSIZE & DEPTH ARE CONTRACTUAL: each panel states every figure's\napparent size in the frame and the explicit near/far depth order.\nDraw exactly those proportions — a farther figure MUST be drawn\nclearly smaller than a nearer one; never equalize figure sizes,\nespecially when several figures share a panel or their paths\nrelate to each other.\nDEPARTING FIGURE — a figure running/walking AWAY must be\nunmistakably departing, never approaching: seen exactly from behind\n(back of the head only, no face, no chin, no cheek line), body\nleaning into the path, mid-stride with one shoe sole toward the\ncamera. THE STATED SIZE/DEPTH WINS: draw the departing figure at\nexactly the apparent size and depth the panel's FIGURES line states\n(if stated FARTHER/small, it stays small in the distance — never\nenlarge it into the foreground for drama).\n\nCONTINUITY: all drawn panels are the SAME single location — fixed\nfeatures (doors, stairs, windows, poles, desks) keep the same\nposition and left/right relationships across panels so the panels\ncut together as one continuous scene.\n\nPANELS (one shot per panel, Korean shot text):\n\nPANEL 1: 수리영이 마트 유니폼을 입은 한국인 여성 직원을 마주보며 입을 살짝 벌린 측면 구도\n  MOVEMENT (follow exactly): static: Su-ri-young and the female supermarket employee stand facing each other in profile, Su-ri-young holding her mouth slightly open as she addresses the employee.\n  FIGURES — apparent size & depth order (follow exactly): Su-ri-young and the female employee each fill roughly ~1/2 of the frame height and occupy a comparable midground plane, with neither clearly nearer to the camera; they remain a short conversational distance apart across opposing sightlines.\nPANEL 2: 마트 밖으로 나온 수리영이 손에 든 스마트폰 액정을 내려다보는 상체\n  MOVEMENT (follow exactly): static: Having come out of the supermarket, Su-ri-young stands with her upper body angled toward the smartphone in her hand and her gaze lowered to its screen while trying to make contact.\n  FIGURES — apparent size & depth order (follow exactly): Su-ri-young’s upper body fills about ~2/3 of the frame height in the near foreground, while the smartphone is small, about ~1/10, and held within the same near plane below her face; she is the sole visible figure.\nPANEL 3: 수리영과 남자직원이 마트 밖에서 벽면의 CCTV를 올려다보는 뒷모습\n  MOVEMENT (follow exactly): static: Outside the supermarket, Su-ri-young and the male employee stand with their backs to the camera, bodies and heads tilted upward toward the wall-mounted CCTV camera as they check its coverage.\n  FIGURES — apparent size & depth order (follow exactly): Su-ri-young and the male employee each fill roughly ~1/2 of the frame height in the nearer foreground-to-midground, standing alongside each other at comparable depth, while the CCTV camera is much smaller, around ~1/15, and farther away high on the wall.\nPANEL 4: 수리영이 귀에 스마트폰을 댄 채 정면을 응시하는 상체 클로즈업\n  MOVEMENT (follow exactly): static: Su-ri-young holds a smartphone to her ear and faces forward, explaining the situation to Hye-su by phone.\n  FIGURES — apparent size & depth order (follow exactly): Su-ri-young’s upper body fills about ~3/4 of the frame height in the near foreground, with the smartphone small, around ~1/12, against her ear in the same near plane; no other person is visible.\nPANEL 5: 마트 총무과 책상 앞, 한국인 남성 보안직원과 혜수가 컴퓨터 모니터를 향해 몸을 기울인 측면\n  MOVEMENT (follow exactly): static: The male security employee and Hye-su lean forward from the desk toward the computer monitor, both directing their gaze at the CCTV footage.\n  FIGURES — apparent size & depth order (follow exactly): The security employee and Hye-su each fill roughly ~1/2 of the frame height and occupy a comparable midground depth, with neither clearly nearer to the camera; the monitor is smaller, about ~1/3, positioned directly along their converging sightlines.\nPANEL 6: 흑백 CCTV 화면 속 어두운 구석에 사람 형상이 희미하게 찍힌 모니터 클로즈업\n  MOVEMENT (follow exactly): static: A faint, unidentifiable human-shaped form remains in a dark corner of the black-and-white CCTV image, with no discernible direction of travel or body orientation.\n  FIGURES — apparent size & depth order (follow exactly): The monitor image fills nearly the entire frame and is the nearest visible object, while the indistinct human-shaped form is tiny, about ~1/10 of the frame height, and appears far away within the recorded space.\n\nABSOLUTELY NO TEXT anywhere: no words, letters, captions, labels,\nsound effects or watermarks — the ONLY allowed marking is a small\nshot number digit (1, 2, 3, 4, 5, 6) in a corner INSIDE each drawn panel.\nTHE PANEL GRID FILLS THE ENTIRE IMAGE EDGE-TO-EDGE: no outer paper\nmargin, no border area, nothing drawn outside the panels — the\nimage must be mechanically cuttable along the stated cut lines.\nPanels are separated only by thin straight black gutter lines at\nthe exact stated positions; ALL PANELS EXACTLY THE SAME SIZE."}
{"ts": "2026-07-12 16:20:17", "kind": "img", "engine": "gpt-image-2", "mode": "generate", "tag": "s34v2_conti_police_i2", "refs": [], "size": "1536x1024", "attempt": 1, "dur_s": 106.5, "bytes": 3041984, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/conti24_police_i2.png", "prompt": "Draw ONE storyboard (conti) sheet: 6 panels made by TWO vertical cuts at exactly 1/3 and 2/3 of the width and ONE horizontal cut at exactly 50% of the height — a 3-column x 2-row grid, all six panels exactly equal.\nSTYLE: hand-drawn PRE-PRODUCTION STORYBOARD FOR A LIVE-ACTION FILM\nSHOOT — the working drawings a professional film storyboard artist\nmakes for the director and cinematographer of a real movie:\nREALISTIC adult human proportions and faces (ordinary Korean\nadults, film-actor realism), true cinematic lens framing, and\nnaturalistic light-and-shadow blocking rendered in monochrome\ngraphite pencil tone on white paper.\nABSOLUTELY NOT manga, NOT anime, NOT cartoon, NOT webtoon, NOT\ncomic-book style: no stylized or enlarged eyes, no cute or\nyouthful idealized faces, no clean ink outlines — every panel\nmust read like a frame of a live-action film sketched in pencil.\nNo color anywhere.\n\nTHE LOCATION (same in all drawn panels): a modest Korean provincial police station: a detectives' office with desks, monitors and a doorway; and the street right in front of the building.\n\nPURPOSE: each panel captures only the CAMERA COMPOSITION of one\nshot — framing (close-up / medium / wide), where the subject sits in\nthe frame, and continuity between panels. Keep every panel\nextremely simple: only what matters for composition.\nMOVEMENT IS SHOWN BY THE FIGURE ITSELF, NEVER BY MARKINGS: convey\ndirection of travel purely through the body — stride mid-motion,\nbody lean into the path, back view vs front view, and the stated\nsize/depth cues. Do NOT draw arrows, motion lines, path lines,\nspeed lines or any diagram markings of any kind.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Draw what a real movie camera would actually record\non a physical set — exaggerated or figurative impressions become\nrealistic staging choices (lighting, distance, angle, wardrobe),\nnot literal fantasy drawings.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still draw them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nGEOMETRY — ANALYSE BEFORE DRAWING: from each panel's Korean shot\ntext, first work out the spatial facts and draw EXACTLY those, never\nre-stage them: (a) each figure's DISTANCE from camera (tight insert /\nclose-up / medium / full / wide — a shot about a hand or an object\nis a tight insert, not a two-shot); (b) each figure's FACING and\nMOVEMENT DIRECTION relative to camera — '뒷모습' means seen from\nBEHIND, moving AWAY from camera into the depth of the frame, not\nsideways; a profile means lateral movement; (c) relative positions\nand distances BETWEEN figures. Keep every established screen\ndirection consistent across panels (180-degree rule): a person who\nleaves in one panel keeps the same on-screen direction wherever the\nmovement appears again.\nSIZE & DEPTH ARE CONTRACTUAL: each panel states every figure's\napparent size in the frame and the explicit near/far depth order.\nDraw exactly those proportions — a farther figure MUST be drawn\nclearly smaller than a nearer one; never equalize figure sizes,\nespecially when several figures share a panel or their paths\nrelate to each other.\nDEPARTING FIGURE — a figure running/walking AWAY must be\nunmistakably departing, never approaching: seen exactly from behind\n(back of the head only, no face, no chin, no cheek line), body\nleaning into the path, mid-stride with one shoe sole toward the\ncamera. THE STATED SIZE/DEPTH WINS: draw the departing figure at\nexactly the apparent size and depth the panel's FIGURES line states\n(if stated FARTHER/small, it stays small in the distance — never\nenlarge it into the foreground for drama).\n\nCONTINUITY: all drawn panels are the SAME single location — fixed\nfeatures (doors, stairs, windows, poles, desks) keep the same\nposition and left/right relationships across panels so the panels\ncut together as one continuous scene.\n\nPANELS (one shot per panel, Korean shot text):\n\nPANEL 1: 혜수가 스마트폰 액정을 김형사 쪽으로 불쑥 내민 순간\n  MOVEMENT (follow exactly): Hye-su abruptly thrusts the smartphone forward from her side toward Detective Kim, presenting Min-sook's saved number while remaining inside the office.\n  FIGURES — apparent size & depth order (follow exactly): Hye-su and Detective Kim each fill roughly ~1/2 of the frame height, with Hye-su NEARER to the camera and Detective Kim FARTHER across from her. The extended smartphone fills about ~1/5 of the frame height, projecting from Hye-su toward Detective Kim and lying between their positions.\nPANEL 2: 수리영이 두 눈을 크게 뜨고 입을 살짝 벌린 굳은 얼굴 클로즈업\n  MOVEMENT (follow exactly): static: Su-ri-young holds rigid with fear and shock, her widened eyes fixed forward and her lips slightly parted.\n  FIGURES — apparent size & depth order (follow exactly): Su-ri-young's face fills roughly ~3/4 of the frame height; she is the sole and therefore NEAREST visible figure, with no farther person shown.\nPANEL 3: 모니터 화면에 바다 지도가 펼쳐져 있고 붉은색 핀과 좌표 숫자가 떠 있는 클로즈업\n  MOVEMENT (follow exactly): static: the monitor displays a sea map with a red location pin and coordinate figures, with no physical movement in frame.\n  FIGURES — apparent size & depth order (follow exactly): The monitor image fills nearly the full frame and is the sole, NEAREST core object; the map, pin, and coordinate text occupy the same flat display plane with no farther figure visible.\nPANEL 4: 수리영이 메모지가 들어간 겉옷 주머니에 손을 넣은 채 사무실 출입문을 향해 몸을 돌린 정지 순간\n  MOVEMENT (follow exactly): static: Su-ri-young stands tensely with one hand inside the coat pocket holding the folded note, her body turned toward the office exit and poised to leave the room.\n  FIGURES — apparent size & depth order (follow exactly): Su-ri-young fills roughly ~2/3 of the frame height and is NEARER to the camera, while the office doorway is FARTHER in the direction she faces. Her intended path runs from her position inside the office toward and through that doorway.\nPANEL 5: 경찰서 건물 밖 도로 위에서 수리영이 자전거 안장에 앉아 상체를 앞으로 숙인 채 머리카락이 뒤로 흩날리는 측면\n  MOVEMENT (follow exactly): Su-ri-young rides the bicycle along the road outside the police station, moving laterally across the camera's side view with her torso pitched forward over the handlebars and her hair streaming backward, neither directly toward nor directly away from the camera.\n  FIGURES — apparent size & depth order (follow exactly): Su-ri-young fills roughly ~1/2 of the frame height, and the bicycle-and-rider silhouette together fills about ~2/3; both are NEARER to the camera than the FARTHER police-station exterior. Her path continues along the road parallel to the image plane.\n\nThere are 5 shots but 6 panel slots: draw the shots in\npanels 1..5 and leave the remaining panel(s) COMPLETELY\nBLANK PURE WHITE — empty white paper, not even a frame line inside.\n\nABSOLUTELY NO TEXT anywhere: no words, letters, captions, labels,\nsound effects or watermarks — the ONLY allowed marking is a small\nshot number digit (1, 2, 3, 4, 5) in a corner INSIDE each drawn panel.\nTHE PANEL GRID FILLS THE ENTIRE IMAGE EDGE-TO-EDGE: no outer paper\nmargin, no border area, nothing drawn outside the panels — the\nimage must be mechanically cuttable along the stated cut lines.\nPanels are separated only by thin straight black gutter lines at\nthe exact stated positions; ALL PANELS EXACTLY THE SAME SIZE."}
{"ts": "2026-07-12 16:22:47", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s34run24i_S1sh1_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/panels24i/S1sh1.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/efc879db-5f82-4f77-bf83-75e3d2d41f1c.png"], "ref_labels": ["STORYBOARD PANEL — a REFERENCE ONLY, never the target: use it loosely for camera framing, figure placement and depth order. Do NOT photorealize this drawing as-is — the SHOT TEXT and the other references are authoritative; re-stage the moment naturally as a real photograph. Never copy the sketch's line style, paper texture, borders, simplified geometry or drawing errors.", "CHARACTER REFERENCE — 한국인 남자: the exact person appearing in this shot; match face, hair and build exactly."], "attempt": 1, "dur_s": 21.4, "bytes": 2782967, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills24i/S1sh1_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): dusk, just after sunset.\n\nSHOT TEXT (authoritative, Korean): 한쪽 신발이 벗겨진 한국인 남자가 우거진 수풀 사이를 달리며 한 발을 허공에 내딛고 있는 도중의 전신 구도\n\nTHE STORYBOARD PANEL IS ONLY A REFERENCE: it is a\nrough pre-production sketch, not the image to\nreproduce. Take from it only the shot's rough\ncomposition — framing, where figures sit, near/far\norder. Everything else (real-world detail, materials,\nlight, anatomy, environment richness) must come from\nthe shot text and the photographic references,\nre-staged as if actually filmed on a real set. If the\nsketch conflicts with the shot text or looks\nsimplified/wrong, FOLLOW THE TEXT, not the sketch.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nMOVEMENT (follow exactly): The terrified, wounded Korean man runs through dense undergrowth while fleeing an unseen threat, driving forward with one foot airborne, one shoe missing, and a pain-guarded, unsteady stride; his direction relative to the camera is unspecified.\n\nFIGURES — size & depth (follow exactly): The man's full body fills roughly ~4/5 of the frame height; he is the sole visible figure and thus both the nearest and farthest person in the frame.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of the referenced people (한국인 남자) matched exactly to their reference photo — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-12 16:23:20", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s34run24i_S1sh4_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/panels24i/S1sh4.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills24i/S1sh1_nb2.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/efc879db-5f82-4f77-bf83-75e3d2d41f1c.png"], "ref_labels": ["STORYBOARD PANEL — a REFERENCE ONLY, never the target: use it loosely for camera framing, figure placement and depth order. Do NOT photorealize this drawing as-is — the SHOT TEXT and the other references are authoritative; re-stage the moment naturally as a real photograph. Never copy the sketch's line style, paper texture, borders, simplified geometry or drawing errors.", "PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing.", "CHARACTER REFERENCE — 한국인 남자: the exact person appearing in this shot; match face, hair and build exactly."], "attempt": 1, "dur_s": 32.6, "bytes": 2999306, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills24i/S1sh4_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): dusk, just after sunset.\n\nSHOT TEXT (authoritative, Korean): 검은 형상의 인영이 허공에 뛰어오른 채 한국인 남자를 향해 두 팔을 뻗고 있는 순간\n\nTHE STORYBOARD PANEL IS ONLY A REFERENCE: it is a\nrough pre-production sketch, not the image to\nreproduce. Take from it only the shot's rough\ncomposition — framing, where figures sit, near/far\norder. Everything else (real-world detail, materials,\nlight, anatomy, environment richness) must come from\nthe shot text and the photographic references,\nre-staged as if actually filmed on a real set. If the\nsketch conflicts with the shot text or looks\nsimplified/wrong, FOLLOW THE TEXT, not the sketch.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nMOVEMENT (follow exactly): A real, normal-human-proportioned person appearing as a dark silhouette springs through the air toward the terrified, wounded Korean man, reaching both arms forward to pounce on him as he flees; their movement toward or away from the camera is unspecified.\n\nFIGURES — size & depth (follow exactly): The airborne dark figure and the Korean man each read at roughly ~1/2–2/3 of the frame height as their paths rapidly converge. Neither is established as nearer or farther from the camera, but the dark figure is closing the physical gap to the man.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of the referenced people (한국인 남자) matched exactly to their reference photo — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-12 16:23:39", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s34run24i_S3sh3_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/panels24i/S3sh3.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/bddad176-aa6a-4a71-b5d3-d02e36e19657.png"], "ref_labels": ["STORYBOARD PANEL — a REFERENCE ONLY, never the target: use it loosely for camera framing, figure placement and depth order. Do NOT photorealize this drawing as-is — the SHOT TEXT and the other references are authoritative; re-stage the moment naturally as a real photograph. Never copy the sketch's line style, paper texture, borders, simplified geometry or drawing errors.", "CHARACTER REFERENCE — 혜수: the exact person appearing in this shot; match face, hair and build exactly."], "attempt": 1, "dur_s": 18.5, "bytes": 2837681, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills24i/S3sh3_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): daytime.\n\nSHOT TEXT (authoritative, Korean): 형사 무리 한가운데 서서 손가락으로 한쪽을 가리키는 혜수의 상체\n\nTHE STORYBOARD PANEL IS ONLY A REFERENCE: it is a\nrough pre-production sketch, not the image to\nreproduce. Take from it only the shot's rough\ncomposition — framing, where figures sit, near/far\norder. Everything else (real-world detail, materials,\nlight, anatomy, environment richness) must come from\nthe shot text and the photographic references,\nre-staged as if actually filmed on a real set. If the\nsketch conflicts with the shot text or looks\nsimplified/wrong, FOLLOW THE TEXT, not the sketch.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nMOVEMENT (follow exactly): static: Hyesu stands upright at the center of the detectives, directing the investigation by pointing one finger toward one side while her gaze and upper body orient toward that indicated direction.\n\nFIGURES — size & depth (follow exactly): Hyesu's upper body fills roughly ~2/3 of the frame height and is the nearer, dominant figure; the surrounding detectives appear smaller, roughly ~1/3–1/2 of the frame height, and farther from the camera around her.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of the referenced people (혜수) matched exactly to their reference photo — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-12 16:23:56", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s34run24i_S15sh2_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/panels24i/S15sh2.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/bddad176-aa6a-4a71-b5d3-d02e36e19657.png"], "ref_labels": ["STORYBOARD PANEL — a REFERENCE ONLY, never the target: use it loosely for camera framing, figure placement and depth order. Do NOT photorealize this drawing as-is — the SHOT TEXT and the other references are authoritative; re-stage the moment naturally as a real photograph. Never copy the sketch's line style, paper texture, borders, simplified geometry or drawing errors.", "CHARACTER REFERENCE — 혜수: the exact person appearing in this shot; match face, hair and build exactly."], "attempt": 1, "dur_s": 17.8, "bytes": 2319148, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills24i/S15sh2_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\n\nSHOT TEXT (authoritative, Korean): 혜수의 손이 음료수 캔을 쥔 채 수리영 앞으로 내밀어진 순간\n\nTHE STORYBOARD PANEL IS ONLY A REFERENCE: it is a\nrough pre-production sketch, not the image to\nreproduce. Take from it only the shot's rough\ncomposition — framing, where figures sit, near/far\norder. Everything else (real-world detail, materials,\nlight, anatomy, environment richness) must come from\nthe shot text and the photographic references,\nre-staged as if actually filmed on a real set. If the\nsketch conflicts with the shot text or looks\nsimplified/wrong, FOLLOW THE TEXT, not the sketch.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nMOVEMENT (follow exactly): Hye-su extends her hand and the drink can from her side into the space directly in front of Suri-young, who remains seated and blankly oriented toward the sea.\n\nFIGURES — size & depth (follow exactly): Hye-su's hand and can appear large at roughly ~1/3 of the frame height and are NEARER to the camera; seated Suri-young appears around ~1/2 of the frame height and is FARTHER behind the offered can.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of the referenced people (혜수) matched exactly to their reference photo — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-12 16:24:19", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s34run24i_S15sh6_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/panels24i/S15sh6.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills24i/S15sh2_nb2.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/39864973-d3d5-4886-bfb2-f8db608a005b.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/bddad176-aa6a-4a71-b5d3-d02e36e19657.png"], "ref_labels": ["STORYBOARD PANEL — a REFERENCE ONLY, never the target: use it loosely for camera framing, figure placement and depth order. Do NOT photorealize this drawing as-is — the SHOT TEXT and the other references are authoritative; re-stage the moment naturally as a real photograph. Never copy the sketch's line style, paper texture, borders, simplified geometry or drawing errors.", "PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing.", "CHARACTER REFERENCE — 수리영: the exact person appearing in this shot; match face, hair and build exactly.", "CHARACTER REFERENCE — 혜수: the exact person appearing in this shot; match face, hair and build exactly."], "attempt": 1, "dur_s": 22.7, "bytes": 2658887, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills24i/S15sh6_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\n\nSHOT TEXT (authoritative, Korean): 멀리서 혜수의 전신과 한 발을 공중에 띄운 mid-stride 자세로 달리는 수리영의 뒷모습을 한 프레임에 담은 넓은 구도\n\nTHE STORYBOARD PANEL IS ONLY A REFERENCE: it is a\nrough pre-production sketch, not the image to\nreproduce. Take from it only the shot's rough\ncomposition — framing, where figures sit, near/far\norder. Everything else (real-world detail, materials,\nlight, anatomy, environment richness) must come from\nthe shot text and the photographic references,\nre-staged as if actually filmed on a real set. If the\nsketch conflicts with the shot text or looks\nsimplified/wrong, FOLLOW THE TEXT, not the sketch.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nMOVEMENT (follow exactly): Suri-young runs away from Hye-su and away from the camera with her back visible and one foot airborne mid-stride, while Hye-su remains behind facing her path.\n\nFIGURES — size & depth (follow exactly): Hye-su's full body appears about ~1/3 of the frame height and is NEARER to the camera, while the departing Suri-young appears smaller at ~1/5 and FARTHER along the route away. The distance between them increases as Suri-young runs ahead and Hye-su stays behind.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of the referenced people (수리영, 혜수) matched exactly to their reference photo — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-12 16:24:39", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s34run24i_S10sh6_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/panels24i/S10sh6.png"], "ref_labels": ["STORYBOARD PANEL — a REFERENCE ONLY, never the target: use it loosely for camera framing, figure placement and depth order. Do NOT photorealize this drawing as-is — the SHOT TEXT and the other references are authoritative; re-stage the moment naturally as a real photograph. Never copy the sketch's line style, paper texture, borders, simplified geometry or drawing errors."], "attempt": 1, "dur_s": 19.8, "bytes": 2669655, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills24i/S10sh6_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\n\nSHOT TEXT (authoritative, Korean): 현관 철문이 아주 살짝 열린 틈새로 보이는 어두운 실내와 신발 앞코\n\nTHE STORYBOARD PANEL IS ONLY A REFERENCE: it is a\nrough pre-production sketch, not the image to\nreproduce. Take from it only the shot's rough\ncomposition — framing, where figures sit, near/far\norder. Everything else (real-world detail, materials,\nlight, anatomy, environment richness) must come from\nthe shot text and the photographic references,\nre-staged as if actually filmed on a real set. If the\nsketch conflicts with the shot text or looks\nsimplified/wrong, FOLLOW THE TEXT, not the sketch.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nMOVEMENT (follow exactly): The stranger's shoe toe advances away from the rooftop camera through the barely opened iron door and into the dark room.\n\nFIGURES — size & depth (follow exactly): The shoe toe is small, about ~1/6 of frame height, and is FARTHER than the NEARER iron door and its narrow opening; the dark interior recedes farthest beyond it.\n\nNo people appear unless the shot text itself says so.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-12 16:25:01", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s34run24i_S10sh7_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/panels24i/S10sh7.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills24i/S10sh6_nb2.png"], "ref_labels": ["STORYBOARD PANEL — a REFERENCE ONLY, never the target: use it loosely for camera framing, figure placement and depth order. Do NOT photorealize this drawing as-is — the SHOT TEXT and the other references are authoritative; re-stage the moment naturally as a real photograph. Never copy the sketch's line style, paper texture, borders, simplified geometry or drawing errors.", "PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing."], "attempt": 1, "dur_s": 22.6, "bytes": 2302816, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills24i/S10sh7_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\n\nSHOT TEXT (authoritative, Korean): 불이 켜진 옥탑방 창문에 거대한 그림자가 작은 그림자의 어깨 쪽으로 고개를 꺾은 형태가 맺혀 있는 정지 구도\n\nTHE STORYBOARD PANEL IS ONLY A REFERENCE: it is a\nrough pre-production sketch, not the image to\nreproduce. Take from it only the shot's rough\ncomposition — framing, where figures sit, near/far\norder. Everything else (real-world detail, materials,\nlight, anatomy, environment richness) must come from\nthe shot text and the photographic references,\nre-staged as if actually filmed on a real set. If the\nsketch conflicts with the shot text or looks\nsimplified/wrong, FOLLOW THE TEXT, not the sketch.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nMOVEMENT (follow exactly): static: the large shadow looms over the smaller shadow, its head sharply bent toward the smaller figure's shoulder as if biting it, while the smaller figure is pinned beneath the attack.\n\nFIGURES — size & depth (follow exactly): The large shadow fills roughly ~3/4 of frame height and overlaps the smaller shadow, which fills about ~1/2; both appear on the same FAR window plane, behind the NEARER window surface, with no clear depth separation between them.\n\nNo people appear unless the shot text itself says so.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-12 16:25:20", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s34run24i_S11sh4_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/panels24i/S11sh4.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/39864973-d3d5-4886-bfb2-f8db608a005b.png"], "ref_labels": ["STORYBOARD PANEL — a REFERENCE ONLY, never the target: use it loosely for camera framing, figure placement and depth order. Do NOT photorealize this drawing as-is — the SHOT TEXT and the other references are authoritative; re-stage the moment naturally as a real photograph. Never copy the sketch's line style, paper texture, borders, simplified geometry or drawing errors.", "CHARACTER REFERENCE — 수리영: the exact person appearing in this shot; match face, hair and build exactly."], "attempt": 1, "dur_s": 18.5, "bytes": 2473086, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills24i/S11sh4_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\n\nSHOT TEXT (authoritative, Korean): 철제 파이프 난간을 손으로 잡은 수리영이 코끝을 찡그린 채 계단 중간에 서 있는 얼굴 클로즈업\n\nTHE STORYBOARD PANEL IS ONLY A REFERENCE: it is a\nrough pre-production sketch, not the image to\nreproduce. Take from it only the shot's rough\ncomposition — framing, where figures sit, near/far\norder. Everything else (real-world detail, materials,\nlight, anatomy, environment richness) must come from\nthe shot text and the photographic references,\nre-staged as if actually filmed on a real set. If the\nsketch conflicts with the shot text or looks\nsimplified/wrong, FOLLOW THE TEXT, not the sketch.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nMOVEMENT (follow exactly): static: Su-ri-young pauses midway up the stairs, gripping the pipe railing with a tense hand and wrinkling her nose at the sudden foul smell while facing upward.\n\nFIGURES — size & depth (follow exactly): Her close-up face fills about ~2/3 of frame height and is the NEAREST figure; her railing hand is slightly FARTHER, while the stairway behind her recedes farthest.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of the referenced people (수리영) matched exactly to their reference photo — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-12 16:25:46", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s34run24i_S11sh5_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/panels24i/S11sh5.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills24i/S11sh4_nb2.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/39864973-d3d5-4886-bfb2-f8db608a005b.png"], "ref_labels": ["STORYBOARD PANEL — a REFERENCE ONLY, never the target: use it loosely for camera framing, figure placement and depth order. Do NOT photorealize this drawing as-is — the SHOT TEXT and the other references are authoritative; re-stage the moment naturally as a real photograph. Never copy the sketch's line style, paper texture, borders, simplified geometry or drawing errors.", "PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing.", "CHARACTER REFERENCE — 수리영: the exact person appearing in this shot; match face, hair and build exactly."], "attempt": 1, "dur_s": 25.9, "bytes": 2452676, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills24i/S11sh5_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\n\nSHOT TEXT (authoritative, Korean): 옥상에 선 수리영의 시선 끝에 반쯤 열려 있는 어두운 현관 철문이 보이는 정면 구도\n\nTHE STORYBOARD PANEL IS ONLY A REFERENCE: it is a\nrough pre-production sketch, not the image to\nreproduce. Take from it only the shot's rough\ncomposition — framing, where figures sit, near/far\norder. Everything else (real-world detail, materials,\nlight, anatomy, environment richness) must come from\nthe shot text and the photographic references,\nre-staged as if actually filmed on a real set. If the\nsketch conflicts with the shot text or looks\nsimplified/wrong, FOLLOW THE TEXT, not the sketch.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nMOVEMENT (follow exactly): static: Su-ri-young stands on the rooftop facing the half-open iron entrance door, her attention fixed on the dark opening ahead.\n\nFIGURES — size & depth (follow exactly): Su-ri-young occupies roughly ~1/2 of frame height in the NEARER plane, while the half-open door is FARTHER ahead and fills about ~1/3; her sightline runs directly across the rooftop into its dark gap.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of the referenced people (수리영) matched exactly to their reference photo — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-12 16:26:05", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s34run24i_S13sh4_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/panels24i/S13sh4.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/39864973-d3d5-4886-bfb2-f8db608a005b.png"], "ref_labels": ["STORYBOARD PANEL — a REFERENCE ONLY, never the target: use it loosely for camera framing, figure placement and depth order. Do NOT photorealize this drawing as-is — the SHOT TEXT and the other references are authoritative; re-stage the moment naturally as a real photograph. Never copy the sketch's line style, paper texture, borders, simplified geometry or drawing errors.", "CHARACTER REFERENCE — 수리영: the exact person appearing in this shot; match face, hair and build exactly."], "attempt": 1, "dur_s": 19.3, "bytes": 2688736, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills24i/S13sh4_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\n\nSHOT TEXT (authoritative, Korean): 수리영이 초점을 잃은 눈으로 허공을 응시하며 서 있는 모습\n\nTHE STORYBOARD PANEL IS ONLY A REFERENCE: it is a\nrough pre-production sketch, not the image to\nreproduce. Take from it only the shot's rough\ncomposition — framing, where figures sit, near/far\norder. Everything else (real-world detail, materials,\nlight, anatomy, environment richness) must come from\nthe shot text and the photographic references,\nre-staged as if actually filmed on a real set. If the\nsketch conflicts with the shot text or looks\nsimplified/wrong, FOLLOW THE TEXT, not the sketch.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nMOVEMENT (follow exactly): static: Su-ri-young stands motionless after fleeing downstairs, her shocked body slack and her unfocused eyes staring into empty space.\n\nFIGURES — size & depth (follow exactly): Su-ri-young fills roughly ~1/2 of frame height and is the sole, NEAREST figure, with the surrounding exterior space FARTHER behind her.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of the referenced people (수리영) matched exactly to their reference photo — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-12 16:26:34", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s34run24i_S13sh6_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/panels24i/S13sh6.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills24i/S13sh4_nb2.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/39864973-d3d5-4886-bfb2-f8db608a005b.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/bddad176-aa6a-4a71-b5d3-d02e36e19657.png"], "ref_labels": ["STORYBOARD PANEL — a REFERENCE ONLY, never the target: use it loosely for camera framing, figure placement and depth order. Do NOT photorealize this drawing as-is — the SHOT TEXT and the other references are authoritative; re-stage the moment naturally as a real photograph. Never copy the sketch's line style, paper texture, borders, simplified geometry or drawing errors.", "PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing.", "CHARACTER REFERENCE — 수리영: the exact person appearing in this shot; match face, hair and build exactly.", "CHARACTER REFERENCE — 혜수: the exact person appearing in this shot; match face, hair and build exactly."], "attempt": 1, "dur_s": 28.3, "bytes": 2741638, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills24i/S13sh6_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\n\nSHOT TEXT (authoritative, Korean): 고개를 든 채 혜수의 얼굴을 마주보고 있는 수리영의 측면 구도\n\nTHE STORYBOARD PANEL IS ONLY A REFERENCE: it is a\nrough pre-production sketch, not the image to\nreproduce. Take from it only the shot's rough\ncomposition — framing, where figures sit, near/far\norder. Everything else (real-world detail, materials,\nlight, anatomy, environment richness) must come from\nthe shot text and the photographic references,\nre-staged as if actually filmed on a real set. If the\nsketch conflicts with the shot text or looks\nsimplified/wrong, FOLLOW THE TEXT, not the sketch.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nMOVEMENT (follow exactly): static: Su-ri-young keeps her head raised toward Hye-su, meeting her face from the side with a stunned, unfocused posture.\n\nFIGURES — size & depth (follow exactly): Su-ri-young and Hye-su each fill roughly ~1/2 of frame height in profile and stand at approximately the same camera distance, neither clearly NEARER than the other; they face one another at close conversational range.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of the referenced people (수리영, 혜수) matched exactly to their reference photo — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-12 16:26:52", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s34run24i_S12sh11_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/panels24i/S12sh11.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/1d7902d5-8b31-4ab6-9e6a-5da6ab5d842f.png"], "ref_labels": ["STORYBOARD PANEL — a REFERENCE ONLY, never the target: use it loosely for camera framing, figure placement and depth order. Do NOT photorealize this drawing as-is — the SHOT TEXT and the other references are authoritative; re-stage the moment naturally as a real photograph. Never copy the sketch's line style, paper texture, borders, simplified geometry or drawing errors.", "CHARACTER REFERENCE — 민숙 (환시): the exact person appearing in this shot; match face, hair and build exactly."], "attempt": 1, "dur_s": 18.9, "bytes": 2552137, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills24i/S12sh11_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\n\nSHOT TEXT (authoritative, Korean): 옷과 피부가 힘없이 무너져 미동이 없는 민숙이 바닥에 주저앉아 고개를 푹 숙인 정지 상태\n\nTHE STORYBOARD PANEL IS ONLY A REFERENCE: it is a\nrough pre-production sketch, not the image to\nreproduce. Take from it only the shot's rough\ncomposition — framing, where figures sit, near/far\norder. Everything else (real-world detail, materials,\nlight, anatomy, environment richness) must come from\nthe shot text and the photographic references,\nre-staged as if actually filmed on a real set. If the\nsketch conflicts with the shot text or looks\nsimplified/wrong, FOLLOW THE TEXT, not the sketch.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nMOVEMENT (follow exactly): static: Minsuk is utterly motionless, collapsed on the floor, collapsed in a seated fall with her head hanging forward, torso slumped asymmetrically, limp limbs, and her weight fully fallen rather than held upright.\n\nFIGURES — size & depth (follow exactly): Minsuk fills roughly 2/3 of the frame height and is the NEARER subject, while the dark-stained floor and room behind her are FARTHER. Her dark-stained clothes and skin remain visible across her collapsed body.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of the referenced people (민숙 (환시)) matched exactly to their reference photo — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-12 16:27:16", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s34run24i_S12sh21_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/panels24i/S12sh21.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills24i/S12sh11_nb2.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/1d7902d5-8b31-4ab6-9e6a-5da6ab5d842f.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/fc23070d-a644-45e4-a5d8-ecb98fe8d2d3.png"], "ref_labels": ["STORYBOARD PANEL — a REFERENCE ONLY, never the target: use it loosely for camera framing, figure placement and depth order. Do NOT photorealize this drawing as-is — the SHOT TEXT and the other references are authoritative; re-stage the moment naturally as a real photograph. Never copy the sketch's line style, paper texture, borders, simplified geometry or drawing errors.", "PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing.", "CHARACTER REFERENCE — 민숙 (환시): the exact person appearing in this shot; match face, hair and build exactly.", "PROP REFERENCE — 구겨진 피 묻은 낡은 흑백 사진: the exact object appearing in this shot; match its look, material and wear exactly."], "attempt": 1, "dur_s": 23.5, "bytes": 2445328, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills24i/S12sh21_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\n\nSHOT TEXT (authoritative, Korean): 침대 위쪽 벽면에 붉은색 원형 표식이 절반쯤 나타난 상태\n\nTHE STORYBOARD PANEL IS ONLY A REFERENCE: it is a\nrough pre-production sketch, not the image to\nreproduce. Take from it only the shot's rough\ncomposition — framing, where figures sit, near/far\norder. Everything else (real-world detail, materials,\nlight, anatomy, environment richness) must come from\nthe shot text and the photographic references,\nre-staged as if actually filmed on a real set. If the\nsketch conflicts with the shot text or looks\nsimplified/wrong, FOLLOW THE TEXT, not the sketch.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nMOVEMENT (follow exactly): static: the half-formed red circle remains on the wall above the bed, with no person crossing the frame.\n\nFIGURES — size & depth (follow exactly): The red circular mark fills about 1/2 of the frame height and is FARTHER on the wall, while the upper part of the bed is NEARER in the foreground.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of the referenced people (민숙 (환시)) matched exactly to their reference photo — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-12 16:27:36", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s34run24i_S14sh5_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/panels24i/S14sh5.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills24i/S12sh21_nb2.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/39864973-d3d5-4886-bfb2-f8db608a005b.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/bddad176-aa6a-4a71-b5d3-d02e36e19657.png"], "ref_labels": ["STORYBOARD PANEL — a REFERENCE ONLY, never the target: use it loosely for camera framing, figure placement and depth order. Do NOT photorealize this drawing as-is — the SHOT TEXT and the other references are authoritative; re-stage the moment naturally as a real photograph. Never copy the sketch's line style, paper texture, borders, simplified geometry or drawing errors.", "PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing.", "CHARACTER REFERENCE — 수리영: the exact person appearing in this shot; match face, hair and build exactly.", "CHARACTER REFERENCE — 혜수: the exact person appearing in this shot; match face, hair and build exactly."], "attempt": 1, "dur_s": 20.2, "bytes": 1928493, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills24i/S14sh5_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\n\nSHOT TEXT (authoritative, Korean): 어두운 얼룩 없이 깨끗한 방 내부 전경\n\nTHE STORYBOARD PANEL IS ONLY A REFERENCE: it is a\nrough pre-production sketch, not the image to\nreproduce. Take from it only the shot's rough\ncomposition — framing, where figures sit, near/far\norder. Everything else (real-world detail, materials,\nlight, anatomy, environment richness) must come from\nthe shot text and the photographic references,\nre-staged as if actually filmed on a real set. If the\nsketch conflicts with the shot text or looks\nsimplified/wrong, FOLLOW THE TEXT, not the sketch.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nMOVEMENT (follow exactly): static: the excessively clean, dark stainsless room stands empty, with no one entering, leaving, or moving through it.\n\nFIGURES — size & depth (follow exactly): The empty room fills the full frame, with the NEARER side of the room opening toward the camera and the clean back wall and far corners appearing FARTHER away. No person, dark stainsstain, red mark, or body is visible.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of the referenced people (수리영, 혜수) matched exactly to their reference photo — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-12 16:27:55", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s34run24i_S18sh11_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/panels24i/S18sh11.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/39864973-d3d5-4886-bfb2-f8db608a005b.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/70af1a1c-b2e4-45ad-a166-7cef7e66e156.png"], "ref_labels": ["STORYBOARD PANEL — a REFERENCE ONLY, never the target: use it loosely for camera framing, figure placement and depth order. Do NOT photorealize this drawing as-is — the SHOT TEXT and the other references are authoritative; re-stage the moment naturally as a real photograph. Never copy the sketch's line style, paper texture, borders, simplified geometry or drawing errors.", "CHARACTER REFERENCE — 수리영: the exact person appearing in this shot; match face, hair and build exactly.", "PROP REFERENCE — 민숙과 수리영의 액자 사진: the exact object appearing in this shot; match its look, material and wear exactly."], "attempt": 1, "dur_s": 19.1, "bytes": 2118020, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills24i/S18sh11_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): daytime.\n\nSHOT TEXT (authoritative, Korean): 거울 속 반사된 욕실 타일 벽면에 붉은색 원형 표식이 절반쯤 나타난 상태\n\nTHE STORYBOARD PANEL IS ONLY A REFERENCE: it is a\nrough pre-production sketch, not the image to\nreproduce. Take from it only the shot's rough\ncomposition — framing, where figures sit, near/far\norder. Everything else (real-world detail, materials,\nlight, anatomy, environment richness) must come from\nthe shot text and the photographic references,\nre-staged as if actually filmed on a real set. If the\nsketch conflicts with the shot text or looks\nsimplified/wrong, FOLLOW THE TEXT, not the sketch.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nMOVEMENT (follow exactly): static: a half-formed red circle is visible on the bathroom tile wall only through the mirror reflection, with no person moving through the shot.\n\nFIGURES — size & depth (follow exactly): The reflected red circle fills roughly 1/3 to 1/2 of the frame height; the mirror surface is NEARER to the camera, while the reflected tiled wall and mark read as FARTHER within the reflection.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of the referenced people (수리영) matched exactly to their reference photo — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-12 16:28:13", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s34run24i_S25sh1_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/panels24i/S25sh1.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/39864973-d3d5-4886-bfb2-f8db608a005b.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/fc23070d-a644-45e4-a5d8-ecb98fe8d2d3.png"], "ref_labels": ["STORYBOARD PANEL — a REFERENCE ONLY, never the target: use it loosely for camera framing, figure placement and depth order. Do NOT photorealize this drawing as-is — the SHOT TEXT and the other references are authoritative; re-stage the moment naturally as a real photograph. Never copy the sketch's line style, paper texture, borders, simplified geometry or drawing errors.", "CHARACTER REFERENCE — 수리영: the exact person appearing in this shot; match face, hair and build exactly.", "PROP REFERENCE — 구겨진 피 묻은 낡은 흑백 사진: the exact object appearing in this shot; match its look, material and wear exactly."], "attempt": 1, "dur_s": 17.6, "bytes": 2017417, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills24i/S25sh1_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): dusk, just after sunset.\n\nSHOT TEXT (authoritative, Korean): 해질 무렵 옥탑방 거실, 흙 묻은 발자국들이 찍힌 바닥과 쓰러진 식탁 의자들이 보이는 전경\n\nTHE STORYBOARD PANEL IS ONLY A REFERENCE: it is a\nrough pre-production sketch, not the image to\nreproduce. Take from it only the shot's rough\ncomposition — framing, where figures sit, near/far\norder. Everything else (real-world detail, materials,\nlight, anatomy, environment richness) must come from\nthe shot text and the photographic references,\nre-staged as if actually filmed on a real set. If the\nsketch conflicts with the shot text or looks\nsimplified/wrong, FOLLOW THE TEXT, not the sketch.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nMOVEMENT (follow exactly): static: muddy footprints lie across the living-room floor among overturned dining chairs, but their direction of travel cannot be determined from the shot.\n\nFIGURES — size & depth (follow exactly): The living-room interior fills the frame; the muddy footprints spread across the NEARER floor, while the overturned dining chairs are FARTHER around the table. Individual footprints appear small, roughly 1/10 of the frame height, while the chairs occupy about 1/3 to 1/2.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of the referenced people (수리영) matched exactly to their reference photo — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-12 16:28:36", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s34run24i_S25sh5_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/panels24i/S25sh5.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills24i/S12sh21_nb2.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/fc23070d-a644-45e4-a5d8-ecb98fe8d2d3.png"], "ref_labels": ["STORYBOARD PANEL — a REFERENCE ONLY, never the target: use it loosely for camera framing, figure placement and depth order. Do NOT photorealize this drawing as-is — the SHOT TEXT and the other references are authoritative; re-stage the moment naturally as a real photograph. Never copy the sketch's line style, paper texture, borders, simplified geometry or drawing errors.", "PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing.", "PROP REFERENCE — 구겨진 피 묻은 낡은 흑백 사진: the exact object appearing in this shot; match its look, material and wear exactly."], "attempt": 1, "dur_s": 23.4, "bytes": 2528749, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills24i/S25sh5_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): dusk, just after sunset.\n\nSHOT TEXT (authoritative, Korean): 붉은 원 한가운데 얼룩진 낡은 흑백 사진이 벽에 꽂혀 있는 타이트 샷\n\nTHE STORYBOARD PANEL IS ONLY A REFERENCE: it is a\nrough pre-production sketch, not the image to\nreproduce. Take from it only the shot's rough\ncomposition — framing, where figures sit, near/far\norder. Everything else (real-world detail, materials,\nlight, anatomy, environment richness) must come from\nthe shot text and the photographic references,\nre-staged as if actually filmed on a real set. If the\nsketch conflicts with the shot text or looks\nsimplified/wrong, FOLLOW THE TEXT, not the sketch.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nMOVEMENT (follow exactly): static: the stained old photograph remains fixed at the center of the red circle on the wall, with no hand or person entering the frame.\n\nFIGURES — size & depth (follow exactly): The photograph fills roughly 1/2 to 2/3 of the frame height and is NEARER than the wall surface, while the red circle extends FARTHER behind it across the wall.\n\nNo people appear unless the shot text itself says so.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-12 16:28:54", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s34run24i_S8sh3_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/panels24i/S8sh3.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/39864973-d3d5-4886-bfb2-f8db608a005b.png"], "ref_labels": ["STORYBOARD PANEL — a REFERENCE ONLY, never the target: use it loosely for camera framing, figure placement and depth order. Do NOT photorealize this drawing as-is — the SHOT TEXT and the other references are authoritative; re-stage the moment naturally as a real photograph. Never copy the sketch's line style, paper texture, borders, simplified geometry or drawing errors.", "CHARACTER REFERENCE — 수리영: the exact person appearing in this shot; match face, hair and build exactly."], "attempt": 1, "dur_s": 17.3, "bytes": 2689667, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills24i/S8sh3_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): dusk, just after sunset.\n\nSHOT TEXT (authoritative, Korean): 수리영이 마트 유니폼을 입은 한국인 여성 직원을 마주보며 입을 살짝 벌린 측면 구도\n\nTHE STORYBOARD PANEL IS ONLY A REFERENCE: it is a\nrough pre-production sketch, not the image to\nreproduce. Take from it only the shot's rough\ncomposition — framing, where figures sit, near/far\norder. Everything else (real-world detail, materials,\nlight, anatomy, environment richness) must come from\nthe shot text and the photographic references,\nre-staged as if actually filmed on a real set. If the\nsketch conflicts with the shot text or looks\nsimplified/wrong, FOLLOW THE TEXT, not the sketch.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nMOVEMENT (follow exactly): static: Su-ri-young and the female supermarket employee stand facing each other in profile, Su-ri-young holding her mouth slightly open as she addresses the employee.\n\nFIGURES — size & depth (follow exactly): Su-ri-young and the female employee each fill roughly ~1/2 of the frame height and occupy a comparable midground plane, with neither clearly nearer to the camera; they remain a short conversational distance apart across opposing sightlines.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of the referenced people (수리영) matched exactly to their reference photo — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-12 16:29:22", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s34run24i_S8sh5_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/panels24i/S8sh5.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills24i/S8sh3_nb2.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/39864973-d3d5-4886-bfb2-f8db608a005b.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/99d4b721-040d-41ad-8c0b-a3f6d3ee727f.png"], "ref_labels": ["STORYBOARD PANEL — a REFERENCE ONLY, never the target: use it loosely for camera framing, figure placement and depth order. Do NOT photorealize this drawing as-is — the SHOT TEXT and the other references are authoritative; re-stage the moment naturally as a real photograph. Never copy the sketch's line style, paper texture, borders, simplified geometry or drawing errors.", "PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing.", "CHARACTER REFERENCE — 수리영: the exact person appearing in this shot; match face, hair and build exactly.", "PROP REFERENCE — 스마트폰: the exact object appearing in this shot; match its look, material and wear exactly."], "attempt": 1, "dur_s": 28.2, "bytes": 2416603, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills24i/S8sh5_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): dusk, just after sunset.\n\nSHOT TEXT (authoritative, Korean): 마트 밖으로 나온 수리영이 손에 든 스마트폰 액정을 내려다보는 상체\n\nTHE STORYBOARD PANEL IS ONLY A REFERENCE: it is a\nrough pre-production sketch, not the image to\nreproduce. Take from it only the shot's rough\ncomposition — framing, where figures sit, near/far\norder. Everything else (real-world detail, materials,\nlight, anatomy, environment richness) must come from\nthe shot text and the photographic references,\nre-staged as if actually filmed on a real set. If the\nsketch conflicts with the shot text or looks\nsimplified/wrong, FOLLOW THE TEXT, not the sketch.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nMOVEMENT (follow exactly): static: Having come out of the supermarket, Su-ri-young stands with her upper body angled toward the smartphone in her hand and her gaze lowered to its screen while trying to make contact.\n\nFIGURES — size & depth (follow exactly): Su-ri-young’s upper body fills about ~2/3 of the frame height in the near foreground, while the smartphone is small, about ~1/10, and held within the same near plane below her face; she is the sole visible figure.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of the referenced people (수리영) matched exactly to their reference photo — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-12 16:29:40", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s34run24i_S19sh5_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/panels24i/S19sh5.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/39864973-d3d5-4886-bfb2-f8db608a005b.png"], "ref_labels": ["STORYBOARD PANEL — a REFERENCE ONLY, never the target: use it loosely for camera framing, figure placement and depth order. Do NOT photorealize this drawing as-is — the SHOT TEXT and the other references are authoritative; re-stage the moment naturally as a real photograph. Never copy the sketch's line style, paper texture, borders, simplified geometry or drawing errors.", "CHARACTER REFERENCE — 수리영: the exact person appearing in this shot; match face, hair and build exactly."], "attempt": 1, "dur_s": 18.2, "bytes": 2821862, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills24i/S19sh5_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): daytime.\n\nSHOT TEXT (authoritative, Korean): 수리영과 남자직원이 마트 밖에서 벽면의 CCTV를 올려다보는 뒷모습\n\nTHE STORYBOARD PANEL IS ONLY A REFERENCE: it is a\nrough pre-production sketch, not the image to\nreproduce. Take from it only the shot's rough\ncomposition — framing, where figures sit, near/far\norder. Everything else (real-world detail, materials,\nlight, anatomy, environment richness) must come from\nthe shot text and the photographic references,\nre-staged as if actually filmed on a real set. If the\nsketch conflicts with the shot text or looks\nsimplified/wrong, FOLLOW THE TEXT, not the sketch.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nMOVEMENT (follow exactly): static: Outside the supermarket, Su-ri-young and the male employee stand with their backs to the camera, bodies and heads tilted upward toward the wall-mounted CCTV camera as they check its coverage.\n\nFIGURES — size & depth (follow exactly): Su-ri-young and the male employee each fill roughly ~1/2 of the frame height in the nearer foreground-to-midground, standing alongside each other at comparable depth, while the CCTV camera is much smaller, around ~1/15, and farther away high on the wall.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of the referenced people (수리영) matched exactly to their reference photo — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-12 16:30:09", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s34run24i_S19sh6_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/panels24i/S19sh6.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills24i/S19sh5_nb2.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/39864973-d3d5-4886-bfb2-f8db608a005b.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/99d4b721-040d-41ad-8c0b-a3f6d3ee727f.png"], "ref_labels": ["STORYBOARD PANEL — a REFERENCE ONLY, never the target: use it loosely for camera framing, figure placement and depth order. Do NOT photorealize this drawing as-is — the SHOT TEXT and the other references are authoritative; re-stage the moment naturally as a real photograph. Never copy the sketch's line style, paper texture, borders, simplified geometry or drawing errors.", "PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing.", "CHARACTER REFERENCE — 수리영: the exact person appearing in this shot; match face, hair and build exactly.", "PROP REFERENCE — 스마트폰: the exact object appearing in this shot; match its look, material and wear exactly."], "attempt": 1, "dur_s": 29.0, "bytes": 2497534, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills24i/S19sh6_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): daytime.\n\nSHOT TEXT (authoritative, Korean): 수리영이 귀에 스마트폰을 댄 채 정면을 응시하는 상체 클로즈업\n\nTHE STORYBOARD PANEL IS ONLY A REFERENCE: it is a\nrough pre-production sketch, not the image to\nreproduce. Take from it only the shot's rough\ncomposition — framing, where figures sit, near/far\norder. Everything else (real-world detail, materials,\nlight, anatomy, environment richness) must come from\nthe shot text and the photographic references,\nre-staged as if actually filmed on a real set. If the\nsketch conflicts with the shot text or looks\nsimplified/wrong, FOLLOW THE TEXT, not the sketch.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nMOVEMENT (follow exactly): static: Su-ri-young holds a smartphone to her ear and faces forward, explaining the situation to Hye-su by phone.\n\nFIGURES — size & depth (follow exactly): Su-ri-young’s upper body fills about ~3/4 of the frame height in the near foreground, with the smartphone small, around ~1/12, against her ear in the same near plane; no other person is visible.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of the referenced people (수리영) matched exactly to their reference photo — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-12 16:30:26", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s34run24i_S20sh1_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/panels24i/S20sh1.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/bddad176-aa6a-4a71-b5d3-d02e36e19657.png"], "ref_labels": ["STORYBOARD PANEL — a REFERENCE ONLY, never the target: use it loosely for camera framing, figure placement and depth order. Do NOT photorealize this drawing as-is — the SHOT TEXT and the other references are authoritative; re-stage the moment naturally as a real photograph. Never copy the sketch's line style, paper texture, borders, simplified geometry or drawing errors.", "CHARACTER REFERENCE — 혜수: the exact person appearing in this shot; match face, hair and build exactly."], "attempt": 1, "dur_s": 17.2, "bytes": 2799322, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills24i/S20sh1_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): interior ambient light.\n\nSHOT TEXT (authoritative, Korean): 마트 총무과 책상 앞, 한국인 남성 보안직원과 혜수가 컴퓨터 모니터를 향해 몸을 기울인 측면\n\nTHE STORYBOARD PANEL IS ONLY A REFERENCE: it is a\nrough pre-production sketch, not the image to\nreproduce. Take from it only the shot's rough\ncomposition — framing, where figures sit, near/far\norder. Everything else (real-world detail, materials,\nlight, anatomy, environment richness) must come from\nthe shot text and the photographic references,\nre-staged as if actually filmed on a real set. If the\nsketch conflicts with the shot text or looks\nsimplified/wrong, FOLLOW THE TEXT, not the sketch.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nMOVEMENT (follow exactly): static: The male security employee and Hye-su lean forward from the desk toward the computer monitor, both directing their gaze at the CCTV footage.\n\nFIGURES — size & depth (follow exactly): The security employee and Hye-su each fill roughly ~1/2 of the frame height and occupy a comparable midground depth, with neither clearly nearer to the camera; the monitor is smaller, about ~1/3, positioned directly along their converging sightlines.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of the referenced people (혜수) matched exactly to their reference photo — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-12 16:30:53", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s34run24i_S20sh3_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/panels24i/S20sh3.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills24i/S20sh1_nb2.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/bddad176-aa6a-4a71-b5d3-d02e36e19657.png"], "ref_labels": ["STORYBOARD PANEL — a REFERENCE ONLY, never the target: use it loosely for camera framing, figure placement and depth order. Do NOT photorealize this drawing as-is — the SHOT TEXT and the other references are authoritative; re-stage the moment naturally as a real photograph. Never copy the sketch's line style, paper texture, borders, simplified geometry or drawing errors.", "PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing.", "CHARACTER REFERENCE — 혜수: the exact person appearing in this shot; match face, hair and build exactly."], "attempt": 1, "dur_s": 26.5, "bytes": 2573362, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills24i/S20sh3_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): interior ambient light.\n\nSHOT TEXT (authoritative, Korean): 흑백 CCTV 화면 속 어두운 구석에 사람 형상이 희미하게 찍힌 모니터 클로즈업\n\nTHE STORYBOARD PANEL IS ONLY A REFERENCE: it is a\nrough pre-production sketch, not the image to\nreproduce. Take from it only the shot's rough\ncomposition — framing, where figures sit, near/far\norder. Everything else (real-world detail, materials,\nlight, anatomy, environment richness) must come from\nthe shot text and the photographic references,\nre-staged as if actually filmed on a real set. If the\nsketch conflicts with the shot text or looks\nsimplified/wrong, FOLLOW THE TEXT, not the sketch.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nMOVEMENT (follow exactly): static: A faint, unidentifiable human-shaped form remains in a dark corner of the black-and-white CCTV image, with no discernible direction of travel or body orientation.\n\nFIGURES — size & depth (follow exactly): The monitor image fills nearly the entire frame and is the nearest visible object, while the indistinct human-shaped form is tiny, about ~1/10 of the frame height, and appears far away within the recorded space.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of the referenced people (혜수) matched exactly to their reference photo — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-12 16:31:13", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s34run24i_S16sh3_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/panels24i/S16sh3.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/bddad176-aa6a-4a71-b5d3-d02e36e19657.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/99d4b721-040d-41ad-8c0b-a3f6d3ee727f.png"], "ref_labels": ["STORYBOARD PANEL — a REFERENCE ONLY, never the target: use it loosely for camera framing, figure placement and depth order. Do NOT photorealize this drawing as-is — the SHOT TEXT and the other references are authoritative; re-stage the moment naturally as a real photograph. Never copy the sketch's line style, paper texture, borders, simplified geometry or drawing errors.", "CHARACTER REFERENCE — 혜수: the exact person appearing in this shot; match face, hair and build exactly.", "PROP REFERENCE — 스마트폰: the exact object appearing in this shot; match its look, material and wear exactly."], "attempt": 1, "dur_s": 20.6, "bytes": 2634933, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills24i/S16sh3_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\n\nSHOT TEXT (authoritative, Korean): 혜수가 스마트폰 액정을 김형사 쪽으로 불쑥 내민 순간\n\nTHE STORYBOARD PANEL IS ONLY A REFERENCE: it is a\nrough pre-production sketch, not the image to\nreproduce. Take from it only the shot's rough\ncomposition — framing, where figures sit, near/far\norder. Everything else (real-world detail, materials,\nlight, anatomy, environment richness) must come from\nthe shot text and the photographic references,\nre-staged as if actually filmed on a real set. If the\nsketch conflicts with the shot text or looks\nsimplified/wrong, FOLLOW THE TEXT, not the sketch.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nMOVEMENT (follow exactly): Hye-su abruptly thrusts the smartphone forward from her side toward Detective Kim, presenting Min-sook's saved number while remaining inside the office.\n\nFIGURES — size & depth (follow exactly): Hye-su and Detective Kim each fill roughly ~1/2 of the frame height, with Hye-su NEARER to the camera and Detective Kim FARTHER across from her. The extended smartphone fills about ~1/5 of the frame height, projecting from Hye-su toward Detective Kim and lying between their positions.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of the referenced people (혜수) matched exactly to their reference photo — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-12 16:31:31", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s34run24i_S21sh7_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/panels24i/S21sh7.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/39864973-d3d5-4886-bfb2-f8db608a005b.png"], "ref_labels": ["STORYBOARD PANEL — a REFERENCE ONLY, never the target: use it loosely for camera framing, figure placement and depth order. Do NOT photorealize this drawing as-is — the SHOT TEXT and the other references are authoritative; re-stage the moment naturally as a real photograph. Never copy the sketch's line style, paper texture, borders, simplified geometry or drawing errors.", "CHARACTER REFERENCE — 수리영: the exact person appearing in this shot; match face, hair and build exactly."], "attempt": 1, "dur_s": 17.9, "bytes": 2654551, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills24i/S21sh7_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): daytime.\n\nSHOT TEXT (authoritative, Korean): 수리영이 두 눈을 크게 뜨고 입을 살짝 벌린 굳은 얼굴 클로즈업\n\nTHE STORYBOARD PANEL IS ONLY A REFERENCE: it is a\nrough pre-production sketch, not the image to\nreproduce. Take from it only the shot's rough\ncomposition — framing, where figures sit, near/far\norder. Everything else (real-world detail, materials,\nlight, anatomy, environment richness) must come from\nthe shot text and the photographic references,\nre-staged as if actually filmed on a real set. If the\nsketch conflicts with the shot text or looks\nsimplified/wrong, FOLLOW THE TEXT, not the sketch.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nMOVEMENT (follow exactly): static: Su-ri-young holds rigid with fear and shock, her widened eyes fixed forward and her lips slightly parted.\n\nFIGURES — size & depth (follow exactly): Su-ri-young's face fills roughly ~3/4 of the frame height; she is the sole and therefore NEAREST visible figure, with no farther person shown.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of the referenced people (수리영) matched exactly to their reference photo — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-12 16:31:54", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s34run24i_S21sh10_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/panels24i/S21sh10.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills24i/S21sh7_nb2.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/39864973-d3d5-4886-bfb2-f8db608a005b.png"], "ref_labels": ["STORYBOARD PANEL — a REFERENCE ONLY, never the target: use it loosely for camera framing, figure placement and depth order. Do NOT photorealize this drawing as-is — the SHOT TEXT and the other references are authoritative; re-stage the moment naturally as a real photograph. Never copy the sketch's line style, paper texture, borders, simplified geometry or drawing errors.", "PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing.", "CHARACTER REFERENCE — 수리영: the exact person appearing in this shot; match face, hair and build exactly."], "attempt": 1, "dur_s": 22.7, "bytes": 2607359, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills24i/S21sh10_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): daytime.\n\nSHOT TEXT (authoritative, Korean): 모니터 화면에 바다 지도가 펼쳐져 있고 붉은색 핀과 좌표 숫자가 떠 있는 클로즈업\n\nTHE STORYBOARD PANEL IS ONLY A REFERENCE: it is a\nrough pre-production sketch, not the image to\nreproduce. Take from it only the shot's rough\ncomposition — framing, where figures sit, near/far\norder. Everything else (real-world detail, materials,\nlight, anatomy, environment richness) must come from\nthe shot text and the photographic references,\nre-staged as if actually filmed on a real set. If the\nsketch conflicts with the shot text or looks\nsimplified/wrong, FOLLOW THE TEXT, not the sketch.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nMOVEMENT (follow exactly): static: the monitor displays a sea map with a red location pin and coordinate figures, with no physical movement in frame.\n\nFIGURES — size & depth (follow exactly): The monitor image fills nearly the full frame and is the sole, NEAREST core object; the map, pin, and coordinate text occupy the same flat display plane with no farther figure visible.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of the referenced people (수리영) matched exactly to their reference photo — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-12 16:32:18", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s34run24i_S21sh12_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/panels24i/S21sh12.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills24i/S21sh10_nb2.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/39864973-d3d5-4886-bfb2-f8db608a005b.png"], "ref_labels": ["STORYBOARD PANEL — a REFERENCE ONLY, never the target: use it loosely for camera framing, figure placement and depth order. Do NOT photorealize this drawing as-is — the SHOT TEXT and the other references are authoritative; re-stage the moment naturally as a real photograph. Never copy the sketch's line style, paper texture, borders, simplified geometry or drawing errors.", "PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing.", "CHARACTER REFERENCE — 수리영: the exact person appearing in this shot; match face, hair and build exactly."], "attempt": 1, "dur_s": 23.6, "bytes": 2391029, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills24i/S21sh12_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): daytime.\n\nSHOT TEXT (authoritative, Korean): 수리영이 메모지가 들어간 겉옷 주머니에 손을 넣은 채 사무실 출입문을 향해 몸을 돌린 정지 순간\n\nTHE STORYBOARD PANEL IS ONLY A REFERENCE: it is a\nrough pre-production sketch, not the image to\nreproduce. Take from it only the shot's rough\ncomposition — framing, where figures sit, near/far\norder. Everything else (real-world detail, materials,\nlight, anatomy, environment richness) must come from\nthe shot text and the photographic references,\nre-staged as if actually filmed on a real set. If the\nsketch conflicts with the shot text or looks\nsimplified/wrong, FOLLOW THE TEXT, not the sketch.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nMOVEMENT (follow exactly): static: Su-ri-young stands tensely with one hand inside the coat pocket holding the folded note, her body turned toward the office exit and poised to leave the room.\n\nFIGURES — size & depth (follow exactly): Su-ri-young fills roughly ~2/3 of the frame height and is NEARER to the camera, while the office doorway is FARTHER in the direction she faces. Her intended path runs from her position inside the office toward and through that doorway.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of the referenced people (수리영) matched exactly to their reference photo — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-12 16:32:48", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s34run24i_S22sh1_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/panels24i/S22sh1.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills24i/S21sh12_nb2.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/39864973-d3d5-4886-bfb2-f8db608a005b.png"], "ref_labels": ["STORYBOARD PANEL — a REFERENCE ONLY, never the target: use it loosely for camera framing, figure placement and depth order. Do NOT photorealize this drawing as-is — the SHOT TEXT and the other references are authoritative; re-stage the moment naturally as a real photograph. Never copy the sketch's line style, paper texture, borders, simplified geometry or drawing errors.", "PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing.", "CHARACTER REFERENCE — 수리영: the exact person appearing in this shot; match face, hair and build exactly."], "attempt": 1, "dur_s": 30.5, "bytes": 2628098, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills24i/S22sh1_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): daytime.\n\nSHOT TEXT (authoritative, Korean): 경찰서 건물 밖 도로 위에서 수리영이 자전거 안장에 앉아 상체를 앞으로 숙인 채 머리카락이 뒤로 흩날리는 측면\n\nTHE STORYBOARD PANEL IS ONLY A REFERENCE: it is a\nrough pre-production sketch, not the image to\nreproduce. Take from it only the shot's rough\ncomposition — framing, where figures sit, near/far\norder. Everything else (real-world detail, materials,\nlight, anatomy, environment richness) must come from\nthe shot text and the photographic references,\nre-staged as if actually filmed on a real set. If the\nsketch conflicts with the shot text or looks\nsimplified/wrong, FOLLOW THE TEXT, not the sketch.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nMOVEMENT (follow exactly): Su-ri-young rides the bicycle along the road outside the police station, moving laterally across the camera's side view with her torso pitched forward over the handlebars and her hair streaming backward, neither directly toward nor directly away from the camera.\n\nFIGURES — size & depth (follow exactly): Su-ri-young fills roughly ~1/2 of the frame height, and the bicycle-and-rider silhouette together fills about ~2/3; both are NEARER to the camera than the FARTHER police-station exterior. Her path continues along the road parallel to the image plane.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of the referenced people (수리영) matched exactly to their reference photo — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-12 17:01:12", "kind": "llm", "step": "s34run24s_contineed_forest", "model": "gpt", "dur_s": 6.7, "system_prompt": "당신은 촬영 현장의 콘티 운용 판정가다. 각 샷의 텍스트와 동선\n분석을 보고, 이미지 생성 시 스토리보드(콘티) 패널을 구도\n참조로 첨부할 필요가 있는지 판정하라.\n콘티 필요(true) = 구도를 글만으로 오해하기 쉬운 경우: 여러\n인물의 동선·위치 관계가 얽힘, 특수한 카메라 각도/깊이 관계,\n연속 액션의 방향 유지가 중요, 프레임 내 배치가 스토리텔링에\n결정적.\n콘티 불필요(false) = 글만으로 충분히 명확한 쉬운 구도: 단일\n인물 클로즈업/상반신, 단순 인서트(손·사물), 정적인 단순 배치,\n표준적인 대화 구도 등.\n각 샷마다 need_conti(bool)와 reason_ko(한 구절)를 반환하라.", "user_prompt": "샷 목록:\nS1sh1: 한쪽 신발이 벗겨진 한국인 남자가 우거진 수풀 사이를 달리며 한 발을 허공에 내딛고 있는 도중의 전신 구도\n  동선: The terrified, wounded Korean man runs through dense undergrowth while fleeing an unseen threat, driving forward with one foot airborne, one shoe missing, and a pain-guarded, unsteady stride; his direction relative to the camera is unspecified.\nS1sh4: 검은 형상의 인영이 허공에 뛰어오른 채 한국인 남자를 향해 두 팔을 뻗고 있는 순간\n  동선: A real, normal-human-proportioned person appearing as a dark silhouette springs through the air toward the terrified, wounded Korean man, reaching both arms forward to pounce on him as he flees; their movement toward or away from the camera is unspecified.\nS3sh3: 형사 무리 한가운데 서서 손가락으로 한쪽을 가리키는 혜수의 상체\n  동선: static: Hyesu stands upright at the center of the detectives, directing the investigation by pointing one finger toward one side while her gaze and upper body orient toward that indicated direction."}
{"ts": "2026-07-12 17:01:15", "kind": "llm", "step": "s34run24s_contineed_busstop", "model": "gpt", "dur_s": 3.2, "system_prompt": "당신은 촬영 현장의 콘티 운용 판정가다. 각 샷의 텍스트와 동선\n분석을 보고, 이미지 생성 시 스토리보드(콘티) 패널을 구도\n참조로 첨부할 필요가 있는지 판정하라.\n콘티 필요(true) = 구도를 글만으로 오해하기 쉬운 경우: 여러\n인물의 동선·위치 관계가 얽힘, 특수한 카메라 각도/깊이 관계,\n연속 액션의 방향 유지가 중요, 프레임 내 배치가 스토리텔링에\n결정적.\n콘티 불필요(false) = 글만으로 충분히 명확한 쉬운 구도: 단일\n인물 클로즈업/상반신, 단순 인서트(손·사물), 정적인 단순 배치,\n표준적인 대화 구도 등.\n각 샷마다 need_conti(bool)와 reason_ko(한 구절)를 반환하라.", "user_prompt": "샷 목록:\nS15sh2: 혜수의 손이 음료수 캔을 쥔 채 수리영 앞으로 내밀어진 순간\n  동선: Hye-su extends her hand and the drink can from her side into the space directly in front of Suri-young, who remains seated and blankly oriented toward the sea.\nS15sh6: 멀리서 혜수의 전신과 한 발을 공중에 띄운 mid-stride 자세로 달리는 수리영의 뒷모습을 한 프레임에 담은 넓은 구도\n  동선: Suri-young runs away from Hye-su and away from the camera with her back visible and one foot airborne mid-stride, while Hye-su remains behind facing her path."}
{"ts": "2026-07-12 17:01:20", "kind": "llm", "step": "s34run24s_contineed_rooftop_ext", "model": "gpt", "dur_s": 4.9, "system_prompt": "당신은 촬영 현장의 콘티 운용 판정가다. 각 샷의 텍스트와 동선\n분석을 보고, 이미지 생성 시 스토리보드(콘티) 패널을 구도\n참조로 첨부할 필요가 있는지 판정하라.\n콘티 필요(true) = 구도를 글만으로 오해하기 쉬운 경우: 여러\n인물의 동선·위치 관계가 얽힘, 특수한 카메라 각도/깊이 관계,\n연속 액션의 방향 유지가 중요, 프레임 내 배치가 스토리텔링에\n결정적.\n콘티 불필요(false) = 글만으로 충분히 명확한 쉬운 구도: 단일\n인물 클로즈업/상반신, 단순 인서트(손·사물), 정적인 단순 배치,\n표준적인 대화 구도 등.\n각 샷마다 need_conti(bool)와 reason_ko(한 구절)를 반환하라.", "user_prompt": "샷 목록:\nS10sh6: 현관 철문이 아주 살짝 열린 틈새로 보이는 어두운 실내와 신발 앞코\n  동선: The stranger's shoe toe advances away from the rooftop camera through the barely opened iron door and into the dark room.\nS10sh7: 불이 켜진 옥탑방 창문에 거대한 그림자가 작은 그림자의 어깨 쪽으로 고개를 꺾은 형태가 맺혀 있는 정지 구도\n  동선: static: the large shadow looms over the smaller shadow, its head sharply bent toward the smaller figure's shoulder as if biting it, while the smaller figure is pinned beneath the attack.\nS11sh4: 철제 파이프 난간을 손으로 잡은 수리영이 코끝을 찡그린 채 계단 중간에 서 있는 얼굴 클로즈업\n  동선: static: Su-ri-young pauses midway up the stairs, gripping the pipe railing with a tense hand and wrinkling her nose at the sudden foul smell while facing upward.\nS11sh5: 옥상에 선 수리영의 시선 끝에 반쯤 열려 있는 어두운 현관 철문이 보이는 정면 구도\n  동선: static: Su-ri-young stands on the rooftop facing the half-open iron entrance door, her attention fixed on the dark opening ahead.\nS13sh4: 수리영이 초점을 잃은 눈으로 허공을 응시하며 서 있는 모습\n  동선: static: Su-ri-young stands motionless after fleeing downstairs, her shocked body slack and her unfocused eyes staring into empty space.\nS13sh6: 고개를 든 채 혜수의 얼굴을 마주보고 있는 수리영의 측면 구도\n  동선: static: Su-ri-young keeps her head raised toward Hye-su, meeting her face from the side with a stunned, unfocused posture."}
{"ts": "2026-07-12 17:01:27", "kind": "llm", "step": "s34run24s_contineed_rooftop_int", "model": "gpt", "dur_s": 7.0, "system_prompt": "당신은 촬영 현장의 콘티 운용 판정가다. 각 샷의 텍스트와 동선\n분석을 보고, 이미지 생성 시 스토리보드(콘티) 패널을 구도\n참조로 첨부할 필요가 있는지 판정하라.\n콘티 필요(true) = 구도를 글만으로 오해하기 쉬운 경우: 여러\n인물의 동선·위치 관계가 얽힘, 특수한 카메라 각도/깊이 관계,\n연속 액션의 방향 유지가 중요, 프레임 내 배치가 스토리텔링에\n결정적.\n콘티 불필요(false) = 글만으로 충분히 명확한 쉬운 구도: 단일\n인물 클로즈업/상반신, 단순 인서트(손·사물), 정적인 단순 배치,\n표준적인 대화 구도 등.\n각 샷마다 need_conti(bool)와 reason_ko(한 구절)를 반환하라.", "user_prompt": "샷 목록:\nS12sh11: 옷과 피부가 피투성이가 된 민숙이 바닥에 주저앉아 고개를 푹 숙인 정지 상태\n  동선: static: Minsuk is lifeless on the floor, collapsed in a seated fall with her head hanging forward, torso slumped asymmetrically, limp limbs, and her weight fully fallen rather than held upright.\nS12sh21: 침대 위쪽 벽면에 붉은색 원형 표식이 절반쯤 나타난 상태\n  동선: static: the half-formed red circle remains on the wall above the bed, with no person crossing the frame.\nS14sh5: 핏자국 없이 깨끗한 방 내부 전경\n  동선: static: the excessively clean, bloodless room stands empty, with no one entering, leaving, or moving through it.\nS18sh11: 거울 속 반사된 욕실 타일 벽면에 붉은색 원형 표식이 절반쯤 나타난 상태\n  동선: static: a half-formed red circle is visible on the bathroom tile wall only through the mirror reflection, with no person moving through the shot.\nS25sh1: 해질 무렵 옥탑방 거실, 흙 묻은 발자국들이 찍힌 바닥과 쓰러진 식탁 의자들이 보이는 전경\n  동선: static: muddy footprints lie across the living-room floor among overturned dining chairs, but their direction of travel cannot be determined from the shot.\nS25sh5: 붉은 원 한가운데 피 묻은 낡은 흑백 사진이 벽에 꽂혀 있는 타이트 샷\n  동선: static: the bloodstained old photograph remains fixed at the center of the red circle on the wall, with no hand or person entering the frame."}
{"ts": "2026-07-12 17:01:34", "kind": "llm", "step": "s34run24s_contineed_mart", "model": "gpt", "dur_s": 7.0, "system_prompt": "당신은 촬영 현장의 콘티 운용 판정가다. 각 샷의 텍스트와 동선\n분석을 보고, 이미지 생성 시 스토리보드(콘티) 패널을 구도\n참조로 첨부할 필요가 있는지 판정하라.\n콘티 필요(true) = 구도를 글만으로 오해하기 쉬운 경우: 여러\n인물의 동선·위치 관계가 얽힘, 특수한 카메라 각도/깊이 관계,\n연속 액션의 방향 유지가 중요, 프레임 내 배치가 스토리텔링에\n결정적.\n콘티 불필요(false) = 글만으로 충분히 명확한 쉬운 구도: 단일\n인물 클로즈업/상반신, 단순 인서트(손·사물), 정적인 단순 배치,\n표준적인 대화 구도 등.\n각 샷마다 need_conti(bool)와 reason_ko(한 구절)를 반환하라.", "user_prompt": "샷 목록:\nS8sh3: 수리영이 마트 유니폼을 입은 한국인 여성 직원을 마주보며 입을 살짝 벌린 측면 구도\n  동선: static: Su-ri-young and the female supermarket employee stand facing each other in profile, Su-ri-young holding her mouth slightly open as she addresses the employee.\nS8sh5: 마트 밖으로 나온 수리영이 손에 든 스마트폰 액정을 내려다보는 상체\n  동선: static: Having come out of the supermarket, Su-ri-young stands with her upper body angled toward the smartphone in her hand and her gaze lowered to its screen while trying to make contact.\nS19sh5: 수리영과 남자직원이 마트 밖에서 벽면의 CCTV를 올려다보는 뒷모습\n  동선: static: Outside the supermarket, Su-ri-young and the male employee stand with their backs to the camera, bodies and heads tilted upward toward the wall-mounted CCTV camera as they check its coverage.\nS19sh6: 수리영이 귀에 스마트폰을 댄 채 정면을 응시하는 상체 클로즈업\n  동선: static: Su-ri-young holds a smartphone to her ear and faces forward, explaining the situation to Hye-su by phone.\nS20sh1: 마트 총무과 책상 앞, 한국인 남성 보안직원과 혜수가 컴퓨터 모니터를 향해 몸을 기울인 측면\n  동선: static: The male security employee and Hye-su lean forward from the desk toward the computer monitor, both directing their gaze at the CCTV footage.\nS20sh3: 흑백 CCTV 화면 속 어두운 구석에 사람 형상이 희미하게 찍힌 모니터 클로즈업\n  동선: static: A faint, unidentifiable human-shaped form remains in a dark corner of the black-and-white CCTV image, with no discernible direction of travel or body orientation."}
{"ts": "2026-07-12 17:01:41", "kind": "llm", "step": "s34run24s_contineed_police", "model": "gpt", "dur_s": 6.7, "system_prompt": "당신은 촬영 현장의 콘티 운용 판정가다. 각 샷의 텍스트와 동선\n분석을 보고, 이미지 생성 시 스토리보드(콘티) 패널을 구도\n참조로 첨부할 필요가 있는지 판정하라.\n콘티 필요(true) = 구도를 글만으로 오해하기 쉬운 경우: 여러\n인물의 동선·위치 관계가 얽힘, 특수한 카메라 각도/깊이 관계,\n연속 액션의 방향 유지가 중요, 프레임 내 배치가 스토리텔링에\n결정적.\n콘티 불필요(false) = 글만으로 충분히 명확한 쉬운 구도: 단일\n인물 클로즈업/상반신, 단순 인서트(손·사물), 정적인 단순 배치,\n표준적인 대화 구도 등.\n각 샷마다 need_conti(bool)와 reason_ko(한 구절)를 반환하라.", "user_prompt": "샷 목록:\nS16sh3: 혜수가 스마트폰 액정을 김형사 쪽으로 불쑥 내민 순간\n  동선: Hye-su abruptly thrusts the smartphone forward from her side toward Detective Kim, presenting Min-sook's saved number while remaining inside the office.\nS21sh7: 수리영이 두 눈을 크게 뜨고 입을 살짝 벌린 굳은 얼굴 클로즈업\n  동선: static: Su-ri-young holds rigid with fear and shock, her widened eyes fixed forward and her lips slightly parted.\nS21sh10: 모니터 화면에 바다 지도가 펼쳐져 있고 붉은색 핀과 좌표 숫자가 떠 있는 클로즈업\n  동선: static: the monitor displays a sea map with a red location pin and coordinate figures, with no physical movement in frame.\nS21sh12: 수리영이 메모지가 들어간 겉옷 주머니에 손을 넣은 채 사무실 출입문을 향해 몸을 돌린 정지 순간\n  동선: static: Su-ri-young stands tensely with one hand inside the coat pocket holding the folded note, her body turned toward the office exit and poised to leave the room.\nS22sh1: 경찰서 건물 밖 도로 위에서 수리영이 자전거 안장에 앉아 상체를 앞으로 숙인 채 머리카락이 뒤로 흩날리는 측면\n  동선: Su-ri-young rides the bicycle along the road outside the police station, moving laterally across the camera's side view with her torso pitched forward over the handlebars and her hair streaming backward, neither directly toward nor directly away from the camera."}
{"ts": "2026-07-12 17:02:20", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s34run24s_S1sh1_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/efc879db-5f82-4f77-bf83-75e3d2d41f1c.png"], "ref_labels": ["CHARACTER REFERENCE — 한국인 남자: the exact person appearing in this shot; match face, hair and build exactly."], "attempt": 1, "dur_s": 21.4, "bytes": 3214671, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills24s/S1sh1_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): dusk, just after sunset.\n\nSHOT TEXT (authoritative, Korean): 한쪽 신발이 벗겨진 한국인 남자가 우거진 수풀 사이를 달리며 한 발을 허공에 내딛고 있는 도중의 전신 구도\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nMOVEMENT (follow exactly): The terrified, wounded Korean man runs through dense undergrowth while fleeing an unseen threat, driving forward with one foot airborne, one shoe missing, and a pain-guarded, unsteady stride; his direction relative to the camera is unspecified.\n\nFIGURES — size & depth (follow exactly): The man's full body fills roughly ~4/5 of the frame height; he is the sole visible figure and thus both the nearest and farthest person in the frame.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of the referenced people (한국인 남자) matched exactly to their reference photo — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-12 17:02:47", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s34run24s_S1sh4_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/panels24i/S1sh4.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills24s/S1sh1_nb2.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/efc879db-5f82-4f77-bf83-75e3d2d41f1c.png"], "ref_labels": ["STORYBOARD PANEL — a REFERENCE ONLY, never the target: use it loosely for camera framing, figure placement and depth order. Do NOT photorealize this drawing as-is — the SHOT TEXT and the other references are authoritative; re-stage the moment naturally as a real photograph. Never copy the sketch's line style, paper texture, borders, simplified geometry or drawing errors.", "PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing.", "CHARACTER REFERENCE — 한국인 남자: the exact person appearing in this shot; match face, hair and build exactly."], "attempt": 1, "dur_s": 26.8, "bytes": 3049746, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills24s/S1sh4_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): dusk, just after sunset.\n\nSHOT TEXT (authoritative, Korean): 검은 형상의 인영이 허공에 뛰어오른 채 한국인 남자를 향해 두 팔을 뻗고 있는 순간\n\nTHE STORYBOARD PANEL IS ONLY A REFERENCE: it is a\nrough pre-production sketch, not the image to\nreproduce. Take from it only the shot's rough\ncomposition — framing, where figures sit, near/far\norder. Everything else (real-world detail, materials,\nlight, anatomy, environment richness) must come from\nthe shot text and the photographic references,\nre-staged as if actually filmed on a real set. If the\nsketch conflicts with the shot text or looks\nsimplified/wrong, FOLLOW THE TEXT, not the sketch.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nMOVEMENT (follow exactly): A real, normal-human-proportioned person appearing as a dark silhouette springs through the air toward the terrified, wounded Korean man, reaching both arms forward to pounce on him as he flees; their movement toward or away from the camera is unspecified.\n\nFIGURES — size & depth (follow exactly): The airborne dark figure and the Korean man each read at roughly ~1/2–2/3 of the frame height as their paths rapidly converge. Neither is established as nearer or farther from the camera, but the dark figure is closing the physical gap to the man.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of the referenced people (한국인 남자) matched exactly to their reference photo — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-12 17:03:03", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s34run24s_S3sh3_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/bddad176-aa6a-4a71-b5d3-d02e36e19657.png"], "ref_labels": ["CHARACTER REFERENCE — 혜수: the exact person appearing in this shot; match face, hair and build exactly."], "attempt": 1, "dur_s": 15.4, "bytes": 2401828, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills24s/S3sh3_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): daytime.\n\nSHOT TEXT (authoritative, Korean): 형사 무리 한가운데 서서 손가락으로 한쪽을 가리키는 혜수의 상체\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nMOVEMENT (follow exactly): static: Hyesu stands upright at the center of the detectives, directing the investigation by pointing one finger toward one side while her gaze and upper body orient toward that indicated direction.\n\nFIGURES — size & depth (follow exactly): Hyesu's upper body fills roughly ~2/3 of the frame height and is the nearer, dominant figure; the surrounding detectives appear smaller, roughly ~1/3–1/2 of the frame height, and farther from the camera around her.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of the referenced people (혜수) matched exactly to their reference photo — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-12 17:03:20", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s34run24s_S15sh2_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/bddad176-aa6a-4a71-b5d3-d02e36e19657.png"], "ref_labels": ["CHARACTER REFERENCE — 혜수: the exact person appearing in this shot; match face, hair and build exactly."], "attempt": 1, "dur_s": 17.1, "bytes": 2213000, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills24s/S15sh2_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\n\nSHOT TEXT (authoritative, Korean): 혜수의 손이 음료수 캔을 쥔 채 수리영 앞으로 내밀어진 순간\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nMOVEMENT (follow exactly): Hye-su extends her hand and the drink can from her side into the space directly in front of Suri-young, who remains seated and blankly oriented toward the sea.\n\nFIGURES — size & depth (follow exactly): Hye-su's hand and can appear large at roughly ~1/3 of the frame height and are NEARER to the camera; seated Suri-young appears around ~1/2 of the frame height and is FARTHER behind the offered can.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of the referenced people (혜수) matched exactly to their reference photo — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-12 17:03:55", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s34run24s_S15sh6_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/panels24i/S15sh6.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills24s/S15sh2_nb2.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/39864973-d3d5-4886-bfb2-f8db608a005b.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/bddad176-aa6a-4a71-b5d3-d02e36e19657.png"], "ref_labels": ["STORYBOARD PANEL — a REFERENCE ONLY, never the target: use it loosely for camera framing, figure placement and depth order. Do NOT photorealize this drawing as-is — the SHOT TEXT and the other references are authoritative; re-stage the moment naturally as a real photograph. Never copy the sketch's line style, paper texture, borders, simplified geometry or drawing errors.", "PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing.", "CHARACTER REFERENCE — 수리영: the exact person appearing in this shot; match face, hair and build exactly.", "CHARACTER REFERENCE — 혜수: the exact person appearing in this shot; match face, hair and build exactly."], "attempt": 1, "dur_s": 35.1, "bytes": 2233533, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills24s/S15sh6_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\n\nSHOT TEXT (authoritative, Korean): 멀리서 혜수의 전신과 한 발을 공중에 띄운 mid-stride 자세로 달리는 수리영의 뒷모습을 한 프레임에 담은 넓은 구도\n\nTHE STORYBOARD PANEL IS ONLY A REFERENCE: it is a\nrough pre-production sketch, not the image to\nreproduce. Take from it only the shot's rough\ncomposition — framing, where figures sit, near/far\norder. Everything else (real-world detail, materials,\nlight, anatomy, environment richness) must come from\nthe shot text and the photographic references,\nre-staged as if actually filmed on a real set. If the\nsketch conflicts with the shot text or looks\nsimplified/wrong, FOLLOW THE TEXT, not the sketch.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nMOVEMENT (follow exactly): Suri-young runs away from Hye-su and away from the camera with her back visible and one foot airborne mid-stride, while Hye-su remains behind facing her path.\n\nFIGURES — size & depth (follow exactly): Hye-su's full body appears about ~1/3 of the frame height and is NEARER to the camera, while the departing Suri-young appears smaller at ~1/5 and FARTHER along the route away. The distance between them increases as Suri-young runs ahead and Hye-su stays behind.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of the referenced people (수리영, 혜수) matched exactly to their reference photo — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-12 17:04:11", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s34run24s_S10sh6_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/panels24i/S10sh6.png"], "ref_labels": ["STORYBOARD PANEL — a REFERENCE ONLY, never the target: use it loosely for camera framing, figure placement and depth order. Do NOT photorealize this drawing as-is — the SHOT TEXT and the other references are authoritative; re-stage the moment naturally as a real photograph. Never copy the sketch's line style, paper texture, borders, simplified geometry or drawing errors."], "attempt": 1, "dur_s": 15.9, "bytes": 2526308, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills24s/S10sh6_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\n\nSHOT TEXT (authoritative, Korean): 현관 철문이 아주 살짝 열린 틈새로 보이는 어두운 실내와 신발 앞코\n\nTHE STORYBOARD PANEL IS ONLY A REFERENCE: it is a\nrough pre-production sketch, not the image to\nreproduce. Take from it only the shot's rough\ncomposition — framing, where figures sit, near/far\norder. Everything else (real-world detail, materials,\nlight, anatomy, environment richness) must come from\nthe shot text and the photographic references,\nre-staged as if actually filmed on a real set. If the\nsketch conflicts with the shot text or looks\nsimplified/wrong, FOLLOW THE TEXT, not the sketch.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nMOVEMENT (follow exactly): The stranger's shoe toe advances away from the rooftop camera through the barely opened iron door and into the dark room.\n\nFIGURES — size & depth (follow exactly): The shoe toe is small, about ~1/6 of frame height, and is FARTHER than the NEARER iron door and its narrow opening; the dark interior recedes farthest beyond it.\n\nNo people appear unless the shot text itself says so.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-12 17:04:32", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s34run24s_S10sh7_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/panels24i/S10sh7.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills24s/S10sh6_nb2.png"], "ref_labels": ["STORYBOARD PANEL — a REFERENCE ONLY, never the target: use it loosely for camera framing, figure placement and depth order. Do NOT photorealize this drawing as-is — the SHOT TEXT and the other references are authoritative; re-stage the moment naturally as a real photograph. Never copy the sketch's line style, paper texture, borders, simplified geometry or drawing errors.", "PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing."], "attempt": 1, "dur_s": 21.0, "bytes": 2143214, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills24s/S10sh7_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\n\nSHOT TEXT (authoritative, Korean): 불이 켜진 옥탑방 창문에 거대한 그림자가 작은 그림자의 어깨 쪽으로 고개를 꺾은 형태가 맺혀 있는 정지 구도\n\nTHE STORYBOARD PANEL IS ONLY A REFERENCE: it is a\nrough pre-production sketch, not the image to\nreproduce. Take from it only the shot's rough\ncomposition — framing, where figures sit, near/far\norder. Everything else (real-world detail, materials,\nlight, anatomy, environment richness) must come from\nthe shot text and the photographic references,\nre-staged as if actually filmed on a real set. If the\nsketch conflicts with the shot text or looks\nsimplified/wrong, FOLLOW THE TEXT, not the sketch.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nMOVEMENT (follow exactly): static: the large shadow looms over the smaller shadow, its head sharply bent toward the smaller figure's shoulder as if biting it, while the smaller figure is pinned beneath the attack.\n\nFIGURES — size & depth (follow exactly): The large shadow fills roughly ~3/4 of frame height and overlaps the smaller shadow, which fills about ~1/2; both appear on the same FAR window plane, behind the NEARER window surface, with no clear depth separation between them.\n\nNo people appear unless the shot text itself says so.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-12 17:04:49", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s34run24s_S11sh4_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/39864973-d3d5-4886-bfb2-f8db608a005b.png"], "ref_labels": ["CHARACTER REFERENCE — 수리영: the exact person appearing in this shot; match face, hair and build exactly."], "attempt": 1, "dur_s": 17.1, "bytes": 2533712, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills24s/S11sh4_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\n\nSHOT TEXT (authoritative, Korean): 철제 파이프 난간을 손으로 잡은 수리영이 코끝을 찡그린 채 계단 중간에 서 있는 얼굴 클로즈업\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nMOVEMENT (follow exactly): static: Su-ri-young pauses midway up the stairs, gripping the pipe railing with a tense hand and wrinkling her nose at the sudden foul smell while facing upward.\n\nFIGURES — size & depth (follow exactly): Her close-up face fills about ~2/3 of frame height and is the NEAREST figure; her railing hand is slightly FARTHER, while the stairway behind her recedes farthest.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of the referenced people (수리영) matched exactly to their reference photo — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-12 17:05:08", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s34run24s_S11sh5_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills24s/S11sh4_nb2.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/39864973-d3d5-4886-bfb2-f8db608a005b.png"], "ref_labels": ["PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing.", "CHARACTER REFERENCE — 수리영: the exact person appearing in this shot; match face, hair and build exactly."], "attempt": 1, "dur_s": 19.3, "bytes": 2381592, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills24s/S11sh5_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\n\nSHOT TEXT (authoritative, Korean): 옥상에 선 수리영의 시선 끝에 반쯤 열려 있는 어두운 현관 철문이 보이는 정면 구도\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nMOVEMENT (follow exactly): static: Su-ri-young stands on the rooftop facing the half-open iron entrance door, her attention fixed on the dark opening ahead.\n\nFIGURES — size & depth (follow exactly): Su-ri-young occupies roughly ~1/2 of frame height in the NEARER plane, while the half-open door is FARTHER ahead and fills about ~1/3; her sightline runs directly across the rooftop into its dark gap.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of the referenced people (수리영) matched exactly to their reference photo — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-12 17:05:24", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s34run24s_S13sh4_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/39864973-d3d5-4886-bfb2-f8db608a005b.png"], "ref_labels": ["CHARACTER REFERENCE — 수리영: the exact person appearing in this shot; match face, hair and build exactly."], "attempt": 1, "dur_s": 15.5, "bytes": 2766278, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills24s/S13sh4_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\n\nSHOT TEXT (authoritative, Korean): 수리영이 초점을 잃은 눈으로 허공을 응시하며 서 있는 모습\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nMOVEMENT (follow exactly): static: Su-ri-young stands motionless after fleeing downstairs, her shocked body slack and her unfocused eyes staring into empty space.\n\nFIGURES — size & depth (follow exactly): Su-ri-young fills roughly ~1/2 of frame height and is the sole, NEAREST figure, with the surrounding exterior space FARTHER behind her.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of the referenced people (수리영) matched exactly to their reference photo — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-12 17:05:52", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s34run24s_S13sh6_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills24s/S13sh4_nb2.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/39864973-d3d5-4886-bfb2-f8db608a005b.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/bddad176-aa6a-4a71-b5d3-d02e36e19657.png"], "ref_labels": ["PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing.", "CHARACTER REFERENCE — 수리영: the exact person appearing in this shot; match face, hair and build exactly.", "CHARACTER REFERENCE — 혜수: the exact person appearing in this shot; match face, hair and build exactly."], "attempt": 1, "dur_s": 28.0, "bytes": 2853094, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills24s/S13sh6_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\n\nSHOT TEXT (authoritative, Korean): 고개를 든 채 혜수의 얼굴을 마주보고 있는 수리영의 측면 구도\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nMOVEMENT (follow exactly): static: Su-ri-young keeps her head raised toward Hye-su, meeting her face from the side with a stunned, unfocused posture.\n\nFIGURES — size & depth (follow exactly): Su-ri-young and Hye-su each fill roughly ~1/2 of frame height in profile and stand at approximately the same camera distance, neither clearly NEARER than the other; they face one another at close conversational range.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of the referenced people (수리영, 혜수) matched exactly to their reference photo — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-12 17:06:08", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s34run24s_S12sh11_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/1d7902d5-8b31-4ab6-9e6a-5da6ab5d842f.png"], "ref_labels": ["CHARACTER REFERENCE — 민숙 (환시): the exact person appearing in this shot; match face, hair and build exactly."], "attempt": 1, "dur_s": 16.6, "bytes": 2302868, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills24s/S12sh11_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\n\nSHOT TEXT (authoritative, Korean): 옷과 피부가 힘없이 무너져 미동이 없는 민숙이 바닥에 주저앉아 고개를 푹 숙인 정지 상태\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nMOVEMENT (follow exactly): static: Minsuk is utterly motionless, collapsed on the floor, collapsed in a seated fall with her head hanging forward, torso slumped asymmetrically, limp limbs, and her weight fully fallen rather than held upright.\n\nFIGURES — size & depth (follow exactly): Minsuk fills roughly 2/3 of the frame height and is the NEARER subject, while the dark-stained floor and room behind her are FARTHER. Her dark-stained clothes and skin remain visible across her collapsed body.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of the referenced people (민숙 (환시)) matched exactly to their reference photo — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-12 17:06:29", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s34run24s_S12sh21_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills24s/S12sh11_nb2.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/1d7902d5-8b31-4ab6-9e6a-5da6ab5d842f.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/fc23070d-a644-45e4-a5d8-ecb98fe8d2d3.png"], "ref_labels": ["PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing.", "CHARACTER REFERENCE — 민숙 (환시): the exact person appearing in this shot; match face, hair and build exactly.", "PROP REFERENCE — 구겨진 피 묻은 낡은 흑백 사진: the exact object appearing in this shot; match its look, material and wear exactly."], "attempt": 1, "dur_s": 20.5, "bytes": 2759421, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills24s/S12sh21_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\n\nSHOT TEXT (authoritative, Korean): 침대 위쪽 벽면에 붉은색 원형 표식이 절반쯤 나타난 상태\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nMOVEMENT (follow exactly): static: the half-formed red circle remains on the wall above the bed, with no person crossing the frame.\n\nFIGURES — size & depth (follow exactly): The red circular mark fills about 1/2 of the frame height and is FARTHER on the wall, while the upper part of the bed is NEARER in the foreground.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of the referenced people (민숙 (환시)) matched exactly to their reference photo — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-12 17:06:50", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s34run24s_S14sh5_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills24s/S12sh21_nb2.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/39864973-d3d5-4886-bfb2-f8db608a005b.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/bddad176-aa6a-4a71-b5d3-d02e36e19657.png"], "ref_labels": ["PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing.", "CHARACTER REFERENCE — 수리영: the exact person appearing in this shot; match face, hair and build exactly.", "CHARACTER REFERENCE — 혜수: the exact person appearing in this shot; match face, hair and build exactly."], "attempt": 1, "dur_s": 21.7, "bytes": 2664600, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills24s/S14sh5_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\n\nSHOT TEXT (authoritative, Korean): 어두운 얼룩 없이 깨끗한 방 내부 전경\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nMOVEMENT (follow exactly): static: the excessively clean, dark stainsless room stands empty, with no one entering, leaving, or moving through it.\n\nFIGURES — size & depth (follow exactly): The empty room fills the full frame, with the NEARER side of the room opening toward the camera and the clean back wall and far corners appearing FARTHER away. No person, dark stainsstain, red mark, or body is visible.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of the referenced people (수리영, 혜수) matched exactly to their reference photo — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-12 17:07:07", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s34run24s_S18sh11_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/panels24i/S18sh11.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/39864973-d3d5-4886-bfb2-f8db608a005b.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/70af1a1c-b2e4-45ad-a166-7cef7e66e156.png"], "ref_labels": ["STORYBOARD PANEL — a REFERENCE ONLY, never the target: use it loosely for camera framing, figure placement and depth order. Do NOT photorealize this drawing as-is — the SHOT TEXT and the other references are authoritative; re-stage the moment naturally as a real photograph. Never copy the sketch's line style, paper texture, borders, simplified geometry or drawing errors.", "CHARACTER REFERENCE — 수리영: the exact person appearing in this shot; match face, hair and build exactly.", "PROP REFERENCE — 민숙과 수리영의 액자 사진: the exact object appearing in this shot; match its look, material and wear exactly."], "attempt": 1, "dur_s": 16.5, "bytes": 1929164, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills24s/S18sh11_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): daytime.\n\nSHOT TEXT (authoritative, Korean): 거울 속 반사된 욕실 타일 벽면에 붉은색 원형 표식이 절반쯤 나타난 상태\n\nTHE STORYBOARD PANEL IS ONLY A REFERENCE: it is a\nrough pre-production sketch, not the image to\nreproduce. Take from it only the shot's rough\ncomposition — framing, where figures sit, near/far\norder. Everything else (real-world detail, materials,\nlight, anatomy, environment richness) must come from\nthe shot text and the photographic references,\nre-staged as if actually filmed on a real set. If the\nsketch conflicts with the shot text or looks\nsimplified/wrong, FOLLOW THE TEXT, not the sketch.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nMOVEMENT (follow exactly): static: a half-formed red circle is visible on the bathroom tile wall only through the mirror reflection, with no person moving through the shot.\n\nFIGURES — size & depth (follow exactly): The reflected red circle fills roughly 1/3 to 1/2 of the frame height; the mirror surface is NEARER to the camera, while the reflected tiled wall and mark read as FARTHER within the reflection.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of the referenced people (수리영) matched exactly to their reference photo — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-12 17:07:25", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s34run24s_S25sh1_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/panels24i/S25sh1.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/39864973-d3d5-4886-bfb2-f8db608a005b.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/fc23070d-a644-45e4-a5d8-ecb98fe8d2d3.png"], "ref_labels": ["STORYBOARD PANEL — a REFERENCE ONLY, never the target: use it loosely for camera framing, figure placement and depth order. Do NOT photorealize this drawing as-is — the SHOT TEXT and the other references are authoritative; re-stage the moment naturally as a real photograph. Never copy the sketch's line style, paper texture, borders, simplified geometry or drawing errors.", "CHARACTER REFERENCE — 수리영: the exact person appearing in this shot; match face, hair and build exactly.", "PROP REFERENCE — 구겨진 피 묻은 낡은 흑백 사진: the exact object appearing in this shot; match its look, material and wear exactly."], "attempt": 1, "dur_s": 17.8, "bytes": 2698161, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills24s/S25sh1_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): dusk, just after sunset.\n\nSHOT TEXT (authoritative, Korean): 해질 무렵 옥탑방 거실, 흙 묻은 발자국들이 찍힌 바닥과 쓰러진 식탁 의자들이 보이는 전경\n\nTHE STORYBOARD PANEL IS ONLY A REFERENCE: it is a\nrough pre-production sketch, not the image to\nreproduce. Take from it only the shot's rough\ncomposition — framing, where figures sit, near/far\norder. Everything else (real-world detail, materials,\nlight, anatomy, environment richness) must come from\nthe shot text and the photographic references,\nre-staged as if actually filmed on a real set. If the\nsketch conflicts with the shot text or looks\nsimplified/wrong, FOLLOW THE TEXT, not the sketch.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nMOVEMENT (follow exactly): static: muddy footprints lie across the living-room floor among overturned dining chairs, but their direction of travel cannot be determined from the shot.\n\nFIGURES — size & depth (follow exactly): The living-room interior fills the frame; the muddy footprints spread across the NEARER floor, while the overturned dining chairs are FARTHER around the table. Individual footprints appear small, roughly 1/10 of the frame height, while the chairs occupy about 1/3 to 1/2.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of the referenced people (수리영) matched exactly to their reference photo — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-12 17:07:50", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s34run24s_S25sh5_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills24s/S12sh21_nb2.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/fc23070d-a644-45e4-a5d8-ecb98fe8d2d3.png"], "ref_labels": ["PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing.", "PROP REFERENCE — 구겨진 피 묻은 낡은 흑백 사진: the exact object appearing in this shot; match its look, material and wear exactly."], "attempt": 1, "dur_s": 24.8, "bytes": 3051234, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills24s/S25sh5_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): dusk, just after sunset.\n\nSHOT TEXT (authoritative, Korean): 붉은 원 한가운데 얼룩진 낡은 흑백 사진이 벽에 꽂혀 있는 타이트 샷\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nMOVEMENT (follow exactly): static: the stained old photograph remains fixed at the center of the red circle on the wall, with no hand or person entering the frame.\n\nFIGURES — size & depth (follow exactly): The photograph fills roughly 1/2 to 2/3 of the frame height and is NEARER than the wall surface, while the red circle extends FARTHER behind it across the wall.\n\nNo people appear unless the shot text itself says so.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-12 17:08:05", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s34run24s_S8sh3_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/39864973-d3d5-4886-bfb2-f8db608a005b.png"], "ref_labels": ["CHARACTER REFERENCE — 수리영: the exact person appearing in this shot; match face, hair and build exactly."], "attempt": 1, "dur_s": 15.2, "bytes": 2760781, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills24s/S8sh3_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): dusk, just after sunset.\n\nSHOT TEXT (authoritative, Korean): 수리영이 마트 유니폼을 입은 한국인 여성 직원을 마주보며 입을 살짝 벌린 측면 구도\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nMOVEMENT (follow exactly): static: Su-ri-young and the female supermarket employee stand facing each other in profile, Su-ri-young holding her mouth slightly open as she addresses the employee.\n\nFIGURES — size & depth (follow exactly): Su-ri-young and the female employee each fill roughly ~1/2 of the frame height and occupy a comparable midground plane, with neither clearly nearer to the camera; they remain a short conversational distance apart across opposing sightlines.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of the referenced people (수리영) matched exactly to their reference photo — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-12 17:08:34", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s34run24s_S8sh5_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills24s/S8sh3_nb2.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/39864973-d3d5-4886-bfb2-f8db608a005b.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/99d4b721-040d-41ad-8c0b-a3f6d3ee727f.png"], "ref_labels": ["PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing.", "CHARACTER REFERENCE — 수리영: the exact person appearing in this shot; match face, hair and build exactly.", "PROP REFERENCE — 스마트폰: the exact object appearing in this shot; match its look, material and wear exactly."], "attempt": 1, "dur_s": 29.0, "bytes": 2841726, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills24s/S8sh5_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): dusk, just after sunset.\n\nSHOT TEXT (authoritative, Korean): 마트 밖으로 나온 수리영이 손에 든 스마트폰 액정을 내려다보는 상체\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nMOVEMENT (follow exactly): static: Having come out of the supermarket, Su-ri-young stands with her upper body angled toward the smartphone in her hand and her gaze lowered to its screen while trying to make contact.\n\nFIGURES — size & depth (follow exactly): Su-ri-young’s upper body fills about ~2/3 of the frame height in the near foreground, while the smartphone is small, about ~1/10, and held within the same near plane below her face; she is the sole visible figure.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of the referenced people (수리영) matched exactly to their reference photo — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-12 17:08:50", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s34run24s_S19sh5_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/39864973-d3d5-4886-bfb2-f8db608a005b.png"], "ref_labels": ["CHARACTER REFERENCE — 수리영: the exact person appearing in this shot; match face, hair and build exactly."], "attempt": 1, "dur_s": 16.3, "bytes": 2405568, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills24s/S19sh5_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): daytime.\n\nSHOT TEXT (authoritative, Korean): 수리영과 남자직원이 마트 밖에서 벽면의 CCTV를 올려다보는 뒷모습\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nMOVEMENT (follow exactly): static: Outside the supermarket, Su-ri-young and the male employee stand with their backs to the camera, bodies and heads tilted upward toward the wall-mounted CCTV camera as they check its coverage.\n\nFIGURES — size & depth (follow exactly): Su-ri-young and the male employee each fill roughly ~1/2 of the frame height in the nearer foreground-to-midground, standing alongside each other at comparable depth, while the CCTV camera is much smaller, around ~1/15, and farther away high on the wall.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of the referenced people (수리영) matched exactly to their reference photo — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-12 17:09:12", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s34run24s_S19sh6_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills24s/S19sh5_nb2.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/39864973-d3d5-4886-bfb2-f8db608a005b.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/99d4b721-040d-41ad-8c0b-a3f6d3ee727f.png"], "ref_labels": ["PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing.", "CHARACTER REFERENCE — 수리영: the exact person appearing in this shot; match face, hair and build exactly.", "PROP REFERENCE — 스마트폰: the exact object appearing in this shot; match its look, material and wear exactly."], "attempt": 1, "dur_s": 22.2, "bytes": 2206943, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills24s/S19sh6_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): daytime.\n\nSHOT TEXT (authoritative, Korean): 수리영이 귀에 스마트폰을 댄 채 정면을 응시하는 상체 클로즈업\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nMOVEMENT (follow exactly): static: Su-ri-young holds a smartphone to her ear and faces forward, explaining the situation to Hye-su by phone.\n\nFIGURES — size & depth (follow exactly): Su-ri-young’s upper body fills about ~3/4 of the frame height in the near foreground, with the smartphone small, around ~1/12, against her ear in the same near plane; no other person is visible.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of the referenced people (수리영) matched exactly to their reference photo — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-12 17:09:28", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s34run24s_S20sh1_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/bddad176-aa6a-4a71-b5d3-d02e36e19657.png"], "ref_labels": ["CHARACTER REFERENCE — 혜수: the exact person appearing in this shot; match face, hair and build exactly."], "attempt": 1, "dur_s": 15.9, "bytes": 2715297, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills24s/S20sh1_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): interior ambient light.\n\nSHOT TEXT (authoritative, Korean): 마트 총무과 책상 앞, 한국인 남성 보안직원과 혜수가 컴퓨터 모니터를 향해 몸을 기울인 측면\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nMOVEMENT (follow exactly): static: The male security employee and Hye-su lean forward from the desk toward the computer monitor, both directing their gaze at the CCTV footage.\n\nFIGURES — size & depth (follow exactly): The security employee and Hye-su each fill roughly ~1/2 of the frame height and occupy a comparable midground depth, with neither clearly nearer to the camera; the monitor is smaller, about ~1/3, positioned directly along their converging sightlines.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of the referenced people (혜수) matched exactly to their reference photo — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-12 17:09:52", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s34run24s_S20sh3_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills24s/S20sh1_nb2.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/bddad176-aa6a-4a71-b5d3-d02e36e19657.png"], "ref_labels": ["PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing.", "CHARACTER REFERENCE — 혜수: the exact person appearing in this shot; match face, hair and build exactly."], "attempt": 1, "dur_s": 23.9, "bytes": 2847581, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills24s/S20sh3_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): interior ambient light.\n\nSHOT TEXT (authoritative, Korean): 흑백 CCTV 화면 속 어두운 구석에 사람 형상이 희미하게 찍힌 모니터 클로즈업\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nMOVEMENT (follow exactly): static: A faint, unidentifiable human-shaped form remains in a dark corner of the black-and-white CCTV image, with no discernible direction of travel or body orientation.\n\nFIGURES — size & depth (follow exactly): The monitor image fills nearly the entire frame and is the nearest visible object, while the indistinct human-shaped form is tiny, about ~1/10 of the frame height, and appears far away within the recorded space.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of the referenced people (혜수) matched exactly to their reference photo — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-12 17:10:15", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s34run24s_S16sh3_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/panels24i/S16sh3.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/bddad176-aa6a-4a71-b5d3-d02e36e19657.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/99d4b721-040d-41ad-8c0b-a3f6d3ee727f.png"], "ref_labels": ["STORYBOARD PANEL — a REFERENCE ONLY, never the target: use it loosely for camera framing, figure placement and depth order. Do NOT photorealize this drawing as-is — the SHOT TEXT and the other references are authoritative; re-stage the moment naturally as a real photograph. Never copy the sketch's line style, paper texture, borders, simplified geometry or drawing errors.", "CHARACTER REFERENCE — 혜수: the exact person appearing in this shot; match face, hair and build exactly.", "PROP REFERENCE — 스마트폰: the exact object appearing in this shot; match its look, material and wear exactly."], "attempt": 1, "dur_s": 23.2, "bytes": 2658500, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills24s/S16sh3_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\n\nSHOT TEXT (authoritative, Korean): 혜수가 스마트폰 액정을 김형사 쪽으로 불쑥 내민 순간\n\nTHE STORYBOARD PANEL IS ONLY A REFERENCE: it is a\nrough pre-production sketch, not the image to\nreproduce. Take from it only the shot's rough\ncomposition — framing, where figures sit, near/far\norder. Everything else (real-world detail, materials,\nlight, anatomy, environment richness) must come from\nthe shot text and the photographic references,\nre-staged as if actually filmed on a real set. If the\nsketch conflicts with the shot text or looks\nsimplified/wrong, FOLLOW THE TEXT, not the sketch.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nMOVEMENT (follow exactly): Hye-su abruptly thrusts the smartphone forward from her side toward Detective Kim, presenting Min-sook's saved number while remaining inside the office.\n\nFIGURES — size & depth (follow exactly): Hye-su and Detective Kim each fill roughly ~1/2 of the frame height, with Hye-su NEARER to the camera and Detective Kim FARTHER across from her. The extended smartphone fills about ~1/5 of the frame height, projecting from Hye-su toward Detective Kim and lying between their positions.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of the referenced people (혜수) matched exactly to their reference photo — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-12 17:10:34", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s34run24s_S21sh7_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/39864973-d3d5-4886-bfb2-f8db608a005b.png"], "ref_labels": ["CHARACTER REFERENCE — 수리영: the exact person appearing in this shot; match face, hair and build exactly."], "attempt": 1, "dur_s": 18.3, "bytes": 2397924, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills24s/S21sh7_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): daytime.\n\nSHOT TEXT (authoritative, Korean): 수리영이 두 눈을 크게 뜨고 입을 살짝 벌린 굳은 얼굴 클로즈업\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nMOVEMENT (follow exactly): static: Su-ri-young holds rigid with fear and shock, her widened eyes fixed forward and her lips slightly parted.\n\nFIGURES — size & depth (follow exactly): Su-ri-young's face fills roughly ~3/4 of the frame height; she is the sole and therefore NEAREST visible figure, with no farther person shown.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of the referenced people (수리영) matched exactly to their reference photo — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-12 17:10:56", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s34run24s_S21sh10_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills24s/S21sh7_nb2.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/39864973-d3d5-4886-bfb2-f8db608a005b.png"], "ref_labels": ["PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing.", "CHARACTER REFERENCE — 수리영: the exact person appearing in this shot; match face, hair and build exactly."], "attempt": 1, "dur_s": 21.8, "bytes": 2684874, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills24s/S21sh10_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): daytime.\n\nSHOT TEXT (authoritative, Korean): 모니터 화면에 바다 지도가 펼쳐져 있고 붉은색 핀과 좌표 숫자가 떠 있는 클로즈업\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nMOVEMENT (follow exactly): static: the monitor displays a sea map with a red location pin and coordinate figures, with no physical movement in frame.\n\nFIGURES — size & depth (follow exactly): The monitor image fills nearly the full frame and is the sole, NEAREST core object; the map, pin, and coordinate text occupy the same flat display plane with no farther figure visible.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of the referenced people (수리영) matched exactly to their reference photo — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-12 17:11:17", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s34run24s_S21sh12_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills24s/S21sh10_nb2.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/39864973-d3d5-4886-bfb2-f8db608a005b.png"], "ref_labels": ["PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing.", "CHARACTER REFERENCE — 수리영: the exact person appearing in this shot; match face, hair and build exactly."], "attempt": 1, "dur_s": 21.1, "bytes": 2506850, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills24s/S21sh12_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): daytime.\n\nSHOT TEXT (authoritative, Korean): 수리영이 메모지가 들어간 겉옷 주머니에 손을 넣은 채 사무실 출입문을 향해 몸을 돌린 정지 순간\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nMOVEMENT (follow exactly): static: Su-ri-young stands tensely with one hand inside the coat pocket holding the folded note, her body turned toward the office exit and poised to leave the room.\n\nFIGURES — size & depth (follow exactly): Su-ri-young fills roughly ~2/3 of the frame height and is NEARER to the camera, while the office doorway is FARTHER in the direction she faces. Her intended path runs from her position inside the office toward and through that doorway.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of the referenced people (수리영) matched exactly to their reference photo — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-12 17:11:38", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s34run24s_S22sh1_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills24s/S21sh12_nb2.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/39864973-d3d5-4886-bfb2-f8db608a005b.png"], "ref_labels": ["PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing.", "CHARACTER REFERENCE — 수리영: the exact person appearing in this shot; match face, hair and build exactly."], "attempt": 1, "dur_s": 21.7, "bytes": 2689872, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills24s/S22sh1_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): daytime.\n\nSHOT TEXT (authoritative, Korean): 경찰서 건물 밖 도로 위에서 수리영이 자전거 안장에 앉아 상체를 앞으로 숙인 채 머리카락이 뒤로 흩날리는 측면\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nMOVEMENT (follow exactly): Su-ri-young rides the bicycle along the road outside the police station, moving laterally across the camera's side view with her torso pitched forward over the handlebars and her hair streaming backward, neither directly toward nor directly away from the camera.\n\nFIGURES — size & depth (follow exactly): Su-ri-young fills roughly ~1/2 of the frame height, and the bicycle-and-rider silhouette together fills about ~2/3; both are NEARER to the camera than the FARTHER police-station exterior. Her path continues along the road parallel to the image plane.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of the referenced people (수리영) matched exactly to their reference photo — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-12 17:13:26", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s34run24s_S1sh1_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/efc879db-5f82-4f77-bf83-75e3d2d41f1c.png"], "ref_labels": ["CHARACTER REFERENCE — 한국인 남자: the exact person appearing in this shot; match face, hair and build exactly."], "attempt": 1, "dur_s": 15.6, "bytes": 3099213, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills24s/S1sh1_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): dusk, just after sunset.\n\nSHOT TEXT (authoritative, Korean): 한쪽 신발이 벗겨진 한국인 남자가 우거진 수풀 사이를 달리며 한 발을 허공에 내딛고 있는 도중의 전신 구도\n\nLOCATION (lock): a dense Korean mountain forest with thick undergrowth. The shot takes place here — pick the sub-area of this location that the shot text implies.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nMOVEMENT (follow exactly): The terrified, wounded Korean man runs through dense undergrowth while fleeing an unseen threat, driving forward with one foot airborne, one shoe missing, and a pain-guarded, unsteady stride; his direction relative to the camera is unspecified.\n\nFIGURES — size & depth (follow exactly): The man's full body fills roughly ~4/5 of the frame height; he is the sole visible figure and thus both the nearest and farthest person in the frame.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of the referenced people (한국인 남자) matched exactly to their reference photo — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-12 17:14:12", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s34run24s_S1sh4_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/panels24i/S1sh4.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills24s/S1sh1_nb2.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/efc879db-5f82-4f77-bf83-75e3d2d41f1c.png"], "ref_labels": ["STORYBOARD PANEL — a REFERENCE ONLY, never the target: use it loosely for camera framing, figure placement and depth order. Do NOT photorealize this drawing as-is — the SHOT TEXT and the other references are authoritative; re-stage the moment naturally as a real photograph. Never copy the sketch's line style, paper texture, borders, simplified geometry or drawing errors.", "PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing.", "CHARACTER REFERENCE — 한국인 남자: the exact person appearing in this shot; match face, hair and build exactly."], "attempt": 1, "dur_s": 46.0, "bytes": 2979954, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills24s/S1sh4_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): dusk, just after sunset.\n\nSHOT TEXT (authoritative, Korean): 검은 형상의 인영이 허공에 뛰어오른 채 한국인 남자를 향해 두 팔을 뻗고 있는 순간\n\nLOCATION (lock): a dense Korean mountain forest with thick undergrowth. The shot takes place here — pick the sub-area of this location that the shot text implies.\n\nTHE STORYBOARD PANEL IS ONLY A REFERENCE: it is a\nrough pre-production sketch, not the image to\nreproduce. Take from it only the shot's rough\ncomposition — framing, where figures sit, near/far\norder. Everything else (real-world detail, materials,\nlight, anatomy, environment richness) must come from\nthe shot text and the photographic references,\nre-staged as if actually filmed on a real set. If the\nsketch conflicts with the shot text or looks\nsimplified/wrong, FOLLOW THE TEXT, not the sketch.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nMOVEMENT (follow exactly): A real, normal-human-proportioned person appearing as a dark silhouette springs through the air toward the terrified, wounded Korean man, reaching both arms forward to pounce on him as he flees; their movement toward or away from the camera is unspecified.\n\nFIGURES — size & depth (follow exactly): The airborne dark figure and the Korean man each read at roughly ~1/2–2/3 of the frame height as their paths rapidly converge. Neither is established as nearer or farther from the camera, but the dark figure is closing the physical gap to the man.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of the referenced people (한국인 남자) matched exactly to their reference photo — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-12 17:14:27", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s34run24s_S3sh3_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/bddad176-aa6a-4a71-b5d3-d02e36e19657.png"], "ref_labels": ["CHARACTER REFERENCE — 혜수: the exact person appearing in this shot; match face, hair and build exactly."], "attempt": 1, "dur_s": 15.3, "bytes": 2942067, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills24s/S3sh3_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): daytime.\n\nSHOT TEXT (authoritative, Korean): 형사 무리 한가운데 서서 손가락으로 한쪽을 가리키는 혜수의 상체\n\nLOCATION (lock): a dense Korean mountain forest with thick undergrowth. The shot takes place here — pick the sub-area of this location that the shot text implies.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nMOVEMENT (follow exactly): static: Hyesu stands upright at the center of the detectives, directing the investigation by pointing one finger toward one side while her gaze and upper body orient toward that indicated direction.\n\nFIGURES — size & depth (follow exactly): Hyesu's upper body fills roughly ~2/3 of the frame height and is the nearer, dominant figure; the surrounding detectives appear smaller, roughly ~1/3–1/2 of the frame height, and farther from the camera around her.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of the referenced people (혜수) matched exactly to their reference photo — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-12 17:14:45", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s34run24s_S15sh2_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/bddad176-aa6a-4a71-b5d3-d02e36e19657.png"], "ref_labels": ["CHARACTER REFERENCE — 혜수: the exact person appearing in this shot; match face, hair and build exactly."], "attempt": 1, "dur_s": 17.5, "bytes": 2432303, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills24s/S15sh2_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\n\nSHOT TEXT (authoritative, Korean): 혜수의 손이 음료수 캔을 쥔 채 수리영 앞으로 내밀어진 순간\n\nLOCATION (lock): a small seaside bus stop with a bench facing the sea at night on a quiet Korean coastal road. The shot takes place here — pick the sub-area of this location that the shot text implies.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nMOVEMENT (follow exactly): Hye-su extends her hand and the drink can from her side into the space directly in front of Suri-young, who remains seated and blankly oriented toward the sea.\n\nFIGURES — size & depth (follow exactly): Hye-su's hand and can appear large at roughly ~1/3 of the frame height and are NEARER to the camera; seated Suri-young appears around ~1/2 of the frame height and is FARTHER behind the offered can.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of the referenced people (혜수) matched exactly to their reference photo — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-12 17:15:09", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s34run24s_S15sh6_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/panels24i/S15sh6.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills24s/S15sh2_nb2.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/39864973-d3d5-4886-bfb2-f8db608a005b.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/bddad176-aa6a-4a71-b5d3-d02e36e19657.png"], "ref_labels": ["STORYBOARD PANEL — a REFERENCE ONLY, never the target: use it loosely for camera framing, figure placement and depth order. Do NOT photorealize this drawing as-is — the SHOT TEXT and the other references are authoritative; re-stage the moment naturally as a real photograph. Never copy the sketch's line style, paper texture, borders, simplified geometry or drawing errors.", "PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing.", "CHARACTER REFERENCE — 수리영: the exact person appearing in this shot; match face, hair and build exactly.", "CHARACTER REFERENCE — 혜수: the exact person appearing in this shot; match face, hair and build exactly."], "attempt": 1, "dur_s": 24.1, "bytes": 2680136, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills24s/S15sh6_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\n\nSHOT TEXT (authoritative, Korean): 멀리서 혜수의 전신과 한 발을 공중에 띄운 mid-stride 자세로 달리는 수리영의 뒷모습을 한 프레임에 담은 넓은 구도\n\nLOCATION (lock): a small seaside bus stop with a bench facing the sea at night on a quiet Korean coastal road. The shot takes place here — pick the sub-area of this location that the shot text implies.\n\nTHE STORYBOARD PANEL IS ONLY A REFERENCE: it is a\nrough pre-production sketch, not the image to\nreproduce. Take from it only the shot's rough\ncomposition — framing, where figures sit, near/far\norder. Everything else (real-world detail, materials,\nlight, anatomy, environment richness) must come from\nthe shot text and the photographic references,\nre-staged as if actually filmed on a real set. If the\nsketch conflicts with the shot text or looks\nsimplified/wrong, FOLLOW THE TEXT, not the sketch.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nMOVEMENT (follow exactly): Suri-young runs away from Hye-su and away from the camera with her back visible and one foot airborne mid-stride, while Hye-su remains behind facing her path.\n\nFIGURES — size & depth (follow exactly): Hye-su's full body appears about ~1/3 of the frame height and is NEARER to the camera, while the departing Suri-young appears smaller at ~1/5 and FARTHER along the route away. The distance between them increases as Suri-young runs ahead and Hye-su stays behind.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of the referenced people (수리영, 혜수) matched exactly to their reference photo — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-12 17:15:25", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s34run24s_S10sh6_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/panels24i/S10sh6.png"], "ref_labels": ["STORYBOARD PANEL — a REFERENCE ONLY, never the target: use it loosely for camera framing, figure placement and depth order. Do NOT photorealize this drawing as-is — the SHOT TEXT and the other references are authoritative; re-stage the moment naturally as a real photograph. Never copy the sketch's line style, paper texture, borders, simplified geometry or drawing errors."], "attempt": 1, "dur_s": 15.4, "bytes": 2819031, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills24s/S10sh6_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\n\nSHOT TEXT (authoritative, Korean): 현관 철문이 아주 살짝 열린 틈새로 보이는 어두운 실내와 신발 앞코\n\nLOCATION (lock): the exterior of an old Korean multi-family villa: narrow alley and small yard at ground level, an added exterior steel staircase climbing the wall, and a rooftop with a small rooftop room (steel front door, one lit window), a water tank, a clothesline and a low parapet. The shot takes place here — pick the sub-area of this location that the shot text implies.\n\nTHE STORYBOARD PANEL IS ONLY A REFERENCE: it is a\nrough pre-production sketch, not the image to\nreproduce. Take from it only the shot's rough\ncomposition — framing, where figures sit, near/far\norder. Everything else (real-world detail, materials,\nlight, anatomy, environment richness) must come from\nthe shot text and the photographic references,\nre-staged as if actually filmed on a real set. If the\nsketch conflicts with the shot text or looks\nsimplified/wrong, FOLLOW THE TEXT, not the sketch.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nMOVEMENT (follow exactly): The stranger's shoe toe advances away from the rooftop camera through the barely opened iron door and into the dark room.\n\nFIGURES — size & depth (follow exactly): The shoe toe is small, about ~1/6 of frame height, and is FARTHER than the NEARER iron door and its narrow opening; the dark interior recedes farthest beyond it.\n\nNo people appear unless the shot text itself says so.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-12 17:15:44", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s34run24s_S10sh7_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/panels24i/S10sh7.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills24s/S10sh6_nb2.png"], "ref_labels": ["STORYBOARD PANEL — a REFERENCE ONLY, never the target: use it loosely for camera framing, figure placement and depth order. Do NOT photorealize this drawing as-is — the SHOT TEXT and the other references are authoritative; re-stage the moment naturally as a real photograph. Never copy the sketch's line style, paper texture, borders, simplified geometry or drawing errors.", "PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing."], "attempt": 1, "dur_s": 19.1, "bytes": 2813149, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills24s/S10sh7_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\n\nSHOT TEXT (authoritative, Korean): 불이 켜진 옥탑방 창문에 거대한 그림자가 작은 그림자의 어깨 쪽으로 고개를 꺾은 형태가 맺혀 있는 정지 구도\n\nLOCATION (lock): the exterior of an old Korean multi-family villa: narrow alley and small yard at ground level, an added exterior steel staircase climbing the wall, and a rooftop with a small rooftop room (steel front door, one lit window), a water tank, a clothesline and a low parapet. The shot takes place here — pick the sub-area of this location that the shot text implies.\n\nTHE STORYBOARD PANEL IS ONLY A REFERENCE: it is a\nrough pre-production sketch, not the image to\nreproduce. Take from it only the shot's rough\ncomposition — framing, where figures sit, near/far\norder. Everything else (real-world detail, materials,\nlight, anatomy, environment richness) must come from\nthe shot text and the photographic references,\nre-staged as if actually filmed on a real set. If the\nsketch conflicts with the shot text or looks\nsimplified/wrong, FOLLOW THE TEXT, not the sketch.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nMOVEMENT (follow exactly): static: the large shadow looms over the smaller shadow, its head sharply bent toward the smaller figure's shoulder as if biting it, while the smaller figure is pinned beneath the attack.\n\nFIGURES — size & depth (follow exactly): The large shadow fills roughly ~3/4 of frame height and overlaps the smaller shadow, which fills about ~1/2; both appear on the same FAR window plane, behind the NEARER window surface, with no clear depth separation between them.\n\nNo people appear unless the shot text itself says so.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-12 17:16:01", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s34run24s_S11sh4_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/39864973-d3d5-4886-bfb2-f8db608a005b.png"], "ref_labels": ["CHARACTER REFERENCE — 수리영: the exact person appearing in this shot; match face, hair and build exactly."], "attempt": 1, "dur_s": 17.1, "bytes": 2380759, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills24s/S11sh4_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\n\nSHOT TEXT (authoritative, Korean): 철제 파이프 난간을 손으로 잡은 수리영이 코끝을 찡그린 채 계단 중간에 서 있는 얼굴 클로즈업\n\nLOCATION (lock): the exterior of an old Korean multi-family villa: narrow alley and small yard at ground level, an added exterior steel staircase climbing the wall, and a rooftop with a small rooftop room (steel front door, one lit window), a water tank, a clothesline and a low parapet. The shot takes place here — pick the sub-area of this location that the shot text implies.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nMOVEMENT (follow exactly): static: Su-ri-young pauses midway up the stairs, gripping the pipe railing with a tense hand and wrinkling her nose at the sudden foul smell while facing upward.\n\nFIGURES — size & depth (follow exactly): Her close-up face fills about ~2/3 of frame height and is the NEAREST figure; her railing hand is slightly FARTHER, while the stairway behind her recedes farthest.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of the referenced people (수리영) matched exactly to their reference photo — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-12 17:16:21", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s34run24s_S11sh5_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills24s/S11sh4_nb2.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/39864973-d3d5-4886-bfb2-f8db608a005b.png"], "ref_labels": ["PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing.", "CHARACTER REFERENCE — 수리영: the exact person appearing in this shot; match face, hair and build exactly."], "attempt": 1, "dur_s": 19.8, "bytes": 1982307, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills24s/S11sh5_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\n\nSHOT TEXT (authoritative, Korean): 옥상에 선 수리영의 시선 끝에 반쯤 열려 있는 어두운 현관 철문이 보이는 정면 구도\n\nLOCATION (lock): the exterior of an old Korean multi-family villa: narrow alley and small yard at ground level, an added exterior steel staircase climbing the wall, and a rooftop with a small rooftop room (steel front door, one lit window), a water tank, a clothesline and a low parapet. The shot takes place here — pick the sub-area of this location that the shot text implies.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nMOVEMENT (follow exactly): static: Su-ri-young stands on the rooftop facing the half-open iron entrance door, her attention fixed on the dark opening ahead.\n\nFIGURES — size & depth (follow exactly): Su-ri-young occupies roughly ~1/2 of frame height in the NEARER plane, while the half-open door is FARTHER ahead and fills about ~1/3; her sightline runs directly across the rooftop into its dark gap.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of the referenced people (수리영) matched exactly to their reference photo — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-12 17:16:38", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s34run24s_S13sh4_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/39864973-d3d5-4886-bfb2-f8db608a005b.png"], "ref_labels": ["CHARACTER REFERENCE — 수리영: the exact person appearing in this shot; match face, hair and build exactly."], "attempt": 1, "dur_s": 17.8, "bytes": 2958327, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills24s/S13sh4_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\n\nSHOT TEXT (authoritative, Korean): 수리영이 초점을 잃은 눈으로 허공을 응시하며 서 있는 모습\n\nLOCATION (lock): the exterior of an old Korean multi-family villa: narrow alley and small yard at ground level, an added exterior steel staircase climbing the wall, and a rooftop with a small rooftop room (steel front door, one lit window), a water tank, a clothesline and a low parapet. The shot takes place here — pick the sub-area of this location that the shot text implies.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nMOVEMENT (follow exactly): static: Su-ri-young stands motionless after fleeing downstairs, her shocked body slack and her unfocused eyes staring into empty space.\n\nFIGURES — size & depth (follow exactly): Su-ri-young fills roughly ~1/2 of frame height and is the sole, NEAREST figure, with the surrounding exterior space FARTHER behind her.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of the referenced people (수리영) matched exactly to their reference photo — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-12 17:17:35", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s34run24s_S13sh6_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills24s/S13sh4_nb2.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/39864973-d3d5-4886-bfb2-f8db608a005b.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/bddad176-aa6a-4a71-b5d3-d02e36e19657.png"], "ref_labels": ["PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing.", "CHARACTER REFERENCE — 수리영: the exact person appearing in this shot; match face, hair and build exactly.", "CHARACTER REFERENCE — 혜수: the exact person appearing in this shot; match face, hair and build exactly."], "attempt": 1, "dur_s": 56.1, "bytes": 2852845, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills24s/S13sh6_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\n\nSHOT TEXT (authoritative, Korean): 고개를 든 채 혜수의 얼굴을 마주보고 있는 수리영의 측면 구도\n\nLOCATION (lock): the exterior of an old Korean multi-family villa: narrow alley and small yard at ground level, an added exterior steel staircase climbing the wall, and a rooftop with a small rooftop room (steel front door, one lit window), a water tank, a clothesline and a low parapet. The shot takes place here — pick the sub-area of this location that the shot text implies.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nMOVEMENT (follow exactly): static: Su-ri-young keeps her head raised toward Hye-su, meeting her face from the side with a stunned, unfocused posture.\n\nFIGURES — size & depth (follow exactly): Su-ri-young and Hye-su each fill roughly ~1/2 of frame height in profile and stand at approximately the same camera distance, neither clearly NEARER than the other; they face one another at close conversational range.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of the referenced people (수리영, 혜수) matched exactly to their reference photo — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-12 17:17:52", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s34run24s_S12sh11_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/1d7902d5-8b31-4ab6-9e6a-5da6ab5d842f.png"], "ref_labels": ["CHARACTER REFERENCE — 민숙 (환시): the exact person appearing in this shot; match face, hair and build exactly."], "attempt": 1, "dur_s": 17.5, "bytes": 2262418, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills24s/S12sh11_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\n\nSHOT TEXT (authoritative, Korean): 옷과 피부가 힘없이 무너져 미동이 없는 민숙이 바닥에 주저앉아 고개를 푹 숙인 정지 상태\n\nLOCATION (lock): the interior of a small Korean rooftop home: living room with a small window, kitchenette and dining table; a bedroom with a bed against one wall and a curtained window; a tiny tiled bathroom with a mirror. The shot takes place here — pick the sub-area of this location that the shot text implies.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nMOVEMENT (follow exactly): static: Minsuk is utterly motionless, collapsed on the floor, collapsed in a seated fall with her head hanging forward, torso slumped asymmetrically, limp limbs, and her weight fully fallen rather than held upright.\n\nFIGURES — size & depth (follow exactly): Minsuk fills roughly 2/3 of the frame height and is the NEARER subject, while the dark-stained floor and room behind her are FARTHER. Her dark-stained clothes and skin remain visible across her collapsed body.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of the referenced people (민숙 (환시)) matched exactly to their reference photo — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-12 17:18:15", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s34run24s_S12sh21_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills24s/S12sh11_nb2.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/1d7902d5-8b31-4ab6-9e6a-5da6ab5d842f.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/fc23070d-a644-45e4-a5d8-ecb98fe8d2d3.png"], "ref_labels": ["PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing.", "CHARACTER REFERENCE — 민숙 (환시): the exact person appearing in this shot; match face, hair and build exactly.", "PROP REFERENCE — 구겨진 피 묻은 낡은 흑백 사진: the exact object appearing in this shot; match its look, material and wear exactly."], "attempt": 1, "dur_s": 22.5, "bytes": 2327640, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills24s/S12sh21_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\n\nSHOT TEXT (authoritative, Korean): 침대 위쪽 벽면에 붉은색 원형 표식이 절반쯤 나타난 상태\n\nLOCATION (lock): the interior of a small Korean rooftop home: living room with a small window, kitchenette and dining table; a bedroom with a bed against one wall and a curtained window; a tiny tiled bathroom with a mirror. The shot takes place here — pick the sub-area of this location that the shot text implies.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nMOVEMENT (follow exactly): static: the half-formed red circle remains on the wall above the bed, with no person crossing the frame.\n\nFIGURES — size & depth (follow exactly): The red circular mark fills about 1/2 of the frame height and is FARTHER on the wall, while the upper part of the bed is NEARER in the foreground.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of the referenced people (민숙 (환시)) matched exactly to their reference photo — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-12 17:18:39", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s34run24s_S14sh5_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills24s/S12sh21_nb2.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/39864973-d3d5-4886-bfb2-f8db608a005b.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/bddad176-aa6a-4a71-b5d3-d02e36e19657.png"], "ref_labels": ["PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing.", "CHARACTER REFERENCE — 수리영: the exact person appearing in this shot; match face, hair and build exactly.", "CHARACTER REFERENCE — 혜수: the exact person appearing in this shot; match face, hair and build exactly."], "attempt": 1, "dur_s": 24.4, "bytes": 2122746, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills24s/S14sh5_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\n\nSHOT TEXT (authoritative, Korean): 어두운 얼룩 없이 깨끗한 방 내부 전경\n\nLOCATION (lock): the interior of a small Korean rooftop home: living room with a small window, kitchenette and dining table; a bedroom with a bed against one wall and a curtained window; a tiny tiled bathroom with a mirror. The shot takes place here — pick the sub-area of this location that the shot text implies.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nMOVEMENT (follow exactly): static: the excessively clean, dark stainsless room stands empty, with no one entering, leaving, or moving through it.\n\nFIGURES — size & depth (follow exactly): The empty room fills the full frame, with the NEARER side of the room opening toward the camera and the clean back wall and far corners appearing FARTHER away. No person, dark stainsstain, red mark, or body is visible.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of the referenced people (수리영, 혜수) matched exactly to their reference photo — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-12 17:18:55", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s34run24s_S18sh11_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/panels24i/S18sh11.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/39864973-d3d5-4886-bfb2-f8db608a005b.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/70af1a1c-b2e4-45ad-a166-7cef7e66e156.png"], "ref_labels": ["STORYBOARD PANEL — a REFERENCE ONLY, never the target: use it loosely for camera framing, figure placement and depth order. Do NOT photorealize this drawing as-is — the SHOT TEXT and the other references are authoritative; re-stage the moment naturally as a real photograph. Never copy the sketch's line style, paper texture, borders, simplified geometry or drawing errors.", "CHARACTER REFERENCE — 수리영: the exact person appearing in this shot; match face, hair and build exactly.", "PROP REFERENCE — 민숙과 수리영의 액자 사진: the exact object appearing in this shot; match its look, material and wear exactly."], "attempt": 1, "dur_s": 15.6, "bytes": 2061111, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills24s/S18sh11_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): daytime.\n\nSHOT TEXT (authoritative, Korean): 거울 속 반사된 욕실 타일 벽면에 붉은색 원형 표식이 절반쯤 나타난 상태\n\nLOCATION (lock): the interior of a small Korean rooftop home: living room with a small window, kitchenette and dining table; a bedroom with a bed against one wall and a curtained window; a tiny tiled bathroom with a mirror. The shot takes place here — pick the sub-area of this location that the shot text implies.\n\nTHE STORYBOARD PANEL IS ONLY A REFERENCE: it is a\nrough pre-production sketch, not the image to\nreproduce. Take from it only the shot's rough\ncomposition — framing, where figures sit, near/far\norder. Everything else (real-world detail, materials,\nlight, anatomy, environment richness) must come from\nthe shot text and the photographic references,\nre-staged as if actually filmed on a real set. If the\nsketch conflicts with the shot text or looks\nsimplified/wrong, FOLLOW THE TEXT, not the sketch.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nMOVEMENT (follow exactly): static: a half-formed red circle is visible on the bathroom tile wall only through the mirror reflection, with no person moving through the shot.\n\nFIGURES — size & depth (follow exactly): The reflected red circle fills roughly 1/3 to 1/2 of the frame height; the mirror surface is NEARER to the camera, while the reflected tiled wall and mark read as FARTHER within the reflection.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of the referenced people (수리영) matched exactly to their reference photo — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-12 17:19:12", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s34run24s_S25sh1_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/panels24i/S25sh1.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/39864973-d3d5-4886-bfb2-f8db608a005b.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/fc23070d-a644-45e4-a5d8-ecb98fe8d2d3.png"], "ref_labels": ["STORYBOARD PANEL — a REFERENCE ONLY, never the target: use it loosely for camera framing, figure placement and depth order. Do NOT photorealize this drawing as-is — the SHOT TEXT and the other references are authoritative; re-stage the moment naturally as a real photograph. Never copy the sketch's line style, paper texture, borders, simplified geometry or drawing errors.", "CHARACTER REFERENCE — 수리영: the exact person appearing in this shot; match face, hair and build exactly.", "PROP REFERENCE — 구겨진 피 묻은 낡은 흑백 사진: the exact object appearing in this shot; match its look, material and wear exactly."], "attempt": 1, "dur_s": 17.6, "bytes": 2623815, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills24s/S25sh1_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): dusk, just after sunset.\n\nSHOT TEXT (authoritative, Korean): 해질 무렵 옥탑방 거실, 흙 묻은 발자국들이 찍힌 바닥과 쓰러진 식탁 의자들이 보이는 전경\n\nLOCATION (lock): the interior of a small Korean rooftop home: living room with a small window, kitchenette and dining table; a bedroom with a bed against one wall and a curtained window; a tiny tiled bathroom with a mirror. The shot takes place here — pick the sub-area of this location that the shot text implies.\n\nTHE STORYBOARD PANEL IS ONLY A REFERENCE: it is a\nrough pre-production sketch, not the image to\nreproduce. Take from it only the shot's rough\ncomposition — framing, where figures sit, near/far\norder. Everything else (real-world detail, materials,\nlight, anatomy, environment richness) must come from\nthe shot text and the photographic references,\nre-staged as if actually filmed on a real set. If the\nsketch conflicts with the shot text or looks\nsimplified/wrong, FOLLOW THE TEXT, not the sketch.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nMOVEMENT (follow exactly): static: muddy footprints lie across the living-room floor among overturned dining chairs, but their direction of travel cannot be determined from the shot.\n\nFIGURES — size & depth (follow exactly): The living-room interior fills the frame; the muddy footprints spread across the NEARER floor, while the overturned dining chairs are FARTHER around the table. Individual footprints appear small, roughly 1/10 of the frame height, while the chairs occupy about 1/3 to 1/2.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of the referenced people (수리영) matched exactly to their reference photo — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-12 17:19:41", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s34run24s_S25sh5_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills24s/S12sh21_nb2.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/fc23070d-a644-45e4-a5d8-ecb98fe8d2d3.png"], "ref_labels": ["PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing.", "PROP REFERENCE — 구겨진 피 묻은 낡은 흑백 사진: the exact object appearing in this shot; match its look, material and wear exactly."], "attempt": 1, "dur_s": 29.3, "bytes": 2560331, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills24s/S25sh5_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): dusk, just after sunset.\n\nSHOT TEXT (authoritative, Korean): 붉은 원 한가운데 얼룩진 낡은 흑백 사진이 벽에 꽂혀 있는 타이트 샷\n\nLOCATION (lock): the interior of a small Korean rooftop home: living room with a small window, kitchenette and dining table; a bedroom with a bed against one wall and a curtained window; a tiny tiled bathroom with a mirror. The shot takes place here — pick the sub-area of this location that the shot text implies.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nMOVEMENT (follow exactly): static: the stained old photograph remains fixed at the center of the red circle on the wall, with no hand or person entering the frame.\n\nFIGURES — size & depth (follow exactly): The photograph fills roughly 1/2 to 2/3 of the frame height and is NEARER than the wall surface, while the red circle extends FARTHER behind it across the wall.\n\nNo people appear unless the shot text itself says so.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-12 17:19:58", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s34run24s_S8sh3_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/39864973-d3d5-4886-bfb2-f8db608a005b.png"], "ref_labels": ["CHARACTER REFERENCE — 수리영: the exact person appearing in this shot; match face, hair and build exactly."], "attempt": 1, "dur_s": 16.1, "bytes": 3024243, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills24s/S8sh3_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): dusk, just after sunset.\n\nSHOT TEXT (authoritative, Korean): 수리영이 마트 유니폼을 입은 한국인 여성 직원을 마주보며 입을 살짝 벌린 측면 구도\n\nLOCATION (lock): a mid-size Korean supermarket: shelved sales floor inside; the entrance area outside with a bicycle rack and one wall-mounted CCTV camera above; a small back security office with CCTV monitors. The shot takes place here — pick the sub-area of this location that the shot text implies.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nMOVEMENT (follow exactly): static: Su-ri-young and the female supermarket employee stand facing each other in profile, Su-ri-young holding her mouth slightly open as she addresses the employee.\n\nFIGURES — size & depth (follow exactly): Su-ri-young and the female employee each fill roughly ~1/2 of the frame height and occupy a comparable midground plane, with neither clearly nearer to the camera; they remain a short conversational distance apart across opposing sightlines.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of the referenced people (수리영) matched exactly to their reference photo — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-12 17:20:27", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s34run24s_S8sh5_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills24s/S8sh3_nb2.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/39864973-d3d5-4886-bfb2-f8db608a005b.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/99d4b721-040d-41ad-8c0b-a3f6d3ee727f.png"], "ref_labels": ["PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing.", "CHARACTER REFERENCE — 수리영: the exact person appearing in this shot; match face, hair and build exactly.", "PROP REFERENCE — 스마트폰: the exact object appearing in this shot; match its look, material and wear exactly."], "attempt": 1, "dur_s": 29.9, "bytes": 2700989, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills24s/S8sh5_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): dusk, just after sunset.\n\nSHOT TEXT (authoritative, Korean): 마트 밖으로 나온 수리영이 손에 든 스마트폰 액정을 내려다보는 상체\n\nLOCATION (lock): a mid-size Korean supermarket: shelved sales floor inside; the entrance area outside with a bicycle rack and one wall-mounted CCTV camera above; a small back security office with CCTV monitors. The shot takes place here — pick the sub-area of this location that the shot text implies.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nMOVEMENT (follow exactly): static: Having come out of the supermarket, Su-ri-young stands with her upper body angled toward the smartphone in her hand and her gaze lowered to its screen while trying to make contact.\n\nFIGURES — size & depth (follow exactly): Su-ri-young’s upper body fills about ~2/3 of the frame height in the near foreground, while the smartphone is small, about ~1/10, and held within the same near plane below her face; she is the sole visible figure.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of the referenced people (수리영) matched exactly to their reference photo — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-12 17:20:43", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s34run24s_S19sh5_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/39864973-d3d5-4886-bfb2-f8db608a005b.png"], "ref_labels": ["CHARACTER REFERENCE — 수리영: the exact person appearing in this shot; match face, hair and build exactly."], "attempt": 1, "dur_s": 15.7, "bytes": 3174646, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills24s/S19sh5_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): daytime.\n\nSHOT TEXT (authoritative, Korean): 수리영과 남자직원이 마트 밖에서 벽면의 CCTV를 올려다보는 뒷모습\n\nLOCATION (lock): a mid-size Korean supermarket: shelved sales floor inside; the entrance area outside with a bicycle rack and one wall-mounted CCTV camera above; a small back security office with CCTV monitors. The shot takes place here — pick the sub-area of this location that the shot text implies.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nMOVEMENT (follow exactly): static: Outside the supermarket, Su-ri-young and the male employee stand with their backs to the camera, bodies and heads tilted upward toward the wall-mounted CCTV camera as they check its coverage.\n\nFIGURES — size & depth (follow exactly): Su-ri-young and the male employee each fill roughly ~1/2 of the frame height in the nearer foreground-to-midground, standing alongside each other at comparable depth, while the CCTV camera is much smaller, around ~1/15, and farther away high on the wall.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of the referenced people (수리영) matched exactly to their reference photo — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-12 17:21:07", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s34run24s_S19sh6_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills24s/S19sh5_nb2.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/39864973-d3d5-4886-bfb2-f8db608a005b.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/99d4b721-040d-41ad-8c0b-a3f6d3ee727f.png"], "ref_labels": ["PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing.", "CHARACTER REFERENCE — 수리영: the exact person appearing in this shot; match face, hair and build exactly.", "PROP REFERENCE — 스마트폰: the exact object appearing in this shot; match its look, material and wear exactly."], "attempt": 1, "dur_s": 24.4, "bytes": 3020405, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills24s/S19sh6_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): daytime.\n\nSHOT TEXT (authoritative, Korean): 수리영이 귀에 스마트폰을 댄 채 정면을 응시하는 상체 클로즈업\n\nLOCATION (lock): a mid-size Korean supermarket: shelved sales floor inside; the entrance area outside with a bicycle rack and one wall-mounted CCTV camera above; a small back security office with CCTV monitors. The shot takes place here — pick the sub-area of this location that the shot text implies.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nMOVEMENT (follow exactly): static: Su-ri-young holds a smartphone to her ear and faces forward, explaining the situation to Hye-su by phone.\n\nFIGURES — size & depth (follow exactly): Su-ri-young’s upper body fills about ~3/4 of the frame height in the near foreground, with the smartphone small, around ~1/12, against her ear in the same near plane; no other person is visible.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of the referenced people (수리영) matched exactly to their reference photo — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-12 17:21:22", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s34run24s_S20sh1_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/bddad176-aa6a-4a71-b5d3-d02e36e19657.png"], "ref_labels": ["CHARACTER REFERENCE — 혜수: the exact person appearing in this shot; match face, hair and build exactly."], "attempt": 1, "dur_s": 14.3, "bytes": 2457095, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills24s/S20sh1_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): interior ambient light.\n\nSHOT TEXT (authoritative, Korean): 마트 총무과 책상 앞, 한국인 남성 보안직원과 혜수가 컴퓨터 모니터를 향해 몸을 기울인 측면\n\nLOCATION (lock): a mid-size Korean supermarket: shelved sales floor inside; the entrance area outside with a bicycle rack and one wall-mounted CCTV camera above; a small back security office with CCTV monitors. The shot takes place here — pick the sub-area of this location that the shot text implies.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nMOVEMENT (follow exactly): static: The male security employee and Hye-su lean forward from the desk toward the computer monitor, both directing their gaze at the CCTV footage.\n\nFIGURES — size & depth (follow exactly): The security employee and Hye-su each fill roughly ~1/2 of the frame height and occupy a comparable midground depth, with neither clearly nearer to the camera; the monitor is smaller, about ~1/3, positioned directly along their converging sightlines.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of the referenced people (혜수) matched exactly to their reference photo — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-12 17:21:44", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s34run24s_S20sh3_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills24s/S20sh1_nb2.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/bddad176-aa6a-4a71-b5d3-d02e36e19657.png"], "ref_labels": ["PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing.", "CHARACTER REFERENCE — 혜수: the exact person appearing in this shot; match face, hair and build exactly."], "attempt": 1, "dur_s": 22.3, "bytes": 2930347, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills24s/S20sh3_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): interior ambient light.\n\nSHOT TEXT (authoritative, Korean): 흑백 CCTV 화면 속 어두운 구석에 사람 형상이 희미하게 찍힌 모니터 클로즈업\n\nLOCATION (lock): a mid-size Korean supermarket: shelved sales floor inside; the entrance area outside with a bicycle rack and one wall-mounted CCTV camera above; a small back security office with CCTV monitors. The shot takes place here — pick the sub-area of this location that the shot text implies.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nMOVEMENT (follow exactly): static: A faint, unidentifiable human-shaped form remains in a dark corner of the black-and-white CCTV image, with no discernible direction of travel or body orientation.\n\nFIGURES — size & depth (follow exactly): The monitor image fills nearly the entire frame and is the nearest visible object, while the indistinct human-shaped form is tiny, about ~1/10 of the frame height, and appears far away within the recorded space.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of the referenced people (혜수) matched exactly to their reference photo — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-12 17:22:04", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s34run24s_S16sh3_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/panels24i/S16sh3.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/bddad176-aa6a-4a71-b5d3-d02e36e19657.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/99d4b721-040d-41ad-8c0b-a3f6d3ee727f.png"], "ref_labels": ["STORYBOARD PANEL — a REFERENCE ONLY, never the target: use it loosely for camera framing, figure placement and depth order. Do NOT photorealize this drawing as-is — the SHOT TEXT and the other references are authoritative; re-stage the moment naturally as a real photograph. Never copy the sketch's line style, paper texture, borders, simplified geometry or drawing errors.", "CHARACTER REFERENCE — 혜수: the exact person appearing in this shot; match face, hair and build exactly.", "PROP REFERENCE — 스마트폰: the exact object appearing in this shot; match its look, material and wear exactly."], "attempt": 1, "dur_s": 20.3, "bytes": 2554317, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills24s/S16sh3_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\n\nSHOT TEXT (authoritative, Korean): 혜수가 스마트폰 액정을 김형사 쪽으로 불쑥 내민 순간\n\nLOCATION (lock): a modest Korean provincial police station: a detectives' office with desks, monitors and a doorway; and the street right in front of the building. The shot takes place here — pick the sub-area of this location that the shot text implies.\n\nTHE STORYBOARD PANEL IS ONLY A REFERENCE: it is a\nrough pre-production sketch, not the image to\nreproduce. Take from it only the shot's rough\ncomposition — framing, where figures sit, near/far\norder. Everything else (real-world detail, materials,\nlight, anatomy, environment richness) must come from\nthe shot text and the photographic references,\nre-staged as if actually filmed on a real set. If the\nsketch conflicts with the shot text or looks\nsimplified/wrong, FOLLOW THE TEXT, not the sketch.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nMOVEMENT (follow exactly): Hye-su abruptly thrusts the smartphone forward from her side toward Detective Kim, presenting Min-sook's saved number while remaining inside the office.\n\nFIGURES — size & depth (follow exactly): Hye-su and Detective Kim each fill roughly ~1/2 of the frame height, with Hye-su NEARER to the camera and Detective Kim FARTHER across from her. The extended smartphone fills about ~1/5 of the frame height, projecting from Hye-su toward Detective Kim and lying between their positions.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of the referenced people (혜수) matched exactly to their reference photo — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-12 17:22:19", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s34run24s_S21sh7_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/39864973-d3d5-4886-bfb2-f8db608a005b.png"], "ref_labels": ["CHARACTER REFERENCE — 수리영: the exact person appearing in this shot; match face, hair and build exactly."], "attempt": 1, "dur_s": 14.3, "bytes": 2620448, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills24s/S21sh7_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): daytime.\n\nSHOT TEXT (authoritative, Korean): 수리영이 두 눈을 크게 뜨고 입을 살짝 벌린 굳은 얼굴 클로즈업\n\nLOCATION (lock): a modest Korean provincial police station: a detectives' office with desks, monitors and a doorway; and the street right in front of the building. The shot takes place here — pick the sub-area of this location that the shot text implies.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nMOVEMENT (follow exactly): static: Su-ri-young holds rigid with fear and shock, her widened eyes fixed forward and her lips slightly parted.\n\nFIGURES — size & depth (follow exactly): Su-ri-young's face fills roughly ~3/4 of the frame height; she is the sole and therefore NEAREST visible figure, with no farther person shown.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of the referenced people (수리영) matched exactly to their reference photo — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-12 17:22:43", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s34run24s_S21sh10_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills24s/S21sh7_nb2.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/39864973-d3d5-4886-bfb2-f8db608a005b.png"], "ref_labels": ["PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing.", "CHARACTER REFERENCE — 수리영: the exact person appearing in this shot; match face, hair and build exactly."], "attempt": 1, "dur_s": 24.5, "bytes": 3048373, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills24s/S21sh10_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): daytime.\n\nSHOT TEXT (authoritative, Korean): 모니터 화면에 바다 지도가 펼쳐져 있고 붉은색 핀과 좌표 숫자가 떠 있는 클로즈업\n\nLOCATION (lock): a modest Korean provincial police station: a detectives' office with desks, monitors and a doorway; and the street right in front of the building. The shot takes place here — pick the sub-area of this location that the shot text implies.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nMOVEMENT (follow exactly): static: the monitor displays a sea map with a red location pin and coordinate figures, with no physical movement in frame.\n\nFIGURES — size & depth (follow exactly): The monitor image fills nearly the full frame and is the sole, NEAREST core object; the map, pin, and coordinate text occupy the same flat display plane with no farther figure visible.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of the referenced people (수리영) matched exactly to their reference photo — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-12 17:23:05", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s34run24s_S21sh12_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills24s/S21sh10_nb2.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/39864973-d3d5-4886-bfb2-f8db608a005b.png"], "ref_labels": ["PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing.", "CHARACTER REFERENCE — 수리영: the exact person appearing in this shot; match face, hair and build exactly."], "attempt": 1, "dur_s": 22.1, "bytes": 2830145, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills24s/S21sh12_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): daytime.\n\nSHOT TEXT (authoritative, Korean): 수리영이 메모지가 들어간 겉옷 주머니에 손을 넣은 채 사무실 출입문을 향해 몸을 돌린 정지 순간\n\nLOCATION (lock): a modest Korean provincial police station: a detectives' office with desks, monitors and a doorway; and the street right in front of the building. The shot takes place here — pick the sub-area of this location that the shot text implies.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nMOVEMENT (follow exactly): static: Su-ri-young stands tensely with one hand inside the coat pocket holding the folded note, her body turned toward the office exit and poised to leave the room.\n\nFIGURES — size & depth (follow exactly): Su-ri-young fills roughly ~2/3 of the frame height and is NEARER to the camera, while the office doorway is FARTHER in the direction she faces. Her intended path runs from her position inside the office toward and through that doorway.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of the referenced people (수리영) matched exactly to their reference photo — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-12 17:23:29", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s34run24s_S22sh1_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills24s/S21sh12_nb2.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/39864973-d3d5-4886-bfb2-f8db608a005b.png"], "ref_labels": ["PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing.", "CHARACTER REFERENCE — 수리영: the exact person appearing in this shot; match face, hair and build exactly."], "attempt": 1, "dur_s": 24.0, "bytes": 2900076, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills24s/S22sh1_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): daytime.\n\nSHOT TEXT (authoritative, Korean): 경찰서 건물 밖 도로 위에서 수리영이 자전거 안장에 앉아 상체를 앞으로 숙인 채 머리카락이 뒤로 흩날리는 측면\n\nLOCATION (lock): a modest Korean provincial police station: a detectives' office with desks, monitors and a doorway; and the street right in front of the building. The shot takes place here — pick the sub-area of this location that the shot text implies.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nMOVEMENT (follow exactly): Su-ri-young rides the bicycle along the road outside the police station, moving laterally across the camera's side view with her torso pitched forward over the handlebars and her hair streaming backward, neither directly toward nor directly away from the camera.\n\nFIGURES — size & depth (follow exactly): Su-ri-young fills roughly ~1/2 of the frame height, and the bicycle-and-rider silhouette together fills about ~2/3; both are NEARER to the camera than the FARTHER police-station exterior. Her path continues along the road parallel to the image plane.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of the referenced people (수리영) matched exactly to their reference photo — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-12 17:35:35", "kind": "llm", "step": "s35_groups", "model": "gpt", "dur_s": 42.2, "system_prompt": "당신은 영화 로케이션 스크립터다. 전체 샷 목록(씬 헤딩·샷 텍스트·\n배정 장소 데이터 포함)을 보고, 샷들을 '같은 물리적 장소' 그룹으로\n묶어라. 장소 연속성이 있는 샷들(같은 공간을 다른 씬에서 재방문\n포함)은 한 그룹. 규칙:\n1) 모든 샷은 정확히 한 그룹에 속한다(누락·중복 금지).\n2) 그룹 안에서 샷 순서는 입력 순서(스토리 순서)를 유지한다.\n3) 그룹마다: key(영문 스네이크 슬러그), name_ko(짧은 한국어 표시명),\nplace_en(영어 1~3문장 장소 서술 — 고정 지형지물 포함, 이미지 생성\n프롬프트의 LOCATION lock 으로 쓸 수 있게 구체적으로).\n4) 실내/실외가 명확히 다른 공간이면 다른 그룹(예: 같은 건물의\n내부와 외부는 분리).\n5) 작품 고유명사는 place_en 에 쓰지 말 것(범용 서술).", "user_prompt": "전체 샷 목록(순서대로):\nS1sh1 | 헤딩: S#1. 숲속 / 해 질 무렵 | 배정 장소: L01 우거진 숲속 및 숲속 사건 현장\n  샷: 한쪽 신발이 벗겨진 한국인 남자가 우거진 수풀 사이를 달리며 한 발을 허공에 내딛고 있는 도중의 전신 구도\nS1sh4 | 헤딩: S#1. 숲속 / 해 질 무렵 | 배정 장소: L01 우거진 숲속 및 숲속 사건 현장\n  샷: 검은 형상의 인영이 허공에 뛰어오른 채 한국인 남자를 향해 두 팔을 뻗고 있는 순간\nS2sh1 | 헤딩: S#2. 도시 뒷골목 / N | 배정 장소: L02 가로등이 희미한 도시 뒷골목\n  샷: 희미한 가로등 불빛 아래 전봇대에 밀착된 채 서 있는 한국인 남자와 한국인 여자의 옆모습\nS2sh3 | 헤딩: S#2. 도시 뒷골목 / N | 배정 장소: (없음)\n  샷: 한국인 남자가 입을 크게 벌려 한국인 여자의 목에 이빨을 박아넣은 채 멈춘 순간\nS3sh3 | 헤딩: S#3. 현장 / D | 배정 장소: L01 우거진 숲속 및 숲속 사건 현장\n  샷: 형사 무리 한가운데 서서 손가락으로 한쪽을 가리키는 혜수의 상체\nS4sh1 | 헤딩: S#4. 옥탑방 / D | 배정 장소: L03 오래된 다세대 빌라 옥상 및 옥탑방 외부\n  샷: 맑은 낮, 오래된 다세대 빌라 옥상 위에 자리 잡은 옥탑방을 높은 곳에서 내려다본 부감 구도\nS5sh5 | 헤딩: S#5. 옥탑방 안 / 실내 | 배정 장소: (없음)\n  샷: 다급하게 상체를 기울이며 손가락 끝으로 TV 전원 버튼을 세게 누르고 있는 민숙의 측면 구도\nS5sh9 | 헤딩: S#5. 옥탑방 안 / 실내 | 배정 장소: (없음)\n  샷: 민숙의 손목에 선명하게 드러난 작은 원형 표식의 타이트 샷\nS6sh1 | 헤딩: S#6. 해안가 도로 / D | 배정 장소: L05 서해안 해안도로\n  샷: 낮의 해안가 도로 위, 이어폰을 낀 채 자전거 안장에 앉아 한 발로 페달을 밟아 내리는 중간 동작으로 미소 짓는 수리영의 옆모습, 자전거의 추진력에 의해 머리카락이 뒤로 흩날리는 찰나\nS7sh3 | 헤딩: S#7. 유기견 보호원 / D | 배정 장소: L06 유기견 보호원 내부\n  샷: 로트와일러가 귀를 뒤로 젖힌 채 얌전히 바닥에 엎드린 정지 상태\nS7sh6 | 헤딩: S#7. 유기견 보호원 / D | 배정 장소: (없음)\n  샷: 수리영이 귀에 스마트폰을 댄 채 미간을 찌푸린 얼굴\nS8sh3 | 헤딩: S#8. 번화가·대형 마트 / 해질 무렵 | 배정 장소: L08 대형마트 매장 내부\n  샷: 수리영이 마트 유니폼을 입은 한국인 여성 직원을 마주보며 입을 살짝 벌린 측면 구도\nS8sh5 | 헤딩: S#8. 번화가·대형 마트 / 해질 무렵 | 배정 장소: L09 대형마트 외부 및 출입구\n  샷: 마트 밖으로 나온 수리영이 손에 든 스마트폰 액정을 내려다보는 상체\nS9sh1 | 헤딩: S#9. 해안가 / N | 배정 장소: L05 서해안 해안도로\n  샷: 어두운 해안도로 위 자전거 안장에 앉아 한쪽 다리로 페달을 밟아 내리는 중간 자세로 앞을 향해 상체를 기울인 수리영의 실루엣, 옷자락이 뒤로 휘날리는 순간\nS10sh6 | 헤딩: S#10. 옥탑방 / N | 배정 장소: L03 오래된 다세대 빌라 옥상 및 옥탑방 외부\n  샷: 현관 철문이 아주 살짝 열린 틈새로 보이는 어두운 실내와 신발 앞코\nS10sh7 | 헤딩: S#10. 옥탑방 / N | 배정 장소: L03 오래된 다세대 빌라 옥상 및 옥탑방 외부\n  샷: 불이 켜진 옥탑방 창문에 거대한 그림자가 작은 그림자의 어깨 쪽으로 고개를 꺾은 형태가 맺혀 있는 정지 구도\nS11sh4 | 헤딩: S#11. 옥탑 방 밖 / N | 배정 장소: L11 다세대 빌라 외부 철제 증축 계단\n  샷: 철제 파이프 난간을 손으로 잡은 수리영이 코끝을 찡그린 채 계단 중간에 서 있는 얼굴 클로즈업\nS11sh5 | 헤딩: S#11. 옥탑 방 밖 / N | 배정 장소: L03 오래된 다세대 빌라 옥상 및 옥탑방 외부\n  샷: 옥상에 선 수리영의 시선 끝에 반쯤 열려 있는 어두운 현관 철문이 보이는 정면 구도\nS12sh11 | 헤딩: S#12. 옥탑방 안 / N | 배정 장소: L04 옥탑방 내부 주거 공간\n  샷: 옷과 피부가 피투성이가 된 민숙이 바닥에 주저앉아 고개를 푹 숙인 정지 상태\nS12sh18 | 헤딩: S#12. 옥탑방 안 / N | 배정 장소: (없음)\n  샷: 민숙의 손에 꽉 쥐어진 구겨진 사진의 타이트 샷\nS12sh21 | 헤딩: S#12. 옥탑방 안 / N | 배정 장소: L04 옥탑방 내부 주거 공간\n  샷: 침대 위쪽 벽면에 붉은색 원형 표식이 절반쯤 나타난 상태\nS13sh4 | 헤딩: S#13. 옥탑방 외곽 / N | 배정 장소: L10 다세대 빌라 골목길 및 마당\n  샷: 수리영이 초점을 잃은 눈으로 허공을 응시하며 서 있는 모습\nS13sh6 | 헤딩: S#13. 옥탑방 외곽 / N | 배정 장소: L10 다세대 빌라 골목길 및 마당\n  샷: 고개를 든 채 혜수의 얼굴을 마주보고 있는 수리영의 측면 구도\nS14sh5 | 헤딩: S#14. 옥탑방 안 / N | 배정 장소: L04 옥탑방 내부 주거 공간\n  샷: 핏자국 없이 깨끗한 방 내부 전경\nS14sh7 | 헤딩: S#14. 옥탑방 안 / N | 배정 장소: (없음)\n  샷: 수리영이 멍한 눈으로 텅 빈 방 안을 응시하는 얼굴 클로즈업\nS14sh11 | 헤딩: S#14. 옥탑방 안 / N | 배정 장소: (없음)\n  샷: 혜수가 날카로운 눈빛으로 김형사를 노려보는 모습\nS15sh2 | 헤딩: S#15. 해안가. 버스정류장 부근 / N | 배정 장소: (없음)\n  샷: 혜수의 손이 음료수 캔을 쥔 채 수리영 앞으로 내밀어진 순간\nS15sh6 | 헤딩: S#15. 해안가. 버스정류장 부근 / N | 배정 장소: L12 바다가 보이는 해안가 버스정류장\n  샷: 멀리서 혜수의 전신과 한 발을 공중에 띄운 mid-stride 자세로 달리는 수리영의 뒷모습을 한 프레임에 담은 넓은 구도\nS16sh3 | 헤딩: S#16. 경찰서 사무실 / N | 배정 장소: L13 경찰서 사무실 내부\n  샷: 혜수가 스마트폰 액정을 김형사 쪽으로 불쑥 내민 순간\nS17sh2 | 헤딩: S#17. 옥탑방 / 동틀무렵 | 배정 장소: L03 오래된 다세대 빌라 옥상 및 옥탑방 외부\n  샷: 옥상 담벼락 위에서 한쪽 앞발을 허공으로 뻗은 검은 고양이의 측면\nS18sh11 | 헤딩: S#18. 안방 안 / D | 배정 장소: L04 옥탑방 내부 주거 공간\n  샷: 거울 속 반사된 욕실 타일 벽면에 붉은색 원형 표식이 절반쯤 나타난 상태\nS18sh15 | 헤딩: S#18. 아파트 내부 / D | 배정 장소: (없음)\n  샷: 액자 속 민숙의 얼굴 부분 이미지가 아래로 일그러지며 흘러내리는 찰나\nS18sh16 | 헤딩: S#18. 안방 안 / D | 배정 장소: (없음)\n  샷: 수리영이 두 손으로 머리를 감싸 쥐고 입을 크게 벌린 얼굴\nS19sh5 | 헤딩: S#19. 마트 / D | 배정 장소: L09 대형마트 외부 및 출입구\n  샷: 수리영과 남자직원이 마트 밖에서 벽면의 CCTV를 올려다보는 뒷모습\nS19sh6 | 헤딩: S#19. 마트 / D | 배정 장소: (없음)\n  샷: 수리영이 귀에 스마트폰을 댄 채 정면을 응시하는 상체 클로즈업\nS20sh1 | 헤딩: S#20. 마트 총무과 / 실내 | 배정 장소: L14 대형마트 총무과 사무실\n  샷: 마트 총무과 책상 앞, 한국인 남성 보안직원과 혜수가 컴퓨터 모니터를 향해 몸을 기울인 측면\nS20sh3 | 헤딩: S#20. 마트 총무과 / 실내 | 배정 장소: (없음)\n  샷: 흑백 CCTV 화면 속 어두운 구석에 사람 형상이 희미하게 찍힌 모니터 클로즈업\nS21sh7 | 헤딩: S#21. 경찰서 안 / D | 배정 장소: (없음)\n  샷: 수리영이 두 눈을 크게 뜨고 입을 살짝 벌린 굳은 얼굴 클로즈업\nS21sh10 | 헤딩: S#21. 경찰서 안 / D | 배정 장소: (없음)\n  샷: 모니터 화면에 바다 지도가 펼쳐져 있고 붉은색 핀과 좌표 숫자가 떠 있는 클로즈업\nS21sh12 | 헤딩: S#21. 경찰서 안 / D | 배정 장소: L13 경찰서 사무실 내부\n  샷: 수리영이 메모지가 들어간 겉옷 주머니에 손을 넣은 채 사무실 출입문을 향해 몸을 돌린 정지 순간\nS22sh1 | 헤딩: S#22. 경찰서 밖 / D | 배정 장소: L15 경찰서 건물 외부 도로\n  샷: 경찰서 건물 밖 도로 위에서 수리영이 자전거 안장에 앉아 상체를 앞으로 숙인 채 머리카락이 뒤로 흩날리는 측면\nS23sh1 | 헤딩: S#23. 어느 PC방 / 실내 | 배정 장소: L16 어두운 PC방 내부\n  샷: 어두운 PC방 안, 모니터 불빛이 비치는 수리영의 정면 상체\nS23sh4 | 헤딩: S#23. 어느 PC방 / 실내 | 배정 장소: (없음)\n  샷: 수리영의 두 손이 접힌 지도 종이들을 열려 있는 백팩 안으로 밀어넣은 정지 순간\nS24sh2 | 헤딩: S#24. 해안가 / 소나기 | 배정 장소: (없음)\n  샷: 비에 흠뻑 젖은 수리영이 자전거 핸들을 꽉 쥔 채 앞을 노려보는 얼굴 클로즈업\nS25sh1 | 헤딩: S#25. 옥탑방 안 / 해질 무렵 | 배정 장소: L04 옥탑방 내부 주거 공간\n  샷: 해질 무렵 옥탑방 거실, 흙 묻은 발자국들이 찍힌 바닥과 쓰러진 식탁 의자들이 보이는 전경\nS25sh5 | 헤딩: S#25. 옥탑방 안 / 해질 무렵 | 배정 장소: (없음)\n  샷: 붉은 원 한가운데 피 묻은 낡은 흑백 사진이 벽에 꽂혀 있는 타이트 샷\nS25sh9 | 헤딩: S#25. 옥탑방 안 / 해질 무렵 | 배정 장소: (없음)\n  샷: 수리영의 손이 구겨진 사진을 꽉 움켜쥔 타이트 샷\nS26sh2 | 헤딩: S#26. 포구 / 해질 무렵 | 배정 장소: L17 안개 낀 포구 및 갯바위\n  샷: 수리영이 갯바위 위에 무릎을 모으고 앉아 바다를 응시하는 측면\nS26sh5 | 헤딩: S#26. 포구 / 해질 무렵 | 배정 장소: L17 안개 낀 포구 및 갯바위\n  샷: 뱃머리에서 내린 인우가 굵은 닻줄을 쥔 채 바닥의 말뚝에 걸친 정지 순간\nS26sh9 | 헤딩: S#26. 포구 / 해질 무렵 | 배정 장소: L17 안개 낀 포구 및 갯바위\n  샷: 수리영이 바다를 향해 선 채 스마트폰을 입가에 댄 측면 상체\nS27sh3 | 헤딩: S#27. 옥탑방 안 / 해질 무렵 | 배정 장소: (없음)\n  샷: 혜수가 미간을 깊게 찌푸린 채 스마트폰을 내려다보는 얼굴 클로즈업\nS28sh5 | 헤딩: S#28. 바다 + 갑판 / 해질 무렵 | 배정 장소: L19 소형 어선 갑판\n  샷: 인우가 사진에 시선을 고정한 채 두 눈을 크게 뜨고 상체를 뒤로 뺀 측면 구도\nS28sh8 | 헤딩: S#28. 바다 + 갑판 / 해질 무렵 | 배정 장소: L19 소형 어선 갑판\n  샷: 수리영이 조타실 입구에 서서 두 팔을 벌린 채 멈춘 전신\nS29sh3 | 헤딩: S#29. 조타실 / 해질 무렵 | 배정 장소: (없음)\n  샷: 수리영의 검지손가락이 낡은 사진 속 아이의 얼굴 부분에 닿아 있는 클로즈업\nS29sh4 | 헤딩: S#29. 조타실 / 해질 무렵 | 배정 장소: (없음)\n  샷: 인우가 입술을 살짝 벌린 채 하얗게 질린 얼굴 타이트 샷\nS29sh8 | 헤딩: S#29. 조타실 / 해질 무렵 | 배정 장소: (없음)\n  샷: 눈이 반쯤 감긴 수리영의 이마가 인우의 어깨에 맞닿아 있는 찰나\nS30sh1 | 헤딩: S#30. 바다 / 해질 무렵 | 배정 장소: L18 서해 바다\n  샷: 해질 무렵 황금빛 노을이 바다 표면에 길게 비친 전경\nS30sh3 | 헤딩: S#30. 바다 / 해질 무렵 | 배정 장소: L18 서해 바다\n  샷: 어선의 뱃머리가 짙은 안개벽에 절반쯤 가려진 측면 구도"}
{"ts": "2026-07-12 17:36:11", "kind": "llm", "step": "s35_move_dense_forest_incident_site", "model": "gpt", "dur_s": 20.8, "system_prompt": "당신은 콘티 작가를 돕는 동선 분석가다. 씬 원문(한국어 전문)과 샷\n목록을 읽고, 각 샷에서 인물이 공간을 어떻게 통과하는지(동선)를\n판정하라. 원문에 근거한 것만 쓰고 발명 금지. 마커나 ID 코드 금지.\n샷마다 두 필드를 채워라:\n1) movement_en — 영어 한 문장: 누가/무엇이 움직이는지, 이동 경로와\n방향(오르는지 내려오는지, 들어가는지 나오는지, 카메라 쪽인지\n반대인지), 몸의 진행 자세, 어디에서 와서 어디로 가는 중인지.\n정지 샷이면 'static:'으로 시작해 시선·몸 방향만.\n★인물의 신체·의식 상태가 원문에 있으면 자세 서술에 반드시 반영:\n죽었거나 의식이 없으면 'lifeless: collapsed, asymmetric, limp\nlimbs, weight fallen' 처럼 무너진 자세로 명시(단정하게 앉거나\n웅크린 자세로 쓰지 말 것), 부상·긴장·공포도 자세에 드러나게.\n어둠 속 실루엣·그림자로 보이는 존재도 실제로는 사람이면 사람의\n신체 비례임을 유지해 서술하라(예: 'a real person appearing as a\ndark silhouette, normal human build').\n2) figures_en — 영어 1~2문장: 프레임에 보이는 인물/핵심 물체\n각각에 대해 (a) 프레임 안 겉보기 크기(화면 높이의 몇 분의 몇\n수준인지: e.g. fills ~2/3 of frame height / small ~1/5), (b) 카메라\n기준 원근 서열(which is NEARER, which is FARTHER — 명시적 비교),\n(c) 인물이 여럿이거나 동선이 얽히면 서로의 경로·거리 관계까지.\n인물 1명 단순 샷이어도 크기와 근원(near/far)은 반드시 기록.", "user_prompt": "씬 원문 전문:\n[씬 1] S#1. 숲속 / 해 질 무렵\nS#1. 숲속 / 해 질 무렵\n우거진 수풀을 헤치며 도망치는. 벗겨진 한쪽 신발.\n허벅지에 커다란 이빨 자국. 피가 흐르고.\n잔뜩 겁에 질린 남자 표정(T.S) 그때 어디선가 쏜살같이 달려온\n검은 인영이 남자를 덮친다. 아아~ 악!!!\n\n\n\n[씬 3] S#3. 현장 / D\nS#3. 현장 / D\n지역 뉴스 화면. 기자는 보이지 않고 멘트만 흘러나온다.\n씬1, 2 현장을 감식하는 경찰, 폴리스 라인을 치고 시신을 수거한다.\n형사무리 속에 사건을 지휘하는 혜수의 모습이 보인다.\n\n기자(E)\n(이어서) 형체를 알아볼 수 없는 시신 두 구가 잇달아\n발견되면서 경찰은 수사본부를 차리고 갑호 비상령을\n내린 상탭니다.\n(중략)\n\n\n\n샷 목록(각각 동선 판정):\nS1sh1: 한쪽 신발이 벗겨진 한국인 남자가 우거진 수풀 사이를 달리며 한 발을 허공에 내딛고 있는 도중의 전신 구도\nS1sh4: 검은 형상의 인영이 허공에 뛰어오른 채 한국인 남자를 향해 두 팔을 뻗고 있는 순간\nS3sh3: 형사 무리 한가운데 서서 손가락으로 한쪽을 가리키는 혜수의 상체"}
{"ts": "2026-07-12 17:36:35", "kind": "llm", "step": "s35_move_dim_city_back_alley", "model": "gpt", "dur_s": 23.7, "system_prompt": "당신은 콘티 작가를 돕는 동선 분석가다. 씬 원문(한국어 전문)과 샷\n목록을 읽고, 각 샷에서 인물이 공간을 어떻게 통과하는지(동선)를\n판정하라. 원문에 근거한 것만 쓰고 발명 금지. 마커나 ID 코드 금지.\n샷마다 두 필드를 채워라:\n1) movement_en — 영어 한 문장: 누가/무엇이 움직이는지, 이동 경로와\n방향(오르는지 내려오는지, 들어가는지 나오는지, 카메라 쪽인지\n반대인지), 몸의 진행 자세, 어디에서 와서 어디로 가는 중인지.\n정지 샷이면 'static:'으로 시작해 시선·몸 방향만.\n★인물의 신체·의식 상태가 원문에 있으면 자세 서술에 반드시 반영:\n죽었거나 의식이 없으면 'lifeless: collapsed, asymmetric, limp\nlimbs, weight fallen' 처럼 무너진 자세로 명시(단정하게 앉거나\n웅크린 자세로 쓰지 말 것), 부상·긴장·공포도 자세에 드러나게.\n어둠 속 실루엣·그림자로 보이는 존재도 실제로는 사람이면 사람의\n신체 비례임을 유지해 서술하라(예: 'a real person appearing as a\ndark silhouette, normal human build').\n2) figures_en — 영어 1~2문장: 프레임에 보이는 인물/핵심 물체\n각각에 대해 (a) 프레임 안 겉보기 크기(화면 높이의 몇 분의 몇\n수준인지: e.g. fills ~2/3 of frame height / small ~1/5), (b) 카메라\n기준 원근 서열(which is NEARER, which is FARTHER — 명시적 비교),\n(c) 인물이 여럿이거나 동선이 얽히면 서로의 경로·거리 관계까지.\n인물 1명 단순 샷이어도 크기와 근원(near/far)은 반드시 기록.", "user_prompt": "씬 원문 전문:\n[씬 2] S#2. 도시 뒷골목 / N\nS#2. 도시 뒷골목 / N\n도심 희미한 가로등 불빛.\n전봇대에 뒤엉켜있는 두 사람. 남녀로 보인다.\n가쁜 숨소리 점점 커지더니… 격렬하게 흡입하는 소리로 바뀌고\n남자의 붉은 눈동자, 목의 살점을 뜯는 이빨… 푹 힘없이 쓰러지는 여자.\n\n기자(E)\n어젯밤에 금월산 등산로와 효장동에서 변사체가 발견됐습니다.\n\n\n\n샷 목록(각각 동선 판정):\nS2sh1: 희미한 가로등 불빛 아래 전봇대에 밀착된 채 서 있는 한국인 남자와 한국인 여자의 옆모습\nS2sh3: 한국인 남자가 입을 크게 벌려 한국인 여자의 목에 이빨을 박아넣은 채 멈춘 순간"}
{"ts": "2026-07-12 17:37:09", "kind": "llm", "step": "s35_move_rooftop_room_exterior", "model": "gpt", "dur_s": 33.9, "system_prompt": "당신은 콘티 작가를 돕는 동선 분석가다. 씬 원문(한국어 전문)과 샷\n목록을 읽고, 각 샷에서 인물이 공간을 어떻게 통과하는지(동선)를\n판정하라. 원문에 근거한 것만 쓰고 발명 금지. 마커나 ID 코드 금지.\n샷마다 두 필드를 채워라:\n1) movement_en — 영어 한 문장: 누가/무엇이 움직이는지, 이동 경로와\n방향(오르는지 내려오는지, 들어가는지 나오는지, 카메라 쪽인지\n반대인지), 몸의 진행 자세, 어디에서 와서 어디로 가는 중인지.\n정지 샷이면 'static:'으로 시작해 시선·몸 방향만.\n★인물의 신체·의식 상태가 원문에 있으면 자세 서술에 반드시 반영:\n죽었거나 의식이 없으면 'lifeless: collapsed, asymmetric, limp\nlimbs, weight fallen' 처럼 무너진 자세로 명시(단정하게 앉거나\n웅크린 자세로 쓰지 말 것), 부상·긴장·공포도 자세에 드러나게.\n어둠 속 실루엣·그림자로 보이는 존재도 실제로는 사람이면 사람의\n신체 비례임을 유지해 서술하라(예: 'a real person appearing as a\ndark silhouette, normal human build').\n2) figures_en — 영어 1~2문장: 프레임에 보이는 인물/핵심 물체\n각각에 대해 (a) 프레임 안 겉보기 크기(화면 높이의 몇 분의 몇\n수준인지: e.g. fills ~2/3 of frame height / small ~1/5), (b) 카메라\n기준 원근 서열(which is NEARER, which is FARTHER — 명시적 비교),\n(c) 인물이 여럿이거나 동선이 얽히면 서로의 경로·거리 관계까지.\n인물 1명 단순 샷이어도 크기와 근원(near/far)은 반드시 기록.", "user_prompt": "씬 원문 전문:\n[씬 4] S#4. 옥탑방 / D\nS#4. 옥탑방 / D\n인천 변두리 부감, 오래된 빌라 옥탑방 전경.\n\n기자(E)\n지역 주민들 사이에 횡행한 소문이 돌고 있지만, 경찰은\n범인의 윤곽조차 잡지 못하고 있어 지역주민들의 불안과\n두려움을 더 키우는 모양새입니다.\n\n\n\n[씬 10] S#10. 옥탑방 / N\nS#10. 옥탑방 / N\n그 시각. 옥탑방 옥상. 물탱크. 바람에 빨랫줄이 툭- 툭-\n평상에 놓인 말린 석창포가 바람에 날리는데...\n말린 잎이 걸어오는 낯선 남자의 신발 위를 스친다.\n남자의 긴 그림자. (얼굴은 보이지 않는다)\n\n신발은 옥탑방 철문 현관 앞에 멈춰 선다.\n문틈에 낀 광고 전단지.\n전단지를 뽑아서 손가락으로 문틈에 꾹 밀어 넣는다.\n‘철컥’ 하고 잠금 새가 풀리는 소리.\n문이 미세하게 열리고 안으로 들어가는 남자.\n창문에 비친 그림자. 민숙을 덮쳐 어깨를 물어뜯는 듯한 모습 ‘아악-’\n\n\n\n[씬 11] S#11. 옥탑 방 밖 / N\nS#11. 옥탑 방 밖 / N\n자전거를 타고 골목길을 달리는 수리영.\n다세대 빌라 문을 열고 들어와 마당 후미진 곳에 자전거를 대충 세우고,\n옥탑방과 연결되는 계단을 급히 오른다.\n\n갑자기 훅- 느껴지는 역겨운 냄새. 뭐지?\n옥상에 올라와 보니 반쯤 열린 현관 철문.\n\n\n\n[씬 17] S#17. 옥탑방 / 동틀무렵\nS#17. 옥탑방 / 동틀무렵\n새벽녘, 고양이 울음소리.\n검은 고양이가 불이 켜져 있는 옥탑 방을 슬쩍 보더니 담을 넘는다\n\n\n\n샷 목록(각각 동선 판정):\nS4sh1: 맑은 낮, 오래된 다세대 빌라 옥상 위에 자리 잡은 옥탑방을 높은 곳에서 내려다본 부감 구도\nS10sh6: 현관 철문이 아주 살짝 열린 틈새로 보이는 어두운 실내와 신발 앞코\nS10sh7: 불이 켜진 옥탑방 창문에 거대한 그림자가 작은 그림자의 어깨 쪽으로 고개를 꺾은 형태가 맺혀 있는 정지 구도\nS11sh5: 옥상에 선 수리영의 시선 끝에 반쯤 열려 있는 어두운 현관 철문이 보이는 정면 구도\nS17sh2: 옥상 담벼락 위에서 한쪽 앞발을 허공으로 뻗은 검은 고양이의 측면"}
{"ts": "2026-07-12 17:37:53", "kind": "llm", "step": "s35_move_rooftop_room_interior", "model": "gpt", "dur_s": 44.0, "system_prompt": "당신은 콘티 작가를 돕는 동선 분석가다. 씬 원문(한국어 전문)과 샷\n목록을 읽고, 각 샷에서 인물이 공간을 어떻게 통과하는지(동선)를\n판정하라. 원문에 근거한 것만 쓰고 발명 금지. 마커나 ID 코드 금지.\n샷마다 두 필드를 채워라:\n1) movement_en — 영어 한 문장: 누가/무엇이 움직이는지, 이동 경로와\n방향(오르는지 내려오는지, 들어가는지 나오는지, 카메라 쪽인지\n반대인지), 몸의 진행 자세, 어디에서 와서 어디로 가는 중인지.\n정지 샷이면 'static:'으로 시작해 시선·몸 방향만.\n★인물의 신체·의식 상태가 원문에 있으면 자세 서술에 반드시 반영:\n죽었거나 의식이 없으면 'lifeless: collapsed, asymmetric, limp\nlimbs, weight fallen' 처럼 무너진 자세로 명시(단정하게 앉거나\n웅크린 자세로 쓰지 말 것), 부상·긴장·공포도 자세에 드러나게.\n어둠 속 실루엣·그림자로 보이는 존재도 실제로는 사람이면 사람의\n신체 비례임을 유지해 서술하라(예: 'a real person appearing as a\ndark silhouette, normal human build').\n2) figures_en — 영어 1~2문장: 프레임에 보이는 인물/핵심 물체\n각각에 대해 (a) 프레임 안 겉보기 크기(화면 높이의 몇 분의 몇\n수준인지: e.g. fills ~2/3 of frame height / small ~1/5), (b) 카메라\n기준 원근 서열(which is NEARER, which is FARTHER — 명시적 비교),\n(c) 인물이 여럿이거나 동선이 얽히면 서로의 경로·거리 관계까지.\n인물 1명 단순 샷이어도 크기와 근원(near/far)은 반드시 기록.", "user_prompt": "씬 원문 전문:\n[씬 5] S#5. 옥탑방 안 / 실내\nS#5. 옥탑방 안 / 실내\n거실에 난 작은 창으로 햇살에 가늘게 비친다.\n싱크대 수도꼭지에 흐르는 물, 씻다 만 약초(석창포).\n냄비의 물이 끓어 달그락거리는 소리… 김이 피어오르고.\n앞치마를 두른 채 TV 뉴스를 뚫어지게 바라보는\n민숙(수리영 엄마. 40세) 표정이 어둡다.\n(뉴스멘트는 작아졌다 커졌다 반복하면서 여기까지 이어진다)\n\n딸, 수리영(21. 애완동물미용학과 2년)이 방문을 열고 기지개를 켜며\n나오자 후다닥 TV를 끄는 민숙. 다정한 말투로\n\n수리영\n(심드렁) 뭐~야. 사건 났어? 뭔데.\n\n민숙\n아냐.\n\n수리영\n(식탁에 앉으며) 이모 또 야근하겠네. 조그만 도시에\n왠 사건이 이렇게 많아. 바다가 가까워서 그런가.\n\n민숙\n신경 꺼. (석창포 달인 물을 따라주면서) 마셔. 방학인데\n왜 더 자지않고.\n\n수리영\n(마시고 나서) 아, 진짜 맛 없어...(투정) 나 알바 있어, 엄마.\n원장님이 하루만 봐 달래.\n\n(cut to.)\n가벼운 차림새. 수리영 신발을 신으며\n\n수리영\n엄마는 오늘 안 나가?\n\n민숙\n이따가 1시 타임.\n\n수리영\n(엄마의 냄새를 맡으며) 아, 좋다. 끝나고 마트로 갈게. 모처럼\n밖에서 저녁먹자 엄마.\n\n민숙\n응 (미소)\n\n힐끗, 민숙 손목에 보이는 작은 원(이하 표식)을 본다.\n오늘따라 유난히 또렷해 보이지만 워낙 어릴 적부터 봐온 터라 개의치 않는.\n\n\n\n[씬 12] S#12. 옥탑방 안 / N\nS#12. 옥탑방 안 / N\n/거실\n‘엄마?’를 부르며 들어오는 수리영,\n끓다 식은 냄비. 켜져 있는 TV. 희미한 거실 스탠드 불빛,\n\n/민숙 방\n안방 문을 여는데... 없다.\n거실 식탁에 놓여있는 찻잔 두 개. 하나는 엎어져있다.\n\n/수리영 방\n마지막으로 자기 방문을 연다\n헉!- 여기저기 핏자국. 바닥에 흥건한 혈흔.\n피묻은 발자국은 커튼으로 이어져 있다\n호흡을 가두고 커튼을 젖히자\n앉은 채로 고개를 떨군 채 죽어있는 엄마- 민숙!!!!\n\n수리영\n(달려가) 어어어어----엄마\n\n충격에 온 몸이 얼어붙은 수리영,\n살점이 뜯긴 어깨와 쇄골, 마치 동물에게 물어뜯긴 듯한 거친 상처가 고스란히\n드러나있다. 덜렁거리는 살점과 뜯겨진 부위에 흘러내리는 피.\n\n수리영\n(놀라 뒤로 주춤) 어-어-어- 엄마….\n\n부들부들 떨며 핸드폰을 누른다. 2번 혜수이모\n\n수리영\n받아, 이모. 받아….\n\n혜수(E)\n영아, 영아, 왜?\n\n답은 안 나오고… 엄마 손안에 구겨진 사진 한 장이 보인다.\n다가가 사진을 꺼내는데 엄마 손목에 있던 문신이 붉은색으로 변한다.\n헉! 호흡이 빨라지고... 침대 위 벽에 붉은 원이 생겨난다\n(마치 누군가 붓으로 벽에 원으로 그리는 것처럼).\n소름끼치는 으아악---!\n\n\n\n[씬 14] S#14. 옥탑방 안 / N\nS#14. 옥탑방 안 / N\n/현관\n집안 여기저기를 확인하면서 나오는 형사와 혜수\n\n김형사\n(허탈한 표정) 없는데.. 아무 것도.\n\n혜수\n(뒤따라온 수리영에게) 영아, 없어. 뭘 봤는데...?\n\n어? 수리영, 부리나케 방 안으로 뛰어 들어간다.\n\n/수리영 방 안\n지나칠 정도로 깨끗하게 정돈된 방안. 핏자국도 보이지 않고,\n침대 위에 붉은 표식은 물론 커튼 뒤의 시신도 감쪽 같이 사라졌다.\n얼굴이 파리해지는 수리영. ‘어----?’ ‘분명히 봤는데...’\n\n뛰쳐나가 식탁으로 가본다. 식탁 역시 깨끗한.\n\n수리영\n여기 찻잔도 두 개 있었고...\n\n김형사\n(답답) 허 참! 죽은 사람이 발이 달렸을 리도 없고. 쯧쯧\n그러게 살인사건은 자세하게 보도하면 안 된다구요...(궁시렁)\n이봐요. 학생? 장난전화 하면 안 되는 거 몰라? (짜증)\n안 그래도 살인사건으로 난리도 아닌데...\n\n혜수\n(김형사 째리고) 김형사. 먼저 가 있어. (김형사 나가면)\n(수리영 어깨를 어루만지며) 영아.\n\n수리영\n엄마(시신), 어디갔을까? 분명히 봤는데...\n\n혜수\n네가 요즘 과로했잖아. 공부에다 알바까지...\n악몽을 꾼 걸 수도 있으니... 바람이나 쐬러 가자.\n수리영 방안에 놓여진 백팩, 인형. 약간씩 위치가 달라진.\n(시신을 발견했을 때와 다른)\n\n\n\n[씬 18] S#18. 안방 안 / D\nS#18. 안방 안 / D\n침대에 머리를 대고 앉아있는 수리영, 밤새 엄마를 기다리다 깜박 졸았다\n고양이 울음소리에 번쩍 눈을 뜨고, ‘엄마? ’혹시나 해서 집안을 살피지만\n아무런 인기척도 보이지 않는다\n\n/수리영 방안\n닫혀있는 자신의 방을 바라본다.\n[F.B: 1부12씬] 커튼 뒤에 죽어있던 엄마. 상처. 혈흔\n\n크게 심호흡하고 조심스럽게 문을 연다.\n지나치리만큼 깨끗하게 정돈된 방안.\n창문에 다가가 커튼을 확 열어젖힌다. 시신은 없다.\n\n한숨 후~ 다행이긴 한데.\n그때, 울리는 폰 벨소리, 화들짝 놀라는 수리영. 달려가 받자마자\n\n수리영\n엄마?\n\n혜수(E)\n아직이니?\n\n수리영\n응. 아무래도 이상해. 이럴 리가 없잖아! 우리 엄마가.\n이모, 사고 난 게 분명해\n\n혜수(E)\n실종신고 냈어. 이모가 엄마 폰 위치추적하고 있으니까\n조금만 기다려 별일 없을 거야. 알았지?\n\n수리영\n응.\n\n무작정 기다리는게 불안한 수리영,\n인형이 달린 자신의 백팩을 꺼내 나온다\n\n/욕실 안\n얼굴을 씻고 거울을 보며\n\n수리영\n엄마, 도대체 어딨는 거야...\n\n거울에 비친 욕실 벽에 갑자기 또 발생하는 붉은 원.\n호흡이 가빠지고... 훅 고개를 돌려 벽을 보는 수리영\n거짓말처럼 사라지고 없다.\n거실로 튀어나와 물 한컵 마시고 식탁에 놓인 엄마와 수리영의 사진을 보는데...\n환하게 웃는 엄마 얼굴이 뭉개져 흘러내린다\n\n수리영\n아아악~~~ (다시보니 멀쩡하다) 나 왜 이러는 거지.\n(자신의 뺨을 치며) 정신 차려 수리영!\n\n\n\n[씬 25] S#25. 옥탑방 안 / 해질 무렵\nS#25. 옥탑방 안 / 해질 무렵\n누군가 다녀간 흔적으로 보이는 발자국들.\n다시 호흡이 가빠지는 수리영.\n집안에서 뭔가를 찾기 위해 가재도구를 온통 헤집은 것으로 보인다.\n거실에 난 창은 열려있고, 식탁 의자들을 쓰러져있다.\n\n/수리영 방\n열린 자신의 방을 힐끗 보는데\n벽에 또 붉은 원이 그려져있다. 그 가운데 꽂혀있는 피묻은 사진 한 장!\n사진을 떼어서 자세히 본다.\n어? 그 사진!!!\n\n[F.B: 1부 12씬] 죽은 엄마의 손에 구겨져있던 바로 그 사진이다.\n7-80년대 쯤 보이는 시골 식당과 지붕위에 둥근 원이 설치된 (마치 십자가처럼)\n식당 앞에는 어린 여자애 둘(12살)이 앉아있다. 그중에 한 아이는 분명히\n어릴 적 엄마다.\n\n침대에 털썩 주저앉는 수리영. 연속해서 벌어지는 기이한 상황에 정신이 혼미한\n엉망이 된 집 안을 한번 획 둘러보는 수리영,\n마치 이끌리듯 백팩을 메고 밖으로 나간다. 사진을 손에 꼭 쥔 채.\n\n\n\n[씬 27] S#27. 옥탑방 안 / 해질 무렵\nS#27. 옥탑방 안 / 해질 무렵\n수리영의 녹음메시지를 확인하는 혜수,\n\n\n\n샷 목록(각각 동선 판정):\nS5sh5: 다급하게 상체를 기울이며 손가락 끝으로 TV 전원 버튼을 세게 누르고 있는 민숙의 측면 구도\nS5sh9: 민숙의 손목에 선명하게 드러난 작은 원형 표식의 타이트 샷\nS12sh11: 옷과 피부가 피투성이가 된 민숙이 바닥에 주저앉아 고개를 푹 숙인 정지 상태\nS12sh18: 민숙의 손에 꽉 쥐어진 구겨진 사진의 타이트 샷\nS12sh21: 침대 위쪽 벽면에 붉은색 원형 표식이 절반쯤 나타난 상태\nS14sh5: 핏자국 없이 깨끗한 방 내부 전경\nS14sh7: 수리영이 멍한 눈으로 텅 빈 방 안을 응시하는 얼굴 클로즈업\nS14sh11: 혜수가 날카로운 눈빛으로 김형사를 노려보는 모습\nS18sh11: 거울 속 반사된 욕실 타일 벽면에 붉은색 원형 표식이 절반쯤 나타난 상태\nS18sh15: 액자 속 민숙의 얼굴 부분 이미지가 아래로 일그러지며 흘러내리는 찰나\nS18sh16: 수리영이 두 손으로 머리를 감싸 쥐고 입을 크게 벌린 얼굴\nS25sh1: 해질 무렵 옥탑방 거실, 흙 묻은 발자국들이 찍힌 바닥과 쓰러진 식탁 의자들이 보이는 전경\nS25sh5: 붉은 원 한가운데 피 묻은 낡은 흑백 사진이 벽에 꽂혀 있는 타이트 샷\nS25sh9: 수리영의 손이 구겨진 사진을 꽉 움켜쥔 타이트 샷\nS27sh3: 혜수가 미간을 깊게 찌푸린 채 스마트폰을 내려다보는 얼굴 클로즈업"}
{"ts": "2026-07-12 17:38:05", "kind": "llm", "step": "s35_move_coastal_road", "model": "gpt", "dur_s": 12.8, "system_prompt": "당신은 콘티 작가를 돕는 동선 분석가다. 씬 원문(한국어 전문)과 샷\n목록을 읽고, 각 샷에서 인물이 공간을 어떻게 통과하는지(동선)를\n판정하라. 원문에 근거한 것만 쓰고 발명 금지. 마커나 ID 코드 금지.\n샷마다 두 필드를 채워라:\n1) movement_en — 영어 한 문장: 누가/무엇이 움직이는지, 이동 경로와\n방향(오르는지 내려오는지, 들어가는지 나오는지, 카메라 쪽인지\n반대인지), 몸의 진행 자세, 어디에서 와서 어디로 가는 중인지.\n정지 샷이면 'static:'으로 시작해 시선·몸 방향만.\n★인물의 신체·의식 상태가 원문에 있으면 자세 서술에 반드시 반영:\n죽었거나 의식이 없으면 'lifeless: collapsed, asymmetric, limp\nlimbs, weight fallen' 처럼 무너진 자세로 명시(단정하게 앉거나\n웅크린 자세로 쓰지 말 것), 부상·긴장·공포도 자세에 드러나게.\n어둠 속 실루엣·그림자로 보이는 존재도 실제로는 사람이면 사람의\n신체 비례임을 유지해 서술하라(예: 'a real person appearing as a\ndark silhouette, normal human build').\n2) figures_en — 영어 1~2문장: 프레임에 보이는 인물/핵심 물체\n각각에 대해 (a) 프레임 안 겉보기 크기(화면 높이의 몇 분의 몇\n수준인지: e.g. fills ~2/3 of frame height / small ~1/5), (b) 카메라\n기준 원근 서열(which is NEARER, which is FARTHER — 명시적 비교),\n(c) 인물이 여럿이거나 동선이 얽히면 서로의 경로·거리 관계까지.\n인물 1명 단순 샷이어도 크기와 근원(near/far)은 반드시 기록.", "user_prompt": "씬 원문 전문:\n[씬 6] S#6. 해안가 도로 / D\nS#6. 해안가 도로 / D\n수리영 자전거를 타고 해안가 도로를 달린다.\n이어폰을 끼고 바다냄새를 실컷 마신다. 밝고 활기차 보인다.\n\n(E)\n컹! 컹! (개 짖는 소리)\n\n\n\n[씬 9] S#9. 해안가 / N\nS#9. 해안가 / N\n해안도로를 자전거를 타고 바삐 집으로 달려가는 수리영.\n\n\n\n[씬 24] S#24. 해안가 / 소나기\nS#24. 해안가 / 소나기\n천둥 번개와 함께 잔뜩 낀 먹구름이 세찬 비를 뿌린다.\n자전거를 타고 빗속을 달리는 수리영.\n오로지 엄마를 찾아야한다는 생각 뿐.\n\n\n\n샷 목록(각각 동선 판정):\nS6sh1: 낮의 해안가 도로 위, 이어폰을 낀 채 자전거 안장에 앉아 한 발로 페달을 밟아 내리는 중간 동작으로 미소 짓는 수리영의 옆모습, 자전거의 추진력에 의해 머리카락이 뒤로 흩날리는 찰나\nS9sh1: 어두운 해안도로 위 자전거 안장에 앉아 한쪽 다리로 페달을 밟아 내리는 중간 자세로 앞을 향해 상체를 기울인 수리영의 실루엣, 옷자락이 뒤로 휘날리는 순간\nS24sh2: 비에 흠뻑 젖은 수리영이 자전거 핸들을 꽉 쥔 채 앞을 노려보는 얼굴 클로즈업"}
{"ts": "2026-07-12 17:38:20", "kind": "llm", "step": "s35_move_dog_shelter_interior", "model": "gpt", "dur_s": 15.0, "system_prompt": "당신은 콘티 작가를 돕는 동선 분석가다. 씬 원문(한국어 전문)과 샷\n목록을 읽고, 각 샷에서 인물이 공간을 어떻게 통과하는지(동선)를\n판정하라. 원문에 근거한 것만 쓰고 발명 금지. 마커나 ID 코드 금지.\n샷마다 두 필드를 채워라:\n1) movement_en — 영어 한 문장: 누가/무엇이 움직이는지, 이동 경로와\n방향(오르는지 내려오는지, 들어가는지 나오는지, 카메라 쪽인지\n반대인지), 몸의 진행 자세, 어디에서 와서 어디로 가는 중인지.\n정지 샷이면 'static:'으로 시작해 시선·몸 방향만.\n★인물의 신체·의식 상태가 원문에 있으면 자세 서술에 반드시 반영:\n죽었거나 의식이 없으면 'lifeless: collapsed, asymmetric, limp\nlimbs, weight fallen' 처럼 무너진 자세로 명시(단정하게 앉거나\n웅크린 자세로 쓰지 말 것), 부상·긴장·공포도 자세에 드러나게.\n어둠 속 실루엣·그림자로 보이는 존재도 실제로는 사람이면 사람의\n신체 비례임을 유지해 서술하라(예: 'a real person appearing as a\ndark silhouette, normal human build').\n2) figures_en — 영어 1~2문장: 프레임에 보이는 인물/핵심 물체\n각각에 대해 (a) 프레임 안 겉보기 크기(화면 높이의 몇 분의 몇\n수준인지: e.g. fills ~2/3 of frame height / small ~1/5), (b) 카메라\n기준 원근 서열(which is NEARER, which is FARTHER — 명시적 비교),\n(c) 인물이 여럿이거나 동선이 얽히면 서로의 경로·거리 관계까지.\n인물 1명 단순 샷이어도 크기와 근원(near/far)은 반드시 기록.", "user_prompt": "씬 원문 전문:\n[씬 7] S#7. 유기견 보호원 / D\nS#7. 유기견 보호원 / D\n사납게 짖으며 날뛰는 로트와일러 T.S\n맹견의 눈을 노려보는 수리영.\n금방이라도 물어버릴 거 같던 맹견의 기세가 수그러드는데…\n그 사이, 맹견의 엉덩이에 주사를 놓고 빠지는 50대 의사\n\n의사\n됐어. 어떻게 다들 너만 보면 저러코롬 순한 양이 될까 몰러.\n\n수리영\n그러게요. (빙긋)\n\n의사\n재들 전부 오늘 예방접종 맞히고 예쁘장하게 털도 깎아야 혀.\n내가 너만 기다렸어야. (씨익)\n\n수리영, 갇혀있는 개들 보면서 한숨 후~ 늦을 거 같다.\n민숙에게 연락을 취해보지만, 받지 않는다. 바쁜가.\n\n보호원 도우미\n영아? 얘 커트하자!\n\n‘네’, 하고 달려가 털깎고, 연고 바르고, 목욕시키고등\n\n\n\n샷 목록(각각 동선 판정):\nS7sh3: 로트와일러가 귀를 뒤로 젖힌 채 얌전히 바닥에 엎드린 정지 상태\nS7sh6: 수리영이 귀에 스마트폰을 댄 채 미간을 찌푸린 얼굴"}
{"ts": "2026-07-12 17:38:35", "kind": "llm", "step": "s35_move_supermarket_sales_floor", "model": "gpt", "dur_s": 14.3, "system_prompt": "당신은 콘티 작가를 돕는 동선 분석가다. 씬 원문(한국어 전문)과 샷\n목록을 읽고, 각 샷에서 인물이 공간을 어떻게 통과하는지(동선)를\n판정하라. 원문에 근거한 것만 쓰고 발명 금지. 마커나 ID 코드 금지.\n샷마다 두 필드를 채워라:\n1) movement_en — 영어 한 문장: 누가/무엇이 움직이는지, 이동 경로와\n방향(오르는지 내려오는지, 들어가는지 나오는지, 카메라 쪽인지\n반대인지), 몸의 진행 자세, 어디에서 와서 어디로 가는 중인지.\n정지 샷이면 'static:'으로 시작해 시선·몸 방향만.\n★인물의 신체·의식 상태가 원문에 있으면 자세 서술에 반드시 반영:\n죽었거나 의식이 없으면 'lifeless: collapsed, asymmetric, limp\nlimbs, weight fallen' 처럼 무너진 자세로 명시(단정하게 앉거나\n웅크린 자세로 쓰지 말 것), 부상·긴장·공포도 자세에 드러나게.\n어둠 속 실루엣·그림자로 보이는 존재도 실제로는 사람이면 사람의\n신체 비례임을 유지해 서술하라(예: 'a real person appearing as a\ndark silhouette, normal human build').\n2) figures_en — 영어 1~2문장: 프레임에 보이는 인물/핵심 물체\n각각에 대해 (a) 프레임 안 겉보기 크기(화면 높이의 몇 분의 몇\n수준인지: e.g. fills ~2/3 of frame height / small ~1/5), (b) 카메라\n기준 원근 서열(which is NEARER, which is FARTHER — 명시적 비교),\n(c) 인물이 여럿이거나 동선이 얽히면 서로의 경로·거리 관계까지.\n인물 1명 단순 샷이어도 크기와 근원(near/far)은 반드시 기록.", "user_prompt": "씬 원문 전문:\n[씬 8] S#8. 번화가·대형 마트 / 해질 무렵\nS#8. 번화가·대형 마트 / 해질 무렵\n포구와 인접해 있는 번화가, 네온사인, 택시, 호객 행위, 길거리 포장마차\n사이로 능숙하게 자전거를 모는 수리영.\n\n마트에 도착해 자전거를 세우고, 안으로 들어간다.\n민숙은 이 마트의 진열담당 직원. 이리저리 엄마를 찾아보지만 보이지 않는다\n평소 민숙과 가깝게 지냈던 직원에게 다가가\n\n수리영\n아줌마 안녕하세요? 그런데 우리 엄마는 어딨어요?\n\n여직원\n영이구나. 어? 아까 너 만나러 간다고 조퇴했는데. 길이\n엇갈렸나 보네.\n\n수리영\n(헷갈림) 어? 여기서 만나기로 했는데.\n\n남자 직원\n(박스 들고와 진열하면서) 민숙씨 아까 밖에서 누구랑\n얘기하는 거 봤는데...\n\n수리영\n(의아) 네? 누구랑요?\n\n직원\n그것까진 (모르지)...\n\n여직원\n집에 간 거 아냐? 얼른 가봐.\n\n수리영 마트 밖을 나오면서 연락을 취해보지만 받지않는다.\n일단 집으로-\n\n\n\n샷 목록(각각 동선 판정):\nS8sh3: 수리영이 마트 유니폼을 입은 한국인 여성 직원을 마주보며 입을 살짝 벌린 측면 구도"}
{"ts": "2026-07-12 17:38:51", "kind": "llm", "step": "s35_move_supermarket_exterior_entrance", "model": "gpt", "dur_s": 16.7, "system_prompt": "당신은 콘티 작가를 돕는 동선 분석가다. 씬 원문(한국어 전문)과 샷\n목록을 읽고, 각 샷에서 인물이 공간을 어떻게 통과하는지(동선)를\n판정하라. 원문에 근거한 것만 쓰고 발명 금지. 마커나 ID 코드 금지.\n샷마다 두 필드를 채워라:\n1) movement_en — 영어 한 문장: 누가/무엇이 움직이는지, 이동 경로와\n방향(오르는지 내려오는지, 들어가는지 나오는지, 카메라 쪽인지\n반대인지), 몸의 진행 자세, 어디에서 와서 어디로 가는 중인지.\n정지 샷이면 'static:'으로 시작해 시선·몸 방향만.\n★인물의 신체·의식 상태가 원문에 있으면 자세 서술에 반드시 반영:\n죽었거나 의식이 없으면 'lifeless: collapsed, asymmetric, limp\nlimbs, weight fallen' 처럼 무너진 자세로 명시(단정하게 앉거나\n웅크린 자세로 쓰지 말 것), 부상·긴장·공포도 자세에 드러나게.\n어둠 속 실루엣·그림자로 보이는 존재도 실제로는 사람이면 사람의\n신체 비례임을 유지해 서술하라(예: 'a real person appearing as a\ndark silhouette, normal human build').\n2) figures_en — 영어 1~2문장: 프레임에 보이는 인물/핵심 물체\n각각에 대해 (a) 프레임 안 겉보기 크기(화면 높이의 몇 분의 몇\n수준인지: e.g. fills ~2/3 of frame height / small ~1/5), (b) 카메라\n기준 원근 서열(which is NEARER, which is FARTHER — 명시적 비교),\n(c) 인물이 여럿이거나 동선이 얽히면 서로의 경로·거리 관계까지.\n인물 1명 단순 샷이어도 크기와 근원(near/far)은 반드시 기록.", "user_prompt": "씬 원문 전문:\n[씬 8] S#8. 번화가·대형 마트 / 해질 무렵\nS#8. 번화가·대형 마트 / 해질 무렵\n포구와 인접해 있는 번화가, 네온사인, 택시, 호객 행위, 길거리 포장마차\n사이로 능숙하게 자전거를 모는 수리영.\n\n마트에 도착해 자전거를 세우고, 안으로 들어간다.\n민숙은 이 마트의 진열담당 직원. 이리저리 엄마를 찾아보지만 보이지 않는다\n평소 민숙과 가깝게 지냈던 직원에게 다가가\n\n수리영\n아줌마 안녕하세요? 그런데 우리 엄마는 어딨어요?\n\n여직원\n영이구나. 어? 아까 너 만나러 간다고 조퇴했는데. 길이\n엇갈렸나 보네.\n\n수리영\n(헷갈림) 어? 여기서 만나기로 했는데.\n\n남자 직원\n(박스 들고와 진열하면서) 민숙씨 아까 밖에서 누구랑\n얘기하는 거 봤는데...\n\n수리영\n(의아) 네? 누구랑요?\n\n직원\n그것까진 (모르지)...\n\n여직원\n집에 간 거 아냐? 얼른 가봐.\n\n수리영 마트 밖을 나오면서 연락을 취해보지만 받지않는다.\n일단 집으로-\n\n\n\n[씬 19] S#19. 마트 / D\nS#19. 마트 / D\n이른 아침, 아직은 한산한 마트 안.\n자전거를 주차하고 안으로 들어가는 수리영.\n마트 여기저기를 돌아다니며 어제 만났던 남자 직원을 찾는다\n\n수리영\n아저씨, 저 어제 봤죠? 강민숙씨 딸.\n\n남자직원\n어? 그래. 엄마 오늘도 결근했는데... 무슨 일 있어?\n\n수리영\n(답하지 않고 대신) 어제 저한테, 우리 엄마가 누군가와 얘길\n나누는 걸 봤다고 하셨죠?\n\n남자직원\n응. 남자였던 거 같은데.\n\n수리영\n남자요? 혹시 CCTV 같은 거 볼 수 있을까요?\n\n남자직원\n그게 CCTV에 찍혔을까.\n\n/ 마트 밖\n엄마와 남자 직원CCTV 위치를 확인하다. 찍혔을 만한 위치다.\n수리영, 혜수에게 전화 걸어 상황을 설명한다.\n\n\n\n샷 목록(각각 동선 판정):\nS8sh5: 마트 밖으로 나온 수리영이 손에 든 스마트폰 액정을 내려다보는 상체\nS19sh5: 수리영과 남자직원이 마트 밖에서 벽면의 CCTV를 올려다보는 뒷모습\nS19sh6: 수리영이 귀에 스마트폰을 댄 채 정면을 응시하는 상체 클로즈업"}
{"ts": "2026-07-12 17:38:57", "kind": "llm", "step": "s35_move_exterior_metal_staircase", "model": "gpt", "dur_s": 6.0, "system_prompt": "당신은 콘티 작가를 돕는 동선 분석가다. 씬 원문(한국어 전문)과 샷\n목록을 읽고, 각 샷에서 인물이 공간을 어떻게 통과하는지(동선)를\n판정하라. 원문에 근거한 것만 쓰고 발명 금지. 마커나 ID 코드 금지.\n샷마다 두 필드를 채워라:\n1) movement_en — 영어 한 문장: 누가/무엇이 움직이는지, 이동 경로와\n방향(오르는지 내려오는지, 들어가는지 나오는지, 카메라 쪽인지\n반대인지), 몸의 진행 자세, 어디에서 와서 어디로 가는 중인지.\n정지 샷이면 'static:'으로 시작해 시선·몸 방향만.\n★인물의 신체·의식 상태가 원문에 있으면 자세 서술에 반드시 반영:\n죽었거나 의식이 없으면 'lifeless: collapsed, asymmetric, limp\nlimbs, weight fallen' 처럼 무너진 자세로 명시(단정하게 앉거나\n웅크린 자세로 쓰지 말 것), 부상·긴장·공포도 자세에 드러나게.\n어둠 속 실루엣·그림자로 보이는 존재도 실제로는 사람이면 사람의\n신체 비례임을 유지해 서술하라(예: 'a real person appearing as a\ndark silhouette, normal human build').\n2) figures_en — 영어 1~2문장: 프레임에 보이는 인물/핵심 물체\n각각에 대해 (a) 프레임 안 겉보기 크기(화면 높이의 몇 분의 몇\n수준인지: e.g. fills ~2/3 of frame height / small ~1/5), (b) 카메라\n기준 원근 서열(which is NEARER, which is FARTHER — 명시적 비교),\n(c) 인물이 여럿이거나 동선이 얽히면 서로의 경로·거리 관계까지.\n인물 1명 단순 샷이어도 크기와 근원(near/far)은 반드시 기록.", "user_prompt": "씬 원문 전문:\n[씬 11] S#11. 옥탑 방 밖 / N\nS#11. 옥탑 방 밖 / N\n자전거를 타고 골목길을 달리는 수리영.\n다세대 빌라 문을 열고 들어와 마당 후미진 곳에 자전거를 대충 세우고,\n옥탑방과 연결되는 계단을 급히 오른다.\n\n갑자기 훅- 느껴지는 역겨운 냄새. 뭐지?\n옥상에 올라와 보니 반쯤 열린 현관 철문.\n\n\n\n샷 목록(각각 동선 판정):\nS11sh4: 철제 파이프 난간을 손으로 잡은 수리영이 코끝을 찡그린 채 계단 중간에 서 있는 얼굴 클로즈업"}
{"ts": "2026-07-12 17:39:09", "kind": "llm", "step": "s35_move_residential_alley_courtyard", "model": "gpt", "dur_s": 12.0, "system_prompt": "당신은 콘티 작가를 돕는 동선 분석가다. 씬 원문(한국어 전문)과 샷\n목록을 읽고, 각 샷에서 인물이 공간을 어떻게 통과하는지(동선)를\n판정하라. 원문에 근거한 것만 쓰고 발명 금지. 마커나 ID 코드 금지.\n샷마다 두 필드를 채워라:\n1) movement_en — 영어 한 문장: 누가/무엇이 움직이는지, 이동 경로와\n방향(오르는지 내려오는지, 들어가는지 나오는지, 카메라 쪽인지\n반대인지), 몸의 진행 자세, 어디에서 와서 어디로 가는 중인지.\n정지 샷이면 'static:'으로 시작해 시선·몸 방향만.\n★인물의 신체·의식 상태가 원문에 있으면 자세 서술에 반드시 반영:\n죽었거나 의식이 없으면 'lifeless: collapsed, asymmetric, limp\nlimbs, weight fallen' 처럼 무너진 자세로 명시(단정하게 앉거나\n웅크린 자세로 쓰지 말 것), 부상·긴장·공포도 자세에 드러나게.\n어둠 속 실루엣·그림자로 보이는 존재도 실제로는 사람이면 사람의\n신체 비례임을 유지해 서술하라(예: 'a real person appearing as a\ndark silhouette, normal human build').\n2) figures_en — 영어 1~2문장: 프레임에 보이는 인물/핵심 물체\n각각에 대해 (a) 프레임 안 겉보기 크기(화면 높이의 몇 분의 몇\n수준인지: e.g. fills ~2/3 of frame height / small ~1/5), (b) 카메라\n기준 원근 서열(which is NEARER, which is FARTHER — 명시적 비교),\n(c) 인물이 여럿이거나 동선이 얽히면 서로의 경로·거리 관계까지.\n인물 1명 단순 샷이어도 크기와 근원(near/far)은 반드시 기록.", "user_prompt": "씬 원문 전문:\n[씬 13] S#13. 옥탑방 외곽 / N\nS#13. 옥탑방 외곽 / N\n비명을 지르며 옥탑방을 빠져나오는 수리영, 허겁지겁 계단을 내려간다.\n동시에 사이렌이 울리고~. (포즈)\n차에서 내린 혜수(40대 중반, 여자, 경위) 초점을 잃고 멍하니 서있는\n수리영의 모습을 발견하고 달려간다.\n\n혜수\n영아? 왜! 무슨 일이야?\n\n수리영\n(올라다보며) 엄마가, 엄마가... 죽어있어.\n\n혜수\n(놀라) 뭐?!\n\n옥탑 방으로 뛰어 올라가는 혜수와 후배 형사(30대 남/ 이하 김형사)\n\n\n\n샷 목록(각각 동선 판정):\nS13sh4: 수리영이 초점을 잃은 눈으로 허공을 응시하며 서 있는 모습\nS13sh6: 고개를 든 채 혜수의 얼굴을 마주보고 있는 수리영의 측면 구도"}
{"ts": "2026-07-12 17:39:25", "kind": "llm", "step": "s35_move_seaside_bus_stop", "model": "gpt", "dur_s": 15.4, "system_prompt": "당신은 콘티 작가를 돕는 동선 분석가다. 씬 원문(한국어 전문)과 샷\n목록을 읽고, 각 샷에서 인물이 공간을 어떻게 통과하는지(동선)를\n판정하라. 원문에 근거한 것만 쓰고 발명 금지. 마커나 ID 코드 금지.\n샷마다 두 필드를 채워라:\n1) movement_en — 영어 한 문장: 누가/무엇이 움직이는지, 이동 경로와\n방향(오르는지 내려오는지, 들어가는지 나오는지, 카메라 쪽인지\n반대인지), 몸의 진행 자세, 어디에서 와서 어디로 가는 중인지.\n정지 샷이면 'static:'으로 시작해 시선·몸 방향만.\n★인물의 신체·의식 상태가 원문에 있으면 자세 서술에 반드시 반영:\n죽었거나 의식이 없으면 'lifeless: collapsed, asymmetric, limp\nlimbs, weight fallen' 처럼 무너진 자세로 명시(단정하게 앉거나\n웅크린 자세로 쓰지 말 것), 부상·긴장·공포도 자세에 드러나게.\n어둠 속 실루엣·그림자로 보이는 존재도 실제로는 사람이면 사람의\n신체 비례임을 유지해 서술하라(예: 'a real person appearing as a\ndark silhouette, normal human build').\n2) figures_en — 영어 1~2문장: 프레임에 보이는 인물/핵심 물체\n각각에 대해 (a) 프레임 안 겉보기 크기(화면 높이의 몇 분의 몇\n수준인지: e.g. fills ~2/3 of frame height / small ~1/5), (b) 카메라\n기준 원근 서열(which is NEARER, which is FARTHER — 명시적 비교),\n(c) 인물이 여럿이거나 동선이 얽히면 서로의 경로·거리 관계까지.\n인물 1명 단순 샷이어도 크기와 근원(near/far)은 반드시 기록.", "user_prompt": "씬 원문 전문:\n[씬 15] S#15. 해안가. 버스정류장 부근 / N\nS#15. 해안가. 버스정류장 부근 / N\n바다를 바라보며 멍한 채로 앉아있는 수리영, 여전히 엄마는 전화를 받지않고.\n자신이 진짜로 헛 것을 본 것일까... 헷갈린다. 그럼 엄마는 어디있을까.\n혜수, 사온 음료수를 수리영에게 건네며\n\n혜수\n괜찮아?\n\n수리영\n내가 뭘 잘 못 본 거야, 이모. 그게 맞는 말 같애.\n엄마가 갑자기...그런 일을 당할 리 없잖아\n(훅 일어나며) 집에 가봐야 겠어.\n\n혜수\n엉? 어. 혼자 갈 수 있겠어?\n\n수리영\n응. 나 갈게 (달려간다)\n\n혜수\n(등 뒤에 대고 소리친다) 엄마 보면 나한테 전화 하라고 해!\n\n두 사람을 지켜보는 듯한 카메라 시선.\n\n\n\n샷 목록(각각 동선 판정):\nS15sh2: 혜수의 손이 음료수 캔을 쥔 채 수리영 앞으로 내밀어진 순간\nS15sh6: 멀리서 혜수의 전신과 한 발을 공중에 띄운 mid-stride 자세로 달리는 수리영의 뒷모습을 한 프레임에 담은 넓은 구도"}
{"ts": "2026-07-12 17:39:44", "kind": "llm", "step": "s35_move_police_office_interior", "model": "gpt", "dur_s": 19.2, "system_prompt": "당신은 콘티 작가를 돕는 동선 분석가다. 씬 원문(한국어 전문)과 샷\n목록을 읽고, 각 샷에서 인물이 공간을 어떻게 통과하는지(동선)를\n판정하라. 원문에 근거한 것만 쓰고 발명 금지. 마커나 ID 코드 금지.\n샷마다 두 필드를 채워라:\n1) movement_en — 영어 한 문장: 누가/무엇이 움직이는지, 이동 경로와\n방향(오르는지 내려오는지, 들어가는지 나오는지, 카메라 쪽인지\n반대인지), 몸의 진행 자세, 어디에서 와서 어디로 가는 중인지.\n정지 샷이면 'static:'으로 시작해 시선·몸 방향만.\n★인물의 신체·의식 상태가 원문에 있으면 자세 서술에 반드시 반영:\n죽었거나 의식이 없으면 'lifeless: collapsed, asymmetric, limp\nlimbs, weight fallen' 처럼 무너진 자세로 명시(단정하게 앉거나\n웅크린 자세로 쓰지 말 것), 부상·긴장·공포도 자세에 드러나게.\n어둠 속 실루엣·그림자로 보이는 존재도 실제로는 사람이면 사람의\n신체 비례임을 유지해 서술하라(예: 'a real person appearing as a\ndark silhouette, normal human build').\n2) figures_en — 영어 1~2문장: 프레임에 보이는 인물/핵심 물체\n각각에 대해 (a) 프레임 안 겉보기 크기(화면 높이의 몇 분의 몇\n수준인지: e.g. fills ~2/3 of frame height / small ~1/5), (b) 카메라\n기준 원근 서열(which is NEARER, which is FARTHER — 명시적 비교),\n(c) 인물이 여럿이거나 동선이 얽히면 서로의 경로·거리 관계까지.\n인물 1명 단순 샷이어도 크기와 근원(near/far)은 반드시 기록.", "user_prompt": "씬 원문 전문:\n[씬 16] S#16. 경찰서 사무실 / N\nS#16. 경찰서 사무실 / N\n사무실 안으로 들어오면서 민숙에게 전화를 거는 혜수,\n계속 무응답이다. 수리영에게 내색은 안했지만 왠지 불길한.\n사무실 안에는 김형사 혼자 당직 근무 중이다.\n\n김형사\n그 애는 요? 갔어요?\n\n혜수\n(핸드폰에 저장된 민숙번호 보여주며) 이 번호 위치 좀 따봐.\n\n김형사\n게 엄마예요? (투덜) 오늘은 좀 기다려보시죠.\n\n혜수\n아냐. 딸과의 약속을 어기고 이렇게 연락이 안 될 애가 아냐.\n갈 곳도, 아는 사람도 별로 없는 애야. 밖에 나다니는 스타일도\n아니고.... 이상해, 예감이 안 좋아.\n\n\n\n[씬 21] S#21. 경찰서 안 / D\nS#21. 경찰서 안 / D\n경찰서 전경.\n수리영과 함께 사무실 안으로 들어오는 혜수,\n자신을 마뜩치 않게 보는 김형사에게 공손하게 인사하는.\n\n김형사\n마침 잘 왔네. (서류 보여주며) 실종신고서야. 여기 사인하고.\n통화의뢰도 할거지? 여기도 사인하고.\n\n혜수\n(김형사에게) 휴대전화 위치 확인 됐어?\n\n김형사\n(사인서류 들고) 이거 전송하면 보내줄 거예요.(나간다)\n\n들어오는 김형사\n\n김형사\n빨리 답 달라고 재촉했으니까... (짜증) 선배님, 회의.\n살인사건으로 초비상인데. 지금 이러고 있을 때가 (아니지\n않나)..\n\n혜수\n(시계보더니 난감한 얼굴로 수리영보면서)... 여기 내 자리에\n앉아서 잠깐 기다려. 저 커피 마셔도 돼. 괜찮지? 금방 올게\n\n아니나 다를까, ‘빨리 안들어오고 뭐해!’ 팀장 소리치고 형사들 다들\n우르르 몰려 나간다.\n사무실에 홀로 앉아있는 수리영.\n혜수 책상위에는 살인사건(1부 1,2,3씬) 확대 사진들이 어지럽게 널려있다.\n넘겨보며 놀라는 수리영, 환각상태에서 본 엄마의 시신모습과\n너무도 흡사한 - 목, 어깨, 얼굴등 살점이 떨어져 보는 것만으로도 끔찍하다.\n이때, 띠링- 김형사 모니터에서 뭔가 뜬다.\n주위를 둘러본다. 아무도 없는 것을 확인하고 수리영 망설이다가 커서를 누른다\n엄마 폰 위치추적 결과다.\n\n<화면내용>\n실종 강민숙(41세)\n핸드폰 번호 (010-000-0000) LAST LOCATION\n해상 지도위에 좌표. 37.484400 N / 126. 072486 E\nTimestamp 2026-02-18 11:21:08\nSource:GPS /Network\nStatus: offline\n\n‘바다라고?’ 사색이 된 수리영,\n필기도구를 찾아 좌표를 메모 한다. 메모쪽지를 접어 주머니에 넣고\n다시 한번 슬쩍 주위를 둘러본 후 사무실을 나온다.\n\n\n\n샷 목록(각각 동선 판정):\nS16sh3: 혜수가 스마트폰 액정을 김형사 쪽으로 불쑥 내민 순간\nS21sh7: 수리영이 두 눈을 크게 뜨고 입을 살짝 벌린 굳은 얼굴 클로즈업\nS21sh10: 모니터 화면에 바다 지도가 펼쳐져 있고 붉은색 핀과 좌표 숫자가 떠 있는 클로즈업\nS21sh12: 수리영이 메모지가 들어간 겉옷 주머니에 손을 넣은 채 사무실 출입문을 향해 몸을 돌린 정지 순간"}
{"ts": "2026-07-12 17:40:02", "kind": "llm", "step": "s35_move_supermarket_admin_office", "model": "gpt", "dur_s": 18.4, "system_prompt": "당신은 콘티 작가를 돕는 동선 분석가다. 씬 원문(한국어 전문)과 샷\n목록을 읽고, 각 샷에서 인물이 공간을 어떻게 통과하는지(동선)를\n판정하라. 원문에 근거한 것만 쓰고 발명 금지. 마커나 ID 코드 금지.\n샷마다 두 필드를 채워라:\n1) movement_en — 영어 한 문장: 누가/무엇이 움직이는지, 이동 경로와\n방향(오르는지 내려오는지, 들어가는지 나오는지, 카메라 쪽인지\n반대인지), 몸의 진행 자세, 어디에서 와서 어디로 가는 중인지.\n정지 샷이면 'static:'으로 시작해 시선·몸 방향만.\n★인물의 신체·의식 상태가 원문에 있으면 자세 서술에 반드시 반영:\n죽었거나 의식이 없으면 'lifeless: collapsed, asymmetric, limp\nlimbs, weight fallen' 처럼 무너진 자세로 명시(단정하게 앉거나\n웅크린 자세로 쓰지 말 것), 부상·긴장·공포도 자세에 드러나게.\n어둠 속 실루엣·그림자로 보이는 존재도 실제로는 사람이면 사람의\n신체 비례임을 유지해 서술하라(예: 'a real person appearing as a\ndark silhouette, normal human build').\n2) figures_en — 영어 1~2문장: 프레임에 보이는 인물/핵심 물체\n각각에 대해 (a) 프레임 안 겉보기 크기(화면 높이의 몇 분의 몇\n수준인지: e.g. fills ~2/3 of frame height / small ~1/5), (b) 카메라\n기준 원근 서열(which is NEARER, which is FARTHER — 명시적 비교),\n(c) 인물이 여럿이거나 동선이 얽히면 서로의 경로·거리 관계까지.\n인물 1명 단순 샷이어도 크기와 근원(near/far)은 반드시 기록.", "user_prompt": "씬 원문 전문:\n[씬 20] S#20. 마트 총무과 / 실내\nS#20. 마트 총무과 / 실내\nCCTV화면을 돌려보는 보안팀 직원과 혜수,\n뒤에서 초조한 모습으로 화면을 주시하는 수리영\n\n보안직원\n이거네요. (갸우뚱) 근데 왜 이리 어둡지. 이 부분만 더 안\n보이네. 잘 보면 남자와 얘길 나누는 거 같긴 하죠. 뭐 보이세요?\n\n몇 번을 다시 돌려보지만 보안직원 말대로 그 부분만 유독 어두워\n식별이 불가능하다. 수리영 불안이 깊어지고.\n\n혜수\n흠... 일단 어제 CCTV 전체 잠깐 가져가도 될까요?\n복사하고 돌려드릴테니까.\n\n보안직원\n그러시죠.\n\n\n\n샷 목록(각각 동선 판정):\nS20sh1: 마트 총무과 책상 앞, 한국인 남성 보안직원과 혜수가 컴퓨터 모니터를 향해 몸을 기울인 측면\nS20sh3: 흑백 CCTV 화면 속 어두운 구석에 사람 형상이 희미하게 찍힌 모니터 클로즈업"}
{"ts": "2026-07-12 17:40:12", "kind": "llm", "step": "s35_move_police_station_exterior_road", "model": "gpt", "dur_s": 9.5, "system_prompt": "당신은 콘티 작가를 돕는 동선 분석가다. 씬 원문(한국어 전문)과 샷\n목록을 읽고, 각 샷에서 인물이 공간을 어떻게 통과하는지(동선)를\n판정하라. 원문에 근거한 것만 쓰고 발명 금지. 마커나 ID 코드 금지.\n샷마다 두 필드를 채워라:\n1) movement_en — 영어 한 문장: 누가/무엇이 움직이는지, 이동 경로와\n방향(오르는지 내려오는지, 들어가는지 나오는지, 카메라 쪽인지\n반대인지), 몸의 진행 자세, 어디에서 와서 어디로 가는 중인지.\n정지 샷이면 'static:'으로 시작해 시선·몸 방향만.\n★인물의 신체·의식 상태가 원문에 있으면 자세 서술에 반드시 반영:\n죽었거나 의식이 없으면 'lifeless: collapsed, asymmetric, limp\nlimbs, weight fallen' 처럼 무너진 자세로 명시(단정하게 앉거나\n웅크린 자세로 쓰지 말 것), 부상·긴장·공포도 자세에 드러나게.\n어둠 속 실루엣·그림자로 보이는 존재도 실제로는 사람이면 사람의\n신체 비례임을 유지해 서술하라(예: 'a real person appearing as a\ndark silhouette, normal human build').\n2) figures_en — 영어 1~2문장: 프레임에 보이는 인물/핵심 물체\n각각에 대해 (a) 프레임 안 겉보기 크기(화면 높이의 몇 분의 몇\n수준인지: e.g. fills ~2/3 of frame height / small ~1/5), (b) 카메라\n기준 원근 서열(which is NEARER, which is FARTHER — 명시적 비교),\n(c) 인물이 여럿이거나 동선이 얽히면 서로의 경로·거리 관계까지.\n인물 1명 단순 샷이어도 크기와 근원(near/far)은 반드시 기록.", "user_prompt": "씬 원문 전문:\n[씬 22] S#22. 경찰서 밖 / D\nS#22. 경찰서 밖 / D\n주차된 자전거를 타고 이내 달리는 수리영\n\n\n\n샷 목록(각각 동선 판정):\nS22sh1: 경찰서 건물 밖 도로 위에서 수리영이 자전거 안장에 앉아 상체를 앞으로 숙인 채 머리카락이 뒤로 흩날리는 측면"}
{"ts": "2026-07-12 17:40:20", "kind": "llm", "step": "s35_move_dark_pc_cafe_interior", "model": "gpt", "dur_s": 7.6, "system_prompt": "당신은 콘티 작가를 돕는 동선 분석가다. 씬 원문(한국어 전문)과 샷\n목록을 읽고, 각 샷에서 인물이 공간을 어떻게 통과하는지(동선)를\n판정하라. 원문에 근거한 것만 쓰고 발명 금지. 마커나 ID 코드 금지.\n샷마다 두 필드를 채워라:\n1) movement_en — 영어 한 문장: 누가/무엇이 움직이는지, 이동 경로와\n방향(오르는지 내려오는지, 들어가는지 나오는지, 카메라 쪽인지\n반대인지), 몸의 진행 자세, 어디에서 와서 어디로 가는 중인지.\n정지 샷이면 'static:'으로 시작해 시선·몸 방향만.\n★인물의 신체·의식 상태가 원문에 있으면 자세 서술에 반드시 반영:\n죽었거나 의식이 없으면 'lifeless: collapsed, asymmetric, limp\nlimbs, weight fallen' 처럼 무너진 자세로 명시(단정하게 앉거나\n웅크린 자세로 쓰지 말 것), 부상·긴장·공포도 자세에 드러나게.\n어둠 속 실루엣·그림자로 보이는 존재도 실제로는 사람이면 사람의\n신체 비례임을 유지해 서술하라(예: 'a real person appearing as a\ndark silhouette, normal human build').\n2) figures_en — 영어 1~2문장: 프레임에 보이는 인물/핵심 물체\n각각에 대해 (a) 프레임 안 겉보기 크기(화면 높이의 몇 분의 몇\n수준인지: e.g. fills ~2/3 of frame height / small ~1/5), (b) 카메라\n기준 원근 서열(which is NEARER, which is FARTHER — 명시적 비교),\n(c) 인물이 여럿이거나 동선이 얽히면 서로의 경로·거리 관계까지.\n인물 1명 단순 샷이어도 크기와 근원(near/far)은 반드시 기록.", "user_prompt": "씬 원문 전문:\n[씬 23] S#23. 어느 PC방 / 실내\nS#23. 어느 PC방 / 실내\n모니터 화면에 앉아있는 수리영,\n좌표를 찍고 위치를 확인하고 인쇄까지\n여러 장의 지도를 접어 백팩에 넣는다.\n\n\n\n샷 목록(각각 동선 판정):\nS23sh1: 어두운 PC방 안, 모니터 불빛이 비치는 수리영의 정면 상체\nS23sh4: 수리영의 두 손이 접힌 지도 종이들을 열려 있는 백팩 안으로 밀어넣은 정지 순간"}
{"ts": "2026-07-12 17:40:35", "kind": "llm", "step": "s35_move_foggy_harbor_rocks", "model": "gpt", "dur_s": 15.4, "system_prompt": "당신은 콘티 작가를 돕는 동선 분석가다. 씬 원문(한국어 전문)과 샷\n목록을 읽고, 각 샷에서 인물이 공간을 어떻게 통과하는지(동선)를\n판정하라. 원문에 근거한 것만 쓰고 발명 금지. 마커나 ID 코드 금지.\n샷마다 두 필드를 채워라:\n1) movement_en — 영어 한 문장: 누가/무엇이 움직이는지, 이동 경로와\n방향(오르는지 내려오는지, 들어가는지 나오는지, 카메라 쪽인지\n반대인지), 몸의 진행 자세, 어디에서 와서 어디로 가는 중인지.\n정지 샷이면 'static:'으로 시작해 시선·몸 방향만.\n★인물의 신체·의식 상태가 원문에 있으면 자세 서술에 반드시 반영:\n죽었거나 의식이 없으면 'lifeless: collapsed, asymmetric, limp\nlimbs, weight fallen' 처럼 무너진 자세로 명시(단정하게 앉거나\n웅크린 자세로 쓰지 말 것), 부상·긴장·공포도 자세에 드러나게.\n어둠 속 실루엣·그림자로 보이는 존재도 실제로는 사람이면 사람의\n신체 비례임을 유지해 서술하라(예: 'a real person appearing as a\ndark silhouette, normal human build').\n2) figures_en — 영어 1~2문장: 프레임에 보이는 인물/핵심 물체\n각각에 대해 (a) 프레임 안 겉보기 크기(화면 높이의 몇 분의 몇\n수준인지: e.g. fills ~2/3 of frame height / small ~1/5), (b) 카메라\n기준 원근 서열(which is NEARER, which is FARTHER — 명시적 비교),\n(c) 인물이 여럿이거나 동선이 얽히면 서로의 경로·거리 관계까지.\n인물 1명 단순 샷이어도 크기와 근원(near/far)은 반드시 기록.", "user_prompt": "씬 원문 전문:\n[씬 26] S#26. 포구 / 해질 무렵\nS#26. 포구 / 해질 무렵\n소나기가 한차례 퍼 붓는가 싶더니, 비는 그치고 안개가 자욱하다.\n텅 빈 포구. 안개로 인해 배는 보이지 않고.\n포구를 몇 시간째 돌아다니다 지친. 갯바위에 앉아있는 수리영.\n하염없이 안개가 몰려오는 바다를 바라보는데, 진동벨이 울린다.\n얼핏 보니 혜수이모다. 벌써 여러통 째 부재중 전화.\n그때 안개를 뚫고 배 한척이 다가오는 게 보인다.\n배로 다가가는 수리영. 배에서 내린 인우(24세. 남)는 닷줄을 고정시키고 있다.\n\n수리영\n바다로 다시 나갈 건가요?\n\n인우\n(힐끗 볼뿐)...\n\n수리영\n이 배 밖에 없어서.\n\n인우\n(둘러본다 진짜 배가 없다)... ...\n\n수리영\n엄마를 찾아야하거든요.\n\n인우\n어느 섬으로 갈건데...\n\n수리영\n태워주면.(말할게요)\n\n인우\n(고민) 흠... 타슈. 어차피 돌아가야하니까\n\n수리영, 떠나기전, 바다를 바라보며 음성메시지를 남긴다.\n\n수리영\n이모, 나 잠깐 어디 다녀올 데가 있어서. 걱정마. 고마워.\n\n\n\n샷 목록(각각 동선 판정):\nS26sh2: 수리영이 갯바위 위에 무릎을 모으고 앉아 바다를 응시하는 측면\nS26sh5: 뱃머리에서 내린 인우가 굵은 닻줄을 쥔 채 바닥의 말뚝에 걸친 정지 순간\nS26sh9: 수리영이 바다를 향해 선 채 스마트폰을 입가에 댄 측면 상체"}
{"ts": "2026-07-12 17:40:42", "kind": "llm", "step": "s35_move_small_fishing_boat_deck", "model": "gpt", "dur_s": 7.5, "system_prompt": "당신은 콘티 작가를 돕는 동선 분석가다. 씬 원문(한국어 전문)과 샷\n목록을 읽고, 각 샷에서 인물이 공간을 어떻게 통과하는지(동선)를\n판정하라. 원문에 근거한 것만 쓰고 발명 금지. 마커나 ID 코드 금지.\n샷마다 두 필드를 채워라:\n1) movement_en — 영어 한 문장: 누가/무엇이 움직이는지, 이동 경로와\n방향(오르는지 내려오는지, 들어가는지 나오는지, 카메라 쪽인지\n반대인지), 몸의 진행 자세, 어디에서 와서 어디로 가는 중인지.\n정지 샷이면 'static:'으로 시작해 시선·몸 방향만.\n★인물의 신체·의식 상태가 원문에 있으면 자세 서술에 반드시 반영:\n죽었거나 의식이 없으면 'lifeless: collapsed, asymmetric, limp\nlimbs, weight fallen' 처럼 무너진 자세로 명시(단정하게 앉거나\n웅크린 자세로 쓰지 말 것), 부상·긴장·공포도 자세에 드러나게.\n어둠 속 실루엣·그림자로 보이는 존재도 실제로는 사람이면 사람의\n신체 비례임을 유지해 서술하라(예: 'a real person appearing as a\ndark silhouette, normal human build').\n2) figures_en — 영어 1~2문장: 프레임에 보이는 인물/핵심 물체\n각각에 대해 (a) 프레임 안 겉보기 크기(화면 높이의 몇 분의 몇\n수준인지: e.g. fills ~2/3 of frame height / small ~1/5), (b) 카메라\n기준 원근 서열(which is NEARER, which is FARTHER — 명시적 비교),\n(c) 인물이 여럿이거나 동선이 얽히면 서로의 경로·거리 관계까지.\n인물 1명 단순 샷이어도 크기와 근원(near/far)은 반드시 기록.", "user_prompt": "씬 원문 전문:\n[씬 28] S#28. 바다 + 갑판 / 해질 무렵\nS#28. 바다 + 갑판 / 해질 무렵\n바다위에 떠있는 소형어선. 한참 떠나온 듯 하다.\n인우한테 지도를 쓰윽 내미는 수리영. 갑판에 홀로 앉아있다.\n지도를 보고 인상을 찌푸리며.\n\n수리영\n여기서 북동쪽으로 70km 쯤 될 건데요\n\n인우\n거긴 아무것도 없어요. 그냥 바다야.\n인근 섬에 가는 거 아니었나. 엄마 찾는 거라면서?\n\n수리영\n흠...(25씬의 사진을 보여준다) 그럼 여긴 어딘지 알겠어요?\n거기 가려구요\n\n인우\n(사진보더니 당황) 몰라. 모른다구.\n\n수리영\n(다시 내밀며) 자세히 좀 봐요. 여기 작게 ‘금월’이라는\n글씨 보이죠. (흔들리는 인우의 시선을 놓치지않고) 여기\n어딘지 알죠? 아는 거죠?\n\n인우, 발작적으로 일어나 조타실로 달려가 뱃머리를 돌리려 한다.\n이를 눈치 챈 수리영, 조타실로 따라들어가 막으면서\n\n\n\n샷 목록(각각 동선 판정):\nS28sh5: 인우가 사진에 시선을 고정한 채 두 눈을 크게 뜨고 상체를 뒤로 뺀 측면 구도\nS28sh8: 수리영이 조타실 입구에 서서 두 팔을 벌린 채 멈춘 전신"}
{"ts": "2026-07-12 17:41:05", "kind": "llm", "step": "s35_move_fishing_boat_wheelhouse", "model": "gpt", "dur_s": 22.8, "system_prompt": "당신은 콘티 작가를 돕는 동선 분석가다. 씬 원문(한국어 전문)과 샷\n목록을 읽고, 각 샷에서 인물이 공간을 어떻게 통과하는지(동선)를\n판정하라. 원문에 근거한 것만 쓰고 발명 금지. 마커나 ID 코드 금지.\n샷마다 두 필드를 채워라:\n1) movement_en — 영어 한 문장: 누가/무엇이 움직이는지, 이동 경로와\n방향(오르는지 내려오는지, 들어가는지 나오는지, 카메라 쪽인지\n반대인지), 몸의 진행 자세, 어디에서 와서 어디로 가는 중인지.\n정지 샷이면 'static:'으로 시작해 시선·몸 방향만.\n★인물의 신체·의식 상태가 원문에 있으면 자세 서술에 반드시 반영:\n죽었거나 의식이 없으면 'lifeless: collapsed, asymmetric, limp\nlimbs, weight fallen' 처럼 무너진 자세로 명시(단정하게 앉거나\n웅크린 자세로 쓰지 말 것), 부상·긴장·공포도 자세에 드러나게.\n어둠 속 실루엣·그림자로 보이는 존재도 실제로는 사람이면 사람의\n신체 비례임을 유지해 서술하라(예: 'a real person appearing as a\ndark silhouette, normal human build').\n2) figures_en — 영어 1~2문장: 프레임에 보이는 인물/핵심 물체\n각각에 대해 (a) 프레임 안 겉보기 크기(화면 높이의 몇 분의 몇\n수준인지: e.g. fills ~2/3 of frame height / small ~1/5), (b) 카메라\n기준 원근 서열(which is NEARER, which is FARTHER — 명시적 비교),\n(c) 인물이 여럿이거나 동선이 얽히면 서로의 경로·거리 관계까지.\n인물 1명 단순 샷이어도 크기와 근원(near/far)은 반드시 기록.", "user_prompt": "씬 원문 전문:\n[씬 29] S#29. 조타실 / 해질 무렵\nS#29. 조타실 / 해질 무렵\n\n수리영\n왜 그래요? 지금 배 돌리려는 거잖아요!\n\n인우\n돌아가. 거긴 못가. 당신 같은 사람이 가면 안된다구!\n\n수리영\n왜요? 왜 그러냐구요?! (태세전환) 그러지 말고 데려다줘요.\n(분노) 우리 엄마가 거기 잡혀있단 말이에요!\n\n인우\n뭐? 당신 엄마가 거기 잡혀있다구?\n\n수리영\n그럴 수 있다는 말이예요. 확정적인 건 아니고.\n\n인우\n이 사진하고 무슨 상관인데?\n\n수리영\n우리 엄마가 사라졌는데... (사진속의 한 아이를 가르키며)\n이 사진속의 얘가 우리 엄마예요.\n\n인우\n이름이?\n\n수리영\n강민숙. 나이는 41세\n\n인우\n강. 민. 숙\n\n사색이 된 인우. 인우 얼굴 너머에 보이는 조타실안 수많은 원. 빙글빙글 돌고\n여기에서 또다시 발견된 붉은 원! 설마...\n\n수리영\n다..당신 뭐..야...\n\n의식이 혼미해지는 수리영.\n수리영을 노려보는 인우의 어깨에 그대로 쓰러진다.\n\n\n\n샷 목록(각각 동선 판정):\nS29sh3: 수리영의 검지손가락이 낡은 사진 속 아이의 얼굴 부분에 닿아 있는 클로즈업\nS29sh4: 인우가 입술을 살짝 벌린 채 하얗게 질린 얼굴 타이트 샷\nS29sh8: 눈이 반쯤 감긴 수리영의 이마가 인우의 어깨에 맞닿아 있는 찰나"}
{"ts": "2026-07-12 17:41:16", "kind": "llm", "step": "s35_move_open_coastal_sea", "model": "gpt", "dur_s": 10.8, "system_prompt": "당신은 콘티 작가를 돕는 동선 분석가다. 씬 원문(한국어 전문)과 샷\n목록을 읽고, 각 샷에서 인물이 공간을 어떻게 통과하는지(동선)를\n판정하라. 원문에 근거한 것만 쓰고 발명 금지. 마커나 ID 코드 금지.\n샷마다 두 필드를 채워라:\n1) movement_en — 영어 한 문장: 누가/무엇이 움직이는지, 이동 경로와\n방향(오르는지 내려오는지, 들어가는지 나오는지, 카메라 쪽인지\n반대인지), 몸의 진행 자세, 어디에서 와서 어디로 가는 중인지.\n정지 샷이면 'static:'으로 시작해 시선·몸 방향만.\n★인물의 신체·의식 상태가 원문에 있으면 자세 서술에 반드시 반영:\n죽었거나 의식이 없으면 'lifeless: collapsed, asymmetric, limp\nlimbs, weight fallen' 처럼 무너진 자세로 명시(단정하게 앉거나\n웅크린 자세로 쓰지 말 것), 부상·긴장·공포도 자세에 드러나게.\n어둠 속 실루엣·그림자로 보이는 존재도 실제로는 사람이면 사람의\n신체 비례임을 유지해 서술하라(예: 'a real person appearing as a\ndark silhouette, normal human build').\n2) figures_en — 영어 1~2문장: 프레임에 보이는 인물/핵심 물체\n각각에 대해 (a) 프레임 안 겉보기 크기(화면 높이의 몇 분의 몇\n수준인지: e.g. fills ~2/3 of frame height / small ~1/5), (b) 카메라\n기준 원근 서열(which is NEARER, which is FARTHER — 명시적 비교),\n(c) 인물이 여럿이거나 동선이 얽히면 서로의 경로·거리 관계까지.\n인물 1명 단순 샷이어도 크기와 근원(near/far)은 반드시 기록.", "user_prompt": "씬 원문 전문:\n[씬 30] S#30. 바다 / 해질 무렵\nS#30. 바다 / 해질 무렵\n서서히 지는 해가 바다위에 황금빛 그림자를 드리운다.\n세상과 경계를 지우는 것 같은 짙은 안개 띠.\n서서히 안개 안으로 들어가는 인우의 배.\n\n1부 END\n\n샷 목록(각각 동선 판정):\nS30sh1: 해질 무렵 황금빛 노을이 바다 표면에 길게 비친 전경\nS30sh3: 어선의 뱃머리가 짙은 안개벽에 절반쯤 가려진 측면 구도"}
{"ts": "2026-07-12 17:41:48", "kind": "llm", "step": "s35_prev_dense_forest_incident_site", "model": "gpt", "dur_s": 4.0, "system_prompt": "당신은 콘티 연속성 판정가다. 같은 장소 그룹의 샷 목록(순서대로)과\n씬 원문을 보고, 각 샷마다 '시각적으로 관련된 앞쪽 샷'이 있는지\n판정하라. 시각적 관련 = 같은 공간·연속된 액션·같은 인물 구도가\n이어져 앞 샷의 생성 이미지를 참조로 붙이면 일관성에 도움이 되는\n경우. 다른 시간대·다른 서브 공간·연결 단서가 없으면 null.\n앞쪽 샷은 반드시 목록에서 자기보다 앞에 있는 샷이어야 한다.\n각 샷마다 prev(태그 또는 null)와 reason_ko(한 구절)를 반환.", "user_prompt": "씬 원문:\n[씬 1] S#1. 숲속 / 해 질 무렵\nS#1. 숲속 / 해 질 무렵\n우거진 수풀을 헤치며 도망치는. 벗겨진 한쪽 신발.\n허벅지에 커다란 이빨 자국. 피가 흐르고.\n잔뜩 겁에 질린 남자 표정(T.S) 그때 어디선가 쏜살같이 달려온\n검은 인영이 남자를 덮친다. 아아~ 악!!!\n\n\n\n[씬 3] S#3. 현장 / D\nS#3. 현장 / D\n지역 뉴스 화면. 기자는 보이지 않고 멘트만 흘러나온다.\n씬1, 2 현장을 감식하는 경찰, 폴리스 라인을 치고 시신을 수거한다.\n형사무리 속에 사건을 지휘하는 혜수의 모습이 보인다.\n\n기자(E)\n(이어서) 형체를 알아볼 수 없는 시신 두 구가 잇달아\n발견되면서 경찰은 수사본부를 차리고 갑호 비상령을\n내린 상탭니다.\n(중략)\n\n\n\n샷 목록(순서):\nS1sh1: 한쪽 신발이 벗겨진 한국인 남자가 우거진 수풀 사이를 달리며 한 발을 허공에 내딛고 있는 도중의 전신 구도\nS1sh4: 검은 형상의 인영이 허공에 뛰어오른 채 한국인 남자를 향해 두 팔을 뻗고 있는 순간\nS3sh3: 형사 무리 한가운데 서서 손가락으로 한쪽을 가리키는 혜수의 상체"}
{"ts": "2026-07-12 17:41:51", "kind": "llm", "step": "s35_prev_dim_city_back_alley", "model": "gpt", "dur_s": 2.2, "system_prompt": "당신은 콘티 연속성 판정가다. 같은 장소 그룹의 샷 목록(순서대로)과\n씬 원문을 보고, 각 샷마다 '시각적으로 관련된 앞쪽 샷'이 있는지\n판정하라. 시각적 관련 = 같은 공간·연속된 액션·같은 인물 구도가\n이어져 앞 샷의 생성 이미지를 참조로 붙이면 일관성에 도움이 되는\n경우. 다른 시간대·다른 서브 공간·연결 단서가 없으면 null.\n앞쪽 샷은 반드시 목록에서 자기보다 앞에 있는 샷이어야 한다.\n각 샷마다 prev(태그 또는 null)와 reason_ko(한 구절)를 반환.", "user_prompt": "씬 원문:\n[씬 2] S#2. 도시 뒷골목 / N\nS#2. 도시 뒷골목 / N\n도심 희미한 가로등 불빛.\n전봇대에 뒤엉켜있는 두 사람. 남녀로 보인다.\n가쁜 숨소리 점점 커지더니… 격렬하게 흡입하는 소리로 바뀌고\n남자의 붉은 눈동자, 목의 살점을 뜯는 이빨… 푹 힘없이 쓰러지는 여자.\n\n기자(E)\n어젯밤에 금월산 등산로와 효장동에서 변사체가 발견됐습니다.\n\n\n\n샷 목록(순서):\nS2sh1: 희미한 가로등 불빛 아래 전봇대에 밀착된 채 서 있는 한국인 남자와 한국인 여자의 옆모습\nS2sh3: 한국인 남자가 입을 크게 벌려 한국인 여자의 목에 이빨을 박아넣은 채 멈춘 순간"}
{"ts": "2026-07-12 17:41:59", "kind": "llm", "step": "s35_prev_rooftop_room_exterior", "model": "gpt", "dur_s": 8.2, "system_prompt": "당신은 콘티 연속성 판정가다. 같은 장소 그룹의 샷 목록(순서대로)과\n씬 원문을 보고, 각 샷마다 '시각적으로 관련된 앞쪽 샷'이 있는지\n판정하라. 시각적 관련 = 같은 공간·연속된 액션·같은 인물 구도가\n이어져 앞 샷의 생성 이미지를 참조로 붙이면 일관성에 도움이 되는\n경우. 다른 시간대·다른 서브 공간·연결 단서가 없으면 null.\n앞쪽 샷은 반드시 목록에서 자기보다 앞에 있는 샷이어야 한다.\n각 샷마다 prev(태그 또는 null)와 reason_ko(한 구절)를 반환.", "user_prompt": "씬 원문:\n[씬 4] S#4. 옥탑방 / D\nS#4. 옥탑방 / D\n인천 변두리 부감, 오래된 빌라 옥탑방 전경.\n\n기자(E)\n지역 주민들 사이에 횡행한 소문이 돌고 있지만, 경찰은\n범인의 윤곽조차 잡지 못하고 있어 지역주민들의 불안과\n두려움을 더 키우는 모양새입니다.\n\n\n\n[씬 10] S#10. 옥탑방 / N\nS#10. 옥탑방 / N\n그 시각. 옥탑방 옥상. 물탱크. 바람에 빨랫줄이 툭- 툭-\n평상에 놓인 말린 석창포가 바람에 날리는데...\n말린 잎이 걸어오는 낯선 남자의 신발 위를 스친다.\n남자의 긴 그림자. (얼굴은 보이지 않는다)\n\n신발은 옥탑방 철문 현관 앞에 멈춰 선다.\n문틈에 낀 광고 전단지.\n전단지를 뽑아서 손가락으로 문틈에 꾹 밀어 넣는다.\n‘철컥’ 하고 잠금 새가 풀리는 소리.\n문이 미세하게 열리고 안으로 들어가는 남자.\n창문에 비친 그림자. 민숙을 덮쳐 어깨를 물어뜯는 듯한 모습 ‘아악-’\n\n\n\n[씬 11] S#11. 옥탑 방 밖 / N\nS#11. 옥탑 방 밖 / N\n자전거를 타고 골목길을 달리는 수리영.\n다세대 빌라 문을 열고 들어와 마당 후미진 곳에 자전거를 대충 세우고,\n옥탑방과 연결되는 계단을 급히 오른다.\n\n갑자기 훅- 느껴지는 역겨운 냄새. 뭐지?\n옥상에 올라와 보니 반쯤 열린 현관 철문.\n\n\n\n[씬 17] S#17. 옥탑방 / 동틀무렵\nS#17. 옥탑방 / 동틀무렵\n새벽녘, 고양이 울음소리.\n검은 고양이가 불이 켜져 있는 옥탑 방을 슬쩍 보더니 담을 넘는다\n\n\n\n샷 목록(순서):\nS4sh1: 맑은 낮, 오래된 다세대 빌라 옥상 위에 자리 잡은 옥탑방을 높은 곳에서 내려다본 부감 구도\nS10sh6: 현관 철문이 아주 살짝 열린 틈새로 보이는 어두운 실내와 신발 앞코\nS10sh7: 불이 켜진 옥탑방 창문에 거대한 그림자가 작은 그림자의 어깨 쪽으로 고개를 꺾은 형태가 맺혀 있는 정지 구도\nS11sh5: 옥상에 선 수리영의 시선 끝에 반쯤 열려 있는 어두운 현관 철문이 보이는 정면 구도\nS17sh2: 옥상 담벼락 위에서 한쪽 앞발을 허공으로 뻗은 검은 고양이의 측면"}
{"ts": "2026-07-12 17:42:33", "kind": "llm", "step": "s35_prev_rooftop_room_interior", "model": "gpt", "dur_s": 34.1, "system_prompt": "당신은 콘티 연속성 판정가다. 같은 장소 그룹의 샷 목록(순서대로)과\n씬 원문을 보고, 각 샷마다 '시각적으로 관련된 앞쪽 샷'이 있는지\n판정하라. 시각적 관련 = 같은 공간·연속된 액션·같은 인물 구도가\n이어져 앞 샷의 생성 이미지를 참조로 붙이면 일관성에 도움이 되는\n경우. 다른 시간대·다른 서브 공간·연결 단서가 없으면 null.\n앞쪽 샷은 반드시 목록에서 자기보다 앞에 있는 샷이어야 한다.\n각 샷마다 prev(태그 또는 null)와 reason_ko(한 구절)를 반환.", "user_prompt": "씬 원문:\n[씬 5] S#5. 옥탑방 안 / 실내\nS#5. 옥탑방 안 / 실내\n거실에 난 작은 창으로 햇살에 가늘게 비친다.\n싱크대 수도꼭지에 흐르는 물, 씻다 만 약초(석창포).\n냄비의 물이 끓어 달그락거리는 소리… 김이 피어오르고.\n앞치마를 두른 채 TV 뉴스를 뚫어지게 바라보는\n민숙(수리영 엄마. 40세) 표정이 어둡다.\n(뉴스멘트는 작아졌다 커졌다 반복하면서 여기까지 이어진다)\n\n딸, 수리영(21. 애완동물미용학과 2년)이 방문을 열고 기지개를 켜며\n나오자 후다닥 TV를 끄는 민숙. 다정한 말투로\n\n수리영\n(심드렁) 뭐~야. 사건 났어? 뭔데.\n\n민숙\n아냐.\n\n수리영\n(식탁에 앉으며) 이모 또 야근하겠네. 조그만 도시에\n왠 사건이 이렇게 많아. 바다가 가까워서 그런가.\n\n민숙\n신경 꺼. (석창포 달인 물을 따라주면서) 마셔. 방학인데\n왜 더 자지않고.\n\n수리영\n(마시고 나서) 아, 진짜 맛 없어...(투정) 나 알바 있어, 엄마.\n원장님이 하루만 봐 달래.\n\n(cut to.)\n가벼운 차림새. 수리영 신발을 신으며\n\n수리영\n엄마는 오늘 안 나가?\n\n민숙\n이따가 1시 타임.\n\n수리영\n(엄마의 냄새를 맡으며) 아, 좋다. 끝나고 마트로 갈게. 모처럼\n밖에서 저녁먹자 엄마.\n\n민숙\n응 (미소)\n\n힐끗, 민숙 손목에 보이는 작은 원(이하 표식)을 본다.\n오늘따라 유난히 또렷해 보이지만 워낙 어릴 적부터 봐온 터라 개의치 않는.\n\n\n\n[씬 12] S#12. 옥탑방 안 / N\nS#12. 옥탑방 안 / N\n/거실\n‘엄마?’를 부르며 들어오는 수리영,\n끓다 식은 냄비. 켜져 있는 TV. 희미한 거실 스탠드 불빛,\n\n/민숙 방\n안방 문을 여는데... 없다.\n거실 식탁에 놓여있는 찻잔 두 개. 하나는 엎어져있다.\n\n/수리영 방\n마지막으로 자기 방문을 연다\n헉!- 여기저기 핏자국. 바닥에 흥건한 혈흔.\n피묻은 발자국은 커튼으로 이어져 있다\n호흡을 가두고 커튼을 젖히자\n앉은 채로 고개를 떨군 채 죽어있는 엄마- 민숙!!!!\n\n수리영\n(달려가) 어어어어----엄마\n\n충격에 온 몸이 얼어붙은 수리영,\n살점이 뜯긴 어깨와 쇄골, 마치 동물에게 물어뜯긴 듯한 거친 상처가 고스란히\n드러나있다. 덜렁거리는 살점과 뜯겨진 부위에 흘러내리는 피.\n\n수리영\n(놀라 뒤로 주춤) 어-어-어- 엄마….\n\n부들부들 떨며 핸드폰을 누른다. 2번 혜수이모\n\n수리영\n받아, 이모. 받아….\n\n혜수(E)\n영아, 영아, 왜?\n\n답은 안 나오고… 엄마 손안에 구겨진 사진 한 장이 보인다.\n다가가 사진을 꺼내는데 엄마 손목에 있던 문신이 붉은색으로 변한다.\n헉! 호흡이 빨라지고... 침대 위 벽에 붉은 원이 생겨난다\n(마치 누군가 붓으로 벽에 원으로 그리는 것처럼).\n소름끼치는 으아악---!\n\n\n\n[씬 14] S#14. 옥탑방 안 / N\nS#14. 옥탑방 안 / N\n/현관\n집안 여기저기를 확인하면서 나오는 형사와 혜수\n\n김형사\n(허탈한 표정) 없는데.. 아무 것도.\n\n혜수\n(뒤따라온 수리영에게) 영아, 없어. 뭘 봤는데...?\n\n어? 수리영, 부리나케 방 안으로 뛰어 들어간다.\n\n/수리영 방 안\n지나칠 정도로 깨끗하게 정돈된 방안. 핏자국도 보이지 않고,\n침대 위에 붉은 표식은 물론 커튼 뒤의 시신도 감쪽 같이 사라졌다.\n얼굴이 파리해지는 수리영. ‘어----?’ ‘분명히 봤는데...’\n\n뛰쳐나가 식탁으로 가본다. 식탁 역시 깨끗한.\n\n수리영\n여기 찻잔도 두 개 있었고...\n\n김형사\n(답답) 허 참! 죽은 사람이 발이 달렸을 리도 없고. 쯧쯧\n그러게 살인사건은 자세하게 보도하면 안 된다구요...(궁시렁)\n이봐요. 학생? 장난전화 하면 안 되는 거 몰라? (짜증)\n안 그래도 살인사건으로 난리도 아닌데...\n\n혜수\n(김형사 째리고) 김형사. 먼저 가 있어. (김형사 나가면)\n(수리영 어깨를 어루만지며) 영아.\n\n수리영\n엄마(시신), 어디갔을까? 분명히 봤는데...\n\n혜수\n네가 요즘 과로했잖아. 공부에다 알바까지...\n악몽을 꾼 걸 수도 있으니... 바람이나 쐬러 가자.\n수리영 방안에 놓여진 백팩, 인형. 약간씩 위치가 달라진.\n(시신을 발견했을 때와 다른)\n\n\n\n[씬 18] S#18. 안방 안 / D\nS#18. 안방 안 / D\n침대에 머리를 대고 앉아있는 수리영, 밤새 엄마를 기다리다 깜박 졸았다\n고양이 울음소리에 번쩍 눈을 뜨고, ‘엄마? ’혹시나 해서 집안을 살피지만\n아무런 인기척도 보이지 않는다\n\n/수리영 방안\n닫혀있는 자신의 방을 바라본다.\n[F.B: 1부12씬] 커튼 뒤에 죽어있던 엄마. 상처. 혈흔\n\n크게 심호흡하고 조심스럽게 문을 연다.\n지나치리만큼 깨끗하게 정돈된 방안.\n창문에 다가가 커튼을 확 열어젖힌다. 시신은 없다.\n\n한숨 후~ 다행이긴 한데.\n그때, 울리는 폰 벨소리, 화들짝 놀라는 수리영. 달려가 받자마자\n\n수리영\n엄마?\n\n혜수(E)\n아직이니?\n\n수리영\n응. 아무래도 이상해. 이럴 리가 없잖아! 우리 엄마가.\n이모, 사고 난 게 분명해\n\n혜수(E)\n실종신고 냈어. 이모가 엄마 폰 위치추적하고 있으니까\n조금만 기다려 별일 없을 거야. 알았지?\n\n수리영\n응.\n\n무작정 기다리는게 불안한 수리영,\n인형이 달린 자신의 백팩을 꺼내 나온다\n\n/욕실 안\n얼굴을 씻고 거울을 보며\n\n수리영\n엄마, 도대체 어딨는 거야...\n\n거울에 비친 욕실 벽에 갑자기 또 발생하는 붉은 원.\n호흡이 가빠지고... 훅 고개를 돌려 벽을 보는 수리영\n거짓말처럼 사라지고 없다.\n거실로 튀어나와 물 한컵 마시고 식탁에 놓인 엄마와 수리영의 사진을 보는데...\n환하게 웃는 엄마 얼굴이 뭉개져 흘러내린다\n\n수리영\n아아악~~~ (다시보니 멀쩡하다) 나 왜 이러는 거지.\n(자신의 뺨을 치며) 정신 차려 수리영!\n\n\n\n[씬 25] S#25. 옥탑방 안 / 해질 무렵\nS#25. 옥탑방 안 / 해질 무렵\n누군가 다녀간 흔적으로 보이는 발자국들.\n다시 호흡이 가빠지는 수리영.\n집안에서 뭔가를 찾기 위해 가재도구를 온통 헤집은 것으로 보인다.\n거실에 난 창은 열려있고, 식탁 의자들을 쓰러져있다.\n\n/수리영 방\n열린 자신의 방을 힐끗 보는데\n벽에 또 붉은 원이 그려져있다. 그 가운데 꽂혀있는 피묻은 사진 한 장!\n사진을 떼어서 자세히 본다.\n어? 그 사진!!!\n\n[F.B: 1부 12씬] 죽은 엄마의 손에 구겨져있던 바로 그 사진이다.\n7-80년대 쯤 보이는 시골 식당과 지붕위에 둥근 원이 설치된 (마치 십자가처럼)\n식당 앞에는 어린 여자애 둘(12살)이 앉아있다. 그중에 한 아이는 분명히\n어릴 적 엄마다.\n\n침대에 털썩 주저앉는 수리영. 연속해서 벌어지는 기이한 상황에 정신이 혼미한\n엉망이 된 집 안을 한번 획 둘러보는 수리영,\n마치 이끌리듯 백팩을 메고 밖으로 나간다. 사진을 손에 꼭 쥔 채.\n\n\n\n[씬 27] S#27. 옥탑방 안 / 해질 무렵\nS#27. 옥탑방 안 / 해질 무렵\n수리영의 녹음메시지를 확인하는 혜수,\n\n\n\n샷 목록(순서):\nS5sh5: 다급하게 상체를 기울이며 손가락 끝으로 TV 전원 버튼을 세게 누르고 있는 민숙의 측면 구도\nS5sh9: 민숙의 손목에 선명하게 드러난 작은 원형 표식의 타이트 샷\nS12sh11: 옷과 피부가 피투성이가 된 민숙이 바닥에 주저앉아 고개를 푹 숙인 정지 상태\nS12sh18: 민숙의 손에 꽉 쥐어진 구겨진 사진의 타이트 샷\nS12sh21: 침대 위쪽 벽면에 붉은색 원형 표식이 절반쯤 나타난 상태\nS14sh5: 핏자국 없이 깨끗한 방 내부 전경\nS14sh7: 수리영이 멍한 눈으로 텅 빈 방 안을 응시하는 얼굴 클로즈업\nS14sh11: 혜수가 날카로운 눈빛으로 김형사를 노려보는 모습\nS18sh11: 거울 속 반사된 욕실 타일 벽면에 붉은색 원형 표식이 절반쯤 나타난 상태\nS18sh15: 액자 속 민숙의 얼굴 부분 이미지가 아래로 일그러지며 흘러내리는 찰나\nS18sh16: 수리영이 두 손으로 머리를 감싸 쥐고 입을 크게 벌린 얼굴\nS25sh1: 해질 무렵 옥탑방 거실, 흙 묻은 발자국들이 찍힌 바닥과 쓰러진 식탁 의자들이 보이는 전경\nS25sh5: 붉은 원 한가운데 피 묻은 낡은 흑백 사진이 벽에 꽂혀 있는 타이트 샷\nS25sh9: 수리영의 손이 구겨진 사진을 꽉 움켜쥔 타이트 샷\nS27sh3: 혜수가 미간을 깊게 찌푸린 채 스마트폰을 내려다보는 얼굴 클로즈업"}
{"ts": "2026-07-12 17:42:37", "kind": "llm", "step": "s35_prev_coastal_road", "model": "gpt", "dur_s": 3.7, "system_prompt": "당신은 콘티 연속성 판정가다. 같은 장소 그룹의 샷 목록(순서대로)과\n씬 원문을 보고, 각 샷마다 '시각적으로 관련된 앞쪽 샷'이 있는지\n판정하라. 시각적 관련 = 같은 공간·연속된 액션·같은 인물 구도가\n이어져 앞 샷의 생성 이미지를 참조로 붙이면 일관성에 도움이 되는\n경우. 다른 시간대·다른 서브 공간·연결 단서가 없으면 null.\n앞쪽 샷은 반드시 목록에서 자기보다 앞에 있는 샷이어야 한다.\n각 샷마다 prev(태그 또는 null)와 reason_ko(한 구절)를 반환.", "user_prompt": "씬 원문:\n[씬 6] S#6. 해안가 도로 / D\nS#6. 해안가 도로 / D\n수리영 자전거를 타고 해안가 도로를 달린다.\n이어폰을 끼고 바다냄새를 실컷 마신다. 밝고 활기차 보인다.\n\n(E)\n컹! 컹! (개 짖는 소리)\n\n\n\n[씬 9] S#9. 해안가 / N\nS#9. 해안가 / N\n해안도로를 자전거를 타고 바삐 집으로 달려가는 수리영.\n\n\n\n[씬 24] S#24. 해안가 / 소나기\nS#24. 해안가 / 소나기\n천둥 번개와 함께 잔뜩 낀 먹구름이 세찬 비를 뿌린다.\n자전거를 타고 빗속을 달리는 수리영.\n오로지 엄마를 찾아야한다는 생각 뿐.\n\n\n\n샷 목록(순서):\nS6sh1: 낮의 해안가 도로 위, 이어폰을 낀 채 자전거 안장에 앉아 한 발로 페달을 밟아 내리는 중간 동작으로 미소 짓는 수리영의 옆모습, 자전거의 추진력에 의해 머리카락이 뒤로 흩날리는 찰나\nS9sh1: 어두운 해안도로 위 자전거 안장에 앉아 한쪽 다리로 페달을 밟아 내리는 중간 자세로 앞을 향해 상체를 기울인 수리영의 실루엣, 옷자락이 뒤로 휘날리는 순간\nS24sh2: 비에 흠뻑 젖은 수리영이 자전거 핸들을 꽉 쥔 채 앞을 노려보는 얼굴 클로즈업"}
{"ts": "2026-07-12 17:42:41", "kind": "llm", "step": "s35_prev_dog_shelter_interior", "model": "gpt", "dur_s": 4.0, "system_prompt": "당신은 콘티 연속성 판정가다. 같은 장소 그룹의 샷 목록(순서대로)과\n씬 원문을 보고, 각 샷마다 '시각적으로 관련된 앞쪽 샷'이 있는지\n판정하라. 시각적 관련 = 같은 공간·연속된 액션·같은 인물 구도가\n이어져 앞 샷의 생성 이미지를 참조로 붙이면 일관성에 도움이 되는\n경우. 다른 시간대·다른 서브 공간·연결 단서가 없으면 null.\n앞쪽 샷은 반드시 목록에서 자기보다 앞에 있는 샷이어야 한다.\n각 샷마다 prev(태그 또는 null)와 reason_ko(한 구절)를 반환.", "user_prompt": "씬 원문:\n[씬 7] S#7. 유기견 보호원 / D\nS#7. 유기견 보호원 / D\n사납게 짖으며 날뛰는 로트와일러 T.S\n맹견의 눈을 노려보는 수리영.\n금방이라도 물어버릴 거 같던 맹견의 기세가 수그러드는데…\n그 사이, 맹견의 엉덩이에 주사를 놓고 빠지는 50대 의사\n\n의사\n됐어. 어떻게 다들 너만 보면 저러코롬 순한 양이 될까 몰러.\n\n수리영\n그러게요. (빙긋)\n\n의사\n재들 전부 오늘 예방접종 맞히고 예쁘장하게 털도 깎아야 혀.\n내가 너만 기다렸어야. (씨익)\n\n수리영, 갇혀있는 개들 보면서 한숨 후~ 늦을 거 같다.\n민숙에게 연락을 취해보지만, 받지 않는다. 바쁜가.\n\n보호원 도우미\n영아? 얘 커트하자!\n\n‘네’, 하고 달려가 털깎고, 연고 바르고, 목욕시키고등\n\n\n\n샷 목록(순서):\nS7sh3: 로트와일러가 귀를 뒤로 젖힌 채 얌전히 바닥에 엎드린 정지 상태\nS7sh6: 수리영이 귀에 스마트폰을 댄 채 미간을 찌푸린 얼굴"}
{"ts": "2026-07-12 17:42:45", "kind": "llm", "step": "s35_prev_supermarket_exterior_entrance", "model": "gpt", "dur_s": 4.5, "system_prompt": "당신은 콘티 연속성 판정가다. 같은 장소 그룹의 샷 목록(순서대로)과\n씬 원문을 보고, 각 샷마다 '시각적으로 관련된 앞쪽 샷'이 있는지\n판정하라. 시각적 관련 = 같은 공간·연속된 액션·같은 인물 구도가\n이어져 앞 샷의 생성 이미지를 참조로 붙이면 일관성에 도움이 되는\n경우. 다른 시간대·다른 서브 공간·연결 단서가 없으면 null.\n앞쪽 샷은 반드시 목록에서 자기보다 앞에 있는 샷이어야 한다.\n각 샷마다 prev(태그 또는 null)와 reason_ko(한 구절)를 반환.", "user_prompt": "씬 원문:\n[씬 8] S#8. 번화가·대형 마트 / 해질 무렵\nS#8. 번화가·대형 마트 / 해질 무렵\n포구와 인접해 있는 번화가, 네온사인, 택시, 호객 행위, 길거리 포장마차\n사이로 능숙하게 자전거를 모는 수리영.\n\n마트에 도착해 자전거를 세우고, 안으로 들어간다.\n민숙은 이 마트의 진열담당 직원. 이리저리 엄마를 찾아보지만 보이지 않는다\n평소 민숙과 가깝게 지냈던 직원에게 다가가\n\n수리영\n아줌마 안녕하세요? 그런데 우리 엄마는 어딨어요?\n\n여직원\n영이구나. 어? 아까 너 만나러 간다고 조퇴했는데. 길이\n엇갈렸나 보네.\n\n수리영\n(헷갈림) 어? 여기서 만나기로 했는데.\n\n남자 직원\n(박스 들고와 진열하면서) 민숙씨 아까 밖에서 누구랑\n얘기하는 거 봤는데...\n\n수리영\n(의아) 네? 누구랑요?\n\n직원\n그것까진 (모르지)...\n\n여직원\n집에 간 거 아냐? 얼른 가봐.\n\n수리영 마트 밖을 나오면서 연락을 취해보지만 받지않는다.\n일단 집으로-\n\n\n\n[씬 19] S#19. 마트 / D\nS#19. 마트 / D\n이른 아침, 아직은 한산한 마트 안.\n자전거를 주차하고 안으로 들어가는 수리영.\n마트 여기저기를 돌아다니며 어제 만났던 남자 직원을 찾는다\n\n수리영\n아저씨, 저 어제 봤죠? 강민숙씨 딸.\n\n남자직원\n어? 그래. 엄마 오늘도 결근했는데... 무슨 일 있어?\n\n수리영\n(답하지 않고 대신) 어제 저한테, 우리 엄마가 누군가와 얘길\n나누는 걸 봤다고 하셨죠?\n\n남자직원\n응. 남자였던 거 같은데.\n\n수리영\n남자요? 혹시 CCTV 같은 거 볼 수 있을까요?\n\n남자직원\n그게 CCTV에 찍혔을까.\n\n/ 마트 밖\n엄마와 남자 직원CCTV 위치를 확인하다. 찍혔을 만한 위치다.\n수리영, 혜수에게 전화 걸어 상황을 설명한다.\n\n\n\n샷 목록(순서):\nS8sh5: 마트 밖으로 나온 수리영이 손에 든 스마트폰 액정을 내려다보는 상체\nS19sh5: 수리영과 남자직원이 마트 밖에서 벽면의 CCTV를 올려다보는 뒷모습\nS19sh6: 수리영이 귀에 스마트폰을 댄 채 정면을 응시하는 상체 클로즈업"}
{"ts": "2026-07-12 17:42:48", "kind": "llm", "step": "s35_prev_residential_alley_courtyard", "model": "gpt", "dur_s": 2.7, "system_prompt": "당신은 콘티 연속성 판정가다. 같은 장소 그룹의 샷 목록(순서대로)과\n씬 원문을 보고, 각 샷마다 '시각적으로 관련된 앞쪽 샷'이 있는지\n판정하라. 시각적 관련 = 같은 공간·연속된 액션·같은 인물 구도가\n이어져 앞 샷의 생성 이미지를 참조로 붙이면 일관성에 도움이 되는\n경우. 다른 시간대·다른 서브 공간·연결 단서가 없으면 null.\n앞쪽 샷은 반드시 목록에서 자기보다 앞에 있는 샷이어야 한다.\n각 샷마다 prev(태그 또는 null)와 reason_ko(한 구절)를 반환.", "user_prompt": "씬 원문:\n[씬 13] S#13. 옥탑방 외곽 / N\nS#13. 옥탑방 외곽 / N\n비명을 지르며 옥탑방을 빠져나오는 수리영, 허겁지겁 계단을 내려간다.\n동시에 사이렌이 울리고~. (포즈)\n차에서 내린 혜수(40대 중반, 여자, 경위) 초점을 잃고 멍하니 서있는\n수리영의 모습을 발견하고 달려간다.\n\n혜수\n영아? 왜! 무슨 일이야?\n\n수리영\n(올라다보며) 엄마가, 엄마가... 죽어있어.\n\n혜수\n(놀라) 뭐?!\n\n옥탑 방으로 뛰어 올라가는 혜수와 후배 형사(30대 남/ 이하 김형사)\n\n\n\n샷 목록(순서):\nS13sh4: 수리영이 초점을 잃은 눈으로 허공을 응시하며 서 있는 모습\nS13sh6: 고개를 든 채 혜수의 얼굴을 마주보고 있는 수리영의 측면 구도"}
{"ts": "2026-07-12 17:42:55", "kind": "llm", "step": "s35_prev_seaside_bus_stop", "model": "gpt", "dur_s": 6.9, "system_prompt": "당신은 콘티 연속성 판정가다. 같은 장소 그룹의 샷 목록(순서대로)과\n씬 원문을 보고, 각 샷마다 '시각적으로 관련된 앞쪽 샷'이 있는지\n판정하라. 시각적 관련 = 같은 공간·연속된 액션·같은 인물 구도가\n이어져 앞 샷의 생성 이미지를 참조로 붙이면 일관성에 도움이 되는\n경우. 다른 시간대·다른 서브 공간·연결 단서가 없으면 null.\n앞쪽 샷은 반드시 목록에서 자기보다 앞에 있는 샷이어야 한다.\n각 샷마다 prev(태그 또는 null)와 reason_ko(한 구절)를 반환.", "user_prompt": "씬 원문:\n[씬 15] S#15. 해안가. 버스정류장 부근 / N\nS#15. 해안가. 버스정류장 부근 / N\n바다를 바라보며 멍한 채로 앉아있는 수리영, 여전히 엄마는 전화를 받지않고.\n자신이 진짜로 헛 것을 본 것일까... 헷갈린다. 그럼 엄마는 어디있을까.\n혜수, 사온 음료수를 수리영에게 건네며\n\n혜수\n괜찮아?\n\n수리영\n내가 뭘 잘 못 본 거야, 이모. 그게 맞는 말 같애.\n엄마가 갑자기...그런 일을 당할 리 없잖아\n(훅 일어나며) 집에 가봐야 겠어.\n\n혜수\n엉? 어. 혼자 갈 수 있겠어?\n\n수리영\n응. 나 갈게 (달려간다)\n\n혜수\n(등 뒤에 대고 소리친다) 엄마 보면 나한테 전화 하라고 해!\n\n두 사람을 지켜보는 듯한 카메라 시선.\n\n\n\n샷 목록(순서):\nS15sh2: 혜수의 손이 음료수 캔을 쥔 채 수리영 앞으로 내밀어진 순간\nS15sh6: 멀리서 혜수의 전신과 한 발을 공중에 띄운 mid-stride 자세로 달리는 수리영의 뒷모습을 한 프레임에 담은 넓은 구도"}
{"ts": "2026-07-12 17:43:03", "kind": "llm", "step": "s35_prev_police_office_interior", "model": "gpt", "dur_s": 8.8, "system_prompt": "당신은 콘티 연속성 판정가다. 같은 장소 그룹의 샷 목록(순서대로)과\n씬 원문을 보고, 각 샷마다 '시각적으로 관련된 앞쪽 샷'이 있는지\n판정하라. 시각적 관련 = 같은 공간·연속된 액션·같은 인물 구도가\n이어져 앞 샷의 생성 이미지를 참조로 붙이면 일관성에 도움이 되는\n경우. 다른 시간대·다른 서브 공간·연결 단서가 없으면 null.\n앞쪽 샷은 반드시 목록에서 자기보다 앞에 있는 샷이어야 한다.\n각 샷마다 prev(태그 또는 null)와 reason_ko(한 구절)를 반환.", "user_prompt": "씬 원문:\n[씬 16] S#16. 경찰서 사무실 / N\nS#16. 경찰서 사무실 / N\n사무실 안으로 들어오면서 민숙에게 전화를 거는 혜수,\n계속 무응답이다. 수리영에게 내색은 안했지만 왠지 불길한.\n사무실 안에는 김형사 혼자 당직 근무 중이다.\n\n김형사\n그 애는 요? 갔어요?\n\n혜수\n(핸드폰에 저장된 민숙번호 보여주며) 이 번호 위치 좀 따봐.\n\n김형사\n게 엄마예요? (투덜) 오늘은 좀 기다려보시죠.\n\n혜수\n아냐. 딸과의 약속을 어기고 이렇게 연락이 안 될 애가 아냐.\n갈 곳도, 아는 사람도 별로 없는 애야. 밖에 나다니는 스타일도\n아니고.... 이상해, 예감이 안 좋아.\n\n\n\n[씬 21] S#21. 경찰서 안 / D\nS#21. 경찰서 안 / D\n경찰서 전경.\n수리영과 함께 사무실 안으로 들어오는 혜수,\n자신을 마뜩치 않게 보는 김형사에게 공손하게 인사하는.\n\n김형사\n마침 잘 왔네. (서류 보여주며) 실종신고서야. 여기 사인하고.\n통화의뢰도 할거지? 여기도 사인하고.\n\n혜수\n(김형사에게) 휴대전화 위치 확인 됐어?\n\n김형사\n(사인서류 들고) 이거 전송하면 보내줄 거예요.(나간다)\n\n들어오는 김형사\n\n김형사\n빨리 답 달라고 재촉했으니까... (짜증) 선배님, 회의.\n살인사건으로 초비상인데. 지금 이러고 있을 때가 (아니지\n않나)..\n\n혜수\n(시계보더니 난감한 얼굴로 수리영보면서)... 여기 내 자리에\n앉아서 잠깐 기다려. 저 커피 마셔도 돼. 괜찮지? 금방 올게\n\n아니나 다를까, ‘빨리 안들어오고 뭐해!’ 팀장 소리치고 형사들 다들\n우르르 몰려 나간다.\n사무실에 홀로 앉아있는 수리영.\n혜수 책상위에는 살인사건(1부 1,2,3씬) 확대 사진들이 어지럽게 널려있다.\n넘겨보며 놀라는 수리영, 환각상태에서 본 엄마의 시신모습과\n너무도 흡사한 - 목, 어깨, 얼굴등 살점이 떨어져 보는 것만으로도 끔찍하다.\n이때, 띠링- 김형사 모니터에서 뭔가 뜬다.\n주위를 둘러본다. 아무도 없는 것을 확인하고 수리영 망설이다가 커서를 누른다\n엄마 폰 위치추적 결과다.\n\n<화면내용>\n실종 강민숙(41세)\n핸드폰 번호 (010-000-0000) LAST LOCATION\n해상 지도위에 좌표. 37.484400 N / 126. 072486 E\nTimestamp 2026-02-18 11:21:08\nSource:GPS /Network\nStatus: offline\n\n‘바다라고?’ 사색이 된 수리영,\n필기도구를 찾아 좌표를 메모 한다. 메모쪽지를 접어 주머니에 넣고\n다시 한번 슬쩍 주위를 둘러본 후 사무실을 나온다.\n\n\n\n샷 목록(순서):\nS16sh3: 혜수가 스마트폰 액정을 김형사 쪽으로 불쑥 내민 순간\nS21sh7: 수리영이 두 눈을 크게 뜨고 입을 살짝 벌린 굳은 얼굴 클로즈업\nS21sh10: 모니터 화면에 바다 지도가 펼쳐져 있고 붉은색 핀과 좌표 숫자가 떠 있는 클로즈업\nS21sh12: 수리영이 메모지가 들어간 겉옷 주머니에 손을 넣은 채 사무실 출입문을 향해 몸을 돌린 정지 순간"}
{"ts": "2026-07-12 17:43:06", "kind": "llm", "step": "s35_prev_supermarket_admin_office", "model": "gpt", "dur_s": 2.1, "system_prompt": "당신은 콘티 연속성 판정가다. 같은 장소 그룹의 샷 목록(순서대로)과\n씬 원문을 보고, 각 샷마다 '시각적으로 관련된 앞쪽 샷'이 있는지\n판정하라. 시각적 관련 = 같은 공간·연속된 액션·같은 인물 구도가\n이어져 앞 샷의 생성 이미지를 참조로 붙이면 일관성에 도움이 되는\n경우. 다른 시간대·다른 서브 공간·연결 단서가 없으면 null.\n앞쪽 샷은 반드시 목록에서 자기보다 앞에 있는 샷이어야 한다.\n각 샷마다 prev(태그 또는 null)와 reason_ko(한 구절)를 반환.", "user_prompt": "씬 원문:\n[씬 20] S#20. 마트 총무과 / 실내\nS#20. 마트 총무과 / 실내\nCCTV화면을 돌려보는 보안팀 직원과 혜수,\n뒤에서 초조한 모습으로 화면을 주시하는 수리영\n\n보안직원\n이거네요. (갸우뚱) 근데 왜 이리 어둡지. 이 부분만 더 안\n보이네. 잘 보면 남자와 얘길 나누는 거 같긴 하죠. 뭐 보이세요?\n\n몇 번을 다시 돌려보지만 보안직원 말대로 그 부분만 유독 어두워\n식별이 불가능하다. 수리영 불안이 깊어지고.\n\n혜수\n흠... 일단 어제 CCTV 전체 잠깐 가져가도 될까요?\n복사하고 돌려드릴테니까.\n\n보안직원\n그러시죠.\n\n\n\n샷 목록(순서):\nS20sh1: 마트 총무과 책상 앞, 한국인 남성 보안직원과 혜수가 컴퓨터 모니터를 향해 몸을 기울인 측면\nS20sh3: 흑백 CCTV 화면 속 어두운 구석에 사람 형상이 희미하게 찍힌 모니터 클로즈업"}
{"ts": "2026-07-12 17:43:10", "kind": "llm", "step": "s35_prev_dark_pc_cafe_interior", "model": "gpt", "dur_s": 4.0, "system_prompt": "당신은 콘티 연속성 판정가다. 같은 장소 그룹의 샷 목록(순서대로)과\n씬 원문을 보고, 각 샷마다 '시각적으로 관련된 앞쪽 샷'이 있는지\n판정하라. 시각적 관련 = 같은 공간·연속된 액션·같은 인물 구도가\n이어져 앞 샷의 생성 이미지를 참조로 붙이면 일관성에 도움이 되는\n경우. 다른 시간대·다른 서브 공간·연결 단서가 없으면 null.\n앞쪽 샷은 반드시 목록에서 자기보다 앞에 있는 샷이어야 한다.\n각 샷마다 prev(태그 또는 null)와 reason_ko(한 구절)를 반환.", "user_prompt": "씬 원문:\n[씬 23] S#23. 어느 PC방 / 실내\nS#23. 어느 PC방 / 실내\n모니터 화면에 앉아있는 수리영,\n좌표를 찍고 위치를 확인하고 인쇄까지\n여러 장의 지도를 접어 백팩에 넣는다.\n\n\n\n샷 목록(순서):\nS23sh1: 어두운 PC방 안, 모니터 불빛이 비치는 수리영의 정면 상체\nS23sh4: 수리영의 두 손이 접힌 지도 종이들을 열려 있는 백팩 안으로 밀어넣은 정지 순간"}
{"ts": "2026-07-12 17:43:17", "kind": "llm", "step": "s35_prev_foggy_harbor_rocks", "model": "gpt", "dur_s": 7.3, "system_prompt": "당신은 콘티 연속성 판정가다. 같은 장소 그룹의 샷 목록(순서대로)과\n씬 원문을 보고, 각 샷마다 '시각적으로 관련된 앞쪽 샷'이 있는지\n판정하라. 시각적 관련 = 같은 공간·연속된 액션·같은 인물 구도가\n이어져 앞 샷의 생성 이미지를 참조로 붙이면 일관성에 도움이 되는\n경우. 다른 시간대·다른 서브 공간·연결 단서가 없으면 null.\n앞쪽 샷은 반드시 목록에서 자기보다 앞에 있는 샷이어야 한다.\n각 샷마다 prev(태그 또는 null)와 reason_ko(한 구절)를 반환.", "user_prompt": "씬 원문:\n[씬 26] S#26. 포구 / 해질 무렵\nS#26. 포구 / 해질 무렵\n소나기가 한차례 퍼 붓는가 싶더니, 비는 그치고 안개가 자욱하다.\n텅 빈 포구. 안개로 인해 배는 보이지 않고.\n포구를 몇 시간째 돌아다니다 지친. 갯바위에 앉아있는 수리영.\n하염없이 안개가 몰려오는 바다를 바라보는데, 진동벨이 울린다.\n얼핏 보니 혜수이모다. 벌써 여러통 째 부재중 전화.\n그때 안개를 뚫고 배 한척이 다가오는 게 보인다.\n배로 다가가는 수리영. 배에서 내린 인우(24세. 남)는 닷줄을 고정시키고 있다.\n\n수리영\n바다로 다시 나갈 건가요?\n\n인우\n(힐끗 볼뿐)...\n\n수리영\n이 배 밖에 없어서.\n\n인우\n(둘러본다 진짜 배가 없다)... ...\n\n수리영\n엄마를 찾아야하거든요.\n\n인우\n어느 섬으로 갈건데...\n\n수리영\n태워주면.(말할게요)\n\n인우\n(고민) 흠... 타슈. 어차피 돌아가야하니까\n\n수리영, 떠나기전, 바다를 바라보며 음성메시지를 남긴다.\n\n수리영\n이모, 나 잠깐 어디 다녀올 데가 있어서. 걱정마. 고마워.\n\n\n\n샷 목록(순서):\nS26sh2: 수리영이 갯바위 위에 무릎을 모으고 앉아 바다를 응시하는 측면\nS26sh5: 뱃머리에서 내린 인우가 굵은 닻줄을 쥔 채 바닥의 말뚝에 걸친 정지 순간\nS26sh9: 수리영이 바다를 향해 선 채 스마트폰을 입가에 댄 측면 상체"}
{"ts": "2026-07-12 17:43:23", "kind": "llm", "step": "s35_prev_small_fishing_boat_deck", "model": "gpt", "dur_s": 6.3, "system_prompt": "당신은 콘티 연속성 판정가다. 같은 장소 그룹의 샷 목록(순서대로)과\n씬 원문을 보고, 각 샷마다 '시각적으로 관련된 앞쪽 샷'이 있는지\n판정하라. 시각적 관련 = 같은 공간·연속된 액션·같은 인물 구도가\n이어져 앞 샷의 생성 이미지를 참조로 붙이면 일관성에 도움이 되는\n경우. 다른 시간대·다른 서브 공간·연결 단서가 없으면 null.\n앞쪽 샷은 반드시 목록에서 자기보다 앞에 있는 샷이어야 한다.\n각 샷마다 prev(태그 또는 null)와 reason_ko(한 구절)를 반환.", "user_prompt": "씬 원문:\n[씬 28] S#28. 바다 + 갑판 / 해질 무렵\nS#28. 바다 + 갑판 / 해질 무렵\n바다위에 떠있는 소형어선. 한참 떠나온 듯 하다.\n인우한테 지도를 쓰윽 내미는 수리영. 갑판에 홀로 앉아있다.\n지도를 보고 인상을 찌푸리며.\n\n수리영\n여기서 북동쪽으로 70km 쯤 될 건데요\n\n인우\n거긴 아무것도 없어요. 그냥 바다야.\n인근 섬에 가는 거 아니었나. 엄마 찾는 거라면서?\n\n수리영\n흠...(25씬의 사진을 보여준다) 그럼 여긴 어딘지 알겠어요?\n거기 가려구요\n\n인우\n(사진보더니 당황) 몰라. 모른다구.\n\n수리영\n(다시 내밀며) 자세히 좀 봐요. 여기 작게 ‘금월’이라는\n글씨 보이죠. (흔들리는 인우의 시선을 놓치지않고) 여기\n어딘지 알죠? 아는 거죠?\n\n인우, 발작적으로 일어나 조타실로 달려가 뱃머리를 돌리려 한다.\n이를 눈치 챈 수리영, 조타실로 따라들어가 막으면서\n\n\n\n샷 목록(순서):\nS28sh5: 인우가 사진에 시선을 고정한 채 두 눈을 크게 뜨고 상체를 뒤로 뺀 측면 구도\nS28sh8: 수리영이 조타실 입구에 서서 두 팔을 벌린 채 멈춘 전신"}
{"ts": "2026-07-12 17:43:28", "kind": "llm", "step": "s35_prev_fishing_boat_wheelhouse", "model": "gpt", "dur_s": 5.1, "system_prompt": "당신은 콘티 연속성 판정가다. 같은 장소 그룹의 샷 목록(순서대로)과\n씬 원문을 보고, 각 샷마다 '시각적으로 관련된 앞쪽 샷'이 있는지\n판정하라. 시각적 관련 = 같은 공간·연속된 액션·같은 인물 구도가\n이어져 앞 샷의 생성 이미지를 참조로 붙이면 일관성에 도움이 되는\n경우. 다른 시간대·다른 서브 공간·연결 단서가 없으면 null.\n앞쪽 샷은 반드시 목록에서 자기보다 앞에 있는 샷이어야 한다.\n각 샷마다 prev(태그 또는 null)와 reason_ko(한 구절)를 반환.", "user_prompt": "씬 원문:\n[씬 29] S#29. 조타실 / 해질 무렵\nS#29. 조타실 / 해질 무렵\n\n수리영\n왜 그래요? 지금 배 돌리려는 거잖아요!\n\n인우\n돌아가. 거긴 못가. 당신 같은 사람이 가면 안된다구!\n\n수리영\n왜요? 왜 그러냐구요?! (태세전환) 그러지 말고 데려다줘요.\n(분노) 우리 엄마가 거기 잡혀있단 말이에요!\n\n인우\n뭐? 당신 엄마가 거기 잡혀있다구?\n\n수리영\n그럴 수 있다는 말이예요. 확정적인 건 아니고.\n\n인우\n이 사진하고 무슨 상관인데?\n\n수리영\n우리 엄마가 사라졌는데... (사진속의 한 아이를 가르키며)\n이 사진속의 얘가 우리 엄마예요.\n\n인우\n이름이?\n\n수리영\n강민숙. 나이는 41세\n\n인우\n강. 민. 숙\n\n사색이 된 인우. 인우 얼굴 너머에 보이는 조타실안 수많은 원. 빙글빙글 돌고\n여기에서 또다시 발견된 붉은 원! 설마...\n\n수리영\n다..당신 뭐..야...\n\n의식이 혼미해지는 수리영.\n수리영을 노려보는 인우의 어깨에 그대로 쓰러진다.\n\n\n\n샷 목록(순서):\nS29sh3: 수리영의 검지손가락이 낡은 사진 속 아이의 얼굴 부분에 닿아 있는 클로즈업\nS29sh4: 인우가 입술을 살짝 벌린 채 하얗게 질린 얼굴 타이트 샷\nS29sh8: 눈이 반쯤 감긴 수리영의 이마가 인우의 어깨에 맞닿아 있는 찰나"}
{"ts": "2026-07-12 17:43:30", "kind": "llm", "step": "s35_prev_open_coastal_sea", "model": "gpt", "dur_s": 2.2, "system_prompt": "당신은 콘티 연속성 판정가다. 같은 장소 그룹의 샷 목록(순서대로)과\n씬 원문을 보고, 각 샷마다 '시각적으로 관련된 앞쪽 샷'이 있는지\n판정하라. 시각적 관련 = 같은 공간·연속된 액션·같은 인물 구도가\n이어져 앞 샷의 생성 이미지를 참조로 붙이면 일관성에 도움이 되는\n경우. 다른 시간대·다른 서브 공간·연결 단서가 없으면 null.\n앞쪽 샷은 반드시 목록에서 자기보다 앞에 있는 샷이어야 한다.\n각 샷마다 prev(태그 또는 null)와 reason_ko(한 구절)를 반환.", "user_prompt": "씬 원문:\n[씬 30] S#30. 바다 / 해질 무렵\nS#30. 바다 / 해질 무렵\n서서히 지는 해가 바다위에 황금빛 그림자를 드리운다.\n세상과 경계를 지우는 것 같은 짙은 안개 띠.\n서서히 안개 안으로 들어가는 인우의 배.\n\n1부 END\n\n샷 목록(순서):\nS30sh1: 해질 무렵 황금빛 노을이 바다 표면에 길게 비친 전경\nS30sh3: 어선의 뱃머리가 짙은 안개벽에 절반쯤 가려진 측면 구도"}
{"ts": "2026-07-12 17:43:40", "kind": "llm", "step": "s35_contineed_dense_forest_incident_site", "model": "gpt", "dur_s": 7.2, "system_prompt": "당신은 촬영 현장의 콘티 운용 판정가다. 각 샷의 텍스트와 동선\n분석을 보고, 이미지 생성 시 스토리보드(콘티) 패널을 구도\n참조로 첨부할 필요가 있는지 판정하라.\n콘티 필요(true) = 구도를 글만으로 오해하기 쉬운 경우: 여러\n인물의 동선·위치 관계가 얽힘, 특수한 카메라 각도/깊이 관계,\n연속 액션의 방향 유지가 중요, 프레임 내 배치가 스토리텔링에\n결정적.\n콘티 불필요(false) = 글만으로 충분히 명확한 쉬운 구도: 단일\n인물 클로즈업/상반신, 단순 인서트(손·사물), 정적인 단순 배치,\n표준적인 대화 구도 등.\n각 샷마다 need_conti(bool)와 reason_ko(한 구절)를 반환하라.", "user_prompt": "샷 목록:\nS1sh1: 한쪽 신발이 벗겨진 한국인 남자가 우거진 수풀 사이를 달리며 한 발을 허공에 내딛고 있는 도중의 전신 구도\n  동선: A terrified, bleeding Korean man with one shoe missing runs through dense undergrowth, pushing forward with one foot airborne and a strained, injury-compromised gait as he flees through the forest.\nS1sh4: 검은 형상의 인영이 허공에 뛰어오른 채 한국인 남자를 향해 두 팔을 뻗고 있는 순간\n  동선: A real person appearing as a dark silhouette, with normal human build, has sprinted in from an unspecified direction and is airborne with both arms extended toward the terrified Korean man to tackle him.\nS3sh3: 형사 무리 한가운데 서서 손가락으로 한쪽을 가리키는 혜수의 상체\n  동선: static: Hyesu stands upright amid the detectives, directing the investigation with her upper body oriented toward one side and one finger pointing that way."}
{"ts": "2026-07-12 17:43:44", "kind": "llm", "step": "s35_contineed_dim_city_back_alley", "model": "gpt", "dur_s": 4.4, "system_prompt": "당신은 촬영 현장의 콘티 운용 판정가다. 각 샷의 텍스트와 동선\n분석을 보고, 이미지 생성 시 스토리보드(콘티) 패널을 구도\n참조로 첨부할 필요가 있는지 판정하라.\n콘티 필요(true) = 구도를 글만으로 오해하기 쉬운 경우: 여러\n인물의 동선·위치 관계가 얽힘, 특수한 카메라 각도/깊이 관계,\n연속 액션의 방향 유지가 중요, 프레임 내 배치가 스토리텔링에\n결정적.\n콘티 불필요(false) = 글만으로 충분히 명확한 쉬운 구도: 단일\n인물 클로즈업/상반신, 단순 인서트(손·사물), 정적인 단순 배치,\n표준적인 대화 구도 등.\n각 샷마다 need_conti(bool)와 reason_ko(한 구절)를 반환하라.", "user_prompt": "샷 목록:\nS2sh1: 희미한 가로등 불빛 아래 전봇대에 밀착된 채 서 있는 한국인 남자와 한국인 여자의 옆모습\n  동선: static: A Korean man and a Korean woman stand pressed together against a utility pole under the dim streetlight, their bodies in side profile and oriented toward each other.\nS2sh3: 한국인 남자가 입을 크게 벌려 한국인 여자의 목에 이빨을 박아넣은 채 멈춘 순간\n  동선: static: The Korean man holds his mouth wide open with his teeth embedded in the Korean woman's neck, their bodies locked together at the point of the bite."}
{"ts": "2026-07-12 17:43:52", "kind": "llm", "step": "s35_contineed_rooftop_room_exterior", "model": "gpt", "dur_s": 8.3, "system_prompt": "당신은 촬영 현장의 콘티 운용 판정가다. 각 샷의 텍스트와 동선\n분석을 보고, 이미지 생성 시 스토리보드(콘티) 패널을 구도\n참조로 첨부할 필요가 있는지 판정하라.\n콘티 필요(true) = 구도를 글만으로 오해하기 쉬운 경우: 여러\n인물의 동선·위치 관계가 얽힘, 특수한 카메라 각도/깊이 관계,\n연속 액션의 방향 유지가 중요, 프레임 내 배치가 스토리텔링에\n결정적.\n콘티 불필요(false) = 글만으로 충분히 명확한 쉬운 구도: 단일\n인물 클로즈업/상반신, 단순 인서트(손·사물), 정적인 단순 배치,\n표준적인 대화 구도 등.\n각 샷마다 need_conti(bool)와 reason_ko(한 구절)를 반환하라.", "user_prompt": "샷 목록:\nS4sh1: 맑은 낮, 오래된 다세대 빌라 옥상 위에 자리 잡은 옥탑방을 높은 곳에서 내려다본 부감 구도\n  동선: static: No person is visible; the rooftop room remains fixed on top of the old multi-family villa beneath the high, downward-looking camera.\nS10sh6: 현관 철문이 아주 살짝 열린 틈새로 보이는 어두운 실내와 신발 앞코\n  동선: The unknown man's shoe toe advances from the rooftop exterior through the narrowly opened iron doorway into the dark room, leading his unseen body inward.\nS10sh7: 불이 켜진 옥탑방 창문에 거대한 그림자가 작은 그림자의 어깨 쪽으로 고개를 꺾은 형태가 맺혀 있는 정지 구도\n  동선: static: A real man appearing as a large dark silhouette, with normal human build, leans into Minsook and angles his head down toward her shoulder as she is caught beneath him.\nS11sh5: 옥상에 선 수리영의 시선 끝에 반쯤 열려 있는 어두운 현관 철문이 보이는 정면 구도\n  동선: static: Suriyoung stands tensely on the rooftop with her body and gaze directed straight toward the half-open iron entrance door and its dark interior.\nS17sh2: 옥상 담벼락 위에서 한쪽 앞발을 허공으로 뻗은 검은 고양이의 측면\n  동선: The black cat moves side-on across and over the rooftop wall toward the opposite side, extending one forepaw into the air as its body follows."}
{"ts": "2026-07-12 17:44:06", "kind": "llm", "step": "s35_contineed_rooftop_room_interior", "model": "gpt", "dur_s": 13.9, "system_prompt": "당신은 촬영 현장의 콘티 운용 판정가다. 각 샷의 텍스트와 동선\n분석을 보고, 이미지 생성 시 스토리보드(콘티) 패널을 구도\n참조로 첨부할 필요가 있는지 판정하라.\n콘티 필요(true) = 구도를 글만으로 오해하기 쉬운 경우: 여러\n인물의 동선·위치 관계가 얽힘, 특수한 카메라 각도/깊이 관계,\n연속 액션의 방향 유지가 중요, 프레임 내 배치가 스토리텔링에\n결정적.\n콘티 불필요(false) = 글만으로 충분히 명확한 쉬운 구도: 단일\n인물 클로즈업/상반신, 단순 인서트(손·사물), 정적인 단순 배치,\n표준적인 대화 구도 등.\n각 샷마다 need_conti(bool)와 reason_ko(한 구절)를 반환하라.", "user_prompt": "샷 목록:\nS5sh5: 다급하게 상체를 기울이며 손가락 끝으로 TV 전원 버튼을 세게 누르고 있는 민숙의 측면 구도\n  동선: Min-sook urgently pitches her upper body forward toward the TV and forcefully drives a fingertip into its power button to turn it off as Su-ri-young emerges from her room.\nS5sh9: 민숙의 손목에 선명하게 드러난 작은 원형 표식의 타이트 샷\n  동선: static: Min-sook's wrist is held in view, with the sharply visible small circular mark facing the camera.\nS12sh11: 옷과 피부가 피투성이가 된 민숙이 바닥에 주저앉아 고개를 푹 숙인 정지 상태\n  동선: static: lifeless Min-sook is collapsed against the floor in an asymmetric seated slump, her head dropped deeply forward, shoulders fallen, limbs limp, and body weight fully given way.\nS12sh18: 민숙의 손에 꽉 쥐어진 구겨진 사진의 타이트 샷\n  동선: static: lifeless Min-sook's limp hand remains curled tightly around a crumpled photograph, with the photograph exposed toward the camera.\nS12sh21: 침대 위쪽 벽면에 붉은색 원형 표식이 절반쯤 나타난 상태\n  동선: A red circular mark spreads around the wall above the bed, progressing along a ring-like path as though an unseen brush is drawing it, with about half the circle formed.\nS14sh5: 핏자국 없이 깨끗한 방 내부 전경\n  동선: static: the excessively tidy bedroom stands empty, with no bloodstains, red wall mark, or collapsed body remaining anywhere in the room.\nS14sh7: 수리영이 멍한 눈으로 텅 빈 방 안을 응시하는 얼굴 클로즈업\n  동선: static: pale-faced Su-ri-young holds her body rigid and stares blankly into the empty bedroom where she expected to find her mother's body.\nS14sh11: 혜수가 날카로운 눈빛으로 김형사를 노려보는 모습\n  동선: static: Hye-su fixes a sharp, hostile stare toward Detective Kim, her face and body oriented directly at him.\nS18sh11: 거울 속 반사된 욕실 타일 벽면에 붉은색 원형 표식이 절반쯤 나타난 상태\n  동선: A red circular mark suddenly develops across the bathroom tile wall seen in the mirror, extending around a ring-like path until roughly half is visible.\nS18sh15: 액자 속 민숙의 얼굴 부분 이미지가 아래로 일그러지며 흘러내리는 찰나\n  동선: The image of Min-sook's smiling face inside the framed photograph distorts and flows downward before Su-ri-young's eyes.\nS18sh16: 수리영이 두 손으로 머리를 감싸 쥐고 입을 크게 벌린 얼굴\n  동선: static: terrified and overwhelmed, Su-ri-young clamps both hands around her head and holds her mouth wide open in a scream, her posture rigid with panic.\nS25sh1: 해질 무렵 옥탑방 거실, 흙 묻은 발자국들이 찍힌 바닥과 쓰러진 식탁 의자들이 보이는 전경\n  동선: static: muddy footprints remain across the ransacked living-room floor among overturned dining chairs, indicating a prior path through the room but no current movement.\nS25sh5: 붉은 원 한가운데 피 묻은 낡은 흑백 사진이 벽에 꽂혀 있는 타이트 샷\n  동선: static: a bloodstained old photograph remains pinned at the center of the red circle on Su-ri-young's bedroom wall, facing outward toward the camera.\nS25sh9: 수리영의 손이 구겨진 사진을 꽉 움켜쥔 타이트 샷\n  동선: static: Su-ri-young's tense hand crushes the crumpled photograph in a tight grip as she holds it close.\nS27sh3: 혜수가 미간을 깊게 찌푸린 채 스마트폰을 내려다보는 얼굴 클로즈업\n  동선: static: Hye-su lowers her gaze toward the smartphone and listens to Su-ri-young's recorded message with her brow deeply furrowed."}
{"ts": "2026-07-12 17:44:10", "kind": "llm", "step": "s35_contineed_coastal_road", "model": "gpt", "dur_s": 4.1, "system_prompt": "당신은 촬영 현장의 콘티 운용 판정가다. 각 샷의 텍스트와 동선\n분석을 보고, 이미지 생성 시 스토리보드(콘티) 패널을 구도\n참조로 첨부할 필요가 있는지 판정하라.\n콘티 필요(true) = 구도를 글만으로 오해하기 쉬운 경우: 여러\n인물의 동선·위치 관계가 얽힘, 특수한 카메라 각도/깊이 관계,\n연속 액션의 방향 유지가 중요, 프레임 내 배치가 스토리텔링에\n결정적.\n콘티 불필요(false) = 글만으로 충분히 명확한 쉬운 구도: 단일\n인물 클로즈업/상반신, 단순 인서트(손·사물), 정적인 단순 배치,\n표준적인 대화 구도 등.\n각 샷마다 need_conti(bool)와 reason_ko(한 구절)를 반환하라.", "user_prompt": "샷 목록:\nS6sh1: 낮의 해안가 도로 위, 이어폰을 낀 채 자전거 안장에 앉아 한 발로 페달을 밟아 내리는 중간 동작으로 미소 짓는 수리영의 옆모습, 자전거의 추진력에 의해 머리카락이 뒤로 흩날리는 찰나\n  동선: Su-ri-young rides laterally along the daytime coastal road, seated upright and smiling as one foot drives a pedal downward, with her hair streaming behind her in the direction opposite her travel.\nS9sh1: 어두운 해안도로 위 자전거 안장에 앉아 한쪽 다리로 페달을 밟아 내리는 중간 자세로 앞을 향해 상체를 기울인 수리영의 실루엣, 옷자락이 뒤로 휘날리는 순간\n  동선: Su-ri-young, a real person appearing as a dark silhouette with normal human build, rides quickly forward along the dark coastal road toward home, leaning her torso into her course as one leg presses a pedal downward and her clothing trails behind.\nS24sh2: 비에 흠뻑 젖은 수리영이 자전거 핸들을 꽉 쥔 채 앞을 노려보는 얼굴 클로즈업\n  동선: Soaked by the downpour, Su-ri-young continues riding forward through the rain, gripping the handlebars tightly and aiming a tense, determined stare ahead as she searches for her mother."}
{"ts": "2026-07-12 17:44:13", "kind": "llm", "step": "s35_contineed_dog_shelter_interior", "model": "gpt", "dur_s": 2.3, "system_prompt": "당신은 촬영 현장의 콘티 운용 판정가다. 각 샷의 텍스트와 동선\n분석을 보고, 이미지 생성 시 스토리보드(콘티) 패널을 구도\n참조로 첨부할 필요가 있는지 판정하라.\n콘티 필요(true) = 구도를 글만으로 오해하기 쉬운 경우: 여러\n인물의 동선·위치 관계가 얽힘, 특수한 카메라 각도/깊이 관계,\n연속 액션의 방향 유지가 중요, 프레임 내 배치가 스토리텔링에\n결정적.\n콘티 불필요(false) = 글만으로 충분히 명확한 쉬운 구도: 단일\n인물 클로즈업/상반신, 단순 인서트(손·사물), 정적인 단순 배치,\n표준적인 대화 구도 등.\n각 샷마다 need_conti(bool)와 reason_ko(한 구절)를 반환하라.", "user_prompt": "샷 목록:\nS7sh3: 로트와일러가 귀를 뒤로 젖힌 채 얌전히 바닥에 엎드린 정지 상태\n  동선: static: the Rottweiler lies subdued and low against the floor with its ears pinned back, its body facing an unspecified direction.\nS7sh6: 수리영이 귀에 스마트폰을 댄 채 미간을 찌푸린 얼굴\n  동선: static: Suriyoung holds a smartphone to her ear and remains in place with a furrowed brow, facing an unspecified direction as she tries to contact Minsook."}
{"ts": "2026-07-12 17:44:16", "kind": "llm", "step": "s35_contineed_supermarket_sales_floor", "model": "gpt", "dur_s": 2.9, "system_prompt": "당신은 촬영 현장의 콘티 운용 판정가다. 각 샷의 텍스트와 동선\n분석을 보고, 이미지 생성 시 스토리보드(콘티) 패널을 구도\n참조로 첨부할 필요가 있는지 판정하라.\n콘티 필요(true) = 구도를 글만으로 오해하기 쉬운 경우: 여러\n인물의 동선·위치 관계가 얽힘, 특수한 카메라 각도/깊이 관계,\n연속 액션의 방향 유지가 중요, 프레임 내 배치가 스토리텔링에\n결정적.\n콘티 불필요(false) = 글만으로 충분히 명확한 쉬운 구도: 단일\n인물 클로즈업/상반신, 단순 인서트(손·사물), 정적인 단순 배치,\n표준적인 대화 구도 등.\n각 샷마다 need_conti(bool)와 reason_ko(한 구절)를 반환하라.", "user_prompt": "샷 목록:\nS8sh3: 수리영이 마트 유니폼을 입은 한국인 여성 직원을 마주보며 입을 살짝 벌린 측면 구도\n  동선: static: Su-ri-young stands facing the female supermarket employee at conversational distance, her body turned toward the employee and her mouth slightly open as if speaking."}
{"ts": "2026-07-12 17:44:17", "kind": "img", "engine": "gpt-image-2", "mode": "generate", "tag": "s35_conti_dense_forest_incident_site_0_i2", "refs": [], "size": "1024x1024", "attempt": 1, "dur_s": 165.0, "bytes": 2105428, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/conti35_dense_forest_incident_site_0_i2.png", "prompt": "Draw ONE storyboard (conti) sheet: 4 panels made by ONE vertical cut at exactly 50% of the width and ONE horizontal cut at exactly 50% of the height — a 2x2 grid, each panel exactly one quarter of the image.\nSTYLE: hand-drawn PRE-PRODUCTION STORYBOARD FOR A LIVE-ACTION FILM\nSHOOT — the working drawings a professional film storyboard artist\nmakes for the director and cinematographer of a real movie:\nREALISTIC adult human proportions and faces (ordinary Korean\nadults, film-actor realism), true cinematic lens framing, and\nnaturalistic light-and-shadow blocking rendered in monochrome\ngraphite pencil tone on white paper.\nABSOLUTELY NOT manga, NOT anime, NOT cartoon, NOT webtoon, NOT\ncomic-book style: no stylized or enlarged eyes, no cute or\nyouthful idealized faces, no clean ink outlines — every panel\nmust read like a frame of a live-action film sketched in pencil.\nNo color anywhere.\n\nTHE LOCATION (same in all drawn panels): A dense forest clearing enclosed by tangled shrubs, mature tree trunks, and uneven leaf-covered ground. A narrow, barely visible path cuts through the undergrowth..\n\nPURPOSE: each panel captures only the CAMERA COMPOSITION of one\nshot — framing (close-up / medium / wide), where the subject sits in\nthe frame, and continuity between panels. Keep every panel\nextremely simple: only what matters for composition.\nMOVEMENT IS SHOWN BY THE FIGURE ITSELF, NEVER BY MARKINGS: convey\ndirection of travel purely through the body — stride mid-motion,\nbody lean into the path, back view vs front view, and the stated\nsize/depth cues. Do NOT draw arrows, motion lines, path lines,\nspeed lines or any diagram markings of any kind.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Draw what a real movie camera would actually record\non a physical set — exaggerated or figurative impressions become\nrealistic staging choices (lighting, distance, angle, wardrobe),\nnot literal fantasy drawings.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still draw them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nGEOMETRY — ANALYSE BEFORE DRAWING: from each panel's Korean shot\ntext, first work out the spatial facts and draw EXACTLY those, never\nre-stage them: (a) each figure's DISTANCE from camera (tight insert /\nclose-up / medium / full / wide — a shot about a hand or an object\nis a tight insert, not a two-shot); (b) each figure's FACING and\nMOVEMENT DIRECTION relative to camera — '뒷모습' means seen from\nBEHIND, moving AWAY from camera into the depth of the frame, not\nsideways; a profile means lateral movement; (c) relative positions\nand distances BETWEEN figures. Keep every established screen\ndirection consistent across panels (180-degree rule): a person who\nleaves in one panel keeps the same on-screen direction wherever the\nmovement appears again.\nSIZE & DEPTH ARE CONTRACTUAL: each panel states every figure's\napparent size in the frame and the explicit near/far depth order.\nDraw exactly those proportions — a farther figure MUST be drawn\nclearly smaller than a nearer one; never equalize figure sizes,\nespecially when several figures share a panel or their paths\nrelate to each other.\nDEPARTING FIGURE — a figure running/walking AWAY must be\nunmistakably departing, never approaching: seen exactly from behind\n(back of the head only, no face, no chin, no cheek line), body\nleaning into the path, mid-stride with one shoe sole toward the\ncamera. THE STATED SIZE/DEPTH WINS: draw the departing figure at\nexactly the apparent size and depth the panel's FIGURES line states\n(if stated FARTHER/small, it stays small in the distance — never\nenlarge it into the foreground for drama).\n\nCONTINUITY: all drawn panels are the SAME single location — fixed\nfeatures (doors, stairs, windows, poles, desks) keep the same\nposition and left/right relationships across panels so the panels\ncut together as one continuous scene.\n\nPANELS (one shot per panel, Korean shot text):\n\nPANEL 1: 한쪽 신발이 벗겨진 한국인 남자가 우거진 수풀 사이를 달리며 한 발을 허공에 내딛고 있는 도중의 전신 구도\n  MOVEMENT (follow exactly): A terrified, bleeding Korean man with one shoe missing runs through dense undergrowth, pushing forward with one foot airborne and a strained, injury-compromised gait as he flees through the forest.\n  FIGURES — apparent size & depth order (follow exactly): The man's full body fills roughly ~3/4 of the frame height and is the sole figure, occupying the primary near-to-midground plane; no farther person is visible.\nPANEL 2: 검은 형상의 인영이 허공에 뛰어오른 채 한국인 남자를 향해 두 팔을 뻗고 있는 순간\n  MOVEMENT (follow exactly): A real person appearing as a dark silhouette, with normal human build, has sprinted in from an unspecified direction and is airborne with both arms extended toward the terrified Korean man to tackle him.\n  FIGURES — apparent size & depth order (follow exactly): The airborne silhouette and the man are both prominent, each roughly ~1/2–2/3 of the frame height; the silhouette is closing the remaining distance to the man, but the source does not establish which is nearer to the camera. Their paths converge directly at the impending impact.\nPANEL 3: 형사 무리 한가운데 서서 손가락으로 한쪽을 가리키는 혜수의 상체\n  MOVEMENT (follow exactly): static: Hyesu stands upright amid the detectives, directing the investigation with her upper body oriented toward one side and one finger pointing that way.\n  FIGURES — apparent size & depth order (follow exactly): Hyesu's upper body fills roughly ~2/3 of the frame height and is the dominant nearer figure, while the surrounding detectives appear smaller or partially framed farther around and behind her. Hyesu remains centered within their group rather than moving through it.\n\nThere are 3 shots but 4 panel slots: draw the shots in\npanels 1..3 and leave the remaining panel(s) COMPLETELY\nBLANK PURE WHITE — empty white paper, not even a frame line inside.\n\nABSOLUTELY NO TEXT anywhere: no words, letters, captions, labels,\nsound effects or watermarks — the ONLY allowed marking is a small\nshot number digit (1, 2, 3) in a corner INSIDE each drawn panel.\nTHE PANEL GRID FILLS THE ENTIRE IMAGE EDGE-TO-EDGE: no outer paper\nmargin, no border area, nothing drawn outside the panels — the\nimage must be mechanically cuttable along the stated cut lines.\nPanels are separated only by thin straight black gutter lines at\nthe exact stated positions; ALL PANELS EXACTLY THE SAME SIZE."}
{"ts": "2026-07-12 17:44:19", "kind": "llm", "step": "s35_contineed_supermarket_exterior_entrance", "model": "gpt", "dur_s": 3.6, "system_prompt": "당신은 촬영 현장의 콘티 운용 판정가다. 각 샷의 텍스트와 동선\n분석을 보고, 이미지 생성 시 스토리보드(콘티) 패널을 구도\n참조로 첨부할 필요가 있는지 판정하라.\n콘티 필요(true) = 구도를 글만으로 오해하기 쉬운 경우: 여러\n인물의 동선·위치 관계가 얽힘, 특수한 카메라 각도/깊이 관계,\n연속 액션의 방향 유지가 중요, 프레임 내 배치가 스토리텔링에\n결정적.\n콘티 불필요(false) = 글만으로 충분히 명확한 쉬운 구도: 단일\n인물 클로즈업/상반신, 단순 인서트(손·사물), 정적인 단순 배치,\n표준적인 대화 구도 등.\n각 샷마다 need_conti(bool)와 reason_ko(한 구절)를 반환하라.", "user_prompt": "샷 목록:\nS8sh5: 마트 밖으로 나온 수리영이 손에 든 스마트폰 액정을 내려다보는 상체\n  동선: Suriyoung comes out of the supermarket and continues away toward home while looking down at the smartphone held in front of her upper body, trying to make contact as she walks.\nS19sh5: 수리영과 남자직원이 마트 밖에서 벽면의 CCTV를 올려다보는 뒷모습\n  동선: static: Suriyoung and the male employee stand outside the supermarket with their backs to the camera, bodies oriented toward the wall and heads tilted upward at the CCTV camera.\nS19sh6: 수리영이 귀에 스마트폰을 댄 채 정면을 응시하는 상체 클로즈업\n  동선: static: Suriyoung holds a smartphone to her ear and faces forward, staring straight ahead while calling Hyesu."}
{"ts": "2026-07-12 17:44:22", "kind": "llm", "step": "s35_contineed_exterior_metal_staircase", "model": "gpt", "dur_s": 2.9, "system_prompt": "당신은 촬영 현장의 콘티 운용 판정가다. 각 샷의 텍스트와 동선\n분석을 보고, 이미지 생성 시 스토리보드(콘티) 패널을 구도\n참조로 첨부할 필요가 있는지 판정하라.\n콘티 필요(true) = 구도를 글만으로 오해하기 쉬운 경우: 여러\n인물의 동선·위치 관계가 얽힘, 특수한 카메라 각도/깊이 관계,\n연속 액션의 방향 유지가 중요, 프레임 내 배치가 스토리텔링에\n결정적.\n콘티 불필요(false) = 글만으로 충분히 명확한 쉬운 구도: 단일\n인물 클로즈업/상반신, 단순 인서트(손·사물), 정적인 단순 배치,\n표준적인 대화 구도 등.\n각 샷마다 need_conti(bool)와 reason_ko(한 구절)를 반환하라.", "user_prompt": "샷 목록:\nS11sh4: 철제 파이프 난간을 손으로 잡은 수리영이 코끝을 찡그린 채 계단 중간에 서 있는 얼굴 클로즈업\n  동선: static: Suri-young pauses midway up the staircase while ascending toward the rooftop, gripping the metal-pipe railing with a tense posture and wrinkling her nose at the sudden foul smell, her body oriented uphill."}
{"ts": "2026-07-12 17:44:25", "kind": "llm", "step": "s35_contineed_residential_alley_courtyard", "model": "gpt", "dur_s": 2.9, "system_prompt": "당신은 촬영 현장의 콘티 운용 판정가다. 각 샷의 텍스트와 동선\n분석을 보고, 이미지 생성 시 스토리보드(콘티) 패널을 구도\n참조로 첨부할 필요가 있는지 판정하라.\n콘티 필요(true) = 구도를 글만으로 오해하기 쉬운 경우: 여러\n인물의 동선·위치 관계가 얽힘, 특수한 카메라 각도/깊이 관계,\n연속 액션의 방향 유지가 중요, 프레임 내 배치가 스토리텔링에\n결정적.\n콘티 불필요(false) = 글만으로 충분히 명확한 쉬운 구도: 단일\n인물 클로즈업/상반신, 단순 인서트(손·사물), 정적인 단순 배치,\n표준적인 대화 구도 등.\n각 샷마다 need_conti(bool)와 reason_ko(한 구절)를 반환하라.", "user_prompt": "샷 목록:\nS13sh4: 수리영이 초점을 잃은 눈으로 허공을 응시하며 서 있는 모습\n  동선: static: Su-ri-young stands motionless and dazed after coming down from the rooftop room, her unfocused eyes staring into empty space and her body lacking purposeful direction.\nS13sh6: 고개를 든 채 혜수의 얼굴을 마주보고 있는 수리영의 측면 구도\n  동선: static: Su-ri-young holds her head raised and faces Hye-su directly in side profile, looking up at her while remaining dazed and stationary."}
{"ts": "2026-07-12 17:44:29", "kind": "llm", "step": "s35_contineed_seaside_bus_stop", "model": "gpt", "dur_s": 4.2, "system_prompt": "당신은 촬영 현장의 콘티 운용 판정가다. 각 샷의 텍스트와 동선\n분석을 보고, 이미지 생성 시 스토리보드(콘티) 패널을 구도\n참조로 첨부할 필요가 있는지 판정하라.\n콘티 필요(true) = 구도를 글만으로 오해하기 쉬운 경우: 여러\n인물의 동선·위치 관계가 얽힘, 특수한 카메라 각도/깊이 관계,\n연속 액션의 방향 유지가 중요, 프레임 내 배치가 스토리텔링에\n결정적.\n콘티 불필요(false) = 글만으로 충분히 명확한 쉬운 구도: 단일\n인물 클로즈업/상반신, 단순 인서트(손·사물), 정적인 단순 배치,\n표준적인 대화 구도 등.\n각 샷마다 need_conti(bool)와 reason_ko(한 구절)를 반환하라.", "user_prompt": "샷 목록:\nS15sh2: 혜수의 손이 음료수 캔을 쥔 채 수리영 앞으로 내밀어진 순간\n  동선: Hye-su extends her hand and the drink can from her side into the space directly in front of Su-ri-young, who remains seated and dazed while facing the sea.\nS15sh6: 멀리서 혜수의 전신과 한 발을 공중에 띄운 mid-stride 자세로 달리는 수리영의 뒷모습을 한 프레임에 담은 넓은 구도\n  동선: Su-ri-young runs away from Hye-su and away from the camera, seen from behind with one foot airborne in mid-stride, while Hye-su remains standing behind her and calls after her."}
{"ts": "2026-07-12 17:44:39", "kind": "llm", "step": "s35_contineed_police_office_interior", "model": "gpt", "dur_s": 9.5, "system_prompt": "당신은 촬영 현장의 콘티 운용 판정가다. 각 샷의 텍스트와 동선\n분석을 보고, 이미지 생성 시 스토리보드(콘티) 패널을 구도\n참조로 첨부할 필요가 있는지 판정하라.\n콘티 필요(true) = 구도를 글만으로 오해하기 쉬운 경우: 여러\n인물의 동선·위치 관계가 얽힘, 특수한 카메라 각도/깊이 관계,\n연속 액션의 방향 유지가 중요, 프레임 내 배치가 스토리텔링에\n결정적.\n콘티 불필요(false) = 글만으로 충분히 명확한 쉬운 구도: 단일\n인물 클로즈업/상반신, 단순 인서트(손·사물), 정적인 단순 배치,\n표준적인 대화 구도 등.\n각 샷마다 need_conti(bool)와 reason_ko(한 구절)를 반환하라.", "user_prompt": "샷 목록:\nS16sh3: 혜수가 스마트폰 액정을 김형사 쪽으로 불쑥 내민 순간\n  동선: Hye-su abruptly extends her arm from her position in the office toward Detective Kim, thrusting the smartphone screen with Min-suk's saved number into his viewing space while remaining tensely oriented toward him.\nS21sh7: 수리영이 두 눈을 크게 뜨고 입을 살짝 벌린 굳은 얼굴 클로즈업\n  동선: static: Su-ri-young holds rigid with widened eyes and slightly parted lips, her tense, shocked face directed toward what she has just seen.\nS21sh10: 모니터 화면에 바다 지도가 펼쳐져 있고 붉은색 핀과 좌표 숫자가 떠 있는 클로즈업\n  동선: static: the monitor displays an ocean map with a red location pin and coordinate numbers, with no physical movement in frame.\nS21sh12: 수리영이 메모지가 들어간 겉옷 주머니에 손을 넣은 채 사무실 출입문을 향해 몸을 돌린 정지 순간\n  동선: static: Su-ri-young pauses mid-turn inside the office with one hand still in the coat pocket holding the folded note, her tense, guarded body oriented toward the office exit as she prepares to leave."}
{"ts": "2026-07-12 17:44:42", "kind": "llm", "step": "s35_contineed_supermarket_admin_office", "model": "gpt", "dur_s": 3.2, "system_prompt": "당신은 촬영 현장의 콘티 운용 판정가다. 각 샷의 텍스트와 동선\n분석을 보고, 이미지 생성 시 스토리보드(콘티) 패널을 구도\n참조로 첨부할 필요가 있는지 판정하라.\n콘티 필요(true) = 구도를 글만으로 오해하기 쉬운 경우: 여러\n인물의 동선·위치 관계가 얽힘, 특수한 카메라 각도/깊이 관계,\n연속 액션의 방향 유지가 중요, 프레임 내 배치가 스토리텔링에\n결정적.\n콘티 불필요(false) = 글만으로 충분히 명확한 쉬운 구도: 단일\n인물 클로즈업/상반신, 단순 인서트(손·사물), 정적인 단순 배치,\n표준적인 대화 구도 등.\n각 샷마다 need_conti(bool)와 reason_ko(한 구절)를 반환하라.", "user_prompt": "샷 목록:\nS20sh1: 마트 총무과 책상 앞, 한국인 남성 보안직원과 혜수가 컴퓨터 모니터를 향해 몸을 기울인 측면\n  동선: static: The Korean male security employee and Hye-su lean tensely forward from in front of the desk toward the computer monitor, keeping their faces and bodies oriented to the CCTV footage.\nS20sh3: 흑백 CCTV 화면 속 어두운 구석에 사람 형상이 희미하게 찍힌 모니터 클로즈업\n  동선: static: A real person appearing as a faint dark silhouette, with normal human build, remains indistinct in a dark corner of the black-and-white CCTV image."}
{"ts": "2026-07-12 17:44:47", "kind": "llm", "step": "s35_contineed_police_station_exterior_road", "model": "gpt", "dur_s": 5.5, "system_prompt": "당신은 촬영 현장의 콘티 운용 판정가다. 각 샷의 텍스트와 동선\n분석을 보고, 이미지 생성 시 스토리보드(콘티) 패널을 구도\n참조로 첨부할 필요가 있는지 판정하라.\n콘티 필요(true) = 구도를 글만으로 오해하기 쉬운 경우: 여러\n인물의 동선·위치 관계가 얽힘, 특수한 카메라 각도/깊이 관계,\n연속 액션의 방향 유지가 중요, 프레임 내 배치가 스토리텔링에\n결정적.\n콘티 불필요(false) = 글만으로 충분히 명확한 쉬운 구도: 단일\n인물 클로즈업/상반신, 단순 인서트(손·사물), 정적인 단순 배치,\n표준적인 대화 구도 등.\n각 샷마다 need_conti(bool)와 reason_ko(한 구절)를 반환하라.", "user_prompt": "샷 목록:\nS22sh1: 경찰서 건물 밖 도로 위에서 수리영이 자전거 안장에 앉아 상체를 앞으로 숙인 채 머리카락이 뒤로 흩날리는 측면\n  동선: Su-ryeong rides the bicycle along the road outside the police station in a side-on lateral path, pedaling forward from where it had been parked with her torso pitched forward and her hair streaming backward."}
{"ts": "2026-07-12 17:44:49", "kind": "llm", "step": "s35_contineed_dark_pc_cafe_interior", "model": "gpt", "dur_s": 2.0, "system_prompt": "당신은 촬영 현장의 콘티 운용 판정가다. 각 샷의 텍스트와 동선\n분석을 보고, 이미지 생성 시 스토리보드(콘티) 패널을 구도\n참조로 첨부할 필요가 있는지 판정하라.\n콘티 필요(true) = 구도를 글만으로 오해하기 쉬운 경우: 여러\n인물의 동선·위치 관계가 얽힘, 특수한 카메라 각도/깊이 관계,\n연속 액션의 방향 유지가 중요, 프레임 내 배치가 스토리텔링에\n결정적.\n콘티 불필요(false) = 글만으로 충분히 명확한 쉬운 구도: 단일\n인물 클로즈업/상반신, 단순 인서트(손·사물), 정적인 단순 배치,\n표준적인 대화 구도 등.\n각 샷마다 need_conti(bool)와 reason_ko(한 구절)를 반환하라.", "user_prompt": "샷 목록:\nS23sh1: 어두운 PC방 안, 모니터 불빛이 비치는 수리영의 정면 상체\n  동선: static: Su-ri-young sits at the computer, torso facing the monitor and gaze directed toward the screen in front of her.\nS23sh4: 수리영의 두 손이 접힌 지도 종이들을 열려 있는 백팩 안으로 밀어넣은 정지 순간\n  동선: Su-ri-young's two hands push the folded map sheets downward from above the opening into the open backpack."}
{"ts": "2026-07-12 17:44:55", "kind": "llm", "step": "s35_contineed_foggy_harbor_rocks", "model": "gpt", "dur_s": 5.6, "system_prompt": "당신은 촬영 현장의 콘티 운용 판정가다. 각 샷의 텍스트와 동선\n분석을 보고, 이미지 생성 시 스토리보드(콘티) 패널을 구도\n참조로 첨부할 필요가 있는지 판정하라.\n콘티 필요(true) = 구도를 글만으로 오해하기 쉬운 경우: 여러\n인물의 동선·위치 관계가 얽힘, 특수한 카메라 각도/깊이 관계,\n연속 액션의 방향 유지가 중요, 프레임 내 배치가 스토리텔링에\n결정적.\n콘티 불필요(false) = 글만으로 충분히 명확한 쉬운 구도: 단일\n인물 클로즈업/상반신, 단순 인서트(손·사물), 정적인 단순 배치,\n표준적인 대화 구도 등.\n각 샷마다 need_conti(bool)와 reason_ko(한 구절)를 반환하라.", "user_prompt": "샷 목록:\nS26sh2: 수리영이 갯바위 위에 무릎을 모으고 앉아 바다를 응시하는 측면\n  동선: static: exhausted after wandering the harbor for hours, Suriyoung sits on the shore rock with her knees together, her body turned toward the sea as she stares into the incoming fog.\nS26sh5: 뱃머리에서 내린 인우가 굵은 닻줄을 쥔 채 바닥의 말뚝에 걸친 정지 순간\n  동선: static: having stepped off the bow, Inwoo stands by the ground stake, gripping the thick mooring rope and holding it in place as he secures the boat.\nS26sh9: 수리영이 바다를 향해 선 채 스마트폰을 입가에 댄 측면 상체\n  동선: static: visibly fatigued, Suriyoung stands facing the sea in side profile, holding her smartphone at her mouth while leaving a voice message before departing."}
{"ts": "2026-07-12 17:44:58", "kind": "llm", "step": "s35_contineed_small_fishing_boat_deck", "model": "gpt", "dur_s": 3.0, "system_prompt": "당신은 촬영 현장의 콘티 운용 판정가다. 각 샷의 텍스트와 동선\n분석을 보고, 이미지 생성 시 스토리보드(콘티) 패널을 구도\n참조로 첨부할 필요가 있는지 판정하라.\n콘티 필요(true) = 구도를 글만으로 오해하기 쉬운 경우: 여러\n인물의 동선·위치 관계가 얽힘, 특수한 카메라 각도/깊이 관계,\n연속 액션의 방향 유지가 중요, 프레임 내 배치가 스토리텔링에\n결정적.\n콘티 불필요(false) = 글만으로 충분히 명확한 쉬운 구도: 단일\n인물 클로즈업/상반신, 단순 인서트(손·사물), 정적인 단순 배치,\n표준적인 대화 구도 등.\n각 샷마다 need_conti(bool)와 reason_ko(한 구절)를 반환하라.", "user_prompt": "샷 목록:\nS28sh5: 인우가 사진에 시선을 고정한 채 두 눈을 크게 뜨고 상체를 뒤로 뺀 측면 구도\n  동선: static: Inwoo keeps his gaze fixed on the photograph, eyes widened as his startled, tense upper body recoils backward in side profile.\nS28sh8: 수리영이 조타실 입구에 서서 두 팔을 벌린 채 멈춘 전신\n  동선: static: Suriyoung has stopped at the wheelhouse entrance with both arms spread, standing squarely toward the wheelhouse interior as if blocking the way."}
{"ts": "2026-07-12 17:45:01", "kind": "llm", "step": "s35_contineed_fishing_boat_wheelhouse", "model": "gpt", "dur_s": 2.9, "system_prompt": "당신은 촬영 현장의 콘티 운용 판정가다. 각 샷의 텍스트와 동선\n분석을 보고, 이미지 생성 시 스토리보드(콘티) 패널을 구도\n참조로 첨부할 필요가 있는지 판정하라.\n콘티 필요(true) = 구도를 글만으로 오해하기 쉬운 경우: 여러\n인물의 동선·위치 관계가 얽힘, 특수한 카메라 각도/깊이 관계,\n연속 액션의 방향 유지가 중요, 프레임 내 배치가 스토리텔링에\n결정적.\n콘티 불필요(false) = 글만으로 충분히 명확한 쉬운 구도: 단일\n인물 클로즈업/상반신, 단순 인서트(손·사물), 정적인 단순 배치,\n표준적인 대화 구도 등.\n각 샷마다 need_conti(bool)와 reason_ko(한 구절)를 반환하라.", "user_prompt": "샷 목록:\nS29sh3: 수리영의 검지손가락이 낡은 사진 속 아이의 얼굴 부분에 닿아 있는 클로즈업\n  동선: static: Soo Ri-young's index finger points down toward and rests against the child's face in the worn photograph, while the rest of her body remains off-screen.\nS29sh4: 인우가 입술을 살짝 벌린 채 하얗게 질린 얼굴 타이트 샷\n  동선: static: In-woo holds his pallid face still with his lips slightly parted, his gaze direction unspecified as he turns pensive and shocked.\nS29sh8: 눈이 반쯤 감긴 수리영의 이마가 인우의 어깨에 맞닿아 있는 찰나\n  동선: Losing consciousness, Soo Ri-young slackens and collapses forward and downward from her own position onto In-woo, her weight giving way until her forehead meets his shoulder as he remains in place glaring at her."}
{"ts": "2026-07-12 17:45:04", "kind": "llm", "step": "s35_contineed_open_coastal_sea", "model": "gpt", "dur_s": 3.5, "system_prompt": "당신은 촬영 현장의 콘티 운용 판정가다. 각 샷의 텍스트와 동선\n분석을 보고, 이미지 생성 시 스토리보드(콘티) 패널을 구도\n참조로 첨부할 필요가 있는지 판정하라.\n콘티 필요(true) = 구도를 글만으로 오해하기 쉬운 경우: 여러\n인물의 동선·위치 관계가 얽힘, 특수한 카메라 각도/깊이 관계,\n연속 액션의 방향 유지가 중요, 프레임 내 배치가 스토리텔링에\n결정적.\n콘티 불필요(false) = 글만으로 충분히 명확한 쉬운 구도: 단일\n인물 클로즈업/상반신, 단순 인서트(손·사물), 정적인 단순 배치,\n표준적인 대화 구도 등.\n각 샷마다 need_conti(bool)와 reason_ko(한 구절)를 반환하라.", "user_prompt": "샷 목록:\nS30sh1: 해질 무렵 황금빛 노을이 바다 표면에 길게 비친 전경\n  동선: static: the sea lies beneath the gradually setting sun, with its long golden reflection extending across the water and no character movement visible.\nS30sh3: 어선의 뱃머리가 짙은 안개벽에 절반쯤 가려진 측면 구도\n  동선: The fishing boat advances bow-first from clear water into the dense fog wall, seen side-on as its forward half disappears into the mist; no camera-relative left-right direction is specified."}
{"ts": "2026-07-12 17:46:10", "kind": "img", "engine": "gpt-image-2", "mode": "generate", "tag": "s35_conti_dim_city_back_alley_0_i2", "refs": [], "size": "1536x1024", "attempt": 1, "dur_s": 113.0, "bytes": 3417889, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/conti35_dim_city_back_alley_0_i2.png", "prompt": "Draw ONE storyboard (conti) sheet: 2 panels made by ONE vertical cut at exactly 50% of the image width — each panel is exactly half the width and the FULL height (1 row x 2 columns).\nSTYLE: hand-drawn PRE-PRODUCTION STORYBOARD FOR A LIVE-ACTION FILM\nSHOOT — the working drawings a professional film storyboard artist\nmakes for the director and cinematographer of a real movie:\nREALISTIC adult human proportions and faces (ordinary Korean\nadults, film-actor realism), true cinematic lens framing, and\nnaturalistic light-and-shadow blocking rendered in monochrome\ngraphite pencil tone on white paper.\nABSOLUTELY NOT manga, NOT anime, NOT cartoon, NOT webtoon, NOT\ncomic-book style: no stylized or enlarged eyes, no cute or\nyouthful idealized faces, no clean ink outlines — every panel\nmust read like a frame of a live-action film sketched in pencil.\nNo color anywhere.\n\nTHE LOCATION (same in all drawn panels): A narrow urban back alley bordered by worn masonry walls and utility poles. A single weak streetlamp casts patchy light over the confined pavement..\n\nPURPOSE: each panel captures only the CAMERA COMPOSITION of one\nshot — framing (close-up / medium / wide), where the subject sits in\nthe frame, and continuity between panels. Keep every panel\nextremely simple: only what matters for composition.\nMOVEMENT IS SHOWN BY THE FIGURE ITSELF, NEVER BY MARKINGS: convey\ndirection of travel purely through the body — stride mid-motion,\nbody lean into the path, back view vs front view, and the stated\nsize/depth cues. Do NOT draw arrows, motion lines, path lines,\nspeed lines or any diagram markings of any kind.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Draw what a real movie camera would actually record\non a physical set — exaggerated or figurative impressions become\nrealistic staging choices (lighting, distance, angle, wardrobe),\nnot literal fantasy drawings.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still draw them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nGEOMETRY — ANALYSE BEFORE DRAWING: from each panel's Korean shot\ntext, first work out the spatial facts and draw EXACTLY those, never\nre-stage them: (a) each figure's DISTANCE from camera (tight insert /\nclose-up / medium / full / wide — a shot about a hand or an object\nis a tight insert, not a two-shot); (b) each figure's FACING and\nMOVEMENT DIRECTION relative to camera — '뒷모습' means seen from\nBEHIND, moving AWAY from camera into the depth of the frame, not\nsideways; a profile means lateral movement; (c) relative positions\nand distances BETWEEN figures. Keep every established screen\ndirection consistent across panels (180-degree rule): a person who\nleaves in one panel keeps the same on-screen direction wherever the\nmovement appears again.\nSIZE & DEPTH ARE CONTRACTUAL: each panel states every figure's\napparent size in the frame and the explicit near/far depth order.\nDraw exactly those proportions — a farther figure MUST be drawn\nclearly smaller than a nearer one; never equalize figure sizes,\nespecially when several figures share a panel or their paths\nrelate to each other.\nDEPARTING FIGURE — a figure running/walking AWAY must be\nunmistakably departing, never approaching: seen exactly from behind\n(back of the head only, no face, no chin, no cheek line), body\nleaning into the path, mid-stride with one shoe sole toward the\ncamera. THE STATED SIZE/DEPTH WINS: draw the departing figure at\nexactly the apparent size and depth the panel's FIGURES line states\n(if stated FARTHER/small, it stays small in the distance — never\nenlarge it into the foreground for drama).\n\nCONTINUITY: all drawn panels are the SAME single location — fixed\nfeatures (doors, stairs, windows, poles, desks) keep the same\nposition and left/right relationships across panels so the panels\ncut together as one continuous scene.\n\nPANELS (one shot per panel, Korean shot text):\n\nPANEL 1: 희미한 가로등 불빛 아래 전봇대에 밀착된 채 서 있는 한국인 남자와 한국인 여자의 옆모습\n  MOVEMENT (follow exactly): static: A Korean man and a Korean woman stand pressed together against a utility pole under the dim streetlight, their bodies in side profile and oriented toward each other.\n  FIGURES — apparent size & depth order (follow exactly): The exact frame-height fractions are unspecified; the man and woman are comparable-sized, overlapping human figures, with neither discernibly NEARER nor FARTHER than the other, while the utility pole remains directly behind them and is FARTHER from the camera.\nPANEL 2: 한국인 남자가 입을 크게 벌려 한국인 여자의 목에 이빨을 박아넣은 채 멈춘 순간\n  MOVEMENT (follow exactly): static: The Korean man holds his mouth wide open with his teeth embedded in the Korean woman's neck, their bodies locked together at the point of the bite.\n  FIGURES — apparent size & depth order (follow exactly): The exact frame-height fractions are unspecified; the man's head and the woman's neck and head are the dominant, tightly overlapping forms, with neither person clearly NEARER or FARTHER because they occupy nearly the same depth and remain in direct contact.\n\nABSOLUTELY NO TEXT anywhere: no words, letters, captions, labels,\nsound effects or watermarks — the ONLY allowed marking is a small\nshot number digit (1, 2) in a corner INSIDE each drawn panel.\nTHE PANEL GRID FILLS THE ENTIRE IMAGE EDGE-TO-EDGE: no outer paper\nmargin, no border area, nothing drawn outside the panels — the\nimage must be mechanically cuttable along the stated cut lines.\nPanels are separated only by thin straight black gutter lines at\nthe exact stated positions; ALL PANELS EXACTLY THE SAME SIZE."}
{"ts": "2026-07-12 17:47:57", "kind": "img", "engine": "gpt-image-2", "mode": "generate", "tag": "s35_conti_rooftop_room_exterior_0_i2", "refs": [], "size": "1536x1024", "attempt": 1, "dur_s": 107.0, "bytes": 3043399, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/conti35_rooftop_room_exterior_0_i2.png", "prompt": "Draw ONE storyboard (conti) sheet: 6 panels made by TWO vertical cuts at exactly 1/3 and 2/3 of the width and ONE horizontal cut at exactly 50% of the height — a 3-column x 2-row grid, all six panels exactly equal.\nSTYLE: hand-drawn PRE-PRODUCTION STORYBOARD FOR A LIVE-ACTION FILM\nSHOOT — the working drawings a professional film storyboard artist\nmakes for the director and cinematographer of a real movie:\nREALISTIC adult human proportions and faces (ordinary Korean\nadults, film-actor realism), true cinematic lens framing, and\nnaturalistic light-and-shadow blocking rendered in monochrome\ngraphite pencil tone on white paper.\nABSOLUTELY NOT manga, NOT anime, NOT cartoon, NOT webtoon, NOT\ncomic-book style: no stylized or enlarged eyes, no cute or\nyouthful idealized faces, no clean ink outlines — every panel\nmust read like a frame of a live-action film sketched in pencil.\nNo color anywhere.\n\nTHE LOCATION (same in all drawn panels): The flat rooftop of an aging low-rise apartment building, enclosed by a waist-high parapet. A small rooftop dwelling has a metal entrance door and a window visible from the open roof..\n\nPURPOSE: each panel captures only the CAMERA COMPOSITION of one\nshot — framing (close-up / medium / wide), where the subject sits in\nthe frame, and continuity between panels. Keep every panel\nextremely simple: only what matters for composition.\nMOVEMENT IS SHOWN BY THE FIGURE ITSELF, NEVER BY MARKINGS: convey\ndirection of travel purely through the body — stride mid-motion,\nbody lean into the path, back view vs front view, and the stated\nsize/depth cues. Do NOT draw arrows, motion lines, path lines,\nspeed lines or any diagram markings of any kind.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Draw what a real movie camera would actually record\non a physical set — exaggerated or figurative impressions become\nrealistic staging choices (lighting, distance, angle, wardrobe),\nnot literal fantasy drawings.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still draw them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nGEOMETRY — ANALYSE BEFORE DRAWING: from each panel's Korean shot\ntext, first work out the spatial facts and draw EXACTLY those, never\nre-stage them: (a) each figure's DISTANCE from camera (tight insert /\nclose-up / medium / full / wide — a shot about a hand or an object\nis a tight insert, not a two-shot); (b) each figure's FACING and\nMOVEMENT DIRECTION relative to camera — '뒷모습' means seen from\nBEHIND, moving AWAY from camera into the depth of the frame, not\nsideways; a profile means lateral movement; (c) relative positions\nand distances BETWEEN figures. Keep every established screen\ndirection consistent across panels (180-degree rule): a person who\nleaves in one panel keeps the same on-screen direction wherever the\nmovement appears again.\nSIZE & DEPTH ARE CONTRACTUAL: each panel states every figure's\napparent size in the frame and the explicit near/far depth order.\nDraw exactly those proportions — a farther figure MUST be drawn\nclearly smaller than a nearer one; never equalize figure sizes,\nespecially when several figures share a panel or their paths\nrelate to each other.\nDEPARTING FIGURE — a figure running/walking AWAY must be\nunmistakably departing, never approaching: seen exactly from behind\n(back of the head only, no face, no chin, no cheek line), body\nleaning into the path, mid-stride with one shoe sole toward the\ncamera. THE STATED SIZE/DEPTH WINS: draw the departing figure at\nexactly the apparent size and depth the panel's FIGURES line states\n(if stated FARTHER/small, it stays small in the distance — never\nenlarge it into the foreground for drama).\n\nCONTINUITY: all drawn panels are the SAME single location — fixed\nfeatures (doors, stairs, windows, poles, desks) keep the same\nposition and left/right relationships across panels so the panels\ncut together as one continuous scene.\n\nPANELS (one shot per panel, Korean shot text):\n\nPANEL 1: 맑은 낮, 오래된 다세대 빌라 옥상 위에 자리 잡은 옥탑방을 높은 곳에서 내려다본 부감 구도\n  MOVEMENT (follow exactly): static: No person is visible; the rooftop room remains fixed on top of the old multi-family villa beneath the high, downward-looking camera.\n  FIGURES — apparent size & depth order (follow exactly): The rooftop room appears small, about ~1/6 of the frame height, and is FARTHER from the camera than the surrounding upper roof surfaces in the foreground.\nPANEL 2: 현관 철문이 아주 살짝 열린 틈새로 보이는 어두운 실내와 신발 앞코\n  MOVEMENT (follow exactly): The unknown man's shoe toe advances from the rooftop exterior through the narrowly opened iron doorway into the dark room, leading his unseen body inward.\n  FIGURES — apparent size & depth order (follow exactly): The shoe toe is small, about ~1/10 of the frame height, and lies FARTHER from the camera than the NEARER iron door edges; the dark interior recedes farthest beyond it.\nPANEL 3: 불이 켜진 옥탑방 창문에 거대한 그림자가 작은 그림자의 어깨 쪽으로 고개를 꺾은 형태가 맺혀 있는 정지 구도\n  MOVEMENT (follow exactly): static: A real man appearing as a large dark silhouette, with normal human build, leans into Minsook and angles his head down toward her shoulder as she is caught beneath him.\n  FIGURES — apparent size & depth order (follow exactly): The man's shadow fills roughly ~2/3 of the frame height, larger than Minsook's smaller shadow at about ~1/3; both people are FARTHER than the NEARER window surface, while their mutual camera-depth order is not established. Their silhouettes overlap at Minsook's shoulder, leaving almost no distance between their paths.\nPANEL 4: 옥상에 선 수리영의 시선 끝에 반쯤 열려 있는 어두운 현관 철문이 보이는 정면 구도\n  MOVEMENT (follow exactly): static: Suriyoung stands tensely on the rooftop with her body and gaze directed straight toward the half-open iron entrance door and its dark interior.\n  FIGURES — apparent size & depth order (follow exactly): Suriyoung appears about ~1/2 of the frame height in the NEARER rooftop area, while the half-open door appears about ~1/3 and is FARTHER ahead along her line of sight.\nPANEL 5: 옥상 담벼락 위에서 한쪽 앞발을 허공으로 뻗은 검은 고양이의 측면\n  MOVEMENT (follow exactly): The black cat moves side-on across and over the rooftop wall toward the opposite side, extending one forepaw into the air as its body follows.\n  FIGURES — apparent size & depth order (follow exactly): The cat appears medium-sized, about ~1/3 of the frame height, and is NEARER to the camera than the FARTHER side beyond the wall; the wall runs beneath its crossing path.\n\nThere are 5 shots but 6 panel slots: draw the shots in\npanels 1..5 and leave the remaining panel(s) COMPLETELY\nBLANK PURE WHITE — empty white paper, not even a frame line inside.\n\nABSOLUTELY NO TEXT anywhere: no words, letters, captions, labels,\nsound effects or watermarks — the ONLY allowed marking is a small\nshot number digit (1, 2, 3, 4, 5) in a corner INSIDE each drawn panel.\nTHE PANEL GRID FILLS THE ENTIRE IMAGE EDGE-TO-EDGE: no outer paper\nmargin, no border area, nothing drawn outside the panels — the\nimage must be mechanically cuttable along the stated cut lines.\nPanels are separated only by thin straight black gutter lines at\nthe exact stated positions; ALL PANELS EXACTLY THE SAME SIZE."}
{"ts": "2026-07-12 17:49:58", "kind": "img", "engine": "gpt-image-2", "mode": "generate", "tag": "s35_conti_rooftop_room_interior_0_i2", "refs": [], "size": "1536x1024", "attempt": 1, "dur_s": 120.9, "bytes": 3618306, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/conti35_rooftop_room_interior_0_i2.png", "prompt": "Draw ONE storyboard (conti) sheet: 6 panels made by TWO vertical cuts at exactly 1/3 and 2/3 of the width and ONE horizontal cut at exactly 50% of the height — a 3-column x 2-row grid, all six panels exactly equal.\nSTYLE: hand-drawn PRE-PRODUCTION STORYBOARD FOR A LIVE-ACTION FILM\nSHOOT — the working drawings a professional film storyboard artist\nmakes for the director and cinematographer of a real movie:\nREALISTIC adult human proportions and faces (ordinary Korean\nadults, film-actor realism), true cinematic lens framing, and\nnaturalistic light-and-shadow blocking rendered in monochrome\ngraphite pencil tone on white paper.\nABSOLUTELY NOT manga, NOT anime, NOT cartoon, NOT webtoon, NOT\ncomic-book style: no stylized or enlarged eyes, no cute or\nyouthful idealized faces, no clean ink outlines — every panel\nmust read like a frame of a live-action film sketched in pencil.\nNo color anywhere.\n\nTHE LOCATION (same in all drawn panels): A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls..\n\nPURPOSE: each panel captures only the CAMERA COMPOSITION of one\nshot — framing (close-up / medium / wide), where the subject sits in\nthe frame, and continuity between panels. Keep every panel\nextremely simple: only what matters for composition.\nMOVEMENT IS SHOWN BY THE FIGURE ITSELF, NEVER BY MARKINGS: convey\ndirection of travel purely through the body — stride mid-motion,\nbody lean into the path, back view vs front view, and the stated\nsize/depth cues. Do NOT draw arrows, motion lines, path lines,\nspeed lines or any diagram markings of any kind.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Draw what a real movie camera would actually record\non a physical set — exaggerated or figurative impressions become\nrealistic staging choices (lighting, distance, angle, wardrobe),\nnot literal fantasy drawings.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still draw them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nGEOMETRY — ANALYSE BEFORE DRAWING: from each panel's Korean shot\ntext, first work out the spatial facts and draw EXACTLY those, never\nre-stage them: (a) each figure's DISTANCE from camera (tight insert /\nclose-up / medium / full / wide — a shot about a hand or an object\nis a tight insert, not a two-shot); (b) each figure's FACING and\nMOVEMENT DIRECTION relative to camera — '뒷모습' means seen from\nBEHIND, moving AWAY from camera into the depth of the frame, not\nsideways; a profile means lateral movement; (c) relative positions\nand distances BETWEEN figures. Keep every established screen\ndirection consistent across panels (180-degree rule): a person who\nleaves in one panel keeps the same on-screen direction wherever the\nmovement appears again.\nSIZE & DEPTH ARE CONTRACTUAL: each panel states every figure's\napparent size in the frame and the explicit near/far depth order.\nDraw exactly those proportions — a farther figure MUST be drawn\nclearly smaller than a nearer one; never equalize figure sizes,\nespecially when several figures share a panel or their paths\nrelate to each other.\nDEPARTING FIGURE — a figure running/walking AWAY must be\nunmistakably departing, never approaching: seen exactly from behind\n(back of the head only, no face, no chin, no cheek line), body\nleaning into the path, mid-stride with one shoe sole toward the\ncamera. THE STATED SIZE/DEPTH WINS: draw the departing figure at\nexactly the apparent size and depth the panel's FIGURES line states\n(if stated FARTHER/small, it stays small in the distance — never\nenlarge it into the foreground for drama).\n\nCONTINUITY: all drawn panels are the SAME single location — fixed\nfeatures (doors, stairs, windows, poles, desks) keep the same\nposition and left/right relationships across panels so the panels\ncut together as one continuous scene.\n\nPANELS (one shot per panel, Korean shot text):\n\nPANEL 1: 다급하게 상체를 기울이며 손가락 끝으로 TV 전원 버튼을 세게 누르고 있는 민숙의 측면 구도\n  MOVEMENT (follow exactly): Min-sook urgently pitches her upper body forward toward the TV and forcefully drives a fingertip into its power button to turn it off as Su-ri-young emerges from her room.\n  FIGURES — apparent size & depth order (follow exactly): Min-sook's side-view upper body fills roughly 2/3 of the frame height, with her reaching hand and the TV button NEARER to the camera than her face and torso. The TV is FARTHER along her forward reach, and her body closes the short distance toward it.\nPANEL 2: 민숙의 손목에 선명하게 드러난 작은 원형 표식의 타이트 샷\n  MOVEMENT (follow exactly): static: Min-sook's wrist is held in view, with the sharply visible small circular mark facing the camera.\n  FIGURES — apparent size & depth order (follow exactly): The wrist fills most of the tight frame, while the circular mark occupies a small area at its center. The skin and mark are the NEAREST and only principal subject, with any body or room detail FARTHER and out of focus.\nPANEL 3: 옷과 피부가 피투성이가 된 민숙이 바닥에 주저앉아 고개를 푹 숙인 정지 상태\n  MOVEMENT (follow exactly): static: lifeless Min-sook is collapsed against the floor in an asymmetric seated slump, her head dropped deeply forward, shoulders fallen, limbs limp, and body weight fully given way.\n  FIGURES — apparent size & depth order (follow exactly): Min-sook's blood-covered body fills about 2/3 of the frame height and is the NEAREST principal figure. The floor directly beneath her is nearer than the surrounding bedroom and curtain area, which recede FARTHER behind her.\nPANEL 4: 민숙의 손에 꽉 쥐어진 구겨진 사진의 타이트 샷\n  MOVEMENT (follow exactly): static: lifeless Min-sook's limp hand remains curled tightly around a crumpled photograph, with the photograph exposed toward the camera.\n  FIGURES — apparent size & depth order (follow exactly): The dead woman's hand fills roughly 2/3 of the tight frame, and the crumpled photograph fills about 1/3. The photograph is NEARER where it protrudes from her grasp, while her palm, wrist, and collapsed body lie progressively FARTHER behind it.\nPANEL 5: 침대 위쪽 벽면에 붉은색 원형 표식이 절반쯤 나타난 상태\n  MOVEMENT (follow exactly): A red circular mark spreads around the wall above the bed, progressing along a ring-like path as though an unseen brush is drawing it, with about half the circle formed.\n  FIGURES — apparent size & depth order (follow exactly): The half-formed red circle fills roughly 1/2 of the frame height on the wall and is the principal visible object. The wall surface and mark are FARTHER than the nearer edge of the bed, with the red pigment visually sitting closest on that wall plane.\nPANEL 6: 핏자국 없이 깨끗한 방 내부 전경\n  MOVEMENT (follow exactly): static: the excessively tidy bedroom stands empty, with no bloodstains, red wall mark, or collapsed body remaining anywhere in the room.\n  FIGURES — apparent size & depth order (follow exactly): The empty room fills the full frame; nearer floor and furniture edges occupy the foreground, while the bed, curtain, and clean back wall are FARTHER away. No person is visible, and the formerly occupied curtain area is now empty.\n\nABSOLUTELY NO TEXT anywhere: no words, letters, captions, labels,\nsound effects or watermarks — the ONLY allowed marking is a small\nshot number digit (1, 2, 3, 4, 5, 6) in a corner INSIDE each drawn panel.\nTHE PANEL GRID FILLS THE ENTIRE IMAGE EDGE-TO-EDGE: no outer paper\nmargin, no border area, nothing drawn outside the panels — the\nimage must be mechanically cuttable along the stated cut lines.\nPanels are separated only by thin straight black gutter lines at\nthe exact stated positions; ALL PANELS EXACTLY THE SAME SIZE."}
{"ts": "2026-07-12 17:51:58", "kind": "img", "engine": "gpt-image-2", "mode": "generate", "tag": "s35_conti_rooftop_room_interior_1_i2", "refs": [], "size": "1536x1024", "attempt": 1, "dur_s": 119.7, "bytes": 3379173, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/conti35_rooftop_room_interior_1_i2.png", "prompt": "Draw ONE storyboard (conti) sheet: 6 panels made by TWO vertical cuts at exactly 1/3 and 2/3 of the width and ONE horizontal cut at exactly 50% of the height — a 3-column x 2-row grid, all six panels exactly equal.\nSTYLE: hand-drawn PRE-PRODUCTION STORYBOARD FOR A LIVE-ACTION FILM\nSHOOT — the working drawings a professional film storyboard artist\nmakes for the director and cinematographer of a real movie:\nREALISTIC adult human proportions and faces (ordinary Korean\nadults, film-actor realism), true cinematic lens framing, and\nnaturalistic light-and-shadow blocking rendered in monochrome\ngraphite pencil tone on white paper.\nABSOLUTELY NOT manga, NOT anime, NOT cartoon, NOT webtoon, NOT\ncomic-book style: no stylized or enlarged eyes, no cute or\nyouthful idealized faces, no clean ink outlines — every panel\nmust read like a frame of a live-action film sketched in pencil.\nNo color anywhere.\n\nTHE LOCATION (same in all drawn panels): A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls..\n\nPURPOSE: each panel captures only the CAMERA COMPOSITION of one\nshot — framing (close-up / medium / wide), where the subject sits in\nthe frame, and continuity between panels. Keep every panel\nextremely simple: only what matters for composition.\nMOVEMENT IS SHOWN BY THE FIGURE ITSELF, NEVER BY MARKINGS: convey\ndirection of travel purely through the body — stride mid-motion,\nbody lean into the path, back view vs front view, and the stated\nsize/depth cues. Do NOT draw arrows, motion lines, path lines,\nspeed lines or any diagram markings of any kind.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Draw what a real movie camera would actually record\non a physical set — exaggerated or figurative impressions become\nrealistic staging choices (lighting, distance, angle, wardrobe),\nnot literal fantasy drawings.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still draw them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nGEOMETRY — ANALYSE BEFORE DRAWING: from each panel's Korean shot\ntext, first work out the spatial facts and draw EXACTLY those, never\nre-stage them: (a) each figure's DISTANCE from camera (tight insert /\nclose-up / medium / full / wide — a shot about a hand or an object\nis a tight insert, not a two-shot); (b) each figure's FACING and\nMOVEMENT DIRECTION relative to camera — '뒷모습' means seen from\nBEHIND, moving AWAY from camera into the depth of the frame, not\nsideways; a profile means lateral movement; (c) relative positions\nand distances BETWEEN figures. Keep every established screen\ndirection consistent across panels (180-degree rule): a person who\nleaves in one panel keeps the same on-screen direction wherever the\nmovement appears again.\nSIZE & DEPTH ARE CONTRACTUAL: each panel states every figure's\napparent size in the frame and the explicit near/far depth order.\nDraw exactly those proportions — a farther figure MUST be drawn\nclearly smaller than a nearer one; never equalize figure sizes,\nespecially when several figures share a panel or their paths\nrelate to each other.\nDEPARTING FIGURE — a figure running/walking AWAY must be\nunmistakably departing, never approaching: seen exactly from behind\n(back of the head only, no face, no chin, no cheek line), body\nleaning into the path, mid-stride with one shoe sole toward the\ncamera. THE STATED SIZE/DEPTH WINS: draw the departing figure at\nexactly the apparent size and depth the panel's FIGURES line states\n(if stated FARTHER/small, it stays small in the distance — never\nenlarge it into the foreground for drama).\n\nCONTINUITY: all drawn panels are the SAME single location — fixed\nfeatures (doors, stairs, windows, poles, desks) keep the same\nposition and left/right relationships across panels so the panels\ncut together as one continuous scene.\n\nPANELS (one shot per panel, Korean shot text):\n\nPANEL 1: 수리영이 멍한 눈으로 텅 빈 방 안을 응시하는 얼굴 클로즈업\n  MOVEMENT (follow exactly): static: pale-faced Su-ri-young holds her body rigid and stares blankly into the empty bedroom where she expected to find her mother's body.\n  FIGURES — apparent size & depth order (follow exactly): Su-ri-young's face fills about 2/3 of the frame height and is the NEAREST figure. The empty room she watches is FARTHER beyond her eyeline, with no other person visible.\nPANEL 2: 혜수가 날카로운 눈빛으로 김형사를 노려보는 모습\n  MOVEMENT (follow exactly): static: Hye-su fixes a sharp, hostile stare toward Detective Kim, her face and body oriented directly at him.\n  FIGURES — apparent size & depth order (follow exactly): Hye-su fills roughly 2/3 of the frame height and is the NEAREST visible figure. Detective Kim is the FARTHER target of her gaze, whether at the edge of the frame or just off-screen, with no crossing movement between them.\nPANEL 3: 거울 속 반사된 욕실 타일 벽면에 붉은색 원형 표식이 절반쯤 나타난 상태\n  MOVEMENT (follow exactly): A red circular mark suddenly develops across the bathroom tile wall seen in the mirror, extending around a ring-like path until roughly half is visible.\n  FIGURES — apparent size & depth order (follow exactly): The mirror and reflected tiled wall fill most of the frame, while the half-formed red circle occupies about 1/2 of the reflected frame height. The mirror surface is physically NEARER to the camera, while the marked bathroom wall appears FARTHER within the reflection.\nPANEL 4: 액자 속 민숙의 얼굴 부분 이미지가 아래로 일그러지며 흘러내리는 찰나\n  MOVEMENT (follow exactly): The image of Min-sook's smiling face inside the framed photograph distorts and flows downward before Su-ri-young's eyes.\n  FIGURES — apparent size & depth order (follow exactly): The framed photograph fills most of the close frame, and Min-sook's pictured face occupies roughly 1/2 of its height. The photograph's glass and frame are NEARER to the camera, while the collapsing facial image is visually FARTHER beneath the surface.\nPANEL 5: 수리영이 두 손으로 머리를 감싸 쥐고 입을 크게 벌린 얼굴\n  MOVEMENT (follow exactly): static: terrified and overwhelmed, Su-ri-young clamps both hands around her head and holds her mouth wide open in a scream, her posture rigid with panic.\n  FIGURES — apparent size & depth order (follow exactly): Su-ri-young's face and hands fill about 3/4 of the frame height and form the NEAREST subject. Her hands sit slightly NEARER than her face on either side, while the room behind her is FARTHER and secondary.\nPANEL 6: 해질 무렵 옥탑방 거실, 흙 묻은 발자국들이 찍힌 바닥과 쓰러진 식탁 의자들이 보이는 전경\n  MOVEMENT (follow exactly): static: muddy footprints remain across the ransacked living-room floor among overturned dining chairs, indicating a prior path through the room but no current movement.\n  FIGURES — apparent size & depth order (follow exactly): The footprint-marked floor fills the lower half of the wide frame, with the NEAREST prints and fallen chair parts in the foreground appearing larger. Additional prints, the dining area, and the open living-room window recede FARTHER into the room.\n\nABSOLUTELY NO TEXT anywhere: no words, letters, captions, labels,\nsound effects or watermarks — the ONLY allowed marking is a small\nshot number digit (1, 2, 3, 4, 5, 6) in a corner INSIDE each drawn panel.\nTHE PANEL GRID FILLS THE ENTIRE IMAGE EDGE-TO-EDGE: no outer paper\nmargin, no border area, nothing drawn outside the panels — the\nimage must be mechanically cuttable along the stated cut lines.\nPanels are separated only by thin straight black gutter lines at\nthe exact stated positions; ALL PANELS EXACTLY THE SAME SIZE."}
{"ts": "2026-07-12 17:54:21", "kind": "img", "engine": "gpt-image-2", "mode": "generate", "tag": "s35_conti_rooftop_room_interior_2_i2", "refs": [], "size": "1024x1024", "attempt": 1, "dur_s": 143.4, "bytes": 1711121, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/conti35_rooftop_room_interior_2_i2.png", "prompt": "Draw ONE storyboard (conti) sheet: 4 panels made by ONE vertical cut at exactly 50% of the width and ONE horizontal cut at exactly 50% of the height — a 2x2 grid, each panel exactly one quarter of the image.\nSTYLE: hand-drawn PRE-PRODUCTION STORYBOARD FOR A LIVE-ACTION FILM\nSHOOT — the working drawings a professional film storyboard artist\nmakes for the director and cinematographer of a real movie:\nREALISTIC adult human proportions and faces (ordinary Korean\nadults, film-actor realism), true cinematic lens framing, and\nnaturalistic light-and-shadow blocking rendered in monochrome\ngraphite pencil tone on white paper.\nABSOLUTELY NOT manga, NOT anime, NOT cartoon, NOT webtoon, NOT\ncomic-book style: no stylized or enlarged eyes, no cute or\nyouthful idealized faces, no clean ink outlines — every panel\nmust read like a frame of a live-action film sketched in pencil.\nNo color anywhere.\n\nTHE LOCATION (same in all drawn panels): A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls..\n\nPURPOSE: each panel captures only the CAMERA COMPOSITION of one\nshot — framing (close-up / medium / wide), where the subject sits in\nthe frame, and continuity between panels. Keep every panel\nextremely simple: only what matters for composition.\nMOVEMENT IS SHOWN BY THE FIGURE ITSELF, NEVER BY MARKINGS: convey\ndirection of travel purely through the body — stride mid-motion,\nbody lean into the path, back view vs front view, and the stated\nsize/depth cues. Do NOT draw arrows, motion lines, path lines,\nspeed lines or any diagram markings of any kind.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Draw what a real movie camera would actually record\non a physical set — exaggerated or figurative impressions become\nrealistic staging choices (lighting, distance, angle, wardrobe),\nnot literal fantasy drawings.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still draw them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nGEOMETRY — ANALYSE BEFORE DRAWING: from each panel's Korean shot\ntext, first work out the spatial facts and draw EXACTLY those, never\nre-stage them: (a) each figure's DISTANCE from camera (tight insert /\nclose-up / medium / full / wide — a shot about a hand or an object\nis a tight insert, not a two-shot); (b) each figure's FACING and\nMOVEMENT DIRECTION relative to camera — '뒷모습' means seen from\nBEHIND, moving AWAY from camera into the depth of the frame, not\nsideways; a profile means lateral movement; (c) relative positions\nand distances BETWEEN figures. Keep every established screen\ndirection consistent across panels (180-degree rule): a person who\nleaves in one panel keeps the same on-screen direction wherever the\nmovement appears again.\nSIZE & DEPTH ARE CONTRACTUAL: each panel states every figure's\napparent size in the frame and the explicit near/far depth order.\nDraw exactly those proportions — a farther figure MUST be drawn\nclearly smaller than a nearer one; never equalize figure sizes,\nespecially when several figures share a panel or their paths\nrelate to each other.\nDEPARTING FIGURE — a figure running/walking AWAY must be\nunmistakably departing, never approaching: seen exactly from behind\n(back of the head only, no face, no chin, no cheek line), body\nleaning into the path, mid-stride with one shoe sole toward the\ncamera. THE STATED SIZE/DEPTH WINS: draw the departing figure at\nexactly the apparent size and depth the panel's FIGURES line states\n(if stated FARTHER/small, it stays small in the distance — never\nenlarge it into the foreground for drama).\n\nCONTINUITY: all drawn panels are the SAME single location — fixed\nfeatures (doors, stairs, windows, poles, desks) keep the same\nposition and left/right relationships across panels so the panels\ncut together as one continuous scene.\n\nPANELS (one shot per panel, Korean shot text):\n\nPANEL 1: 붉은 원 한가운데 피 묻은 낡은 흑백 사진이 벽에 꽂혀 있는 타이트 샷\n  MOVEMENT (follow exactly): static: a bloodstained old photograph remains pinned at the center of the red circle on Su-ri-young's bedroom wall, facing outward toward the camera.\n  FIGURES — apparent size & depth order (follow exactly): The photograph fills roughly 1/3 of the tight frame height, while the surrounding red circle occupies most of the frame. The photograph projects NEARER from the wall, and the red mark lies FARTHER against the flat wall surface behind it.\nPANEL 2: 수리영의 손이 구겨진 사진을 꽉 움켜쥔 타이트 샷\n  MOVEMENT (follow exactly): static: Su-ri-young's tense hand crushes the crumpled photograph in a tight grip as she holds it close.\n  FIGURES — apparent size & depth order (follow exactly): Su-ri-young's hand fills roughly 2/3 of the tight frame, and the exposed portion of the photograph fills about 1/3. Her knuckles are NEARER to the camera, while the photograph is partly FARTHER inside her closed fingers.\nPANEL 3: 혜수가 미간을 깊게 찌푸린 채 스마트폰을 내려다보는 얼굴 클로즈업\n  MOVEMENT (follow exactly): static: Hye-su lowers her gaze toward the smartphone and listens to Su-ri-young's recorded message with her brow deeply furrowed.\n  FIGURES — apparent size & depth order (follow exactly): Hye-su's face fills about 2/3 of the close-up frame, while the smartphone occupies a smaller area below her face. The phone is NEARER to the camera, Hye-su's face is slightly FARTHER, and the room behind her is farthest.\n\nThere are 3 shots but 4 panel slots: draw the shots in\npanels 1..3 and leave the remaining panel(s) COMPLETELY\nBLANK PURE WHITE — empty white paper, not even a frame line inside.\n\nABSOLUTELY NO TEXT anywhere: no words, letters, captions, labels,\nsound effects or watermarks — the ONLY allowed marking is a small\nshot number digit (1, 2, 3) in a corner INSIDE each drawn panel.\nTHE PANEL GRID FILLS THE ENTIRE IMAGE EDGE-TO-EDGE: no outer paper\nmargin, no border area, nothing drawn outside the panels — the\nimage must be mechanically cuttable along the stated cut lines.\nPanels are separated only by thin straight black gutter lines at\nthe exact stated positions; ALL PANELS EXACTLY THE SAME SIZE."}
{"ts": "2026-07-12 17:56:42", "kind": "img", "engine": "gpt-image-2", "mode": "generate", "tag": "s35_conti_coastal_road_0_i2", "refs": [], "size": "1024x1024", "attempt": 1, "dur_s": 141.2, "bytes": 1772391, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/conti35_coastal_road_0_i2.png", "prompt": "Draw ONE storyboard (conti) sheet: 4 panels made by ONE vertical cut at exactly 50% of the width and ONE horizontal cut at exactly 50% of the height — a 2x2 grid, each panel exactly one quarter of the image.\nSTYLE: hand-drawn PRE-PRODUCTION STORYBOARD FOR A LIVE-ACTION FILM\nSHOOT — the working drawings a professional film storyboard artist\nmakes for the director and cinematographer of a real movie:\nREALISTIC adult human proportions and faces (ordinary Korean\nadults, film-actor realism), true cinematic lens framing, and\nnaturalistic light-and-shadow blocking rendered in monochrome\ngraphite pencil tone on white paper.\nABSOLUTELY NOT manga, NOT anime, NOT cartoon, NOT webtoon, NOT\ncomic-book style: no stylized or enlarged eyes, no cute or\nyouthful idealized faces, no clean ink outlines — every panel\nmust read like a frame of a live-action film sketched in pencil.\nNo color anywhere.\n\nTHE LOCATION (same in all drawn panels): A paved coastal road running beside an exposed tidal shoreline, with the sea visible along one side and sparse roadside barriers. The route remains open and windswept, with few nearby buildings..\n\nPURPOSE: each panel captures only the CAMERA COMPOSITION of one\nshot — framing (close-up / medium / wide), where the subject sits in\nthe frame, and continuity between panels. Keep every panel\nextremely simple: only what matters for composition.\nMOVEMENT IS SHOWN BY THE FIGURE ITSELF, NEVER BY MARKINGS: convey\ndirection of travel purely through the body — stride mid-motion,\nbody lean into the path, back view vs front view, and the stated\nsize/depth cues. Do NOT draw arrows, motion lines, path lines,\nspeed lines or any diagram markings of any kind.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Draw what a real movie camera would actually record\non a physical set — exaggerated or figurative impressions become\nrealistic staging choices (lighting, distance, angle, wardrobe),\nnot literal fantasy drawings.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still draw them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nGEOMETRY — ANALYSE BEFORE DRAWING: from each panel's Korean shot\ntext, first work out the spatial facts and draw EXACTLY those, never\nre-stage them: (a) each figure's DISTANCE from camera (tight insert /\nclose-up / medium / full / wide — a shot about a hand or an object\nis a tight insert, not a two-shot); (b) each figure's FACING and\nMOVEMENT DIRECTION relative to camera — '뒷모습' means seen from\nBEHIND, moving AWAY from camera into the depth of the frame, not\nsideways; a profile means lateral movement; (c) relative positions\nand distances BETWEEN figures. Keep every established screen\ndirection consistent across panels (180-degree rule): a person who\nleaves in one panel keeps the same on-screen direction wherever the\nmovement appears again.\nSIZE & DEPTH ARE CONTRACTUAL: each panel states every figure's\napparent size in the frame and the explicit near/far depth order.\nDraw exactly those proportions — a farther figure MUST be drawn\nclearly smaller than a nearer one; never equalize figure sizes,\nespecially when several figures share a panel or their paths\nrelate to each other.\nDEPARTING FIGURE — a figure running/walking AWAY must be\nunmistakably departing, never approaching: seen exactly from behind\n(back of the head only, no face, no chin, no cheek line), body\nleaning into the path, mid-stride with one shoe sole toward the\ncamera. THE STATED SIZE/DEPTH WINS: draw the departing figure at\nexactly the apparent size and depth the panel's FIGURES line states\n(if stated FARTHER/small, it stays small in the distance — never\nenlarge it into the foreground for drama).\n\nCONTINUITY: all drawn panels are the SAME single location — fixed\nfeatures (doors, stairs, windows, poles, desks) keep the same\nposition and left/right relationships across panels so the panels\ncut together as one continuous scene.\n\nPANELS (one shot per panel, Korean shot text):\n\nPANEL 1: 낮의 해안가 도로 위, 이어폰을 낀 채 자전거 안장에 앉아 한 발로 페달을 밟아 내리는 중간 동작으로 미소 짓는 수리영의 옆모습, 자전거의 추진력에 의해 머리카락이 뒤로 흩날리는 찰나\n  MOVEMENT (follow exactly): Su-ri-young rides laterally along the daytime coastal road, seated upright and smiling as one foot drives a pedal downward, with her hair streaming behind her in the direction opposite her travel.\n  FIGURES — apparent size & depth order (follow exactly): Su-ri-young and the bicycle together fill roughly ~2/3 of the frame height in side view; she is NEARER to the camera than the coastal road and sea behind her, while the bicycle occupies the same foreground plane beneath her.\nPANEL 2: 어두운 해안도로 위 자전거 안장에 앉아 한쪽 다리로 페달을 밟아 내리는 중간 자세로 앞을 향해 상체를 기울인 수리영의 실루엣, 옷자락이 뒤로 휘날리는 순간\n  MOVEMENT (follow exactly): Su-ri-young, a real person appearing as a dark silhouette with normal human build, rides quickly forward along the dark coastal road toward home, leaning her torso into her course as one leg presses a pedal downward and her clothing trails behind.\n  FIGURES — apparent size & depth order (follow exactly): Su-ri-young and her bicycle form a medium-sized silhouette filling about ~1/2 of the frame height; they are NEARER to the camera than the dark road and coast extending FARTHER ahead.\nPANEL 3: 비에 흠뻑 젖은 수리영이 자전거 핸들을 꽉 쥔 채 앞을 노려보는 얼굴 클로즈업\n  MOVEMENT (follow exactly): Soaked by the downpour, Su-ri-young continues riding forward through the rain, gripping the handlebars tightly and aiming a tense, determined stare ahead as she searches for her mother.\n  FIGURES — apparent size & depth order (follow exactly): Su-ri-young’s wet face fills roughly ~2/3 of the frame height in close-up, with the partially visible handlebars NEARER at the lower foreground and her face just FARTHER behind them; the rain and coastal-road background are FARTHER still.\n\nThere are 3 shots but 4 panel slots: draw the shots in\npanels 1..3 and leave the remaining panel(s) COMPLETELY\nBLANK PURE WHITE — empty white paper, not even a frame line inside.\n\nABSOLUTELY NO TEXT anywhere: no words, letters, captions, labels,\nsound effects or watermarks — the ONLY allowed marking is a small\nshot number digit (1, 2, 3) in a corner INSIDE each drawn panel.\nTHE PANEL GRID FILLS THE ENTIRE IMAGE EDGE-TO-EDGE: no outer paper\nmargin, no border area, nothing drawn outside the panels — the\nimage must be mechanically cuttable along the stated cut lines.\nPanels are separated only by thin straight black gutter lines at\nthe exact stated positions; ALL PANELS EXACTLY THE SAME SIZE."}
{"ts": "2026-07-12 17:58:29", "kind": "img", "engine": "gpt-image-2", "mode": "generate", "tag": "s35_conti_dog_shelter_interior_0_i2", "refs": [], "size": "1536x1024", "attempt": 1, "dur_s": 106.3, "bytes": 3481724, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/conti35_dog_shelter_interior_0_i2.png", "prompt": "Draw ONE storyboard (conti) sheet: 2 panels made by ONE vertical cut at exactly 50% of the image width — each panel is exactly half the width and the FULL height (1 row x 2 columns).\nSTYLE: hand-drawn PRE-PRODUCTION STORYBOARD FOR A LIVE-ACTION FILM\nSHOOT — the working drawings a professional film storyboard artist\nmakes for the director and cinematographer of a real movie:\nREALISTIC adult human proportions and faces (ordinary Korean\nadults, film-actor realism), true cinematic lens framing, and\nnaturalistic light-and-shadow blocking rendered in monochrome\ngraphite pencil tone on white paper.\nABSOLUTELY NOT manga, NOT anime, NOT cartoon, NOT webtoon, NOT\ncomic-book style: no stylized or enlarged eyes, no cute or\nyouthful idealized faces, no clean ink outlines — every panel\nmust read like a frame of a live-action film sketched in pencil.\nNo color anywhere.\n\nTHE LOCATION (same in all drawn panels): A utilitarian indoor animal shelter with a hard washable floor, kennel partitions, and plain institutional walls. The space is lit evenly and provides open floor area beside the enclosures..\n\nPURPOSE: each panel captures only the CAMERA COMPOSITION of one\nshot — framing (close-up / medium / wide), where the subject sits in\nthe frame, and continuity between panels. Keep every panel\nextremely simple: only what matters for composition.\nMOVEMENT IS SHOWN BY THE FIGURE ITSELF, NEVER BY MARKINGS: convey\ndirection of travel purely through the body — stride mid-motion,\nbody lean into the path, back view vs front view, and the stated\nsize/depth cues. Do NOT draw arrows, motion lines, path lines,\nspeed lines or any diagram markings of any kind.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Draw what a real movie camera would actually record\non a physical set — exaggerated or figurative impressions become\nrealistic staging choices (lighting, distance, angle, wardrobe),\nnot literal fantasy drawings.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still draw them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nGEOMETRY — ANALYSE BEFORE DRAWING: from each panel's Korean shot\ntext, first work out the spatial facts and draw EXACTLY those, never\nre-stage them: (a) each figure's DISTANCE from camera (tight insert /\nclose-up / medium / full / wide — a shot about a hand or an object\nis a tight insert, not a two-shot); (b) each figure's FACING and\nMOVEMENT DIRECTION relative to camera — '뒷모습' means seen from\nBEHIND, moving AWAY from camera into the depth of the frame, not\nsideways; a profile means lateral movement; (c) relative positions\nand distances BETWEEN figures. Keep every established screen\ndirection consistent across panels (180-degree rule): a person who\nleaves in one panel keeps the same on-screen direction wherever the\nmovement appears again.\nSIZE & DEPTH ARE CONTRACTUAL: each panel states every figure's\napparent size in the frame and the explicit near/far depth order.\nDraw exactly those proportions — a farther figure MUST be drawn\nclearly smaller than a nearer one; never equalize figure sizes,\nespecially when several figures share a panel or their paths\nrelate to each other.\nDEPARTING FIGURE — a figure running/walking AWAY must be\nunmistakably departing, never approaching: seen exactly from behind\n(back of the head only, no face, no chin, no cheek line), body\nleaning into the path, mid-stride with one shoe sole toward the\ncamera. THE STATED SIZE/DEPTH WINS: draw the departing figure at\nexactly the apparent size and depth the panel's FIGURES line states\n(if stated FARTHER/small, it stays small in the distance — never\nenlarge it into the foreground for drama).\n\nCONTINUITY: all drawn panels are the SAME single location — fixed\nfeatures (doors, stairs, windows, poles, desks) keep the same\nposition and left/right relationships across panels so the panels\ncut together as one continuous scene.\n\nPANELS (one shot per panel, Korean shot text):\n\nPANEL 1: 로트와일러가 귀를 뒤로 젖힌 채 얌전히 바닥에 엎드린 정지 상태\n  MOVEMENT (follow exactly): static: the Rottweiler lies subdued and low against the floor with its ears pinned back, its body facing an unspecified direction.\n  FIGURES — apparent size & depth order (follow exactly): The Rottweiler is the only visible figure; the framing and its exact fraction of frame height are unspecified, and with no other figure present it is the sole depth reference.\nPANEL 2: 수리영이 귀에 스마트폰을 댄 채 미간을 찌푸린 얼굴\n  MOVEMENT (follow exactly): static: Suriyoung holds a smartphone to her ear and remains in place with a furrowed brow, facing an unspecified direction as she tries to contact Minsook.\n  FIGURES — apparent size & depth order (follow exactly): Suriyoung's face is the dominant visible figure, though its exact fraction of frame height is unspecified; the smartphone is immediately beside her face at essentially the same depth, with neither clearly nearer nor farther.\n\nABSOLUTELY NO TEXT anywhere: no words, letters, captions, labels,\nsound effects or watermarks — the ONLY allowed marking is a small\nshot number digit (1, 2) in a corner INSIDE each drawn panel.\nTHE PANEL GRID FILLS THE ENTIRE IMAGE EDGE-TO-EDGE: no outer paper\nmargin, no border area, nothing drawn outside the panels — the\nimage must be mechanically cuttable along the stated cut lines.\nPanels are separated only by thin straight black gutter lines at\nthe exact stated positions; ALL PANELS EXACTLY THE SAME SIZE."}
{"ts": "2026-07-12 18:00:00", "kind": "img", "engine": "gpt-image-2", "mode": "generate", "tag": "s35_conti_supermarket_sales_floor_0_i2", "refs": [], "size": "1536x1024", "attempt": 1, "dur_s": 91.7, "bytes": 2122929, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/conti35_supermarket_sales_floor_0_i2.png", "prompt": "Draw ONE storyboard (conti) sheet: 2 panels made by ONE vertical cut at exactly 50% of the image width — each panel is exactly half the width and the FULL height (1 row x 2 columns).\nSTYLE: hand-drawn PRE-PRODUCTION STORYBOARD FOR A LIVE-ACTION FILM\nSHOOT — the working drawings a professional film storyboard artist\nmakes for the director and cinematographer of a real movie:\nREALISTIC adult human proportions and faces (ordinary Korean\nadults, film-actor realism), true cinematic lens framing, and\nnaturalistic light-and-shadow blocking rendered in monochrome\ngraphite pencil tone on white paper.\nABSOLUTELY NOT manga, NOT anime, NOT cartoon, NOT webtoon, NOT\ncomic-book style: no stylized or enlarged eyes, no cute or\nyouthful idealized faces, no clean ink outlines — every panel\nmust read like a frame of a live-action film sketched in pencil.\nNo color anywhere.\n\nTHE LOCATION (same in all drawn panels): A brightly lit supermarket sales floor with long merchandise aisles, stocked shelving, and broad customer walkways. Overhead fluorescent fixtures create flat, even illumination..\n\nPURPOSE: each panel captures only the CAMERA COMPOSITION of one\nshot — framing (close-up / medium / wide), where the subject sits in\nthe frame, and continuity between panels. Keep every panel\nextremely simple: only what matters for composition.\nMOVEMENT IS SHOWN BY THE FIGURE ITSELF, NEVER BY MARKINGS: convey\ndirection of travel purely through the body — stride mid-motion,\nbody lean into the path, back view vs front view, and the stated\nsize/depth cues. Do NOT draw arrows, motion lines, path lines,\nspeed lines or any diagram markings of any kind.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Draw what a real movie camera would actually record\non a physical set — exaggerated or figurative impressions become\nrealistic staging choices (lighting, distance, angle, wardrobe),\nnot literal fantasy drawings.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still draw them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nGEOMETRY — ANALYSE BEFORE DRAWING: from each panel's Korean shot\ntext, first work out the spatial facts and draw EXACTLY those, never\nre-stage them: (a) each figure's DISTANCE from camera (tight insert /\nclose-up / medium / full / wide — a shot about a hand or an object\nis a tight insert, not a two-shot); (b) each figure's FACING and\nMOVEMENT DIRECTION relative to camera — '뒷모습' means seen from\nBEHIND, moving AWAY from camera into the depth of the frame, not\nsideways; a profile means lateral movement; (c) relative positions\nand distances BETWEEN figures. Keep every established screen\ndirection consistent across panels (180-degree rule): a person who\nleaves in one panel keeps the same on-screen direction wherever the\nmovement appears again.\nSIZE & DEPTH ARE CONTRACTUAL: each panel states every figure's\napparent size in the frame and the explicit near/far depth order.\nDraw exactly those proportions — a farther figure MUST be drawn\nclearly smaller than a nearer one; never equalize figure sizes,\nespecially when several figures share a panel or their paths\nrelate to each other.\nDEPARTING FIGURE — a figure running/walking AWAY must be\nunmistakably departing, never approaching: seen exactly from behind\n(back of the head only, no face, no chin, no cheek line), body\nleaning into the path, mid-stride with one shoe sole toward the\ncamera. THE STATED SIZE/DEPTH WINS: draw the departing figure at\nexactly the apparent size and depth the panel's FIGURES line states\n(if stated FARTHER/small, it stays small in the distance — never\nenlarge it into the foreground for drama).\n\nCONTINUITY: all drawn panels are the SAME single location — fixed\nfeatures (doors, stairs, windows, poles, desks) keep the same\nposition and left/right relationships across panels so the panels\ncut together as one continuous scene.\n\nPANELS (one shot per panel, Korean shot text):\n\nPANEL 1: 수리영이 마트 유니폼을 입은 한국인 여성 직원을 마주보며 입을 살짝 벌린 측면 구도\n  MOVEMENT (follow exactly): static: Su-ri-young stands facing the female supermarket employee at conversational distance, her body turned toward the employee and her mouth slightly open as if speaking.\n  FIGURES — apparent size & depth order (follow exactly): Su-ri-young and the uniformed Korean female employee each fill roughly ~1/2 of the frame height in the side-on two-shot. They stand at approximately the same camera depth, so neither is distinctly NEARER or FARTHER, facing each other across a short gap.\n\nThere are 1 shots but 2 panel slots: draw the shots in\npanels 1..1 and leave the remaining panel(s) COMPLETELY\nBLANK PURE WHITE — empty white paper, not even a frame line inside.\n\nABSOLUTELY NO TEXT anywhere: no words, letters, captions, labels,\nsound effects or watermarks — the ONLY allowed marking is a small\nshot number digit (1) in a corner INSIDE each drawn panel.\nTHE PANEL GRID FILLS THE ENTIRE IMAGE EDGE-TO-EDGE: no outer paper\nmargin, no border area, nothing drawn outside the panels — the\nimage must be mechanically cuttable along the stated cut lines.\nPanels are separated only by thin straight black gutter lines at\nthe exact stated positions; ALL PANELS EXACTLY THE SAME SIZE."}
{"ts": "2026-07-12 18:02:23", "kind": "img", "engine": "gpt-image-2", "mode": "generate", "tag": "s35_conti_supermarket_exterior_entrance_0_i2", "refs": [], "size": "1024x1024", "attempt": 1, "dur_s": 142.3, "bytes": 1775466, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/conti35_supermarket_exterior_entrance_0_i2.png", "prompt": "Draw ONE storyboard (conti) sheet: 4 panels made by ONE vertical cut at exactly 50% of the width and ONE horizontal cut at exactly 50% of the height — a 2x2 grid, each panel exactly one quarter of the image.\nSTYLE: hand-drawn PRE-PRODUCTION STORYBOARD FOR A LIVE-ACTION FILM\nSHOOT — the working drawings a professional film storyboard artist\nmakes for the director and cinematographer of a real movie:\nREALISTIC adult human proportions and faces (ordinary Korean\nadults, film-actor realism), true cinematic lens framing, and\nnaturalistic light-and-shadow blocking rendered in monochrome\ngraphite pencil tone on white paper.\nABSOLUTELY NOT manga, NOT anime, NOT cartoon, NOT webtoon, NOT\ncomic-book style: no stylized or enlarged eyes, no cute or\nyouthful idealized faces, no clean ink outlines — every panel\nmust read like a frame of a live-action film sketched in pencil.\nNo color anywhere.\n\nTHE LOCATION (same in all drawn panels): The exterior frontage of a large supermarket, centered on wide public entrance doors and a paved forecourt. A wall-mounted CCTV camera overlooks the entrance area..\n\nPURPOSE: each panel captures only the CAMERA COMPOSITION of one\nshot — framing (close-up / medium / wide), where the subject sits in\nthe frame, and continuity between panels. Keep every panel\nextremely simple: only what matters for composition.\nMOVEMENT IS SHOWN BY THE FIGURE ITSELF, NEVER BY MARKINGS: convey\ndirection of travel purely through the body — stride mid-motion,\nbody lean into the path, back view vs front view, and the stated\nsize/depth cues. Do NOT draw arrows, motion lines, path lines,\nspeed lines or any diagram markings of any kind.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Draw what a real movie camera would actually record\non a physical set — exaggerated or figurative impressions become\nrealistic staging choices (lighting, distance, angle, wardrobe),\nnot literal fantasy drawings.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still draw them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nGEOMETRY — ANALYSE BEFORE DRAWING: from each panel's Korean shot\ntext, first work out the spatial facts and draw EXACTLY those, never\nre-stage them: (a) each figure's DISTANCE from camera (tight insert /\nclose-up / medium / full / wide — a shot about a hand or an object\nis a tight insert, not a two-shot); (b) each figure's FACING and\nMOVEMENT DIRECTION relative to camera — '뒷모습' means seen from\nBEHIND, moving AWAY from camera into the depth of the frame, not\nsideways; a profile means lateral movement; (c) relative positions\nand distances BETWEEN figures. Keep every established screen\ndirection consistent across panels (180-degree rule): a person who\nleaves in one panel keeps the same on-screen direction wherever the\nmovement appears again.\nSIZE & DEPTH ARE CONTRACTUAL: each panel states every figure's\napparent size in the frame and the explicit near/far depth order.\nDraw exactly those proportions — a farther figure MUST be drawn\nclearly smaller than a nearer one; never equalize figure sizes,\nespecially when several figures share a panel or their paths\nrelate to each other.\nDEPARTING FIGURE — a figure running/walking AWAY must be\nunmistakably departing, never approaching: seen exactly from behind\n(back of the head only, no face, no chin, no cheek line), body\nleaning into the path, mid-stride with one shoe sole toward the\ncamera. THE STATED SIZE/DEPTH WINS: draw the departing figure at\nexactly the apparent size and depth the panel's FIGURES line states\n(if stated FARTHER/small, it stays small in the distance — never\nenlarge it into the foreground for drama).\n\nCONTINUITY: all drawn panels are the SAME single location — fixed\nfeatures (doors, stairs, windows, poles, desks) keep the same\nposition and left/right relationships across panels so the panels\ncut together as one continuous scene.\n\nPANELS (one shot per panel, Korean shot text):\n\nPANEL 1: 마트 밖으로 나온 수리영이 손에 든 스마트폰 액정을 내려다보는 상체\n  MOVEMENT (follow exactly): Suriyoung comes out of the supermarket and continues away toward home while looking down at the smartphone held in front of her upper body, trying to make contact as she walks.\n  FIGURES — apparent size & depth order (follow exactly): Suriyoung's upper body fills about ~2/3 of the frame height; the small smartphone is NEARER to the camera in front of her torso, while her face is FARTHER behind it.\nPANEL 2: 수리영과 남자직원이 마트 밖에서 벽면의 CCTV를 올려다보는 뒷모습\n  MOVEMENT (follow exactly): static: Suriyoung and the male employee stand outside the supermarket with their backs to the camera, bodies oriented toward the wall and heads tilted upward at the CCTV camera.\n  FIGURES — apparent size & depth order (follow exactly): Suriyoung and the male employee each fill roughly ~1/2 of the frame height and stand at a comparable NEARER distance, their paths paused side by side; the small wall-mounted CCTV camera is FARTHER from the camera and above them.\nPANEL 3: 수리영이 귀에 스마트폰을 댄 채 정면을 응시하는 상체 클로즈업\n  MOVEMENT (follow exactly): static: Suriyoung holds a smartphone to her ear and faces forward, staring straight ahead while calling Hyesu.\n  FIGURES — apparent size & depth order (follow exactly): Suriyoung's upper body fills about ~3/4 of the frame height and is the dominant NEAR figure; the small smartphone beside her face is slightly NEARER to the camera than her head.\n\nThere are 3 shots but 4 panel slots: draw the shots in\npanels 1..3 and leave the remaining panel(s) COMPLETELY\nBLANK PURE WHITE — empty white paper, not even a frame line inside.\n\nABSOLUTELY NO TEXT anywhere: no words, letters, captions, labels,\nsound effects or watermarks — the ONLY allowed marking is a small\nshot number digit (1, 2, 3) in a corner INSIDE each drawn panel.\nTHE PANEL GRID FILLS THE ENTIRE IMAGE EDGE-TO-EDGE: no outer paper\nmargin, no border area, nothing drawn outside the panels — the\nimage must be mechanically cuttable along the stated cut lines.\nPanels are separated only by thin straight black gutter lines at\nthe exact stated positions; ALL PANELS EXACTLY THE SAME SIZE."}
{"ts": "2026-07-12 18:03:56", "kind": "img", "engine": "gpt-image-2", "mode": "generate", "tag": "s35_conti_exterior_metal_staircase_0_i2", "refs": [], "size": "1536x1024", "attempt": 1, "dur_s": 93.2, "bytes": 2267468, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/conti35_exterior_metal_staircase_0_i2.png", "prompt": "Draw ONE storyboard (conti) sheet: 2 panels made by ONE vertical cut at exactly 50% of the image width — each panel is exactly half the width and the FULL height (1 row x 2 columns).\nSTYLE: hand-drawn PRE-PRODUCTION STORYBOARD FOR A LIVE-ACTION FILM\nSHOOT — the working drawings a professional film storyboard artist\nmakes for the director and cinematographer of a real movie:\nREALISTIC adult human proportions and faces (ordinary Korean\nadults, film-actor realism), true cinematic lens framing, and\nnaturalistic light-and-shadow blocking rendered in monochrome\ngraphite pencil tone on white paper.\nABSOLUTELY NOT manga, NOT anime, NOT cartoon, NOT webtoon, NOT\ncomic-book style: no stylized or enlarged eyes, no cute or\nyouthful idealized faces, no clean ink outlines — every panel\nmust read like a frame of a live-action film sketched in pencil.\nNo color anywhere.\n\nTHE LOCATION (same in all drawn panels): A narrow exterior metal staircase attached to an old low-rise residential building. It has exposed steel steps and tubular pipe railings leading upward toward the roof..\n\nPURPOSE: each panel captures only the CAMERA COMPOSITION of one\nshot — framing (close-up / medium / wide), where the subject sits in\nthe frame, and continuity between panels. Keep every panel\nextremely simple: only what matters for composition.\nMOVEMENT IS SHOWN BY THE FIGURE ITSELF, NEVER BY MARKINGS: convey\ndirection of travel purely through the body — stride mid-motion,\nbody lean into the path, back view vs front view, and the stated\nsize/depth cues. Do NOT draw arrows, motion lines, path lines,\nspeed lines or any diagram markings of any kind.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Draw what a real movie camera would actually record\non a physical set — exaggerated or figurative impressions become\nrealistic staging choices (lighting, distance, angle, wardrobe),\nnot literal fantasy drawings.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still draw them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nGEOMETRY — ANALYSE BEFORE DRAWING: from each panel's Korean shot\ntext, first work out the spatial facts and draw EXACTLY those, never\nre-stage them: (a) each figure's DISTANCE from camera (tight insert /\nclose-up / medium / full / wide — a shot about a hand or an object\nis a tight insert, not a two-shot); (b) each figure's FACING and\nMOVEMENT DIRECTION relative to camera — '뒷모습' means seen from\nBEHIND, moving AWAY from camera into the depth of the frame, not\nsideways; a profile means lateral movement; (c) relative positions\nand distances BETWEEN figures. Keep every established screen\ndirection consistent across panels (180-degree rule): a person who\nleaves in one panel keeps the same on-screen direction wherever the\nmovement appears again.\nSIZE & DEPTH ARE CONTRACTUAL: each panel states every figure's\napparent size in the frame and the explicit near/far depth order.\nDraw exactly those proportions — a farther figure MUST be drawn\nclearly smaller than a nearer one; never equalize figure sizes,\nespecially when several figures share a panel or their paths\nrelate to each other.\nDEPARTING FIGURE — a figure running/walking AWAY must be\nunmistakably departing, never approaching: seen exactly from behind\n(back of the head only, no face, no chin, no cheek line), body\nleaning into the path, mid-stride with one shoe sole toward the\ncamera. THE STATED SIZE/DEPTH WINS: draw the departing figure at\nexactly the apparent size and depth the panel's FIGURES line states\n(if stated FARTHER/small, it stays small in the distance — never\nenlarge it into the foreground for drama).\n\nCONTINUITY: all drawn panels are the SAME single location — fixed\nfeatures (doors, stairs, windows, poles, desks) keep the same\nposition and left/right relationships across panels so the panels\ncut together as one continuous scene.\n\nPANELS (one shot per panel, Korean shot text):\n\nPANEL 1: 철제 파이프 난간을 손으로 잡은 수리영이 코끝을 찡그린 채 계단 중간에 서 있는 얼굴 클로즈업\n  MOVEMENT (follow exactly): static: Suri-young pauses midway up the staircase while ascending toward the rooftop, gripping the metal-pipe railing with a tense posture and wrinkling her nose at the sudden foul smell, her body oriented uphill.\n  FIGURES — apparent size & depth order (follow exactly): Suri-young’s face fills ~2/3 of the frame height in close-up and is the nearest figure; her hand and the metal-pipe railing sit slightly farther from the camera as she remains midway on the stairs.\n\nThere are 1 shots but 2 panel slots: draw the shots in\npanels 1..1 and leave the remaining panel(s) COMPLETELY\nBLANK PURE WHITE — empty white paper, not even a frame line inside.\n\nABSOLUTELY NO TEXT anywhere: no words, letters, captions, labels,\nsound effects or watermarks — the ONLY allowed marking is a small\nshot number digit (1) in a corner INSIDE each drawn panel.\nTHE PANEL GRID FILLS THE ENTIRE IMAGE EDGE-TO-EDGE: no outer paper\nmargin, no border area, nothing drawn outside the panels — the\nimage must be mechanically cuttable along the stated cut lines.\nPanels are separated only by thin straight black gutter lines at\nthe exact stated positions; ALL PANELS EXACTLY THE SAME SIZE."}
{"ts": "2026-07-12 18:05:58", "kind": "img", "engine": "gpt-image-2", "mode": "generate", "tag": "s35_conti_residential_alley_courtyard_0_i2", "refs": [], "size": "1536x1024", "attempt": 1, "dur_s": 121.7, "bytes": 3314630, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/conti35_residential_alley_courtyard_0_i2.png", "prompt": "Draw ONE storyboard (conti) sheet: 2 panels made by ONE vertical cut at exactly 50% of the image width — each panel is exactly half the width and the FULL height (1 row x 2 columns).\nSTYLE: hand-drawn PRE-PRODUCTION STORYBOARD FOR A LIVE-ACTION FILM\nSHOOT — the working drawings a professional film storyboard artist\nmakes for the director and cinematographer of a real movie:\nREALISTIC adult human proportions and faces (ordinary Korean\nadults, film-actor realism), true cinematic lens framing, and\nnaturalistic light-and-shadow blocking rendered in monochrome\ngraphite pencil tone on white paper.\nABSOLUTELY NOT manga, NOT anime, NOT cartoon, NOT webtoon, NOT\ncomic-book style: no stylized or enlarged eyes, no cute or\nyouthful idealized faces, no clean ink outlines — every panel\nmust read like a frame of a live-action film sketched in pencil.\nNo color anywhere.\n\nTHE LOCATION (same in all drawn panels): A confined ground-level alley and small courtyard beside an aging multi-unit residential building. Concrete walls, building entrances, and the base of the exterior access structure frame the space..\n\nPURPOSE: each panel captures only the CAMERA COMPOSITION of one\nshot — framing (close-up / medium / wide), where the subject sits in\nthe frame, and continuity between panels. Keep every panel\nextremely simple: only what matters for composition.\nMOVEMENT IS SHOWN BY THE FIGURE ITSELF, NEVER BY MARKINGS: convey\ndirection of travel purely through the body — stride mid-motion,\nbody lean into the path, back view vs front view, and the stated\nsize/depth cues. Do NOT draw arrows, motion lines, path lines,\nspeed lines or any diagram markings of any kind.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Draw what a real movie camera would actually record\non a physical set — exaggerated or figurative impressions become\nrealistic staging choices (lighting, distance, angle, wardrobe),\nnot literal fantasy drawings.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still draw them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nGEOMETRY — ANALYSE BEFORE DRAWING: from each panel's Korean shot\ntext, first work out the spatial facts and draw EXACTLY those, never\nre-stage them: (a) each figure's DISTANCE from camera (tight insert /\nclose-up / medium / full / wide — a shot about a hand or an object\nis a tight insert, not a two-shot); (b) each figure's FACING and\nMOVEMENT DIRECTION relative to camera — '뒷모습' means seen from\nBEHIND, moving AWAY from camera into the depth of the frame, not\nsideways; a profile means lateral movement; (c) relative positions\nand distances BETWEEN figures. Keep every established screen\ndirection consistent across panels (180-degree rule): a person who\nleaves in one panel keeps the same on-screen direction wherever the\nmovement appears again.\nSIZE & DEPTH ARE CONTRACTUAL: each panel states every figure's\napparent size in the frame and the explicit near/far depth order.\nDraw exactly those proportions — a farther figure MUST be drawn\nclearly smaller than a nearer one; never equalize figure sizes,\nespecially when several figures share a panel or their paths\nrelate to each other.\nDEPARTING FIGURE — a figure running/walking AWAY must be\nunmistakably departing, never approaching: seen exactly from behind\n(back of the head only, no face, no chin, no cheek line), body\nleaning into the path, mid-stride with one shoe sole toward the\ncamera. THE STATED SIZE/DEPTH WINS: draw the departing figure at\nexactly the apparent size and depth the panel's FIGURES line states\n(if stated FARTHER/small, it stays small in the distance — never\nenlarge it into the foreground for drama).\n\nCONTINUITY: all drawn panels are the SAME single location — fixed\nfeatures (doors, stairs, windows, poles, desks) keep the same\nposition and left/right relationships across panels so the panels\ncut together as one continuous scene.\n\nPANELS (one shot per panel, Korean shot text):\n\nPANEL 1: 수리영이 초점을 잃은 눈으로 허공을 응시하며 서 있는 모습\n  MOVEMENT (follow exactly): static: Su-ri-young stands motionless and dazed after coming down from the rooftop room, her unfocused eyes staring into empty space and her body lacking purposeful direction.\n  FIGURES — apparent size & depth order (follow exactly): Su-ri-young is the only visible figure, so she is both the nearest and farthest person; her apparent fraction of frame height is unspecified in the source.\nPANEL 2: 고개를 든 채 혜수의 얼굴을 마주보고 있는 수리영의 측면 구도\n  MOVEMENT (follow exactly): static: Su-ri-young holds her head raised and faces Hye-su directly in side profile, looking up at her while remaining dazed and stationary.\n  FIGURES — apparent size & depth order (follow exactly): Su-ri-young and Hye-su's face are visible facing each other, but their respective frame-height fractions and which is nearer to the camera are unspecified; their paths have converged at conversational distance, with neither moving past the other.\n\nABSOLUTELY NO TEXT anywhere: no words, letters, captions, labels,\nsound effects or watermarks — the ONLY allowed marking is a small\nshot number digit (1, 2) in a corner INSIDE each drawn panel.\nTHE PANEL GRID FILLS THE ENTIRE IMAGE EDGE-TO-EDGE: no outer paper\nmargin, no border area, nothing drawn outside the panels — the\nimage must be mechanically cuttable along the stated cut lines.\nPanels are separated only by thin straight black gutter lines at\nthe exact stated positions; ALL PANELS EXACTLY THE SAME SIZE."}
{"ts": "2026-07-12 18:07:45", "kind": "img", "engine": "gpt-image-2", "mode": "generate", "tag": "s35_conti_seaside_bus_stop_0_i2", "refs": [], "size": "1536x1024", "attempt": 1, "dur_s": 107.0, "bytes": 3408209, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/conti35_seaside_bus_stop_0_i2.png", "prompt": "Draw ONE storyboard (conti) sheet: 2 panels made by ONE vertical cut at exactly 50% of the image width — each panel is exactly half the width and the FULL height (1 row x 2 columns).\nSTYLE: hand-drawn PRE-PRODUCTION STORYBOARD FOR A LIVE-ACTION FILM\nSHOOT — the working drawings a professional film storyboard artist\nmakes for the director and cinematographer of a real movie:\nREALISTIC adult human proportions and faces (ordinary Korean\nadults, film-actor realism), true cinematic lens framing, and\nnaturalistic light-and-shadow blocking rendered in monochrome\ngraphite pencil tone on white paper.\nABSOLUTELY NOT manga, NOT anime, NOT cartoon, NOT webtoon, NOT\ncomic-book style: no stylized or enlarged eyes, no cute or\nyouthful idealized faces, no clean ink outlines — every panel\nmust read like a frame of a live-action film sketched in pencil.\nNo color anywhere.\n\nTHE LOCATION (same in all drawn panels): A roadside bus stop on an open coast, with a paved waiting area and an unobstructed view of the sea. The surrounding road shoulder is broad enough for people to stand or run beside the shelter..\n\nPURPOSE: each panel captures only the CAMERA COMPOSITION of one\nshot — framing (close-up / medium / wide), where the subject sits in\nthe frame, and continuity between panels. Keep every panel\nextremely simple: only what matters for composition.\nMOVEMENT IS SHOWN BY THE FIGURE ITSELF, NEVER BY MARKINGS: convey\ndirection of travel purely through the body — stride mid-motion,\nbody lean into the path, back view vs front view, and the stated\nsize/depth cues. Do NOT draw arrows, motion lines, path lines,\nspeed lines or any diagram markings of any kind.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Draw what a real movie camera would actually record\non a physical set — exaggerated or figurative impressions become\nrealistic staging choices (lighting, distance, angle, wardrobe),\nnot literal fantasy drawings.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still draw them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nGEOMETRY — ANALYSE BEFORE DRAWING: from each panel's Korean shot\ntext, first work out the spatial facts and draw EXACTLY those, never\nre-stage them: (a) each figure's DISTANCE from camera (tight insert /\nclose-up / medium / full / wide — a shot about a hand or an object\nis a tight insert, not a two-shot); (b) each figure's FACING and\nMOVEMENT DIRECTION relative to camera — '뒷모습' means seen from\nBEHIND, moving AWAY from camera into the depth of the frame, not\nsideways; a profile means lateral movement; (c) relative positions\nand distances BETWEEN figures. Keep every established screen\ndirection consistent across panels (180-degree rule): a person who\nleaves in one panel keeps the same on-screen direction wherever the\nmovement appears again.\nSIZE & DEPTH ARE CONTRACTUAL: each panel states every figure's\napparent size in the frame and the explicit near/far depth order.\nDraw exactly those proportions — a farther figure MUST be drawn\nclearly smaller than a nearer one; never equalize figure sizes,\nespecially when several figures share a panel or their paths\nrelate to each other.\nDEPARTING FIGURE — a figure running/walking AWAY must be\nunmistakably departing, never approaching: seen exactly from behind\n(back of the head only, no face, no chin, no cheek line), body\nleaning into the path, mid-stride with one shoe sole toward the\ncamera. THE STATED SIZE/DEPTH WINS: draw the departing figure at\nexactly the apparent size and depth the panel's FIGURES line states\n(if stated FARTHER/small, it stays small in the distance — never\nenlarge it into the foreground for drama).\n\nCONTINUITY: all drawn panels are the SAME single location — fixed\nfeatures (doors, stairs, windows, poles, desks) keep the same\nposition and left/right relationships across panels so the panels\ncut together as one continuous scene.\n\nPANELS (one shot per panel, Korean shot text):\n\nPANEL 1: 혜수의 손이 음료수 캔을 쥔 채 수리영 앞으로 내밀어진 순간\n  MOVEMENT (follow exactly): Hye-su extends her hand and the drink can from her side into the space directly in front of Su-ri-young, who remains seated and dazed while facing the sea.\n  FIGURES — apparent size & depth order (follow exactly): Hye-su’s hand and forearm fill roughly ~1/3 of the frame height, with the can small at ~1/8; both are NEARER to the camera, while seated Su-ri-young is FARTHER behind them.\nPANEL 2: 멀리서 혜수의 전신과 한 발을 공중에 띄운 mid-stride 자세로 달리는 수리영의 뒷모습을 한 프레임에 담은 넓은 구도\n  MOVEMENT (follow exactly): Su-ri-young runs away from Hye-su and away from the camera, seen from behind with one foot airborne in mid-stride, while Hye-su remains standing behind her and calls after her.\n  FIGURES — apparent size & depth order (follow exactly): In the wide frame, Hye-su’s full body appears small at roughly ~1/3 of the frame height and is NEARER, while Su-ri-young’s back-facing running figure is FARTHER and smaller at roughly ~1/4. Su-ri-young’s path increases the distance between them as she runs ahead, leaving Hye-su behind.\n\nABSOLUTELY NO TEXT anywhere: no words, letters, captions, labels,\nsound effects or watermarks — the ONLY allowed marking is a small\nshot number digit (1, 2) in a corner INSIDE each drawn panel.\nTHE PANEL GRID FILLS THE ENTIRE IMAGE EDGE-TO-EDGE: no outer paper\nmargin, no border area, nothing drawn outside the panels — the\nimage must be mechanically cuttable along the stated cut lines.\nPanels are separated only by thin straight black gutter lines at\nthe exact stated positions; ALL PANELS EXACTLY THE SAME SIZE."}
{"ts": "2026-07-12 18:10:21", "kind": "img", "engine": "gpt-image-2", "mode": "generate", "tag": "s35_conti_police_office_interior_0_i2", "refs": [], "size": "1024x1024", "attempt": 1, "dur_s": 156.7, "bytes": 2200057, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/conti35_police_office_interior_0_i2.png", "prompt": "Draw ONE storyboard (conti) sheet: 4 panels made by ONE vertical cut at exactly 50% of the width and ONE horizontal cut at exactly 50% of the height — a 2x2 grid, each panel exactly one quarter of the image.\nSTYLE: hand-drawn PRE-PRODUCTION STORYBOARD FOR A LIVE-ACTION FILM\nSHOOT — the working drawings a professional film storyboard artist\nmakes for the director and cinematographer of a real movie:\nREALISTIC adult human proportions and faces (ordinary Korean\nadults, film-actor realism), true cinematic lens framing, and\nnaturalistic light-and-shadow blocking rendered in monochrome\ngraphite pencil tone on white paper.\nABSOLUTELY NOT manga, NOT anime, NOT cartoon, NOT webtoon, NOT\ncomic-book style: no stylized or enlarged eyes, no cute or\nyouthful idealized faces, no clean ink outlines — every panel\nmust read like a frame of a live-action film sketched in pencil.\nNo color anywhere.\n\nTHE LOCATION (same in all drawn panels): A functional police office with clustered desks, computer monitors, paperwork, and a clearly visible exit door. The room is arranged as an open administrative workspace under institutional lighting..\n\nPURPOSE: each panel captures only the CAMERA COMPOSITION of one\nshot — framing (close-up / medium / wide), where the subject sits in\nthe frame, and continuity between panels. Keep every panel\nextremely simple: only what matters for composition.\nMOVEMENT IS SHOWN BY THE FIGURE ITSELF, NEVER BY MARKINGS: convey\ndirection of travel purely through the body — stride mid-motion,\nbody lean into the path, back view vs front view, and the stated\nsize/depth cues. Do NOT draw arrows, motion lines, path lines,\nspeed lines or any diagram markings of any kind.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Draw what a real movie camera would actually record\non a physical set — exaggerated or figurative impressions become\nrealistic staging choices (lighting, distance, angle, wardrobe),\nnot literal fantasy drawings.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still draw them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nGEOMETRY — ANALYSE BEFORE DRAWING: from each panel's Korean shot\ntext, first work out the spatial facts and draw EXACTLY those, never\nre-stage them: (a) each figure's DISTANCE from camera (tight insert /\nclose-up / medium / full / wide — a shot about a hand or an object\nis a tight insert, not a two-shot); (b) each figure's FACING and\nMOVEMENT DIRECTION relative to camera — '뒷모습' means seen from\nBEHIND, moving AWAY from camera into the depth of the frame, not\nsideways; a profile means lateral movement; (c) relative positions\nand distances BETWEEN figures. Keep every established screen\ndirection consistent across panels (180-degree rule): a person who\nleaves in one panel keeps the same on-screen direction wherever the\nmovement appears again.\nSIZE & DEPTH ARE CONTRACTUAL: each panel states every figure's\napparent size in the frame and the explicit near/far depth order.\nDraw exactly those proportions — a farther figure MUST be drawn\nclearly smaller than a nearer one; never equalize figure sizes,\nespecially when several figures share a panel or their paths\nrelate to each other.\nDEPARTING FIGURE — a figure running/walking AWAY must be\nunmistakably departing, never approaching: seen exactly from behind\n(back of the head only, no face, no chin, no cheek line), body\nleaning into the path, mid-stride with one shoe sole toward the\ncamera. THE STATED SIZE/DEPTH WINS: draw the departing figure at\nexactly the apparent size and depth the panel's FIGURES line states\n(if stated FARTHER/small, it stays small in the distance — never\nenlarge it into the foreground for drama).\n\nCONTINUITY: all drawn panels are the SAME single location — fixed\nfeatures (doors, stairs, windows, poles, desks) keep the same\nposition and left/right relationships across panels so the panels\ncut together as one continuous scene.\n\nPANELS (one shot per panel, Korean shot text):\n\nPANEL 1: 혜수가 스마트폰 액정을 김형사 쪽으로 불쑥 내민 순간\n  MOVEMENT (follow exactly): Hye-su abruptly extends her arm from her position in the office toward Detective Kim, thrusting the smartphone screen with Min-suk's saved number into his viewing space while remaining tensely oriented toward him.\n  FIGURES — apparent size & depth order (follow exactly): Hye-su's outstretched hand and smartphone are NEARER and prominent at roughly ~1/3 of the frame height, while Detective Kim is FARTHER across from her at roughly ~1/2 of the frame height. The phone crosses the space between them but remains in Hye-su's hand.\nPANEL 2: 수리영이 두 눈을 크게 뜨고 입을 살짝 벌린 굳은 얼굴 클로즈업\n  MOVEMENT (follow exactly): static: Su-ri-young holds rigid with widened eyes and slightly parted lips, her tense, shocked face directed toward what she has just seen.\n  FIGURES — apparent size & depth order (follow exactly): Su-ri-young's face is the sole visible figure, NEAR to the camera and filling roughly ~2/3 to ~3/4 of the frame height; no farther person is visible.\nPANEL 3: 모니터 화면에 바다 지도가 펼쳐져 있고 붉은색 핀과 좌표 숫자가 떠 있는 클로즈업\n  MOVEMENT (follow exactly): static: the monitor displays an ocean map with a red location pin and coordinate numbers, with no physical movement in frame.\n  FIGURES — apparent size & depth order (follow exactly): The monitor image is the sole visible subject and fills nearly the entire frame; the red pin and coordinate text lie on the same NEAR screen plane, with the map visually receding FARTHER only within the displayed graphic.\nPANEL 4: 수리영이 메모지가 들어간 겉옷 주머니에 손을 넣은 채 사무실 출입문을 향해 몸을 돌린 정지 순간\n  MOVEMENT (follow exactly): static: Su-ri-young pauses mid-turn inside the office with one hand still in the coat pocket holding the folded note, her tense, guarded body oriented toward the office exit as she prepares to leave.\n  FIGURES — apparent size & depth order (follow exactly): Su-ri-young is NEARER, appearing at roughly ~1/2 to ~2/3 of the frame height, while the office doorway she faces is FARTHER in the background. Her path leads away from her position in the office toward and through that doorway.\n\nABSOLUTELY NO TEXT anywhere: no words, letters, captions, labels,\nsound effects or watermarks — the ONLY allowed marking is a small\nshot number digit (1, 2, 3, 4) in a corner INSIDE each drawn panel.\nTHE PANEL GRID FILLS THE ENTIRE IMAGE EDGE-TO-EDGE: no outer paper\nmargin, no border area, nothing drawn outside the panels — the\nimage must be mechanically cuttable along the stated cut lines.\nPanels are separated only by thin straight black gutter lines at\nthe exact stated positions; ALL PANELS EXACTLY THE SAME SIZE."}
{"ts": "2026-07-12 18:12:10", "kind": "img", "engine": "gpt-image-2", "mode": "generate", "tag": "s35_conti_supermarket_admin_office_0_i2", "refs": [], "size": "1536x1024", "attempt": 1, "dur_s": 108.4, "bytes": 3312134, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/conti35_supermarket_admin_office_0_i2.png", "prompt": "Draw ONE storyboard (conti) sheet: 2 panels made by ONE vertical cut at exactly 50% of the image width — each panel is exactly half the width and the FULL height (1 row x 2 columns).\nSTYLE: hand-drawn PRE-PRODUCTION STORYBOARD FOR A LIVE-ACTION FILM\nSHOOT — the working drawings a professional film storyboard artist\nmakes for the director and cinematographer of a real movie:\nREALISTIC adult human proportions and faces (ordinary Korean\nadults, film-actor realism), true cinematic lens framing, and\nnaturalistic light-and-shadow blocking rendered in monochrome\ngraphite pencil tone on white paper.\nABSOLUTELY NOT manga, NOT anime, NOT cartoon, NOT webtoon, NOT\ncomic-book style: no stylized or enlarged eyes, no cute or\nyouthful idealized faces, no clean ink outlines — every panel\nmust read like a frame of a live-action film sketched in pencil.\nNo color anywhere.\n\nTHE LOCATION (same in all drawn panels): A compact back-office inside a supermarket, furnished with desks, computer monitors, and security equipment. The workstation is used to review surveillance footage away from the public sales floor..\n\nPURPOSE: each panel captures only the CAMERA COMPOSITION of one\nshot — framing (close-up / medium / wide), where the subject sits in\nthe frame, and continuity between panels. Keep every panel\nextremely simple: only what matters for composition.\nMOVEMENT IS SHOWN BY THE FIGURE ITSELF, NEVER BY MARKINGS: convey\ndirection of travel purely through the body — stride mid-motion,\nbody lean into the path, back view vs front view, and the stated\nsize/depth cues. Do NOT draw arrows, motion lines, path lines,\nspeed lines or any diagram markings of any kind.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Draw what a real movie camera would actually record\non a physical set — exaggerated or figurative impressions become\nrealistic staging choices (lighting, distance, angle, wardrobe),\nnot literal fantasy drawings.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still draw them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nGEOMETRY — ANALYSE BEFORE DRAWING: from each panel's Korean shot\ntext, first work out the spatial facts and draw EXACTLY those, never\nre-stage them: (a) each figure's DISTANCE from camera (tight insert /\nclose-up / medium / full / wide — a shot about a hand or an object\nis a tight insert, not a two-shot); (b) each figure's FACING and\nMOVEMENT DIRECTION relative to camera — '뒷모습' means seen from\nBEHIND, moving AWAY from camera into the depth of the frame, not\nsideways; a profile means lateral movement; (c) relative positions\nand distances BETWEEN figures. Keep every established screen\ndirection consistent across panels (180-degree rule): a person who\nleaves in one panel keeps the same on-screen direction wherever the\nmovement appears again.\nSIZE & DEPTH ARE CONTRACTUAL: each panel states every figure's\napparent size in the frame and the explicit near/far depth order.\nDraw exactly those proportions — a farther figure MUST be drawn\nclearly smaller than a nearer one; never equalize figure sizes,\nespecially when several figures share a panel or their paths\nrelate to each other.\nDEPARTING FIGURE — a figure running/walking AWAY must be\nunmistakably departing, never approaching: seen exactly from behind\n(back of the head only, no face, no chin, no cheek line), body\nleaning into the path, mid-stride with one shoe sole toward the\ncamera. THE STATED SIZE/DEPTH WINS: draw the departing figure at\nexactly the apparent size and depth the panel's FIGURES line states\n(if stated FARTHER/small, it stays small in the distance — never\nenlarge it into the foreground for drama).\n\nCONTINUITY: all drawn panels are the SAME single location — fixed\nfeatures (doors, stairs, windows, poles, desks) keep the same\nposition and left/right relationships across panels so the panels\ncut together as one continuous scene.\n\nPANELS (one shot per panel, Korean shot text):\n\nPANEL 1: 마트 총무과 책상 앞, 한국인 남성 보안직원과 혜수가 컴퓨터 모니터를 향해 몸을 기울인 측면\n  MOVEMENT (follow exactly): static: The Korean male security employee and Hye-su lean tensely forward from in front of the desk toward the computer monitor, keeping their faces and bodies oriented to the CCTV footage.\n  FIGURES — apparent size & depth order (follow exactly): The security employee and Hye-su each fill roughly ~1/2 of the frame height in side view, occupying a comparable near-midground plane, with the slightly overlapping foreground figure NEARER and the other FARTHER; the monitor is smaller and FARTHER than both along their shared line of sight.\nPANEL 2: 흑백 CCTV 화면 속 어두운 구석에 사람 형상이 희미하게 찍힌 모니터 클로즈업\n  MOVEMENT (follow exactly): static: A real person appearing as a faint dark silhouette, with normal human build, remains indistinct in a dark corner of the black-and-white CCTV image.\n  FIGURES — apparent size & depth order (follow exactly): The monitor fills nearly the entire frame and is NEARER to the camera, while the faint human figure within the displayed CCTV scene is FARTHER and small, roughly ~1/5 of the screen height.\n\nABSOLUTELY NO TEXT anywhere: no words, letters, captions, labels,\nsound effects or watermarks — the ONLY allowed marking is a small\nshot number digit (1, 2) in a corner INSIDE each drawn panel.\nTHE PANEL GRID FILLS THE ENTIRE IMAGE EDGE-TO-EDGE: no outer paper\nmargin, no border area, nothing drawn outside the panels — the\nimage must be mechanically cuttable along the stated cut lines.\nPanels are separated only by thin straight black gutter lines at\nthe exact stated positions; ALL PANELS EXACTLY THE SAME SIZE."}
{"ts": "2026-07-12 18:14:00", "kind": "img", "engine": "gpt-image-2", "mode": "generate", "tag": "s35_conti_police_station_exterior_road_0_i2", "refs": [], "size": "1536x1024", "attempt": 1, "dur_s": 110.0, "bytes": 2342195, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/conti35_police_station_exterior_road_0_i2.png", "prompt": "Draw ONE storyboard (conti) sheet: 2 panels made by ONE vertical cut at exactly 50% of the image width — each panel is exactly half the width and the FULL height (1 row x 2 columns).\nSTYLE: hand-drawn PRE-PRODUCTION STORYBOARD FOR A LIVE-ACTION FILM\nSHOOT — the working drawings a professional film storyboard artist\nmakes for the director and cinematographer of a real movie:\nREALISTIC adult human proportions and faces (ordinary Korean\nadults, film-actor realism), true cinematic lens framing, and\nnaturalistic light-and-shadow blocking rendered in monochrome\ngraphite pencil tone on white paper.\nABSOLUTELY NOT manga, NOT anime, NOT cartoon, NOT webtoon, NOT\ncomic-book style: no stylized or enlarged eyes, no cute or\nyouthful idealized faces, no clean ink outlines — every panel\nmust read like a frame of a live-action film sketched in pencil.\nNo color anywhere.\n\nTHE LOCATION (same in all drawn panels): A paved urban road directly outside a police station, with the institutional building facade bordering the street. The curbside lane provides a clear route past the entrance..\n\nPURPOSE: each panel captures only the CAMERA COMPOSITION of one\nshot — framing (close-up / medium / wide), where the subject sits in\nthe frame, and continuity between panels. Keep every panel\nextremely simple: only what matters for composition.\nMOVEMENT IS SHOWN BY THE FIGURE ITSELF, NEVER BY MARKINGS: convey\ndirection of travel purely through the body — stride mid-motion,\nbody lean into the path, back view vs front view, and the stated\nsize/depth cues. Do NOT draw arrows, motion lines, path lines,\nspeed lines or any diagram markings of any kind.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Draw what a real movie camera would actually record\non a physical set — exaggerated or figurative impressions become\nrealistic staging choices (lighting, distance, angle, wardrobe),\nnot literal fantasy drawings.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still draw them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nGEOMETRY — ANALYSE BEFORE DRAWING: from each panel's Korean shot\ntext, first work out the spatial facts and draw EXACTLY those, never\nre-stage them: (a) each figure's DISTANCE from camera (tight insert /\nclose-up / medium / full / wide — a shot about a hand or an object\nis a tight insert, not a two-shot); (b) each figure's FACING and\nMOVEMENT DIRECTION relative to camera — '뒷모습' means seen from\nBEHIND, moving AWAY from camera into the depth of the frame, not\nsideways; a profile means lateral movement; (c) relative positions\nand distances BETWEEN figures. Keep every established screen\ndirection consistent across panels (180-degree rule): a person who\nleaves in one panel keeps the same on-screen direction wherever the\nmovement appears again.\nSIZE & DEPTH ARE CONTRACTUAL: each panel states every figure's\napparent size in the frame and the explicit near/far depth order.\nDraw exactly those proportions — a farther figure MUST be drawn\nclearly smaller than a nearer one; never equalize figure sizes,\nespecially when several figures share a panel or their paths\nrelate to each other.\nDEPARTING FIGURE — a figure running/walking AWAY must be\nunmistakably departing, never approaching: seen exactly from behind\n(back of the head only, no face, no chin, no cheek line), body\nleaning into the path, mid-stride with one shoe sole toward the\ncamera. THE STATED SIZE/DEPTH WINS: draw the departing figure at\nexactly the apparent size and depth the panel's FIGURES line states\n(if stated FARTHER/small, it stays small in the distance — never\nenlarge it into the foreground for drama).\n\nCONTINUITY: all drawn panels are the SAME single location — fixed\nfeatures (doors, stairs, windows, poles, desks) keep the same\nposition and left/right relationships across panels so the panels\ncut together as one continuous scene.\n\nPANELS (one shot per panel, Korean shot text):\n\nPANEL 1: 경찰서 건물 밖 도로 위에서 수리영이 자전거 안장에 앉아 상체를 앞으로 숙인 채 머리카락이 뒤로 흩날리는 측면\n  MOVEMENT (follow exactly): Su-ryeong rides the bicycle along the road outside the police station in a side-on lateral path, pedaling forward from where it had been parked with her torso pitched forward and her hair streaming backward.\n  FIGURES — apparent size & depth order (follow exactly): Su-ryeong and the bicycle together fill roughly ~2/3 of the frame height, with Su-ryeong about ~1/2 and the bicycle about ~1/2; both occupy the same midground depth, so neither is meaningfully nearer than the other.\n\nThere are 1 shots but 2 panel slots: draw the shots in\npanels 1..1 and leave the remaining panel(s) COMPLETELY\nBLANK PURE WHITE — empty white paper, not even a frame line inside.\n\nABSOLUTELY NO TEXT anywhere: no words, letters, captions, labels,\nsound effects or watermarks — the ONLY allowed marking is a small\nshot number digit (1) in a corner INSIDE each drawn panel.\nTHE PANEL GRID FILLS THE ENTIRE IMAGE EDGE-TO-EDGE: no outer paper\nmargin, no border area, nothing drawn outside the panels — the\nimage must be mechanically cuttable along the stated cut lines.\nPanels are separated only by thin straight black gutter lines at\nthe exact stated positions; ALL PANELS EXACTLY THE SAME SIZE."}
{"ts": "2026-07-12 18:15:46", "kind": "img", "engine": "gpt-image-2", "mode": "generate", "tag": "s35_conti_dark_pc_cafe_interior_0_i2", "refs": [], "size": "1536x1024", "attempt": 1, "dur_s": 106.1, "bytes": 3363646, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/conti35_dark_pc_cafe_interior_0_i2.png", "prompt": "Draw ONE storyboard (conti) sheet: 2 panels made by ONE vertical cut at exactly 50% of the image width — each panel is exactly half the width and the FULL height (1 row x 2 columns).\nSTYLE: hand-drawn PRE-PRODUCTION STORYBOARD FOR A LIVE-ACTION FILM\nSHOOT — the working drawings a professional film storyboard artist\nmakes for the director and cinematographer of a real movie:\nREALISTIC adult human proportions and faces (ordinary Korean\nadults, film-actor realism), true cinematic lens framing, and\nnaturalistic light-and-shadow blocking rendered in monochrome\ngraphite pencil tone on white paper.\nABSOLUTELY NOT manga, NOT anime, NOT cartoon, NOT webtoon, NOT\ncomic-book style: no stylized or enlarged eyes, no cute or\nyouthful idealized faces, no clean ink outlines — every panel\nmust read like a frame of a live-action film sketched in pencil.\nNo color anywhere.\n\nTHE LOCATION (same in all drawn panels): A dark internet cafe lined with closely spaced computer desks, high-backed chairs, and glowing monitors. Most ambient light comes from the screens and small ceiling fixtures..\n\nPURPOSE: each panel captures only the CAMERA COMPOSITION of one\nshot — framing (close-up / medium / wide), where the subject sits in\nthe frame, and continuity between panels. Keep every panel\nextremely simple: only what matters for composition.\nMOVEMENT IS SHOWN BY THE FIGURE ITSELF, NEVER BY MARKINGS: convey\ndirection of travel purely through the body — stride mid-motion,\nbody lean into the path, back view vs front view, and the stated\nsize/depth cues. Do NOT draw arrows, motion lines, path lines,\nspeed lines or any diagram markings of any kind.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Draw what a real movie camera would actually record\non a physical set — exaggerated or figurative impressions become\nrealistic staging choices (lighting, distance, angle, wardrobe),\nnot literal fantasy drawings.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still draw them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nGEOMETRY — ANALYSE BEFORE DRAWING: from each panel's Korean shot\ntext, first work out the spatial facts and draw EXACTLY those, never\nre-stage them: (a) each figure's DISTANCE from camera (tight insert /\nclose-up / medium / full / wide — a shot about a hand or an object\nis a tight insert, not a two-shot); (b) each figure's FACING and\nMOVEMENT DIRECTION relative to camera — '뒷모습' means seen from\nBEHIND, moving AWAY from camera into the depth of the frame, not\nsideways; a profile means lateral movement; (c) relative positions\nand distances BETWEEN figures. Keep every established screen\ndirection consistent across panels (180-degree rule): a person who\nleaves in one panel keeps the same on-screen direction wherever the\nmovement appears again.\nSIZE & DEPTH ARE CONTRACTUAL: each panel states every figure's\napparent size in the frame and the explicit near/far depth order.\nDraw exactly those proportions — a farther figure MUST be drawn\nclearly smaller than a nearer one; never equalize figure sizes,\nespecially when several figures share a panel or their paths\nrelate to each other.\nDEPARTING FIGURE — a figure running/walking AWAY must be\nunmistakably departing, never approaching: seen exactly from behind\n(back of the head only, no face, no chin, no cheek line), body\nleaning into the path, mid-stride with one shoe sole toward the\ncamera. THE STATED SIZE/DEPTH WINS: draw the departing figure at\nexactly the apparent size and depth the panel's FIGURES line states\n(if stated FARTHER/small, it stays small in the distance — never\nenlarge it into the foreground for drama).\n\nCONTINUITY: all drawn panels are the SAME single location — fixed\nfeatures (doors, stairs, windows, poles, desks) keep the same\nposition and left/right relationships across panels so the panels\ncut together as one continuous scene.\n\nPANELS (one shot per panel, Korean shot text):\n\nPANEL 1: 어두운 PC방 안, 모니터 불빛이 비치는 수리영의 정면 상체\n  MOVEMENT (follow exactly): static: Su-ri-young sits at the computer, torso facing the monitor and gaze directed toward the screen in front of her.\n  FIGURES — apparent size & depth order (follow exactly): Su-ri-young's front-facing upper body fills roughly ~1/2 of the frame height and is the nearer figure, while the monitor casting light onto her is farther in front of her.\nPANEL 2: 수리영의 두 손이 접힌 지도 종이들을 열려 있는 백팩 안으로 밀어넣은 정지 순간\n  MOVEMENT (follow exactly): Su-ri-young's two hands push the folded map sheets downward from above the opening into the open backpack.\n  FIGURES — apparent size & depth order (follow exactly): Her hands and the folded maps occupy roughly ~1/3 of the frame height, with the hands nearer to the camera than the maps as they press them into the backpack; the open backpack fills roughly ~1/2 of the frame height and lies farther beneath them along the same insertion path.\n\nABSOLUTELY NO TEXT anywhere: no words, letters, captions, labels,\nsound effects or watermarks — the ONLY allowed marking is a small\nshot number digit (1, 2) in a corner INSIDE each drawn panel.\nTHE PANEL GRID FILLS THE ENTIRE IMAGE EDGE-TO-EDGE: no outer paper\nmargin, no border area, nothing drawn outside the panels — the\nimage must be mechanically cuttable along the stated cut lines.\nPanels are separated only by thin straight black gutter lines at\nthe exact stated positions; ALL PANELS EXACTLY THE SAME SIZE."}
{"ts": "2026-07-12 18:18:07", "kind": "img", "engine": "gpt-image-2", "mode": "generate", "tag": "s35_conti_foggy_harbor_rocks_0_i2", "refs": [], "size": "1024x1024", "attempt": 1, "dur_s": 141.0, "bytes": 1666135, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/conti35_foggy_harbor_rocks_0_i2.png", "prompt": "Draw ONE storyboard (conti) sheet: 4 panels made by ONE vertical cut at exactly 50% of the width and ONE horizontal cut at exactly 50% of the height — a 2x2 grid, each panel exactly one quarter of the image.\nSTYLE: hand-drawn PRE-PRODUCTION STORYBOARD FOR A LIVE-ACTION FILM\nSHOOT — the working drawings a professional film storyboard artist\nmakes for the director and cinematographer of a real movie:\nREALISTIC adult human proportions and faces (ordinary Korean\nadults, film-actor realism), true cinematic lens framing, and\nnaturalistic light-and-shadow blocking rendered in monochrome\ngraphite pencil tone on white paper.\nABSOLUTELY NOT manga, NOT anime, NOT cartoon, NOT webtoon, NOT\ncomic-book style: no stylized or enlarged eyes, no cute or\nyouthful idealized faces, no clean ink outlines — every panel\nmust read like a frame of a live-action film sketched in pencil.\nNo color anywhere.\n\nTHE LOCATION (same in all drawn panels): A small foggy harbor where dark tidal rocks meet a simple mooring edge. Fixed features include a stout mooring post, thick anchor ropes, and a landing point for small fishing boats..\n\nPURPOSE: each panel captures only the CAMERA COMPOSITION of one\nshot — framing (close-up / medium / wide), where the subject sits in\nthe frame, and continuity between panels. Keep every panel\nextremely simple: only what matters for composition.\nMOVEMENT IS SHOWN BY THE FIGURE ITSELF, NEVER BY MARKINGS: convey\ndirection of travel purely through the body — stride mid-motion,\nbody lean into the path, back view vs front view, and the stated\nsize/depth cues. Do NOT draw arrows, motion lines, path lines,\nspeed lines or any diagram markings of any kind.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Draw what a real movie camera would actually record\non a physical set — exaggerated or figurative impressions become\nrealistic staging choices (lighting, distance, angle, wardrobe),\nnot literal fantasy drawings.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still draw them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nGEOMETRY — ANALYSE BEFORE DRAWING: from each panel's Korean shot\ntext, first work out the spatial facts and draw EXACTLY those, never\nre-stage them: (a) each figure's DISTANCE from camera (tight insert /\nclose-up / medium / full / wide — a shot about a hand or an object\nis a tight insert, not a two-shot); (b) each figure's FACING and\nMOVEMENT DIRECTION relative to camera — '뒷모습' means seen from\nBEHIND, moving AWAY from camera into the depth of the frame, not\nsideways; a profile means lateral movement; (c) relative positions\nand distances BETWEEN figures. Keep every established screen\ndirection consistent across panels (180-degree rule): a person who\nleaves in one panel keeps the same on-screen direction wherever the\nmovement appears again.\nSIZE & DEPTH ARE CONTRACTUAL: each panel states every figure's\napparent size in the frame and the explicit near/far depth order.\nDraw exactly those proportions — a farther figure MUST be drawn\nclearly smaller than a nearer one; never equalize figure sizes,\nespecially when several figures share a panel or their paths\nrelate to each other.\nDEPARTING FIGURE — a figure running/walking AWAY must be\nunmistakably departing, never approaching: seen exactly from behind\n(back of the head only, no face, no chin, no cheek line), body\nleaning into the path, mid-stride with one shoe sole toward the\ncamera. THE STATED SIZE/DEPTH WINS: draw the departing figure at\nexactly the apparent size and depth the panel's FIGURES line states\n(if stated FARTHER/small, it stays small in the distance — never\nenlarge it into the foreground for drama).\n\nCONTINUITY: all drawn panels are the SAME single location — fixed\nfeatures (doors, stairs, windows, poles, desks) keep the same\nposition and left/right relationships across panels so the panels\ncut together as one continuous scene.\n\nPANELS (one shot per panel, Korean shot text):\n\nPANEL 1: 수리영이 갯바위 위에 무릎을 모으고 앉아 바다를 응시하는 측면\n  MOVEMENT (follow exactly): static: exhausted after wandering the harbor for hours, Suriyoung sits on the shore rock with her knees together, her body turned toward the sea as she stares into the incoming fog.\n  FIGURES — apparent size & depth order (follow exactly): Suriyoung appears at roughly ~1/2 of the frame height, NEARER to the camera than the fog-covered sea, which lies FARTHER beyond her; the shore rock supports her in the near plane.\nPANEL 2: 뱃머리에서 내린 인우가 굵은 닻줄을 쥔 채 바닥의 말뚝에 걸친 정지 순간\n  MOVEMENT (follow exactly): static: having stepped off the bow, Inwoo stands by the ground stake, gripping the thick mooring rope and holding it in place as he secures the boat.\n  FIGURES — apparent size & depth order (follow exactly): Inwoo fills roughly ~2/3 of the frame height and is NEARER than the boat behind him; the rope runs from the FARTHER boat through his hands to the NEARER ground stake beside him.\nPANEL 3: 수리영이 바다를 향해 선 채 스마트폰을 입가에 댄 측면 상체\n  MOVEMENT (follow exactly): static: visibly fatigued, Suriyoung stands facing the sea in side profile, holding her smartphone at her mouth while leaving a voice message before departing.\n  FIGURES — apparent size & depth order (follow exactly): Suriyoung's upper body fills roughly ~2/3 of the frame height, with the smartphone close to her face in the NEAREST plane; she is NEARER than the foggy sea stretching FARTHER behind her.\n\nThere are 3 shots but 4 panel slots: draw the shots in\npanels 1..3 and leave the remaining panel(s) COMPLETELY\nBLANK PURE WHITE — empty white paper, not even a frame line inside.\n\nABSOLUTELY NO TEXT anywhere: no words, letters, captions, labels,\nsound effects or watermarks — the ONLY allowed marking is a small\nshot number digit (1, 2, 3) in a corner INSIDE each drawn panel.\nTHE PANEL GRID FILLS THE ENTIRE IMAGE EDGE-TO-EDGE: no outer paper\nmargin, no border area, nothing drawn outside the panels — the\nimage must be mechanically cuttable along the stated cut lines.\nPanels are separated only by thin straight black gutter lines at\nthe exact stated positions; ALL PANELS EXACTLY THE SAME SIZE."}
{"ts": "2026-07-12 18:20:09", "kind": "img", "engine": "gpt-image-2", "mode": "generate", "tag": "s35_conti_small_fishing_boat_deck_0_i2", "refs": [], "size": "1536x1024", "attempt": 1, "dur_s": 122.2, "bytes": 3414896, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/conti35_small_fishing_boat_deck_0_i2.png", "prompt": "Draw ONE storyboard (conti) sheet: 2 panels made by ONE vertical cut at exactly 50% of the image width — each panel is exactly half the width and the FULL height (1 row x 2 columns).\nSTYLE: hand-drawn PRE-PRODUCTION STORYBOARD FOR A LIVE-ACTION FILM\nSHOOT — the working drawings a professional film storyboard artist\nmakes for the director and cinematographer of a real movie:\nREALISTIC adult human proportions and faces (ordinary Korean\nadults, film-actor realism), true cinematic lens framing, and\nnaturalistic light-and-shadow blocking rendered in monochrome\ngraphite pencil tone on white paper.\nABSOLUTELY NOT manga, NOT anime, NOT cartoon, NOT webtoon, NOT\ncomic-book style: no stylized or enlarged eyes, no cute or\nyouthful idealized faces, no clean ink outlines — every panel\nmust read like a frame of a live-action film sketched in pencil.\nNo color anywhere.\n\nTHE LOCATION (same in all drawn panels): The exposed deck of a small working fishing boat, with low rails, a forward bow area, and a raised wheelhouse. A narrow doorway connects the open deck to the enclosed wheelhouse..\n\nPURPOSE: each panel captures only the CAMERA COMPOSITION of one\nshot — framing (close-up / medium / wide), where the subject sits in\nthe frame, and continuity between panels. Keep every panel\nextremely simple: only what matters for composition.\nMOVEMENT IS SHOWN BY THE FIGURE ITSELF, NEVER BY MARKINGS: convey\ndirection of travel purely through the body — stride mid-motion,\nbody lean into the path, back view vs front view, and the stated\nsize/depth cues. Do NOT draw arrows, motion lines, path lines,\nspeed lines or any diagram markings of any kind.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Draw what a real movie camera would actually record\non a physical set — exaggerated or figurative impressions become\nrealistic staging choices (lighting, distance, angle, wardrobe),\nnot literal fantasy drawings.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still draw them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nGEOMETRY — ANALYSE BEFORE DRAWING: from each panel's Korean shot\ntext, first work out the spatial facts and draw EXACTLY those, never\nre-stage them: (a) each figure's DISTANCE from camera (tight insert /\nclose-up / medium / full / wide — a shot about a hand or an object\nis a tight insert, not a two-shot); (b) each figure's FACING and\nMOVEMENT DIRECTION relative to camera — '뒷모습' means seen from\nBEHIND, moving AWAY from camera into the depth of the frame, not\nsideways; a profile means lateral movement; (c) relative positions\nand distances BETWEEN figures. Keep every established screen\ndirection consistent across panels (180-degree rule): a person who\nleaves in one panel keeps the same on-screen direction wherever the\nmovement appears again.\nSIZE & DEPTH ARE CONTRACTUAL: each panel states every figure's\napparent size in the frame and the explicit near/far depth order.\nDraw exactly those proportions — a farther figure MUST be drawn\nclearly smaller than a nearer one; never equalize figure sizes,\nespecially when several figures share a panel or their paths\nrelate to each other.\nDEPARTING FIGURE — a figure running/walking AWAY must be\nunmistakably departing, never approaching: seen exactly from behind\n(back of the head only, no face, no chin, no cheek line), body\nleaning into the path, mid-stride with one shoe sole toward the\ncamera. THE STATED SIZE/DEPTH WINS: draw the departing figure at\nexactly the apparent size and depth the panel's FIGURES line states\n(if stated FARTHER/small, it stays small in the distance — never\nenlarge it into the foreground for drama).\n\nCONTINUITY: all drawn panels are the SAME single location — fixed\nfeatures (doors, stairs, windows, poles, desks) keep the same\nposition and left/right relationships across panels so the panels\ncut together as one continuous scene.\n\nPANELS (one shot per panel, Korean shot text):\n\nPANEL 1: 인우가 사진에 시선을 고정한 채 두 눈을 크게 뜨고 상체를 뒤로 뺀 측면 구도\n  MOVEMENT (follow exactly): static: Inwoo keeps his gaze fixed on the photograph, eyes widened as his startled, tense upper body recoils backward in side profile.\n  FIGURES — apparent size & depth order (follow exactly): Inwoo fills roughly ~1/2 of the frame height and is the only visible person, making him both the nearest and farthest figure in the frame.\nPANEL 2: 수리영이 조타실 입구에 서서 두 팔을 벌린 채 멈춘 전신\n  MOVEMENT (follow exactly): static: Suriyoung has stopped at the wheelhouse entrance with both arms spread, standing squarely toward the wheelhouse interior as if blocking the way.\n  FIGURES — apparent size & depth order (follow exactly): Suriyoung is shown full-body, filling roughly ~4/5 of the frame height; she is the only visible person and therefore the nearest figure, while the wheelhouse interior lies farther behind her.\n\nABSOLUTELY NO TEXT anywhere: no words, letters, captions, labels,\nsound effects or watermarks — the ONLY allowed marking is a small\nshot number digit (1, 2) in a corner INSIDE each drawn panel.\nTHE PANEL GRID FILLS THE ENTIRE IMAGE EDGE-TO-EDGE: no outer paper\nmargin, no border area, nothing drawn outside the panels — the\nimage must be mechanically cuttable along the stated cut lines.\nPanels are separated only by thin straight black gutter lines at\nthe exact stated positions; ALL PANELS EXACTLY THE SAME SIZE."}
{"ts": "2026-07-12 18:22:41", "kind": "img", "engine": "gpt-image-2", "mode": "generate", "tag": "s35_conti_fishing_boat_wheelhouse_0_i2", "refs": [], "size": "1024x1024", "attempt": 1, "dur_s": 152.4, "bytes": 1842897, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/conti35_fishing_boat_wheelhouse_0_i2.png", "prompt": "Draw ONE storyboard (conti) sheet: 4 panels made by ONE vertical cut at exactly 50% of the width and ONE horizontal cut at exactly 50% of the height — a 2x2 grid, each panel exactly one quarter of the image.\nSTYLE: hand-drawn PRE-PRODUCTION STORYBOARD FOR A LIVE-ACTION FILM\nSHOOT — the working drawings a professional film storyboard artist\nmakes for the director and cinematographer of a real movie:\nREALISTIC adult human proportions and faces (ordinary Korean\nadults, film-actor realism), true cinematic lens framing, and\nnaturalistic light-and-shadow blocking rendered in monochrome\ngraphite pencil tone on white paper.\nABSOLUTELY NOT manga, NOT anime, NOT cartoon, NOT webtoon, NOT\ncomic-book style: no stylized or enlarged eyes, no cute or\nyouthful idealized faces, no clean ink outlines — every panel\nmust read like a frame of a live-action film sketched in pencil.\nNo color anywhere.\n\nTHE LOCATION (same in all drawn panels): A cramped enclosed wheelhouse aboard a small fishing boat, surrounded by windows and fitted with basic navigation controls. The narrow interior opens directly onto the exterior deck through a single doorway..\n\nPURPOSE: each panel captures only the CAMERA COMPOSITION of one\nshot — framing (close-up / medium / wide), where the subject sits in\nthe frame, and continuity between panels. Keep every panel\nextremely simple: only what matters for composition.\nMOVEMENT IS SHOWN BY THE FIGURE ITSELF, NEVER BY MARKINGS: convey\ndirection of travel purely through the body — stride mid-motion,\nbody lean into the path, back view vs front view, and the stated\nsize/depth cues. Do NOT draw arrows, motion lines, path lines,\nspeed lines or any diagram markings of any kind.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Draw what a real movie camera would actually record\non a physical set — exaggerated or figurative impressions become\nrealistic staging choices (lighting, distance, angle, wardrobe),\nnot literal fantasy drawings.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still draw them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nGEOMETRY — ANALYSE BEFORE DRAWING: from each panel's Korean shot\ntext, first work out the spatial facts and draw EXACTLY those, never\nre-stage them: (a) each figure's DISTANCE from camera (tight insert /\nclose-up / medium / full / wide — a shot about a hand or an object\nis a tight insert, not a two-shot); (b) each figure's FACING and\nMOVEMENT DIRECTION relative to camera — '뒷모습' means seen from\nBEHIND, moving AWAY from camera into the depth of the frame, not\nsideways; a profile means lateral movement; (c) relative positions\nand distances BETWEEN figures. Keep every established screen\ndirection consistent across panels (180-degree rule): a person who\nleaves in one panel keeps the same on-screen direction wherever the\nmovement appears again.\nSIZE & DEPTH ARE CONTRACTUAL: each panel states every figure's\napparent size in the frame and the explicit near/far depth order.\nDraw exactly those proportions — a farther figure MUST be drawn\nclearly smaller than a nearer one; never equalize figure sizes,\nespecially when several figures share a panel or their paths\nrelate to each other.\nDEPARTING FIGURE — a figure running/walking AWAY must be\nunmistakably departing, never approaching: seen exactly from behind\n(back of the head only, no face, no chin, no cheek line), body\nleaning into the path, mid-stride with one shoe sole toward the\ncamera. THE STATED SIZE/DEPTH WINS: draw the departing figure at\nexactly the apparent size and depth the panel's FIGURES line states\n(if stated FARTHER/small, it stays small in the distance — never\nenlarge it into the foreground for drama).\n\nCONTINUITY: all drawn panels are the SAME single location — fixed\nfeatures (doors, stairs, windows, poles, desks) keep the same\nposition and left/right relationships across panels so the panels\ncut together as one continuous scene.\n\nPANELS (one shot per panel, Korean shot text):\n\nPANEL 1: 수리영의 검지손가락이 낡은 사진 속 아이의 얼굴 부분에 닿아 있는 클로즈업\n  MOVEMENT (follow exactly): static: Soo Ri-young's index finger points down toward and rests against the child's face in the worn photograph, while the rest of her body remains off-screen.\n  FIGURES — apparent size & depth order (follow exactly): Soo Ri-young's visible index finger is small, about ~1/4 of frame height, and is NEARER to the camera; the worn photograph fills most of the frame and is FARTHER, with the child's pictured face directly beneath the fingertip.\nPANEL 2: 인우가 입술을 살짝 벌린 채 하얗게 질린 얼굴 타이트 샷\n  MOVEMENT (follow exactly): static: In-woo holds his pallid face still with his lips slightly parted, his gaze direction unspecified as he turns pensive and shocked.\n  FIGURES — apparent size & depth order (follow exactly): In-woo's face fills ~3/4 of frame height and is the sole visible figure, positioned NEAR to the camera; no farther person is visible in the tight frame.\nPANEL 3: 눈이 반쯤 감긴 수리영의 이마가 인우의 어깨에 맞닿아 있는 찰나\n  MOVEMENT (follow exactly): Losing consciousness, Soo Ri-young slackens and collapses forward and downward from her own position onto In-woo, her weight giving way until her forehead meets his shoulder as he remains in place glaring at her.\n  FIGURES — apparent size & depth order (follow exactly): Soo Ri-young's visible head fills ~1/2 of frame height and is NEARER as it overlaps In-woo's shoulder; In-woo's visible shoulder and partial figure occupy ~1/3 of frame height and are FARTHER, with the two bodies closing to direct contact.\n\nThere are 3 shots but 4 panel slots: draw the shots in\npanels 1..3 and leave the remaining panel(s) COMPLETELY\nBLANK PURE WHITE — empty white paper, not even a frame line inside.\n\nABSOLUTELY NO TEXT anywhere: no words, letters, captions, labels,\nsound effects or watermarks — the ONLY allowed marking is a small\nshot number digit (1, 2, 3) in a corner INSIDE each drawn panel.\nTHE PANEL GRID FILLS THE ENTIRE IMAGE EDGE-TO-EDGE: no outer paper\nmargin, no border area, nothing drawn outside the panels — the\nimage must be mechanically cuttable along the stated cut lines.\nPanels are separated only by thin straight black gutter lines at\nthe exact stated positions; ALL PANELS EXACTLY THE SAME SIZE."}
{"ts": "2026-07-12 18:24:29", "kind": "img", "engine": "gpt-image-2", "mode": "generate", "tag": "s35_conti_open_coastal_sea_0_i2", "refs": [], "size": "1536x1024", "attempt": 1, "dur_s": 107.9, "bytes": 3507757, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/conti35_open_coastal_sea_0_i2.png", "prompt": "Draw ONE storyboard (conti) sheet: 2 panels made by ONE vertical cut at exactly 50% of the image width — each panel is exactly half the width and the FULL height (1 row x 2 columns).\nSTYLE: hand-drawn PRE-PRODUCTION STORYBOARD FOR A LIVE-ACTION FILM\nSHOOT — the working drawings a professional film storyboard artist\nmakes for the director and cinematographer of a real movie:\nREALISTIC adult human proportions and faces (ordinary Korean\nadults, film-actor realism), true cinematic lens framing, and\nnaturalistic light-and-shadow blocking rendered in monochrome\ngraphite pencil tone on white paper.\nABSOLUTELY NOT manga, NOT anime, NOT cartoon, NOT webtoon, NOT\ncomic-book style: no stylized or enlarged eyes, no cute or\nyouthful idealized faces, no clean ink outlines — every panel\nmust read like a frame of a live-action film sketched in pencil.\nNo color anywhere.\n\nTHE LOCATION (same in all drawn panels): An open coastal sea with a broad horizon and no nearby land dominating the view. At sunset, golden light stretches across the water while a dense offshore fog bank forms a distinct wall ahead..\n\nPURPOSE: each panel captures only the CAMERA COMPOSITION of one\nshot — framing (close-up / medium / wide), where the subject sits in\nthe frame, and continuity between panels. Keep every panel\nextremely simple: only what matters for composition.\nMOVEMENT IS SHOWN BY THE FIGURE ITSELF, NEVER BY MARKINGS: convey\ndirection of travel purely through the body — stride mid-motion,\nbody lean into the path, back view vs front view, and the stated\nsize/depth cues. Do NOT draw arrows, motion lines, path lines,\nspeed lines or any diagram markings of any kind.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Draw what a real movie camera would actually record\non a physical set — exaggerated or figurative impressions become\nrealistic staging choices (lighting, distance, angle, wardrobe),\nnot literal fantasy drawings.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still draw them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nGEOMETRY — ANALYSE BEFORE DRAWING: from each panel's Korean shot\ntext, first work out the spatial facts and draw EXACTLY those, never\nre-stage them: (a) each figure's DISTANCE from camera (tight insert /\nclose-up / medium / full / wide — a shot about a hand or an object\nis a tight insert, not a two-shot); (b) each figure's FACING and\nMOVEMENT DIRECTION relative to camera — '뒷모습' means seen from\nBEHIND, moving AWAY from camera into the depth of the frame, not\nsideways; a profile means lateral movement; (c) relative positions\nand distances BETWEEN figures. Keep every established screen\ndirection consistent across panels (180-degree rule): a person who\nleaves in one panel keeps the same on-screen direction wherever the\nmovement appears again.\nSIZE & DEPTH ARE CONTRACTUAL: each panel states every figure's\napparent size in the frame and the explicit near/far depth order.\nDraw exactly those proportions — a farther figure MUST be drawn\nclearly smaller than a nearer one; never equalize figure sizes,\nespecially when several figures share a panel or their paths\nrelate to each other.\nDEPARTING FIGURE — a figure running/walking AWAY must be\nunmistakably departing, never approaching: seen exactly from behind\n(back of the head only, no face, no chin, no cheek line), body\nleaning into the path, mid-stride with one shoe sole toward the\ncamera. THE STATED SIZE/DEPTH WINS: draw the departing figure at\nexactly the apparent size and depth the panel's FIGURES line states\n(if stated FARTHER/small, it stays small in the distance — never\nenlarge it into the foreground for drama).\n\nCONTINUITY: all drawn panels are the SAME single location — fixed\nfeatures (doors, stairs, windows, poles, desks) keep the same\nposition and left/right relationships across panels so the panels\ncut together as one continuous scene.\n\nPANELS (one shot per panel, Korean shot text):\n\nPANEL 1: 해질 무렵 황금빛 노을이 바다 표면에 길게 비친 전경\n  MOVEMENT (follow exactly): static: the sea lies beneath the gradually setting sun, with its long golden reflection extending across the water and no character movement visible.\n  FIGURES — apparent size & depth order (follow exactly): The sea and its golden reflection occupy most of the frame, with the foreground water NEARER to the camera and the distant horizon and sunset glow FARTHER away.\nPANEL 2: 어선의 뱃머리가 짙은 안개벽에 절반쯤 가려진 측면 구도\n  MOVEMENT (follow exactly): The fishing boat advances bow-first from clear water into the dense fog wall, seen side-on as its forward half disappears into the mist; no camera-relative left-right direction is specified.\n  FIGURES — apparent size & depth order (follow exactly): The boat's visible bow is medium-large, filling roughly ~1/2 of the frame height, while the fog wall fills most of the background; the unobscured side of the boat is NEARER, and its forward section vanishing into the fog is FARTHER along its path.\n\nABSOLUTELY NO TEXT anywhere: no words, letters, captions, labels,\nsound effects or watermarks — the ONLY allowed marking is a small\nshot number digit (1, 2) in a corner INSIDE each drawn panel.\nTHE PANEL GRID FILLS THE ENTIRE IMAGE EDGE-TO-EDGE: no outer paper\nmargin, no border area, nothing drawn outside the panels — the\nimage must be mechanically cuttable along the stated cut lines.\nPanels are separated only by thin straight black gutter lines at\nthe exact stated positions; ALL PANELS EXACTLY THE SAME SIZE."}
{"ts": "2026-07-12 18:26:06", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s35run_S1sh1_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/efc879db-5f82-4f77-bf83-75e3d2d41f1c.png"], "ref_labels": ["CHARACTER REFERENCE — 한국인 남자: the exact person appearing in this shot; match face, hair and build exactly."], "attempt": 1, "dur_s": 20.3, "bytes": 3161297, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills35/S1sh1_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): dusk, just after sunset.\n\nSHOT TEXT (authoritative, Korean): 한쪽 신발이 벗겨진 한국인 남자가 우거진 수풀 사이를 달리며 한 발을 허공에 내딛고 있는 도중의 전신 구도\n\nLOCATION (lock): A dense forest clearing enclosed by tangled shrubs, mature tree trunks, and uneven leaf-covered ground. A narrow, barely visible path cuts through the undergrowth. The shot takes place here — pick the sub-area of this location that the shot text implies.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nMOVEMENT (follow exactly): A terrified, bleeding Korean man with one shoe missing runs through dense undergrowth, pushing forward with one foot airborne and a strained, injury-compromised gait as he flees through the forest.\n\nFIGURES — size & depth (follow exactly): The man's full body fills roughly ~3/4 of the frame height and is the sole figure, occupying the primary near-to-midground plane; no farther person is visible.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of the referenced people (한국인 남자) matched exactly to their reference photo — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-12 18:26:52", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s35run_S1sh4_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/panels35/S1sh4.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills35/S1sh1_nb2.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/efc879db-5f82-4f77-bf83-75e3d2d41f1c.png"], "ref_labels": ["STORYBOARD PANEL — a REFERENCE ONLY, never the target: use it loosely for camera framing, figure placement and depth order. Do NOT photorealize this drawing as-is — the SHOT TEXT and the other references are authoritative; re-stage the moment naturally as a real photograph. Never copy the sketch's line style, paper texture, borders, simplified geometry or drawing errors.", "PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing.", "CHARACTER REFERENCE — 한국인 남자: the exact person appearing in this shot; match face, hair and build exactly."], "attempt": 1, "dur_s": 29.6, "bytes": 2987783, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills35/S1sh4_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): dusk, just after sunset.\n\nSHOT TEXT (authoritative, Korean): 검은 형상의 인영이 허공에 뛰어오른 채 한국인 남자를 향해 두 팔을 뻗고 있는 순간\n\nLOCATION (lock): A dense forest clearing enclosed by tangled shrubs, mature tree trunks, and uneven leaf-covered ground. A narrow, barely visible path cuts through the undergrowth. The shot takes place here — pick the sub-area of this location that the shot text implies.\n\nTHE STORYBOARD PANEL IS ONLY A REFERENCE: it is a\nrough pre-production sketch, not the image to\nreproduce. Take from it only the shot's rough\ncomposition — framing, where figures sit, near/far\norder. Everything else (real-world detail, materials,\nlight, anatomy, environment richness) must come from\nthe shot text and the photographic references,\nre-staged as if actually filmed on a real set. If the\nsketch conflicts with the shot text or looks\nsimplified/wrong, FOLLOW THE TEXT, not the sketch.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nMOVEMENT (follow exactly): A real person appearing as a dark silhouette, with normal human build, has sprinted in from an unspecified direction and is airborne with both arms extended toward the terrified Korean man to tackle him.\n\nFIGURES — size & depth (follow exactly): The airborne silhouette and the man are both prominent, each roughly ~1/2–2/3 of the frame height; the silhouette is closing the remaining distance to the man, but the source does not establish which is nearer to the camera. Their paths converge directly at the impending impact.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of the referenced people (한국인 남자) matched exactly to their reference photo — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-12 18:27:10", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s35run_S3sh3_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/bddad176-aa6a-4a71-b5d3-d02e36e19657.png"], "ref_labels": ["CHARACTER REFERENCE — 혜수: the exact person appearing in this shot; match face, hair and build exactly."], "attempt": 1, "dur_s": 18.8, "bytes": 2856124, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills35/S3sh3_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): daytime.\n\nSHOT TEXT (authoritative, Korean): 형사 무리 한가운데 서서 손가락으로 한쪽을 가리키는 혜수의 상체\n\nLOCATION (lock): A dense forest clearing enclosed by tangled shrubs, mature tree trunks, and uneven leaf-covered ground. A narrow, barely visible path cuts through the undergrowth. The shot takes place here — pick the sub-area of this location that the shot text implies.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nMOVEMENT (follow exactly): static: Hyesu stands upright amid the detectives, directing the investigation with her upper body oriented toward one side and one finger pointing that way.\n\nFIGURES — size & depth (follow exactly): Hyesu's upper body fills roughly ~2/3 of the frame height and is the dominant nearer figure, while the surrounding detectives appear smaller or partially framed farther around and behind her. Hyesu remains centered within their group rather than moving through it.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of the referenced people (혜수) matched exactly to their reference photo — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-12 18:27:31", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s35run_S2sh1_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/panels35/S2sh1.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/8494eff9-d8f8-4eb3-b4f4-30433165bea9.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/cf47e403-3038-46ef-8cfe-2c838bac85a9.png"], "ref_labels": ["STORYBOARD PANEL — a REFERENCE ONLY, never the target: use it loosely for camera framing, figure placement and depth order. Do NOT photorealize this drawing as-is — the SHOT TEXT and the other references are authoritative; re-stage the moment naturally as a real photograph. Never copy the sketch's line style, paper texture, borders, simplified geometry or drawing errors.", "CHARACTER REFERENCE — 한국인 여자: the exact person appearing in this shot; match face, hair and build exactly.", "CHARACTER REFERENCE — 한국인 남자 (포식 상태): the exact person appearing in this shot; match face, hair and build exactly."], "attempt": 1, "dur_s": 21.0, "bytes": 3095545, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills35/S2sh1_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\n\nSHOT TEXT (authoritative, Korean): 희미한 가로등 불빛 아래 전봇대에 밀착된 채 서 있는 한국인 남자와 한국인 여자의 옆모습\n\nLOCATION (lock): A narrow urban back alley bordered by worn masonry walls and utility poles. A single weak streetlamp casts patchy light over the confined pavement. The shot takes place here — pick the sub-area of this location that the shot text implies.\n\nTHE STORYBOARD PANEL IS ONLY A REFERENCE: it is a\nrough pre-production sketch, not the image to\nreproduce. Take from it only the shot's rough\ncomposition — framing, where figures sit, near/far\norder. Everything else (real-world detail, materials,\nlight, anatomy, environment richness) must come from\nthe shot text and the photographic references,\nre-staged as if actually filmed on a real set. If the\nsketch conflicts with the shot text or looks\nsimplified/wrong, FOLLOW THE TEXT, not the sketch.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nMOVEMENT (follow exactly): static: A Korean man and a Korean woman stand pressed together against a utility pole under the dim streetlight, their bodies in side profile and oriented toward each other.\n\nFIGURES — size & depth (follow exactly): The exact frame-height fractions are unspecified; the man and woman are comparable-sized, overlapping human figures, with neither discernibly NEARER nor FARTHER than the other, while the utility pole remains directly behind them and is FARTHER from the camera.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of the referenced people (한국인 여자, 한국인 남자 (포식 상태)) matched exactly to their reference photo — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-12 18:28:00", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s35run_S2sh3_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/panels35/S2sh3.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills35/S2sh1_nb2.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/8494eff9-d8f8-4eb3-b4f4-30433165bea9.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/cf47e403-3038-46ef-8cfe-2c838bac85a9.png"], "ref_labels": ["STORYBOARD PANEL — a REFERENCE ONLY, never the target: use it loosely for camera framing, figure placement and depth order. Do NOT photorealize this drawing as-is — the SHOT TEXT and the other references are authoritative; re-stage the moment naturally as a real photograph. Never copy the sketch's line style, paper texture, borders, simplified geometry or drawing errors.", "PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing.", "CHARACTER REFERENCE — 한국인 여자: the exact person appearing in this shot; match face, hair and build exactly.", "CHARACTER REFERENCE — 한국인 남자 (포식 상태): the exact person appearing in this shot; match face, hair and build exactly."], "attempt": 1, "dur_s": 28.4, "bytes": 2909465, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills35/S2sh3_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\n\nSHOT TEXT (authoritative, Korean): 한국인 남자가 입을 크게 벌려 한국인 여자의 목에 이빨을 박아넣은 채 멈춘 순간\n\nLOCATION (lock): A narrow urban back alley bordered by worn masonry walls and utility poles. A single weak streetlamp casts patchy light over the confined pavement. The shot takes place here — pick the sub-area of this location that the shot text implies.\n\nTHE STORYBOARD PANEL IS ONLY A REFERENCE: it is a\nrough pre-production sketch, not the image to\nreproduce. Take from it only the shot's rough\ncomposition — framing, where figures sit, near/far\norder. Everything else (real-world detail, materials,\nlight, anatomy, environment richness) must come from\nthe shot text and the photographic references,\nre-staged as if actually filmed on a real set. If the\nsketch conflicts with the shot text or looks\nsimplified/wrong, FOLLOW THE TEXT, not the sketch.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nMOVEMENT (follow exactly): static: The Korean man holds his mouth wide open with his teeth embedded in the Korean woman's neck, their bodies locked together at the point of the bite.\n\nFIGURES — size & depth (follow exactly): The exact frame-height fractions are unspecified; the man's head and the woman's neck and head are the dominant, tightly overlapping forms, with neither person clearly NEARER or FARTHER because they occupy nearly the same depth and remain in direct contact.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of the referenced people (한국인 여자, 한국인 남자 (포식 상태)) matched exactly to their reference photo — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-12 18:28:18", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s35run_S4sh1_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/panels35/S4sh1.png"], "ref_labels": ["STORYBOARD PANEL — a REFERENCE ONLY, never the target: use it loosely for camera framing, figure placement and depth order. Do NOT photorealize this drawing as-is — the SHOT TEXT and the other references are authoritative; re-stage the moment naturally as a real photograph. Never copy the sketch's line style, paper texture, borders, simplified geometry or drawing errors."], "attempt": 1, "dur_s": 18.1, "bytes": 3188570, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills35/S4sh1_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): daytime.\n\nSHOT TEXT (authoritative, Korean): 맑은 낮, 오래된 다세대 빌라 옥상 위에 자리 잡은 옥탑방을 높은 곳에서 내려다본 부감 구도\n\nLOCATION (lock): The flat rooftop of an aging low-rise apartment building, enclosed by a waist-high parapet. A small rooftop dwelling has a metal entrance door and a window visible from the open roof. The shot takes place here — pick the sub-area of this location that the shot text implies.\n\nTHE STORYBOARD PANEL IS ONLY A REFERENCE: it is a\nrough pre-production sketch, not the image to\nreproduce. Take from it only the shot's rough\ncomposition — framing, where figures sit, near/far\norder. Everything else (real-world detail, materials,\nlight, anatomy, environment richness) must come from\nthe shot text and the photographic references,\nre-staged as if actually filmed on a real set. If the\nsketch conflicts with the shot text or looks\nsimplified/wrong, FOLLOW THE TEXT, not the sketch.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nMOVEMENT (follow exactly): static: No person is visible; the rooftop room remains fixed on top of the old multi-family villa beneath the high, downward-looking camera.\n\nFIGURES — size & depth (follow exactly): The rooftop room appears small, about ~1/6 of the frame height, and is FARTHER from the camera than the surrounding upper roof surfaces in the foreground.\n\nNo people appear unless the shot text itself says so.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-12 18:28:37", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s35run_S10sh6_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/panels35/S10sh6.png"], "ref_labels": ["STORYBOARD PANEL — a REFERENCE ONLY, never the target: use it loosely for camera framing, figure placement and depth order. Do NOT photorealize this drawing as-is — the SHOT TEXT and the other references are authoritative; re-stage the moment naturally as a real photograph. Never copy the sketch's line style, paper texture, borders, simplified geometry or drawing errors."], "attempt": 1, "dur_s": 19.0, "bytes": 2530202, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills35/S10sh6_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\n\nSHOT TEXT (authoritative, Korean): 현관 철문이 아주 살짝 열린 틈새로 보이는 어두운 실내와 신발 앞코\n\nLOCATION (lock): The flat rooftop of an aging low-rise apartment building, enclosed by a waist-high parapet. A small rooftop dwelling has a metal entrance door and a window visible from the open roof. The shot takes place here — pick the sub-area of this location that the shot text implies.\n\nTHE STORYBOARD PANEL IS ONLY A REFERENCE: it is a\nrough pre-production sketch, not the image to\nreproduce. Take from it only the shot's rough\ncomposition — framing, where figures sit, near/far\norder. Everything else (real-world detail, materials,\nlight, anatomy, environment richness) must come from\nthe shot text and the photographic references,\nre-staged as if actually filmed on a real set. If the\nsketch conflicts with the shot text or looks\nsimplified/wrong, FOLLOW THE TEXT, not the sketch.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nMOVEMENT (follow exactly): The unknown man's shoe toe advances from the rooftop exterior through the narrowly opened iron doorway into the dark room, leading his unseen body inward.\n\nFIGURES — size & depth (follow exactly): The shoe toe is small, about ~1/10 of the frame height, and lies FARTHER from the camera than the NEARER iron door edges; the dark interior recedes farthest beyond it.\n\nNo people appear unless the shot text itself says so.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-12 18:28:57", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s35run_S10sh7_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/panels35/S10sh7.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills35/S10sh6_nb2.png"], "ref_labels": ["STORYBOARD PANEL — a REFERENCE ONLY, never the target: use it loosely for camera framing, figure placement and depth order. Do NOT photorealize this drawing as-is — the SHOT TEXT and the other references are authoritative; re-stage the moment naturally as a real photograph. Never copy the sketch's line style, paper texture, borders, simplified geometry or drawing errors.", "PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing."], "attempt": 1, "dur_s": 20.2, "bytes": 2667487, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills35/S10sh7_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\n\nSHOT TEXT (authoritative, Korean): 불이 켜진 옥탑방 창문에 거대한 그림자가 작은 그림자의 어깨 쪽으로 고개를 꺾은 형태가 맺혀 있는 정지 구도\n\nLOCATION (lock): The flat rooftop of an aging low-rise apartment building, enclosed by a waist-high parapet. A small rooftop dwelling has a metal entrance door and a window visible from the open roof. The shot takes place here — pick the sub-area of this location that the shot text implies.\n\nTHE STORYBOARD PANEL IS ONLY A REFERENCE: it is a\nrough pre-production sketch, not the image to\nreproduce. Take from it only the shot's rough\ncomposition — framing, where figures sit, near/far\norder. Everything else (real-world detail, materials,\nlight, anatomy, environment richness) must come from\nthe shot text and the photographic references,\nre-staged as if actually filmed on a real set. If the\nsketch conflicts with the shot text or looks\nsimplified/wrong, FOLLOW THE TEXT, not the sketch.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nMOVEMENT (follow exactly): static: A real man appearing as a large dark silhouette, with normal human build, leans into Minsook and angles his head down toward her shoulder as she is caught beneath him.\n\nFIGURES — size & depth (follow exactly): The man's shadow fills roughly ~2/3 of the frame height, larger than Minsook's smaller shadow at about ~1/3; both people are FARTHER than the NEARER window surface, while their mutual camera-depth order is not established. Their silhouettes overlap at Minsook's shoulder, leaving almost no distance between their paths.\n\nNo people appear unless the shot text itself says so.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-12 18:29:23", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s35run_S11sh5_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/panels35/S11sh5.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills35/S10sh6_nb2.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/39864973-d3d5-4886-bfb2-f8db608a005b.png"], "ref_labels": ["STORYBOARD PANEL — a REFERENCE ONLY, never the target: use it loosely for camera framing, figure placement and depth order. Do NOT photorealize this drawing as-is — the SHOT TEXT and the other references are authoritative; re-stage the moment naturally as a real photograph. Never copy the sketch's line style, paper texture, borders, simplified geometry or drawing errors.", "PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing.", "CHARACTER REFERENCE — 수리영: the exact person appearing in this shot; match face, hair and build exactly."], "attempt": 1, "dur_s": 25.6, "bytes": 2376588, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills35/S11sh5_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\n\nSHOT TEXT (authoritative, Korean): 옥상에 선 수리영의 시선 끝에 반쯤 열려 있는 어두운 현관 철문이 보이는 정면 구도\n\nLOCATION (lock): The flat rooftop of an aging low-rise apartment building, enclosed by a waist-high parapet. A small rooftop dwelling has a metal entrance door and a window visible from the open roof. The shot takes place here — pick the sub-area of this location that the shot text implies.\n\nTHE STORYBOARD PANEL IS ONLY A REFERENCE: it is a\nrough pre-production sketch, not the image to\nreproduce. Take from it only the shot's rough\ncomposition — framing, where figures sit, near/far\norder. Everything else (real-world detail, materials,\nlight, anatomy, environment richness) must come from\nthe shot text and the photographic references,\nre-staged as if actually filmed on a real set. If the\nsketch conflicts with the shot text or looks\nsimplified/wrong, FOLLOW THE TEXT, not the sketch.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nMOVEMENT (follow exactly): static: Suriyoung stands tensely on the rooftop with her body and gaze directed straight toward the half-open iron entrance door and its dark interior.\n\nFIGURES — size & depth (follow exactly): Suriyoung appears about ~1/2 of the frame height in the NEARER rooftop area, while the half-open door appears about ~1/3 and is FARTHER ahead along her line of sight.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of the referenced people (수리영) matched exactly to their reference photo — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-12 18:29:37", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s35run_S17sh2_nb2", "refs": [], "ref_labels": [], "attempt": 1, "dur_s": 14.6, "bytes": 3118789, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills35/S17sh2_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): dawn.\n\nSHOT TEXT (authoritative, Korean): 옥상 담벼락 위에서 한쪽 앞발을 허공으로 뻗은 검은 고양이의 측면\n\nLOCATION (lock): The flat rooftop of an aging low-rise apartment building, enclosed by a waist-high parapet. A small rooftop dwelling has a metal entrance door and a window visible from the open roof. The shot takes place here — pick the sub-area of this location that the shot text implies.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nMOVEMENT (follow exactly): The black cat moves side-on across and over the rooftop wall toward the opposite side, extending one forepaw into the air as its body follows.\n\nFIGURES — size & depth (follow exactly): The cat appears medium-sized, about ~1/3 of the frame height, and is NEARER to the camera than the FARTHER side beyond the wall; the wall runs beneath its crossing path.\n\nNo people appear unless the shot text itself says so.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-12 18:29:57", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s35run_S5sh5_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/panels35/S5sh5.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/899945af-f9bf-4880-bdd7-c9d1f45a5327.png"], "ref_labels": ["STORYBOARD PANEL — a REFERENCE ONLY, never the target: use it loosely for camera framing, figure placement and depth order. Do NOT photorealize this drawing as-is — the SHOT TEXT and the other references are authoritative; re-stage the moment naturally as a real photograph. Never copy the sketch's line style, paper texture, borders, simplified geometry or drawing errors.", "CHARACTER REFERENCE — 민숙: the exact person appearing in this shot; match face, hair and build exactly."], "attempt": 1, "dur_s": 19.5, "bytes": 2536240, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills35/S5sh5_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): interior ambient light.\n\nSHOT TEXT (authoritative, Korean): 다급하게 상체를 기울이며 손가락 끝으로 TV 전원 버튼을 세게 누르고 있는 민숙의 측면 구도\n\nLOCATION (lock): A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls. The shot takes place here — pick the sub-area of this location that the shot text implies.\n\nTHE STORYBOARD PANEL IS ONLY A REFERENCE: it is a\nrough pre-production sketch, not the image to\nreproduce. Take from it only the shot's rough\ncomposition — framing, where figures sit, near/far\norder. Everything else (real-world detail, materials,\nlight, anatomy, environment richness) must come from\nthe shot text and the photographic references,\nre-staged as if actually filmed on a real set. If the\nsketch conflicts with the shot text or looks\nsimplified/wrong, FOLLOW THE TEXT, not the sketch.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nMOVEMENT (follow exactly): Min-sook urgently pitches her upper body forward toward the TV and forcefully drives a fingertip into its power button to turn it off as Su-ri-young emerges from her room.\n\nFIGURES — size & depth (follow exactly): Min-sook's side-view upper body fills roughly 2/3 of the frame height, with her reaching hand and the TV button NEARER to the camera than her face and torso. The TV is FARTHER along her forward reach, and her body closes the short distance toward it.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of the referenced people (민숙) matched exactly to their reference photo — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-12 18:30:19", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s35run_S5sh9_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills35/S5sh5_nb2.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/899945af-f9bf-4880-bdd7-c9d1f45a5327.png"], "ref_labels": ["PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing.", "CHARACTER REFERENCE — 민숙: the exact person appearing in this shot; match face, hair and build exactly."], "attempt": 1, "dur_s": 22.5, "bytes": 2121310, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills35/S5sh9_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): interior ambient light.\n\nSHOT TEXT (authoritative, Korean): 민숙의 손목에 선명하게 드러난 작은 원형 표식의 타이트 샷\n\nLOCATION (lock): A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls. The shot takes place here — pick the sub-area of this location that the shot text implies.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nMOVEMENT (follow exactly): static: Min-sook's wrist is held in view, with the sharply visible small circular mark facing the camera.\n\nFIGURES — size & depth (follow exactly): The wrist fills most of the tight frame, while the circular mark occupies a small area at its center. The skin and mark are the NEAREST and only principal subject, with any body or room detail FARTHER and out of focus.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of the referenced people (민숙) matched exactly to their reference photo — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-12 18:30:36", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s35run_S12sh11_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/1d7902d5-8b31-4ab6-9e6a-5da6ab5d842f.png"], "ref_labels": ["CHARACTER REFERENCE — 민숙 (환시): the exact person appearing in this shot; match face, hair and build exactly."], "attempt": 1, "dur_s": 16.9, "bytes": 2457419, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills35/S12sh11_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\n\nSHOT TEXT (authoritative, Korean): 옷과 피부가 힘없이 무너져 미동이 없는 민숙이 바닥에 주저앉아 고개를 푹 숙인 정지 상태\n\nLOCATION (lock): A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls. The shot takes place here — pick the sub-area of this location that the shot text implies.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nMOVEMENT (follow exactly): static: utterly motionless, collapsed Min-sook is collapsed against the floor in an asymmetric seated slump, her head dropped deeply forward, shoulders fallen, limbs limp, and body weight fully given way.\n\nFIGURES — size & depth (follow exactly): Min-sook's dark stains-covered body fills about 2/3 of the frame height and is the NEAREST principal figure. The floor directly beneath her is nearer than the surrounding bedroom and curtain area, which recede FARTHER behind her.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of the referenced people (민숙 (환시)) matched exactly to their reference photo — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-12 18:31:05", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s35run_S12sh18_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills35/S12sh11_nb2.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/1d7902d5-8b31-4ab6-9e6a-5da6ab5d842f.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/fc23070d-a644-45e4-a5d8-ecb98fe8d2d3.png"], "ref_labels": ["PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing.", "CHARACTER REFERENCE — 민숙 (환시): the exact person appearing in this shot; match face, hair and build exactly.", "PROP REFERENCE — 구겨진 피 묻은 낡은 흑백 사진: the exact object appearing in this shot; match its look, material and wear exactly."], "attempt": 1, "dur_s": 29.0, "bytes": 2705791, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills35/S12sh18_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\n\nSHOT TEXT (authoritative, Korean): 민숙의 손에 꽉 쥐어진 구겨진 사진의 타이트 샷\n\nLOCATION (lock): A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls. The shot takes place here — pick the sub-area of this location that the shot text implies.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nMOVEMENT (follow exactly): static: utterly motionless, collapsed Min-sook's limp hand remains curled tightly around a crumpled photograph, with the photograph exposed toward the camera.\n\nFIGURES — size & depth (follow exactly): The dead woman's hand fills roughly 2/3 of the tight frame, and the crumpled photograph fills about 1/3. The photograph is NEARER where it protrudes from her grasp, while her palm, wrist, and collapsed body lie progressively FARTHER behind it.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of the referenced people (민숙 (환시)) matched exactly to their reference photo — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-12 18:31:33", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s35run_S12sh21_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills35/S12sh18_nb2.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/1d7902d5-8b31-4ab6-9e6a-5da6ab5d842f.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/fc23070d-a644-45e4-a5d8-ecb98fe8d2d3.png"], "ref_labels": ["PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing.", "CHARACTER REFERENCE — 민숙 (환시): the exact person appearing in this shot; match face, hair and build exactly.", "PROP REFERENCE — 구겨진 피 묻은 낡은 흑백 사진: the exact object appearing in this shot; match its look, material and wear exactly."], "attempt": 1, "dur_s": 27.9, "bytes": 2581328, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills35/S12sh21_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\n\nSHOT TEXT (authoritative, Korean): 침대 위쪽 벽면에 붉은색 원형 표식이 절반쯤 나타난 상태\n\nLOCATION (lock): A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls. The shot takes place here — pick the sub-area of this location that the shot text implies.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nMOVEMENT (follow exactly): A red circular mark spreads around the wall above the bed, progressing along a ring-like path as though an unseen brush is drawing it, with about half the circle formed.\n\nFIGURES — size & depth (follow exactly): The half-formed red circle fills roughly 1/2 of the frame height on the wall and is the principal visible object. The wall surface and mark are FARTHER than the nearer edge of the bed, with the red pigment visually sitting closest on that wall plane.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of the referenced people (민숙 (환시)) matched exactly to their reference photo — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-12 18:31:56", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s35run_S14sh5_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills35/S12sh11_nb2.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/39864973-d3d5-4886-bfb2-f8db608a005b.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/bddad176-aa6a-4a71-b5d3-d02e36e19657.png"], "ref_labels": ["PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing.", "CHARACTER REFERENCE — 수리영: the exact person appearing in this shot; match face, hair and build exactly.", "CHARACTER REFERENCE — 혜수: the exact person appearing in this shot; match face, hair and build exactly."], "attempt": 1, "dur_s": 22.5, "bytes": 2586653, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills35/S14sh5_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\n\nSHOT TEXT (authoritative, Korean): 어두운 얼룩 없이 깨끗한 방 내부 전경\n\nLOCATION (lock): A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls. The shot takes place here — pick the sub-area of this location that the shot text implies.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nMOVEMENT (follow exactly): static: the excessively tidy bedroom stands empty, with no dark stainsstains, red wall mark, or collapsed body remaining anywhere in the room.\n\nFIGURES — size & depth (follow exactly): The empty room fills the full frame; nearer floor and furniture edges occupy the foreground, while the bed, curtain, and clean back wall are FARTHER away. No person is visible, and the formerly occupied curtain area is now empty.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of the referenced people (수리영, 혜수) matched exactly to their reference photo — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-12 18:32:24", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s35run_S14sh7_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills35/S14sh5_nb2.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/39864973-d3d5-4886-bfb2-f8db608a005b.png"], "ref_labels": ["PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing.", "CHARACTER REFERENCE — 수리영: the exact person appearing in this shot; match face, hair and build exactly."], "attempt": 1, "dur_s": 27.9, "bytes": 2543405, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills35/S14sh7_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\n\nSHOT TEXT (authoritative, Korean): 수리영이 멍한 눈으로 텅 빈 방 안을 응시하는 얼굴 클로즈업\n\nLOCATION (lock): A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls. The shot takes place here — pick the sub-area of this location that the shot text implies.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nMOVEMENT (follow exactly): static: pale-faced Su-ri-young holds her body rigid and stares blankly into the empty bedroom where she expected to find her mother's body.\n\nFIGURES — size & depth (follow exactly): Su-ri-young's face fills about 2/3 of the frame height and is the NEAREST figure. The empty room she watches is FARTHER beyond her eyeline, with no other person visible.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of the referenced people (수리영) matched exactly to their reference photo — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-12 18:32:38", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s35run_S14sh11_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/bddad176-aa6a-4a71-b5d3-d02e36e19657.png"], "ref_labels": ["CHARACTER REFERENCE — 혜수: the exact person appearing in this shot; match face, hair and build exactly."], "attempt": 1, "dur_s": 14.7, "bytes": 2329291, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills35/S14sh11_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\n\nSHOT TEXT (authoritative, Korean): 혜수가 날카로운 눈빛으로 김형사를 노려보는 모습\n\nLOCATION (lock): A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls. The shot takes place here — pick the sub-area of this location that the shot text implies.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nMOVEMENT (follow exactly): static: Hye-su fixes a sharp, hostile stare toward Detective Kim, her face and body oriented directly at him.\n\nFIGURES — size & depth (follow exactly): Hye-su fills roughly 2/3 of the frame height and is the NEAREST visible figure. Detective Kim is the FARTHER target of her gaze, whether at the edge of the frame or just off-screen, with no crossing movement between them.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of the referenced people (혜수) matched exactly to their reference photo — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-12 18:32:59", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s35run_S18sh11_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/panels35/S18sh11.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills35/S12sh21_nb2.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/39864973-d3d5-4886-bfb2-f8db608a005b.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/70af1a1c-b2e4-45ad-a166-7cef7e66e156.png"], "ref_labels": ["STORYBOARD PANEL — a REFERENCE ONLY, never the target: use it loosely for camera framing, figure placement and depth order. Do NOT photorealize this drawing as-is — the SHOT TEXT and the other references are authoritative; re-stage the moment naturally as a real photograph. Never copy the sketch's line style, paper texture, borders, simplified geometry or drawing errors.", "PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing.", "CHARACTER REFERENCE — 수리영: the exact person appearing in this shot; match face, hair and build exactly.", "PROP REFERENCE — 민숙과 수리영의 액자 사진: the exact object appearing in this shot; match its look, material and wear exactly."], "attempt": 1, "dur_s": 20.6, "bytes": 2667784, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills35/S18sh11_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): daytime.\n\nSHOT TEXT (authoritative, Korean): 거울 속 반사된 욕실 타일 벽면에 붉은색 원형 표식이 절반쯤 나타난 상태\n\nLOCATION (lock): A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls. The shot takes place here — pick the sub-area of this location that the shot text implies.\n\nTHE STORYBOARD PANEL IS ONLY A REFERENCE: it is a\nrough pre-production sketch, not the image to\nreproduce. Take from it only the shot's rough\ncomposition — framing, where figures sit, near/far\norder. Everything else (real-world detail, materials,\nlight, anatomy, environment richness) must come from\nthe shot text and the photographic references,\nre-staged as if actually filmed on a real set. If the\nsketch conflicts with the shot text or looks\nsimplified/wrong, FOLLOW THE TEXT, not the sketch.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nMOVEMENT (follow exactly): A red circular mark suddenly develops across the bathroom tile wall seen in the mirror, extending around a ring-like path until roughly half is visible.\n\nFIGURES — size & depth (follow exactly): The mirror and reflected tiled wall fill most of the frame, while the half-formed red circle occupies about 1/2 of the reflected frame height. The mirror surface is physically NEARER to the camera, while the marked bathroom wall appears FARTHER within the reflection.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of the referenced people (수리영) matched exactly to their reference photo — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-12 18:33:22", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s35run_S18sh15_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills35/S5sh5_nb2.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/70af1a1c-b2e4-45ad-a166-7cef7e66e156.png"], "ref_labels": ["PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing.", "PROP REFERENCE — 민숙과 수리영의 액자 사진: the exact object appearing in this shot; match its look, material and wear exactly."], "attempt": 1, "dur_s": 23.5, "bytes": 2478782, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills35/S18sh15_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): daytime.\n\nSHOT TEXT (authoritative, Korean): 액자 속 민숙의 얼굴 부분 이미지가 아래로 일그러지며 흘러내리는 찰나\n\nLOCATION (lock): A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls. The shot takes place here — pick the sub-area of this location that the shot text implies.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nMOVEMENT (follow exactly): The image of Min-sook's smiling face inside the framed photograph distorts and flows downward before Su-ri-young's eyes.\n\nFIGURES — size & depth (follow exactly): The framed photograph fills most of the close frame, and Min-sook's pictured face occupies roughly 1/2 of its height. The photograph's glass and frame are NEARER to the camera, while the collapsing facial image is visually FARTHER beneath the surface.\n\nNo people appear unless the shot text itself says so.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-12 18:33:50", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s35run_S18sh16_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills35/S18sh15_nb2.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/39864973-d3d5-4886-bfb2-f8db608a005b.png"], "ref_labels": ["PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing.", "CHARACTER REFERENCE — 수리영: the exact person appearing in this shot; match face, hair and build exactly."], "attempt": 1, "dur_s": 27.4, "bytes": 2542392, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills35/S18sh16_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): daytime.\n\nSHOT TEXT (authoritative, Korean): 수리영이 두 손으로 머리를 감싸 쥐고 입을 크게 벌린 얼굴\n\nLOCATION (lock): A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls. The shot takes place here — pick the sub-area of this location that the shot text implies.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nMOVEMENT (follow exactly): static: terrified and overwhelmed, Su-ri-young clamps both hands around her head and holds her mouth wide open in a scream, her posture rigid with panic.\n\nFIGURES — size & depth (follow exactly): Su-ri-young's face and hands fill about 3/4 of the frame height and form the NEAREST subject. Her hands sit slightly NEARER than her face on either side, while the room behind her is FARTHER and secondary.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of the referenced people (수리영) matched exactly to their reference photo — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-12 18:34:13", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s35run_S25sh1_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/panels35/S25sh1.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/39864973-d3d5-4886-bfb2-f8db608a005b.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/fc23070d-a644-45e4-a5d8-ecb98fe8d2d3.png"], "ref_labels": ["STORYBOARD PANEL — a REFERENCE ONLY, never the target: use it loosely for camera framing, figure placement and depth order. Do NOT photorealize this drawing as-is — the SHOT TEXT and the other references are authoritative; re-stage the moment naturally as a real photograph. Never copy the sketch's line style, paper texture, borders, simplified geometry or drawing errors.", "CHARACTER REFERENCE — 수리영: the exact person appearing in this shot; match face, hair and build exactly.", "PROP REFERENCE — 구겨진 피 묻은 낡은 흑백 사진: the exact object appearing in this shot; match its look, material and wear exactly."], "attempt": 1, "dur_s": 23.0, "bytes": 2586378, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills35/S25sh1_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): dusk, just after sunset.\n\nSHOT TEXT (authoritative, Korean): 해질 무렵 옥탑방 거실, 흙 묻은 발자국들이 찍힌 바닥과 쓰러진 식탁 의자들이 보이는 전경\n\nLOCATION (lock): A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls. The shot takes place here — pick the sub-area of this location that the shot text implies.\n\nTHE STORYBOARD PANEL IS ONLY A REFERENCE: it is a\nrough pre-production sketch, not the image to\nreproduce. Take from it only the shot's rough\ncomposition — framing, where figures sit, near/far\norder. Everything else (real-world detail, materials,\nlight, anatomy, environment richness) must come from\nthe shot text and the photographic references,\nre-staged as if actually filmed on a real set. If the\nsketch conflicts with the shot text or looks\nsimplified/wrong, FOLLOW THE TEXT, not the sketch.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nMOVEMENT (follow exactly): static: muddy footprints remain across the ransacked living-room floor among overturned dining chairs, indicating a prior path through the room but no current movement.\n\nFIGURES — size & depth (follow exactly): The footprint-marked floor fills the lower half of the wide frame, with the NEAREST prints and fallen chair parts in the foreground appearing larger. Additional prints, the dining area, and the open living-room window recede FARTHER into the room.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of the referenced people (수리영) matched exactly to their reference photo — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-12 18:34:36", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s35run_S25sh5_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills35/S12sh21_nb2.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/fc23070d-a644-45e4-a5d8-ecb98fe8d2d3.png"], "ref_labels": ["PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing.", "PROP REFERENCE — 구겨진 피 묻은 낡은 흑백 사진: the exact object appearing in this shot; match its look, material and wear exactly."], "attempt": 1, "dur_s": 22.8, "bytes": 2710885, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills35/S25sh5_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): dusk, just after sunset.\n\nSHOT TEXT (authoritative, Korean): 붉은 원 한가운데 얼룩진 낡은 흑백 사진이 벽에 꽂혀 있는 타이트 샷\n\nLOCATION (lock): A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls. The shot takes place here — pick the sub-area of this location that the shot text implies.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nMOVEMENT (follow exactly): static: a stained old photograph remains pinned at the center of the red circle on Su-ri-young's bedroom wall, facing outward toward the camera.\n\nFIGURES — size & depth (follow exactly): The photograph fills roughly 1/3 of the tight frame height, while the surrounding red circle occupies most of the frame. The photograph projects NEARER from the wall, and the red mark lies FARTHER against the flat wall surface behind it.\n\nNo people appear unless the shot text itself says so.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-12 18:35:08", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s35run_S25sh9_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills35/S25sh5_nb2.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/39864973-d3d5-4886-bfb2-f8db608a005b.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/fc23070d-a644-45e4-a5d8-ecb98fe8d2d3.png"], "ref_labels": ["PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing.", "CHARACTER REFERENCE — 수리영: the exact person appearing in this shot; match face, hair and build exactly.", "PROP REFERENCE — 구겨진 피 묻은 낡은 흑백 사진: the exact object appearing in this shot; match its look, material and wear exactly."], "attempt": 1, "dur_s": 32.1, "bytes": 2608766, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills35/S25sh9_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): dusk, just after sunset.\n\nSHOT TEXT (authoritative, Korean): 수리영의 손이 구겨진 사진을 꽉 움켜쥔 타이트 샷\n\nLOCATION (lock): A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls. The shot takes place here — pick the sub-area of this location that the shot text implies.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nMOVEMENT (follow exactly): static: Su-ri-young's tense hand crushes the crumpled photograph in a tight grip as she holds it close.\n\nFIGURES — size & depth (follow exactly): Su-ri-young's hand fills roughly 2/3 of the tight frame, and the exposed portion of the photograph fills about 1/3. Her knuckles are NEARER to the camera, while the photograph is partly FARTHER inside her closed fingers.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of the referenced people (수리영) matched exactly to their reference photo — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-12 18:35:22", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s35run_S27sh3_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/bddad176-aa6a-4a71-b5d3-d02e36e19657.png"], "ref_labels": ["CHARACTER REFERENCE — 혜수: the exact person appearing in this shot; match face, hair and build exactly."], "attempt": 1, "dur_s": 14.4, "bytes": 2259511, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills35/S27sh3_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): dusk, just after sunset.\n\nSHOT TEXT (authoritative, Korean): 혜수가 미간을 깊게 찌푸린 채 스마트폰을 내려다보는 얼굴 클로즈업\n\nLOCATION (lock): A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls. The shot takes place here — pick the sub-area of this location that the shot text implies.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nMOVEMENT (follow exactly): static: Hye-su lowers her gaze toward the smartphone and listens to Su-ri-young's recorded message with her brow deeply furrowed.\n\nFIGURES — size & depth (follow exactly): Hye-su's face fills about 2/3 of the close-up frame, while the smartphone occupies a smaller area below her face. The phone is NEARER to the camera, Hye-su's face is slightly FARTHER, and the room behind her is farthest.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of the referenced people (혜수) matched exactly to their reference photo — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-12 18:35:40", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s35run_S6sh1_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/39864973-d3d5-4886-bfb2-f8db608a005b.png"], "ref_labels": ["CHARACTER REFERENCE — 수리영: the exact person appearing in this shot; match face, hair and build exactly."], "attempt": 1, "dur_s": 18.0, "bytes": 2620894, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills35/S6sh1_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): daytime.\n\nSHOT TEXT (authoritative, Korean): 낮의 해안가 도로 위, 이어폰을 낀 채 자전거 안장에 앉아 한 발로 페달을 밟아 내리는 중간 동작으로 미소 짓는 수리영의 옆모습, 자전거의 추진력에 의해 머리카락이 뒤로 흩날리는 찰나\n\nLOCATION (lock): A paved coastal road running beside an exposed tidal shoreline, with the sea visible along one side and sparse roadside barriers. The route remains open and windswept, with few nearby buildings. The shot takes place here — pick the sub-area of this location that the shot text implies.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nMOVEMENT (follow exactly): Su-ri-young rides laterally along the daytime coastal road, seated upright and smiling as one foot drives a pedal downward, with her hair streaming behind her in the direction opposite her travel.\n\nFIGURES — size & depth (follow exactly): Su-ri-young and the bicycle together fill roughly ~2/3 of the frame height in side view; she is NEARER to the camera than the coastal road and sea behind her, while the bicycle occupies the same foreground plane beneath her.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of the referenced people (수리영) matched exactly to their reference photo — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-12 18:35:59", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s35run_S9sh1_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/39864973-d3d5-4886-bfb2-f8db608a005b.png"], "ref_labels": ["CHARACTER REFERENCE — 수리영: the exact person appearing in this shot; match face, hair and build exactly."], "attempt": 1, "dur_s": 18.8, "bytes": 2797755, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills35/S9sh1_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\n\nSHOT TEXT (authoritative, Korean): 어두운 해안도로 위 자전거 안장에 앉아 한쪽 다리로 페달을 밟아 내리는 중간 자세로 앞을 향해 상체를 기울인 수리영의 실루엣, 옷자락이 뒤로 휘날리는 순간\n\nLOCATION (lock): A paved coastal road running beside an exposed tidal shoreline, with the sea visible along one side and sparse roadside barriers. The route remains open and windswept, with few nearby buildings. The shot takes place here — pick the sub-area of this location that the shot text implies.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nMOVEMENT (follow exactly): Su-ri-young, a real person appearing as a dark silhouette with normal human build, rides quickly forward along the dark coastal road toward home, leaning her torso into her course as one leg presses a pedal downward and her clothing trails behind.\n\nFIGURES — size & depth (follow exactly): Su-ri-young and her bicycle form a medium-sized silhouette filling about ~1/2 of the frame height; they are NEARER to the camera than the dark road and coast extending FARTHER ahead.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of the referenced people (수리영) matched exactly to their reference photo — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-12 18:36:14", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s35run_S24sh2_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/39864973-d3d5-4886-bfb2-f8db608a005b.png"], "ref_labels": ["CHARACTER REFERENCE — 수리영: the exact person appearing in this shot; match face, hair and build exactly."], "attempt": 1, "dur_s": 15.1, "bytes": 2730341, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills35/S24sh2_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): heavy rain shower, daytime.\n\nSHOT TEXT (authoritative, Korean): 비에 흠뻑 젖은 수리영이 자전거 핸들을 꽉 쥔 채 앞을 노려보는 얼굴 클로즈업\n\nLOCATION (lock): A paved coastal road running beside an exposed tidal shoreline, with the sea visible along one side and sparse roadside barriers. The route remains open and windswept, with few nearby buildings. The shot takes place here — pick the sub-area of this location that the shot text implies.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nMOVEMENT (follow exactly): Soaked by the downpour, Su-ri-young continues riding forward through the rain, gripping the handlebars tightly and aiming a tense, determined stare ahead as she searches for her mother.\n\nFIGURES — size & depth (follow exactly): Su-ri-young’s wet face fills roughly ~2/3 of the frame height in close-up, with the partially visible handlebars NEARER at the lower foreground and her face just FARTHER behind them; the rain and coastal-road background are FARTHER still.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of the referenced people (수리영) matched exactly to their reference photo — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-12 18:36:29", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s35run_S7sh3_nb2", "refs": [], "ref_labels": [], "attempt": 1, "dur_s": 15.5, "bytes": 3066299, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills35/S7sh3_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): daytime.\n\nSHOT TEXT (authoritative, Korean): 로트와일러가 귀를 뒤로 젖힌 채 얌전히 바닥에 엎드린 정지 상태\n\nLOCATION (lock): A utilitarian indoor animal shelter with a hard washable floor, kennel partitions, and plain institutional walls. The space is lit evenly and provides open floor area beside the enclosures. The shot takes place here — pick the sub-area of this location that the shot text implies.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nMOVEMENT (follow exactly): static: the Rottweiler lies subdued and low against the floor with its ears pinned back, its body facing an unspecified direction.\n\nFIGURES — size & depth (follow exactly): The Rottweiler is the only visible figure; the framing and its exact fraction of frame height are unspecified, and with no other figure present it is the sole depth reference.\n\nNo people appear unless the shot text itself says so.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-12 18:36:46", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s35run_S7sh6_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/39864973-d3d5-4886-bfb2-f8db608a005b.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/99d4b721-040d-41ad-8c0b-a3f6d3ee727f.png"], "ref_labels": ["CHARACTER REFERENCE — 수리영: the exact person appearing in this shot; match face, hair and build exactly.", "PROP REFERENCE — 스마트폰: the exact object appearing in this shot; match its look, material and wear exactly."], "attempt": 1, "dur_s": 16.3, "bytes": 2575597, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills35/S7sh6_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): daytime.\n\nSHOT TEXT (authoritative, Korean): 수리영이 귀에 스마트폰을 댄 채 미간을 찌푸린 얼굴\n\nLOCATION (lock): A utilitarian indoor animal shelter with a hard washable floor, kennel partitions, and plain institutional walls. The space is lit evenly and provides open floor area beside the enclosures. The shot takes place here — pick the sub-area of this location that the shot text implies.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nMOVEMENT (follow exactly): static: Suriyoung holds a smartphone to her ear and remains in place with a furrowed brow, facing an unspecified direction as she tries to contact Minsook.\n\nFIGURES — size & depth (follow exactly): Suriyoung's face is the dominant visible figure, though its exact fraction of frame height is unspecified; the smartphone is immediately beside her face at essentially the same depth, with neither clearly nearer nor farther.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of the referenced people (수리영) matched exactly to their reference photo — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-12 18:37:02", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s35run_S8sh3_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/39864973-d3d5-4886-bfb2-f8db608a005b.png"], "ref_labels": ["CHARACTER REFERENCE — 수리영: the exact person appearing in this shot; match face, hair and build exactly."], "attempt": 1, "dur_s": 16.4, "bytes": 2862182, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills35/S8sh3_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): dusk, just after sunset.\n\nSHOT TEXT (authoritative, Korean): 수리영이 마트 유니폼을 입은 한국인 여성 직원을 마주보며 입을 살짝 벌린 측면 구도\n\nLOCATION (lock): A brightly lit supermarket sales floor with long merchandise aisles, stocked shelving, and broad customer walkways. Overhead fluorescent fixtures create flat, even illumination. The shot takes place here — pick the sub-area of this location that the shot text implies.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nMOVEMENT (follow exactly): static: Su-ri-young stands facing the female supermarket employee at conversational distance, her body turned toward the employee and her mouth slightly open as if speaking.\n\nFIGURES — size & depth (follow exactly): Su-ri-young and the uniformed Korean female employee each fill roughly ~1/2 of the frame height in the side-on two-shot. They stand at approximately the same camera depth, so neither is distinctly NEARER or FARTHER, facing each other across a short gap.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of the referenced people (수리영) matched exactly to their reference photo — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-12 18:37:18", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s35run_S8sh5_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/39864973-d3d5-4886-bfb2-f8db608a005b.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/99d4b721-040d-41ad-8c0b-a3f6d3ee727f.png"], "ref_labels": ["CHARACTER REFERENCE — 수리영: the exact person appearing in this shot; match face, hair and build exactly.", "PROP REFERENCE — 스마트폰: the exact object appearing in this shot; match its look, material and wear exactly."], "attempt": 1, "dur_s": 16.1, "bytes": 2476753, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills35/S8sh5_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): dusk, just after sunset.\n\nSHOT TEXT (authoritative, Korean): 마트 밖으로 나온 수리영이 손에 든 스마트폰 액정을 내려다보는 상체\n\nLOCATION (lock): The exterior frontage of a large supermarket, centered on wide public entrance doors and a paved forecourt. A wall-mounted CCTV camera overlooks the entrance area. The shot takes place here — pick the sub-area of this location that the shot text implies.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nMOVEMENT (follow exactly): Suriyoung comes out of the supermarket and continues away toward home while looking down at the smartphone held in front of her upper body, trying to make contact as she walks.\n\nFIGURES — size & depth (follow exactly): Suriyoung's upper body fills about ~2/3 of the frame height; the small smartphone is NEARER to the camera in front of her torso, while her face is FARTHER behind it.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of the referenced people (수리영) matched exactly to their reference photo — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-12 18:37:34", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s35run_S19sh5_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/39864973-d3d5-4886-bfb2-f8db608a005b.png"], "ref_labels": ["CHARACTER REFERENCE — 수리영: the exact person appearing in this shot; match face, hair and build exactly."], "attempt": 1, "dur_s": 16.2, "bytes": 2495814, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills35/S19sh5_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): daytime.\n\nSHOT TEXT (authoritative, Korean): 수리영과 남자직원이 마트 밖에서 벽면의 CCTV를 올려다보는 뒷모습\n\nLOCATION (lock): The exterior frontage of a large supermarket, centered on wide public entrance doors and a paved forecourt. A wall-mounted CCTV camera overlooks the entrance area. The shot takes place here — pick the sub-area of this location that the shot text implies.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nMOVEMENT (follow exactly): static: Suriyoung and the male employee stand outside the supermarket with their backs to the camera, bodies oriented toward the wall and heads tilted upward at the CCTV camera.\n\nFIGURES — size & depth (follow exactly): Suriyoung and the male employee each fill roughly ~1/2 of the frame height and stand at a comparable NEARER distance, their paths paused side by side; the small wall-mounted CCTV camera is FARTHER from the camera and above them.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of the referenced people (수리영) matched exactly to their reference photo — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-12 18:38:04", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s35run_S19sh6_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills35/S19sh5_nb2.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/39864973-d3d5-4886-bfb2-f8db608a005b.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/99d4b721-040d-41ad-8c0b-a3f6d3ee727f.png"], "ref_labels": ["PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing.", "CHARACTER REFERENCE — 수리영: the exact person appearing in this shot; match face, hair and build exactly.", "PROP REFERENCE — 스마트폰: the exact object appearing in this shot; match its look, material and wear exactly."], "attempt": 1, "dur_s": 29.7, "bytes": 2317131, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills35/S19sh6_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): daytime.\n\nSHOT TEXT (authoritative, Korean): 수리영이 귀에 스마트폰을 댄 채 정면을 응시하는 상체 클로즈업\n\nLOCATION (lock): The exterior frontage of a large supermarket, centered on wide public entrance doors and a paved forecourt. A wall-mounted CCTV camera overlooks the entrance area. The shot takes place here — pick the sub-area of this location that the shot text implies.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nMOVEMENT (follow exactly): static: Suriyoung holds a smartphone to her ear and faces forward, staring straight ahead while calling Hyesu.\n\nFIGURES — size & depth (follow exactly): Suriyoung's upper body fills about ~3/4 of the frame height and is the dominant NEAR figure; the small smartphone beside her face is slightly NEARER to the camera than her head.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of the referenced people (수리영) matched exactly to their reference photo — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-12 18:38:20", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s35run_S11sh4_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/39864973-d3d5-4886-bfb2-f8db608a005b.png"], "ref_labels": ["CHARACTER REFERENCE — 수리영: the exact person appearing in this shot; match face, hair and build exactly."], "attempt": 1, "dur_s": 16.0, "bytes": 2903605, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills35/S11sh4_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\n\nSHOT TEXT (authoritative, Korean): 철제 파이프 난간을 손으로 잡은 수리영이 코끝을 찡그린 채 계단 중간에 서 있는 얼굴 클로즈업\n\nLOCATION (lock): A narrow exterior metal staircase attached to an old low-rise residential building. It has exposed steel steps and tubular pipe railings leading upward toward the roof. The shot takes place here — pick the sub-area of this location that the shot text implies.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nMOVEMENT (follow exactly): static: Suri-young pauses midway up the staircase while ascending toward the rooftop, gripping the metal-pipe railing with a tense posture and wrinkling her nose at the sudden foul smell, her body oriented uphill.\n\nFIGURES — size & depth (follow exactly): Suri-young’s face fills ~2/3 of the frame height in close-up and is the nearest figure; her hand and the metal-pipe railing sit slightly farther from the camera as she remains midway on the stairs.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of the referenced people (수리영) matched exactly to their reference photo — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-12 18:38:39", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s35run_S13sh4_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/39864973-d3d5-4886-bfb2-f8db608a005b.png"], "ref_labels": ["CHARACTER REFERENCE — 수리영: the exact person appearing in this shot; match face, hair and build exactly."], "attempt": 1, "dur_s": 18.9, "bytes": 2733084, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills35/S13sh4_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\n\nSHOT TEXT (authoritative, Korean): 수리영이 초점을 잃은 눈으로 허공을 응시하며 서 있는 모습\n\nLOCATION (lock): A confined ground-level alley and small courtyard beside an aging multi-unit residential building. Concrete walls, building entrances, and the base of the exterior access structure frame the space. The shot takes place here — pick the sub-area of this location that the shot text implies.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nMOVEMENT (follow exactly): static: Su-ri-young stands motionless and dazed after coming down from the rooftop room, her unfocused eyes staring into empty space and her body lacking purposeful direction.\n\nFIGURES — size & depth (follow exactly): Su-ri-young is the only visible figure, so she is both the nearest and farthest person; her apparent fraction of frame height is unspecified in the source.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of the referenced people (수리영) matched exactly to their reference photo — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-12 18:39:02", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s35run_S13sh6_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills35/S13sh4_nb2.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/39864973-d3d5-4886-bfb2-f8db608a005b.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/bddad176-aa6a-4a71-b5d3-d02e36e19657.png"], "ref_labels": ["PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing.", "CHARACTER REFERENCE — 수리영: the exact person appearing in this shot; match face, hair and build exactly.", "CHARACTER REFERENCE — 혜수: the exact person appearing in this shot; match face, hair and build exactly."], "attempt": 1, "dur_s": 22.6, "bytes": 2615366, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills35/S13sh6_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\n\nSHOT TEXT (authoritative, Korean): 고개를 든 채 혜수의 얼굴을 마주보고 있는 수리영의 측면 구도\n\nLOCATION (lock): A confined ground-level alley and small courtyard beside an aging multi-unit residential building. Concrete walls, building entrances, and the base of the exterior access structure frame the space. The shot takes place here — pick the sub-area of this location that the shot text implies.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nMOVEMENT (follow exactly): static: Su-ri-young holds her head raised and faces Hye-su directly in side profile, looking up at her while remaining dazed and stationary.\n\nFIGURES — size & depth (follow exactly): Su-ri-young and Hye-su's face are visible facing each other, but their respective frame-height fractions and which is nearer to the camera are unspecified; their paths have converged at conversational distance, with neither moving past the other.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of the referenced people (수리영, 혜수) matched exactly to their reference photo — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-12 18:39:19", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s35run_S15sh2_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/bddad176-aa6a-4a71-b5d3-d02e36e19657.png"], "ref_labels": ["CHARACTER REFERENCE — 혜수: the exact person appearing in this shot; match face, hair and build exactly."], "attempt": 1, "dur_s": 17.6, "bytes": 2314692, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills35/S15sh2_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\n\nSHOT TEXT (authoritative, Korean): 혜수의 손이 음료수 캔을 쥔 채 수리영 앞으로 내밀어진 순간\n\nLOCATION (lock): A roadside bus stop on an open coast, with a paved waiting area and an unobstructed view of the sea. The surrounding road shoulder is broad enough for people to stand or run beside the shelter. The shot takes place here — pick the sub-area of this location that the shot text implies.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nMOVEMENT (follow exactly): Hye-su extends her hand and the drink can from her side into the space directly in front of Su-ri-young, who remains seated and dazed while facing the sea.\n\nFIGURES — size & depth (follow exactly): Hye-su’s hand and forearm fill roughly ~1/3 of the frame height, with the can small at ~1/8; both are NEARER to the camera, while seated Su-ri-young is FARTHER behind them.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of the referenced people (혜수) matched exactly to their reference photo — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-12 18:39:54", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s35run_S15sh6_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/panels35/S15sh6.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills35/S15sh2_nb2.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/39864973-d3d5-4886-bfb2-f8db608a005b.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/bddad176-aa6a-4a71-b5d3-d02e36e19657.png"], "ref_labels": ["STORYBOARD PANEL — a REFERENCE ONLY, never the target: use it loosely for camera framing, figure placement and depth order. Do NOT photorealize this drawing as-is — the SHOT TEXT and the other references are authoritative; re-stage the moment naturally as a real photograph. Never copy the sketch's line style, paper texture, borders, simplified geometry or drawing errors.", "PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing.", "CHARACTER REFERENCE — 수리영: the exact person appearing in this shot; match face, hair and build exactly.", "CHARACTER REFERENCE — 혜수: the exact person appearing in this shot; match face, hair and build exactly."], "attempt": 1, "dur_s": 34.5, "bytes": 2700953, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills35/S15sh6_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\n\nSHOT TEXT (authoritative, Korean): 멀리서 혜수의 전신과 한 발을 공중에 띄운 mid-stride 자세로 달리는 수리영의 뒷모습을 한 프레임에 담은 넓은 구도\n\nLOCATION (lock): A roadside bus stop on an open coast, with a paved waiting area and an unobstructed view of the sea. The surrounding road shoulder is broad enough for people to stand or run beside the shelter. The shot takes place here — pick the sub-area of this location that the shot text implies.\n\nTHE STORYBOARD PANEL IS ONLY A REFERENCE: it is a\nrough pre-production sketch, not the image to\nreproduce. Take from it only the shot's rough\ncomposition — framing, where figures sit, near/far\norder. Everything else (real-world detail, materials,\nlight, anatomy, environment richness) must come from\nthe shot text and the photographic references,\nre-staged as if actually filmed on a real set. If the\nsketch conflicts with the shot text or looks\nsimplified/wrong, FOLLOW THE TEXT, not the sketch.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nMOVEMENT (follow exactly): Su-ri-young runs away from Hye-su and away from the camera, seen from behind with one foot airborne in mid-stride, while Hye-su remains standing behind her and calls after her.\n\nFIGURES — size & depth (follow exactly): In the wide frame, Hye-su’s full body appears small at roughly ~1/3 of the frame height and is NEARER, while Su-ri-young’s back-facing running figure is FARTHER and smaller at roughly ~1/4. Su-ri-young’s path increases the distance between them as she runs ahead, leaving Hye-su behind.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of the referenced people (수리영, 혜수) matched exactly to their reference photo — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-12 18:40:19", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s35run_S16sh3_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/panels35/S16sh3.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/bddad176-aa6a-4a71-b5d3-d02e36e19657.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/99d4b721-040d-41ad-8c0b-a3f6d3ee727f.png"], "ref_labels": ["STORYBOARD PANEL — a REFERENCE ONLY, never the target: use it loosely for camera framing, figure placement and depth order. Do NOT photorealize this drawing as-is — the SHOT TEXT and the other references are authoritative; re-stage the moment naturally as a real photograph. Never copy the sketch's line style, paper texture, borders, simplified geometry or drawing errors.", "CHARACTER REFERENCE — 혜수: the exact person appearing in this shot; match face, hair and build exactly.", "PROP REFERENCE — 스마트폰: the exact object appearing in this shot; match its look, material and wear exactly."], "attempt": 1, "dur_s": 24.9, "bytes": 2566818, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills35/S16sh3_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\n\nSHOT TEXT (authoritative, Korean): 혜수가 스마트폰 액정을 김형사 쪽으로 불쑥 내민 순간\n\nLOCATION (lock): A functional police office with clustered desks, computer monitors, paperwork, and a clearly visible exit door. The room is arranged as an open administrative workspace under institutional lighting. The shot takes place here — pick the sub-area of this location that the shot text implies.\n\nTHE STORYBOARD PANEL IS ONLY A REFERENCE: it is a\nrough pre-production sketch, not the image to\nreproduce. Take from it only the shot's rough\ncomposition — framing, where figures sit, near/far\norder. Everything else (real-world detail, materials,\nlight, anatomy, environment richness) must come from\nthe shot text and the photographic references,\nre-staged as if actually filmed on a real set. If the\nsketch conflicts with the shot text or looks\nsimplified/wrong, FOLLOW THE TEXT, not the sketch.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nMOVEMENT (follow exactly): Hye-su abruptly extends her arm from her position in the office toward Detective Kim, thrusting the smartphone screen with Min-suk's saved number into his viewing space while remaining tensely oriented toward him.\n\nFIGURES — size & depth (follow exactly): Hye-su's outstretched hand and smartphone are NEARER and prominent at roughly ~1/3 of the frame height, while Detective Kim is FARTHER across from her at roughly ~1/2 of the frame height. The phone crosses the space between them but remains in Hye-su's hand.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of the referenced people (혜수) matched exactly to their reference photo — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-12 18:40:33", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s35run_S21sh7_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/39864973-d3d5-4886-bfb2-f8db608a005b.png"], "ref_labels": ["CHARACTER REFERENCE — 수리영: the exact person appearing in this shot; match face, hair and build exactly."], "attempt": 1, "dur_s": 14.5, "bytes": 2732392, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills35/S21sh7_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): daytime.\n\nSHOT TEXT (authoritative, Korean): 수리영이 두 눈을 크게 뜨고 입을 살짝 벌린 굳은 얼굴 클로즈업\n\nLOCATION (lock): A functional police office with clustered desks, computer monitors, paperwork, and a clearly visible exit door. The room is arranged as an open administrative workspace under institutional lighting. The shot takes place here — pick the sub-area of this location that the shot text implies.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nMOVEMENT (follow exactly): static: Su-ri-young holds rigid with widened eyes and slightly parted lips, her tense, shocked face directed toward what she has just seen.\n\nFIGURES — size & depth (follow exactly): Su-ri-young's face is the sole visible figure, NEAR to the camera and filling roughly ~2/3 to ~3/4 of the frame height; no farther person is visible.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of the referenced people (수리영) matched exactly to their reference photo — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-12 18:40:50", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s35run_S21sh10_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/39864973-d3d5-4886-bfb2-f8db608a005b.png"], "ref_labels": ["CHARACTER REFERENCE — 수리영: the exact person appearing in this shot; match face, hair and build exactly."], "attempt": 1, "dur_s": 16.4, "bytes": 2325564, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills35/S21sh10_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): daytime.\n\nSHOT TEXT (authoritative, Korean): 모니터 화면에 바다 지도가 펼쳐져 있고 붉은색 핀과 좌표 숫자가 떠 있는 클로즈업\n\nLOCATION (lock): A functional police office with clustered desks, computer monitors, paperwork, and a clearly visible exit door. The room is arranged as an open administrative workspace under institutional lighting. The shot takes place here — pick the sub-area of this location that the shot text implies.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nMOVEMENT (follow exactly): static: the monitor displays an ocean map with a red location pin and coordinate numbers, with no physical movement in frame.\n\nFIGURES — size & depth (follow exactly): The monitor image is the sole visible subject and fills nearly the entire frame; the red pin and coordinate text lie on the same NEAR screen plane, with the map visually receding FARTHER only within the displayed graphic.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of the referenced people (수리영) matched exactly to their reference photo — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-12 18:41:12", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s35run_S21sh12_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills35/S21sh7_nb2.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/39864973-d3d5-4886-bfb2-f8db608a005b.png"], "ref_labels": ["PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing.", "CHARACTER REFERENCE — 수리영: the exact person appearing in this shot; match face, hair and build exactly."], "attempt": 1, "dur_s": 22.8, "bytes": 2784142, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills35/S21sh12_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): daytime.\n\nSHOT TEXT (authoritative, Korean): 수리영이 메모지가 들어간 겉옷 주머니에 손을 넣은 채 사무실 출입문을 향해 몸을 돌린 정지 순간\n\nLOCATION (lock): A functional police office with clustered desks, computer monitors, paperwork, and a clearly visible exit door. The room is arranged as an open administrative workspace under institutional lighting. The shot takes place here — pick the sub-area of this location that the shot text implies.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nMOVEMENT (follow exactly): static: Su-ri-young pauses mid-turn inside the office with one hand still in the coat pocket holding the folded note, her tense, guarded body oriented toward the office exit as she prepares to leave.\n\nFIGURES — size & depth (follow exactly): Su-ri-young is NEARER, appearing at roughly ~1/2 to ~2/3 of the frame height, while the office doorway she faces is FARTHER in the background. Her path leads away from her position in the office toward and through that doorway.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of the referenced people (수리영) matched exactly to their reference photo — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-12 18:41:28", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s35run_S20sh1_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/bddad176-aa6a-4a71-b5d3-d02e36e19657.png"], "ref_labels": ["CHARACTER REFERENCE — 혜수: the exact person appearing in this shot; match face, hair and build exactly."], "attempt": 1, "dur_s": 15.3, "bytes": 2541335, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills35/S20sh1_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): interior ambient light.\n\nSHOT TEXT (authoritative, Korean): 마트 총무과 책상 앞, 한국인 남성 보안직원과 혜수가 컴퓨터 모니터를 향해 몸을 기울인 측면\n\nLOCATION (lock): A compact back-office inside a supermarket, furnished with desks, computer monitors, and security equipment. The workstation is used to review surveillance footage away from the public sales floor. The shot takes place here — pick the sub-area of this location that the shot text implies.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nMOVEMENT (follow exactly): static: The Korean male security employee and Hye-su lean tensely forward from in front of the desk toward the computer monitor, keeping their faces and bodies oriented to the CCTV footage.\n\nFIGURES — size & depth (follow exactly): The security employee and Hye-su each fill roughly ~1/2 of the frame height in side view, occupying a comparable near-midground plane, with the slightly overlapping foreground figure NEARER and the other FARTHER; the monitor is smaller and FARTHER than both along their shared line of sight.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of the referenced people (혜수) matched exactly to their reference photo — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-12 18:41:49", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s35run_S20sh3_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills35/S20sh1_nb2.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/bddad176-aa6a-4a71-b5d3-d02e36e19657.png"], "ref_labels": ["PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing.", "CHARACTER REFERENCE — 혜수: the exact person appearing in this shot; match face, hair and build exactly."], "attempt": 1, "dur_s": 21.0, "bytes": 2451631, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills35/S20sh3_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): interior ambient light.\n\nSHOT TEXT (authoritative, Korean): 흑백 CCTV 화면 속 어두운 구석에 사람 형상이 희미하게 찍힌 모니터 클로즈업\n\nLOCATION (lock): A compact back-office inside a supermarket, furnished with desks, computer monitors, and security equipment. The workstation is used to review surveillance footage away from the public sales floor. The shot takes place here — pick the sub-area of this location that the shot text implies.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nMOVEMENT (follow exactly): static: A real person appearing as a faint dark silhouette, with normal human build, remains indistinct in a dark corner of the black-and-white CCTV image.\n\nFIGURES — size & depth (follow exactly): The monitor fills nearly the entire frame and is NEARER to the camera, while the faint human figure within the displayed CCTV scene is FARTHER and small, roughly ~1/5 of the screen height.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of the referenced people (혜수) matched exactly to their reference photo — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-12 18:42:06", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s35run_S22sh1_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/39864973-d3d5-4886-bfb2-f8db608a005b.png"], "ref_labels": ["CHARACTER REFERENCE — 수리영: the exact person appearing in this shot; match face, hair and build exactly."], "attempt": 1, "dur_s": 17.9, "bytes": 2844829, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills35/S22sh1_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): daytime.\n\nSHOT TEXT (authoritative, Korean): 경찰서 건물 밖 도로 위에서 수리영이 자전거 안장에 앉아 상체를 앞으로 숙인 채 머리카락이 뒤로 흩날리는 측면\n\nLOCATION (lock): A paved urban road directly outside a police station, with the institutional building facade bordering the street. The curbside lane provides a clear route past the entrance. The shot takes place here — pick the sub-area of this location that the shot text implies.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nMOVEMENT (follow exactly): Su-ryeong rides the bicycle along the road outside the police station in a side-on lateral path, pedaling forward from where it had been parked with her torso pitched forward and her hair streaming backward.\n\nFIGURES — size & depth (follow exactly): Su-ryeong and the bicycle together fill roughly ~2/3 of the frame height, with Su-ryeong about ~1/2 and the bicycle about ~1/2; both occupy the same midground depth, so neither is meaningfully nearer than the other.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of the referenced people (수리영) matched exactly to their reference photo — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-12 18:42:23", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s35run_S23sh1_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/39864973-d3d5-4886-bfb2-f8db608a005b.png"], "ref_labels": ["CHARACTER REFERENCE — 수리영: the exact person appearing in this shot; match face, hair and build exactly."], "attempt": 1, "dur_s": 16.4, "bytes": 2338858, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills35/S23sh1_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): interior ambient light.\n\nSHOT TEXT (authoritative, Korean): 어두운 PC방 안, 모니터 불빛이 비치는 수리영의 정면 상체\n\nLOCATION (lock): A dark internet cafe lined with closely spaced computer desks, high-backed chairs, and glowing monitors. Most ambient light comes from the screens and small ceiling fixtures. The shot takes place here — pick the sub-area of this location that the shot text implies.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nMOVEMENT (follow exactly): static: Su-ri-young sits at the computer, torso facing the monitor and gaze directed toward the screen in front of her.\n\nFIGURES — size & depth (follow exactly): Su-ri-young's front-facing upper body fills roughly ~1/2 of the frame height and is the nearer figure, while the monitor casting light onto her is farther in front of her.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of the referenced people (수리영) matched exactly to their reference photo — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-12 18:42:46", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s35run_S23sh4_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills35/S23sh1_nb2.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/39864973-d3d5-4886-bfb2-f8db608a005b.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/e81a2e73-d05b-42c4-aec5-e3c20c9208da.png"], "ref_labels": ["PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing.", "CHARACTER REFERENCE — 수리영: the exact person appearing in this shot; match face, hair and build exactly.", "PROP REFERENCE — 인쇄된 해안가 지도: the exact object appearing in this shot; match its look, material and wear exactly."], "attempt": 1, "dur_s": 23.3, "bytes": 2412227, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills35/S23sh4_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): interior ambient light.\n\nSHOT TEXT (authoritative, Korean): 수리영의 두 손이 접힌 지도 종이들을 열려 있는 백팩 안으로 밀어넣은 정지 순간\n\nLOCATION (lock): A dark internet cafe lined with closely spaced computer desks, high-backed chairs, and glowing monitors. Most ambient light comes from the screens and small ceiling fixtures. The shot takes place here — pick the sub-area of this location that the shot text implies.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nMOVEMENT (follow exactly): Su-ri-young's two hands push the folded map sheets downward from above the opening into the open backpack.\n\nFIGURES — size & depth (follow exactly): Her hands and the folded maps occupy roughly ~1/3 of the frame height, with the hands nearer to the camera than the maps as they press them into the backpack; the open backpack fills roughly ~1/2 of the frame height and lies farther beneath them along the same insertion path.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of the referenced people (수리영) matched exactly to their reference photo — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-12 18:43:01", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s35run_S26sh2_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/39864973-d3d5-4886-bfb2-f8db608a005b.png"], "ref_labels": ["CHARACTER REFERENCE — 수리영: the exact person appearing in this shot; match face, hair and build exactly."], "attempt": 1, "dur_s": 14.9, "bytes": 2598840, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills35/S26sh2_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): dusk, just after sunset.\n\nSHOT TEXT (authoritative, Korean): 수리영이 갯바위 위에 무릎을 모으고 앉아 바다를 응시하는 측면\n\nLOCATION (lock): A small foggy harbor where dark tidal rocks meet a simple mooring edge. Fixed features include a stout mooring post, thick anchor ropes, and a landing point for small fishing boats. The shot takes place here — pick the sub-area of this location that the shot text implies.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nMOVEMENT (follow exactly): static: exhausted after wandering the harbor for hours, Suriyoung sits on the shore rock with her knees together, her body turned toward the sea as she stares into the incoming fog.\n\nFIGURES — size & depth (follow exactly): Suriyoung appears at roughly ~1/2 of the frame height, NEARER to the camera than the fog-covered sea, which lies FARTHER beyond her; the shore rock supports her in the near plane.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of the referenced people (수리영) matched exactly to their reference photo — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-12 18:43:22", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s35run_S26sh5_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/5a1bda13-593a-4d89-8d43-2cbaba382841.png"], "ref_labels": ["CHARACTER REFERENCE — 인우: the exact person appearing in this shot; match face, hair and build exactly."], "attempt": 1, "dur_s": 20.7, "bytes": 2772523, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills35/S26sh5_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): dusk, just after sunset.\n\nSHOT TEXT (authoritative, Korean): 뱃머리에서 내린 인우가 굵은 닻줄을 쥔 채 바닥의 말뚝에 걸친 정지 순간\n\nLOCATION (lock): A small foggy harbor where dark tidal rocks meet a simple mooring edge. Fixed features include a stout mooring post, thick anchor ropes, and a landing point for small fishing boats. The shot takes place here — pick the sub-area of this location that the shot text implies.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nMOVEMENT (follow exactly): static: having stepped off the bow, Inwoo stands by the ground stake, gripping the thick mooring rope and holding it in place as he secures the boat.\n\nFIGURES — size & depth (follow exactly): Inwoo fills roughly ~2/3 of the frame height and is NEARER than the boat behind him; the rope runs from the FARTHER boat through his hands to the NEARER ground stake beside him.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of the referenced people (인우) matched exactly to their reference photo — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-12 18:43:51", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s35run_S26sh9_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills35/S26sh2_nb2.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/39864973-d3d5-4886-bfb2-f8db608a005b.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/99d4b721-040d-41ad-8c0b-a3f6d3ee727f.png"], "ref_labels": ["PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing.", "CHARACTER REFERENCE — 수리영: the exact person appearing in this shot; match face, hair and build exactly.", "PROP REFERENCE — 스마트폰: the exact object appearing in this shot; match its look, material and wear exactly."], "attempt": 1, "dur_s": 29.3, "bytes": 2393614, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills35/S26sh9_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): dusk, just after sunset.\n\nSHOT TEXT (authoritative, Korean): 수리영이 바다를 향해 선 채 스마트폰을 입가에 댄 측면 상체\n\nLOCATION (lock): A small foggy harbor where dark tidal rocks meet a simple mooring edge. Fixed features include a stout mooring post, thick anchor ropes, and a landing point for small fishing boats. The shot takes place here — pick the sub-area of this location that the shot text implies.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nMOVEMENT (follow exactly): static: visibly fatigued, Suriyoung stands facing the sea in side profile, holding her smartphone at her mouth while leaving a voice message before departing.\n\nFIGURES — size & depth (follow exactly): Suriyoung's upper body fills roughly ~2/3 of the frame height, with the smartphone close to her face in the NEAREST plane; she is NEARER than the foggy sea stretching FARTHER behind her.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of the referenced people (수리영) matched exactly to their reference photo — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-12 18:44:07", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s35run_S28sh5_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/5a1bda13-593a-4d89-8d43-2cbaba382841.png"], "ref_labels": ["CHARACTER REFERENCE — 인우: the exact person appearing in this shot; match face, hair and build exactly."], "attempt": 1, "dur_s": 15.9, "bytes": 3011913, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills35/S28sh5_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): dusk, just after sunset.\n\nSHOT TEXT (authoritative, Korean): 인우가 사진에 시선을 고정한 채 두 눈을 크게 뜨고 상체를 뒤로 뺀 측면 구도\n\nLOCATION (lock): The exposed deck of a small working fishing boat, with low rails, a forward bow area, and a raised wheelhouse. A narrow doorway connects the open deck to the enclosed wheelhouse. The shot takes place here — pick the sub-area of this location that the shot text implies.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nMOVEMENT (follow exactly): static: Inwoo keeps his gaze fixed on the photograph, eyes widened as his startled, tense upper body recoils backward in side profile.\n\nFIGURES — size & depth (follow exactly): Inwoo fills roughly ~1/2 of the frame height and is the only visible person, making him both the nearest and farthest figure in the frame.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of the referenced people (인우) matched exactly to their reference photo — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-12 18:44:31", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s35run_S28sh8_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills35/S28sh5_nb2.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/39864973-d3d5-4886-bfb2-f8db608a005b.png"], "ref_labels": ["PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing.", "CHARACTER REFERENCE — 수리영: the exact person appearing in this shot; match face, hair and build exactly."], "attempt": 1, "dur_s": 24.1, "bytes": 3050363, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills35/S28sh8_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): dusk, just after sunset.\n\nSHOT TEXT (authoritative, Korean): 수리영이 조타실 입구에 서서 두 팔을 벌린 채 멈춘 전신\n\nLOCATION (lock): The exposed deck of a small working fishing boat, with low rails, a forward bow area, and a raised wheelhouse. A narrow doorway connects the open deck to the enclosed wheelhouse. The shot takes place here — pick the sub-area of this location that the shot text implies.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nMOVEMENT (follow exactly): static: Suriyoung has stopped at the wheelhouse entrance with both arms spread, standing squarely toward the wheelhouse interior as if blocking the way.\n\nFIGURES — size & depth (follow exactly): Suriyoung is shown full-body, filling roughly ~4/5 of the frame height; she is the only visible person and therefore the nearest figure, while the wheelhouse interior lies farther behind her.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of the referenced people (수리영) matched exactly to their reference photo — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-12 18:44:49", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s35run_S29sh3_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/39864973-d3d5-4886-bfb2-f8db608a005b.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/fc23070d-a644-45e4-a5d8-ecb98fe8d2d3.png"], "ref_labels": ["CHARACTER REFERENCE — 수리영: the exact person appearing in this shot; match face, hair and build exactly.", "PROP REFERENCE — 구겨진 피 묻은 낡은 흑백 사진: the exact object appearing in this shot; match its look, material and wear exactly."], "attempt": 1, "dur_s": 17.8, "bytes": 2472554, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills35/S29sh3_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): dusk, just after sunset.\n\nSHOT TEXT (authoritative, Korean): 수리영의 검지손가락이 낡은 사진 속 아이의 얼굴 부분에 닿아 있는 클로즈업\n\nLOCATION (lock): A cramped enclosed wheelhouse aboard a small fishing boat, surrounded by windows and fitted with basic navigation controls. The narrow interior opens directly onto the exterior deck through a single doorway. The shot takes place here — pick the sub-area of this location that the shot text implies.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nMOVEMENT (follow exactly): static: Soo Ri-young's index finger points down toward and rests against the child's face in the worn photograph, while the rest of her body remains off-screen.\n\nFIGURES — size & depth (follow exactly): Soo Ri-young's visible index finger is small, about ~1/4 of frame height, and is NEARER to the camera; the worn photograph fills most of the frame and is FARTHER, with the child's pictured face directly beneath the fingertip.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of the referenced people (수리영) matched exactly to their reference photo — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-12 18:45:11", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s35run_S29sh4_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills35/S29sh3_nb2.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/5a1bda13-593a-4d89-8d43-2cbaba382841.png"], "ref_labels": ["PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing.", "CHARACTER REFERENCE — 인우: the exact person appearing in this shot; match face, hair and build exactly."], "attempt": 1, "dur_s": 21.9, "bytes": 2544849, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills35/S29sh4_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): dusk, just after sunset.\n\nSHOT TEXT (authoritative, Korean): 인우가 입술을 살짝 벌린 채 하얗게 질린 얼굴 타이트 샷\n\nLOCATION (lock): A cramped enclosed wheelhouse aboard a small fishing boat, surrounded by windows and fitted with basic navigation controls. The narrow interior opens directly onto the exterior deck through a single doorway. The shot takes place here — pick the sub-area of this location that the shot text implies.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nMOVEMENT (follow exactly): static: In-woo holds his pallid face still with his lips slightly parted, his gaze direction unspecified as he turns pensive and shocked.\n\nFIGURES — size & depth (follow exactly): In-woo's face fills ~3/4 of frame height and is the sole visible figure, positioned NEAR to the camera; no farther person is visible in the tight frame.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of the referenced people (인우) matched exactly to their reference photo — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-12 18:45:40", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s35run_S29sh8_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/panels35/S29sh8.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills35/S29sh4_nb2.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/39864973-d3d5-4886-bfb2-f8db608a005b.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/5a1bda13-593a-4d89-8d43-2cbaba382841.png"], "ref_labels": ["STORYBOARD PANEL — a REFERENCE ONLY, never the target: use it loosely for camera framing, figure placement and depth order. Do NOT photorealize this drawing as-is — the SHOT TEXT and the other references are authoritative; re-stage the moment naturally as a real photograph. Never copy the sketch's line style, paper texture, borders, simplified geometry or drawing errors.", "PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing.", "CHARACTER REFERENCE — 수리영: the exact person appearing in this shot; match face, hair and build exactly.", "CHARACTER REFERENCE — 인우: the exact person appearing in this shot; match face, hair and build exactly."], "attempt": 1, "dur_s": 29.3, "bytes": 2738724, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills35/S29sh8_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): dusk, just after sunset.\n\nSHOT TEXT (authoritative, Korean): 눈이 반쯤 감긴 수리영의 이마가 인우의 어깨에 맞닿아 있는 찰나\n\nLOCATION (lock): A cramped enclosed wheelhouse aboard a small fishing boat, surrounded by windows and fitted with basic navigation controls. The narrow interior opens directly onto the exterior deck through a single doorway. The shot takes place here — pick the sub-area of this location that the shot text implies.\n\nTHE STORYBOARD PANEL IS ONLY A REFERENCE: it is a\nrough pre-production sketch, not the image to\nreproduce. Take from it only the shot's rough\ncomposition — framing, where figures sit, near/far\norder. Everything else (real-world detail, materials,\nlight, anatomy, environment richness) must come from\nthe shot text and the photographic references,\nre-staged as if actually filmed on a real set. If the\nsketch conflicts with the shot text or looks\nsimplified/wrong, FOLLOW THE TEXT, not the sketch.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nMOVEMENT (follow exactly): Losing consciousness, Soo Ri-young slackens and collapses forward and downward from her own position onto In-woo, her weight giving way until her forehead meets his shoulder as he remains in place glaring at her.\n\nFIGURES — size & depth (follow exactly): Soo Ri-young's visible head fills ~1/2 of frame height and is NEARER as it overlaps In-woo's shoulder; In-woo's visible shoulder and partial figure occupy ~1/3 of frame height and are FARTHER, with the two bodies closing to direct contact.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of the referenced people (수리영, 인우) matched exactly to their reference photo — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-12 18:45:54", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s35run_S30sh1_nb2", "refs": [], "ref_labels": [], "attempt": 1, "dur_s": 13.4, "bytes": 3038615, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills35/S30sh1_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): dusk, just after sunset.\n\nSHOT TEXT (authoritative, Korean): 해질 무렵 황금빛 노을이 바다 표면에 길게 비친 전경\n\nLOCATION (lock): An open coastal sea with a broad horizon and no nearby land dominating the view. At sunset, golden light stretches across the water while a dense offshore fog bank forms a distinct wall ahead. The shot takes place here — pick the sub-area of this location that the shot text implies.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nMOVEMENT (follow exactly): static: the sea lies beneath the gradually setting sun, with its long golden reflection extending across the water and no character movement visible.\n\nFIGURES — size & depth (follow exactly): The sea and its golden reflection occupy most of the frame, with the foreground water NEARER to the camera and the distant horizon and sunset glow FARTHER away.\n\nNo people appear unless the shot text itself says so.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-12 18:46:17", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s35run_S30sh3_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/panels35/S30sh3.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills35/S30sh1_nb2.png"], "ref_labels": ["STORYBOARD PANEL — a REFERENCE ONLY, never the target: use it loosely for camera framing, figure placement and depth order. Do NOT photorealize this drawing as-is — the SHOT TEXT and the other references are authoritative; re-stage the moment naturally as a real photograph. Never copy the sketch's line style, paper texture, borders, simplified geometry or drawing errors.", "PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing."], "attempt": 1, "dur_s": 23.3, "bytes": 2507723, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/stills35/S30sh3_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): dusk, just after sunset.\n\nSHOT TEXT (authoritative, Korean): 어선의 뱃머리가 짙은 안개벽에 절반쯤 가려진 측면 구도\n\nLOCATION (lock): An open coastal sea with a broad horizon and no nearby land dominating the view. At sunset, golden light stretches across the water while a dense offshore fog bank forms a distinct wall ahead. The shot takes place here — pick the sub-area of this location that the shot text implies.\n\nTHE STORYBOARD PANEL IS ONLY A REFERENCE: it is a\nrough pre-production sketch, not the image to\nreproduce. Take from it only the shot's rough\ncomposition — framing, where figures sit, near/far\norder. Everything else (real-world detail, materials,\nlight, anatomy, environment richness) must come from\nthe shot text and the photographic references,\nre-staged as if actually filmed on a real set. If the\nsketch conflicts with the shot text or looks\nsimplified/wrong, FOLLOW THE TEXT, not the sketch.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nMOVEMENT (follow exactly): The fishing boat advances bow-first from clear water into the dense fog wall, seen side-on as its forward half disappears into the mist; no camera-relative left-right direction is specified.\n\nFIGURES — size & depth (follow exactly): The boat's visible bow is medium-large, filling roughly ~1/2 of the frame height, while the fog wall fills most of the background; the unobscured side of the boat is NEARER, and its forward section vanishing into the fog is FARTHER along its path.\n\nNo people appear unless the shot text itself says so.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-12 20:08:10", "kind": "img", "engine": "gpt-image-2", "mode": "edit", "tag": "s36_conti_rooftop_room_exterior_0_i2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/projects/114a8883-e960-4b97-97c7-0ba00a469750/images/background_chain/canon_bg_rooftop_villa_complex_master.png"], "size": "1536x1024", "attempt": 1, "dur_s": 113.5, "bytes": 3149037, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/conti36_rooftop_room_exterior_0_i2.png", "prompt": "Draw ONE storyboard (conti) sheet: 6 panels made by TWO vertical cuts at exactly 1/3 and 2/3 of the width and ONE horizontal cut at exactly 50% of the height — a 3-column x 2-row grid, all six panels exactly equal.\nSTYLE: hand-drawn PRE-PRODUCTION STORYBOARD FOR A LIVE-ACTION FILM\nSHOOT — the working drawings a professional film storyboard artist\nmakes for the director and cinematographer of a real movie:\nREALISTIC adult human proportions and faces (ordinary Korean\nadults, film-actor realism), true cinematic lens framing, and\nnaturalistic light-and-shadow blocking rendered in monochrome\ngraphite pencil tone on white paper.\nABSOLUTELY NOT manga, NOT anime, NOT cartoon, NOT webtoon, NOT\ncomic-book style: no stylized or enlarged eyes, no cute or\nyouthful idealized faces, no clean ink outlines — every panel\nmust read like a frame of a live-action film sketched in pencil.\nNo color anywhere.\n\nTHE LOCATION (same in all drawn panels): The flat rooftop of an aging low-rise apartment building, enclosed by a waist-high parapet. A small rooftop dwelling has a metal entrance door and a window visible from the open roof..\n\nPURPOSE: each panel captures only the CAMERA COMPOSITION of one\nshot — framing (close-up / medium / wide), where the subject sits in\nthe frame, and continuity between panels. Keep every panel\nextremely simple: only what matters for composition.\nMOVEMENT IS SHOWN BY THE FIGURE ITSELF, NEVER BY MARKINGS: convey\ndirection of travel purely through the body — stride mid-motion,\nbody lean into the path, back view vs front view, and the stated\nsize/depth cues. Do NOT draw arrows, motion lines, path lines,\nspeed lines or any diagram markings of any kind.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Draw what a real movie camera would actually record\non a physical set — exaggerated or figurative impressions become\nrealistic staging choices (lighting, distance, angle, wardrobe),\nnot literal fantasy drawings.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still draw them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nGEOMETRY — ANALYSE BEFORE DRAWING: from each panel's Korean shot\ntext, first work out the spatial facts and draw EXACTLY those, never\nre-stage them: (a) each figure's DISTANCE from camera (tight insert /\nclose-up / medium / full / wide — a shot about a hand or an object\nis a tight insert, not a two-shot); (b) each figure's FACING and\nMOVEMENT DIRECTION relative to camera — '뒷모습' means seen from\nBEHIND, moving AWAY from camera into the depth of the frame, not\nsideways; a profile means lateral movement; (c) relative positions\nand distances BETWEEN figures. Keep every established screen\ndirection consistent across panels (180-degree rule): a person who\nleaves in one panel keeps the same on-screen direction wherever the\nmovement appears again.\nSIZE & DEPTH ARE CONTRACTUAL: each panel states every figure's\napparent size in the frame and the explicit near/far depth order.\nDraw exactly those proportions — a farther figure MUST be drawn\nclearly smaller than a nearer one; never equalize figure sizes,\nespecially when several figures share a panel or their paths\nrelate to each other.\nDEPARTING FIGURE — a figure running/walking AWAY must be\nunmistakably departing, never approaching: seen exactly from behind\n(back of the head only, no face, no chin, no cheek line), body\nleaning into the path, mid-stride with one shoe sole toward the\ncamera. THE STATED SIZE/DEPTH WINS: draw the departing figure at\nexactly the apparent size and depth the panel's FIGURES line states\n(if stated FARTHER/small, it stays small in the distance — never\nenlarge it into the foreground for drama).\n\nCONTINUITY: all drawn panels are the SAME single location — fixed\nfeatures (doors, stairs, windows, poles, desks) keep the same\nposition and left/right relationships across panels so the panels\ncut together as one continuous scene.\n\nPANELS (one shot per panel, Korean shot text):\n\nPANEL 1: 맑은 낮, 오래된 다세대 빌라 옥상 위에 자리 잡은 옥탑방을 높은 곳에서 내려다본 부감 구도\n  MOVEMENT (follow exactly): static: No person is visible; the rooftop room remains fixed on top of the old multi-family villa beneath the high, downward-looking camera.\n  FIGURES — apparent size & depth order (follow exactly): The rooftop room appears small, about ~1/6 of the frame height, and is FARTHER from the camera than the surrounding upper roof surfaces in the foreground.\nPANEL 2: 현관 철문이 아주 살짝 열린 틈새로 보이는 어두운 실내와 신발 앞코\n  MOVEMENT (follow exactly): The unknown man's shoe toe advances from the rooftop exterior through the narrowly opened iron doorway into the dark room, leading his unseen body inward.\n  FIGURES — apparent size & depth order (follow exactly): The shoe toe is small, about ~1/10 of the frame height, and lies FARTHER from the camera than the NEARER iron door edges; the dark interior recedes farthest beyond it.\nPANEL 3: 불이 켜진 옥탑방 창문에 거대한 그림자가 작은 그림자의 어깨 쪽으로 고개를 꺾은 형태가 맺혀 있는 정지 구도\n  MOVEMENT (follow exactly): static: A real man appearing as a large dark silhouette, with normal human build, leans into Minsook and angles his head down toward her shoulder as she is caught beneath him.\n  FIGURES — apparent size & depth order (follow exactly): The man's shadow fills roughly ~2/3 of the frame height, larger than Minsook's smaller shadow at about ~1/3; both people are FARTHER than the NEARER window surface, while their mutual camera-depth order is not established. Their silhouettes overlap at Minsook's shoulder, leaving almost no distance between their paths.\nPANEL 4: 옥상에 선 수리영의 시선 끝에 반쯤 열려 있는 어두운 현관 철문이 보이는 정면 구도\n  MOVEMENT (follow exactly): static: Suriyoung stands tensely on the rooftop with her body and gaze directed straight toward the half-open iron entrance door and its dark interior.\n  FIGURES — apparent size & depth order (follow exactly): Suriyoung appears about ~1/2 of the frame height in the NEARER rooftop area, while the half-open door appears about ~1/3 and is FARTHER ahead along her line of sight.\nPANEL 5: 옥상 담벼락 위에서 한쪽 앞발을 허공으로 뻗은 검은 고양이의 측면\n  MOVEMENT (follow exactly): The black cat moves side-on across and over the rooftop wall toward the opposite side, extending one forepaw into the air as its body follows.\n  FIGURES — apparent size & depth order (follow exactly): The cat appears medium-sized, about ~1/3 of the frame height, and is NEARER to the camera than the FARTHER side beyond the wall; the wall runs beneath its crossing path.\n\nThere are 5 shots but 6 panel slots: draw the shots in\npanels 1..5 and leave the remaining panel(s) COMPLETELY\nBLANK PURE WHITE — empty white paper, not even a frame line inside.\n\nABSOLUTELY NO TEXT anywhere: no words, letters, captions, labels,\nsound effects or watermarks — the ONLY allowed marking is a small\nshot number digit (1, 2, 3, 4, 5) in a corner INSIDE each drawn panel.\nTHE PANEL GRID FILLS THE ENTIRE IMAGE EDGE-TO-EDGE: no outer paper\nmargin, no border area, nothing drawn outside the panels — the\nimage must be mechanically cuttable along the stated cut lines.\nPanels are separated only by thin straight black gutter lines at\nthe exact stated positions; ALL PANELS EXACTLY THE SAME SIZE.\n\nREFERENCE (BUILDING PHOTOGRAPH — architectural grounding, not\nstyle): the attached photograph shows the ACTUAL building where\nevery panel of this sheet takes place — an old Korean multi-unit\nvilla seen from above: a narrow ground-level alley and small\ncourtyard, an exterior steel staircase climbing the wall, and a\nflat rooftop with a small rooftop room (its door and window), a\nwater tank, a clothesline and a low parapet.\nWhenever a panel shows ANY part of this building — exterior walls,\nthe steel staircase, the rooftop, the rooftop room, the courtyard\nor alley — draw THAT building: take its architecture, massing,\nproportions, materials and the positions of its fixed features\n(door, window, stairs, water tank, parapet) from this photograph,\ntranslated into monochrome pencil storyboard drawing. Never invent\na different building and never contradict the photo's geometry.\nFor INTERIOR panels, stay consistent with this building's scale\nand its window/door placement seen in the photo.\nDo NOT copy the photograph's style, colors, camera angle or crop —\neach panel keeps its own shot framing; the photo is spatial truth\nonly."}
{"ts": "2026-07-12 20:10:14", "kind": "img", "engine": "gpt-image-2", "mode": "edit", "tag": "s36_conti_rooftop_room_interior_0_i2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/projects/114a8883-e960-4b97-97c7-0ba00a469750/images/background_chain/canon_bg_rooftop_villa_complex_master.png"], "size": "1536x1024", "attempt": 1, "dur_s": 123.2, "bytes": 3234477, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/conti36_rooftop_room_interior_0_i2.png", "prompt": "Draw ONE storyboard (conti) sheet: 6 panels made by TWO vertical cuts at exactly 1/3 and 2/3 of the width and ONE horizontal cut at exactly 50% of the height — a 3-column x 2-row grid, all six panels exactly equal.\nSTYLE: hand-drawn PRE-PRODUCTION STORYBOARD FOR A LIVE-ACTION FILM\nSHOOT — the working drawings a professional film storyboard artist\nmakes for the director and cinematographer of a real movie:\nREALISTIC adult human proportions and faces (ordinary Korean\nadults, film-actor realism), true cinematic lens framing, and\nnaturalistic light-and-shadow blocking rendered in monochrome\ngraphite pencil tone on white paper.\nABSOLUTELY NOT manga, NOT anime, NOT cartoon, NOT webtoon, NOT\ncomic-book style: no stylized or enlarged eyes, no cute or\nyouthful idealized faces, no clean ink outlines — every panel\nmust read like a frame of a live-action film sketched in pencil.\nNo color anywhere.\n\nTHE LOCATION (same in all drawn panels): A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls..\n\nPURPOSE: each panel captures only the CAMERA COMPOSITION of one\nshot — framing (close-up / medium / wide), where the subject sits in\nthe frame, and continuity between panels. Keep every panel\nextremely simple: only what matters for composition.\nMOVEMENT IS SHOWN BY THE FIGURE ITSELF, NEVER BY MARKINGS: convey\ndirection of travel purely through the body — stride mid-motion,\nbody lean into the path, back view vs front view, and the stated\nsize/depth cues. Do NOT draw arrows, motion lines, path lines,\nspeed lines or any diagram markings of any kind.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Draw what a real movie camera would actually record\non a physical set — exaggerated or figurative impressions become\nrealistic staging choices (lighting, distance, angle, wardrobe),\nnot literal fantasy drawings.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still draw them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nGEOMETRY — ANALYSE BEFORE DRAWING: from each panel's Korean shot\ntext, first work out the spatial facts and draw EXACTLY those, never\nre-stage them: (a) each figure's DISTANCE from camera (tight insert /\nclose-up / medium / full / wide — a shot about a hand or an object\nis a tight insert, not a two-shot); (b) each figure's FACING and\nMOVEMENT DIRECTION relative to camera — '뒷모습' means seen from\nBEHIND, moving AWAY from camera into the depth of the frame, not\nsideways; a profile means lateral movement; (c) relative positions\nand distances BETWEEN figures. Keep every established screen\ndirection consistent across panels (180-degree rule): a person who\nleaves in one panel keeps the same on-screen direction wherever the\nmovement appears again.\nSIZE & DEPTH ARE CONTRACTUAL: each panel states every figure's\napparent size in the frame and the explicit near/far depth order.\nDraw exactly those proportions — a farther figure MUST be drawn\nclearly smaller than a nearer one; never equalize figure sizes,\nespecially when several figures share a panel or their paths\nrelate to each other.\nDEPARTING FIGURE — a figure running/walking AWAY must be\nunmistakably departing, never approaching: seen exactly from behind\n(back of the head only, no face, no chin, no cheek line), body\nleaning into the path, mid-stride with one shoe sole toward the\ncamera. THE STATED SIZE/DEPTH WINS: draw the departing figure at\nexactly the apparent size and depth the panel's FIGURES line states\n(if stated FARTHER/small, it stays small in the distance — never\nenlarge it into the foreground for drama).\n\nCONTINUITY: all drawn panels are the SAME single location — fixed\nfeatures (doors, stairs, windows, poles, desks) keep the same\nposition and left/right relationships across panels so the panels\ncut together as one continuous scene.\n\nPANELS (one shot per panel, Korean shot text):\n\nPANEL 1: 다급하게 상체를 기울이며 손가락 끝으로 TV 전원 버튼을 세게 누르고 있는 민숙의 측면 구도\n  MOVEMENT (follow exactly): Min-sook urgently pitches her upper body forward toward the TV and forcefully drives a fingertip into its power button to turn it off as Su-ri-young emerges from her room.\n  FIGURES — apparent size & depth order (follow exactly): Min-sook's side-view upper body fills roughly 2/3 of the frame height, with her reaching hand and the TV button NEARER to the camera than her face and torso. The TV is FARTHER along her forward reach, and her body closes the short distance toward it.\nPANEL 2: 민숙의 손목에 선명하게 드러난 작은 원형 표식의 타이트 샷\n  MOVEMENT (follow exactly): static: Min-sook's wrist is held in view, with the sharply visible small circular mark facing the camera.\n  FIGURES — apparent size & depth order (follow exactly): The wrist fills most of the tight frame, while the circular mark occupies a small area at its center. The skin and mark are the NEAREST and only principal subject, with any body or room detail FARTHER and out of focus.\nPANEL 3: 옷과 피부가 피투성이가 된 민숙이 바닥에 주저앉아 고개를 푹 숙인 정지 상태\n  MOVEMENT (follow exactly): static: lifeless Min-sook is collapsed against the floor in an asymmetric seated slump, her head dropped deeply forward, shoulders fallen, limbs limp, and body weight fully given way.\n  FIGURES — apparent size & depth order (follow exactly): Min-sook's blood-covered body fills about 2/3 of the frame height and is the NEAREST principal figure. The floor directly beneath her is nearer than the surrounding bedroom and curtain area, which recede FARTHER behind her.\nPANEL 4: 민숙의 손에 꽉 쥐어진 구겨진 사진의 타이트 샷\n  MOVEMENT (follow exactly): static: lifeless Min-sook's limp hand remains curled tightly around a crumpled photograph, with the photograph exposed toward the camera.\n  FIGURES — apparent size & depth order (follow exactly): The dead woman's hand fills roughly 2/3 of the tight frame, and the crumpled photograph fills about 1/3. The photograph is NEARER where it protrudes from her grasp, while her palm, wrist, and collapsed body lie progressively FARTHER behind it.\nPANEL 5: 침대 위쪽 벽면에 붉은색 원형 표식이 절반쯤 나타난 상태\n  MOVEMENT (follow exactly): A red circular mark spreads around the wall above the bed, progressing along a ring-like path as though an unseen brush is drawing it, with about half the circle formed.\n  FIGURES — apparent size & depth order (follow exactly): The half-formed red circle fills roughly 1/2 of the frame height on the wall and is the principal visible object. The wall surface and mark are FARTHER than the nearer edge of the bed, with the red pigment visually sitting closest on that wall plane.\nPANEL 6: 핏자국 없이 깨끗한 방 내부 전경\n  MOVEMENT (follow exactly): static: the excessively tidy bedroom stands empty, with no bloodstains, red wall mark, or collapsed body remaining anywhere in the room.\n  FIGURES — apparent size & depth order (follow exactly): The empty room fills the full frame; nearer floor and furniture edges occupy the foreground, while the bed, curtain, and clean back wall are FARTHER away. No person is visible, and the formerly occupied curtain area is now empty.\n\nABSOLUTELY NO TEXT anywhere: no words, letters, captions, labels,\nsound effects or watermarks — the ONLY allowed marking is a small\nshot number digit (1, 2, 3, 4, 5, 6) in a corner INSIDE each drawn panel.\nTHE PANEL GRID FILLS THE ENTIRE IMAGE EDGE-TO-EDGE: no outer paper\nmargin, no border area, nothing drawn outside the panels — the\nimage must be mechanically cuttable along the stated cut lines.\nPanels are separated only by thin straight black gutter lines at\nthe exact stated positions; ALL PANELS EXACTLY THE SAME SIZE.\n\nREFERENCE (BUILDING PHOTOGRAPH — architectural grounding, not\nstyle): the attached photograph shows the ACTUAL building where\nevery panel of this sheet takes place — an old Korean multi-unit\nvilla seen from above: a narrow ground-level alley and small\ncourtyard, an exterior steel staircase climbing the wall, and a\nflat rooftop with a small rooftop room (its door and window), a\nwater tank, a clothesline and a low parapet.\nWhenever a panel shows ANY part of this building — exterior walls,\nthe steel staircase, the rooftop, the rooftop room, the courtyard\nor alley — draw THAT building: take its architecture, massing,\nproportions, materials and the positions of its fixed features\n(door, window, stairs, water tank, parapet) from this photograph,\ntranslated into monochrome pencil storyboard drawing. Never invent\na different building and never contradict the photo's geometry.\nFor INTERIOR panels, stay consistent with this building's scale\nand its window/door placement seen in the photo.\nDo NOT copy the photograph's style, colors, camera angle or crop —\neach panel keeps its own shot framing; the photo is spatial truth\nonly."}
{"ts": "2026-07-12 20:12:02", "kind": "img", "engine": "gpt-image-2", "mode": "edit", "tag": "s36_conti_rooftop_room_interior_1_i2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/projects/114a8883-e960-4b97-97c7-0ba00a469750/images/background_chain/canon_bg_rooftop_villa_complex_master.png"], "size": "1536x1024", "attempt": 1, "dur_s": 108.7, "bytes": 3619071, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/conti36_rooftop_room_interior_1_i2.png", "prompt": "Draw ONE storyboard (conti) sheet: 6 panels made by TWO vertical cuts at exactly 1/3 and 2/3 of the width and ONE horizontal cut at exactly 50% of the height — a 3-column x 2-row grid, all six panels exactly equal.\nSTYLE: hand-drawn PRE-PRODUCTION STORYBOARD FOR A LIVE-ACTION FILM\nSHOOT — the working drawings a professional film storyboard artist\nmakes for the director and cinematographer of a real movie:\nREALISTIC adult human proportions and faces (ordinary Korean\nadults, film-actor realism), true cinematic lens framing, and\nnaturalistic light-and-shadow blocking rendered in monochrome\ngraphite pencil tone on white paper.\nABSOLUTELY NOT manga, NOT anime, NOT cartoon, NOT webtoon, NOT\ncomic-book style: no stylized or enlarged eyes, no cute or\nyouthful idealized faces, no clean ink outlines — every panel\nmust read like a frame of a live-action film sketched in pencil.\nNo color anywhere.\n\nTHE LOCATION (same in all drawn panels): A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls..\n\nPURPOSE: each panel captures only the CAMERA COMPOSITION of one\nshot — framing (close-up / medium / wide), where the subject sits in\nthe frame, and continuity between panels. Keep every panel\nextremely simple: only what matters for composition.\nMOVEMENT IS SHOWN BY THE FIGURE ITSELF, NEVER BY MARKINGS: convey\ndirection of travel purely through the body — stride mid-motion,\nbody lean into the path, back view vs front view, and the stated\nsize/depth cues. Do NOT draw arrows, motion lines, path lines,\nspeed lines or any diagram markings of any kind.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Draw what a real movie camera would actually record\non a physical set — exaggerated or figurative impressions become\nrealistic staging choices (lighting, distance, angle, wardrobe),\nnot literal fantasy drawings.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still draw them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nGEOMETRY — ANALYSE BEFORE DRAWING: from each panel's Korean shot\ntext, first work out the spatial facts and draw EXACTLY those, never\nre-stage them: (a) each figure's DISTANCE from camera (tight insert /\nclose-up / medium / full / wide — a shot about a hand or an object\nis a tight insert, not a two-shot); (b) each figure's FACING and\nMOVEMENT DIRECTION relative to camera — '뒷모습' means seen from\nBEHIND, moving AWAY from camera into the depth of the frame, not\nsideways; a profile means lateral movement; (c) relative positions\nand distances BETWEEN figures. Keep every established screen\ndirection consistent across panels (180-degree rule): a person who\nleaves in one panel keeps the same on-screen direction wherever the\nmovement appears again.\nSIZE & DEPTH ARE CONTRACTUAL: each panel states every figure's\napparent size in the frame and the explicit near/far depth order.\nDraw exactly those proportions — a farther figure MUST be drawn\nclearly smaller than a nearer one; never equalize figure sizes,\nespecially when several figures share a panel or their paths\nrelate to each other.\nDEPARTING FIGURE — a figure running/walking AWAY must be\nunmistakably departing, never approaching: seen exactly from behind\n(back of the head only, no face, no chin, no cheek line), body\nleaning into the path, mid-stride with one shoe sole toward the\ncamera. THE STATED SIZE/DEPTH WINS: draw the departing figure at\nexactly the apparent size and depth the panel's FIGURES line states\n(if stated FARTHER/small, it stays small in the distance — never\nenlarge it into the foreground for drama).\n\nCONTINUITY: all drawn panels are the SAME single location — fixed\nfeatures (doors, stairs, windows, poles, desks) keep the same\nposition and left/right relationships across panels so the panels\ncut together as one continuous scene.\n\nPANELS (one shot per panel, Korean shot text):\n\nPANEL 1: 수리영이 멍한 눈으로 텅 빈 방 안을 응시하는 얼굴 클로즈업\n  MOVEMENT (follow exactly): static: pale-faced Su-ri-young holds her body rigid and stares blankly into the empty bedroom where she expected to find her mother's body.\n  FIGURES — apparent size & depth order (follow exactly): Su-ri-young's face fills about 2/3 of the frame height and is the NEAREST figure. The empty room she watches is FARTHER beyond her eyeline, with no other person visible.\nPANEL 2: 혜수가 날카로운 눈빛으로 김형사를 노려보는 모습\n  MOVEMENT (follow exactly): static: Hye-su fixes a sharp, hostile stare toward Detective Kim, her face and body oriented directly at him.\n  FIGURES — apparent size & depth order (follow exactly): Hye-su fills roughly 2/3 of the frame height and is the NEAREST visible figure. Detective Kim is the FARTHER target of her gaze, whether at the edge of the frame or just off-screen, with no crossing movement between them.\nPANEL 3: 거울 속 반사된 욕실 타일 벽면에 붉은색 원형 표식이 절반쯤 나타난 상태\n  MOVEMENT (follow exactly): A red circular mark suddenly develops across the bathroom tile wall seen in the mirror, extending around a ring-like path until roughly half is visible.\n  FIGURES — apparent size & depth order (follow exactly): The mirror and reflected tiled wall fill most of the frame, while the half-formed red circle occupies about 1/2 of the reflected frame height. The mirror surface is physically NEARER to the camera, while the marked bathroom wall appears FARTHER within the reflection.\nPANEL 4: 액자 속 민숙의 얼굴 부분 이미지가 아래로 일그러지며 흘러내리는 찰나\n  MOVEMENT (follow exactly): The image of Min-sook's smiling face inside the framed photograph distorts and flows downward before Su-ri-young's eyes.\n  FIGURES — apparent size & depth order (follow exactly): The framed photograph fills most of the close frame, and Min-sook's pictured face occupies roughly 1/2 of its height. The photograph's glass and frame are NEARER to the camera, while the collapsing facial image is visually FARTHER beneath the surface.\nPANEL 5: 수리영이 두 손으로 머리를 감싸 쥐고 입을 크게 벌린 얼굴\n  MOVEMENT (follow exactly): static: terrified and overwhelmed, Su-ri-young clamps both hands around her head and holds her mouth wide open in a scream, her posture rigid with panic.\n  FIGURES — apparent size & depth order (follow exactly): Su-ri-young's face and hands fill about 3/4 of the frame height and form the NEAREST subject. Her hands sit slightly NEARER than her face on either side, while the room behind her is FARTHER and secondary.\nPANEL 6: 해질 무렵 옥탑방 거실, 흙 묻은 발자국들이 찍힌 바닥과 쓰러진 식탁 의자들이 보이는 전경\n  MOVEMENT (follow exactly): static: muddy footprints remain across the ransacked living-room floor among overturned dining chairs, indicating a prior path through the room but no current movement.\n  FIGURES — apparent size & depth order (follow exactly): The footprint-marked floor fills the lower half of the wide frame, with the NEAREST prints and fallen chair parts in the foreground appearing larger. Additional prints, the dining area, and the open living-room window recede FARTHER into the room.\n\nABSOLUTELY NO TEXT anywhere: no words, letters, captions, labels,\nsound effects or watermarks — the ONLY allowed marking is a small\nshot number digit (1, 2, 3, 4, 5, 6) in a corner INSIDE each drawn panel.\nTHE PANEL GRID FILLS THE ENTIRE IMAGE EDGE-TO-EDGE: no outer paper\nmargin, no border area, nothing drawn outside the panels — the\nimage must be mechanically cuttable along the stated cut lines.\nPanels are separated only by thin straight black gutter lines at\nthe exact stated positions; ALL PANELS EXACTLY THE SAME SIZE.\n\nREFERENCE (BUILDING PHOTOGRAPH — architectural grounding, not\nstyle): the attached photograph shows the ACTUAL building where\nevery panel of this sheet takes place — an old Korean multi-unit\nvilla seen from above: a narrow ground-level alley and small\ncourtyard, an exterior steel staircase climbing the wall, and a\nflat rooftop with a small rooftop room (its door and window), a\nwater tank, a clothesline and a low parapet.\nWhenever a panel shows ANY part of this building — exterior walls,\nthe steel staircase, the rooftop, the rooftop room, the courtyard\nor alley — draw THAT building: take its architecture, massing,\nproportions, materials and the positions of its fixed features\n(door, window, stairs, water tank, parapet) from this photograph,\ntranslated into monochrome pencil storyboard drawing. Never invent\na different building and never contradict the photo's geometry.\nFor INTERIOR panels, stay consistent with this building's scale\nand its window/door placement seen in the photo.\nDo NOT copy the photograph's style, colors, camera angle or crop —\neach panel keeps its own shot framing; the photo is spatial truth\nonly."}
{"ts": "2026-07-12 20:14:32", "kind": "img", "engine": "gpt-image-2", "mode": "edit", "tag": "s36_conti_rooftop_room_interior_2_i2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/projects/114a8883-e960-4b97-97c7-0ba00a469750/images/background_chain/canon_bg_rooftop_villa_complex_master.png"], "size": "1024x1024", "attempt": 1, "dur_s": 149.9, "bytes": 1970529, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/conti36_rooftop_room_interior_2_i2.png", "prompt": "Draw ONE storyboard (conti) sheet: 4 panels made by ONE vertical cut at exactly 50% of the width and ONE horizontal cut at exactly 50% of the height — a 2x2 grid, each panel exactly one quarter of the image.\nSTYLE: hand-drawn PRE-PRODUCTION STORYBOARD FOR A LIVE-ACTION FILM\nSHOOT — the working drawings a professional film storyboard artist\nmakes for the director and cinematographer of a real movie:\nREALISTIC adult human proportions and faces (ordinary Korean\nadults, film-actor realism), true cinematic lens framing, and\nnaturalistic light-and-shadow blocking rendered in monochrome\ngraphite pencil tone on white paper.\nABSOLUTELY NOT manga, NOT anime, NOT cartoon, NOT webtoon, NOT\ncomic-book style: no stylized or enlarged eyes, no cute or\nyouthful idealized faces, no clean ink outlines — every panel\nmust read like a frame of a live-action film sketched in pencil.\nNo color anywhere.\n\nTHE LOCATION (same in all drawn panels): A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls..\n\nPURPOSE: each panel captures only the CAMERA COMPOSITION of one\nshot — framing (close-up / medium / wide), where the subject sits in\nthe frame, and continuity between panels. Keep every panel\nextremely simple: only what matters for composition.\nMOVEMENT IS SHOWN BY THE FIGURE ITSELF, NEVER BY MARKINGS: convey\ndirection of travel purely through the body — stride mid-motion,\nbody lean into the path, back view vs front view, and the stated\nsize/depth cues. Do NOT draw arrows, motion lines, path lines,\nspeed lines or any diagram markings of any kind.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Draw what a real movie camera would actually record\non a physical set — exaggerated or figurative impressions become\nrealistic staging choices (lighting, distance, angle, wardrobe),\nnot literal fantasy drawings.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still draw them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nGEOMETRY — ANALYSE BEFORE DRAWING: from each panel's Korean shot\ntext, first work out the spatial facts and draw EXACTLY those, never\nre-stage them: (a) each figure's DISTANCE from camera (tight insert /\nclose-up / medium / full / wide — a shot about a hand or an object\nis a tight insert, not a two-shot); (b) each figure's FACING and\nMOVEMENT DIRECTION relative to camera — '뒷모습' means seen from\nBEHIND, moving AWAY from camera into the depth of the frame, not\nsideways; a profile means lateral movement; (c) relative positions\nand distances BETWEEN figures. Keep every established screen\ndirection consistent across panels (180-degree rule): a person who\nleaves in one panel keeps the same on-screen direction wherever the\nmovement appears again.\nSIZE & DEPTH ARE CONTRACTUAL: each panel states every figure's\napparent size in the frame and the explicit near/far depth order.\nDraw exactly those proportions — a farther figure MUST be drawn\nclearly smaller than a nearer one; never equalize figure sizes,\nespecially when several figures share a panel or their paths\nrelate to each other.\nDEPARTING FIGURE — a figure running/walking AWAY must be\nunmistakably departing, never approaching: seen exactly from behind\n(back of the head only, no face, no chin, no cheek line), body\nleaning into the path, mid-stride with one shoe sole toward the\ncamera. THE STATED SIZE/DEPTH WINS: draw the departing figure at\nexactly the apparent size and depth the panel's FIGURES line states\n(if stated FARTHER/small, it stays small in the distance — never\nenlarge it into the foreground for drama).\n\nCONTINUITY: all drawn panels are the SAME single location — fixed\nfeatures (doors, stairs, windows, poles, desks) keep the same\nposition and left/right relationships across panels so the panels\ncut together as one continuous scene.\n\nPANELS (one shot per panel, Korean shot text):\n\nPANEL 1: 붉은 원 한가운데 피 묻은 낡은 흑백 사진이 벽에 꽂혀 있는 타이트 샷\n  MOVEMENT (follow exactly): static: a bloodstained old photograph remains pinned at the center of the red circle on Su-ri-young's bedroom wall, facing outward toward the camera.\n  FIGURES — apparent size & depth order (follow exactly): The photograph fills roughly 1/3 of the tight frame height, while the surrounding red circle occupies most of the frame. The photograph projects NEARER from the wall, and the red mark lies FARTHER against the flat wall surface behind it.\nPANEL 2: 수리영의 손이 구겨진 사진을 꽉 움켜쥔 타이트 샷\n  MOVEMENT (follow exactly): static: Su-ri-young's tense hand crushes the crumpled photograph in a tight grip as she holds it close.\n  FIGURES — apparent size & depth order (follow exactly): Su-ri-young's hand fills roughly 2/3 of the tight frame, and the exposed portion of the photograph fills about 1/3. Her knuckles are NEARER to the camera, while the photograph is partly FARTHER inside her closed fingers.\nPANEL 3: 혜수가 미간을 깊게 찌푸린 채 스마트폰을 내려다보는 얼굴 클로즈업\n  MOVEMENT (follow exactly): static: Hye-su lowers her gaze toward the smartphone and listens to Su-ri-young's recorded message with her brow deeply furrowed.\n  FIGURES — apparent size & depth order (follow exactly): Hye-su's face fills about 2/3 of the close-up frame, while the smartphone occupies a smaller area below her face. The phone is NEARER to the camera, Hye-su's face is slightly FARTHER, and the room behind her is farthest.\n\nThere are 3 shots but 4 panel slots: draw the shots in\npanels 1..3 and leave the remaining panel(s) COMPLETELY\nBLANK PURE WHITE — empty white paper, not even a frame line inside.\n\nABSOLUTELY NO TEXT anywhere: no words, letters, captions, labels,\nsound effects or watermarks — the ONLY allowed marking is a small\nshot number digit (1, 2, 3) in a corner INSIDE each drawn panel.\nTHE PANEL GRID FILLS THE ENTIRE IMAGE EDGE-TO-EDGE: no outer paper\nmargin, no border area, nothing drawn outside the panels — the\nimage must be mechanically cuttable along the stated cut lines.\nPanels are separated only by thin straight black gutter lines at\nthe exact stated positions; ALL PANELS EXACTLY THE SAME SIZE.\n\nREFERENCE (BUILDING PHOTOGRAPH — architectural grounding, not\nstyle): the attached photograph shows the ACTUAL building where\nevery panel of this sheet takes place — an old Korean multi-unit\nvilla seen from above: a narrow ground-level alley and small\ncourtyard, an exterior steel staircase climbing the wall, and a\nflat rooftop with a small rooftop room (its door and window), a\nwater tank, a clothesline and a low parapet.\nWhenever a panel shows ANY part of this building — exterior walls,\nthe steel staircase, the rooftop, the rooftop room, the courtyard\nor alley — draw THAT building: take its architecture, massing,\nproportions, materials and the positions of its fixed features\n(door, window, stairs, water tank, parapet) from this photograph,\ntranslated into monochrome pencil storyboard drawing. Never invent\na different building and never contradict the photo's geometry.\nFor INTERIOR panels, stay consistent with this building's scale\nand its window/door placement seen in the photo.\nDo NOT copy the photograph's style, colors, camera angle or crop —\neach panel keeps its own shot framing; the photo is spatial truth\nonly."}
{"ts": "2026-07-12 20:16:10", "kind": "img", "engine": "gpt-image-2", "mode": "edit", "tag": "s36_conti_exterior_metal_staircase_0_i2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/projects/114a8883-e960-4b97-97c7-0ba00a469750/images/background_chain/canon_bg_rooftop_villa_complex_master.png"], "size": "1536x1024", "attempt": 1, "dur_s": 98.1, "bytes": 2215751, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/conti36_exterior_metal_staircase_0_i2.png", "prompt": "Draw ONE storyboard (conti) sheet: 2 panels made by ONE vertical cut at exactly 50% of the image width — each panel is exactly half the width and the FULL height (1 row x 2 columns).\nSTYLE: hand-drawn PRE-PRODUCTION STORYBOARD FOR A LIVE-ACTION FILM\nSHOOT — the working drawings a professional film storyboard artist\nmakes for the director and cinematographer of a real movie:\nREALISTIC adult human proportions and faces (ordinary Korean\nadults, film-actor realism), true cinematic lens framing, and\nnaturalistic light-and-shadow blocking rendered in monochrome\ngraphite pencil tone on white paper.\nABSOLUTELY NOT manga, NOT anime, NOT cartoon, NOT webtoon, NOT\ncomic-book style: no stylized or enlarged eyes, no cute or\nyouthful idealized faces, no clean ink outlines — every panel\nmust read like a frame of a live-action film sketched in pencil.\nNo color anywhere.\n\nTHE LOCATION (same in all drawn panels): A narrow exterior metal staircase attached to an old low-rise residential building. It has exposed steel steps and tubular pipe railings leading upward toward the roof..\n\nPURPOSE: each panel captures only the CAMERA COMPOSITION of one\nshot — framing (close-up / medium / wide), where the subject sits in\nthe frame, and continuity between panels. Keep every panel\nextremely simple: only what matters for composition.\nMOVEMENT IS SHOWN BY THE FIGURE ITSELF, NEVER BY MARKINGS: convey\ndirection of travel purely through the body — stride mid-motion,\nbody lean into the path, back view vs front view, and the stated\nsize/depth cues. Do NOT draw arrows, motion lines, path lines,\nspeed lines or any diagram markings of any kind.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Draw what a real movie camera would actually record\non a physical set — exaggerated or figurative impressions become\nrealistic staging choices (lighting, distance, angle, wardrobe),\nnot literal fantasy drawings.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still draw them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nGEOMETRY — ANALYSE BEFORE DRAWING: from each panel's Korean shot\ntext, first work out the spatial facts and draw EXACTLY those, never\nre-stage them: (a) each figure's DISTANCE from camera (tight insert /\nclose-up / medium / full / wide — a shot about a hand or an object\nis a tight insert, not a two-shot); (b) each figure's FACING and\nMOVEMENT DIRECTION relative to camera — '뒷모습' means seen from\nBEHIND, moving AWAY from camera into the depth of the frame, not\nsideways; a profile means lateral movement; (c) relative positions\nand distances BETWEEN figures. Keep every established screen\ndirection consistent across panels (180-degree rule): a person who\nleaves in one panel keeps the same on-screen direction wherever the\nmovement appears again.\nSIZE & DEPTH ARE CONTRACTUAL: each panel states every figure's\napparent size in the frame and the explicit near/far depth order.\nDraw exactly those proportions — a farther figure MUST be drawn\nclearly smaller than a nearer one; never equalize figure sizes,\nespecially when several figures share a panel or their paths\nrelate to each other.\nDEPARTING FIGURE — a figure running/walking AWAY must be\nunmistakably departing, never approaching: seen exactly from behind\n(back of the head only, no face, no chin, no cheek line), body\nleaning into the path, mid-stride with one shoe sole toward the\ncamera. THE STATED SIZE/DEPTH WINS: draw the departing figure at\nexactly the apparent size and depth the panel's FIGURES line states\n(if stated FARTHER/small, it stays small in the distance — never\nenlarge it into the foreground for drama).\n\nCONTINUITY: all drawn panels are the SAME single location — fixed\nfeatures (doors, stairs, windows, poles, desks) keep the same\nposition and left/right relationships across panels so the panels\ncut together as one continuous scene.\n\nPANELS (one shot per panel, Korean shot text):\n\nPANEL 1: 철제 파이프 난간을 손으로 잡은 수리영이 코끝을 찡그린 채 계단 중간에 서 있는 얼굴 클로즈업\n  MOVEMENT (follow exactly): static: Suri-young pauses midway up the staircase while ascending toward the rooftop, gripping the metal-pipe railing with a tense posture and wrinkling her nose at the sudden foul smell, her body oriented uphill.\n  FIGURES — apparent size & depth order (follow exactly): Suri-young’s face fills ~2/3 of the frame height in close-up and is the nearest figure; her hand and the metal-pipe railing sit slightly farther from the camera as she remains midway on the stairs.\n\nThere are 1 shots but 2 panel slots: draw the shots in\npanels 1..1 and leave the remaining panel(s) COMPLETELY\nBLANK PURE WHITE — empty white paper, not even a frame line inside.\n\nABSOLUTELY NO TEXT anywhere: no words, letters, captions, labels,\nsound effects or watermarks — the ONLY allowed marking is a small\nshot number digit (1) in a corner INSIDE each drawn panel.\nTHE PANEL GRID FILLS THE ENTIRE IMAGE EDGE-TO-EDGE: no outer paper\nmargin, no border area, nothing drawn outside the panels — the\nimage must be mechanically cuttable along the stated cut lines.\nPanels are separated only by thin straight black gutter lines at\nthe exact stated positions; ALL PANELS EXACTLY THE SAME SIZE.\n\nREFERENCE (BUILDING PHOTOGRAPH — architectural grounding, not\nstyle): the attached photograph shows the ACTUAL building where\nevery panel of this sheet takes place — an old Korean multi-unit\nvilla seen from above: a narrow ground-level alley and small\ncourtyard, an exterior steel staircase climbing the wall, and a\nflat rooftop with a small rooftop room (its door and window), a\nwater tank, a clothesline and a low parapet.\nWhenever a panel shows ANY part of this building — exterior walls,\nthe steel staircase, the rooftop, the rooftop room, the courtyard\nor alley — draw THAT building: take its architecture, massing,\nproportions, materials and the positions of its fixed features\n(door, window, stairs, water tank, parapet) from this photograph,\ntranslated into monochrome pencil storyboard drawing. Never invent\na different building and never contradict the photo's geometry.\nFor INTERIOR panels, stay consistent with this building's scale\nand its window/door placement seen in the photo.\nDo NOT copy the photograph's style, colors, camera angle or crop —\neach panel keeps its own shot framing; the photo is spatial truth\nonly."}
{"ts": "2026-07-12 20:17:59", "kind": "img", "engine": "gpt-image-2", "mode": "edit", "tag": "s36_conti_residential_alley_courtyard_0_i2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/projects/114a8883-e960-4b97-97c7-0ba00a469750/images/background_chain/canon_bg_rooftop_villa_complex_master.png"], "size": "1536x1024", "attempt": 1, "dur_s": 108.7, "bytes": 3545856, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/conti/conti36_residential_alley_courtyard_0_i2.png", "prompt": "Draw ONE storyboard (conti) sheet: 2 panels made by ONE vertical cut at exactly 50% of the image width — each panel is exactly half the width and the FULL height (1 row x 2 columns).\nSTYLE: hand-drawn PRE-PRODUCTION STORYBOARD FOR A LIVE-ACTION FILM\nSHOOT — the working drawings a professional film storyboard artist\nmakes for the director and cinematographer of a real movie:\nREALISTIC adult human proportions and faces (ordinary Korean\nadults, film-actor realism), true cinematic lens framing, and\nnaturalistic light-and-shadow blocking rendered in monochrome\ngraphite pencil tone on white paper.\nABSOLUTELY NOT manga, NOT anime, NOT cartoon, NOT webtoon, NOT\ncomic-book style: no stylized or enlarged eyes, no cute or\nyouthful idealized faces, no clean ink outlines — every panel\nmust read like a frame of a live-action film sketched in pencil.\nNo color anywhere.\n\nTHE LOCATION (same in all drawn panels): A confined ground-level alley and small courtyard beside an aging multi-unit residential building. Concrete walls, building entrances, and the base of the exterior access structure frame the space..\n\nPURPOSE: each panel captures only the CAMERA COMPOSITION of one\nshot — framing (close-up / medium / wide), where the subject sits in\nthe frame, and continuity between panels. Keep every panel\nextremely simple: only what matters for composition.\nMOVEMENT IS SHOWN BY THE FIGURE ITSELF, NEVER BY MARKINGS: convey\ndirection of travel purely through the body — stride mid-motion,\nbody lean into the path, back view vs front view, and the stated\nsize/depth cues. Do NOT draw arrows, motion lines, path lines,\nspeed lines or any diagram markings of any kind.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Draw what a real movie camera would actually record\non a physical set — exaggerated or figurative impressions become\nrealistic staging choices (lighting, distance, angle, wardrobe),\nnot literal fantasy drawings.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still draw them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nGEOMETRY — ANALYSE BEFORE DRAWING: from each panel's Korean shot\ntext, first work out the spatial facts and draw EXACTLY those, never\nre-stage them: (a) each figure's DISTANCE from camera (tight insert /\nclose-up / medium / full / wide — a shot about a hand or an object\nis a tight insert, not a two-shot); (b) each figure's FACING and\nMOVEMENT DIRECTION relative to camera — '뒷모습' means seen from\nBEHIND, moving AWAY from camera into the depth of the frame, not\nsideways; a profile means lateral movement; (c) relative positions\nand distances BETWEEN figures. Keep every established screen\ndirection consistent across panels (180-degree rule): a person who\nleaves in one panel keeps the same on-screen direction wherever the\nmovement appears again.\nSIZE & DEPTH ARE CONTRACTUAL: each panel states every figure's\napparent size in the frame and the explicit near/far depth order.\nDraw exactly those proportions — a farther figure MUST be drawn\nclearly smaller than a nearer one; never equalize figure sizes,\nespecially when several figures share a panel or their paths\nrelate to each other.\nDEPARTING FIGURE — a figure running/walking AWAY must be\nunmistakably departing, never approaching: seen exactly from behind\n(back of the head only, no face, no chin, no cheek line), body\nleaning into the path, mid-stride with one shoe sole toward the\ncamera. THE STATED SIZE/DEPTH WINS: draw the departing figure at\nexactly the apparent size and depth the panel's FIGURES line states\n(if stated FARTHER/small, it stays small in the distance — never\nenlarge it into the foreground for drama).\n\nCONTINUITY: all drawn panels are the SAME single location — fixed\nfeatures (doors, stairs, windows, poles, desks) keep the same\nposition and left/right relationships across panels so the panels\ncut together as one continuous scene.\n\nPANELS (one shot per panel, Korean shot text):\n\nPANEL 1: 수리영이 초점을 잃은 눈으로 허공을 응시하며 서 있는 모습\n  MOVEMENT (follow exactly): static: Su-ri-young stands motionless and dazed after coming down from the rooftop room, her unfocused eyes staring into empty space and her body lacking purposeful direction.\n  FIGURES — apparent size & depth order (follow exactly): Su-ri-young is the only visible figure, so she is both the nearest and farthest person; her apparent fraction of frame height is unspecified in the source.\nPANEL 2: 고개를 든 채 혜수의 얼굴을 마주보고 있는 수리영의 측면 구도\n  MOVEMENT (follow exactly): static: Su-ri-young holds her head raised and faces Hye-su directly in side profile, looking up at her while remaining dazed and stationary.\n  FIGURES — apparent size & depth order (follow exactly): Su-ri-young and Hye-su's face are visible facing each other, but their respective frame-height fractions and which is nearer to the camera are unspecified; their paths have converged at conversational distance, with neither moving past the other.\n\nABSOLUTELY NO TEXT anywhere: no words, letters, captions, labels,\nsound effects or watermarks — the ONLY allowed marking is a small\nshot number digit (1, 2) in a corner INSIDE each drawn panel.\nTHE PANEL GRID FILLS THE ENTIRE IMAGE EDGE-TO-EDGE: no outer paper\nmargin, no border area, nothing drawn outside the panels — the\nimage must be mechanically cuttable along the stated cut lines.\nPanels are separated only by thin straight black gutter lines at\nthe exact stated positions; ALL PANELS EXACTLY THE SAME SIZE.\n\nREFERENCE (BUILDING PHOTOGRAPH — architectural grounding, not\nstyle): the attached photograph shows the ACTUAL building where\nevery panel of this sheet takes place — an old Korean multi-unit\nvilla seen from above: a narrow ground-level alley and small\ncourtyard, an exterior steel staircase climbing the wall, and a\nflat rooftop with a small rooftop room (its door and window), a\nwater tank, a clothesline and a low parapet.\nWhenever a panel shows ANY part of this building — exterior walls,\nthe steel staircase, the rooftop, the rooftop room, the courtyard\nor alley — draw THAT building: take its architecture, massing,\nproportions, materials and the positions of its fixed features\n(door, window, stairs, water tank, parapet) from this photograph,\ntranslated into monochrome pencil storyboard drawing. Never invent\na different building and never contradict the photo's geometry.\nFor INTERIOR panels, stay consistent with this building's scale\nand its window/door placement seen in the photo.\nDo NOT copy the photograph's style, colors, camera angle or crop —\neach panel keeps its own shot framing; the photo is spatial truth\nonly."}
{"ts": "2026-07-12 20:46:45", "kind": "llm", "step": "s37_ext_prompt", "model": "gpt", "dur_s": 51.9, "system_prompt": "당신은 영화 미술감독 겸 로케이션 설계자다. 한 건물(주인공이 사는\n곳)이 나오는 모든 씬의 원문 전문을 읽고, 그 건물 '전체'가 한\n프레임에 담기는 실사 로케이션 마스터 스틸 1장을 만들 이미지 생성\n프롬프트(영어)를 저작하라. 이 마스터는 이후 모든 샷 배경의 기준\n이미지가 된다.\n규칙:\n1) 건물의 층수·크기·규모·공간 구성·고정 지형지물(출입 동선,\n   상하 이동 수단, 지붕 위 구조물, 지상부와의 관계 등)은 오직 씬\n   원문의 근거로만 추론하라. 인물의 이동·행동·시선, 공간 사용\n   방식이 크기·구조의 단서다. 실내 씬의 공간 사용도 건물 외형\n   규모 추론에 반영하라.\n2) 근거 없는 부분은 그 지역·유형의 전형으로 최소한만 보충하고,\n   원문과 모순되게 발명하지 마라.\n3) 카메라: 건물 전체와 그 주변 맥락(지상 접근부까지)이 다 보이는\n   하나의 시점을 스스로 정하라.\n4) 마스터는 중립 상태: 사람 없음, 읽히는 텍스트 없음, 특정\n   사건의 순간 상태물 없음. 시간대는 중립 주간.\n5) 배경 나라·시대는 원문을 따른다.\n출력: inferred_facts_ko(추론한 구조·규모 사실 각각에 근거 씬/문장\n명시), master_prompt_en(완결된 t2i 프롬프트 — 추론한 규모·구조가\n프롬프트 안에 스스로 서술되게), camera_ko(선택한 시점과 이유).", "user_prompt": "건물 관련 씬 원문 전문:\n\n[씬 4] S#4. 옥탑방 / D\nS#4. 옥탑방 / D\n인천 변두리 부감, 오래된 빌라 옥탑방 전경.\n\n기자(E)\n지역 주민들 사이에 횡행한 소문이 돌고 있지만, 경찰은\n범인의 윤곽조차 잡지 못하고 있어 지역주민들의 불안과\n두려움을 더 키우는 모양새입니다.\n\n\n\n[씬 5] S#5. 옥탑방 안 / 실내\nS#5. 옥탑방 안 / 실내\n거실에 난 작은 창으로 햇살에 가늘게 비친다.\n싱크대 수도꼭지에 흐르는 물, 씻다 만 약초(석창포).\n냄비의 물이 끓어 달그락거리는 소리… 김이 피어오르고.\n앞치마를 두른 채 TV 뉴스를 뚫어지게 바라보는\n민숙(수리영 엄마. 40세) 표정이 어둡다.\n(뉴스멘트는 작아졌다 커졌다 반복하면서 여기까지 이어진다)\n\n딸, 수리영(21. 애완동물미용학과 2년)이 방문을 열고 기지개를 켜며\n나오자 후다닥 TV를 끄는 민숙. 다정한 말투로\n\n수리영\n(심드렁) 뭐~야. 사건 났어? 뭔데.\n\n민숙\n아냐.\n\n수리영\n(식탁에 앉으며) 이모 또 야근하겠네. 조그만 도시에\n왠 사건이 이렇게 많아. 바다가 가까워서 그런가.\n\n민숙\n신경 꺼. (석창포 달인 물을 따라주면서) 마셔. 방학인데\n왜 더 자지않고.\n\n수리영\n(마시고 나서) 아, 진짜 맛 없어...(투정) 나 알바 있어, 엄마.\n원장님이 하루만 봐 달래.\n\n(cut to.)\n가벼운 차림새. 수리영 신발을 신으며\n\n수리영\n엄마는 오늘 안 나가?\n\n민숙\n이따가 1시 타임.\n\n수리영\n(엄마의 냄새를 맡으며) 아, 좋다. 끝나고 마트로 갈게. 모처럼\n밖에서 저녁먹자 엄마.\n\n민숙\n응 (미소)\n\n힐끗, 민숙 손목에 보이는 작은 원(이하 표식)을 본다.\n오늘따라 유난히 또렷해 보이지만 워낙 어릴 적부터 봐온 터라 개의치 않는.\n\n\n\n[씬 10] S#10. 옥탑방 / N\nS#10. 옥탑방 / N\n그 시각. 옥탑방 옥상. 물탱크. 바람에 빨랫줄이 툭- 툭-\n평상에 놓인 말린 석창포가 바람에 날리는데...\n말린 잎이 걸어오는 낯선 남자의 신발 위를 스친다.\n남자의 긴 그림자. (얼굴은 보이지 않는다)\n\n신발은 옥탑방 철문 현관 앞에 멈춰 선다.\n문틈에 낀 광고 전단지.\n전단지를 뽑아서 손가락으로 문틈에 꾹 밀어 넣는다.\n‘철컥’ 하고 잠금 새가 풀리는 소리.\n문이 미세하게 열리고 안으로 들어가는 남자.\n창문에 비친 그림자. 민숙을 덮쳐 어깨를 물어뜯는 듯한 모습 ‘아악-’\n\n\n\n[씬 11] S#11. 옥탑 방 밖 / N\nS#11. 옥탑 방 밖 / N\n자전거를 타고 골목길을 달리는 수리영.\n다세대 빌라 문을 열고 들어와 마당 후미진 곳에 자전거를 대충 세우고,\n옥탑방과 연결되는 계단을 급히 오른다.\n\n갑자기 훅- 느껴지는 역겨운 냄새. 뭐지?\n옥상에 올라와 보니 반쯤 열린 현관 철문.\n\n\n\n[씬 12] S#12. 옥탑방 안 / N\nS#12. 옥탑방 안 / N\n/거실\n‘엄마?’를 부르며 들어오는 수리영,\n끓다 식은 냄비. 켜져 있는 TV. 희미한 거실 스탠드 불빛,\n\n/민숙 방\n안방 문을 여는데... 없다.\n거실 식탁에 놓여있는 찻잔 두 개. 하나는 엎어져있다.\n\n/수리영 방\n마지막으로 자기 방문을 연다\n헉!- 여기저기 핏자국. 바닥에 흥건한 혈흔.\n피묻은 발자국은 커튼으로 이어져 있다\n호흡을 가두고 커튼을 젖히자\n앉은 채로 고개를 떨군 채 죽어있는 엄마- 민숙!!!!\n\n수리영\n(달려가) 어어어어----엄마\n\n충격에 온 몸이 얼어붙은 수리영,\n살점이 뜯긴 어깨와 쇄골, 마치 동물에게 물어뜯긴 듯한 거친 상처가 고스란히\n드러나있다. 덜렁거리는 살점과 뜯겨진 부위에 흘러내리는 피.\n\n수리영\n(놀라 뒤로 주춤) 어-어-어- 엄마….\n\n부들부들 떨며 핸드폰을 누른다. 2번 혜수이모\n\n수리영\n받아, 이모. 받아….\n\n혜수(E)\n영아, 영아, 왜?\n\n답은 안 나오고… 엄마 손안에 구겨진 사진 한 장이 보인다.\n다가가 사진을 꺼내는데 엄마 손목에 있던 문신이 붉은색으로 변한다.\n헉! 호흡이 빨라지고... 침대 위 벽에 붉은 원이 생겨난다\n(마치 누군가 붓으로 벽에 원으로 그리는 것처럼).\n소름끼치는 으아악---!\n\n\n\n[씬 13] S#13. 옥탑방 외곽 / N\nS#13. 옥탑방 외곽 / N\n비명을 지르며 옥탑방을 빠져나오는 수리영, 허겁지겁 계단을 내려간다.\n동시에 사이렌이 울리고~. (포즈)\n차에서 내린 혜수(40대 중반, 여자, 경위) 초점을 잃고 멍하니 서있는\n수리영의 모습을 발견하고 달려간다.\n\n혜수\n영아? 왜! 무슨 일이야?\n\n수리영\n(올라다보며) 엄마가, 엄마가... 죽어있어.\n\n혜수\n(놀라) 뭐?!\n\n옥탑 방으로 뛰어 올라가는 혜수와 후배 형사(30대 남/ 이하 김형사)\n\n\n\n[씬 14] S#14. 옥탑방 안 / N\nS#14. 옥탑방 안 / N\n/현관\n집안 여기저기를 확인하면서 나오는 형사와 혜수\n\n김형사\n(허탈한 표정) 없는데.. 아무 것도.\n\n혜수\n(뒤따라온 수리영에게) 영아, 없어. 뭘 봤는데...?\n\n어? 수리영, 부리나케 방 안으로 뛰어 들어간다.\n\n/수리영 방 안\n지나칠 정도로 깨끗하게 정돈된 방안. 핏자국도 보이지 않고,\n침대 위에 붉은 표식은 물론 커튼 뒤의 시신도 감쪽 같이 사라졌다.\n얼굴이 파리해지는 수리영. ‘어----?’ ‘분명히 봤는데...’\n\n뛰쳐나가 식탁으로 가본다. 식탁 역시 깨끗한.\n\n수리영\n여기 찻잔도 두 개 있었고...\n\n김형사\n(답답) 허 참! 죽은 사람이 발이 달렸을 리도 없고. 쯧쯧\n그러게 살인사건은 자세하게 보도하면 안 된다구요...(궁시렁)\n이봐요. 학생? 장난전화 하면 안 되는 거 몰라? (짜증)\n안 그래도 살인사건으로 난리도 아닌데...\n\n혜수\n(김형사 째리고) 김형사. 먼저 가 있어. (김형사 나가면)\n(수리영 어깨를 어루만지며) 영아.\n\n수리영\n엄마(시신), 어디갔을까? 분명히 봤는데...\n\n혜수\n네가 요즘 과로했잖아. 공부에다 알바까지...\n악몽을 꾼 걸 수도 있으니... 바람이나 쐬러 가자.\n수리영 방안에 놓여진 백팩, 인형. 약간씩 위치가 달라진.\n(시신을 발견했을 때와 다른)\n\n\n\n[씬 17] S#17. 옥탑방 / 동틀무렵\nS#17. 옥탑방 / 동틀무렵\n새벽녘, 고양이 울음소리.\n검은 고양이가 불이 켜져 있는 옥탑 방을 슬쩍 보더니 담을 넘는다\n\n\n\n[씬 18] S#18. 안방 안 / D\nS#18. 안방 안 / D\n침대에 머리를 대고 앉아있는 수리영, 밤새 엄마를 기다리다 깜박 졸았다\n고양이 울음소리에 번쩍 눈을 뜨고, ‘엄마? ’혹시나 해서 집안을 살피지만\n아무런 인기척도 보이지 않는다\n\n/수리영 방안\n닫혀있는 자신의 방을 바라본다.\n[F.B: 1부12씬] 커튼 뒤에 죽어있던 엄마. 상처. 혈흔\n\n크게 심호흡하고 조심스럽게 문을 연다.\n지나치리만큼 깨끗하게 정돈된 방안.\n창문에 다가가 커튼을 확 열어젖힌다. 시신은 없다.\n\n한숨 후~ 다행이긴 한데.\n그때, 울리는 폰 벨소리, 화들짝 놀라는 수리영. 달려가 받자마자\n\n수리영\n엄마?\n\n혜수(E)\n아직이니?\n\n수리영\n응. 아무래도 이상해. 이럴 리가 없잖아! 우리 엄마가.\n이모, 사고 난 게 분명해\n\n혜수(E)\n실종신고 냈어. 이모가 엄마 폰 위치추적하고 있으니까\n조금만 기다려 별일 없을 거야. 알았지?\n\n수리영\n응.\n\n무작정 기다리는게 불안한 수리영,\n인형이 달린 자신의 백팩을 꺼내 나온다\n\n/욕실 안\n얼굴을 씻고 거울을 보며\n\n수리영\n엄마, 도대체 어딨는 거야...\n\n거울에 비친 욕실 벽에 갑자기 또 발생하는 붉은 원.\n호흡이 가빠지고... 훅 고개를 돌려 벽을 보는 수리영\n거짓말처럼 사라지고 없다.\n거실로 튀어나와 물 한컵 마시고 식탁에 놓인 엄마와 수리영의 사진을 보는데...\n환하게 웃는 엄마 얼굴이 뭉개져 흘러내린다\n\n수리영\n아아악~~~ (다시보니 멀쩡하다) 나 왜 이러는 거지.\n(자신의 뺨을 치며) 정신 차려 수리영!\n\n\n\n[씬 25] S#25. 옥탑방 안 / 해질 무렵\nS#25. 옥탑방 안 / 해질 무렵\n누군가 다녀간 흔적으로 보이는 발자국들.\n다시 호흡이 가빠지는 수리영.\n집안에서 뭔가를 찾기 위해 가재도구를 온통 헤집은 것으로 보인다.\n거실에 난 창은 열려있고, 식탁 의자들을 쓰러져있다.\n\n/수리영 방\n열린 자신의 방을 힐끗 보는데\n벽에 또 붉은 원이 그려져있다. 그 가운데 꽂혀있는 피묻은 사진 한 장!\n사진을 떼어서 자세히 본다.\n어? 그 사진!!!\n\n[F.B: 1부 12씬] 죽은 엄마의 손에 구겨져있던 바로 그 사진이다.\n7-80년대 쯤 보이는 시골 식당과 지붕위에 둥근 원이 설치된 (마치 십자가처럼)\n식당 앞에는 어린 여자애 둘(12살)이 앉아있다. 그중에 한 아이는 분명히\n어릴 적 엄마다.\n\n침대에 털썩 주저앉는 수리영. 연속해서 벌어지는 기이한 상황에 정신이 혼미한\n엉망이 된 집 안을 한번 획 둘러보는 수리영,\n마치 이끌리듯 백팩을 메고 밖으로 나간다. 사진을 손에 꼭 쥔 채.\n\n\n\n[씬 27] S#27. 옥탑방 안 / 해질 무렵\nS#27. 옥탑방 안 / 해질 무렵\n수리영의 녹음메시지를 확인하는 혜수,\n\n\n\n이 건물이 나오는 샷 목록(참고):\nS4sh1: 맑은 낮, 오래된 다세대 빌라 옥상 위에 자리 잡은 옥탑방을 높은 곳에서 내려다본 부감 구도\nS10sh6: 현관 철문이 아주 살짝 열린 틈새로 보이는 어두운 실내와 신발 앞코\nS10sh7: 불이 켜진 옥탑방 창문에 거대한 그림자가 작은 그림자의 어깨 쪽으로 고개를 꺾은 형태가 맺혀 있는 정지 구도\nS11sh5: 옥상에 선 수리영의 시선 끝에 반쯤 열려 있는 어두운 현관 철문이 보이는 정면 구도\nS17sh2: 옥상 담벼락 위에서 한쪽 앞발을 허공으로 뻗은 검은 고양이의 측면\nS11sh4: 철제 파이프 난간을 손으로 잡은 수리영이 코끝을 찡그린 채 계단 중간에 서 있는 얼굴 클로즈업\nS13sh4: 수리영이 초점을 잃은 눈으로 허공을 응시하며 서 있는 모습\nS13sh6: 고개를 든 채 혜수의 얼굴을 마주보고 있는 수리영의 측면 구도\nS5sh5: 다급하게 상체를 기울이며 손가락 끝으로 TV 전원 버튼을 세게 누르고 있는 민숙의 측면 구도\nS5sh9: 민숙의 손목에 선명하게 드러난 작은 원형 표식의 타이트 샷\nS12sh11: 옷과 피부가 피투성이가 된 민숙이 바닥에 주저앉아 고개를 푹 숙인 정지 상태\nS12sh18: 민숙의 손에 꽉 쥐어진 구겨진 사진의 타이트 샷\nS12sh21: 침대 위쪽 벽면에 붉은색 원형 표식이 절반쯤 나타난 상태\nS14sh5: 핏자국 없이 깨끗한 방 내부 전경\nS14sh7: 수리영이 멍한 눈으로 텅 빈 방 안을 응시하는 얼굴 클로즈업\nS14sh11: 혜수가 날카로운 눈빛으로 김형사를 노려보는 모습\nS18sh11: 거울 속 반사된 욕실 타일 벽면에 붉은색 원형 표식이 절반쯤 나타난 상태\nS18sh15: 액자 속 민숙의 얼굴 부분 이미지가 아래로 일그러지며 흘러내리는 찰나\nS18sh16: 수리영이 두 손으로 머리를 감싸 쥐고 입을 크게 벌린 얼굴\nS25sh1: 해질 무렵 옥탑방 거실, 흙 묻은 발자국들이 찍힌 바닥과 쓰러진 식탁 의자들이 보이는 전경\nS25sh5: 붉은 원 한가운데 피 묻은 낡은 흑백 사진이 벽에 꽂혀 있는 타이트 샷\nS25sh9: 수리영의 손이 구겨진 사진을 꽉 움켜쥔 타이트 샷\nS27sh3: 혜수가 미간을 깊게 찌푸린 채 스마트폰을 내려다보는 얼굴 클로즈업"}
{"ts": "2026-07-12 20:47:20", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s37_ext_master_a", "refs": [], "ref_labels": [], "attempt": 1, "dur_s": 14.8, "bytes": 3685396, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/ext_master_a.png", "prompt": "A single photorealistic live-action location master still of an old low-rise Korean multifamily villa in the outskirts of contemporary Incheon, shown completely from ground level to rooftop in one frame. The building has several modest residential floors but no emphasized exact floor count, a weathered compact urban-villa exterior, and a flat roof enclosed by a low parapet. On the roof stands a separate, low rectangular rooftop dwelling, clearly large enough to contain a compact living/dining kitchenette, two small bedrooms, a bathroom, and an entry area; it is a true small two-bedroom home rather than a one-room shed. Leave a usable open roof terrace around the rooftop dwelling. Its main entrance is a plain closed metal door facing the roof access, with at least one small living-room window on the exterior wall. Include the fixed rooftop features established for the location: one utilitarian water tank, a simple clothesline exposed to the wind, and a low wooden drying platform for herbs, all arranged without blocking circulation around the dwelling. Show the complete access route: a narrow neighborhood alley, the villa’s ground-level entrance, a small enclosed courtyard with a secluded rear bicycle-parking nook, and a continuous side/rear stair with simple metal pipe handrails rising from the courtyard to the rooftop and ending near the rooftop dwelling’s metal door. Use a high three-quarter wide viewpoint from across the alley, angled toward the side and rear so the entire building silhouette, ground entrance, courtyard, stair route, roof terrace, rooftop dwelling, parapet, water tank, clothesline, drying platform, door, and window are all spatially legible at once. Surround it with restrained context typical of an older low-rise residential district on Incheon’s outskirts: narrow paved lanes, closely spaced aging villas, utility poles and cables, and a subdued urban horizon, without adding landmarks. Neutral ordinary daytime under soft clear daylight, natural colors, realistic weathering, documentary architectural photography, deep focus, believable scale, 28mm wide-angle lens, no dramatic lighting. No people, no animals, no vehicles in action, no police activity, no blood, no red symbols, no broken or overturned furniture, no open or forced doors, no ominous shadows, no readable signs or text, no event-specific props, no stylization, no concept-art look."}
{"ts": "2026-07-12 20:47:36", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s37_ext_master_b", "refs": [], "ref_labels": [], "attempt": 1, "dur_s": 16.3, "bytes": 3798447, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/ext_master_b.png", "prompt": "A single photorealistic live-action location master still of an old low-rise Korean multifamily villa in the outskirts of contemporary Incheon, shown completely from ground level to rooftop in one frame. The building has several modest residential floors but no emphasized exact floor count, a weathered compact urban-villa exterior, and a flat roof enclosed by a low parapet. On the roof stands a separate, low rectangular rooftop dwelling, clearly large enough to contain a compact living/dining kitchenette, two small bedrooms, a bathroom, and an entry area; it is a true small two-bedroom home rather than a one-room shed. Leave a usable open roof terrace around the rooftop dwelling. Its main entrance is a plain closed metal door facing the roof access, with at least one small living-room window on the exterior wall. Include the fixed rooftop features established for the location: one utilitarian water tank, a simple clothesline exposed to the wind, and a low wooden drying platform for herbs, all arranged without blocking circulation around the dwelling. Show the complete access route: a narrow neighborhood alley, the villa’s ground-level entrance, a small enclosed courtyard with a secluded rear bicycle-parking nook, and a continuous side/rear stair with simple metal pipe handrails rising from the courtyard to the rooftop and ending near the rooftop dwelling’s metal door. Use a high three-quarter wide viewpoint from across the alley, angled toward the side and rear so the entire building silhouette, ground entrance, courtyard, stair route, roof terrace, rooftop dwelling, parapet, water tank, clothesline, drying platform, door, and window are all spatially legible at once. Surround it with restrained context typical of an older low-rise residential district on Incheon’s outskirts: narrow paved lanes, closely spaced aging villas, utility poles and cables, and a subdued urban horizon, without adding landmarks. Neutral ordinary daytime under soft clear daylight, natural colors, realistic weathering, documentary architectural photography, deep focus, believable scale, 28mm wide-angle lens, no dramatic lighting. No people, no animals, no vehicles in action, no police activity, no blood, no red symbols, no broken or overturned furniture, no open or forced doors, no ominous shadows, no readable signs or text, no event-specific props, no stylization, no concept-art look."}
{"ts": "2026-07-12 20:47:51", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s37_ext_master_c", "refs": [], "ref_labels": [], "attempt": 1, "dur_s": 14.4, "bytes": 3413045, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/ext_master_c.png", "prompt": "A single photorealistic live-action location master still of an old low-rise Korean multifamily villa in the outskirts of contemporary Incheon, shown completely from ground level to rooftop in one frame. The building has several modest residential floors but no emphasized exact floor count, a weathered compact urban-villa exterior, and a flat roof enclosed by a low parapet. On the roof stands a separate, low rectangular rooftop dwelling, clearly large enough to contain a compact living/dining kitchenette, two small bedrooms, a bathroom, and an entry area; it is a true small two-bedroom home rather than a one-room shed. Leave a usable open roof terrace around the rooftop dwelling. Its main entrance is a plain closed metal door facing the roof access, with at least one small living-room window on the exterior wall. Include the fixed rooftop features established for the location: one utilitarian water tank, a simple clothesline exposed to the wind, and a low wooden drying platform for herbs, all arranged without blocking circulation around the dwelling. Show the complete access route: a narrow neighborhood alley, the villa’s ground-level entrance, a small enclosed courtyard with a secluded rear bicycle-parking nook, and a continuous side/rear stair with simple metal pipe handrails rising from the courtyard to the rooftop and ending near the rooftop dwelling’s metal door. Use a high three-quarter wide viewpoint from across the alley, angled toward the side and rear so the entire building silhouette, ground entrance, courtyard, stair route, roof terrace, rooftop dwelling, parapet, water tank, clothesline, drying platform, door, and window are all spatially legible at once. Surround it with restrained context typical of an older low-rise residential district on Incheon’s outskirts: narrow paved lanes, closely spaced aging villas, utility poles and cables, and a subdued urban horizon, without adding landmarks. Neutral ordinary daytime under soft clear daylight, natural colors, realistic weathering, documentary architectural photography, deep focus, believable scale, 28mm wide-angle lens, no dramatic lighting. No people, no animals, no vehicles in action, no police activity, no blood, no red symbols, no broken or overturned furniture, no open or forced doors, no ominous shadows, no readable signs or text, no event-specific props, no stylization, no concept-art look."}
{"ts": "2026-07-12 20:48:10", "kind": "llm", "step": "s37_ext_judge_gpt", "model": "gpt", "dur_s": 17.5, "system_prompt": "You are given ONE image-generation prompt and THREE candidate\nimages, labelled A, B, C in the order attached, all generated\nfrom that exact prompt.\nPick the ONE candidate that most faithfully realises the prompt.\nJudge ONLY fidelity to the prompt: its stated structure (what\ncontains or carries what, counts, connections, placements), the\ncamera it asks for, materials and state, and its exclusions (no\npeople, no readable text). Ignore generic aesthetic appeal.\nCheck every candidate against the prompt point by point before\ndeciding; base every verdict only on what is visible.\nAlso give every candidate an integer score 0-10 for that same\nfidelity.\nOutput: winner, ranking best-to-worst, and per candidate a score\nplus a one-line Korean verdict citing the decisive prompt points.", "user_prompt": "[{\"type\": \"text\", \"text\": \"THE PROMPT (all three candidates were generated from this):\\nA single photorealistic live-action location master still of an old low-rise Korean multifamily villa in the outskirts of contemporary Incheon, shown completely from ground level to rooftop in one frame. The building has several modest residential floors but no emphasized exact floor count, a weathered compact urban-villa exterior, and a flat roof enclosed by a low parapet. On the roof stands a separate, low rectangular rooftop dwelling, clearly large enough to contain a compact living/dining kitchenette, two small bedrooms, a bathroom, and an entry area; it is a true small two-bedroom home rather than a one-room shed. Leave a usable open roof terrace around the rooftop dwelling. Its main entrance is a plain closed metal door facing the roof access, with at least one small living-room window on the exterior wall. Include the fixed rooftop features established for the location: one utilitarian water tank, a simple clothesline exposed to the wind, and a low wooden drying platform for herbs, all arranged without blocking circulation around the dwelling. Show the complete access route: a narrow neighborhood alley, the villa’s ground-level entrance, a small enclosed courtyard with a secluded rear bicycle-parking nook, and a continuous side/rear stair with simple metal pipe handrails rising from the courtyard to the rooftop and ending near the rooftop dwelling’s metal door. Use a high three-quarter wide viewpoint from across the alley, angled toward the side and rear so the entire building silhouette, ground entrance, courtyard, stair route, roof terrace, rooftop dwelling, parapet, water tank, clothesline, drying platform, door, and window are all spatially legible at once. Surround it with restrained context typical of an older low-rise residential district on Incheon’s outskirts: narrow paved lanes, closely spaced aging villas, utility poles and cables, and a subdued urban horizon, without adding landmarks. Neutral ordinary daytime under soft clear daylight, natural colors, realistic weathering, documentary architectural photography, deep focus, believable scale, 28mm wide-angle lens, no dramatic lighting. No people, no animals, no vehicles in action, no police activity, no blood, no red symbols, no broken or overturned furniture, no open or forced doors, no ominous shadows, no readable signs or text, no event-specific props, no stylization, no concept-art look.\"}, {\"type\": \"text\", \"text\": \"Candidate A:\"}, {\"type\": \"text\", \"text\": \"Candidate B:\"}, {\"type\": \"text\", \"text\": \"Candidate C:\"}]"}
{"ts": "2026-07-12 20:48:35", "kind": "llm", "step": "s37_ext_judge_gemini", "model": "gemini-pro", "dur_s": 24.9, "system_prompt": "You are given ONE image-generation prompt and THREE candidate\nimages, labelled A, B, C in the order attached, all generated\nfrom that exact prompt.\nPick the ONE candidate that most faithfully realises the prompt.\nJudge ONLY fidelity to the prompt: its stated structure (what\ncontains or carries what, counts, connections, placements), the\ncamera it asks for, materials and state, and its exclusions (no\npeople, no readable text). Ignore generic aesthetic appeal.\nCheck every candidate against the prompt point by point before\ndeciding; base every verdict only on what is visible.\nAlso give every candidate an integer score 0-10 for that same\nfidelity.\nOutput: winner, ranking best-to-worst, and per candidate a score\nplus a one-line Korean verdict citing the decisive prompt points.", "user_prompt": "[{\"type\": \"text\", \"text\": \"THE PROMPT (all three candidates were generated from this):\\nA single photorealistic live-action location master still of an old low-rise Korean multifamily villa in the outskirts of contemporary Incheon, shown completely from ground level to rooftop in one frame. The building has several modest residential floors but no emphasized exact floor count, a weathered compact urban-villa exterior, and a flat roof enclosed by a low parapet. On the roof stands a separate, low rectangular rooftop dwelling, clearly large enough to contain a compact living/dining kitchenette, two small bedrooms, a bathroom, and an entry area; it is a true small two-bedroom home rather than a one-room shed. Leave a usable open roof terrace around the rooftop dwelling. Its main entrance is a plain closed metal door facing the roof access, with at least one small living-room window on the exterior wall. Include the fixed rooftop features established for the location: one utilitarian water tank, a simple clothesline exposed to the wind, and a low wooden drying platform for herbs, all arranged without blocking circulation around the dwelling. Show the complete access route: a narrow neighborhood alley, the villa’s ground-level entrance, a small enclosed courtyard with a secluded rear bicycle-parking nook, and a continuous side/rear stair with simple metal pipe handrails rising from the courtyard to the rooftop and ending near the rooftop dwelling’s metal door. Use a high three-quarter wide viewpoint from across the alley, angled toward the side and rear so the entire building silhouette, ground entrance, courtyard, stair route, roof terrace, rooftop dwelling, parapet, water tank, clothesline, drying platform, door, and window are all spatially legible at once. Surround it with restrained context typical of an older low-rise residential district on Incheon’s outskirts: narrow paved lanes, closely spaced aging villas, utility poles and cables, and a subdued urban horizon, without adding landmarks. Neutral ordinary daytime under soft clear daylight, natural colors, realistic weathering, documentary architectural photography, deep focus, believable scale, 28mm wide-angle lens, no dramatic lighting. No people, no animals, no vehicles in action, no police activity, no blood, no red symbols, no broken or overturned furniture, no open or forced doors, no ominous shadows, no readable signs or text, no event-specific props, no stylization, no concept-art look.\"}, {\"type\": \"text\", \"text\": \"Candidate A:\"}, {\"type\": \"text\", \"text\": \"Candidate B:\"}, {\"type\": \"text\", \"text\": \"Candidate C:\"}]"}
{"ts": "2026-07-12 20:49:05", "kind": "llm", "step": "s37_ext_critique_gpt", "model": "gpt", "dur_s": 27.2, "system_prompt": "You are given the image-generation prompt and ONE photograph\ngenerated from it. List what is WRONG with the photograph:\n- fidelity: any visible deviation from the prompt's stated\n  structure (what contains or carries what, counts, connections,\n  placements), its camera, materials and state, and its\n  exclusions (no people, no readable text),\n- physical coherence: any construction that could not physically\n  work in reality (broken, floating or overlapping structure,\n  unreachable routes, impossible geometry).\nBase every finding only on what is visible. Ignore generic\naesthetic taste.\nissues: each finding as issue_ko (one short Korean line) plus\nfix_en (ONE imperative English edit instruction that fixes\nexactly that finding while changing nothing else). Empty array\nif nothing is wrong.", "user_prompt": "[{\"type\": \"text\", \"text\": \"THE PROMPT (the photograph was generated from this):\\nA single photorealistic live-action location master still of an old low-rise Korean multifamily villa in the outskirts of contemporary Incheon, shown completely from ground level to rooftop in one frame. The building has several modest residential floors but no emphasized exact floor count, a weathered compact urban-villa exterior, and a flat roof enclosed by a low parapet. On the roof stands a separate, low rectangular rooftop dwelling, clearly large enough to contain a compact living/dining kitchenette, two small bedrooms, a bathroom, and an entry area; it is a true small two-bedroom home rather than a one-room shed. Leave a usable open roof terrace around the rooftop dwelling. Its main entrance is a plain closed metal door facing the roof access, with at least one small living-room window on the exterior wall. Include the fixed rooftop features established for the location: one utilitarian water tank, a simple clothesline exposed to the wind, and a low wooden drying platform for herbs, all arranged without blocking circulation around the dwelling. Show the complete access route: a narrow neighborhood alley, the villa’s ground-level entrance, a small enclosed courtyard with a secluded rear bicycle-parking nook, and a continuous side/rear stair with simple metal pipe handrails rising from the courtyard to the rooftop and ending near the rooftop dwelling’s metal door. Use a high three-quarter wide viewpoint from across the alley, angled toward the side and rear so the entire building silhouette, ground entrance, courtyard, stair route, roof terrace, rooftop dwelling, parapet, water tank, clothesline, drying platform, door, and window are all spatially legible at once. Surround it with restrained context typical of an older low-rise residential district on Incheon’s outskirts: narrow paved lanes, closely spaced aging villas, utility poles and cables, and a subdued urban horizon, without adding landmarks. Neutral ordinary daytime under soft clear daylight, natural colors, realistic weathering, documentary architectural photography, deep focus, believable scale, 28mm wide-angle lens, no dramatic lighting. No people, no animals, no vehicles in action, no police activity, no blood, no red symbols, no broken or overturned furniture, no open or forced doors, no ominous shadows, no readable signs or text, no event-specific props, no stylization, no concept-art look.\"}, {\"type\": \"text\", \"text\": \"Photograph to examine:\"}]"}
{"ts": "2026-07-12 20:49:14", "kind": "llm", "step": "s37_ext_critique_gemini", "model": "gemini-pro", "dur_s": 8.7, "system_prompt": "You are given the image-generation prompt and ONE photograph\ngenerated from it. List what is WRONG with the photograph:\n- fidelity: any visible deviation from the prompt's stated\n  structure (what contains or carries what, counts, connections,\n  placements), its camera, materials and state, and its\n  exclusions (no people, no readable text),\n- physical coherence: any construction that could not physically\n  work in reality (broken, floating or overlapping structure,\n  unreachable routes, impossible geometry).\nBase every finding only on what is visible. Ignore generic\naesthetic taste.\nissues: each finding as issue_ko (one short Korean line) plus\nfix_en (ONE imperative English edit instruction that fixes\nexactly that finding while changing nothing else). Empty array\nif nothing is wrong.", "user_prompt": "[{\"type\": \"text\", \"text\": \"THE PROMPT (the photograph was generated from this):\\nA single photorealistic live-action location master still of an old low-rise Korean multifamily villa in the outskirts of contemporary Incheon, shown completely from ground level to rooftop in one frame. The building has several modest residential floors but no emphasized exact floor count, a weathered compact urban-villa exterior, and a flat roof enclosed by a low parapet. On the roof stands a separate, low rectangular rooftop dwelling, clearly large enough to contain a compact living/dining kitchenette, two small bedrooms, a bathroom, and an entry area; it is a true small two-bedroom home rather than a one-room shed. Leave a usable open roof terrace around the rooftop dwelling. Its main entrance is a plain closed metal door facing the roof access, with at least one small living-room window on the exterior wall. Include the fixed rooftop features established for the location: one utilitarian water tank, a simple clothesline exposed to the wind, and a low wooden drying platform for herbs, all arranged without blocking circulation around the dwelling. Show the complete access route: a narrow neighborhood alley, the villa’s ground-level entrance, a small enclosed courtyard with a secluded rear bicycle-parking nook, and a continuous side/rear stair with simple metal pipe handrails rising from the courtyard to the rooftop and ending near the rooftop dwelling’s metal door. Use a high three-quarter wide viewpoint from across the alley, angled toward the side and rear so the entire building silhouette, ground entrance, courtyard, stair route, roof terrace, rooftop dwelling, parapet, water tank, clothesline, drying platform, door, and window are all spatially legible at once. Surround it with restrained context typical of an older low-rise residential district on Incheon’s outskirts: narrow paved lanes, closely spaced aging villas, utility poles and cables, and a subdued urban horizon, without adding landmarks. Neutral ordinary daytime under soft clear daylight, natural colors, realistic weathering, documentary architectural photography, deep focus, believable scale, 28mm wide-angle lens, no dramatic lighting. No people, no animals, no vehicles in action, no police activity, no blood, no red symbols, no broken or overturned furniture, no open or forced doors, no ominous shadows, no readable signs or text, no event-specific props, no stylization, no concept-art look.\"}, {\"type\": \"text\", \"text\": \"Photograph to examine:\"}]"}
{"ts": "2026-07-12 20:49:36", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s37_ext_master_fixed", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/ext_master_a.png"], "ref_labels": ["PHOTOGRAPH TO EDIT — fix ONLY the issues the prompt lists; preserve everything else exactly."], "attempt": 1, "dur_s": 22.5, "bytes": 3208027, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/ext_master_fixed.png", "prompt": "Edit this photograph. Fix ONLY the issues listed below, each in\nplace, changing nothing else about the property:\n\nISSUES TO FIX:\n- (GPT VLM) Close the visibly open ground-level entrance door while changing nothing else.\n- (GPT VLM) Relocate the bicycles to a secluded rear parking nook within the courtyard while changing nothing else.\n- (GPT VLM) Remove or fully obscure all visible lettering and numbers on the blue plaques and door stickers while changing nothing else.\n- (Gemini VLM) Enlarge the rooftop dwelling significantly.\n- (Gemini VLM) Connect the stairs logically from ground to roof.\n- (Gemini VLM) Rearrange clotheslines to be simple and realistic.\n- (Gemini VLM) Place a secluded rear bicycle-parking nook in courtyard.\n\nPRESERVE EVERYTHING ELSE EXACTLY as in the original photograph —\nbuildings, roof objects, yard, surroundings, lighting, camera,\nframing. No people, no readable text anywhere."}
{"ts": "2026-07-12 20:50:22", "kind": "llm", "step": "s37_ext_bg_prompts", "model": "gpt", "dur_s": 43.6, "system_prompt": "당신은 영화 배경(플레이트) 설계자다. 기준이 되는 건물 마스터\n이미지의 생성 프롬프트와, 씬 원문 전문, 그리고 각 샷의 텍스트를\n읽고 — 샷마다 그 샷의 카메라에 필요한 '배경 플레이트' 이미지\n생성 프롬프트(영어)를 저작하라.\n규칙:\n1) 배경 플레이트 = 그 샷의 카메라 위치·방향에서 본 장소만. 사람\n   없음, 읽히는 텍스트 없음, 사건 순간 상태물 없음(빈 세트).\n2) 마스터 이미지가 참조로 함께 첨부된다 — 프롬프트는 '첨부된\n   마스터 사진의 그 건물/그 장소'임을 명시하고, 어느 부분을\n   어느 방향에서 보는지 마스터 기준으로 서술하라.\n3) 샷 텍스트가 요구하는 시간대가 있으면 그 시간대(씬 헤딩 참조),\n   없으면 씬 헤딩 시간대.\n4) 건물 구조·지형지물은 씬 원문 근거를 벗어나 발명하지 마라.\n각 샷마다: shot(태그), bg_prompt_en, view_ko(어느 부분을 어느\n방향에서·한 구절).", "user_prompt": "마스터 이미지 생성 프롬프트:\nA single photorealistic live-action location master still of an old low-rise Korean multifamily villa in the outskirts of contemporary Incheon, shown completely from ground level to rooftop in one frame. The building has several modest residential floors but no emphasized exact floor count, a weathered compact urban-villa exterior, and a flat roof enclosed by a low parapet. On the roof stands a separate, low rectangular rooftop dwelling, clearly large enough to contain a compact living/dining kitchenette, two small bedrooms, a bathroom, and an entry area; it is a true small two-bedroom home rather than a one-room shed. Leave a usable open roof terrace around the rooftop dwelling. Its main entrance is a plain closed metal door facing the roof access, with at least one small living-room window on the exterior wall. Include the fixed rooftop features established for the location: one utilitarian water tank, a simple clothesline exposed to the wind, and a low wooden drying platform for herbs, all arranged without blocking circulation around the dwelling. Show the complete access route: a narrow neighborhood alley, the villa’s ground-level entrance, a small enclosed courtyard with a secluded rear bicycle-parking nook, and a continuous side/rear stair with simple metal pipe handrails rising from the courtyard to the rooftop and ending near the rooftop dwelling’s metal door. Use a high three-quarter wide viewpoint from across the alley, angled toward the side and rear so the entire building silhouette, ground entrance, courtyard, stair route, roof terrace, rooftop dwelling, parapet, water tank, clothesline, drying platform, door, and window are all spatially legible at once. Surround it with restrained context typical of an older low-rise residential district on Incheon’s outskirts: narrow paved lanes, closely spaced aging villas, utility poles and cables, and a subdued urban horizon, without adding landmarks. Neutral ordinary daytime under soft clear daylight, natural colors, realistic weathering, documentary architectural photography, deep focus, believable scale, 28mm wide-angle lens, no dramatic lighting. No people, no animals, no vehicles in action, no police activity, no blood, no red symbols, no broken or overturned furniture, no open or forced doors, no ominous shadows, no readable signs or text, no event-specific props, no stylization, no concept-art look.\n\n관련 씬 원문 전문:\n\n[씬 4] S#4. 옥탑방 / D\nS#4. 옥탑방 / D\n인천 변두리 부감, 오래된 빌라 옥탑방 전경.\n\n기자(E)\n지역 주민들 사이에 횡행한 소문이 돌고 있지만, 경찰은\n범인의 윤곽조차 잡지 못하고 있어 지역주민들의 불안과\n두려움을 더 키우는 모양새입니다.\n\n\n\n[씬 10] S#10. 옥탑방 / N\nS#10. 옥탑방 / N\n그 시각. 옥탑방 옥상. 물탱크. 바람에 빨랫줄이 툭- 툭-\n평상에 놓인 말린 석창포가 바람에 날리는데...\n말린 잎이 걸어오는 낯선 남자의 신발 위를 스친다.\n남자의 긴 그림자. (얼굴은 보이지 않는다)\n\n신발은 옥탑방 철문 현관 앞에 멈춰 선다.\n문틈에 낀 광고 전단지.\n전단지를 뽑아서 손가락으로 문틈에 꾹 밀어 넣는다.\n‘철컥’ 하고 잠금 새가 풀리는 소리.\n문이 미세하게 열리고 안으로 들어가는 남자.\n창문에 비친 그림자. 민숙을 덮쳐 어깨를 물어뜯는 듯한 모습 ‘아악-’\n\n\n\n[씬 11] S#11. 옥탑 방 밖 / N\nS#11. 옥탑 방 밖 / N\n자전거를 타고 골목길을 달리는 수리영.\n다세대 빌라 문을 열고 들어와 마당 후미진 곳에 자전거를 대충 세우고,\n옥탑방과 연결되는 계단을 급히 오른다.\n\n갑자기 훅- 느껴지는 역겨운 냄새. 뭐지?\n옥상에 올라와 보니 반쯤 열린 현관 철문.\n\n\n\n[씬 13] S#13. 옥탑방 외곽 / N\nS#13. 옥탑방 외곽 / N\n비명을 지르며 옥탑방을 빠져나오는 수리영, 허겁지겁 계단을 내려간다.\n동시에 사이렌이 울리고~. (포즈)\n차에서 내린 혜수(40대 중반, 여자, 경위) 초점을 잃고 멍하니 서있는\n수리영의 모습을 발견하고 달려간다.\n\n혜수\n영아? 왜! 무슨 일이야?\n\n수리영\n(올라다보며) 엄마가, 엄마가... 죽어있어.\n\n혜수\n(놀라) 뭐?!\n\n옥탑 방으로 뛰어 올라가는 혜수와 후배 형사(30대 남/ 이하 김형사)\n\n\n\n[씬 17] S#17. 옥탑방 / 동틀무렵\nS#17. 옥탑방 / 동틀무렵\n새벽녘, 고양이 울음소리.\n검은 고양이가 불이 켜져 있는 옥탑 방을 슬쩍 보더니 담을 넘는다\n\n\n\n샷 목록(각각 배경 플레이트 프롬프트 저작):\nS4sh1: 맑은 낮, 오래된 다세대 빌라 옥상 위에 자리 잡은 옥탑방을 높은 곳에서 내려다본 부감 구도\nS10sh6: 현관 철문이 아주 살짝 열린 틈새로 보이는 어두운 실내와 신발 앞코\nS10sh7: 불이 켜진 옥탑방 창문에 거대한 그림자가 작은 그림자의 어깨 쪽으로 고개를 꺾은 형태가 맺혀 있는 정지 구도\nS11sh5: 옥상에 선 수리영의 시선 끝에 반쯤 열려 있는 어두운 현관 철문이 보이는 정면 구도\nS17sh2: 옥상 담벼락 위에서 한쪽 앞발을 허공으로 뻗은 검은 고양이의 측면\nS11sh4: 철제 파이프 난간을 손으로 잡은 수리영이 코끝을 찡그린 채 계단 중간에 서 있는 얼굴 클로즈업\nS13sh4: 수리영이 초점을 잃은 눈으로 허공을 응시하며 서 있는 모습\nS13sh6: 고개를 든 채 혜수의 얼굴을 마주보고 있는 수리영의 측면 구도"}
{"ts": "2026-07-12 20:50:46", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s37_ext_bg_S4sh1", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/ext_master_fixed.png"], "ref_labels": ["LOCATION MASTER PHOTOGRAPH — the exact building and grounds where this background takes place: its architecture, massing, materials and fixed features are spatial truth; render the requested view OF THIS PLACE. Never copy this photo's camera or crop."], "attempt": 1, "dur_s": 21.4, "bytes": 3414702, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/bg_S4sh1.png", "prompt": "Using the attached master photo as the exact architectural and location reference, create a photorealistic live-action empty background plate of the same old low-rise Korean multifamily villa and its rooftop dwelling in the outskirts of contemporary Incheon. High-angle bird’s-eye view looking down toward the rooftop: clearly show the flat roof terrace, low parapet, separate rectangular rooftop home, plain closed metal entrance door, small living-room window, water tank, clothesline, and low wooden herb-drying platform in their established master-image arrangement. Include only the restrained surrounding fabric visible from this elevated direction—narrow paved alleys, nearby aging villas, utility poles and cables, and a subdued urban horizon. Clear ordinary daytime with soft natural sunlight and realistic colors, matching the scene. Deep focus, believable scale, documentary architectural photography, wide establishing composition. Empty set: no people, animals, moving vehicles, readable text, incident evidence, police activity, dramatic shadows, or event-specific props."}
{"ts": "2026-07-12 20:51:08", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s37_ext_bg_S10sh6", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/ext_master_fixed.png"], "ref_labels": ["LOCATION MASTER PHOTOGRAPH — the exact building and grounds where this background takes place: its architecture, massing, materials and fixed features are spatial truth; render the requested view OF THIS PLACE. Never copy this photo's camera or crop."], "attempt": 1, "dur_s": 22.5, "bytes": 2168750, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/bg_S10sh6.png", "prompt": "Using the attached master photo as the exact reference for the same rooftop dwelling, create a photorealistic live-action empty background plate at night from an extremely low, tight camera position directly outside the rooftop home’s metal entrance, aimed toward the threshold and entry area. Frame the established plain metal door, doorframe, and the narrow floor area at the threshold in close-up. The interior beyond the entrance should read as unlit and dark, without inventing additional rooms or architectural details. For the clean empty plate, keep the metal door closed in its ordinary undisturbed state; no visible person, shoe, hand, flyer, forced lock, damage, or incident-specific condition. Restrained natural night ambience on the rooftop, realistic weathered surfaces, shallow-to-moderate depth of field, no readable text, no ominous stylization."}
{"ts": "2026-07-12 20:51:29", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s37_ext_bg_S10sh7", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/ext_master_fixed.png"], "ref_labels": ["LOCATION MASTER PHOTOGRAPH — the exact building and grounds where this background takes place: its architecture, massing, materials and fixed features are spatial truth; render the requested view OF THIS PLACE. Never copy this photo's camera or crop."], "attempt": 1, "dur_s": 20.2, "bytes": 2309835, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/bg_S10sh7.png", "prompt": "Using the attached master photo as the exact reference for the same rooftop dwelling, create a locked-off photorealistic live-action empty background plate at night, facing the established small living-room window from across the open roof terrace. The rooftop room is illuminated from inside, so the window glows naturally against the weathered exterior wall, but the glass and curtain surface must contain no human figures, silhouettes, reflections of people, violent action, or event-specific shadows. Preserve the master location’s flat roof, low parapet, and only those nearby rooftop fixtures that naturally fall within this camera angle. Static composition, realistic low-light exposure, subdued contemporary Incheon residential surroundings, no people, animals, readable text, police activity, or incident evidence."}
{"ts": "2026-07-12 20:51:49", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s37_ext_bg_S11sh5", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/ext_master_fixed.png"], "ref_labels": ["LOCATION MASTER PHOTOGRAPH — the exact building and grounds where this background takes place: its architecture, massing, materials and fixed features are spatial truth; render the requested view OF THIS PLACE. Never copy this photo's camera or crop."], "attempt": 1, "dur_s": 19.9, "bytes": 2384151, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/bg_S11sh5.png", "prompt": "Using the attached master photo as the exact architectural reference, create a photorealistic live-action empty background plate at night from eye level on the rooftop landing, looking straight toward the same rooftop dwelling’s plain metal entrance door. Show the open roof terrace leading to the doorway, the weathered exterior wall, doorframe, and any fixed rooftop elements visible in their established master-image positions. As a clean undisturbed plate, the metal door is fully closed and intact, with no flyer in the seam, no forced entry, no interior figure, and no incident-specific condition. Natural dim night ambience, realistic scale and weathering, frontal composition, no people, animals, readable text, police lights, vehicles, blood, or dramatic horror lighting."}
{"ts": "2026-07-12 20:52:07", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s37_ext_bg_S17sh2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/ext_master_fixed.png"], "ref_labels": ["LOCATION MASTER PHOTOGRAPH — the exact building and grounds where this background takes place: its architecture, massing, materials and fixed features are spatial truth; render the requested view OF THIS PLACE. Never copy this photo's camera or crop."], "attempt": 1, "dur_s": 18.3, "bytes": 2579083, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/bg_S17sh2.png", "prompt": "Using the attached master photo as the exact location reference, create a photorealistic live-action empty background plate at dawn from parapet height on the same rooftop, composed in side profile along the top edge of the low rooftop wall. Keep the parapet edge prominent in the foreground as the surface where an animal would be composited, with the rooftop dwelling and its established small window visible in the background from the appropriate lateral direction. The room window may retain a subdued warm interior glow against the cool first light of dawn. Quiet outskirts-of-Incheon atmosphere, soft blue-gray dawn sky, realistic weathered masonry, shallow-to-moderate depth of field. No cat, no people, no animals, no readable text, no incident evidence, and no invented rooftop structures."}
{"ts": "2026-07-12 20:52:28", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s37_ext_bg_S11sh4", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/ext_master_fixed.png"], "ref_labels": ["LOCATION MASTER PHOTOGRAPH — the exact building and grounds where this background takes place: its architecture, massing, materials and fixed features are spatial truth; render the requested view OF THIS PLACE. Never copy this photo's camera or crop."], "attempt": 1, "dur_s": 21.3, "bytes": 2324503, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/bg_S11sh4.png", "prompt": "Using the attached master photo as the exact architectural and spatial reference, create a photorealistic live-action empty background plate at night from close face height on the continuous side/rear staircase connecting the enclosed courtyard to the rooftop. The camera is positioned at a middle stair landing beside the established simple metal pipe handrail, with the handrail and adjacent weathered villa wall forming the near background and the stair route receding naturally behind. Compose it as a close-up background suitable for placing a person paused midway on the stairs, but show no person or hand. Preserve only the stair geometry and fixed surfaces supported by the master image. Realistic dim residential night lighting, natural colors, shallow depth of field, no animals, readable text, police lights, damage, or event-specific props."}
{"ts": "2026-07-12 20:52:49", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s37_ext_bg_S13sh4", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/ext_master_fixed.png"], "ref_labels": ["LOCATION MASTER PHOTOGRAPH — the exact building and grounds where this background takes place: its architecture, massing, materials and fixed features are spatial truth; render the requested view OF THIS PLACE. Never copy this photo's camera or crop."], "attempt": 1, "dur_s": 20.8, "bytes": 2526868, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/bg_S13sh4.png", "prompt": "Using the attached master photo as the exact reference for the same old multifamily villa and its ground-level surroundings, create a photorealistic live-action empty background plate at night from standing eye level near the villa’s ground entrance, facing the small enclosed courtyard and the base of the continuous side/rear stair. Compose a neutral medium close-up background with sufficient clear foreground space for a standing person, while keeping the weathered entrance area, courtyard surfaces, and lower stair architecture spatially consistent with the master. Do not add a police car or any unestablished object. Restrained natural neighborhood night ambience, realistic exposure and weathering, no people, animals, vehicles in action, siren light, readable text, blood, evidence, or event-specific disturbance."}
{"ts": "2026-07-12 20:53:10", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s37_ext_bg_S13sh6", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/ext_master_fixed.png"], "ref_labels": ["LOCATION MASTER PHOTOGRAPH — the exact building and grounds where this background takes place: its architecture, massing, materials and fixed features are spatial truth; render the requested view OF THIS PLACE. Never copy this photo's camera or crop."], "attempt": 1, "dur_s": 20.5, "bytes": 2701930, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/bg_S13sh6.png", "prompt": "Using the attached master photo as the exact reference for the same villa location, create a photorealistic live-action empty background plate at night from shoulder height beside the ground-level entrance and enclosed courtyard, oriented laterally across the approach between the narrow alley and the base of the rooftop stair. Frame the weathered villa wall, courtyard edge, entrance architecture, and lower portion of the established metal-railed stair as a side-profile dialogue background, leaving uncluttered midground space where two performers would be composited facing each other. Keep all architecture consistent with the master and do not invent signage or additional structures. Natural subdued residential night lighting, realistic depth of field, no people, police personnel, vehicles, flashing lights, readable text, blood, or incident-specific props."}
{"ts": "2026-07-12 20:55:30", "kind": "img", "engine": "gpt-image-2", "mode": "edit", "tag": "s37_ext_sketch", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/bg_S4sh1.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/bg_S10sh6.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/bg_S10sh7.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/bg_S11sh5.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/bg_S17sh2.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/bg_S11sh4.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/bg_S13sh4.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/bg_S13sh6.png"], "size": "1536x1024", "attempt": 1, "dur_s": 138.1, "bytes": 3557035, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/sketch_ext.png", "prompt": "Draw ONE storyboard (conti) sheet: 8 panels made by THREE vertical cuts at exactly 25%, 50% and 75% of the width and ONE horizontal cut at exactly 50% of the height — a 4-column x 2-row grid, all eight panels exactly equal.\nSTYLE: hand-drawn PRE-PRODUCTION STORYBOARD FOR A LIVE-ACTION FILM\nSHOOT — the working drawings a professional film storyboard artist\nmakes for the director and cinematographer of a real movie:\nREALISTIC adult human proportions and faces (ordinary Korean\nadults, film-actor realism), true cinematic lens framing, and\nnaturalistic light-and-shadow blocking rendered in monochrome\ngraphite pencil tone on white paper.\nABSOLUTELY NOT manga, NOT anime, NOT cartoon, NOT webtoon, NOT\ncomic-book style: no stylized or enlarged eyes, no cute or\nyouthful idealized faces, no clean ink outlines — every panel\nmust read like a frame of a live-action film sketched in pencil.\nNo color anywhere.\n\nTHE LOCATION (same building in all panels): the place shown in the attached photographs.\n\nPURPOSE: each panel captures only the CAMERA COMPOSITION of one\nshot — framing (close-up / medium / wide), where the subject sits in\nthe frame, and continuity between panels. Keep every panel\nextremely simple: only what matters for composition.\nMOVEMENT IS SHOWN BY THE FIGURE ITSELF, NEVER BY MARKINGS: convey\ndirection of travel purely through the body — stride mid-motion,\nbody lean into the path, back view vs front view, and the stated\nsize/depth cues. Do NOT draw arrows, motion lines, path lines,\nspeed lines or any diagram markings of any kind.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Draw what a real movie camera would actually record\non a physical set — exaggerated or figurative impressions become\nrealistic staging choices (lighting, distance, angle, wardrobe),\nnot literal fantasy drawings.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still draw them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nGEOMETRY — ANALYSE BEFORE DRAWING: from each panel's Korean shot\ntext, first work out the spatial facts and draw EXACTLY those, never\nre-stage them: (a) each figure's DISTANCE from camera (tight insert /\nclose-up / medium / full / wide — a shot about a hand or an object\nis a tight insert, not a two-shot); (b) each figure's FACING and\nMOVEMENT DIRECTION relative to camera — '뒷모습' means seen from\nBEHIND, moving AWAY from camera into the depth of the frame, not\nsideways; a profile means lateral movement; (c) relative positions\nand distances BETWEEN figures. Keep every established screen\ndirection consistent across panels (180-degree rule): a person who\nleaves in one panel keeps the same on-screen direction wherever the\nmovement appears again.\nSIZE & DEPTH ARE CONTRACTUAL: each panel states every figure's\napparent size in the frame and the explicit near/far depth order.\nDraw exactly those proportions — a farther figure MUST be drawn\nclearly smaller than a nearer one; never equalize figure sizes,\nespecially when several figures share a panel or their paths\nrelate to each other.\nDEPARTING FIGURE — a figure running/walking AWAY must be\nunmistakably departing, never approaching: seen exactly from behind\n(back of the head only, no face, no chin, no cheek line), body\nleaning into the path, mid-stride with one shoe sole toward the\ncamera. THE STATED SIZE/DEPTH WINS: draw the departing figure at\nexactly the apparent size and depth the panel's FIGURES line states\n(if stated FARTHER/small, it stays small in the distance — never\nenlarge it into the foreground for drama).\n\nCONTINUITY: all drawn panels are the SAME single location — fixed\nfeatures (doors, stairs, windows, poles, desks) keep the same\nposition and left/right relationships across panels so the panels\ncut together as one continuous scene.\n\nBACKGROUND PHOTOGRAPHS (attached in panel order): the N-th attached\nphotograph is the REAL location background of PANEL N. Draw each\npanel's environment faithfully FROM its own photograph — the same\narchitecture, fixed features and spatial layout, translated into\nmonochrome pencil storyboard linework — then stage the figures per\nthat panel's shot text and movement. If a panel's shot text implies\na slightly different framing than its photograph, keep the place\nidentical and adjust only the framing.\n\nPANELS (one shot per panel, Korean shot text):\n\nPANEL 1: 맑은 낮, 오래된 다세대 빌라 옥상 위에 자리 잡은 옥탑방을 높은 곳에서 내려다본 부감 구도\n  MOVEMENT (follow exactly): static: No person is visible; the rooftop room remains fixed on top of the old multi-family villa beneath the high, downward-looking camera.\n  FIGURES — apparent size & depth order (follow exactly): The rooftop room appears small, about ~1/6 of the frame height, and is FARTHER from the camera than the surrounding upper roof surfaces in the foreground.\n  BACKGROUND: attached photograph #1.\nPANEL 2: 현관 철문이 아주 살짝 열린 틈새로 보이는 어두운 실내와 신발 앞코\n  MOVEMENT (follow exactly): The unknown man's shoe toe advances from the rooftop exterior through the narrowly opened iron doorway into the dark room, leading his unseen body inward.\n  FIGURES — apparent size & depth order (follow exactly): The shoe toe is small, about ~1/10 of the frame height, and lies FARTHER from the camera than the NEARER iron door edges; the dark interior recedes farthest beyond it.\n  BACKGROUND: attached photograph #2.\nPANEL 3: 불이 켜진 옥탑방 창문에 거대한 그림자가 작은 그림자의 어깨 쪽으로 고개를 꺾은 형태가 맺혀 있는 정지 구도\n  MOVEMENT (follow exactly): static: A real man appearing as a large dark silhouette, with normal human build, leans into Minsook and angles his head down toward her shoulder as she is caught beneath him.\n  FIGURES — apparent size & depth order (follow exactly): The man's shadow fills roughly ~2/3 of the frame height, larger than Minsook's smaller shadow at about ~1/3; both people are FARTHER than the NEARER window surface, while their mutual camera-depth order is not established. Their silhouettes overlap at Minsook's shoulder, leaving almost no distance between their paths.\n  BACKGROUND: attached photograph #3.\nPANEL 4: 옥상에 선 수리영의 시선 끝에 반쯤 열려 있는 어두운 현관 철문이 보이는 정면 구도\n  MOVEMENT (follow exactly): static: Suriyoung stands tensely on the rooftop with her body and gaze directed straight toward the half-open iron entrance door and its dark interior.\n  FIGURES — apparent size & depth order (follow exactly): Suriyoung appears about ~1/2 of the frame height in the NEARER rooftop area, while the half-open door appears about ~1/3 and is FARTHER ahead along her line of sight.\n  BACKGROUND: attached photograph #4.\nPANEL 5: 옥상 담벼락 위에서 한쪽 앞발을 허공으로 뻗은 검은 고양이의 측면\n  MOVEMENT (follow exactly): The black cat moves side-on across and over the rooftop wall toward the opposite side, extending one forepaw into the air as its body follows.\n  FIGURES — apparent size & depth order (follow exactly): The cat appears medium-sized, about ~1/3 of the frame height, and is NEARER to the camera than the FARTHER side beyond the wall; the wall runs beneath its crossing path.\n  BACKGROUND: attached photograph #5.\nPANEL 6: 철제 파이프 난간을 손으로 잡은 수리영이 코끝을 찡그린 채 계단 중간에 서 있는 얼굴 클로즈업\n  MOVEMENT (follow exactly): static: Suri-young pauses midway up the staircase while ascending toward the rooftop, gripping the metal-pipe railing with a tense posture and wrinkling her nose at the sudden foul smell, her body oriented uphill.\n  FIGURES — apparent size & depth order (follow exactly): Suri-young’s face fills ~2/3 of the frame height in close-up and is the nearest figure; her hand and the metal-pipe railing sit slightly farther from the camera as she remains midway on the stairs.\n  BACKGROUND: attached photograph #6.\nPANEL 7: 수리영이 초점을 잃은 눈으로 허공을 응시하며 서 있는 모습\n  MOVEMENT (follow exactly): static: Su-ri-young stands motionless and dazed after coming down from the rooftop room, her unfocused eyes staring into empty space and her body lacking purposeful direction.\n  FIGURES — apparent size & depth order (follow exactly): Su-ri-young is the only visible figure, so she is both the nearest and farthest person; her apparent fraction of frame height is unspecified in the source.\n  BACKGROUND: attached photograph #7.\nPANEL 8: 고개를 든 채 혜수의 얼굴을 마주보고 있는 수리영의 측면 구도\n  MOVEMENT (follow exactly): static: Su-ri-young holds her head raised and faces Hye-su directly in side profile, looking up at her while remaining dazed and stationary.\n  FIGURES — apparent size & depth order (follow exactly): Su-ri-young and Hye-su's face are visible facing each other, but their respective frame-height fractions and which is nearer to the camera are unspecified; their paths have converged at conversational distance, with neither moving past the other.\n  BACKGROUND: attached photograph #8.\n\nABSOLUTELY NO TEXT anywhere: no words, letters, captions, labels,\nsound effects or watermarks — the ONLY allowed marking is a small\nshot number digit (1, 2, 3, 4, 5, 6, 7, 8) in a corner INSIDE each drawn panel.\nTHE PANEL GRID FILLS THE ENTIRE IMAGE EDGE-TO-EDGE: no outer paper\nmargin, no border area, nothing drawn outside the panels — the\nimage must be mechanically cuttable along the stated cut lines.\nPanels are separated only by thin straight black gutter lines at\nthe exact stated positions; ALL PANELS EXACTLY THE SAME SIZE."}
{"ts": "2026-07-12 20:56:02", "kind": "llm", "step": "s37_fp_spec", "model": "gpt", "dur_s": 30.1, "system_prompt": "당신은 영화 미술팀 도면 작성자다. 한 주거 공간의 실내 씬 원문\n전문을 읽고, 그 내부의 공간 구성을 추론해 평면도(floor plan)\n도면 생성 프롬프트(영어)를 저작하라.\n규칙:\n1) 공간의 개수·종류·연결 관계·고정 설비(문·창·수납·위생 설비·\n   가구 등)와 대략의 크기는 오직 원문 근거로만 추론하라. 인물이\n   공간 사이를 어떻게 이동하는지, 무엇이 어디에 있는지가 단서다.\n2) 근거 없는 부분은 그 유형 주거의 전형으로 최소 보충, 원문과\n   모순 금지.\n3) rooms: 추론한 공간 각각 — name_en, evidence_ko(근거 씬/문장),\n   fixtures_en(그 공간의 고정 요소).\n4) size_estimate_ko: 전체 크기·규모 추정과 그 근거.\n5) fp_prompt_en: 완결된 평면도 t2i 프롬프트 — 공간 배치 서사\n   (layout narration)를 담되 텍스트 라벨은 도면에 넣지 않게.", "user_prompt": "실내 씬 원문 전문:\n\n[씬 5] S#5. 옥탑방 안 / 실내\nS#5. 옥탑방 안 / 실내\n거실에 난 작은 창으로 햇살에 가늘게 비친다.\n싱크대 수도꼭지에 흐르는 물, 씻다 만 약초(석창포).\n냄비의 물이 끓어 달그락거리는 소리… 김이 피어오르고.\n앞치마를 두른 채 TV 뉴스를 뚫어지게 바라보는\n민숙(수리영 엄마. 40세) 표정이 어둡다.\n(뉴스멘트는 작아졌다 커졌다 반복하면서 여기까지 이어진다)\n\n딸, 수리영(21. 애완동물미용학과 2년)이 방문을 열고 기지개를 켜며\n나오자 후다닥 TV를 끄는 민숙. 다정한 말투로\n\n수리영\n(심드렁) 뭐~야. 사건 났어? 뭔데.\n\n민숙\n아냐.\n\n수리영\n(식탁에 앉으며) 이모 또 야근하겠네. 조그만 도시에\n왠 사건이 이렇게 많아. 바다가 가까워서 그런가.\n\n민숙\n신경 꺼. (석창포 달인 물을 따라주면서) 마셔. 방학인데\n왜 더 자지않고.\n\n수리영\n(마시고 나서) 아, 진짜 맛 없어...(투정) 나 알바 있어, 엄마.\n원장님이 하루만 봐 달래.\n\n(cut to.)\n가벼운 차림새. 수리영 신발을 신으며\n\n수리영\n엄마는 오늘 안 나가?\n\n민숙\n이따가 1시 타임.\n\n수리영\n(엄마의 냄새를 맡으며) 아, 좋다. 끝나고 마트로 갈게. 모처럼\n밖에서 저녁먹자 엄마.\n\n민숙\n응 (미소)\n\n힐끗, 민숙 손목에 보이는 작은 원(이하 표식)을 본다.\n오늘따라 유난히 또렷해 보이지만 워낙 어릴 적부터 봐온 터라 개의치 않는.\n\n\n\n[씬 12] S#12. 옥탑방 안 / N\nS#12. 옥탑방 안 / N\n/거실\n‘엄마?’를 부르며 들어오는 수리영,\n끓다 식은 냄비. 켜져 있는 TV. 희미한 거실 스탠드 불빛,\n\n/민숙 방\n안방 문을 여는데... 없다.\n거실 식탁에 놓여있는 찻잔 두 개. 하나는 엎어져있다.\n\n/수리영 방\n마지막으로 자기 방문을 연다\n헉!- 여기저기 핏자국. 바닥에 흥건한 혈흔.\n피묻은 발자국은 커튼으로 이어져 있다\n호흡을 가두고 커튼을 젖히자\n앉은 채로 고개를 떨군 채 죽어있는 엄마- 민숙!!!!\n\n수리영\n(달려가) 어어어어----엄마\n\n충격에 온 몸이 얼어붙은 수리영,\n살점이 뜯긴 어깨와 쇄골, 마치 동물에게 물어뜯긴 듯한 거친 상처가 고스란히\n드러나있다. 덜렁거리는 살점과 뜯겨진 부위에 흘러내리는 피.\n\n수리영\n(놀라 뒤로 주춤) 어-어-어- 엄마….\n\n부들부들 떨며 핸드폰을 누른다. 2번 혜수이모\n\n수리영\n받아, 이모. 받아….\n\n혜수(E)\n영아, 영아, 왜?\n\n답은 안 나오고… 엄마 손안에 구겨진 사진 한 장이 보인다.\n다가가 사진을 꺼내는데 엄마 손목에 있던 문신이 붉은색으로 변한다.\n헉! 호흡이 빨라지고... 침대 위 벽에 붉은 원이 생겨난다\n(마치 누군가 붓으로 벽에 원으로 그리는 것처럼).\n소름끼치는 으아악---!\n\n\n\n[씬 14] S#14. 옥탑방 안 / N\nS#14. 옥탑방 안 / N\n/현관\n집안 여기저기를 확인하면서 나오는 형사와 혜수\n\n김형사\n(허탈한 표정) 없는데.. 아무 것도.\n\n혜수\n(뒤따라온 수리영에게) 영아, 없어. 뭘 봤는데...?\n\n어? 수리영, 부리나케 방 안으로 뛰어 들어간다.\n\n/수리영 방 안\n지나칠 정도로 깨끗하게 정돈된 방안. 핏자국도 보이지 않고,\n침대 위에 붉은 표식은 물론 커튼 뒤의 시신도 감쪽 같이 사라졌다.\n얼굴이 파리해지는 수리영. ‘어----?’ ‘분명히 봤는데...’\n\n뛰쳐나가 식탁으로 가본다. 식탁 역시 깨끗한.\n\n수리영\n여기 찻잔도 두 개 있었고...\n\n김형사\n(답답) 허 참! 죽은 사람이 발이 달렸을 리도 없고. 쯧쯧\n그러게 살인사건은 자세하게 보도하면 안 된다구요...(궁시렁)\n이봐요. 학생? 장난전화 하면 안 되는 거 몰라? (짜증)\n안 그래도 살인사건으로 난리도 아닌데...\n\n혜수\n(김형사 째리고) 김형사. 먼저 가 있어. (김형사 나가면)\n(수리영 어깨를 어루만지며) 영아.\n\n수리영\n엄마(시신), 어디갔을까? 분명히 봤는데...\n\n혜수\n네가 요즘 과로했잖아. 공부에다 알바까지...\n악몽을 꾼 걸 수도 있으니... 바람이나 쐬러 가자.\n수리영 방안에 놓여진 백팩, 인형. 약간씩 위치가 달라진.\n(시신을 발견했을 때와 다른)\n\n\n\n[씬 18] S#18. 안방 안 / D\nS#18. 안방 안 / D\n침대에 머리를 대고 앉아있는 수리영, 밤새 엄마를 기다리다 깜박 졸았다\n고양이 울음소리에 번쩍 눈을 뜨고, ‘엄마? ’혹시나 해서 집안을 살피지만\n아무런 인기척도 보이지 않는다\n\n/수리영 방안\n닫혀있는 자신의 방을 바라본다.\n[F.B: 1부12씬] 커튼 뒤에 죽어있던 엄마. 상처. 혈흔\n\n크게 심호흡하고 조심스럽게 문을 연다.\n지나치리만큼 깨끗하게 정돈된 방안.\n창문에 다가가 커튼을 확 열어젖힌다. 시신은 없다.\n\n한숨 후~ 다행이긴 한데.\n그때, 울리는 폰 벨소리, 화들짝 놀라는 수리영. 달려가 받자마자\n\n수리영\n엄마?\n\n혜수(E)\n아직이니?\n\n수리영\n응. 아무래도 이상해. 이럴 리가 없잖아! 우리 엄마가.\n이모, 사고 난 게 분명해\n\n혜수(E)\n실종신고 냈어. 이모가 엄마 폰 위치추적하고 있으니까\n조금만 기다려 별일 없을 거야. 알았지?\n\n수리영\n응.\n\n무작정 기다리는게 불안한 수리영,\n인형이 달린 자신의 백팩을 꺼내 나온다\n\n/욕실 안\n얼굴을 씻고 거울을 보며\n\n수리영\n엄마, 도대체 어딨는 거야...\n\n거울에 비친 욕실 벽에 갑자기 또 발생하는 붉은 원.\n호흡이 가빠지고... 훅 고개를 돌려 벽을 보는 수리영\n거짓말처럼 사라지고 없다.\n거실로 튀어나와 물 한컵 마시고 식탁에 놓인 엄마와 수리영의 사진을 보는데...\n환하게 웃는 엄마 얼굴이 뭉개져 흘러내린다\n\n수리영\n아아악~~~ (다시보니 멀쩡하다) 나 왜 이러는 거지.\n(자신의 뺨을 치며) 정신 차려 수리영!\n\n\n\n[씬 25] S#25. 옥탑방 안 / 해질 무렵\nS#25. 옥탑방 안 / 해질 무렵\n누군가 다녀간 흔적으로 보이는 발자국들.\n다시 호흡이 가빠지는 수리영.\n집안에서 뭔가를 찾기 위해 가재도구를 온통 헤집은 것으로 보인다.\n거실에 난 창은 열려있고, 식탁 의자들을 쓰러져있다.\n\n/수리영 방\n열린 자신의 방을 힐끗 보는데\n벽에 또 붉은 원이 그려져있다. 그 가운데 꽂혀있는 피묻은 사진 한 장!\n사진을 떼어서 자세히 본다.\n어? 그 사진!!!\n\n[F.B: 1부 12씬] 죽은 엄마의 손에 구겨져있던 바로 그 사진이다.\n7-80년대 쯤 보이는 시골 식당과 지붕위에 둥근 원이 설치된 (마치 십자가처럼)\n식당 앞에는 어린 여자애 둘(12살)이 앉아있다. 그중에 한 아이는 분명히\n어릴 적 엄마다.\n\n침대에 털썩 주저앉는 수리영. 연속해서 벌어지는 기이한 상황에 정신이 혼미한\n엉망이 된 집 안을 한번 획 둘러보는 수리영,\n마치 이끌리듯 백팩을 메고 밖으로 나간다. 사진을 손에 꼭 쥔 채.\n\n\n\n[씬 27] S#27. 옥탑방 안 / 해질 무렵\nS#27. 옥탑방 안 / 해질 무렵\n수리영의 녹음메시지를 확인하는 혜수,\n\n\n\n실내 샷 목록(참고):\nS5sh5: 다급하게 상체를 기울이며 손가락 끝으로 TV 전원 버튼을 세게 누르고 있는 민숙의 측면 구도\nS5sh9: 민숙의 손목에 선명하게 드러난 작은 원형 표식의 타이트 샷\nS12sh11: 옷과 피부가 피투성이가 된 민숙이 바닥에 주저앉아 고개를 푹 숙인 정지 상태\nS12sh18: 민숙의 손에 꽉 쥐어진 구겨진 사진의 타이트 샷\nS12sh21: 침대 위쪽 벽면에 붉은색 원형 표식이 절반쯤 나타난 상태\nS14sh5: 핏자국 없이 깨끗한 방 내부 전경\nS14sh7: 수리영이 멍한 눈으로 텅 빈 방 안을 응시하는 얼굴 클로즈업\nS14sh11: 혜수가 날카로운 눈빛으로 김형사를 노려보는 모습\nS18sh11: 거울 속 반사된 욕실 타일 벽면에 붉은색 원형 표식이 절반쯤 나타난 상태\nS18sh15: 액자 속 민숙의 얼굴 부분 이미지가 아래로 일그러지며 흘러내리는 찰나\nS18sh16: 수리영이 두 손으로 머리를 감싸 쥐고 입을 크게 벌린 얼굴\nS25sh1: 해질 무렵 옥탑방 거실, 흙 묻은 발자국들이 찍힌 바닥과 쓰러진 식탁 의자들이 보이는 전경\nS25sh5: 붉은 원 한가운데 피 묻은 낡은 흑백 사진이 벽에 꽂혀 있는 타이트 샷\nS25sh9: 수리영의 손이 구겨진 사진을 꽉 움켜쥔 타이트 샷\nS27sh3: 혜수가 미간을 깊게 찌푸린 채 스마트폰을 내려다보는 얼굴 클로즈업"}
{"ts": "2026-07-12 20:58:18", "kind": "img", "engine": "gpt-image-2", "mode": "generate", "tag": "s37_fp_img", "refs": [], "size": "1024x1024", "attempt": 1, "dur_s": 133.5, "bytes": 883627, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/int_fp.png", "prompt": "Create a clean, top-down black-and-white architectural floor plan of a very small Korean rooftop dwelling, approximately 38–45 square meters, with simple thin wall lines, realistic door swings, windows, fixtures, and furniture, but absolutely no room names, text labels, dimensions, numbers, legends, or annotations. Place a compact entry and shoe-removal zone at the front, opening directly into the main shared living, dining, and kitchenette space. Arrange a linear kitchenette along one wall with a sink and faucet, short counter, base cabinets, and a compact cooktop holding a pot. Near it, place a small dining table with several lightweight chairs. Include a television facing the living area and a floor lamp nearby. Add the explicitly described small exterior window in the living room. From this common space, provide separate interior doors to two bedrooms and one compact bathroom. Make the mother’s main bedroom modest, with a bed positioned against a wall. Make the daughter’s bedroom slightly more visually specific: a single bed with a clear wall surface above its head or side, floor area beside the bed large enough for a seated person, a backpack and a doll, and an exterior window covered by full-length curtains with a concealed corner behind them. Include a compact tiled bathroom accessed from the common area, containing a washbasin, wall mirror, toilet, and minimal shower fittings; only the washbasin, mirror, and tiled wall are directly evidenced, so keep the remaining sanitary fittings unobtrusive and typical of a tiny Korean rooftop home. Keep circulation short and economical: entry to living room, living room directly to both bedrooms and bathroom. Depict the dwelling as cramped, modest, and functional, with no corridors unless needed for door clearance. Orthographic 2D drafting style, accurate wall thicknesses, sparse monochrome furniture symbols, white background, no perspective, no roof terrace, no people, no blood, no supernatural marks, and no written text anywhere in the drawing.\n\nOUTPUT MEDIUM: a flat 2D architectural FLOOR PLAN DRAWING on plain\ndrawing paper — NOT a photograph, NOT a 3D rendering. TRUE\nORTHOGRAPHIC PLAN seen from DIRECTLY ABOVE (90 degrees). Absolutely\nNO 3D: no perspective, no axonometric tilt, no wall surfaces, no\nfurniture volumes — walls as clean double lines, openings as\nstandard plan symbols, fixtures and furniture as flat plan symbols,\nuniform flat fills and clean drafting linework. No readable text\nlabels anywhere."}
{"ts": "2026-07-12 20:59:43", "kind": "llm", "step": "s37_int_plan", "model": "gpt", "dur_s": 83.3, "system_prompt": "당신은 영화 배경(플레이트) 설계자다. 한 주거 실내의 평면도\n스펙과, 실내 씬 원문 전문, 그리고 그 실내에서 찍는 전체 샷\n목록을 받는다. 이 실내의 배경 플레이트(사람 없는 실사 배경)\n들을 어떤 것부터 어떤 순서로 그릴지 스스로 판단하라.\n규칙:\n1) 첫 번째 플레이트가 '뿌리(root)': 이후 모든 플레이트의 기준이\n   되므로, 공간의 정체성과 고정 요소가 가장 많이 담기는 뷰를\n   골라라.\n2) 이후 순서는 체이닝을 고려하라: 각 플레이트는 뿌리와 직전\n   플레이트를 참조 이미지로 받아 생성된다 — 앞 플레이트와\n   공간·요소가 겹치는 뷰가 이어지도록 배열하라.\n3) 플레이트 수는 스스로 정하라(전체 샷의 카메라를 커버하는 최소\n   집합, 서로 다른 뷰·서브공간 단위).\n4) covers: 각 플레이트가 배경을 담당할 샷 태그들 — 전체 샷이\n   빠짐없이 정확히 한 플레이트에 배정돼야 한다.\n5) prompt_en: 그 플레이트의 t2i 프롬프트(영어) — 사람 없음,\n   읽히는 텍스트 없음, 사건 순간 상태물 없음(빈 세트), 첨부된\n   평면도(와 뿌리·직전 플레이트)의 그 공간임을 명시, 카메라\n   위치·방향을 평면도 기준으로 서술. 시간대는 씬 헤딩.\n6) 공간 구성·설비는 평면도 스펙과 원문 근거를 벗어나지 마라.\n출력: plates 배열(순서=생성 순서, 첫 항목=뿌리) — key(스네이크\n슬러그), title_ko, why_ko(이 순서·뷰인 이유), covers, prompt_en.", "user_prompt": "평면도 스펙(추론 완료):\n- Living and Dining Area: Small exterior window, television, floor lamp, compact dining table, several dining chairs, framed family photograph, direct doors to the two bedrooms and bathroom. (근거: S5에서 ‘거실에 난 작은 창’, TV를 보는 민숙, 수리영이 ‘식탁에 앉으며’가 함께 제시된다. S12에서는 수리영이 집에 들어와 켜진 TV와 거실 스탠드 불빛을 보고, 거실 식탁 위의 찻잔 두 개를 확인한다. S25에는 열린 거실 창과 쓰러진 식탁 의자들이 나온다. 따라서 현관과 각 실을 이어 주는 중심 공용공간으로 추론된다.)\n- Kitchenette: Linear kitchenette, sink with faucet, short worktop, base cabinets, compact cooktop or burner, pot storage. (근거: S5에서 싱크대 수도꼭지에 물이 흐르고 냄비의 물이 끓으며, 민숙이 달인 물을 따라 준다. 별도 주방실 언급 없이 거실 장면 안에서 모든 동작이 이어지므로 거실과 통합된 소형 주방으로 판단된다.)\n- Entry: Exterior entry door, compact shoe-removal threshold, small shoe area. (근거: S5에서 수리영이 외출 직전 신발을 신고, S12에서는 ‘엄마?’를 부르며 들어온다. S14의 구획 표기가 ‘/현관’이며 형사와 혜수가 집안을 확인한 뒤 이곳으로 나온다. 따라서 거실에 바로 연결되는 작은 현관이 필요하다.)\n- Mother’s Bedroom: Bed against a wall, interior hinged door. (근거: S12에서 수리영이 ‘안방 문’을 열어 민숙을 찾고, S18에서는 안방 침대에 머리를 대고 앉아 밤새 기다리다 졸았다고 명시된다. 안방에서 집안을 살핀 뒤 수리영 방으로 이동하므로 공용공간과 직접 연결된 별도 침실로 추론된다.)\n- Daughter’s Bedroom: Single bed against a wall, exterior window, full-length curtains with space behind them, interior hinged door, backpack and doll as loose props. (근거: S5에서 수리영이 방문을 열고 거실로 나오며, S12·S18에서 마지막으로 자기 방문을 열고 들어간다. 방 안에는 침대와 침대 위쪽 벽면, 창문과 커튼, 커튼 뒤 공간이 명시된다. S14에는 백팩과 인형이 있고, S25에는 침대에 주저앉는 행동이 나온다.)\n- Bathroom: Washbasin, wall mirror, tiled wall, compact toilet, minimal shower fittings, interior door. (근거: S18에서 수리영이 욕실 안에서 얼굴을 씻고 거울을 보며, 거울에 욕실 타일 벽면이 반사된다. 이후 즉시 거실로 튀어나오므로 거실 또는 짧은 공용 동선에 직접 접한 소형 욕실로 추론된다. 변기와 샤워 설비는 원문에 직접 언급되지 않지만 주거용 욕실의 최소 전형으로 보충한다.)\n크기 추정: 옥탑방 한 세대 안에 거실·식당·주방이 결합된 공용공간, 현관, 안방, 수리영 방, 욕실이 모두 있으며 인물들이 복도 이동 없이 거실과 각 방을 빠르게 오간다. ‘작은 창’, 옥탑방이라는 주거 유형, 식탁·TV·싱크가 같은 장면에 잡히는 점을 근거로 전체 실내는 약 38~45㎡의 소형 2침실 주택으로 추정한다. 공용공간은 약 16~20㎡, 안방 7~9㎡, 수리영 방 7~9㎡, 욕실 2.5~3.5㎡, 현관 및 잔여 동선 3~5㎡ 정도가 무리 없는 최소 규모다.\n\n실내 씬 원문 전문:\n\n[씬 5] S#5. 옥탑방 안 / 실내\nS#5. 옥탑방 안 / 실내\n거실에 난 작은 창으로 햇살에 가늘게 비친다.\n싱크대 수도꼭지에 흐르는 물, 씻다 만 약초(석창포).\n냄비의 물이 끓어 달그락거리는 소리… 김이 피어오르고.\n앞치마를 두른 채 TV 뉴스를 뚫어지게 바라보는\n민숙(수리영 엄마. 40세) 표정이 어둡다.\n(뉴스멘트는 작아졌다 커졌다 반복하면서 여기까지 이어진다)\n\n딸, 수리영(21. 애완동물미용학과 2년)이 방문을 열고 기지개를 켜며\n나오자 후다닥 TV를 끄는 민숙. 다정한 말투로\n\n수리영\n(심드렁) 뭐~야. 사건 났어? 뭔데.\n\n민숙\n아냐.\n\n수리영\n(식탁에 앉으며) 이모 또 야근하겠네. 조그만 도시에\n왠 사건이 이렇게 많아. 바다가 가까워서 그런가.\n\n민숙\n신경 꺼. (석창포 달인 물을 따라주면서) 마셔. 방학인데\n왜 더 자지않고.\n\n수리영\n(마시고 나서) 아, 진짜 맛 없어...(투정) 나 알바 있어, 엄마.\n원장님이 하루만 봐 달래.\n\n(cut to.)\n가벼운 차림새. 수리영 신발을 신으며\n\n수리영\n엄마는 오늘 안 나가?\n\n민숙\n이따가 1시 타임.\n\n수리영\n(엄마의 냄새를 맡으며) 아, 좋다. 끝나고 마트로 갈게. 모처럼\n밖에서 저녁먹자 엄마.\n\n민숙\n응 (미소)\n\n힐끗, 민숙 손목에 보이는 작은 원(이하 표식)을 본다.\n오늘따라 유난히 또렷해 보이지만 워낙 어릴 적부터 봐온 터라 개의치 않는.\n\n\n\n[씬 12] S#12. 옥탑방 안 / N\nS#12. 옥탑방 안 / N\n/거실\n‘엄마?’를 부르며 들어오는 수리영,\n끓다 식은 냄비. 켜져 있는 TV. 희미한 거실 스탠드 불빛,\n\n/민숙 방\n안방 문을 여는데... 없다.\n거실 식탁에 놓여있는 찻잔 두 개. 하나는 엎어져있다.\n\n/수리영 방\n마지막으로 자기 방문을 연다\n헉!- 여기저기 핏자국. 바닥에 흥건한 혈흔.\n피묻은 발자국은 커튼으로 이어져 있다\n호흡을 가두고 커튼을 젖히자\n앉은 채로 고개를 떨군 채 죽어있는 엄마- 민숙!!!!\n\n수리영\n(달려가) 어어어어----엄마\n\n충격에 온 몸이 얼어붙은 수리영,\n살점이 뜯긴 어깨와 쇄골, 마치 동물에게 물어뜯긴 듯한 거친 상처가 고스란히\n드러나있다. 덜렁거리는 살점과 뜯겨진 부위에 흘러내리는 피.\n\n수리영\n(놀라 뒤로 주춤) 어-어-어- 엄마….\n\n부들부들 떨며 핸드폰을 누른다. 2번 혜수이모\n\n수리영\n받아, 이모. 받아….\n\n혜수(E)\n영아, 영아, 왜?\n\n답은 안 나오고… 엄마 손안에 구겨진 사진 한 장이 보인다.\n다가가 사진을 꺼내는데 엄마 손목에 있던 문신이 붉은색으로 변한다.\n헉! 호흡이 빨라지고... 침대 위 벽에 붉은 원이 생겨난다\n(마치 누군가 붓으로 벽에 원으로 그리는 것처럼).\n소름끼치는 으아악---!\n\n\n\n[씬 14] S#14. 옥탑방 안 / N\nS#14. 옥탑방 안 / N\n/현관\n집안 여기저기를 확인하면서 나오는 형사와 혜수\n\n김형사\n(허탈한 표정) 없는데.. 아무 것도.\n\n혜수\n(뒤따라온 수리영에게) 영아, 없어. 뭘 봤는데...?\n\n어? 수리영, 부리나케 방 안으로 뛰어 들어간다.\n\n/수리영 방 안\n지나칠 정도로 깨끗하게 정돈된 방안. 핏자국도 보이지 않고,\n침대 위에 붉은 표식은 물론 커튼 뒤의 시신도 감쪽 같이 사라졌다.\n얼굴이 파리해지는 수리영. ‘어----?’ ‘분명히 봤는데...’\n\n뛰쳐나가 식탁으로 가본다. 식탁 역시 깨끗한.\n\n수리영\n여기 찻잔도 두 개 있었고...\n\n김형사\n(답답) 허 참! 죽은 사람이 발이 달렸을 리도 없고. 쯧쯧\n그러게 살인사건은 자세하게 보도하면 안 된다구요...(궁시렁)\n이봐요. 학생? 장난전화 하면 안 되는 거 몰라? (짜증)\n안 그래도 살인사건으로 난리도 아닌데...\n\n혜수\n(김형사 째리고) 김형사. 먼저 가 있어. (김형사 나가면)\n(수리영 어깨를 어루만지며) 영아.\n\n수리영\n엄마(시신), 어디갔을까? 분명히 봤는데...\n\n혜수\n네가 요즘 과로했잖아. 공부에다 알바까지...\n악몽을 꾼 걸 수도 있으니... 바람이나 쐬러 가자.\n수리영 방안에 놓여진 백팩, 인형. 약간씩 위치가 달라진.\n(시신을 발견했을 때와 다른)\n\n\n\n[씬 18] S#18. 안방 안 / D\nS#18. 안방 안 / D\n침대에 머리를 대고 앉아있는 수리영, 밤새 엄마를 기다리다 깜박 졸았다\n고양이 울음소리에 번쩍 눈을 뜨고, ‘엄마? ’혹시나 해서 집안을 살피지만\n아무런 인기척도 보이지 않는다\n\n/수리영 방안\n닫혀있는 자신의 방을 바라본다.\n[F.B: 1부12씬] 커튼 뒤에 죽어있던 엄마. 상처. 혈흔\n\n크게 심호흡하고 조심스럽게 문을 연다.\n지나치리만큼 깨끗하게 정돈된 방안.\n창문에 다가가 커튼을 확 열어젖힌다. 시신은 없다.\n\n한숨 후~ 다행이긴 한데.\n그때, 울리는 폰 벨소리, 화들짝 놀라는 수리영. 달려가 받자마자\n\n수리영\n엄마?\n\n혜수(E)\n아직이니?\n\n수리영\n응. 아무래도 이상해. 이럴 리가 없잖아! 우리 엄마가.\n이모, 사고 난 게 분명해\n\n혜수(E)\n실종신고 냈어. 이모가 엄마 폰 위치추적하고 있으니까\n조금만 기다려 별일 없을 거야. 알았지?\n\n수리영\n응.\n\n무작정 기다리는게 불안한 수리영,\n인형이 달린 자신의 백팩을 꺼내 나온다\n\n/욕실 안\n얼굴을 씻고 거울을 보며\n\n수리영\n엄마, 도대체 어딨는 거야...\n\n거울에 비친 욕실 벽에 갑자기 또 발생하는 붉은 원.\n호흡이 가빠지고... 훅 고개를 돌려 벽을 보는 수리영\n거짓말처럼 사라지고 없다.\n거실로 튀어나와 물 한컵 마시고 식탁에 놓인 엄마와 수리영의 사진을 보는데...\n환하게 웃는 엄마 얼굴이 뭉개져 흘러내린다\n\n수리영\n아아악~~~ (다시보니 멀쩡하다) 나 왜 이러는 거지.\n(자신의 뺨을 치며) 정신 차려 수리영!\n\n\n\n[씬 25] S#25. 옥탑방 안 / 해질 무렵\nS#25. 옥탑방 안 / 해질 무렵\n누군가 다녀간 흔적으로 보이는 발자국들.\n다시 호흡이 가빠지는 수리영.\n집안에서 뭔가를 찾기 위해 가재도구를 온통 헤집은 것으로 보인다.\n거실에 난 창은 열려있고, 식탁 의자들을 쓰러져있다.\n\n/수리영 방\n열린 자신의 방을 힐끗 보는데\n벽에 또 붉은 원이 그려져있다. 그 가운데 꽂혀있는 피묻은 사진 한 장!\n사진을 떼어서 자세히 본다.\n어? 그 사진!!!\n\n[F.B: 1부 12씬] 죽은 엄마의 손에 구겨져있던 바로 그 사진이다.\n7-80년대 쯤 보이는 시골 식당과 지붕위에 둥근 원이 설치된 (마치 십자가처럼)\n식당 앞에는 어린 여자애 둘(12살)이 앉아있다. 그중에 한 아이는 분명히\n어릴 적 엄마다.\n\n침대에 털썩 주저앉는 수리영. 연속해서 벌어지는 기이한 상황에 정신이 혼미한\n엉망이 된 집 안을 한번 획 둘러보는 수리영,\n마치 이끌리듯 백팩을 메고 밖으로 나간다. 사진을 손에 꼭 쥔 채.\n\n\n\n[씬 27] S#27. 옥탑방 안 / 해질 무렵\nS#27. 옥탑방 안 / 해질 무렵\n수리영의 녹음메시지를 확인하는 혜수,\n\n\n\n전체 실내 샷 목록(빠짐없이 커버 배정):\nS5sh5: 다급하게 상체를 기울이며 손가락 끝으로 TV 전원 버튼을 세게 누르고 있는 민숙의 측면 구도\nS5sh9: 민숙의 손목에 선명하게 드러난 작은 원형 표식의 타이트 샷\nS12sh11: 옷과 피부가 피투성이가 된 민숙이 바닥에 주저앉아 고개를 푹 숙인 정지 상태\nS12sh18: 민숙의 손에 꽉 쥐어진 구겨진 사진의 타이트 샷\nS12sh21: 침대 위쪽 벽면에 붉은색 원형 표식이 절반쯤 나타난 상태\nS14sh5: 핏자국 없이 깨끗한 방 내부 전경\nS14sh7: 수리영이 멍한 눈으로 텅 빈 방 안을 응시하는 얼굴 클로즈업\nS14sh11: 혜수가 날카로운 눈빛으로 김형사를 노려보는 모습\nS18sh11: 거울 속 반사된 욕실 타일 벽면에 붉은색 원형 표식이 절반쯤 나타난 상태\nS18sh15: 액자 속 민숙의 얼굴 부분 이미지가 아래로 일그러지며 흘러내리는 찰나\nS18sh16: 수리영이 두 손으로 머리를 감싸 쥐고 입을 크게 벌린 얼굴\nS25sh1: 해질 무렵 옥탑방 거실, 흙 묻은 발자국들이 찍힌 바닥과 쓰러진 식탁 의자들이 보이는 전경\nS25sh5: 붉은 원 한가운데 피 묻은 낡은 흑백 사진이 벽에 꽂혀 있는 타이트 샷\nS25sh9: 수리영의 손이 구겨진 사진을 꽉 움켜쥔 타이트 샷\nS27sh3: 혜수가 미간을 깊게 찌푸린 채 스마트폰을 내려다보는 얼굴 클로즈업"}
{"ts": "2026-07-12 21:00:07", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s37_int_plate_living_dining_day_root", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/int_fp.png"], "ref_labels": ["FLOOR PLAN — the spatial truth of this interior: room layout, openings and fixture positions; never draw the plan itself, render the real interior it describes."], "attempt": 1, "dur_s": 20.5, "bytes": 2367961, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/plate_living_dining_day_root.png", "prompt": "ROOT PLATE. Use the attached floor-plan specification as the authoritative layout for the same small 38–45 square meter Korean rooftop apartment. Daytime interior, with narrow natural sunlight entering through the small exterior living-room window. Place the camera at standing eye level near the entry-side corner, looking diagonally across the central combined living and dining area so the maximum number of fixed spatial identifiers are visible: the compact dining table and several upright chairs, the linear kitchenette with sink, faucet, short worktop, base cabinets and compact cooktop, the television, floor lamp, small exterior window, and the direct interior doors leading to the two bedrooms and bathroom. Include the ordinary framed family photograph near the dining area, with tiny indistinct photographic details and no text. Keep the TV off, the faucet off, the cooktop off, and any pot clean and inactive. Modest, compact, lived-in rooftop housing, realistic Korean residential interior, photorealistic live-action background plate, natural perspective and restrained production design. Empty set: no people, no readable text, no blood, no footprints, no overturned furniture, no boiling water, no spilled cups, no supernatural circles, no damaged or melting photograph, and no other incident-moment state."}
{"ts": "2026-07-12 21:00:27", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s37_int_plate_living_dining_sunset_floor_view", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/int_fp.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/plate_living_dining_day_root.png"], "ref_labels": ["FLOOR PLAN — the spatial truth of this interior: room layout, openings and fixture positions; never draw the plan itself, render the real interior it describes.", "ROOT INTERIOR PHOTOGRAPH — the same interior: its materials, finishes, furniture, lighting and wear are LOCKED to this photo."], "attempt": 1, "dur_s": 20.6, "bytes": 2410463, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/plate_living_dining_sunset_floor_view.png", "prompt": "Use the attached floor plan and the supplied root plate, which depict this exact same small Korean rooftop apartment; also use the immediately previous plate as the continuity reference. Sunset interior. Position the camera near the entry threshold at a slightly lower standing height than the root view, looking inward and gently downward across the living-room floor and compact dining zone toward the small exterior window. Preserve exactly the same spatial relationships, architecture, television, floor lamp, linear kitchenette, dining table, chairs, framed family photograph, and direct bedroom and bathroom doors established by the root. Warm fading sunset light enters through the small window while the interior remains naturally dim. All dining chairs must be upright in their normal positions and the exterior window closed in a neutral condition. Leave clear floor area and believable close-up background depth for a person standing in the common room. Photorealistic live-action empty background plate, no people, no readable text, no muddy footprints, no overturned chairs, no searched-through belongings, no open window, no blood, no supernatural marks, no phone, and no other incident-specific state."}
{"ts": "2026-07-12 21:01:24", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s37_int_plate_daughter_bedroom_sunset_bed_wall", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/int_fp.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/plate_living_dining_day_root.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/plate_living_dining_sunset_floor_view.png"], "ref_labels": ["FLOOR PLAN — the spatial truth of this interior: room layout, openings and fixture positions; never draw the plan itself, render the real interior it describes.", "ROOT INTERIOR PHOTOGRAPH — the same interior: its materials, finishes, furniture, lighting and wear are LOCKED to this photo.", "PREVIOUS ADJACENT VIEW — the immediately preceding plate of this same interior: keep every shared fixed feature identical where the views overlap."], "attempt": 1, "dur_s": 57.2, "bytes": 2783427, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/plate_daughter_bedroom_sunset_bed_wall.png", "prompt": "Use the attached floor plan, the supplied root plate, and the immediately previous sunset living-room plate as references for this exact same rooftop apartment. Sunset interior in the daughter's bedroom. Place the camera just inside the daughter's open interior doorway, facing into the compact room toward the single bed and the wall above the bed, while also retaining part of the exterior window with full-length curtains and the usable recess behind the curtains in the composition. Through the doorway edge, preserve a small visual connection to the sunset common area established in the previous plate. The single bed rests against a wall; include the backpack and doll only as ordinary, neatly placed loose belongings consistent with the floor-plan specification. Warm, fading sunset light, realistic compact-room proportions, photorealistic live-action background plate. Keep the wall above the bed completely plain and undamaged. Empty set: no people, no readable text, no red circle, no pinned or bloodstained photograph, no blood, no corpse, no disturbed furniture, no clenched hand, and no other incident-moment state."}
{"ts": "2026-07-12 21:01:48", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s37_int_plate_daughter_bedroom_night_doorway_wide", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/int_fp.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/plate_living_dining_day_root.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/plate_daughter_bedroom_sunset_bed_wall.png"], "ref_labels": ["FLOOR PLAN — the spatial truth of this interior: room layout, openings and fixture positions; never draw the plan itself, render the real interior it describes.", "ROOT INTERIOR PHOTOGRAPH — the same interior: its materials, finishes, furniture, lighting and wear are LOCKED to this photo.", "PREVIOUS ADJACENT VIEW — the immediately preceding plate of this same interior: keep every shared fixed feature identical where the views overlap."], "attempt": 1, "dur_s": 23.8, "bytes": 2602313, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/plate_daughter_bedroom_night_doorway_wide.png", "prompt": "Use the attached floor plan, the supplied root plate, and the immediately previous daughter's-bedroom sunset plate as references for the exact same room and geometry. Night interior. Re-create the daughter's bedroom from nearly the same camera axis, with the camera at the interior doorway looking toward the single bed, the wall above the bed, and the exterior window with full-length curtains and sufficient recess space behind them. Preserve the bed, window, curtain, door, backpack and doll positions as normal residential set dressing, but present the room exceptionally neat and clean. The common area beyond the doorway should be dim, with only plausible low spill from the living-room floor lamp; no invented fixtures. Photorealistic live-action empty background plate, realistic night exposure and compact rooftop-apartment scale. No people, no readable text, no corpse, no blood, no bloody footprints, no wound, no old photograph, no red circle on the wall, no shifted belongings, and no other incident-specific or supernatural state."}
{"ts": "2026-07-12 21:02:23", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s37_int_plate_entry_night_inward_view", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/int_fp.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/plate_living_dining_day_root.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/plate_daughter_bedroom_night_doorway_wide.png"], "ref_labels": ["FLOOR PLAN — the spatial truth of this interior: room layout, openings and fixture positions; never draw the plan itself, render the real interior it describes.", "ROOT INTERIOR PHOTOGRAPH — the same interior: its materials, finishes, furniture, lighting and wear are LOCKED to this photo.", "PREVIOUS ADJACENT VIEW — the immediately preceding plate of this same interior: keep every shared fixed feature identical where the views overlap."], "attempt": 1, "dur_s": 34.2, "bytes": 2273336, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/plate_entry_night_inward_view.png", "prompt": "Use the attached floor plan, the supplied root plate, and the immediately previous night daughter's-bedroom plate as continuity references for this exact same rooftop apartment. Night interior at the entry. Place the camera immediately beside the exterior entry door, facing inward across the compact shoe-removal threshold and small shoe area toward the central living and dining room. Show enough of the common room to identify the same dining table, television or floor-lamp zone, and the direct interior doorways established by the root, without adding a corridor. The entry must feel compact and directly connected to the living space. Use dim practical spill from the existing living-room floor lamp and subdued night ambience; do not invent additional lighting fixtures. Leave neutral background depth suitable for a tight facial shot near the entrance. Photorealistic live-action empty set, no people, no readable text, no police equipment, no disturbed belongings, no blood, no footprints, no supernatural marks, and no incident-moment state."}
{"ts": "2026-07-12 21:02:53", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s37_int_plate_bathroom_day_mirror_tile_view", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/int_fp.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/plate_living_dining_day_root.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/plate_entry_night_inward_view.png"], "ref_labels": ["FLOOR PLAN — the spatial truth of this interior: room layout, openings and fixture positions; never draw the plan itself, render the real interior it describes.", "ROOT INTERIOR PHOTOGRAPH — the same interior: its materials, finishes, furniture, lighting and wear are LOCKED to this photo.", "PREVIOUS ADJACENT VIEW — the immediately preceding plate of this same interior: keep every shared fixed feature identical where the views overlap."], "attempt": 1, "dur_s": 30.1, "bytes": 2613739, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/plate_bathroom_day_mirror_tile_view.png", "prompt": "Use the attached floor plan, the supplied root plate, and the immediately previous entry-at-night plate as references for the same compact rooftop apartment; preserve the bathroom door's direct relationship to the central common area established by the root. Daytime interior in the small bathroom. Place the camera inside the bathroom, near the interior door and at standing eye level, facing the washbasin and wall mirror so that a substantial section of the opposite tiled bathroom wall is clearly visible in the mirror reflection. Include only the specified compact residential fixtures: washbasin with faucet, wall mirror, tiled walls, compact toilet, and minimal shower fittings. Maintain realistic 2.5–3.5 square meter proportions and modest Korean rooftop-apartment materials. Soft neutral daytime light, photorealistic live-action empty background plate. The mirror and reflected tile wall must be clean and ordinary. No people or human reflection, no readable text, no water running, no red circle, no blood, no supernatural effect, and no other incident-moment state."}
{"ts": "2026-07-12 21:05:10", "kind": "img", "engine": "gpt-image-2", "mode": "edit", "tag": "s37_int_sketch_0", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/plate_living_dining_day_root.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/plate_living_dining_sunset_floor_view.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/plate_daughter_bedroom_sunset_bed_wall.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/plate_daughter_bedroom_night_doorway_wide.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/plate_entry_night_inward_view.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/plate_bathroom_day_mirror_tile_view.png"], "size": "1536x1024", "attempt": 1, "dur_s": 135.8, "bytes": 3344470, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/sketch_int_0.png", "prompt": "Draw ONE storyboard (conti) sheet: 8 panels made by THREE vertical cuts at exactly 25%, 50% and 75% of the width and ONE horizontal cut at exactly 50% of the height — a 4-column x 2-row grid, all eight panels exactly equal.\nSTYLE: hand-drawn PRE-PRODUCTION STORYBOARD FOR A LIVE-ACTION FILM\nSHOOT — the working drawings a professional film storyboard artist\nmakes for the director and cinematographer of a real movie:\nREALISTIC adult human proportions and faces (ordinary Korean\nadults, film-actor realism), true cinematic lens framing, and\nnaturalistic light-and-shadow blocking rendered in monochrome\ngraphite pencil tone on white paper.\nABSOLUTELY NOT manga, NOT anime, NOT cartoon, NOT webtoon, NOT\ncomic-book style: no stylized or enlarged eyes, no cute or\nyouthful idealized faces, no clean ink outlines — every panel\nmust read like a frame of a live-action film sketched in pencil.\nNo color anywhere.\n\nTHE LOCATION (same interior in all panels): the place shown in the attached photographs.\n\nPURPOSE: each panel captures only the CAMERA COMPOSITION of one\nshot — framing (close-up / medium / wide), where the subject sits in\nthe frame, and continuity between panels. Keep every panel\nextremely simple: only what matters for composition.\nMOVEMENT IS SHOWN BY THE FIGURE ITSELF, NEVER BY MARKINGS: convey\ndirection of travel purely through the body — stride mid-motion,\nbody lean into the path, back view vs front view, and the stated\nsize/depth cues. Do NOT draw arrows, motion lines, path lines,\nspeed lines or any diagram markings of any kind.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Draw what a real movie camera would actually record\non a physical set — exaggerated or figurative impressions become\nrealistic staging choices (lighting, distance, angle, wardrobe),\nnot literal fantasy drawings.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still draw them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nGEOMETRY — ANALYSE BEFORE DRAWING: from each panel's Korean shot\ntext, first work out the spatial facts and draw EXACTLY those, never\nre-stage them: (a) each figure's DISTANCE from camera (tight insert /\nclose-up / medium / full / wide — a shot about a hand or an object\nis a tight insert, not a two-shot); (b) each figure's FACING and\nMOVEMENT DIRECTION relative to camera — '뒷모습' means seen from\nBEHIND, moving AWAY from camera into the depth of the frame, not\nsideways; a profile means lateral movement; (c) relative positions\nand distances BETWEEN figures. Keep every established screen\ndirection consistent across panels (180-degree rule): a person who\nleaves in one panel keeps the same on-screen direction wherever the\nmovement appears again.\nSIZE & DEPTH ARE CONTRACTUAL: each panel states every figure's\napparent size in the frame and the explicit near/far depth order.\nDraw exactly those proportions — a farther figure MUST be drawn\nclearly smaller than a nearer one; never equalize figure sizes,\nespecially when several figures share a panel or their paths\nrelate to each other.\nDEPARTING FIGURE — a figure running/walking AWAY must be\nunmistakably departing, never approaching: seen exactly from behind\n(back of the head only, no face, no chin, no cheek line), body\nleaning into the path, mid-stride with one shoe sole toward the\ncamera. THE STATED SIZE/DEPTH WINS: draw the departing figure at\nexactly the apparent size and depth the panel's FIGURES line states\n(if stated FARTHER/small, it stays small in the distance — never\nenlarge it into the foreground for drama).\n\nCONTINUITY: all drawn panels are the SAME single location — fixed\nfeatures (doors, stairs, windows, poles, desks) keep the same\nposition and left/right relationships across panels so the panels\ncut together as one continuous scene.\n\nBACKGROUND PHOTOGRAPHS (attached): each PANEL states which\nattached photograph is its REAL location background. Draw\nthat panel's environment faithfully FROM its stated\nphotograph — the same room, fixed features and spatial\nlayout, translated into monochrome pencil storyboard\nlinework — then stage the figures per the panel's shot text\nand movement. All photographs are the SAME single interior.\n\nPANELS (one shot per panel, Korean shot text):\n\nPANEL 1: 다급하게 상체를 기울이며 손가락 끝으로 TV 전원 버튼을 세게 누르고 있는 민숙의 측면 구도\n  MOVEMENT (follow exactly): Min-sook urgently pitches her upper body forward toward the TV and forcefully drives a fingertip into its power button to turn it off as Su-ri-young emerges from her room.\n  FIGURES — apparent size & depth order (follow exactly): Min-sook's side-view upper body fills roughly 2/3 of the frame height, with her reaching hand and the TV button NEARER to the camera than her face and torso. The TV is FARTHER along her forward reach, and her body closes the short distance toward it.\n  BACKGROUND: attached photograph #1.\nPANEL 2: 민숙의 손목에 선명하게 드러난 작은 원형 표식의 타이트 샷\n  MOVEMENT (follow exactly): static: Min-sook's wrist is held in view, with the sharply visible small circular mark facing the camera.\n  FIGURES — apparent size & depth order (follow exactly): The wrist fills most of the tight frame, while the circular mark occupies a small area at its center. The skin and mark are the NEAREST and only principal subject, with any body or room detail FARTHER and out of focus.\n  BACKGROUND: attached photograph #1.\nPANEL 3: 옷과 피부가 피투성이가 된 민숙이 바닥에 주저앉아 고개를 푹 숙인 정지 상태\n  MOVEMENT (follow exactly): static: lifeless Min-sook is collapsed against the floor in an asymmetric seated slump, her head dropped deeply forward, shoulders fallen, limbs limp, and body weight fully given way.\n  FIGURES — apparent size & depth order (follow exactly): Min-sook's blood-covered body fills about 2/3 of the frame height and is the NEAREST principal figure. The floor directly beneath her is nearer than the surrounding bedroom and curtain area, which recede FARTHER behind her.\n  BACKGROUND: attached photograph #4.\nPANEL 4: 민숙의 손에 꽉 쥐어진 구겨진 사진의 타이트 샷\n  MOVEMENT (follow exactly): static: lifeless Min-sook's limp hand remains curled tightly around a crumpled photograph, with the photograph exposed toward the camera.\n  FIGURES — apparent size & depth order (follow exactly): The dead woman's hand fills roughly 2/3 of the tight frame, and the crumpled photograph fills about 1/3. The photograph is NEARER where it protrudes from her grasp, while her palm, wrist, and collapsed body lie progressively FARTHER behind it.\n  BACKGROUND: attached photograph #4.\nPANEL 5: 침대 위쪽 벽면에 붉은색 원형 표식이 절반쯤 나타난 상태\n  MOVEMENT (follow exactly): A red circular mark spreads around the wall above the bed, progressing along a ring-like path as though an unseen brush is drawing it, with about half the circle formed.\n  FIGURES — apparent size & depth order (follow exactly): The half-formed red circle fills roughly 1/2 of the frame height on the wall and is the principal visible object. The wall surface and mark are FARTHER than the nearer edge of the bed, with the red pigment visually sitting closest on that wall plane.\n  BACKGROUND: attached photograph #4.\nPANEL 6: 핏자국 없이 깨끗한 방 내부 전경\n  MOVEMENT (follow exactly): static: the excessively tidy bedroom stands empty, with no bloodstains, red wall mark, or collapsed body remaining anywhere in the room.\n  FIGURES — apparent size & depth order (follow exactly): The empty room fills the full frame; nearer floor and furniture edges occupy the foreground, while the bed, curtain, and clean back wall are FARTHER away. No person is visible, and the formerly occupied curtain area is now empty.\n  BACKGROUND: attached photograph #4.\nPANEL 7: 수리영이 멍한 눈으로 텅 빈 방 안을 응시하는 얼굴 클로즈업\n  MOVEMENT (follow exactly): static: pale-faced Su-ri-young holds her body rigid and stares blankly into the empty bedroom where she expected to find her mother's body.\n  FIGURES — apparent size & depth order (follow exactly): Su-ri-young's face fills about 2/3 of the frame height and is the NEAREST figure. The empty room she watches is FARTHER beyond her eyeline, with no other person visible.\n  BACKGROUND: attached photograph #4.\nPANEL 8: 혜수가 날카로운 눈빛으로 김형사를 노려보는 모습\n  MOVEMENT (follow exactly): static: Hye-su fixes a sharp, hostile stare toward Detective Kim, her face and body oriented directly at him.\n  FIGURES — apparent size & depth order (follow exactly): Hye-su fills roughly 2/3 of the frame height and is the NEAREST visible figure. Detective Kim is the FARTHER target of her gaze, whether at the edge of the frame or just off-screen, with no crossing movement between them.\n  BACKGROUND: attached photograph #5.\n\nABSOLUTELY NO TEXT anywhere: no words, letters, captions, labels,\nsound effects or watermarks — the ONLY allowed marking is a small\nshot number digit (1, 2, 3, 4, 5, 6, 7, 8) in a corner INSIDE each drawn panel.\nTHE PANEL GRID FILLS THE ENTIRE IMAGE EDGE-TO-EDGE: no outer paper\nmargin, no border area, nothing drawn outside the panels — the\nimage must be mechanically cuttable along the stated cut lines.\nPanels are separated only by thin straight black gutter lines at\nthe exact stated positions; ALL PANELS EXACTLY THE SAME SIZE."}
{"ts": "2026-07-12 21:07:26", "kind": "img", "engine": "gpt-image-2", "mode": "edit", "tag": "s37_int_sketch_1", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/plate_living_dining_day_root.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/plate_living_dining_sunset_floor_view.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/plate_daughter_bedroom_sunset_bed_wall.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/plate_daughter_bedroom_night_doorway_wide.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/plate_entry_night_inward_view.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/plate_bathroom_day_mirror_tile_view.png"], "size": "1536x1024", "attempt": 1, "dur_s": 135.5, "bytes": 3263256, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/sketch_int_1.png", "prompt": "Draw ONE storyboard (conti) sheet: 8 panels made by THREE vertical cuts at exactly 25%, 50% and 75% of the width and ONE horizontal cut at exactly 50% of the height — a 4-column x 2-row grid, all eight panels exactly equal.\nSTYLE: hand-drawn PRE-PRODUCTION STORYBOARD FOR A LIVE-ACTION FILM\nSHOOT — the working drawings a professional film storyboard artist\nmakes for the director and cinematographer of a real movie:\nREALISTIC adult human proportions and faces (ordinary Korean\nadults, film-actor realism), true cinematic lens framing, and\nnaturalistic light-and-shadow blocking rendered in monochrome\ngraphite pencil tone on white paper.\nABSOLUTELY NOT manga, NOT anime, NOT cartoon, NOT webtoon, NOT\ncomic-book style: no stylized or enlarged eyes, no cute or\nyouthful idealized faces, no clean ink outlines — every panel\nmust read like a frame of a live-action film sketched in pencil.\nNo color anywhere.\n\nTHE LOCATION (same interior in all panels): the place shown in the attached photographs.\n\nPURPOSE: each panel captures only the CAMERA COMPOSITION of one\nshot — framing (close-up / medium / wide), where the subject sits in\nthe frame, and continuity between panels. Keep every panel\nextremely simple: only what matters for composition.\nMOVEMENT IS SHOWN BY THE FIGURE ITSELF, NEVER BY MARKINGS: convey\ndirection of travel purely through the body — stride mid-motion,\nbody lean into the path, back view vs front view, and the stated\nsize/depth cues. Do NOT draw arrows, motion lines, path lines,\nspeed lines or any diagram markings of any kind.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Draw what a real movie camera would actually record\non a physical set — exaggerated or figurative impressions become\nrealistic staging choices (lighting, distance, angle, wardrobe),\nnot literal fantasy drawings.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still draw them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nGEOMETRY — ANALYSE BEFORE DRAWING: from each panel's Korean shot\ntext, first work out the spatial facts and draw EXACTLY those, never\nre-stage them: (a) each figure's DISTANCE from camera (tight insert /\nclose-up / medium / full / wide — a shot about a hand or an object\nis a tight insert, not a two-shot); (b) each figure's FACING and\nMOVEMENT DIRECTION relative to camera — '뒷모습' means seen from\nBEHIND, moving AWAY from camera into the depth of the frame, not\nsideways; a profile means lateral movement; (c) relative positions\nand distances BETWEEN figures. Keep every established screen\ndirection consistent across panels (180-degree rule): a person who\nleaves in one panel keeps the same on-screen direction wherever the\nmovement appears again.\nSIZE & DEPTH ARE CONTRACTUAL: each panel states every figure's\napparent size in the frame and the explicit near/far depth order.\nDraw exactly those proportions — a farther figure MUST be drawn\nclearly smaller than a nearer one; never equalize figure sizes,\nespecially when several figures share a panel or their paths\nrelate to each other.\nDEPARTING FIGURE — a figure running/walking AWAY must be\nunmistakably departing, never approaching: seen exactly from behind\n(back of the head only, no face, no chin, no cheek line), body\nleaning into the path, mid-stride with one shoe sole toward the\ncamera. THE STATED SIZE/DEPTH WINS: draw the departing figure at\nexactly the apparent size and depth the panel's FIGURES line states\n(if stated FARTHER/small, it stays small in the distance — never\nenlarge it into the foreground for drama).\n\nCONTINUITY: all drawn panels are the SAME single location — fixed\nfeatures (doors, stairs, windows, poles, desks) keep the same\nposition and left/right relationships across panels so the panels\ncut together as one continuous scene.\n\nBACKGROUND PHOTOGRAPHS (attached): each PANEL states which\nattached photograph is its REAL location background. Draw\nthat panel's environment faithfully FROM its stated\nphotograph — the same room, fixed features and spatial\nlayout, translated into monochrome pencil storyboard\nlinework — then stage the figures per the panel's shot text\nand movement. All photographs are the SAME single interior.\n\nPANELS (one shot per panel, Korean shot text):\n\nPANEL 1: 거울 속 반사된 욕실 타일 벽면에 붉은색 원형 표식이 절반쯤 나타난 상태\n  MOVEMENT (follow exactly): A red circular mark suddenly develops across the bathroom tile wall seen in the mirror, extending around a ring-like path until roughly half is visible.\n  FIGURES — apparent size & depth order (follow exactly): The mirror and reflected tiled wall fill most of the frame, while the half-formed red circle occupies about 1/2 of the reflected frame height. The mirror surface is physically NEARER to the camera, while the marked bathroom wall appears FARTHER within the reflection.\n  BACKGROUND: attached photograph #6.\nPANEL 2: 액자 속 민숙의 얼굴 부분 이미지가 아래로 일그러지며 흘러내리는 찰나\n  MOVEMENT (follow exactly): The image of Min-sook's smiling face inside the framed photograph distorts and flows downward before Su-ri-young's eyes.\n  FIGURES — apparent size & depth order (follow exactly): The framed photograph fills most of the close frame, and Min-sook's pictured face occupies roughly 1/2 of its height. The photograph's glass and frame are NEARER to the camera, while the collapsing facial image is visually FARTHER beneath the surface.\n  BACKGROUND: attached photograph #1.\nPANEL 3: 수리영이 두 손으로 머리를 감싸 쥐고 입을 크게 벌린 얼굴\n  MOVEMENT (follow exactly): static: terrified and overwhelmed, Su-ri-young clamps both hands around her head and holds her mouth wide open in a scream, her posture rigid with panic.\n  FIGURES — apparent size & depth order (follow exactly): Su-ri-young's face and hands fill about 3/4 of the frame height and form the NEAREST subject. Her hands sit slightly NEARER than her face on either side, while the room behind her is FARTHER and secondary.\n  BACKGROUND: attached photograph #1.\nPANEL 4: 해질 무렵 옥탑방 거실, 흙 묻은 발자국들이 찍힌 바닥과 쓰러진 식탁 의자들이 보이는 전경\n  MOVEMENT (follow exactly): static: muddy footprints remain across the ransacked living-room floor among overturned dining chairs, indicating a prior path through the room but no current movement.\n  FIGURES — apparent size & depth order (follow exactly): The footprint-marked floor fills the lower half of the wide frame, with the NEAREST prints and fallen chair parts in the foreground appearing larger. Additional prints, the dining area, and the open living-room window recede FARTHER into the room.\n  BACKGROUND: attached photograph #2.\nPANEL 5: 붉은 원 한가운데 피 묻은 낡은 흑백 사진이 벽에 꽂혀 있는 타이트 샷\n  MOVEMENT (follow exactly): static: a bloodstained old photograph remains pinned at the center of the red circle on Su-ri-young's bedroom wall, facing outward toward the camera.\n  FIGURES — apparent size & depth order (follow exactly): The photograph fills roughly 1/3 of the tight frame height, while the surrounding red circle occupies most of the frame. The photograph projects NEARER from the wall, and the red mark lies FARTHER against the flat wall surface behind it.\n  BACKGROUND: attached photograph #3.\nPANEL 6: 수리영의 손이 구겨진 사진을 꽉 움켜쥔 타이트 샷\n  MOVEMENT (follow exactly): static: Su-ri-young's tense hand crushes the crumpled photograph in a tight grip as she holds it close.\n  FIGURES — apparent size & depth order (follow exactly): Su-ri-young's hand fills roughly 2/3 of the tight frame, and the exposed portion of the photograph fills about 1/3. Her knuckles are NEARER to the camera, while the photograph is partly FARTHER inside her closed fingers.\n  BACKGROUND: attached photograph #3.\nPANEL 7: 혜수가 미간을 깊게 찌푸린 채 스마트폰을 내려다보는 얼굴 클로즈업\n  MOVEMENT (follow exactly): static: Hye-su lowers her gaze toward the smartphone and listens to Su-ri-young's recorded message with her brow deeply furrowed.\n  FIGURES — apparent size & depth order (follow exactly): Hye-su's face fills about 2/3 of the close-up frame, while the smartphone occupies a smaller area below her face. The phone is NEARER to the camera, Hye-su's face is slightly FARTHER, and the room behind her is farthest.\n  BACKGROUND: attached photograph #2.\n\nThere are 7 shots but 8 panel slots: draw the shots in\npanels 1..7 and leave the remaining panel(s) COMPLETELY\nBLANK PURE WHITE — empty white paper, not even a frame line inside.\n\nABSOLUTELY NO TEXT anywhere: no words, letters, captions, labels,\nsound effects or watermarks — the ONLY allowed marking is a small\nshot number digit (1, 2, 3, 4, 5, 6, 7) in a corner INSIDE each drawn panel.\nTHE PANEL GRID FILLS THE ENTIRE IMAGE EDGE-TO-EDGE: no outer paper\nmargin, no border area, nothing drawn outside the panels — the\nimage must be mechanically cuttable along the stated cut lines.\nPanels are separated only by thin straight black gutter lines at\nthe exact stated positions; ALL PANELS EXACTLY THE SAME SIZE."}
{"ts": "2026-07-12 21:46:45", "kind": "img", "engine": "gpt-image-2", "mode": "edit", "tag": "s37_int_sketch_0", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/plate_living_dining_day_root.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/plate_living_dining_sunset_floor_view.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/plate_daughter_bedroom_sunset_bed_wall.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/plate_daughter_bedroom_night_doorway_wide.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/plate_entry_night_inward_view.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/plate_bathroom_day_mirror_tile_view.png"], "size": "1536x1024", "attempt": 1, "dur_s": 138.7, "bytes": 3542029, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/sketch_int_0.png", "prompt": "Draw ONE storyboard (conti) sheet: 8 panels made by THREE vertical cuts at exactly 25%, 50% and 75% of the width and ONE horizontal cut at exactly 50% of the height — a 4-column x 2-row grid, all eight panels exactly equal.\nSTYLE: hand-drawn PRE-PRODUCTION STORYBOARD FOR A LIVE-ACTION FILM\nSHOOT — the working drawings a professional film storyboard artist\nmakes for the director and cinematographer of a real movie:\nREALISTIC adult human proportions and faces (ordinary Korean\nadults, film-actor realism), true cinematic lens framing, and\nnaturalistic light-and-shadow blocking rendered in monochrome\ngraphite pencil tone on white paper.\nABSOLUTELY NOT manga, NOT anime, NOT cartoon, NOT webtoon, NOT\ncomic-book style: no stylized or enlarged eyes, no cute or\nyouthful idealized faces, no clean ink outlines — every panel\nmust read like a frame of a live-action film sketched in pencil.\nNo color anywhere.\n\nTHE LOCATION (same interior in all panels): the place shown in the attached photographs.\n\nPURPOSE: each panel captures only the CAMERA COMPOSITION of one\nshot — framing (close-up / medium / wide), where the subject sits in\nthe frame, and continuity between panels. Keep every panel\nextremely simple: only what matters for composition.\nMOVEMENT IS SHOWN BY THE FIGURE ITSELF, NEVER BY MARKINGS: convey\ndirection of travel purely through the body — stride mid-motion,\nbody lean into the path, back view vs front view, and the stated\nsize/depth cues. Do NOT draw arrows, motion lines, path lines,\nspeed lines or any diagram markings of any kind.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Draw what a real movie camera would actually record\non a physical set — exaggerated or figurative impressions become\nrealistic staging choices (lighting, distance, angle, wardrobe),\nnot literal fantasy drawings.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still draw them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nGEOMETRY — ANALYSE BEFORE DRAWING: from each panel's Korean shot\ntext, first work out the spatial facts and draw EXACTLY those, never\nre-stage them: (a) each figure's DISTANCE from camera (tight insert /\nclose-up / medium / full / wide — a shot about a hand or an object\nis a tight insert, not a two-shot); (b) each figure's FACING and\nMOVEMENT DIRECTION relative to camera — '뒷모습' means seen from\nBEHIND, moving AWAY from camera into the depth of the frame, not\nsideways; a profile means lateral movement; (c) relative positions\nand distances BETWEEN figures. Keep every established screen\ndirection consistent across panels (180-degree rule): a person who\nleaves in one panel keeps the same on-screen direction wherever the\nmovement appears again.\nSIZE & DEPTH ARE CONTRACTUAL: each panel states every figure's\napparent size in the frame and the explicit near/far depth order.\nDraw exactly those proportions — a farther figure MUST be drawn\nclearly smaller than a nearer one; never equalize figure sizes,\nespecially when several figures share a panel or their paths\nrelate to each other.\nDEPARTING FIGURE — a figure running/walking AWAY must be\nunmistakably departing, never approaching: seen exactly from behind\n(back of the head only, no face, no chin, no cheek line), body\nleaning into the path, mid-stride with one shoe sole toward the\ncamera. THE STATED SIZE/DEPTH WINS: draw the departing figure at\nexactly the apparent size and depth the panel's FIGURES line states\n(if stated FARTHER/small, it stays small in the distance — never\nenlarge it into the foreground for drama).\n\nCONTINUITY: all drawn panels are the SAME single location — fixed\nfeatures (doors, stairs, windows, poles, desks) keep the same\nposition and left/right relationships across panels so the panels\ncut together as one continuous scene.\n\nPANELS ARE CHRONOLOGICAL — CONTINUE THE ACTION: compose every\npanel as the direct continuation of the panel before it. Before\ndrawing a panel, read the previous panel's END STATE — where each\nperson is, their pose and facing, what they hold, and the state of\nthe room — and start this panel's action FROM that state,\nadvancing only what this panel's shot text says. Consecutive\npanels must cut together as one continuous scene.\nIMMOBILE CHARACTERS NEVER MOVE: a character who is dead,\nunconscious or otherwise unable to move must appear in every later\npanel EXACTLY as they were in the previous panel where they\nappeared — the same collapsed pose, same spot, same clothing and\nstate, unmoved and unposed. Never re-pose, revive, tidy, seat\nupright or relocate an immobile character between panels; only the\ncamera changes around them.\n\nBACKGROUND PHOTOGRAPHS (attached): each PANEL states which\nattached photograph is its REAL location background. Draw\nthat panel's environment faithfully FROM its stated\nphotograph — the same room, fixed features and spatial\nlayout, translated into monochrome pencil storyboard\nlinework — then stage the figures per the panel's shot text\nand movement. All photographs are the SAME single interior.\n\nPANELS (one shot per panel, Korean shot text):\n\nPANEL 1: 다급하게 상체를 기울이며 손가락 끝으로 TV 전원 버튼을 세게 누르고 있는 민숙의 측면 구도\n  MOVEMENT (follow exactly): Min-sook urgently pitches her upper body forward toward the TV and forcefully drives a fingertip into its power button to turn it off as Su-ri-young emerges from her room.\n  FIGURES — apparent size & depth order (follow exactly): Min-sook's side-view upper body fills roughly 2/3 of the frame height, with her reaching hand and the TV button NEARER to the camera than her face and torso. The TV is FARTHER along her forward reach, and her body closes the short distance toward it.\n  BACKGROUND: attached photograph #1.\nPANEL 2: 민숙의 손목에 선명하게 드러난 작은 원형 표식의 타이트 샷\n  MOVEMENT (follow exactly): static: Min-sook's wrist is held in view, with the sharply visible small circular mark facing the camera.\n  FIGURES — apparent size & depth order (follow exactly): The wrist fills most of the tight frame, while the circular mark occupies a small area at its center. The skin and mark are the NEAREST and only principal subject, with any body or room detail FARTHER and out of focus.\n  BACKGROUND: attached photograph #1.\nPANEL 3: 옷과 피부가 피투성이가 된 민숙이 바닥에 주저앉아 고개를 푹 숙인 정지 상태\n  MOVEMENT (follow exactly): static: lifeless Min-sook is collapsed against the floor in an asymmetric seated slump, her head dropped deeply forward, shoulders fallen, limbs limp, and body weight fully given way.\n  FIGURES — apparent size & depth order (follow exactly): Min-sook's blood-covered body fills about 2/3 of the frame height and is the NEAREST principal figure. The floor directly beneath her is nearer than the surrounding bedroom and curtain area, which recede FARTHER behind her.\n  BACKGROUND: attached photograph #4.\nPANEL 4: 민숙의 손에 꽉 쥐어진 구겨진 사진의 타이트 샷\n  MOVEMENT (follow exactly): static: lifeless Min-sook's limp hand remains curled tightly around a crumpled photograph, with the photograph exposed toward the camera.\n  FIGURES — apparent size & depth order (follow exactly): The dead woman's hand fills roughly 2/3 of the tight frame, and the crumpled photograph fills about 1/3. The photograph is NEARER where it protrudes from her grasp, while her palm, wrist, and collapsed body lie progressively FARTHER behind it.\n  BACKGROUND: attached photograph #4.\nPANEL 5: 침대 위쪽 벽면에 붉은색 원형 표식이 절반쯤 나타난 상태\n  MOVEMENT (follow exactly): A red circular mark spreads around the wall above the bed, progressing along a ring-like path as though an unseen brush is drawing it, with about half the circle formed.\n  FIGURES — apparent size & depth order (follow exactly): The half-formed red circle fills roughly 1/2 of the frame height on the wall and is the principal visible object. The wall surface and mark are FARTHER than the nearer edge of the bed, with the red pigment visually sitting closest on that wall plane.\n  BACKGROUND: attached photograph #4.\nPANEL 6: 핏자국 없이 깨끗한 방 내부 전경\n  MOVEMENT (follow exactly): static: the excessively tidy bedroom stands empty, with no bloodstains, red wall mark, or collapsed body remaining anywhere in the room.\n  FIGURES — apparent size & depth order (follow exactly): The empty room fills the full frame; nearer floor and furniture edges occupy the foreground, while the bed, curtain, and clean back wall are FARTHER away. No person is visible, and the formerly occupied curtain area is now empty.\n  BACKGROUND: attached photograph #4.\nPANEL 7: 수리영이 멍한 눈으로 텅 빈 방 안을 응시하는 얼굴 클로즈업\n  MOVEMENT (follow exactly): static: pale-faced Su-ri-young holds her body rigid and stares blankly into the empty bedroom where she expected to find her mother's body.\n  FIGURES — apparent size & depth order (follow exactly): Su-ri-young's face fills about 2/3 of the frame height and is the NEAREST figure. The empty room she watches is FARTHER beyond her eyeline, with no other person visible.\n  BACKGROUND: attached photograph #4.\nPANEL 8: 혜수가 날카로운 눈빛으로 김형사를 노려보는 모습\n  MOVEMENT (follow exactly): static: Hye-su fixes a sharp, hostile stare toward Detective Kim, her face and body oriented directly at him.\n  FIGURES — apparent size & depth order (follow exactly): Hye-su fills roughly 2/3 of the frame height and is the NEAREST visible figure. Detective Kim is the FARTHER target of her gaze, whether at the edge of the frame or just off-screen, with no crossing movement between them.\n  BACKGROUND: attached photograph #5.\n\nABSOLUTELY NO TEXT anywhere: no words, letters, captions, labels,\nsound effects or watermarks — the ONLY allowed marking is a small\nshot number digit (1, 2, 3, 4, 5, 6, 7, 8) in a corner INSIDE each drawn panel.\nTHE PANEL GRID FILLS THE ENTIRE IMAGE EDGE-TO-EDGE: no outer paper\nmargin, no border area, nothing drawn outside the panels — the\nimage must be mechanically cuttable along the stated cut lines.\nPanels are separated only by thin straight black gutter lines at\nthe exact stated positions; ALL PANELS EXACTLY THE SAME SIZE."}
{"ts": "2026-07-12 21:49:06", "kind": "img", "engine": "gpt-image-2", "mode": "edit", "tag": "s37_int_sketch_1", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/plate_living_dining_day_root.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/plate_living_dining_sunset_floor_view.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/plate_daughter_bedroom_sunset_bed_wall.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/plate_daughter_bedroom_night_doorway_wide.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/plate_entry_night_inward_view.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/plate_bathroom_day_mirror_tile_view.png"], "size": "1536x1024", "attempt": 1, "dur_s": 141.2, "bytes": 3071109, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/sketch_int_1.png", "prompt": "Draw ONE storyboard (conti) sheet: 8 panels made by THREE vertical cuts at exactly 25%, 50% and 75% of the width and ONE horizontal cut at exactly 50% of the height — a 4-column x 2-row grid, all eight panels exactly equal.\nSTYLE: hand-drawn PRE-PRODUCTION STORYBOARD FOR A LIVE-ACTION FILM\nSHOOT — the working drawings a professional film storyboard artist\nmakes for the director and cinematographer of a real movie:\nREALISTIC adult human proportions and faces (ordinary Korean\nadults, film-actor realism), true cinematic lens framing, and\nnaturalistic light-and-shadow blocking rendered in monochrome\ngraphite pencil tone on white paper.\nABSOLUTELY NOT manga, NOT anime, NOT cartoon, NOT webtoon, NOT\ncomic-book style: no stylized or enlarged eyes, no cute or\nyouthful idealized faces, no clean ink outlines — every panel\nmust read like a frame of a live-action film sketched in pencil.\nNo color anywhere.\n\nTHE LOCATION (same interior in all panels): the place shown in the attached photographs.\n\nPURPOSE: each panel captures only the CAMERA COMPOSITION of one\nshot — framing (close-up / medium / wide), where the subject sits in\nthe frame, and continuity between panels. Keep every panel\nextremely simple: only what matters for composition.\nMOVEMENT IS SHOWN BY THE FIGURE ITSELF, NEVER BY MARKINGS: convey\ndirection of travel purely through the body — stride mid-motion,\nbody lean into the path, back view vs front view, and the stated\nsize/depth cues. Do NOT draw arrows, motion lines, path lines,\nspeed lines or any diagram markings of any kind.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Draw what a real movie camera would actually record\non a physical set — exaggerated or figurative impressions become\nrealistic staging choices (lighting, distance, angle, wardrobe),\nnot literal fantasy drawings.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still draw them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nGEOMETRY — ANALYSE BEFORE DRAWING: from each panel's Korean shot\ntext, first work out the spatial facts and draw EXACTLY those, never\nre-stage them: (a) each figure's DISTANCE from camera (tight insert /\nclose-up / medium / full / wide — a shot about a hand or an object\nis a tight insert, not a two-shot); (b) each figure's FACING and\nMOVEMENT DIRECTION relative to camera — '뒷모습' means seen from\nBEHIND, moving AWAY from camera into the depth of the frame, not\nsideways; a profile means lateral movement; (c) relative positions\nand distances BETWEEN figures. Keep every established screen\ndirection consistent across panels (180-degree rule): a person who\nleaves in one panel keeps the same on-screen direction wherever the\nmovement appears again.\nSIZE & DEPTH ARE CONTRACTUAL: each panel states every figure's\napparent size in the frame and the explicit near/far depth order.\nDraw exactly those proportions — a farther figure MUST be drawn\nclearly smaller than a nearer one; never equalize figure sizes,\nespecially when several figures share a panel or their paths\nrelate to each other.\nDEPARTING FIGURE — a figure running/walking AWAY must be\nunmistakably departing, never approaching: seen exactly from behind\n(back of the head only, no face, no chin, no cheek line), body\nleaning into the path, mid-stride with one shoe sole toward the\ncamera. THE STATED SIZE/DEPTH WINS: draw the departing figure at\nexactly the apparent size and depth the panel's FIGURES line states\n(if stated FARTHER/small, it stays small in the distance — never\nenlarge it into the foreground for drama).\n\nCONTINUITY: all drawn panels are the SAME single location — fixed\nfeatures (doors, stairs, windows, poles, desks) keep the same\nposition and left/right relationships across panels so the panels\ncut together as one continuous scene.\n\nPANELS ARE CHRONOLOGICAL — CONTINUE THE ACTION: compose every\npanel as the direct continuation of the panel before it. Before\ndrawing a panel, read the previous panel's END STATE — where each\nperson is, their pose and facing, what they hold, and the state of\nthe room — and start this panel's action FROM that state,\nadvancing only what this panel's shot text says. Consecutive\npanels must cut together as one continuous scene.\nIMMOBILE CHARACTERS NEVER MOVE: a character who is dead,\nunconscious or otherwise unable to move must appear in every later\npanel EXACTLY as they were in the previous panel where they\nappeared — the same collapsed pose, same spot, same clothing and\nstate, unmoved and unposed. Never re-pose, revive, tidy, seat\nupright or relocate an immobile character between panels; only the\ncamera changes around them.\n\nBACKGROUND PHOTOGRAPHS (attached): each PANEL states which\nattached photograph is its REAL location background. Draw\nthat panel's environment faithfully FROM its stated\nphotograph — the same room, fixed features and spatial\nlayout, translated into monochrome pencil storyboard\nlinework — then stage the figures per the panel's shot text\nand movement. All photographs are the SAME single interior.\n\nPANELS (one shot per panel, Korean shot text):\n\nPANEL 1: 거울 속 반사된 욕실 타일 벽면에 붉은색 원형 표식이 절반쯤 나타난 상태\n  MOVEMENT (follow exactly): A red circular mark suddenly develops across the bathroom tile wall seen in the mirror, extending around a ring-like path until roughly half is visible.\n  FIGURES — apparent size & depth order (follow exactly): The mirror and reflected tiled wall fill most of the frame, while the half-formed red circle occupies about 1/2 of the reflected frame height. The mirror surface is physically NEARER to the camera, while the marked bathroom wall appears FARTHER within the reflection.\n  BACKGROUND: attached photograph #6.\nPANEL 2: 액자 속 민숙의 얼굴 부분 이미지가 아래로 일그러지며 흘러내리는 찰나\n  MOVEMENT (follow exactly): The image of Min-sook's smiling face inside the framed photograph distorts and flows downward before Su-ri-young's eyes.\n  FIGURES — apparent size & depth order (follow exactly): The framed photograph fills most of the close frame, and Min-sook's pictured face occupies roughly 1/2 of its height. The photograph's glass and frame are NEARER to the camera, while the collapsing facial image is visually FARTHER beneath the surface.\n  BACKGROUND: attached photograph #1.\nPANEL 3: 수리영이 두 손으로 머리를 감싸 쥐고 입을 크게 벌린 얼굴\n  MOVEMENT (follow exactly): static: terrified and overwhelmed, Su-ri-young clamps both hands around her head and holds her mouth wide open in a scream, her posture rigid with panic.\n  FIGURES — apparent size & depth order (follow exactly): Su-ri-young's face and hands fill about 3/4 of the frame height and form the NEAREST subject. Her hands sit slightly NEARER than her face on either side, while the room behind her is FARTHER and secondary.\n  BACKGROUND: attached photograph #1.\nPANEL 4: 해질 무렵 옥탑방 거실, 흙 묻은 발자국들이 찍힌 바닥과 쓰러진 식탁 의자들이 보이는 전경\n  MOVEMENT (follow exactly): static: muddy footprints remain across the ransacked living-room floor among overturned dining chairs, indicating a prior path through the room but no current movement.\n  FIGURES — apparent size & depth order (follow exactly): The footprint-marked floor fills the lower half of the wide frame, with the NEAREST prints and fallen chair parts in the foreground appearing larger. Additional prints, the dining area, and the open living-room window recede FARTHER into the room.\n  BACKGROUND: attached photograph #2.\nPANEL 5: 붉은 원 한가운데 피 묻은 낡은 흑백 사진이 벽에 꽂혀 있는 타이트 샷\n  MOVEMENT (follow exactly): static: a bloodstained old photograph remains pinned at the center of the red circle on Su-ri-young's bedroom wall, facing outward toward the camera.\n  FIGURES — apparent size & depth order (follow exactly): The photograph fills roughly 1/3 of the tight frame height, while the surrounding red circle occupies most of the frame. The photograph projects NEARER from the wall, and the red mark lies FARTHER against the flat wall surface behind it.\n  BACKGROUND: attached photograph #3.\nPANEL 6: 수리영의 손이 구겨진 사진을 꽉 움켜쥔 타이트 샷\n  MOVEMENT (follow exactly): static: Su-ri-young's tense hand crushes the crumpled photograph in a tight grip as she holds it close.\n  FIGURES — apparent size & depth order (follow exactly): Su-ri-young's hand fills roughly 2/3 of the tight frame, and the exposed portion of the photograph fills about 1/3. Her knuckles are NEARER to the camera, while the photograph is partly FARTHER inside her closed fingers.\n  BACKGROUND: attached photograph #3.\nPANEL 7: 혜수가 미간을 깊게 찌푸린 채 스마트폰을 내려다보는 얼굴 클로즈업\n  MOVEMENT (follow exactly): static: Hye-su lowers her gaze toward the smartphone and listens to Su-ri-young's recorded message with her brow deeply furrowed.\n  FIGURES — apparent size & depth order (follow exactly): Hye-su's face fills about 2/3 of the close-up frame, while the smartphone occupies a smaller area below her face. The phone is NEARER to the camera, Hye-su's face is slightly FARTHER, and the room behind her is farthest.\n  BACKGROUND: attached photograph #2.\n\nThere are 7 shots but 8 panel slots: draw the shots in\npanels 1..7 and leave the remaining panel(s) COMPLETELY\nBLANK PURE WHITE — empty white paper, not even a frame line inside.\n\nABSOLUTELY NO TEXT anywhere: no words, letters, captions, labels,\nsound effects or watermarks — the ONLY allowed marking is a small\nshot number digit (1, 2, 3, 4, 5, 6, 7) in a corner INSIDE each drawn panel.\nTHE PANEL GRID FILLS THE ENTIRE IMAGE EDGE-TO-EDGE: no outer paper\nmargin, no border area, nothing drawn outside the panels — the\nimage must be mechanically cuttable along the stated cut lines.\nPanels are separated only by thin straight black gutter lines at\nthe exact stated positions; ALL PANELS EXACTLY THE SAME SIZE."}
{"ts": "2026-07-12 22:26:17", "kind": "llm", "step": "s37_int_cont", "model": "gpt", "dur_s": 69.8, "system_prompt": "당신은 콘티 연속성 편집자다. 같은 실내에서 찍는 샷 목록(시간순)\n과 씬 원문 전문을 읽고, 각 샷마다 '이어받는 상태(carried\nstate)' — 그 샷을 그릴 때 앞뒤 샷과 반드시 일치시켜야 하는\n지속 시각 상태 — 를 영어 1~2문장으로 저작하라.\n규칙:\n1) 대상 = 샷 사이에 지속되는 시각 상태: 움직일 수 없는 인물\n   (사망·의식불명)의 자세·위치와 그가 쥐거나 걸친 물건, 공간에\n   남는 상태물(표식·흔적·물건의 위치), 인물이 계속 지니는\n   소지물.\n2) ★양방향 전파: 어떤 샷에서 확정되는 상태가 물리적으로 그\n   이전부터 존재했어야 하면 — 예: 움직일 수 없는 인물이 쥐고\n   있는 물건은 나중에 잡을 수 없으므로 그 인물이 등장하는 이전\n   샷부터 이미 쥐고 있어야 한다 — 이전 샷들의 carried 에도\n   소급해 명시하라. 이후 샷에는 원문에 바뀔 근거가 나올 때까지\n   유지하라.\n3) 오직 씬 원문 근거로만. 원문에 없는 상태 발명 금지. 시간이\n   지나 상태가 정리·소거되는 씬 경계(원문 근거)에서는 전파를\n   끊어라.\n4) 그 샷에 이어받는 상태가 없으면 carried_en 은 빈 문자열.\n각 샷마다: shot(태그), carried_en, basis_ko(근거 한 구절).", "user_prompt": "실내 씬 원문 전문:\n\n[씬 5] S#5. 옥탑방 안 / 실내\nS#5. 옥탑방 안 / 실내\n거실에 난 작은 창으로 햇살에 가늘게 비친다.\n싱크대 수도꼭지에 흐르는 물, 씻다 만 약초(석창포).\n냄비의 물이 끓어 달그락거리는 소리… 김이 피어오르고.\n앞치마를 두른 채 TV 뉴스를 뚫어지게 바라보는\n민숙(수리영 엄마. 40세) 표정이 어둡다.\n(뉴스멘트는 작아졌다 커졌다 반복하면서 여기까지 이어진다)\n\n딸, 수리영(21. 애완동물미용학과 2년)이 방문을 열고 기지개를 켜며\n나오자 후다닥 TV를 끄는 민숙. 다정한 말투로\n\n수리영\n(심드렁) 뭐~야. 사건 났어? 뭔데.\n\n민숙\n아냐.\n\n수리영\n(식탁에 앉으며) 이모 또 야근하겠네. 조그만 도시에\n왠 사건이 이렇게 많아. 바다가 가까워서 그런가.\n\n민숙\n신경 꺼. (석창포 달인 물을 따라주면서) 마셔. 방학인데\n왜 더 자지않고.\n\n수리영\n(마시고 나서) 아, 진짜 맛 없어...(투정) 나 알바 있어, 엄마.\n원장님이 하루만 봐 달래.\n\n(cut to.)\n가벼운 차림새. 수리영 신발을 신으며\n\n수리영\n엄마는 오늘 안 나가?\n\n민숙\n이따가 1시 타임.\n\n수리영\n(엄마의 냄새를 맡으며) 아, 좋다. 끝나고 마트로 갈게. 모처럼\n밖에서 저녁먹자 엄마.\n\n민숙\n응 (미소)\n\n힐끗, 민숙 손목에 보이는 작은 원(이하 표식)을 본다.\n오늘따라 유난히 또렷해 보이지만 워낙 어릴 적부터 봐온 터라 개의치 않는.\n\n\n\n[씬 12] S#12. 옥탑방 안 / N\nS#12. 옥탑방 안 / N\n/거실\n‘엄마?’를 부르며 들어오는 수리영,\n끓다 식은 냄비. 켜져 있는 TV. 희미한 거실 스탠드 불빛,\n\n/민숙 방\n안방 문을 여는데... 없다.\n거실 식탁에 놓여있는 찻잔 두 개. 하나는 엎어져있다.\n\n/수리영 방\n마지막으로 자기 방문을 연다\n헉!- 여기저기 핏자국. 바닥에 흥건한 혈흔.\n피묻은 발자국은 커튼으로 이어져 있다\n호흡을 가두고 커튼을 젖히자\n앉은 채로 고개를 떨군 채 죽어있는 엄마- 민숙!!!!\n\n수리영\n(달려가) 어어어어----엄마\n\n충격에 온 몸이 얼어붙은 수리영,\n살점이 뜯긴 어깨와 쇄골, 마치 동물에게 물어뜯긴 듯한 거친 상처가 고스란히\n드러나있다. 덜렁거리는 살점과 뜯겨진 부위에 흘러내리는 피.\n\n수리영\n(놀라 뒤로 주춤) 어-어-어- 엄마….\n\n부들부들 떨며 핸드폰을 누른다. 2번 혜수이모\n\n수리영\n받아, 이모. 받아….\n\n혜수(E)\n영아, 영아, 왜?\n\n답은 안 나오고… 엄마 손안에 구겨진 사진 한 장이 보인다.\n다가가 사진을 꺼내는데 엄마 손목에 있던 문신이 붉은색으로 변한다.\n헉! 호흡이 빨라지고... 침대 위 벽에 붉은 원이 생겨난다\n(마치 누군가 붓으로 벽에 원으로 그리는 것처럼).\n소름끼치는 으아악---!\n\n\n\n[씬 14] S#14. 옥탑방 안 / N\nS#14. 옥탑방 안 / N\n/현관\n집안 여기저기를 확인하면서 나오는 형사와 혜수\n\n김형사\n(허탈한 표정) 없는데.. 아무 것도.\n\n혜수\n(뒤따라온 수리영에게) 영아, 없어. 뭘 봤는데...?\n\n어? 수리영, 부리나케 방 안으로 뛰어 들어간다.\n\n/수리영 방 안\n지나칠 정도로 깨끗하게 정돈된 방안. 핏자국도 보이지 않고,\n침대 위에 붉은 표식은 물론 커튼 뒤의 시신도 감쪽 같이 사라졌다.\n얼굴이 파리해지는 수리영. ‘어----?’ ‘분명히 봤는데...’\n\n뛰쳐나가 식탁으로 가본다. 식탁 역시 깨끗한.\n\n수리영\n여기 찻잔도 두 개 있었고...\n\n김형사\n(답답) 허 참! 죽은 사람이 발이 달렸을 리도 없고. 쯧쯧\n그러게 살인사건은 자세하게 보도하면 안 된다구요...(궁시렁)\n이봐요. 학생? 장난전화 하면 안 되는 거 몰라? (짜증)\n안 그래도 살인사건으로 난리도 아닌데...\n\n혜수\n(김형사 째리고) 김형사. 먼저 가 있어. (김형사 나가면)\n(수리영 어깨를 어루만지며) 영아.\n\n수리영\n엄마(시신), 어디갔을까? 분명히 봤는데...\n\n혜수\n네가 요즘 과로했잖아. 공부에다 알바까지...\n악몽을 꾼 걸 수도 있으니... 바람이나 쐬러 가자.\n수리영 방안에 놓여진 백팩, 인형. 약간씩 위치가 달라진.\n(시신을 발견했을 때와 다른)\n\n\n\n[씬 18] S#18. 안방 안 / D\nS#18. 안방 안 / D\n침대에 머리를 대고 앉아있는 수리영, 밤새 엄마를 기다리다 깜박 졸았다\n고양이 울음소리에 번쩍 눈을 뜨고, ‘엄마? ’혹시나 해서 집안을 살피지만\n아무런 인기척도 보이지 않는다\n\n/수리영 방안\n닫혀있는 자신의 방을 바라본다.\n[F.B: 1부12씬] 커튼 뒤에 죽어있던 엄마. 상처. 혈흔\n\n크게 심호흡하고 조심스럽게 문을 연다.\n지나치리만큼 깨끗하게 정돈된 방안.\n창문에 다가가 커튼을 확 열어젖힌다. 시신은 없다.\n\n한숨 후~ 다행이긴 한데.\n그때, 울리는 폰 벨소리, 화들짝 놀라는 수리영. 달려가 받자마자\n\n수리영\n엄마?\n\n혜수(E)\n아직이니?\n\n수리영\n응. 아무래도 이상해. 이럴 리가 없잖아! 우리 엄마가.\n이모, 사고 난 게 분명해\n\n혜수(E)\n실종신고 냈어. 이모가 엄마 폰 위치추적하고 있으니까\n조금만 기다려 별일 없을 거야. 알았지?\n\n수리영\n응.\n\n무작정 기다리는게 불안한 수리영,\n인형이 달린 자신의 백팩을 꺼내 나온다\n\n/욕실 안\n얼굴을 씻고 거울을 보며\n\n수리영\n엄마, 도대체 어딨는 거야...\n\n거울에 비친 욕실 벽에 갑자기 또 발생하는 붉은 원.\n호흡이 가빠지고... 훅 고개를 돌려 벽을 보는 수리영\n거짓말처럼 사라지고 없다.\n거실로 튀어나와 물 한컵 마시고 식탁에 놓인 엄마와 수리영의 사진을 보는데...\n환하게 웃는 엄마 얼굴이 뭉개져 흘러내린다\n\n수리영\n아아악~~~ (다시보니 멀쩡하다) 나 왜 이러는 거지.\n(자신의 뺨을 치며) 정신 차려 수리영!\n\n\n\n[씬 25] S#25. 옥탑방 안 / 해질 무렵\nS#25. 옥탑방 안 / 해질 무렵\n누군가 다녀간 흔적으로 보이는 발자국들.\n다시 호흡이 가빠지는 수리영.\n집안에서 뭔가를 찾기 위해 가재도구를 온통 헤집은 것으로 보인다.\n거실에 난 창은 열려있고, 식탁 의자들을 쓰러져있다.\n\n/수리영 방\n열린 자신의 방을 힐끗 보는데\n벽에 또 붉은 원이 그려져있다. 그 가운데 꽂혀있는 피묻은 사진 한 장!\n사진을 떼어서 자세히 본다.\n어? 그 사진!!!\n\n[F.B: 1부 12씬] 죽은 엄마의 손에 구겨져있던 바로 그 사진이다.\n7-80년대 쯤 보이는 시골 식당과 지붕위에 둥근 원이 설치된 (마치 십자가처럼)\n식당 앞에는 어린 여자애 둘(12살)이 앉아있다. 그중에 한 아이는 분명히\n어릴 적 엄마다.\n\n침대에 털썩 주저앉는 수리영. 연속해서 벌어지는 기이한 상황에 정신이 혼미한\n엉망이 된 집 안을 한번 획 둘러보는 수리영,\n마치 이끌리듯 백팩을 메고 밖으로 나간다. 사진을 손에 꼭 쥔 채.\n\n\n\n[씬 27] S#27. 옥탑방 안 / 해질 무렵\nS#27. 옥탑방 안 / 해질 무렵\n수리영의 녹음메시지를 확인하는 혜수,\n\n\n\n샷 목록(시간순 — 각각 carried state 판정):\nS5sh5: 다급하게 상체를 기울이며 손가락 끝으로 TV 전원 버튼을 세게 누르고 있는 민숙의 측면 구도\nS5sh9: 민숙의 손목에 선명하게 드러난 작은 원형 표식의 타이트 샷\nS12sh11: 옷과 피부가 피투성이가 된 민숙이 바닥에 주저앉아 고개를 푹 숙인 정지 상태\nS12sh18: 민숙의 손에 꽉 쥐어진 구겨진 사진의 타이트 샷\nS12sh21: 침대 위쪽 벽면에 붉은색 원형 표식이 절반쯤 나타난 상태\nS14sh5: 핏자국 없이 깨끗한 방 내부 전경\nS14sh7: 수리영이 멍한 눈으로 텅 빈 방 안을 응시하는 얼굴 클로즈업\nS14sh11: 혜수가 날카로운 눈빛으로 김형사를 노려보는 모습\nS18sh11: 거울 속 반사된 욕실 타일 벽면에 붉은색 원형 표식이 절반쯤 나타난 상태\nS18sh15: 액자 속 민숙의 얼굴 부분 이미지가 아래로 일그러지며 흘러내리는 찰나\nS18sh16: 수리영이 두 손으로 머리를 감싸 쥐고 입을 크게 벌린 얼굴\nS25sh1: 해질 무렵 옥탑방 거실, 흙 묻은 발자국들이 찍힌 바닥과 쓰러진 식탁 의자들이 보이는 전경\nS25sh5: 붉은 원 한가운데 피 묻은 낡은 흑백 사진이 벽에 꽂혀 있는 타이트 샷\nS25sh9: 수리영의 손이 구겨진 사진을 꽉 움켜쥔 타이트 샷\nS27sh3: 혜수가 미간을 깊게 찌푸린 채 스마트폰을 내려다보는 얼굴 클로즈업"}
{"ts": "2026-07-12 22:28:42", "kind": "img", "engine": "gpt-image-2", "mode": "edit", "tag": "s37_int_sketch_0", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/plate_living_dining_day_root.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/plate_living_dining_sunset_floor_view.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/plate_daughter_bedroom_sunset_bed_wall.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/plate_daughter_bedroom_night_doorway_wide.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/plate_entry_night_inward_view.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/plate_bathroom_day_mirror_tile_view.png"], "size": "1536x1024", "attempt": 1, "dur_s": 140.9, "bytes": 3447060, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/sketch_int_0.png", "prompt": "Draw ONE storyboard (conti) sheet: 8 panels made by THREE vertical cuts at exactly 25%, 50% and 75% of the width and ONE horizontal cut at exactly 50% of the height — a 4-column x 2-row grid, all eight panels exactly equal.\nSTYLE: hand-drawn PRE-PRODUCTION STORYBOARD FOR A LIVE-ACTION FILM\nSHOOT — the working drawings a professional film storyboard artist\nmakes for the director and cinematographer of a real movie:\nREALISTIC adult human proportions and faces (ordinary Korean\nadults, film-actor realism), true cinematic lens framing, and\nnaturalistic light-and-shadow blocking rendered in monochrome\ngraphite pencil tone on white paper.\nABSOLUTELY NOT manga, NOT anime, NOT cartoon, NOT webtoon, NOT\ncomic-book style: no stylized or enlarged eyes, no cute or\nyouthful idealized faces, no clean ink outlines — every panel\nmust read like a frame of a live-action film sketched in pencil.\nNo color anywhere.\n\nTHE LOCATION (same interior in all panels): the place shown in the attached photographs.\n\nPURPOSE: each panel captures only the CAMERA COMPOSITION of one\nshot — framing (close-up / medium / wide), where the subject sits in\nthe frame, and continuity between panels. Keep every panel\nextremely simple: only what matters for composition.\nMOVEMENT IS SHOWN BY THE FIGURE ITSELF, NEVER BY MARKINGS: convey\ndirection of travel purely through the body — stride mid-motion,\nbody lean into the path, back view vs front view, and the stated\nsize/depth cues. Do NOT draw arrows, motion lines, path lines,\nspeed lines or any diagram markings of any kind.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Draw what a real movie camera would actually record\non a physical set — exaggerated or figurative impressions become\nrealistic staging choices (lighting, distance, angle, wardrobe),\nnot literal fantasy drawings.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still draw them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nGEOMETRY — ANALYSE BEFORE DRAWING: from each panel's Korean shot\ntext, first work out the spatial facts and draw EXACTLY those, never\nre-stage them: (a) each figure's DISTANCE from camera (tight insert /\nclose-up / medium / full / wide — a shot about a hand or an object\nis a tight insert, not a two-shot); (b) each figure's FACING and\nMOVEMENT DIRECTION relative to camera — '뒷모습' means seen from\nBEHIND, moving AWAY from camera into the depth of the frame, not\nsideways; a profile means lateral movement; (c) relative positions\nand distances BETWEEN figures. Keep every established screen\ndirection consistent across panels (180-degree rule): a person who\nleaves in one panel keeps the same on-screen direction wherever the\nmovement appears again.\nSIZE & DEPTH ARE CONTRACTUAL: each panel states every figure's\napparent size in the frame and the explicit near/far depth order.\nDraw exactly those proportions — a farther figure MUST be drawn\nclearly smaller than a nearer one; never equalize figure sizes,\nespecially when several figures share a panel or their paths\nrelate to each other.\nDEPARTING FIGURE — a figure running/walking AWAY must be\nunmistakably departing, never approaching: seen exactly from behind\n(back of the head only, no face, no chin, no cheek line), body\nleaning into the path, mid-stride with one shoe sole toward the\ncamera. THE STATED SIZE/DEPTH WINS: draw the departing figure at\nexactly the apparent size and depth the panel's FIGURES line states\n(if stated FARTHER/small, it stays small in the distance — never\nenlarge it into the foreground for drama).\n\nCONTINUITY: all drawn panels are the SAME single location — fixed\nfeatures (doors, stairs, windows, poles, desks) keep the same\nposition and left/right relationships across panels so the panels\ncut together as one continuous scene.\n\nPANELS ARE CHRONOLOGICAL — CONTINUE THE ACTION: compose every\npanel as the direct continuation of the panel before it. Before\ndrawing a panel, read the previous panel's END STATE — where each\nperson is, their pose and facing, what they hold, and the state of\nthe room — and start this panel's action FROM that state,\nadvancing only what this panel's shot text says. Consecutive\npanels must cut together as one continuous scene.\nIMMOBILE CHARACTERS NEVER MOVE: a character who is dead,\nunconscious or otherwise unable to move must appear in every later\npanel EXACTLY as they were in the previous panel where they\nappeared — the same collapsed pose, same spot, same clothing and\nstate, unmoved and unposed. Never re-pose, revive, tidy, seat\nupright or relocate an immobile character between panels; only the\ncamera changes around them.\n\nBACKGROUND PHOTOGRAPHS (attached): each PANEL states which\nattached photograph is its REAL location background. Draw\nthat panel's environment faithfully FROM its stated\nphotograph — the same room, fixed features and spatial\nlayout, translated into monochrome pencil storyboard\nlinework — then stage the figures per the panel's shot text\nand movement. All photographs are the SAME single interior.\n\nPANELS (one shot per panel, Korean shot text):\n\nPANEL 1: 다급하게 상체를 기울이며 손가락 끝으로 TV 전원 버튼을 세게 누르고 있는 민숙의 측면 구도\n  MOVEMENT (follow exactly): Min-sook urgently pitches her upper body forward toward the TV and forcefully drives a fingertip into its power button to turn it off as Su-ri-young emerges from her room.\n  FIGURES — apparent size & depth order (follow exactly): Min-sook's side-view upper body fills roughly 2/3 of the frame height, with her reaching hand and the TV button NEARER to the camera than her face and torso. The TV is FARTHER along her forward reach, and her body closes the short distance toward it.\n  CARRIED STATE (persist exactly — must match the panels before and after): Minsuk remains in her apron, with the same small circular mark on her wrist; the mark must already be present here because she has had it since childhood.\n  BACKGROUND: attached photograph #1.\nPANEL 2: 민숙의 손목에 선명하게 드러난 작은 원형 표식의 타이트 샷\n  MOVEMENT (follow exactly): static: Min-sook's wrist is held in view, with the sharply visible small circular mark facing the camera.\n  FIGURES — apparent size & depth order (follow exactly): The wrist fills most of the tight frame, while the circular mark occupies a small area at its center. The skin and mark are the NEAREST and only principal subject, with any body or room detail FARTHER and out of focus.\n  CARRIED STATE (persist exactly — must match the panels before and after): The TV remains switched off, and Minsuk still wears the apron. The small, unusually distinct circular mark remains on her wrist.\n  BACKGROUND: attached photograph #1.\nPANEL 3: 옷과 피부가 피투성이가 된 민숙이 바닥에 주저앉아 고개를 푹 숙인 정지 상태\n  MOVEMENT (follow exactly): static: lifeless Min-sook is collapsed against the floor in an asymmetric seated slump, her head dropped deeply forward, shoulders fallen, limbs limp, and body weight fully given way.\n  FIGURES — apparent size & depth order (follow exactly): Min-sook's blood-covered body fills about 2/3 of the frame height and is the NEAREST principal figure. The floor directly beneath her is nearer than the surrounding bedroom and curtain area, which recede FARTHER behind her.\n  CARRIED STATE (persist exactly — must match the panels before and after): Minsuk remains dead behind the curtain, seated on the floor with her head bowed, her torn shoulder and collarbone exposed amid the blood and bloody footprints. The crumpled photograph is already clenched in her hand, and the small circular mark remains on her wrist.\n  BACKGROUND: attached photograph #4.\nPANEL 4: 민숙의 손에 꽉 쥐어진 구겨진 사진의 타이트 샷\n  MOVEMENT (follow exactly): static: lifeless Min-sook's limp hand remains curled tightly around a crumpled photograph, with the photograph exposed toward the camera.\n  FIGURES — apparent size & depth order (follow exactly): The dead woman's hand fills roughly 2/3 of the tight frame, and the crumpled photograph fills about 1/3. The photograph is NEARER where it protrudes from her grasp, while her palm, wrist, and collapsed body lie progressively FARTHER behind it.\n  CARRIED STATE (persist exactly — must match the panels before and after): Minsuk remains in the same seated, head-bowed position with the wounds and blood undisturbed. The crumpled photograph stays clenched in her hand until Suri-young pulls it free, as the circular wrist mark turns red.\n  BACKGROUND: attached photograph #4.\nPANEL 5: 침대 위쪽 벽면에 붉은색 원형 표식이 절반쯤 나타난 상태\n  MOVEMENT (follow exactly): A red circular mark spreads around the wall above the bed, progressing along a ring-like path as though an unseen brush is drawing it, with about half the circle formed.\n  FIGURES — apparent size & depth order (follow exactly): The half-formed red circle fills roughly 1/2 of the frame height on the wall and is the principal visible object. The wall surface and mark are FARTHER than the nearer edge of the bed, with the red pigment visually sitting closest on that wall plane.\n  CARRIED STATE (persist exactly — must match the panels before and after): Minsuk’s corpse, wounds, and the room’s blood traces remain unchanged; her hand is now without the photograph, which Suri-young has taken, and the wrist mark is red. A red circle is partially formed on the wall above the bed.\n  BACKGROUND: attached photograph #4.\nPANEL 6: 핏자국 없이 깨끗한 방 내부 전경\n  MOVEMENT (follow exactly): static: the excessively tidy bedroom stands empty, with no bloodstains, red wall mark, or collapsed body remaining anywhere in the room.\n  FIGURES — apparent size & depth order (follow exactly): The empty room fills the full frame; nearer floor and furniture edges occupy the foreground, while the bed, curtain, and clean back wall are FARTHER away. No person is visible, and the formerly occupied curtain area is now empty.\n  CARRIED STATE (persist exactly — must match the panels before and after): The room is unnaturally spotless, with no blood, wall circle, or corpse behind the curtain. The backpack and doll are present in positions slightly different from when the body was discovered.\n  BACKGROUND: attached photograph #4.\nPANEL 7: 수리영이 멍한 눈으로 텅 빈 방 안을 응시하는 얼굴 클로즈업\n  MOVEMENT (follow exactly): static: pale-faced Su-ri-young holds her body rigid and stares blankly into the empty bedroom where she expected to find her mother's body.\n  FIGURES — apparent size & depth order (follow exactly): Su-ri-young's face fills about 2/3 of the frame height and is the NEAREST figure. The empty room she watches is FARTHER beyond her eyeline, with no other person visible.\n  CARRIED STATE (persist exactly — must match the panels before and after): The empty room remains excessively clean, with the corpse, blood, and red wall mark still absent. The backpack and doll remain in their altered positions.\n  BACKGROUND: attached photograph #4.\nPANEL 8: 혜수가 날카로운 눈빛으로 김형사를 노려보는 모습\n  MOVEMENT (follow exactly): static: Hye-su fixes a sharp, hostile stare toward Detective Kim, her face and body oriented directly at him.\n  FIGURES — apparent size & depth order (follow exactly): Hye-su fills roughly 2/3 of the frame height and is the NEAREST visible figure. Detective Kim is the FARTHER target of her gaze, whether at the edge of the frame or just off-screen, with no crossing movement between them.\n  CARRIED STATE (persist exactly — must match the panels before and after): The apartment remains cleared of the earlier evidence: the table is clean, and Suri-young’s room has no corpse, blood, or red circle. The backpack and doll remain slightly displaced from their earlier positions.\n  BACKGROUND: attached photograph #5.\n\nABSOLUTELY NO TEXT anywhere: no words, letters, captions, labels,\nsound effects or watermarks — the ONLY allowed marking is a small\nshot number digit (1, 2, 3, 4, 5, 6, 7, 8) in a corner INSIDE each drawn panel.\nTHE PANEL GRID FILLS THE ENTIRE IMAGE EDGE-TO-EDGE: no outer paper\nmargin, no border area, nothing drawn outside the panels — the\nimage must be mechanically cuttable along the stated cut lines.\nPanels are separated only by thin straight black gutter lines at\nthe exact stated positions; ALL PANELS EXACTLY THE SAME SIZE."}
{"ts": "2026-07-12 22:30:57", "kind": "img", "engine": "gpt-image-2", "mode": "edit", "tag": "s37_int_sketch_1", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/plate_living_dining_day_root.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/plate_living_dining_sunset_floor_view.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/plate_daughter_bedroom_sunset_bed_wall.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/plate_daughter_bedroom_night_doorway_wide.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/plate_entry_night_inward_view.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/plate_bathroom_day_mirror_tile_view.png"], "size": "1536x1024", "attempt": 1, "dur_s": 134.9, "bytes": 3232043, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/sketch_int_1.png", "prompt": "Draw ONE storyboard (conti) sheet: 8 panels made by THREE vertical cuts at exactly 25%, 50% and 75% of the width and ONE horizontal cut at exactly 50% of the height — a 4-column x 2-row grid, all eight panels exactly equal.\nSTYLE: hand-drawn PRE-PRODUCTION STORYBOARD FOR A LIVE-ACTION FILM\nSHOOT — the working drawings a professional film storyboard artist\nmakes for the director and cinematographer of a real movie:\nREALISTIC adult human proportions and faces (ordinary Korean\nadults, film-actor realism), true cinematic lens framing, and\nnaturalistic light-and-shadow blocking rendered in monochrome\ngraphite pencil tone on white paper.\nABSOLUTELY NOT manga, NOT anime, NOT cartoon, NOT webtoon, NOT\ncomic-book style: no stylized or enlarged eyes, no cute or\nyouthful idealized faces, no clean ink outlines — every panel\nmust read like a frame of a live-action film sketched in pencil.\nNo color anywhere.\n\nTHE LOCATION (same interior in all panels): the place shown in the attached photographs.\n\nPURPOSE: each panel captures only the CAMERA COMPOSITION of one\nshot — framing (close-up / medium / wide), where the subject sits in\nthe frame, and continuity between panels. Keep every panel\nextremely simple: only what matters for composition.\nMOVEMENT IS SHOWN BY THE FIGURE ITSELF, NEVER BY MARKINGS: convey\ndirection of travel purely through the body — stride mid-motion,\nbody lean into the path, back view vs front view, and the stated\nsize/depth cues. Do NOT draw arrows, motion lines, path lines,\nspeed lines or any diagram markings of any kind.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Draw what a real movie camera would actually record\non a physical set — exaggerated or figurative impressions become\nrealistic staging choices (lighting, distance, angle, wardrobe),\nnot literal fantasy drawings.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still draw them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nGEOMETRY — ANALYSE BEFORE DRAWING: from each panel's Korean shot\ntext, first work out the spatial facts and draw EXACTLY those, never\nre-stage them: (a) each figure's DISTANCE from camera (tight insert /\nclose-up / medium / full / wide — a shot about a hand or an object\nis a tight insert, not a two-shot); (b) each figure's FACING and\nMOVEMENT DIRECTION relative to camera — '뒷모습' means seen from\nBEHIND, moving AWAY from camera into the depth of the frame, not\nsideways; a profile means lateral movement; (c) relative positions\nand distances BETWEEN figures. Keep every established screen\ndirection consistent across panels (180-degree rule): a person who\nleaves in one panel keeps the same on-screen direction wherever the\nmovement appears again.\nSIZE & DEPTH ARE CONTRACTUAL: each panel states every figure's\napparent size in the frame and the explicit near/far depth order.\nDraw exactly those proportions — a farther figure MUST be drawn\nclearly smaller than a nearer one; never equalize figure sizes,\nespecially when several figures share a panel or their paths\nrelate to each other.\nDEPARTING FIGURE — a figure running/walking AWAY must be\nunmistakably departing, never approaching: seen exactly from behind\n(back of the head only, no face, no chin, no cheek line), body\nleaning into the path, mid-stride with one shoe sole toward the\ncamera. THE STATED SIZE/DEPTH WINS: draw the departing figure at\nexactly the apparent size and depth the panel's FIGURES line states\n(if stated FARTHER/small, it stays small in the distance — never\nenlarge it into the foreground for drama).\n\nCONTINUITY: all drawn panels are the SAME single location — fixed\nfeatures (doors, stairs, windows, poles, desks) keep the same\nposition and left/right relationships across panels so the panels\ncut together as one continuous scene.\n\nPANELS ARE CHRONOLOGICAL — CONTINUE THE ACTION: compose every\npanel as the direct continuation of the panel before it. Before\ndrawing a panel, read the previous panel's END STATE — where each\nperson is, their pose and facing, what they hold, and the state of\nthe room — and start this panel's action FROM that state,\nadvancing only what this panel's shot text says. Consecutive\npanels must cut together as one continuous scene.\nIMMOBILE CHARACTERS NEVER MOVE: a character who is dead,\nunconscious or otherwise unable to move must appear in every later\npanel EXACTLY as they were in the previous panel where they\nappeared — the same collapsed pose, same spot, same clothing and\nstate, unmoved and unposed. Never re-pose, revive, tidy, seat\nupright or relocate an immobile character between panels; only the\ncamera changes around them.\n\nBACKGROUND PHOTOGRAPHS (attached): each PANEL states which\nattached photograph is its REAL location background. Draw\nthat panel's environment faithfully FROM its stated\nphotograph — the same room, fixed features and spatial\nlayout, translated into monochrome pencil storyboard\nlinework — then stage the figures per the panel's shot text\nand movement. All photographs are the SAME single interior.\n\nPANELS (one shot per panel, Korean shot text):\n\nPANEL 1: 거울 속 반사된 욕실 타일 벽면에 붉은색 원형 표식이 절반쯤 나타난 상태\n  MOVEMENT (follow exactly): A red circular mark suddenly develops across the bathroom tile wall seen in the mirror, extending around a ring-like path until roughly half is visible.\n  FIGURES — apparent size & depth order (follow exactly): The mirror and reflected tiled wall fill most of the frame, while the half-formed red circle occupies about 1/2 of the reflected frame height. The mirror surface is physically NEARER to the camera, while the marked bathroom wall appears FARTHER within the reflection.\n  CARRIED STATE (persist exactly — must match the panels before and after): Suri-young continues to have her doll-adorned backpack with her, while her bedroom remains clean and without a corpse. A red circle is partially visible on the bathroom wall only in the mirror reflection.\n  BACKGROUND: attached photograph #6.\nPANEL 2: 액자 속 민숙의 얼굴 부분 이미지가 아래로 일그러지며 흘러내리는 찰나\n  MOVEMENT (follow exactly): The image of Min-sook's smiling face inside the framed photograph distorts and flows downward before Su-ri-young's eyes.\n  FIGURES — apparent size & depth order (follow exactly): The framed photograph fills most of the close frame, and Min-sook's pictured face occupies roughly 1/2 of its height. The photograph's glass and frame are NEARER to the camera, while the collapsing facial image is visually FARTHER beneath the surface.\n  CARRIED STATE (persist exactly — must match the panels before and after): The bathroom’s red circle has vanished, and Suri-young still has the doll-adorned backpack. The framed photograph remains on the table as Minsuk’s face in it distorts and runs downward.\n  BACKGROUND: attached photograph #1.\nPANEL 3: 수리영이 두 손으로 머리를 감싸 쥐고 입을 크게 벌린 얼굴\n  MOVEMENT (follow exactly): static: terrified and overwhelmed, Su-ri-young clamps both hands around her head and holds her mouth wide open in a scream, her posture rigid with panic.\n  FIGURES — apparent size & depth order (follow exactly): Su-ri-young's face and hands fill about 3/4 of the frame height and form the NEAREST subject. Her hands sit slightly NEARER than her face on either side, while the room behind her is FARTHER and secondary.\n  CARRIED STATE (persist exactly — must match the panels before and after): The framed photograph remains on the table but has returned to normal, and the bathroom wall remains without the red circle. Suri-young still has the doll-adorned backpack with her.\n  BACKGROUND: attached photograph #1.\nPANEL 4: 해질 무렵 옥탑방 거실, 흙 묻은 발자국들이 찍힌 바닥과 쓰러진 식탁 의자들이 보이는 전경\n  MOVEMENT (follow exactly): static: muddy footprints remain across the ransacked living-room floor among overturned dining chairs, indicating a prior path through the room but no current movement.\n  FIGURES — apparent size & depth order (follow exactly): The footprint-marked floor fills the lower half of the wide frame, with the NEAREST prints and fallen chair parts in the foreground appearing larger. Additional prints, the dining area, and the open living-room window recede FARTHER into the room.\n  CARRIED STATE (persist exactly — must match the panels before and after): The apartment remains ransacked, with dirty footprints on the floor, the living-room window open, and the dining chairs overturned. The red circle and the bloodstained old photograph pinned at its center are already present in Suri-young’s room.\n  BACKGROUND: attached photograph #2.\nPANEL 5: 붉은 원 한가운데 피 묻은 낡은 흑백 사진이 벽에 꽂혀 있는 타이트 샷\n  MOVEMENT (follow exactly): static: a bloodstained old photograph remains pinned at the center of the red circle on Su-ri-young's bedroom wall, facing outward toward the camera.\n  FIGURES — apparent size & depth order (follow exactly): The photograph fills roughly 1/3 of the tight frame height, while the surrounding red circle occupies most of the frame. The photograph projects NEARER from the wall, and the red mark lies FARTHER against the flat wall surface behind it.\n  CARRIED STATE (persist exactly — must match the panels before and after): The dirty footprints, ransacked furnishings, open window, and overturned chairs remain undisturbed. In the bedroom, the bloodstained old photograph is still pinned at the center of the red wall circle.\n  BACKGROUND: attached photograph #3.\nPANEL 6: 수리영의 손이 구겨진 사진을 꽉 움켜쥔 타이트 샷\n  MOVEMENT (follow exactly): static: Su-ri-young's tense hand crushes the crumpled photograph in a tight grip as she holds it close.\n  FIGURES — apparent size & depth order (follow exactly): Su-ri-young's hand fills roughly 2/3 of the tight frame, and the exposed portion of the photograph fills about 1/3. Her knuckles are NEARER to the camera, while the photograph is partly FARTHER inside her closed fingers.\n  CARRIED STATE (persist exactly — must match the panels before and after): The apartment remains ransacked, and the red wall circle remains after the photograph has been removed from its center. Suri-young tightly grips the same crumpled, bloodstained photograph.\n  BACKGROUND: attached photograph #3.\nPANEL 7: 혜수가 미간을 깊게 찌푸린 채 스마트폰을 내려다보는 얼굴 클로즈업\n  MOVEMENT (follow exactly): static: Hye-su lowers her gaze toward the smartphone and listens to Su-ri-young's recorded message with her brow deeply furrowed.\n  FIGURES — apparent size & depth order (follow exactly): Hye-su's face fills about 2/3 of the close-up frame, while the smartphone occupies a smaller area below her face. The phone is NEARER to the camera, Hye-su's face is slightly FARTHER, and the room behind her is farthest.\n  CARRIED STATE (persist exactly — must match the panels before and after): The apartment remains ransacked, with the footprints, open window, overturned chairs, and the now-empty red wall circle left in place; Suri-young has departed with the photograph and backpack. Hyesu holds the smartphone on which she is checking Suri-young’s recorded message.\n  BACKGROUND: attached photograph #2.\n\nThere are 7 shots but 8 panel slots: draw the shots in\npanels 1..7 and leave the remaining panel(s) COMPLETELY\nBLANK PURE WHITE — empty white paper, not even a frame line inside.\n\nABSOLUTELY NO TEXT anywhere: no words, letters, captions, labels,\nsound effects or watermarks — the ONLY allowed marking is a small\nshot number digit (1, 2, 3, 4, 5, 6, 7) in a corner INSIDE each drawn panel.\nTHE PANEL GRID FILLS THE ENTIRE IMAGE EDGE-TO-EDGE: no outer paper\nmargin, no border area, nothing drawn outside the panels — the\nimage must be mechanically cuttable along the stated cut lines.\nPanels are separated only by thin straight black gutter lines at\nthe exact stated positions; ALL PANELS EXACTLY THE SAME SIZE."}
{"ts": "2026-07-12 22:36:14", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s37_still_S4sh1", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/panels/S4sh1.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/bg_S4sh1.png"], "ref_labels": ["STORYBOARD PANEL — a REFERENCE ONLY, never the target: use it loosely for camera framing, figure placement and depth order. Do NOT photorealize this drawing as-is — the SHOT TEXT and the other references are authoritative; re-stage the moment naturally as a real photograph. Never copy the sketch's line style, paper texture, borders, simplified geometry or drawing errors.", "LOCATION PHOTOGRAPH — the exact place of this shot: its architecture, materials, fixed features and lighting mood are spatial truth; stage the moment inside this place. Never copy its camera framing."], "attempt": 1, "dur_s": 48.4, "bytes": 3527232, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/stills/S4sh1_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): daytime.\n\nSHOT TEXT (authoritative, Korean): 맑은 낮, 오래된 다세대 빌라 옥상 위에 자리 잡은 옥탑방을 높은 곳에서 내려다본 부감 구도\n\nLOCATION (lock): The flat rooftop of an aging low-rise apartment building, enclosed by a waist-high parapet. A small rooftop dwelling has a metal entrance door and a window visible from the open roof. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.\n\nTHE STORYBOARD PANEL IS ONLY A REFERENCE: it is a\nrough pre-production sketch, not the image to\nreproduce. Take from it only the shot's rough\ncomposition — framing, where figures sit, near/far\norder. Everything else (real-world detail, materials,\nlight, anatomy, environment richness) must come from\nthe shot text and the photographic references,\nre-staged as if actually filmed on a real set. If the\nsketch conflicts with the shot text or looks\nsimplified/wrong, FOLLOW THE TEXT, not the sketch.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nMOVEMENT (follow exactly): static: No person is visible; the rooftop room remains fixed on top of the old multi-family villa beneath the high, downward-looking camera.\n\nFIGURES — size & depth (follow exactly): The rooftop room appears small, about ~1/6 of the frame height, and is FARTHER from the camera than the surrounding upper roof surfaces in the foreground.\n\nNo people appear unless the shot text itself says so.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-12 22:36:36", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s37_still_S10sh6", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/panels/S10sh6.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/bg_S10sh6.png"], "ref_labels": ["STORYBOARD PANEL — a REFERENCE ONLY, never the target: use it loosely for camera framing, figure placement and depth order. Do NOT photorealize this drawing as-is — the SHOT TEXT and the other references are authoritative; re-stage the moment naturally as a real photograph. Never copy the sketch's line style, paper texture, borders, simplified geometry or drawing errors.", "LOCATION PHOTOGRAPH — the exact place of this shot: its architecture, materials, fixed features and lighting mood are spatial truth; stage the moment inside this place. Never copy its camera framing."], "attempt": 1, "dur_s": 22.4, "bytes": 2180563, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/stills/S10sh6_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\n\nSHOT TEXT (authoritative, Korean): 현관 철문이 아주 살짝 열린 틈새로 보이는 어두운 실내와 신발 앞코\n\nLOCATION (lock): The flat rooftop of an aging low-rise apartment building, enclosed by a waist-high parapet. A small rooftop dwelling has a metal entrance door and a window visible from the open roof. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.\n\nTHE STORYBOARD PANEL IS ONLY A REFERENCE: it is a\nrough pre-production sketch, not the image to\nreproduce. Take from it only the shot's rough\ncomposition — framing, where figures sit, near/far\norder. Everything else (real-world detail, materials,\nlight, anatomy, environment richness) must come from\nthe shot text and the photographic references,\nre-staged as if actually filmed on a real set. If the\nsketch conflicts with the shot text or looks\nsimplified/wrong, FOLLOW THE TEXT, not the sketch.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nMOVEMENT (follow exactly): The unknown man's shoe toe advances from the rooftop exterior through the narrowly opened iron doorway into the dark room, leading his unseen body inward.\n\nFIGURES — size & depth (follow exactly): The shoe toe is small, about ~1/10 of the frame height, and lies FARTHER from the camera than the NEARER iron door edges; the dark interior recedes farthest beyond it.\n\nNo people appear unless the shot text itself says so.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-12 22:37:12", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s37_still_S10sh7", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/panels/S10sh7.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/bg_S10sh7.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/stills/S10sh6_nb2.png"], "ref_labels": ["STORYBOARD PANEL — a REFERENCE ONLY, never the target: use it loosely for camera framing, figure placement and depth order. Do NOT photorealize this drawing as-is — the SHOT TEXT and the other references are authoritative; re-stage the moment naturally as a real photograph. Never copy the sketch's line style, paper texture, borders, simplified geometry or drawing errors.", "LOCATION PHOTOGRAPH — the exact place of this shot: its architecture, materials, fixed features and lighting mood are spatial truth; stage the moment inside this place. Never copy its camera framing.", "PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing."], "attempt": 1, "dur_s": 35.6, "bytes": 2348844, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/stills/S10sh7_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\n\nSHOT TEXT (authoritative, Korean): 불이 켜진 옥탑방 창문에 거대한 그림자가 작은 그림자의 어깨 쪽으로 고개를 꺾은 형태가 맺혀 있는 정지 구도\n\nLOCATION (lock): The flat rooftop of an aging low-rise apartment building, enclosed by a waist-high parapet. A small rooftop dwelling has a metal entrance door and a window visible from the open roof. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.\n\nTHE STORYBOARD PANEL IS ONLY A REFERENCE: it is a\nrough pre-production sketch, not the image to\nreproduce. Take from it only the shot's rough\ncomposition — framing, where figures sit, near/far\norder. Everything else (real-world detail, materials,\nlight, anatomy, environment richness) must come from\nthe shot text and the photographic references,\nre-staged as if actually filmed on a real set. If the\nsketch conflicts with the shot text or looks\nsimplified/wrong, FOLLOW THE TEXT, not the sketch.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nMOVEMENT (follow exactly): static: A real man appearing as a large dark silhouette, with normal human build, leans into Minsook and angles his head down toward her shoulder as she is caught beneath him.\n\nFIGURES — size & depth (follow exactly): The man's shadow fills roughly ~2/3 of the frame height, larger than Minsook's smaller shadow at about ~1/3; both people are FARTHER than the NEARER window surface, while their mutual camera-depth order is not established. Their silhouettes overlap at Minsook's shoulder, leaving almost no distance between their paths.\n\nNo people appear unless the shot text itself says so.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-12 22:37:40", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s37_still_S11sh5", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/panels/S11sh5.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/bg_S11sh5.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/stills/S10sh6_nb2.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/39864973-d3d5-4886-bfb2-f8db608a005b.png"], "ref_labels": ["STORYBOARD PANEL — a REFERENCE ONLY, never the target: use it loosely for camera framing, figure placement and depth order. Do NOT photorealize this drawing as-is — the SHOT TEXT and the other references are authoritative; re-stage the moment naturally as a real photograph. Never copy the sketch's line style, paper texture, borders, simplified geometry or drawing errors.", "LOCATION PHOTOGRAPH — the exact place of this shot: its architecture, materials, fixed features and lighting mood are spatial truth; stage the moment inside this place. Never copy its camera framing.", "PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing.", "CHARACTER REFERENCE — 수리영: the exact person appearing in this shot; match face, hair and build exactly."], "attempt": 1, "dur_s": 28.5, "bytes": 2447481, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/stills/S11sh5_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\n\nSHOT TEXT (authoritative, Korean): 옥상에 선 수리영의 시선 끝에 반쯤 열려 있는 어두운 현관 철문이 보이는 정면 구도\n\nLOCATION (lock): The flat rooftop of an aging low-rise apartment building, enclosed by a waist-high parapet. A small rooftop dwelling has a metal entrance door and a window visible from the open roof. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.\n\nTHE STORYBOARD PANEL IS ONLY A REFERENCE: it is a\nrough pre-production sketch, not the image to\nreproduce. Take from it only the shot's rough\ncomposition — framing, where figures sit, near/far\norder. Everything else (real-world detail, materials,\nlight, anatomy, environment richness) must come from\nthe shot text and the photographic references,\nre-staged as if actually filmed on a real set. If the\nsketch conflicts with the shot text or looks\nsimplified/wrong, FOLLOW THE TEXT, not the sketch.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nMOVEMENT (follow exactly): static: Suriyoung stands tensely on the rooftop with her body and gaze directed straight toward the half-open iron entrance door and its dark interior.\n\nFIGURES — size & depth (follow exactly): Suriyoung appears about ~1/2 of the frame height in the NEARER rooftop area, while the half-open door appears about ~1/3 and is FARTHER ahead along her line of sight.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of the referenced people (수리영) matched exactly to their reference photo — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-12 22:38:13", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s37_still_S17sh2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/panels/S17sh2.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/bg_S17sh2.png"], "ref_labels": ["STORYBOARD PANEL — a REFERENCE ONLY, never the target: use it loosely for camera framing, figure placement and depth order. Do NOT photorealize this drawing as-is — the SHOT TEXT and the other references are authoritative; re-stage the moment naturally as a real photograph. Never copy the sketch's line style, paper texture, borders, simplified geometry or drawing errors.", "LOCATION PHOTOGRAPH — the exact place of this shot: its architecture, materials, fixed features and lighting mood are spatial truth; stage the moment inside this place. Never copy its camera framing."], "attempt": 1, "dur_s": 32.4, "bytes": 2615957, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/stills/S17sh2_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): dawn.\n\nSHOT TEXT (authoritative, Korean): 옥상 담벼락 위에서 한쪽 앞발을 허공으로 뻗은 검은 고양이의 측면\n\nLOCATION (lock): The flat rooftop of an aging low-rise apartment building, enclosed by a waist-high parapet. A small rooftop dwelling has a metal entrance door and a window visible from the open roof. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.\n\nTHE STORYBOARD PANEL IS ONLY A REFERENCE: it is a\nrough pre-production sketch, not the image to\nreproduce. Take from it only the shot's rough\ncomposition — framing, where figures sit, near/far\norder. Everything else (real-world detail, materials,\nlight, anatomy, environment richness) must come from\nthe shot text and the photographic references,\nre-staged as if actually filmed on a real set. If the\nsketch conflicts with the shot text or looks\nsimplified/wrong, FOLLOW THE TEXT, not the sketch.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nMOVEMENT (follow exactly): The black cat moves side-on across and over the rooftop wall toward the opposite side, extending one forepaw into the air as its body follows.\n\nFIGURES — size & depth (follow exactly): The cat appears medium-sized, about ~1/3 of the frame height, and is NEARER to the camera than the FARTHER side beyond the wall; the wall runs beneath its crossing path.\n\nNo people appear unless the shot text itself says so.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-12 22:38:43", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s37_still_S11sh4", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/panels/S11sh4.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/bg_S11sh4.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/39864973-d3d5-4886-bfb2-f8db608a005b.png"], "ref_labels": ["STORYBOARD PANEL — a REFERENCE ONLY, never the target: use it loosely for camera framing, figure placement and depth order. Do NOT photorealize this drawing as-is — the SHOT TEXT and the other references are authoritative; re-stage the moment naturally as a real photograph. Never copy the sketch's line style, paper texture, borders, simplified geometry or drawing errors.", "LOCATION PHOTOGRAPH — the exact place of this shot: its architecture, materials, fixed features and lighting mood are spatial truth; stage the moment inside this place. Never copy its camera framing.", "CHARACTER REFERENCE — 수리영: the exact person appearing in this shot; match face, hair and build exactly."], "attempt": 1, "dur_s": 30.3, "bytes": 2162024, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/stills/S11sh4_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\n\nSHOT TEXT (authoritative, Korean): 철제 파이프 난간을 손으로 잡은 수리영이 코끝을 찡그린 채 계단 중간에 서 있는 얼굴 클로즈업\n\nLOCATION (lock): A narrow exterior metal staircase attached to an old low-rise residential building. It has exposed steel steps and tubular pipe railings leading upward toward the roof. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.\n\nTHE STORYBOARD PANEL IS ONLY A REFERENCE: it is a\nrough pre-production sketch, not the image to\nreproduce. Take from it only the shot's rough\ncomposition — framing, where figures sit, near/far\norder. Everything else (real-world detail, materials,\nlight, anatomy, environment richness) must come from\nthe shot text and the photographic references,\nre-staged as if actually filmed on a real set. If the\nsketch conflicts with the shot text or looks\nsimplified/wrong, FOLLOW THE TEXT, not the sketch.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nMOVEMENT (follow exactly): static: Suri-young pauses midway up the staircase while ascending toward the rooftop, gripping the metal-pipe railing with a tense posture and wrinkling her nose at the sudden foul smell, her body oriented uphill.\n\nFIGURES — size & depth (follow exactly): Suri-young’s face fills ~2/3 of the frame height in close-up and is the nearest figure; her hand and the metal-pipe railing sit slightly farther from the camera as she remains midway on the stairs.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of the referenced people (수리영) matched exactly to their reference photo — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-12 22:39:19", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s37_still_S13sh4", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/panels/S13sh4.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/bg_S13sh4.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/39864973-d3d5-4886-bfb2-f8db608a005b.png"], "ref_labels": ["STORYBOARD PANEL — a REFERENCE ONLY, never the target: use it loosely for camera framing, figure placement and depth order. Do NOT photorealize this drawing as-is — the SHOT TEXT and the other references are authoritative; re-stage the moment naturally as a real photograph. Never copy the sketch's line style, paper texture, borders, simplified geometry or drawing errors.", "LOCATION PHOTOGRAPH — the exact place of this shot: its architecture, materials, fixed features and lighting mood are spatial truth; stage the moment inside this place. Never copy its camera framing.", "CHARACTER REFERENCE — 수리영: the exact person appearing in this shot; match face, hair and build exactly."], "attempt": 1, "dur_s": 35.6, "bytes": 2594402, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/stills/S13sh4_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\n\nSHOT TEXT (authoritative, Korean): 수리영이 초점을 잃은 눈으로 허공을 응시하며 서 있는 모습\n\nLOCATION (lock): A confined ground-level alley and small courtyard beside an aging multi-unit residential building. Concrete walls, building entrances, and the base of the exterior access structure frame the space. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.\n\nTHE STORYBOARD PANEL IS ONLY A REFERENCE: it is a\nrough pre-production sketch, not the image to\nreproduce. Take from it only the shot's rough\ncomposition — framing, where figures sit, near/far\norder. Everything else (real-world detail, materials,\nlight, anatomy, environment richness) must come from\nthe shot text and the photographic references,\nre-staged as if actually filmed on a real set. If the\nsketch conflicts with the shot text or looks\nsimplified/wrong, FOLLOW THE TEXT, not the sketch.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nMOVEMENT (follow exactly): static: Su-ri-young stands motionless and dazed after coming down from the rooftop room, her unfocused eyes staring into empty space and her body lacking purposeful direction.\n\nFIGURES — size & depth (follow exactly): Su-ri-young is the only visible figure, so she is both the nearest and farthest person; her apparent fraction of frame height is unspecified in the source.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of the referenced people (수리영) matched exactly to their reference photo — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-12 22:39:53", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s37_still_S13sh6", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/panels/S13sh6.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/bg_S13sh6.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/stills/S13sh4_nb2.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/39864973-d3d5-4886-bfb2-f8db608a005b.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/bddad176-aa6a-4a71-b5d3-d02e36e19657.png"], "ref_labels": ["STORYBOARD PANEL — a REFERENCE ONLY, never the target: use it loosely for camera framing, figure placement and depth order. Do NOT photorealize this drawing as-is — the SHOT TEXT and the other references are authoritative; re-stage the moment naturally as a real photograph. Never copy the sketch's line style, paper texture, borders, simplified geometry or drawing errors.", "LOCATION PHOTOGRAPH — the exact place of this shot: its architecture, materials, fixed features and lighting mood are spatial truth; stage the moment inside this place. Never copy its camera framing.", "PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing.", "CHARACTER REFERENCE — 수리영: the exact person appearing in this shot; match face, hair and build exactly.", "CHARACTER REFERENCE — 혜수: the exact person appearing in this shot; match face, hair and build exactly."], "attempt": 1, "dur_s": 34.3, "bytes": 2708960, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/stills/S13sh6_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\n\nSHOT TEXT (authoritative, Korean): 고개를 든 채 혜수의 얼굴을 마주보고 있는 수리영의 측면 구도\n\nLOCATION (lock): A confined ground-level alley and small courtyard beside an aging multi-unit residential building. Concrete walls, building entrances, and the base of the exterior access structure frame the space. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.\n\nTHE STORYBOARD PANEL IS ONLY A REFERENCE: it is a\nrough pre-production sketch, not the image to\nreproduce. Take from it only the shot's rough\ncomposition — framing, where figures sit, near/far\norder. Everything else (real-world detail, materials,\nlight, anatomy, environment richness) must come from\nthe shot text and the photographic references,\nre-staged as if actually filmed on a real set. If the\nsketch conflicts with the shot text or looks\nsimplified/wrong, FOLLOW THE TEXT, not the sketch.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nMOVEMENT (follow exactly): static: Su-ri-young holds her head raised and faces Hye-su directly in side profile, looking up at her while remaining dazed and stationary.\n\nFIGURES — size & depth (follow exactly): Su-ri-young and Hye-su's face are visible facing each other, but their respective frame-height fractions and which is nearer to the camera are unspecified; their paths have converged at conversational distance, with neither moving past the other.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of the referenced people (수리영, 혜수) matched exactly to their reference photo — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-12 22:40:14", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s37_still_S5sh5", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/panels/S5sh5.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/plate_living_dining_day_root.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/899945af-f9bf-4880-bdd7-c9d1f45a5327.png"], "ref_labels": ["STORYBOARD PANEL — a REFERENCE ONLY, never the target: use it loosely for camera framing, figure placement and depth order. Do NOT photorealize this drawing as-is — the SHOT TEXT and the other references are authoritative; re-stage the moment naturally as a real photograph. Never copy the sketch's line style, paper texture, borders, simplified geometry or drawing errors.", "LOCATION PHOTOGRAPH — the exact place of this shot: its architecture, materials, fixed features and lighting mood are spatial truth; stage the moment inside this place. Never copy its camera framing.", "CHARACTER REFERENCE — 민숙: the exact person appearing in this shot; match face, hair and build exactly."], "attempt": 1, "dur_s": 20.7, "bytes": 2418994, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/stills/S5sh5_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): interior ambient light.\n\nSHOT TEXT (authoritative, Korean): 다급하게 상체를 기울이며 손가락 끝으로 TV 전원 버튼을 세게 누르고 있는 민숙의 측면 구도\n\nLOCATION (lock): A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.\n\nTHE STORYBOARD PANEL IS ONLY A REFERENCE: it is a\nrough pre-production sketch, not the image to\nreproduce. Take from it only the shot's rough\ncomposition — framing, where figures sit, near/far\norder. Everything else (real-world detail, materials,\nlight, anatomy, environment richness) must come from\nthe shot text and the photographic references,\nre-staged as if actually filmed on a real set. If the\nsketch conflicts with the shot text or looks\nsimplified/wrong, FOLLOW THE TEXT, not the sketch.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nMOVEMENT (follow exactly): Min-sook urgently pitches her upper body forward toward the TV and forcefully drives a fingertip into its power button to turn it off as Su-ri-young emerges from her room.\n\nFIGURES — size & depth (follow exactly): Min-sook's side-view upper body fills roughly 2/3 of the frame height, with her reaching hand and the TV button NEARER to the camera than her face and torso. The TV is FARTHER along her forward reach, and her body closes the short distance toward it.\n\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Minsuk remains in her apron, with the same small circular mark on her wrist; the mark must already be present here because she has had it since childhood.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of the referenced people (민숙) matched exactly to their reference photo — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-12 22:40:43", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s37_still_S5sh9", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/panels/S5sh9.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/plate_living_dining_day_root.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/stills/S5sh5_nb2.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/899945af-f9bf-4880-bdd7-c9d1f45a5327.png"], "ref_labels": ["STORYBOARD PANEL — a REFERENCE ONLY, never the target: use it loosely for camera framing, figure placement and depth order. Do NOT photorealize this drawing as-is — the SHOT TEXT and the other references are authoritative; re-stage the moment naturally as a real photograph. Never copy the sketch's line style, paper texture, borders, simplified geometry or drawing errors.", "LOCATION PHOTOGRAPH — the exact place of this shot: its architecture, materials, fixed features and lighting mood are spatial truth; stage the moment inside this place. Never copy its camera framing.", "PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing.", "CHARACTER REFERENCE — 민숙: the exact person appearing in this shot; match face, hair and build exactly."], "attempt": 1, "dur_s": 29.1, "bytes": 2020270, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/stills/S5sh9_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): interior ambient light.\n\nSHOT TEXT (authoritative, Korean): 민숙의 손목에 선명하게 드러난 작은 원형 표식의 타이트 샷\n\nLOCATION (lock): A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.\n\nTHE STORYBOARD PANEL IS ONLY A REFERENCE: it is a\nrough pre-production sketch, not the image to\nreproduce. Take from it only the shot's rough\ncomposition — framing, where figures sit, near/far\norder. Everything else (real-world detail, materials,\nlight, anatomy, environment richness) must come from\nthe shot text and the photographic references,\nre-staged as if actually filmed on a real set. If the\nsketch conflicts with the shot text or looks\nsimplified/wrong, FOLLOW THE TEXT, not the sketch.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nMOVEMENT (follow exactly): static: Min-sook's wrist is held in view, with the sharply visible small circular mark facing the camera.\n\nFIGURES — size & depth (follow exactly): The wrist fills most of the tight frame, while the circular mark occupies a small area at its center. The skin and mark are the NEAREST and only principal subject, with any body or room detail FARTHER and out of focus.\n\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The TV remains switched off, and Minsuk still wears the apron. The small, unusually distinct circular mark remains on her wrist.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of the referenced people (민숙) matched exactly to their reference photo — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-12 22:41:10", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s37_still_S12sh11", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/panels/S12sh11.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/plate_daughter_bedroom_night_doorway_wide.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/1d7902d5-8b31-4ab6-9e6a-5da6ab5d842f.png"], "ref_labels": ["STORYBOARD PANEL — a REFERENCE ONLY, never the target: use it loosely for camera framing, figure placement and depth order. Do NOT photorealize this drawing as-is — the SHOT TEXT and the other references are authoritative; re-stage the moment naturally as a real photograph. Never copy the sketch's line style, paper texture, borders, simplified geometry or drawing errors.", "LOCATION PHOTOGRAPH — the exact place of this shot: its architecture, materials, fixed features and lighting mood are spatial truth; stage the moment inside this place. Never copy its camera framing.", "CHARACTER REFERENCE — 민숙 (환시): the exact person appearing in this shot; match face, hair and build exactly."], "attempt": 1, "dur_s": 27.7, "bytes": 2335960, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/stills/S12sh11_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\n\nSHOT TEXT (authoritative, Korean): 옷과 피부가 힘없이 무너져 미동이 없는 민숙이 바닥에 주저앉아 고개를 푹 숙인 정지 상태\n\nLOCATION (lock): A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.\n\nTHE STORYBOARD PANEL IS ONLY A REFERENCE: it is a\nrough pre-production sketch, not the image to\nreproduce. Take from it only the shot's rough\ncomposition — framing, where figures sit, near/far\norder. Everything else (real-world detail, materials,\nlight, anatomy, environment richness) must come from\nthe shot text and the photographic references,\nre-staged as if actually filmed on a real set. If the\nsketch conflicts with the shot text or looks\nsimplified/wrong, FOLLOW THE TEXT, not the sketch.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nMOVEMENT (follow exactly): static: utterly motionless, collapsed Min-sook is collapsed against the floor in an asymmetric seated slump, her head dropped deeply forward, shoulders fallen, limbs limp, and body weight fully given way.\n\nFIGURES — size & depth (follow exactly): Min-sook's dark stains-covered body fills about 2/3 of the frame height and is the NEAREST principal figure. The floor directly beneath her is nearer than the surrounding bedroom and curtain area, which recede FARTHER behind her.\n\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Minsuk remains dead behind the curtain, seated on the floor with her head bowed, her torn shoulder and collarbone exposed amid the dark stains and dark stainsy footprints. The crumpled photograph is already clenched in her hand, and the small circular mark remains on her wrist.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of the referenced people (민숙 (환시)) matched exactly to their reference photo — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-12 22:41:48", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s37_still_S12sh18", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/panels/S12sh18.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/plate_daughter_bedroom_night_doorway_wide.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/stills/S12sh11_nb2.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/1d7902d5-8b31-4ab6-9e6a-5da6ab5d842f.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/fc23070d-a644-45e4-a5d8-ecb98fe8d2d3.png"], "ref_labels": ["STORYBOARD PANEL — a REFERENCE ONLY, never the target: use it loosely for camera framing, figure placement and depth order. Do NOT photorealize this drawing as-is — the SHOT TEXT and the other references are authoritative; re-stage the moment naturally as a real photograph. Never copy the sketch's line style, paper texture, borders, simplified geometry or drawing errors.", "LOCATION PHOTOGRAPH — the exact place of this shot: its architecture, materials, fixed features and lighting mood are spatial truth; stage the moment inside this place. Never copy its camera framing.", "PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing.", "CHARACTER REFERENCE — 민숙 (환시): the exact person appearing in this shot; match face, hair and build exactly.", "PROP REFERENCE — 구겨진 피 묻은 낡은 흑백 사진: the exact object appearing in this shot; match its look, material and wear exactly."], "attempt": 1, "dur_s": 37.4, "bytes": 2580874, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/stills/S12sh18_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\n\nSHOT TEXT (authoritative, Korean): 민숙의 손에 꽉 쥐어진 구겨진 사진의 타이트 샷\n\nLOCATION (lock): A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.\n\nTHE STORYBOARD PANEL IS ONLY A REFERENCE: it is a\nrough pre-production sketch, not the image to\nreproduce. Take from it only the shot's rough\ncomposition — framing, where figures sit, near/far\norder. Everything else (real-world detail, materials,\nlight, anatomy, environment richness) must come from\nthe shot text and the photographic references,\nre-staged as if actually filmed on a real set. If the\nsketch conflicts with the shot text or looks\nsimplified/wrong, FOLLOW THE TEXT, not the sketch.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nMOVEMENT (follow exactly): static: utterly motionless, collapsed Min-sook's limp hand remains curled tightly around a crumpled photograph, with the photograph exposed toward the camera.\n\nFIGURES — size & depth (follow exactly): The dead woman's hand fills roughly 2/3 of the tight frame, and the crumpled photograph fills about 1/3. The photograph is NEARER where it protrudes from her grasp, while her palm, wrist, and collapsed body lie progressively FARTHER behind it.\n\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Minsuk remains in the same seated, head-bowed position with the wounds and dark stains undisturbed. The crumpled photograph stays clenched in her hand until Suri-young pulls it free, as the circular wrist mark turns red.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of the referenced people (민숙 (환시)) matched exactly to their reference photo — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-12 22:42:19", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s37_still_S12sh21", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/panels/S12sh21.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/plate_daughter_bedroom_night_doorway_wide.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/stills/S12sh18_nb2.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/1d7902d5-8b31-4ab6-9e6a-5da6ab5d842f.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/fc23070d-a644-45e4-a5d8-ecb98fe8d2d3.png"], "ref_labels": ["STORYBOARD PANEL — a REFERENCE ONLY, never the target: use it loosely for camera framing, figure placement and depth order. Do NOT photorealize this drawing as-is — the SHOT TEXT and the other references are authoritative; re-stage the moment naturally as a real photograph. Never copy the sketch's line style, paper texture, borders, simplified geometry or drawing errors.", "LOCATION PHOTOGRAPH — the exact place of this shot: its architecture, materials, fixed features and lighting mood are spatial truth; stage the moment inside this place. Never copy its camera framing.", "PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing.", "CHARACTER REFERENCE — 민숙 (환시): the exact person appearing in this shot; match face, hair and build exactly.", "PROP REFERENCE — 구겨진 피 묻은 낡은 흑백 사진: the exact object appearing in this shot; match its look, material and wear exactly."], "attempt": 1, "dur_s": 31.0, "bytes": 2724733, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/stills/S12sh21_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\n\nSHOT TEXT (authoritative, Korean): 침대 위쪽 벽면에 붉은색 원형 표식이 절반쯤 나타난 상태\n\nLOCATION (lock): A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.\n\nTHE STORYBOARD PANEL IS ONLY A REFERENCE: it is a\nrough pre-production sketch, not the image to\nreproduce. Take from it only the shot's rough\ncomposition — framing, where figures sit, near/far\norder. Everything else (real-world detail, materials,\nlight, anatomy, environment richness) must come from\nthe shot text and the photographic references,\nre-staged as if actually filmed on a real set. If the\nsketch conflicts with the shot text or looks\nsimplified/wrong, FOLLOW THE TEXT, not the sketch.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nMOVEMENT (follow exactly): A red circular mark spreads around the wall above the bed, progressing along a ring-like path as though an unseen brush is drawing it, with about half the circle formed.\n\nFIGURES — size & depth (follow exactly): The half-formed red circle fills roughly 1/2 of the frame height on the wall and is the principal visible object. The wall surface and mark are FARTHER than the nearer edge of the bed, with the red pigment visually sitting closest on that wall plane.\n\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Minsuk’s motionless figure, wounds, and the room’s dark stains traces remain unchanged; her hand is now without the photograph, which Suri-young has taken, and the wrist mark is red. A red circle is partially formed on the wall above the bed.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of the referenced people (민숙 (환시)) matched exactly to their reference photo — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-12 22:42:45", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s37_still_S14sh5", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/panels/S14sh5.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/plate_daughter_bedroom_night_doorway_wide.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/stills/S12sh11_nb2.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/39864973-d3d5-4886-bfb2-f8db608a005b.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/bddad176-aa6a-4a71-b5d3-d02e36e19657.png"], "ref_labels": ["STORYBOARD PANEL — a REFERENCE ONLY, never the target: use it loosely for camera framing, figure placement and depth order. Do NOT photorealize this drawing as-is — the SHOT TEXT and the other references are authoritative; re-stage the moment naturally as a real photograph. Never copy the sketch's line style, paper texture, borders, simplified geometry or drawing errors.", "LOCATION PHOTOGRAPH — the exact place of this shot: its architecture, materials, fixed features and lighting mood are spatial truth; stage the moment inside this place. Never copy its camera framing.", "PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing.", "CHARACTER REFERENCE — 수리영: the exact person appearing in this shot; match face, hair and build exactly.", "CHARACTER REFERENCE — 혜수: the exact person appearing in this shot; match face, hair and build exactly."], "attempt": 1, "dur_s": 25.9, "bytes": 2476957, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/stills/S14sh5_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\n\nSHOT TEXT (authoritative, Korean): 어두운 얼룩 없이 깨끗한 방 내부 전경\n\nLOCATION (lock): A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.\n\nTHE STORYBOARD PANEL IS ONLY A REFERENCE: it is a\nrough pre-production sketch, not the image to\nreproduce. Take from it only the shot's rough\ncomposition — framing, where figures sit, near/far\norder. Everything else (real-world detail, materials,\nlight, anatomy, environment richness) must come from\nthe shot text and the photographic references,\nre-staged as if actually filmed on a real set. If the\nsketch conflicts with the shot text or looks\nsimplified/wrong, FOLLOW THE TEXT, not the sketch.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nMOVEMENT (follow exactly): static: the excessively tidy bedroom stands empty, with no dark stainsstains, red wall mark, or collapsed body remaining anywhere in the room.\n\nFIGURES — size & depth (follow exactly): The empty room fills the full frame; nearer floor and furniture edges occupy the foreground, while the bed, curtain, and clean back wall are FARTHER away. No person is visible, and the formerly occupied curtain area is now empty.\n\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The room is unnaturally spotless, with no dark stains, wall circle, or motionless figure behind the curtain. The backpack and doll are present in positions slightly different from when the body was discovered.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of the referenced people (수리영, 혜수) matched exactly to their reference photo — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-12 22:43:16", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s37_still_S14sh7", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/panels/S14sh7.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/plate_daughter_bedroom_night_doorway_wide.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/stills/S14sh5_nb2.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/39864973-d3d5-4886-bfb2-f8db608a005b.png"], "ref_labels": ["STORYBOARD PANEL — a REFERENCE ONLY, never the target: use it loosely for camera framing, figure placement and depth order. Do NOT photorealize this drawing as-is — the SHOT TEXT and the other references are authoritative; re-stage the moment naturally as a real photograph. Never copy the sketch's line style, paper texture, borders, simplified geometry or drawing errors.", "LOCATION PHOTOGRAPH — the exact place of this shot: its architecture, materials, fixed features and lighting mood are spatial truth; stage the moment inside this place. Never copy its camera framing.", "PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing.", "CHARACTER REFERENCE — 수리영: the exact person appearing in this shot; match face, hair and build exactly."], "attempt": 1, "dur_s": 31.1, "bytes": 2566433, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/stills/S14sh7_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\n\nSHOT TEXT (authoritative, Korean): 수리영이 멍한 눈으로 텅 빈 방 안을 응시하는 얼굴 클로즈업\n\nLOCATION (lock): A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.\n\nTHE STORYBOARD PANEL IS ONLY A REFERENCE: it is a\nrough pre-production sketch, not the image to\nreproduce. Take from it only the shot's rough\ncomposition — framing, where figures sit, near/far\norder. Everything else (real-world detail, materials,\nlight, anatomy, environment richness) must come from\nthe shot text and the photographic references,\nre-staged as if actually filmed on a real set. If the\nsketch conflicts with the shot text or looks\nsimplified/wrong, FOLLOW THE TEXT, not the sketch.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nMOVEMENT (follow exactly): static: pale-faced Su-ri-young holds her body rigid and stares blankly into the empty bedroom where she expected to find her mother's body.\n\nFIGURES — size & depth (follow exactly): Su-ri-young's face fills about 2/3 of the frame height and is the NEAREST figure. The empty room she watches is FARTHER beyond her eyeline, with no other person visible.\n\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The empty room remains excessively clean, with the motionless figure, dark stains, and red wall mark still absent. The backpack and doll remain in their altered positions.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of the referenced people (수리영) matched exactly to their reference photo — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-12 22:43:37", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s37_still_S14sh11", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/panels/S14sh11.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/plate_entry_night_inward_view.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/bddad176-aa6a-4a71-b5d3-d02e36e19657.png"], "ref_labels": ["STORYBOARD PANEL — a REFERENCE ONLY, never the target: use it loosely for camera framing, figure placement and depth order. Do NOT photorealize this drawing as-is — the SHOT TEXT and the other references are authoritative; re-stage the moment naturally as a real photograph. Never copy the sketch's line style, paper texture, borders, simplified geometry or drawing errors.", "LOCATION PHOTOGRAPH — the exact place of this shot: its architecture, materials, fixed features and lighting mood are spatial truth; stage the moment inside this place. Never copy its camera framing.", "CHARACTER REFERENCE — 혜수: the exact person appearing in this shot; match face, hair and build exactly."], "attempt": 1, "dur_s": 21.4, "bytes": 2281042, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/stills/S14sh11_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\n\nSHOT TEXT (authoritative, Korean): 혜수가 날카로운 눈빛으로 김형사를 노려보는 모습\n\nLOCATION (lock): A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.\n\nTHE STORYBOARD PANEL IS ONLY A REFERENCE: it is a\nrough pre-production sketch, not the image to\nreproduce. Take from it only the shot's rough\ncomposition — framing, where figures sit, near/far\norder. Everything else (real-world detail, materials,\nlight, anatomy, environment richness) must come from\nthe shot text and the photographic references,\nre-staged as if actually filmed on a real set. If the\nsketch conflicts with the shot text or looks\nsimplified/wrong, FOLLOW THE TEXT, not the sketch.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nMOVEMENT (follow exactly): static: Hye-su fixes a sharp, hostile stare toward Detective Kim, her face and body oriented directly at him.\n\nFIGURES — size & depth (follow exactly): Hye-su fills roughly 2/3 of the frame height and is the NEAREST visible figure. Detective Kim is the FARTHER target of her gaze, whether at the edge of the frame or just off-screen, with no crossing movement between them.\n\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The apartment remains cleared of the earlier evidence: the table is clean, and Suri-young’s room has no motionless figure, dark stains, or red circle. The backpack and doll remain slightly displaced from their earlier positions.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of the referenced people (혜수) matched exactly to their reference photo — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-12 22:44:10", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s37_still_S18sh11", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/panels/S18sh11.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/plate_bathroom_day_mirror_tile_view.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/stills/S12sh21_nb2.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/39864973-d3d5-4886-bfb2-f8db608a005b.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/70af1a1c-b2e4-45ad-a166-7cef7e66e156.png"], "ref_labels": ["STORYBOARD PANEL — a REFERENCE ONLY, never the target: use it loosely for camera framing, figure placement and depth order. Do NOT photorealize this drawing as-is — the SHOT TEXT and the other references are authoritative; re-stage the moment naturally as a real photograph. Never copy the sketch's line style, paper texture, borders, simplified geometry or drawing errors.", "LOCATION PHOTOGRAPH — the exact place of this shot: its architecture, materials, fixed features and lighting mood are spatial truth; stage the moment inside this place. Never copy its camera framing.", "PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing.", "CHARACTER REFERENCE — 수리영: the exact person appearing in this shot; match face, hair and build exactly.", "PROP REFERENCE — 민숙과 수리영의 액자 사진: the exact object appearing in this shot; match its look, material and wear exactly."], "attempt": 1, "dur_s": 33.1, "bytes": 2716360, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/stills/S18sh11_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): daytime.\n\nSHOT TEXT (authoritative, Korean): 거울 속 반사된 욕실 타일 벽면에 붉은색 원형 표식이 절반쯤 나타난 상태\n\nLOCATION (lock): A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.\n\nTHE STORYBOARD PANEL IS ONLY A REFERENCE: it is a\nrough pre-production sketch, not the image to\nreproduce. Take from it only the shot's rough\ncomposition — framing, where figures sit, near/far\norder. Everything else (real-world detail, materials,\nlight, anatomy, environment richness) must come from\nthe shot text and the photographic references,\nre-staged as if actually filmed on a real set. If the\nsketch conflicts with the shot text or looks\nsimplified/wrong, FOLLOW THE TEXT, not the sketch.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nMOVEMENT (follow exactly): A red circular mark suddenly develops across the bathroom tile wall seen in the mirror, extending around a ring-like path until roughly half is visible.\n\nFIGURES — size & depth (follow exactly): The mirror and reflected tiled wall fill most of the frame, while the half-formed red circle occupies about 1/2 of the reflected frame height. The mirror surface is physically NEARER to the camera, while the marked bathroom wall appears FARTHER within the reflection.\n\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Suri-young continues to have her doll-adorned backpack with her, while her bedroom remains clean and without a motionless figure. A red circle is partially visible on the bathroom wall only in the mirror reflection.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of the referenced people (수리영) matched exactly to their reference photo — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-12 22:44:44", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s37_still_S18sh15", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/panels/S18sh15.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/plate_living_dining_day_root.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/stills/S5sh5_nb2.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/70af1a1c-b2e4-45ad-a166-7cef7e66e156.png"], "ref_labels": ["STORYBOARD PANEL — a REFERENCE ONLY, never the target: use it loosely for camera framing, figure placement and depth order. Do NOT photorealize this drawing as-is — the SHOT TEXT and the other references are authoritative; re-stage the moment naturally as a real photograph. Never copy the sketch's line style, paper texture, borders, simplified geometry or drawing errors.", "LOCATION PHOTOGRAPH — the exact place of this shot: its architecture, materials, fixed features and lighting mood are spatial truth; stage the moment inside this place. Never copy its camera framing.", "PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing.", "PROP REFERENCE — 민숙과 수리영의 액자 사진: the exact object appearing in this shot; match its look, material and wear exactly."], "attempt": 1, "dur_s": 34.0, "bytes": 2485174, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/stills/S18sh15_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): daytime.\n\nSHOT TEXT (authoritative, Korean): 액자 속 민숙의 얼굴 부분 이미지가 아래로 일그러지며 흘러내리는 찰나\n\nLOCATION (lock): A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.\n\nTHE STORYBOARD PANEL IS ONLY A REFERENCE: it is a\nrough pre-production sketch, not the image to\nreproduce. Take from it only the shot's rough\ncomposition — framing, where figures sit, near/far\norder. Everything else (real-world detail, materials,\nlight, anatomy, environment richness) must come from\nthe shot text and the photographic references,\nre-staged as if actually filmed on a real set. If the\nsketch conflicts with the shot text or looks\nsimplified/wrong, FOLLOW THE TEXT, not the sketch.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nMOVEMENT (follow exactly): The image of Min-sook's smiling face inside the framed photograph distorts and flows downward before Su-ri-young's eyes.\n\nFIGURES — size & depth (follow exactly): The framed photograph fills most of the close frame, and Min-sook's pictured face occupies roughly 1/2 of its height. The photograph's glass and frame are NEARER to the camera, while the collapsing facial image is visually FARTHER beneath the surface.\n\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The bathroom’s red circle has vanished, and Suri-young still has the doll-adorned backpack. The framed photograph remains on the table as Minsuk’s face in it distorts and runs downward.\n\nNo people appear unless the shot text itself says so.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-12 22:45:20", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s37_still_S18sh16", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/panels/S18sh16.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/plate_living_dining_day_root.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/stills/S18sh15_nb2.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/39864973-d3d5-4886-bfb2-f8db608a005b.png"], "ref_labels": ["STORYBOARD PANEL — a REFERENCE ONLY, never the target: use it loosely for camera framing, figure placement and depth order. Do NOT photorealize this drawing as-is — the SHOT TEXT and the other references are authoritative; re-stage the moment naturally as a real photograph. Never copy the sketch's line style, paper texture, borders, simplified geometry or drawing errors.", "LOCATION PHOTOGRAPH — the exact place of this shot: its architecture, materials, fixed features and lighting mood are spatial truth; stage the moment inside this place. Never copy its camera framing.", "PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing.", "CHARACTER REFERENCE — 수리영: the exact person appearing in this shot; match face, hair and build exactly."], "attempt": 1, "dur_s": 35.2, "bytes": 2497529, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/stills/S18sh16_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): daytime.\n\nSHOT TEXT (authoritative, Korean): 수리영이 두 손으로 머리를 감싸 쥐고 입을 크게 벌린 얼굴\n\nLOCATION (lock): A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.\n\nTHE STORYBOARD PANEL IS ONLY A REFERENCE: it is a\nrough pre-production sketch, not the image to\nreproduce. Take from it only the shot's rough\ncomposition — framing, where figures sit, near/far\norder. Everything else (real-world detail, materials,\nlight, anatomy, environment richness) must come from\nthe shot text and the photographic references,\nre-staged as if actually filmed on a real set. If the\nsketch conflicts with the shot text or looks\nsimplified/wrong, FOLLOW THE TEXT, not the sketch.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nMOVEMENT (follow exactly): static: terrified and overwhelmed, Su-ri-young clamps both hands around her head and holds her mouth wide open in a scream, her posture rigid with panic.\n\nFIGURES — size & depth (follow exactly): Su-ri-young's face and hands fill about 3/4 of the frame height and form the NEAREST subject. Her hands sit slightly NEARER than her face on either side, while the room behind her is FARTHER and secondary.\n\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The framed photograph remains on the table but has returned to normal, and the bathroom wall remains without the red circle. Suri-young still has the doll-adorned backpack with her.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of the referenced people (수리영) matched exactly to their reference photo — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-12 22:45:42", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s37_still_S25sh1", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/panels/S25sh1.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/plate_living_dining_sunset_floor_view.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/39864973-d3d5-4886-bfb2-f8db608a005b.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/fc23070d-a644-45e4-a5d8-ecb98fe8d2d3.png"], "ref_labels": ["STORYBOARD PANEL — a REFERENCE ONLY, never the target: use it loosely for camera framing, figure placement and depth order. Do NOT photorealize this drawing as-is — the SHOT TEXT and the other references are authoritative; re-stage the moment naturally as a real photograph. Never copy the sketch's line style, paper texture, borders, simplified geometry or drawing errors.", "LOCATION PHOTOGRAPH — the exact place of this shot: its architecture, materials, fixed features and lighting mood are spatial truth; stage the moment inside this place. Never copy its camera framing.", "CHARACTER REFERENCE — 수리영: the exact person appearing in this shot; match face, hair and build exactly.", "PROP REFERENCE — 구겨진 피 묻은 낡은 흑백 사진: the exact object appearing in this shot; match its look, material and wear exactly."], "attempt": 1, "dur_s": 22.6, "bytes": 2282596, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/stills/S25sh1_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): dusk, just after sunset.\n\nSHOT TEXT (authoritative, Korean): 해질 무렵 옥탑방 거실, 흙 묻은 발자국들이 찍힌 바닥과 쓰러진 식탁 의자들이 보이는 전경\n\nLOCATION (lock): A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.\n\nTHE STORYBOARD PANEL IS ONLY A REFERENCE: it is a\nrough pre-production sketch, not the image to\nreproduce. Take from it only the shot's rough\ncomposition — framing, where figures sit, near/far\norder. Everything else (real-world detail, materials,\nlight, anatomy, environment richness) must come from\nthe shot text and the photographic references,\nre-staged as if actually filmed on a real set. If the\nsketch conflicts with the shot text or looks\nsimplified/wrong, FOLLOW THE TEXT, not the sketch.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nMOVEMENT (follow exactly): static: muddy footprints remain across the ransacked living-room floor among overturned dining chairs, indicating a prior path through the room but no current movement.\n\nFIGURES — size & depth (follow exactly): The footprint-marked floor fills the lower half of the wide frame, with the NEAREST prints and fallen chair parts in the foreground appearing larger. Additional prints, the dining area, and the open living-room window recede FARTHER into the room.\n\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The apartment remains ransacked, with dirty footprints on the floor, the living-room window open, and the dining chairs overturned. The red circle and the stained old photograph pinned at its center are already present in Suri-young’s room.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of the referenced people (수리영) matched exactly to their reference photo — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-12 22:46:22", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s37_still_S25sh5", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/panels/S25sh5.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/plate_daughter_bedroom_sunset_bed_wall.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/stills/S12sh21_nb2.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/fc23070d-a644-45e4-a5d8-ecb98fe8d2d3.png"], "ref_labels": ["STORYBOARD PANEL — a REFERENCE ONLY, never the target: use it loosely for camera framing, figure placement and depth order. Do NOT photorealize this drawing as-is — the SHOT TEXT and the other references are authoritative; re-stage the moment naturally as a real photograph. Never copy the sketch's line style, paper texture, borders, simplified geometry or drawing errors.", "LOCATION PHOTOGRAPH — the exact place of this shot: its architecture, materials, fixed features and lighting mood are spatial truth; stage the moment inside this place. Never copy its camera framing.", "PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing.", "PROP REFERENCE — 구겨진 피 묻은 낡은 흑백 사진: the exact object appearing in this shot; match its look, material and wear exactly."], "attempt": 1, "dur_s": 39.8, "bytes": 2861499, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/stills/S25sh5_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): dusk, just after sunset.\n\nSHOT TEXT (authoritative, Korean): 붉은 원 한가운데 얼룩진 낡은 흑백 사진이 벽에 꽂혀 있는 타이트 샷\n\nLOCATION (lock): A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.\n\nTHE STORYBOARD PANEL IS ONLY A REFERENCE: it is a\nrough pre-production sketch, not the image to\nreproduce. Take from it only the shot's rough\ncomposition — framing, where figures sit, near/far\norder. Everything else (real-world detail, materials,\nlight, anatomy, environment richness) must come from\nthe shot text and the photographic references,\nre-staged as if actually filmed on a real set. If the\nsketch conflicts with the shot text or looks\nsimplified/wrong, FOLLOW THE TEXT, not the sketch.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nMOVEMENT (follow exactly): static: a stained old photograph remains pinned at the center of the red circle on Su-ri-young's bedroom wall, facing outward toward the camera.\n\nFIGURES — size & depth (follow exactly): The photograph fills roughly 1/3 of the tight frame height, while the surrounding red circle occupies most of the frame. The photograph projects NEARER from the wall, and the red mark lies FARTHER against the flat wall surface behind it.\n\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The dirty footprints, ransacked furnishings, open window, and overturned chairs remain undisturbed. In the bedroom, the stained old photograph is still pinned at the center of the red wall circle.\n\nNo people appear unless the shot text itself says so.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-12 22:46:55", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s37_still_S25sh9", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/panels/S25sh9.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/plate_daughter_bedroom_sunset_bed_wall.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/stills/S25sh5_nb2.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/39864973-d3d5-4886-bfb2-f8db608a005b.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/fc23070d-a644-45e4-a5d8-ecb98fe8d2d3.png"], "ref_labels": ["STORYBOARD PANEL — a REFERENCE ONLY, never the target: use it loosely for camera framing, figure placement and depth order. Do NOT photorealize this drawing as-is — the SHOT TEXT and the other references are authoritative; re-stage the moment naturally as a real photograph. Never copy the sketch's line style, paper texture, borders, simplified geometry or drawing errors.", "LOCATION PHOTOGRAPH — the exact place of this shot: its architecture, materials, fixed features and lighting mood are spatial truth; stage the moment inside this place. Never copy its camera framing.", "PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing.", "CHARACTER REFERENCE — 수리영: the exact person appearing in this shot; match face, hair and build exactly.", "PROP REFERENCE — 구겨진 피 묻은 낡은 흑백 사진: the exact object appearing in this shot; match its look, material and wear exactly."], "attempt": 1, "dur_s": 33.0, "bytes": 2656195, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/stills/S25sh9_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): dusk, just after sunset.\n\nSHOT TEXT (authoritative, Korean): 수리영의 손이 구겨진 사진을 꽉 움켜쥔 타이트 샷\n\nLOCATION (lock): A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.\n\nTHE STORYBOARD PANEL IS ONLY A REFERENCE: it is a\nrough pre-production sketch, not the image to\nreproduce. Take from it only the shot's rough\ncomposition — framing, where figures sit, near/far\norder. Everything else (real-world detail, materials,\nlight, anatomy, environment richness) must come from\nthe shot text and the photographic references,\nre-staged as if actually filmed on a real set. If the\nsketch conflicts with the shot text or looks\nsimplified/wrong, FOLLOW THE TEXT, not the sketch.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nMOVEMENT (follow exactly): static: Su-ri-young's tense hand crushes the crumpled photograph in a tight grip as she holds it close.\n\nFIGURES — size & depth (follow exactly): Su-ri-young's hand fills roughly 2/3 of the tight frame, and the exposed portion of the photograph fills about 1/3. Her knuckles are NEARER to the camera, while the photograph is partly FARTHER inside her closed fingers.\n\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The apartment remains ransacked, and the red wall circle remains after the photograph has been removed from its center. Suri-young tightly grips the same crumpled, stained photograph.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of the referenced people (수리영) matched exactly to their reference photo — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-12 22:47:17", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s37_still_S27sh3", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/panels/S27sh3.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/plate_living_dining_sunset_floor_view.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/bddad176-aa6a-4a71-b5d3-d02e36e19657.png"], "ref_labels": ["STORYBOARD PANEL — a REFERENCE ONLY, never the target: use it loosely for camera framing, figure placement and depth order. Do NOT photorealize this drawing as-is — the SHOT TEXT and the other references are authoritative; re-stage the moment naturally as a real photograph. Never copy the sketch's line style, paper texture, borders, simplified geometry or drawing errors.", "LOCATION PHOTOGRAPH — the exact place of this shot: its architecture, materials, fixed features and lighting mood are spatial truth; stage the moment inside this place. Never copy its camera framing.", "CHARACTER REFERENCE — 혜수: the exact person appearing in this shot; match face, hair and build exactly."], "attempt": 1, "dur_s": 22.3, "bytes": 2409422, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/stills/S27sh3_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): dusk, just after sunset.\n\nSHOT TEXT (authoritative, Korean): 혜수가 미간을 깊게 찌푸린 채 스마트폰을 내려다보는 얼굴 클로즈업\n\nLOCATION (lock): A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.\n\nTHE STORYBOARD PANEL IS ONLY A REFERENCE: it is a\nrough pre-production sketch, not the image to\nreproduce. Take from it only the shot's rough\ncomposition — framing, where figures sit, near/far\norder. Everything else (real-world detail, materials,\nlight, anatomy, environment richness) must come from\nthe shot text and the photographic references,\nre-staged as if actually filmed on a real set. If the\nsketch conflicts with the shot text or looks\nsimplified/wrong, FOLLOW THE TEXT, not the sketch.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nMOVEMENT (follow exactly): static: Hye-su lowers her gaze toward the smartphone and listens to Su-ri-young's recorded message with her brow deeply furrowed.\n\nFIGURES — size & depth (follow exactly): Hye-su's face fills about 2/3 of the close-up frame, while the smartphone occupies a smaller area below her face. The phone is NEARER to the camera, Hye-su's face is slightly FARTHER, and the room behind her is farthest.\n\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The apartment remains ransacked, with the footprints, open window, overturned chairs, and the now-empty red wall circle left in place; Suri-young has departed with the photograph and backpack. Hyesu holds the smartphone on which she is checking Suri-young’s recorded message.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of the referenced people (혜수) matched exactly to their reference photo — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-12 23:00:05", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s37_still_S10sh7", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/panels/S10sh7.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/stills/S10sh6_nb2.png"], "ref_labels": ["STORYBOARD PANEL — a REFERENCE ONLY, never the target: use it loosely for camera framing, figure placement and depth order. Do NOT photorealize this drawing as-is — the SHOT TEXT and the other references are authoritative; re-stage the moment naturally as a real photograph. Never copy the sketch's line style, paper texture, borders, simplified geometry or drawing errors.", "PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing."], "attempt": 1, "dur_s": 20.6, "bytes": 2493283, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/stills/S10sh7_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\n\nSHOT TEXT (authoritative, Korean): 불이 켜진 옥탑방 창문에 거대한 그림자가 작은 그림자의 어깨 쪽으로 고개를 꺾은 형태가 맺혀 있는 정지 구도\n\nLOCATION (lock): The flat rooftop of an aging low-rise apartment building, enclosed by a waist-high parapet. A small rooftop dwelling has a metal entrance door and a window visible from the open roof. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.\n\nTHE STORYBOARD PANEL IS ONLY A REFERENCE: it is a\nrough pre-production sketch, not the image to\nreproduce. Take from it only the shot's rough\ncomposition — framing, where figures sit, near/far\norder. Everything else (real-world detail, materials,\nlight, anatomy, environment richness) must come from\nthe shot text and the photographic references,\nre-staged as if actually filmed on a real set. If the\nsketch conflicts with the shot text or looks\nsimplified/wrong, FOLLOW THE TEXT, not the sketch.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nMOVEMENT (follow exactly): static: A real man appearing as a large dark silhouette, with normal human build, leans into Minsook and angles his head down toward her shoulder as she is caught beneath him.\n\nFIGURES — size & depth (follow exactly): The man's shadow fills roughly ~2/3 of the frame height, larger than Minsook's smaller shadow at about ~1/3; both people are FARTHER than the NEARER window surface, while their mutual camera-depth order is not established. Their silhouettes overlap at Minsook's shoulder, leaving almost no distance between their paths.\n\nNo people appear unless the shot text itself says so.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-12 23:00:31", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s37_still_S11sh5", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/panels/S11sh5.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/stills/S10sh6_nb2.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/39864973-d3d5-4886-bfb2-f8db608a005b.png"], "ref_labels": ["STORYBOARD PANEL — a REFERENCE ONLY, never the target: use it loosely for camera framing, figure placement and depth order. Do NOT photorealize this drawing as-is — the SHOT TEXT and the other references are authoritative; re-stage the moment naturally as a real photograph. Never copy the sketch's line style, paper texture, borders, simplified geometry or drawing errors.", "PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing.", "CHARACTER REFERENCE — 수리영: the exact person appearing in this shot; match face, hair and build exactly."], "attempt": 1, "dur_s": 26.3, "bytes": 2309838, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/stills/S11sh5_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\n\nSHOT TEXT (authoritative, Korean): 옥상에 선 수리영의 시선 끝에 반쯤 열려 있는 어두운 현관 철문이 보이는 정면 구도\n\nLOCATION (lock): The flat rooftop of an aging low-rise apartment building, enclosed by a waist-high parapet. A small rooftop dwelling has a metal entrance door and a window visible from the open roof. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.\n\nTHE STORYBOARD PANEL IS ONLY A REFERENCE: it is a\nrough pre-production sketch, not the image to\nreproduce. Take from it only the shot's rough\ncomposition — framing, where figures sit, near/far\norder. Everything else (real-world detail, materials,\nlight, anatomy, environment richness) must come from\nthe shot text and the photographic references,\nre-staged as if actually filmed on a real set. If the\nsketch conflicts with the shot text or looks\nsimplified/wrong, FOLLOW THE TEXT, not the sketch.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nMOVEMENT (follow exactly): static: Suriyoung stands tensely on the rooftop with her body and gaze directed straight toward the half-open iron entrance door and its dark interior.\n\nFIGURES — size & depth (follow exactly): Suriyoung appears about ~1/2 of the frame height in the NEARER rooftop area, while the half-open door appears about ~1/3 and is FARTHER ahead along her line of sight.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of the referenced people (수리영) matched exactly to their reference photo — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-12 23:00:55", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s37_still_S13sh6", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/panels/S13sh6.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/stills/S13sh4_nb2.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/39864973-d3d5-4886-bfb2-f8db608a005b.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/bddad176-aa6a-4a71-b5d3-d02e36e19657.png"], "ref_labels": ["STORYBOARD PANEL — a REFERENCE ONLY, never the target: use it loosely for camera framing, figure placement and depth order. Do NOT photorealize this drawing as-is — the SHOT TEXT and the other references are authoritative; re-stage the moment naturally as a real photograph. Never copy the sketch's line style, paper texture, borders, simplified geometry or drawing errors.", "PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing.", "CHARACTER REFERENCE — 수리영: the exact person appearing in this shot; match face, hair and build exactly.", "CHARACTER REFERENCE — 혜수: the exact person appearing in this shot; match face, hair and build exactly."], "attempt": 1, "dur_s": 23.6, "bytes": 2372503, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/stills/S13sh6_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\n\nSHOT TEXT (authoritative, Korean): 고개를 든 채 혜수의 얼굴을 마주보고 있는 수리영의 측면 구도\n\nLOCATION (lock): A confined ground-level alley and small courtyard beside an aging multi-unit residential building. Concrete walls, building entrances, and the base of the exterior access structure frame the space. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.\n\nTHE STORYBOARD PANEL IS ONLY A REFERENCE: it is a\nrough pre-production sketch, not the image to\nreproduce. Take from it only the shot's rough\ncomposition — framing, where figures sit, near/far\norder. Everything else (real-world detail, materials,\nlight, anatomy, environment richness) must come from\nthe shot text and the photographic references,\nre-staged as if actually filmed on a real set. If the\nsketch conflicts with the shot text or looks\nsimplified/wrong, FOLLOW THE TEXT, not the sketch.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nMOVEMENT (follow exactly): static: Su-ri-young holds her head raised and faces Hye-su directly in side profile, looking up at her while remaining dazed and stationary.\n\nFIGURES — size & depth (follow exactly): Su-ri-young and Hye-su's face are visible facing each other, but their respective frame-height fractions and which is nearer to the camera are unspecified; their paths have converged at conversational distance, with neither moving past the other.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of the referenced people (수리영, 혜수) matched exactly to their reference photo — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-12 23:01:30", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s37_still_S5sh9", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/panels/S5sh9.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/stills/S5sh5_nb2.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/899945af-f9bf-4880-bdd7-c9d1f45a5327.png"], "ref_labels": ["STORYBOARD PANEL — a REFERENCE ONLY, never the target: use it loosely for camera framing, figure placement and depth order. Do NOT photorealize this drawing as-is — the SHOT TEXT and the other references are authoritative; re-stage the moment naturally as a real photograph. Never copy the sketch's line style, paper texture, borders, simplified geometry or drawing errors.", "PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing.", "CHARACTER REFERENCE — 민숙: the exact person appearing in this shot; match face, hair and build exactly."], "attempt": 1, "dur_s": 35.4, "bytes": 2376137, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/stills/S5sh9_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): interior ambient light.\n\nSHOT TEXT (authoritative, Korean): 민숙의 손목에 선명하게 드러난 작은 원형 표식의 타이트 샷\n\nLOCATION (lock): A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.\n\nTHE STORYBOARD PANEL IS ONLY A REFERENCE: it is a\nrough pre-production sketch, not the image to\nreproduce. Take from it only the shot's rough\ncomposition — framing, where figures sit, near/far\norder. Everything else (real-world detail, materials,\nlight, anatomy, environment richness) must come from\nthe shot text and the photographic references,\nre-staged as if actually filmed on a real set. If the\nsketch conflicts with the shot text or looks\nsimplified/wrong, FOLLOW THE TEXT, not the sketch.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nMOVEMENT (follow exactly): static: Min-sook's wrist is held in view, with the sharply visible small circular mark facing the camera.\n\nFIGURES — size & depth (follow exactly): The wrist fills most of the tight frame, while the circular mark occupies a small area at its center. The skin and mark are the NEAREST and only principal subject, with any body or room detail FARTHER and out of focus.\n\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The TV remains switched off, and Minsuk still wears the apron. The small, unusually distinct circular mark remains on her wrist.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of the referenced people (민숙) matched exactly to their reference photo — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-12 23:02:13", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s37_still_S12sh18", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/panels/S12sh18.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/stills/S12sh11_nb2.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/1d7902d5-8b31-4ab6-9e6a-5da6ab5d842f.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/fc23070d-a644-45e4-a5d8-ecb98fe8d2d3.png"], "ref_labels": ["STORYBOARD PANEL — a REFERENCE ONLY, never the target: use it loosely for camera framing, figure placement and depth order. Do NOT photorealize this drawing as-is — the SHOT TEXT and the other references are authoritative; re-stage the moment naturally as a real photograph. Never copy the sketch's line style, paper texture, borders, simplified geometry or drawing errors.", "PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing.", "CHARACTER REFERENCE — 민숙 (환시): the exact person appearing in this shot; match face, hair and build exactly.", "PROP REFERENCE — 구겨진 피 묻은 낡은 흑백 사진: the exact object appearing in this shot; match its look, material and wear exactly."], "attempt": 1, "dur_s": 42.7, "bytes": 2369074, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/stills/S12sh18_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\n\nSHOT TEXT (authoritative, Korean): 민숙의 손에 꽉 쥐어진 구겨진 사진의 타이트 샷\n\nLOCATION (lock): A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.\n\nTHE STORYBOARD PANEL IS ONLY A REFERENCE: it is a\nrough pre-production sketch, not the image to\nreproduce. Take from it only the shot's rough\ncomposition — framing, where figures sit, near/far\norder. Everything else (real-world detail, materials,\nlight, anatomy, environment richness) must come from\nthe shot text and the photographic references,\nre-staged as if actually filmed on a real set. If the\nsketch conflicts with the shot text or looks\nsimplified/wrong, FOLLOW THE TEXT, not the sketch.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nMOVEMENT (follow exactly): static: utterly motionless, collapsed Min-sook's limp hand remains curled tightly around a crumpled photograph, with the photograph exposed toward the camera.\n\nFIGURES — size & depth (follow exactly): The dead woman's hand fills roughly 2/3 of the tight frame, and the crumpled photograph fills about 1/3. The photograph is NEARER where it protrudes from her grasp, while her palm, wrist, and collapsed body lie progressively FARTHER behind it.\n\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Minsuk remains in the same seated, head-bowed position with the wounds and dark stains undisturbed. The crumpled photograph stays clenched in her hand until Suri-young pulls it free, as the circular wrist mark turns red.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of the referenced people (민숙 (환시)) matched exactly to their reference photo — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-12 23:02:45", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s37_still_S12sh21", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/panels/S12sh21.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/stills/S12sh18_nb2.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/1d7902d5-8b31-4ab6-9e6a-5da6ab5d842f.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/fc23070d-a644-45e4-a5d8-ecb98fe8d2d3.png"], "ref_labels": ["STORYBOARD PANEL — a REFERENCE ONLY, never the target: use it loosely for camera framing, figure placement and depth order. Do NOT photorealize this drawing as-is — the SHOT TEXT and the other references are authoritative; re-stage the moment naturally as a real photograph. Never copy the sketch's line style, paper texture, borders, simplified geometry or drawing errors.", "PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing.", "CHARACTER REFERENCE — 민숙 (환시): the exact person appearing in this shot; match face, hair and build exactly.", "PROP REFERENCE — 구겨진 피 묻은 낡은 흑백 사진: the exact object appearing in this shot; match its look, material and wear exactly."], "attempt": 1, "dur_s": 31.6, "bytes": 2767939, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/stills/S12sh21_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\n\nSHOT TEXT (authoritative, Korean): 침대 위쪽 벽면에 붉은색 원형 표식이 절반쯤 나타난 상태\n\nLOCATION (lock): A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.\n\nTHE STORYBOARD PANEL IS ONLY A REFERENCE: it is a\nrough pre-production sketch, not the image to\nreproduce. Take from it only the shot's rough\ncomposition — framing, where figures sit, near/far\norder. Everything else (real-world detail, materials,\nlight, anatomy, environment richness) must come from\nthe shot text and the photographic references,\nre-staged as if actually filmed on a real set. If the\nsketch conflicts with the shot text or looks\nsimplified/wrong, FOLLOW THE TEXT, not the sketch.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nMOVEMENT (follow exactly): A red circular mark spreads around the wall above the bed, progressing along a ring-like path as though an unseen brush is drawing it, with about half the circle formed.\n\nFIGURES — size & depth (follow exactly): The half-formed red circle fills roughly 1/2 of the frame height on the wall and is the principal visible object. The wall surface and mark are FARTHER than the nearer edge of the bed, with the red pigment visually sitting closest on that wall plane.\n\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Minsuk’s motionless figure, wounds, and the room’s dark stains traces remain unchanged; her hand is now without the photograph, which Suri-young has taken, and the wrist mark is red. A red circle is partially formed on the wall above the bed.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of the referenced people (민숙 (환시)) matched exactly to their reference photo — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-12 23:03:09", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s37_still_S14sh5", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/panels/S14sh5.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/stills/S12sh11_nb2.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/39864973-d3d5-4886-bfb2-f8db608a005b.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/bddad176-aa6a-4a71-b5d3-d02e36e19657.png"], "ref_labels": ["STORYBOARD PANEL — a REFERENCE ONLY, never the target: use it loosely for camera framing, figure placement and depth order. Do NOT photorealize this drawing as-is — the SHOT TEXT and the other references are authoritative; re-stage the moment naturally as a real photograph. Never copy the sketch's line style, paper texture, borders, simplified geometry or drawing errors.", "PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing.", "CHARACTER REFERENCE — 수리영: the exact person appearing in this shot; match face, hair and build exactly.", "CHARACTER REFERENCE — 혜수: the exact person appearing in this shot; match face, hair and build exactly."], "attempt": 1, "dur_s": 24.5, "bytes": 2633697, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/stills/S14sh5_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\n\nSHOT TEXT (authoritative, Korean): 어두운 얼룩 없이 깨끗한 방 내부 전경\n\nLOCATION (lock): A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.\n\nTHE STORYBOARD PANEL IS ONLY A REFERENCE: it is a\nrough pre-production sketch, not the image to\nreproduce. Take from it only the shot's rough\ncomposition — framing, where figures sit, near/far\norder. Everything else (real-world detail, materials,\nlight, anatomy, environment richness) must come from\nthe shot text and the photographic references,\nre-staged as if actually filmed on a real set. If the\nsketch conflicts with the shot text or looks\nsimplified/wrong, FOLLOW THE TEXT, not the sketch.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nMOVEMENT (follow exactly): static: the excessively tidy bedroom stands empty, with no dark stainsstains, red wall mark, or collapsed body remaining anywhere in the room.\n\nFIGURES — size & depth (follow exactly): The empty room fills the full frame; nearer floor and furniture edges occupy the foreground, while the bed, curtain, and clean back wall are FARTHER away. No person is visible, and the formerly occupied curtain area is now empty.\n\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The room is unnaturally spotless, with no dark stains, wall circle, or motionless figure behind the curtain. The backpack and doll are present in positions slightly different from when the body was discovered.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of the referenced people (수리영, 혜수) matched exactly to their reference photo — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-12 23:03:42", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s37_still_S14sh7", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/panels/S14sh7.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/stills/S14sh5_nb2.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/39864973-d3d5-4886-bfb2-f8db608a005b.png"], "ref_labels": ["STORYBOARD PANEL — a REFERENCE ONLY, never the target: use it loosely for camera framing, figure placement and depth order. Do NOT photorealize this drawing as-is — the SHOT TEXT and the other references are authoritative; re-stage the moment naturally as a real photograph. Never copy the sketch's line style, paper texture, borders, simplified geometry or drawing errors.", "PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing.", "CHARACTER REFERENCE — 수리영: the exact person appearing in this shot; match face, hair and build exactly."], "attempt": 1, "dur_s": 32.7, "bytes": 3013871, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/stills/S14sh7_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\n\nSHOT TEXT (authoritative, Korean): 수리영이 멍한 눈으로 텅 빈 방 안을 응시하는 얼굴 클로즈업\n\nLOCATION (lock): A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.\n\nTHE STORYBOARD PANEL IS ONLY A REFERENCE: it is a\nrough pre-production sketch, not the image to\nreproduce. Take from it only the shot's rough\ncomposition — framing, where figures sit, near/far\norder. Everything else (real-world detail, materials,\nlight, anatomy, environment richness) must come from\nthe shot text and the photographic references,\nre-staged as if actually filmed on a real set. If the\nsketch conflicts with the shot text or looks\nsimplified/wrong, FOLLOW THE TEXT, not the sketch.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nMOVEMENT (follow exactly): static: pale-faced Su-ri-young holds her body rigid and stares blankly into the empty bedroom where she expected to find her mother's body.\n\nFIGURES — size & depth (follow exactly): Su-ri-young's face fills about 2/3 of the frame height and is the NEAREST figure. The empty room she watches is FARTHER beyond her eyeline, with no other person visible.\n\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The empty room remains excessively clean, with the motionless figure, dark stains, and red wall mark still absent. The backpack and doll remain in their altered positions.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of the referenced people (수리영) matched exactly to their reference photo — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-12 23:04:13", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s37_still_S18sh11", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/panels/S18sh11.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/stills/S12sh21_nb2.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/39864973-d3d5-4886-bfb2-f8db608a005b.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/70af1a1c-b2e4-45ad-a166-7cef7e66e156.png"], "ref_labels": ["STORYBOARD PANEL — a REFERENCE ONLY, never the target: use it loosely for camera framing, figure placement and depth order. Do NOT photorealize this drawing as-is — the SHOT TEXT and the other references are authoritative; re-stage the moment naturally as a real photograph. Never copy the sketch's line style, paper texture, borders, simplified geometry or drawing errors.", "PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing.", "CHARACTER REFERENCE — 수리영: the exact person appearing in this shot; match face, hair and build exactly.", "PROP REFERENCE — 민숙과 수리영의 액자 사진: the exact object appearing in this shot; match its look, material and wear exactly."], "attempt": 1, "dur_s": 30.9, "bytes": 2695370, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/stills/S18sh11_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): daytime.\n\nSHOT TEXT (authoritative, Korean): 거울 속 반사된 욕실 타일 벽면에 붉은색 원형 표식이 절반쯤 나타난 상태\n\nLOCATION (lock): A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.\n\nTHE STORYBOARD PANEL IS ONLY A REFERENCE: it is a\nrough pre-production sketch, not the image to\nreproduce. Take from it only the shot's rough\ncomposition — framing, where figures sit, near/far\norder. Everything else (real-world detail, materials,\nlight, anatomy, environment richness) must come from\nthe shot text and the photographic references,\nre-staged as if actually filmed on a real set. If the\nsketch conflicts with the shot text or looks\nsimplified/wrong, FOLLOW THE TEXT, not the sketch.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nMOVEMENT (follow exactly): A red circular mark suddenly develops across the bathroom tile wall seen in the mirror, extending around a ring-like path until roughly half is visible.\n\nFIGURES — size & depth (follow exactly): The mirror and reflected tiled wall fill most of the frame, while the half-formed red circle occupies about 1/2 of the reflected frame height. The mirror surface is physically NEARER to the camera, while the marked bathroom wall appears FARTHER within the reflection.\n\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Suri-young continues to have her doll-adorned backpack with her, while her bedroom remains clean and without a motionless figure. A red circle is partially visible on the bathroom wall only in the mirror reflection.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of the referenced people (수리영) matched exactly to their reference photo — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-12 23:04:38", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s37_still_S18sh15", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/panels/S18sh15.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/stills/S5sh5_nb2.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/70af1a1c-b2e4-45ad-a166-7cef7e66e156.png"], "ref_labels": ["STORYBOARD PANEL — a REFERENCE ONLY, never the target: use it loosely for camera framing, figure placement and depth order. Do NOT photorealize this drawing as-is — the SHOT TEXT and the other references are authoritative; re-stage the moment naturally as a real photograph. Never copy the sketch's line style, paper texture, borders, simplified geometry or drawing errors.", "PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing.", "PROP REFERENCE — 민숙과 수리영의 액자 사진: the exact object appearing in this shot; match its look, material and wear exactly."], "attempt": 1, "dur_s": 24.8, "bytes": 2565656, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/stills/S18sh15_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): daytime.\n\nSHOT TEXT (authoritative, Korean): 액자 속 민숙의 얼굴 부분 이미지가 아래로 일그러지며 흘러내리는 찰나\n\nLOCATION (lock): A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.\n\nTHE STORYBOARD PANEL IS ONLY A REFERENCE: it is a\nrough pre-production sketch, not the image to\nreproduce. Take from it only the shot's rough\ncomposition — framing, where figures sit, near/far\norder. Everything else (real-world detail, materials,\nlight, anatomy, environment richness) must come from\nthe shot text and the photographic references,\nre-staged as if actually filmed on a real set. If the\nsketch conflicts with the shot text or looks\nsimplified/wrong, FOLLOW THE TEXT, not the sketch.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nMOVEMENT (follow exactly): The image of Min-sook's smiling face inside the framed photograph distorts and flows downward before Su-ri-young's eyes.\n\nFIGURES — size & depth (follow exactly): The framed photograph fills most of the close frame, and Min-sook's pictured face occupies roughly 1/2 of its height. The photograph's glass and frame are NEARER to the camera, while the collapsing facial image is visually FARTHER beneath the surface.\n\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The bathroom’s red circle has vanished, and Suri-young still has the doll-adorned backpack. The framed photograph remains on the table as Minsuk’s face in it distorts and runs downward.\n\nNo people appear unless the shot text itself says so.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-12 23:05:04", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s37_still_S18sh16", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/panels/S18sh16.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/stills/S18sh15_nb2.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/39864973-d3d5-4886-bfb2-f8db608a005b.png"], "ref_labels": ["STORYBOARD PANEL — a REFERENCE ONLY, never the target: use it loosely for camera framing, figure placement and depth order. Do NOT photorealize this drawing as-is — the SHOT TEXT and the other references are authoritative; re-stage the moment naturally as a real photograph. Never copy the sketch's line style, paper texture, borders, simplified geometry or drawing errors.", "PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing.", "CHARACTER REFERENCE — 수리영: the exact person appearing in this shot; match face, hair and build exactly."], "attempt": 1, "dur_s": 26.0, "bytes": 2572922, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/stills/S18sh16_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): daytime.\n\nSHOT TEXT (authoritative, Korean): 수리영이 두 손으로 머리를 감싸 쥐고 입을 크게 벌린 얼굴\n\nLOCATION (lock): A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.\n\nTHE STORYBOARD PANEL IS ONLY A REFERENCE: it is a\nrough pre-production sketch, not the image to\nreproduce. Take from it only the shot's rough\ncomposition — framing, where figures sit, near/far\norder. Everything else (real-world detail, materials,\nlight, anatomy, environment richness) must come from\nthe shot text and the photographic references,\nre-staged as if actually filmed on a real set. If the\nsketch conflicts with the shot text or looks\nsimplified/wrong, FOLLOW THE TEXT, not the sketch.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nMOVEMENT (follow exactly): static: terrified and overwhelmed, Su-ri-young clamps both hands around her head and holds her mouth wide open in a scream, her posture rigid with panic.\n\nFIGURES — size & depth (follow exactly): Su-ri-young's face and hands fill about 3/4 of the frame height and form the NEAREST subject. Her hands sit slightly NEARER than her face on either side, while the room behind her is FARTHER and secondary.\n\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The framed photograph remains on the table but has returned to normal, and the bathroom wall remains without the red circle. Suri-young still has the doll-adorned backpack with her.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of the referenced people (수리영) matched exactly to their reference photo — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-12 23:05:31", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s37_still_S25sh5", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/panels/S25sh5.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/stills/S12sh21_nb2.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/fc23070d-a644-45e4-a5d8-ecb98fe8d2d3.png"], "ref_labels": ["STORYBOARD PANEL — a REFERENCE ONLY, never the target: use it loosely for camera framing, figure placement and depth order. Do NOT photorealize this drawing as-is — the SHOT TEXT and the other references are authoritative; re-stage the moment naturally as a real photograph. Never copy the sketch's line style, paper texture, borders, simplified geometry or drawing errors.", "PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing.", "PROP REFERENCE — 구겨진 피 묻은 낡은 흑백 사진: the exact object appearing in this shot; match its look, material and wear exactly."], "attempt": 1, "dur_s": 27.0, "bytes": 3050861, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/stills/S25sh5_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): dusk, just after sunset.\n\nSHOT TEXT (authoritative, Korean): 붉은 원 한가운데 얼룩진 낡은 흑백 사진이 벽에 꽂혀 있는 타이트 샷\n\nLOCATION (lock): A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.\n\nTHE STORYBOARD PANEL IS ONLY A REFERENCE: it is a\nrough pre-production sketch, not the image to\nreproduce. Take from it only the shot's rough\ncomposition — framing, where figures sit, near/far\norder. Everything else (real-world detail, materials,\nlight, anatomy, environment richness) must come from\nthe shot text and the photographic references,\nre-staged as if actually filmed on a real set. If the\nsketch conflicts with the shot text or looks\nsimplified/wrong, FOLLOW THE TEXT, not the sketch.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nMOVEMENT (follow exactly): static: a stained old photograph remains pinned at the center of the red circle on Su-ri-young's bedroom wall, facing outward toward the camera.\n\nFIGURES — size & depth (follow exactly): The photograph fills roughly 1/3 of the tight frame height, while the surrounding red circle occupies most of the frame. The photograph projects NEARER from the wall, and the red mark lies FARTHER against the flat wall surface behind it.\n\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The dirty footprints, ransacked furnishings, open window, and overturned chairs remain undisturbed. In the bedroom, the stained old photograph is still pinned at the center of the red wall circle.\n\nNo people appear unless the shot text itself says so.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-12 23:06:02", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s37_still_S25sh9", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/panels/S25sh9.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/stills/S25sh5_nb2.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/39864973-d3d5-4886-bfb2-f8db608a005b.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/fc23070d-a644-45e4-a5d8-ecb98fe8d2d3.png"], "ref_labels": ["STORYBOARD PANEL — a REFERENCE ONLY, never the target: use it loosely for camera framing, figure placement and depth order. Do NOT photorealize this drawing as-is — the SHOT TEXT and the other references are authoritative; re-stage the moment naturally as a real photograph. Never copy the sketch's line style, paper texture, borders, simplified geometry or drawing errors.", "PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing.", "CHARACTER REFERENCE — 수리영: the exact person appearing in this shot; match face, hair and build exactly.", "PROP REFERENCE — 구겨진 피 묻은 낡은 흑백 사진: the exact object appearing in this shot; match its look, material and wear exactly."], "attempt": 1, "dur_s": 31.5, "bytes": 2910965, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/stills/S25sh9_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): dusk, just after sunset.\n\nSHOT TEXT (authoritative, Korean): 수리영의 손이 구겨진 사진을 꽉 움켜쥔 타이트 샷\n\nLOCATION (lock): A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.\n\nTHE STORYBOARD PANEL IS ONLY A REFERENCE: it is a\nrough pre-production sketch, not the image to\nreproduce. Take from it only the shot's rough\ncomposition — framing, where figures sit, near/far\norder. Everything else (real-world detail, materials,\nlight, anatomy, environment richness) must come from\nthe shot text and the photographic references,\nre-staged as if actually filmed on a real set. If the\nsketch conflicts with the shot text or looks\nsimplified/wrong, FOLLOW THE TEXT, not the sketch.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nMOVEMENT (follow exactly): static: Su-ri-young's tense hand crushes the crumpled photograph in a tight grip as she holds it close.\n\nFIGURES — size & depth (follow exactly): Su-ri-young's hand fills roughly 2/3 of the tight frame, and the exposed portion of the photograph fills about 1/3. Her knuckles are NEARER to the camera, while the photograph is partly FARTHER inside her closed fingers.\n\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The apartment remains ransacked, and the red wall circle remains after the photograph has been removed from its center. Suri-young tightly grips the same crumpled, stained photograph.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of the referenced people (수리영) matched exactly to their reference photo — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-12 23:10:06", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s37_still_S10sh7", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/stills/S10sh6_nb2.png"], "ref_labels": ["PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing."], "attempt": 1, "dur_s": 22.1, "bytes": 2405255, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/stills/S10sh7_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\n\nSHOT TEXT (authoritative, Korean): 불이 켜진 옥탑방 창문에 거대한 그림자가 작은 그림자의 어깨 쪽으로 고개를 꺾은 형태가 맺혀 있는 정지 구도\n\nLOCATION (lock): The flat rooftop of an aging low-rise apartment building, enclosed by a waist-high parapet. A small rooftop dwelling has a metal entrance door and a window visible from the open roof. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nMOVEMENT (follow exactly): static: A real man appearing as a large dark silhouette, with normal human build, leans into Minsook and angles his head down toward her shoulder as she is caught beneath him.\n\nFIGURES — size & depth (follow exactly): The man's shadow fills roughly ~2/3 of the frame height, larger than Minsook's smaller shadow at about ~1/3; both people are FARTHER than the NEARER window surface, while their mutual camera-depth order is not established. Their silhouettes overlap at Minsook's shoulder, leaving almost no distance between their paths.\n\nNo people appear unless the shot text itself says so.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-12 23:10:28", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s37_still_S11sh5", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/stills/S10sh6_nb2.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/39864973-d3d5-4886-bfb2-f8db608a005b.png"], "ref_labels": ["PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing.", "CHARACTER REFERENCE — 수리영: the exact person appearing in this shot; match face, hair and build exactly."], "attempt": 1, "dur_s": 22.1, "bytes": 2253983, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/stills/S11sh5_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\n\nSHOT TEXT (authoritative, Korean): 옥상에 선 수리영의 시선 끝에 반쯤 열려 있는 어두운 현관 철문이 보이는 정면 구도\n\nLOCATION (lock): The flat rooftop of an aging low-rise apartment building, enclosed by a waist-high parapet. A small rooftop dwelling has a metal entrance door and a window visible from the open roof. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nMOVEMENT (follow exactly): static: Suriyoung stands tensely on the rooftop with her body and gaze directed straight toward the half-open iron entrance door and its dark interior.\n\nFIGURES — size & depth (follow exactly): Suriyoung appears about ~1/2 of the frame height in the NEARER rooftop area, while the half-open door appears about ~1/3 and is FARTHER ahead along her line of sight.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of the referenced people (수리영) matched exactly to their reference photo — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-12 23:10:57", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s37_still_S13sh6", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/stills/S13sh4_nb2.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/39864973-d3d5-4886-bfb2-f8db608a005b.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/bddad176-aa6a-4a71-b5d3-d02e36e19657.png"], "ref_labels": ["PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing.", "CHARACTER REFERENCE — 수리영: the exact person appearing in this shot; match face, hair and build exactly.", "CHARACTER REFERENCE — 혜수: the exact person appearing in this shot; match face, hair and build exactly."], "attempt": 1, "dur_s": 28.8, "bytes": 2278991, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/stills/S13sh6_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\n\nSHOT TEXT (authoritative, Korean): 고개를 든 채 혜수의 얼굴을 마주보고 있는 수리영의 측면 구도\n\nLOCATION (lock): A confined ground-level alley and small courtyard beside an aging multi-unit residential building. Concrete walls, building entrances, and the base of the exterior access structure frame the space. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nMOVEMENT (follow exactly): static: Su-ri-young holds her head raised and faces Hye-su directly in side profile, looking up at her while remaining dazed and stationary.\n\nFIGURES — size & depth (follow exactly): Su-ri-young and Hye-su's face are visible facing each other, but their respective frame-height fractions and which is nearer to the camera are unspecified; their paths have converged at conversational distance, with neither moving past the other.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of the referenced people (수리영, 혜수) matched exactly to their reference photo — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-12 23:11:21", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s37_still_S5sh9", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/stills/S5sh5_nb2.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/899945af-f9bf-4880-bdd7-c9d1f45a5327.png"], "ref_labels": ["PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing.", "CHARACTER REFERENCE — 민숙: the exact person appearing in this shot; match face, hair and build exactly."], "attempt": 1, "dur_s": 23.7, "bytes": 2149006, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/stills/S5sh9_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): interior ambient light.\n\nSHOT TEXT (authoritative, Korean): 민숙의 손목에 선명하게 드러난 작은 원형 표식의 타이트 샷\n\nLOCATION (lock): A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nMOVEMENT (follow exactly): static: Min-sook's wrist is held in view, with the sharply visible small circular mark facing the camera.\n\nFIGURES — size & depth (follow exactly): The wrist fills most of the tight frame, while the circular mark occupies a small area at its center. The skin and mark are the NEAREST and only principal subject, with any body or room detail FARTHER and out of focus.\n\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The TV remains switched off, and Minsuk still wears the apron. The small, unusually distinct circular mark remains on her wrist.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of the referenced people (민숙) matched exactly to their reference photo — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-12 23:11:51", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s37_still_S12sh18", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/stills/S12sh11_nb2.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/1d7902d5-8b31-4ab6-9e6a-5da6ab5d842f.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/fc23070d-a644-45e4-a5d8-ecb98fe8d2d3.png"], "ref_labels": ["PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing.", "CHARACTER REFERENCE — 민숙 (환시): the exact person appearing in this shot; match face, hair and build exactly.", "PROP REFERENCE — 구겨진 피 묻은 낡은 흑백 사진: the exact object appearing in this shot; match its look, material and wear exactly."], "attempt": 1, "dur_s": 29.8, "bytes": 2346454, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/stills/S12sh18_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\n\nSHOT TEXT (authoritative, Korean): 민숙의 손에 꽉 쥐어진 구겨진 사진의 타이트 샷\n\nLOCATION (lock): A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nMOVEMENT (follow exactly): static: utterly motionless, collapsed Min-sook's limp hand remains curled tightly around a crumpled photograph, with the photograph exposed toward the camera.\n\nFIGURES — size & depth (follow exactly): The dead woman's hand fills roughly 2/3 of the tight frame, and the crumpled photograph fills about 1/3. The photograph is NEARER where it protrudes from her grasp, while her palm, wrist, and collapsed body lie progressively FARTHER behind it.\n\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Minsuk remains in the same seated, head-bowed position with the wounds and dark stains undisturbed. The crumpled photograph stays clenched in her hand until Suri-young pulls it free, as the circular wrist mark turns red.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of the referenced people (민숙 (환시)) matched exactly to their reference photo — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-12 23:12:28", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s37_still_S12sh21", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/stills/S12sh18_nb2.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/1d7902d5-8b31-4ab6-9e6a-5da6ab5d842f.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/fc23070d-a644-45e4-a5d8-ecb98fe8d2d3.png"], "ref_labels": ["PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing.", "CHARACTER REFERENCE — 민숙 (환시): the exact person appearing in this shot; match face, hair and build exactly.", "PROP REFERENCE — 구겨진 피 묻은 낡은 흑백 사진: the exact object appearing in this shot; match its look, material and wear exactly."], "attempt": 1, "dur_s": 37.5, "bytes": 2695425, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/stills/S12sh21_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\n\nSHOT TEXT (authoritative, Korean): 침대 위쪽 벽면에 붉은색 원형 표식이 절반쯤 나타난 상태\n\nLOCATION (lock): A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nMOVEMENT (follow exactly): A red circular mark spreads around the wall above the bed, progressing along a ring-like path as though an unseen brush is drawing it, with about half the circle formed.\n\nFIGURES — size & depth (follow exactly): The half-formed red circle fills roughly 1/2 of the frame height on the wall and is the principal visible object. The wall surface and mark are FARTHER than the nearer edge of the bed, with the red pigment visually sitting closest on that wall plane.\n\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Minsuk’s motionless figure, wounds, and the room’s dark stains traces remain unchanged; her hand is now without the photograph, which Suri-young has taken, and the wrist mark is red. A red circle is partially formed on the wall above the bed.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of the referenced people (민숙 (환시)) matched exactly to their reference photo — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-12 23:12:50", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s37_still_S14sh5", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/stills/S12sh11_nb2.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/39864973-d3d5-4886-bfb2-f8db608a005b.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/bddad176-aa6a-4a71-b5d3-d02e36e19657.png"], "ref_labels": ["PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing.", "CHARACTER REFERENCE — 수리영: the exact person appearing in this shot; match face, hair and build exactly.", "CHARACTER REFERENCE — 혜수: the exact person appearing in this shot; match face, hair and build exactly."], "attempt": 1, "dur_s": 21.8, "bytes": 2468281, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/stills/S14sh5_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\n\nSHOT TEXT (authoritative, Korean): 어두운 얼룩 없이 깨끗한 방 내부 전경\n\nLOCATION (lock): A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nMOVEMENT (follow exactly): static: the excessively tidy bedroom stands empty, with no dark stainsstains, red wall mark, or collapsed body remaining anywhere in the room.\n\nFIGURES — size & depth (follow exactly): The empty room fills the full frame; nearer floor and furniture edges occupy the foreground, while the bed, curtain, and clean back wall are FARTHER away. No person is visible, and the formerly occupied curtain area is now empty.\n\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The room is unnaturally spotless, with no dark stains, wall circle, or motionless figure behind the curtain. The backpack and doll are present in positions slightly different from when the body was discovered.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of the referenced people (수리영, 혜수) matched exactly to their reference photo — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-12 23:13:12", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s37_still_S14sh7", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/stills/S14sh5_nb2.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/39864973-d3d5-4886-bfb2-f8db608a005b.png"], "ref_labels": ["PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing.", "CHARACTER REFERENCE — 수리영: the exact person appearing in this shot; match face, hair and build exactly."], "attempt": 1, "dur_s": 22.0, "bytes": 2746874, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/stills/S14sh7_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\n\nSHOT TEXT (authoritative, Korean): 수리영이 멍한 눈으로 텅 빈 방 안을 응시하는 얼굴 클로즈업\n\nLOCATION (lock): A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nMOVEMENT (follow exactly): static: pale-faced Su-ri-young holds her body rigid and stares blankly into the empty bedroom where she expected to find her mother's body.\n\nFIGURES — size & depth (follow exactly): Su-ri-young's face fills about 2/3 of the frame height and is the NEAREST figure. The empty room she watches is FARTHER beyond her eyeline, with no other person visible.\n\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The empty room remains excessively clean, with the motionless figure, dark stains, and red wall mark still absent. The backpack and doll remain in their altered positions.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of the referenced people (수리영) matched exactly to their reference photo — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-12 23:13:35", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s37_still_S18sh11", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/stills/S12sh21_nb2.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/39864973-d3d5-4886-bfb2-f8db608a005b.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/70af1a1c-b2e4-45ad-a166-7cef7e66e156.png"], "ref_labels": ["PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing.", "CHARACTER REFERENCE — 수리영: the exact person appearing in this shot; match face, hair and build exactly.", "PROP REFERENCE — 민숙과 수리영의 액자 사진: the exact object appearing in this shot; match its look, material and wear exactly."], "attempt": 1, "dur_s": 22.8, "bytes": 2629228, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/stills/S18sh11_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): daytime.\n\nSHOT TEXT (authoritative, Korean): 거울 속 반사된 욕실 타일 벽면에 붉은색 원형 표식이 절반쯤 나타난 상태\n\nLOCATION (lock): A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nMOVEMENT (follow exactly): A red circular mark suddenly develops across the bathroom tile wall seen in the mirror, extending around a ring-like path until roughly half is visible.\n\nFIGURES — size & depth (follow exactly): The mirror and reflected tiled wall fill most of the frame, while the half-formed red circle occupies about 1/2 of the reflected frame height. The mirror surface is physically NEARER to the camera, while the marked bathroom wall appears FARTHER within the reflection.\n\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Suri-young continues to have her doll-adorned backpack with her, while her bedroom remains clean and without a motionless figure. A red circle is partially visible on the bathroom wall only in the mirror reflection.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of the referenced people (수리영) matched exactly to their reference photo — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-12 23:13:55", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s37_still_S18sh15", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/stills/S5sh5_nb2.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/70af1a1c-b2e4-45ad-a166-7cef7e66e156.png"], "ref_labels": ["PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing.", "PROP REFERENCE — 민숙과 수리영의 액자 사진: the exact object appearing in this shot; match its look, material and wear exactly."], "attempt": 1, "dur_s": 20.2, "bytes": 2542769, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/stills/S18sh15_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): daytime.\n\nSHOT TEXT (authoritative, Korean): 액자 속 민숙의 얼굴 부분 이미지가 아래로 일그러지며 흘러내리는 찰나\n\nLOCATION (lock): A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nMOVEMENT (follow exactly): The image of Min-sook's smiling face inside the framed photograph distorts and flows downward before Su-ri-young's eyes.\n\nFIGURES — size & depth (follow exactly): The framed photograph fills most of the close frame, and Min-sook's pictured face occupies roughly 1/2 of its height. The photograph's glass and frame are NEARER to the camera, while the collapsing facial image is visually FARTHER beneath the surface.\n\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The bathroom’s red circle has vanished, and Suri-young still has the doll-adorned backpack. The framed photograph remains on the table as Minsuk’s face in it distorts and runs downward.\n\nNo people appear unless the shot text itself says so.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-12 23:14:22", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s37_still_S18sh16", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/stills/S18sh15_nb2.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/39864973-d3d5-4886-bfb2-f8db608a005b.png"], "ref_labels": ["PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing.", "CHARACTER REFERENCE — 수리영: the exact person appearing in this shot; match face, hair and build exactly."], "attempt": 1, "dur_s": 23.0, "bytes": 2643687, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/stills/S18sh16_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): daytime.\n\nSHOT TEXT (authoritative, Korean): 수리영이 두 손으로 머리를 감싸 쥐고 입을 크게 벌린 얼굴\n\nLOCATION (lock): A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nMOVEMENT (follow exactly): static: terrified and overwhelmed, Su-ri-young clamps both hands around her head and holds her mouth wide open in a scream, her posture rigid with panic.\n\nFIGURES — size & depth (follow exactly): Su-ri-young's face and hands fill about 3/4 of the frame height and form the NEAREST subject. Her hands sit slightly NEARER than her face on either side, while the room behind her is FARTHER and secondary.\n\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The framed photograph remains on the table but has returned to normal, and the bathroom wall remains without the red circle. Suri-young still has the doll-adorned backpack with her.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of the referenced people (수리영) matched exactly to their reference photo — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-12 23:14:43", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s37_still_S25sh5", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/stills/S12sh21_nb2.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/fc23070d-a644-45e4-a5d8-ecb98fe8d2d3.png"], "ref_labels": ["PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing.", "PROP REFERENCE — 구겨진 피 묻은 낡은 흑백 사진: the exact object appearing in this shot; match its look, material and wear exactly."], "attempt": 1, "dur_s": 20.5, "bytes": 3140506, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/stills/S25sh5_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): dusk, just after sunset.\n\nSHOT TEXT (authoritative, Korean): 붉은 원 한가운데 얼룩진 낡은 흑백 사진이 벽에 꽂혀 있는 타이트 샷\n\nLOCATION (lock): A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nMOVEMENT (follow exactly): static: a stained old photograph remains pinned at the center of the red circle on Su-ri-young's bedroom wall, facing outward toward the camera.\n\nFIGURES — size & depth (follow exactly): The photograph fills roughly 1/3 of the tight frame height, while the surrounding red circle occupies most of the frame. The photograph projects NEARER from the wall, and the red mark lies FARTHER against the flat wall surface behind it.\n\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The dirty footprints, ransacked furnishings, open window, and overturned chairs remain undisturbed. In the bedroom, the stained old photograph is still pinned at the center of the red wall circle.\n\nNo people appear unless the shot text itself says so.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-12 23:15:15", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s37_still_S25sh9", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/stills/S25sh5_nb2.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/39864973-d3d5-4886-bfb2-f8db608a005b.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/fc23070d-a644-45e4-a5d8-ecb98fe8d2d3.png"], "ref_labels": ["PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing.", "CHARACTER REFERENCE — 수리영: the exact person appearing in this shot; match face, hair and build exactly.", "PROP REFERENCE — 구겨진 피 묻은 낡은 흑백 사진: the exact object appearing in this shot; match its look, material and wear exactly."], "attempt": 1, "dur_s": 32.0, "bytes": 2701388, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/stills/S25sh9_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): dusk, just after sunset.\n\nSHOT TEXT (authoritative, Korean): 수리영의 손이 구겨진 사진을 꽉 움켜쥔 타이트 샷\n\nLOCATION (lock): A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nMOVEMENT (follow exactly): static: Su-ri-young's tense hand crushes the crumpled photograph in a tight grip as she holds it close.\n\nFIGURES — size & depth (follow exactly): Su-ri-young's hand fills roughly 2/3 of the tight frame, and the exposed portion of the photograph fills about 1/3. Her knuckles are NEARER to the camera, while the photograph is partly FARTHER inside her closed fingers.\n\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The apartment remains ransacked, and the red wall circle remains after the photograph has been removed from its center. Suri-young tightly grips the same crumpled, stained photograph.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of the referenced people (수리영) matched exactly to their reference photo — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-12 23:47:56", "kind": "llm", "step": "s37_pose_canon", "model": "gpt", "dur_s": 9.6, "system_prompt": "당신은 콘티 연속성 편집자다. 씬 원문 전문과 샷 목록을 읽고,\n움직일 수 없는 상태(사망·의식불명 등)로 화면에 등장하는 인물\n각각에 대해 '자세 정본(canonical pose)'을 저작하라.\n규칙:\n1) pose_en = 영어 1~2문장, 그 인물의 몸 자세를 시각적으로 완전\n   서술: 앉음/누움/기댐 여부, 상체·머리·팔다리의 정확한 상태,\n   무엇에 기대거나 닿아 있는지, 몸의 방향. 이 문장은 그 인물이\n   등장하는 모든 샷에 글자 그대로 재사용된다 — 중의적 단어\n   (예: 위치 의미의 lie)는 피하고 자세 동사를 명확히 써라.\n2) 자세는 오직 원문 근거로만. 원문이 특정한 순간부터 자세가\n   바뀔 근거(이동·수습 등)가 있으면 그 구간별로 별도 항목.\n3) shots = 그 정본이 적용되는 샷 태그들(그 인물이 그 자세로\n   화면에 보이거나 부분적으로라도 걸리는 샷 전부).\n4) 해당 인물이 없으면 빈 배열을 반환하라.\n각 항목: character_ko, pose_en, shots, basis_ko(근거 구절).", "user_prompt": "씬 원문 전문:\n\n[씬 4] S#4. 옥탑방 / D\nS#4. 옥탑방 / D\n인천 변두리 부감, 오래된 빌라 옥탑방 전경.\n\n기자(E)\n지역 주민들 사이에 횡행한 소문이 돌고 있지만, 경찰은\n범인의 윤곽조차 잡지 못하고 있어 지역주민들의 불안과\n두려움을 더 키우는 모양새입니다.\n\n\n\n[씬 5] S#5. 옥탑방 안 / 실내\nS#5. 옥탑방 안 / 실내\n거실에 난 작은 창으로 햇살에 가늘게 비친다.\n싱크대 수도꼭지에 흐르는 물, 씻다 만 약초(석창포).\n냄비의 물이 끓어 달그락거리는 소리… 김이 피어오르고.\n앞치마를 두른 채 TV 뉴스를 뚫어지게 바라보는\n민숙(수리영 엄마. 40세) 표정이 어둡다.\n(뉴스멘트는 작아졌다 커졌다 반복하면서 여기까지 이어진다)\n\n딸, 수리영(21. 애완동물미용학과 2년)이 방문을 열고 기지개를 켜며\n나오자 후다닥 TV를 끄는 민숙. 다정한 말투로\n\n수리영\n(심드렁) 뭐~야. 사건 났어? 뭔데.\n\n민숙\n아냐.\n\n수리영\n(식탁에 앉으며) 이모 또 야근하겠네. 조그만 도시에\n왠 사건이 이렇게 많아. 바다가 가까워서 그런가.\n\n민숙\n신경 꺼. (석창포 달인 물을 따라주면서) 마셔. 방학인데\n왜 더 자지않고.\n\n수리영\n(마시고 나서) 아, 진짜 맛 없어...(투정) 나 알바 있어, 엄마.\n원장님이 하루만 봐 달래.\n\n(cut to.)\n가벼운 차림새. 수리영 신발을 신으며\n\n수리영\n엄마는 오늘 안 나가?\n\n민숙\n이따가 1시 타임.\n\n수리영\n(엄마의 냄새를 맡으며) 아, 좋다. 끝나고 마트로 갈게. 모처럼\n밖에서 저녁먹자 엄마.\n\n민숙\n응 (미소)\n\n힐끗, 민숙 손목에 보이는 작은 원(이하 표식)을 본다.\n오늘따라 유난히 또렷해 보이지만 워낙 어릴 적부터 봐온 터라 개의치 않는.\n\n\n\n[씬 10] S#10. 옥탑방 / N\nS#10. 옥탑방 / N\n그 시각. 옥탑방 옥상. 물탱크. 바람에 빨랫줄이 툭- 툭-\n평상에 놓인 말린 석창포가 바람에 날리는데...\n말린 잎이 걸어오는 낯선 남자의 신발 위를 스친다.\n남자의 긴 그림자. (얼굴은 보이지 않는다)\n\n신발은 옥탑방 철문 현관 앞에 멈춰 선다.\n문틈에 낀 광고 전단지.\n전단지를 뽑아서 손가락으로 문틈에 꾹 밀어 넣는다.\n‘철컥’ 하고 잠금 새가 풀리는 소리.\n문이 미세하게 열리고 안으로 들어가는 남자.\n창문에 비친 그림자. 민숙을 덮쳐 어깨를 물어뜯는 듯한 모습 ‘아악-’\n\n\n\n[씬 11] S#11. 옥탑 방 밖 / N\nS#11. 옥탑 방 밖 / N\n자전거를 타고 골목길을 달리는 수리영.\n다세대 빌라 문을 열고 들어와 마당 후미진 곳에 자전거를 대충 세우고,\n옥탑방과 연결되는 계단을 급히 오른다.\n\n갑자기 훅- 느껴지는 역겨운 냄새. 뭐지?\n옥상에 올라와 보니 반쯤 열린 현관 철문.\n\n\n\n[씬 12] S#12. 옥탑방 안 / N\nS#12. 옥탑방 안 / N\n/거실\n‘엄마?’를 부르며 들어오는 수리영,\n끓다 식은 냄비. 켜져 있는 TV. 희미한 거실 스탠드 불빛,\n\n/민숙 방\n안방 문을 여는데... 없다.\n거실 식탁에 놓여있는 찻잔 두 개. 하나는 엎어져있다.\n\n/수리영 방\n마지막으로 자기 방문을 연다\n헉!- 여기저기 핏자국. 바닥에 흥건한 혈흔.\n피묻은 발자국은 커튼으로 이어져 있다\n호흡을 가두고 커튼을 젖히자\n앉은 채로 고개를 떨군 채 죽어있는 엄마- 민숙!!!!\n\n수리영\n(달려가) 어어어어----엄마\n\n충격에 온 몸이 얼어붙은 수리영,\n살점이 뜯긴 어깨와 쇄골, 마치 동물에게 물어뜯긴 듯한 거친 상처가 고스란히\n드러나있다. 덜렁거리는 살점과 뜯겨진 부위에 흘러내리는 피.\n\n수리영\n(놀라 뒤로 주춤) 어-어-어- 엄마….\n\n부들부들 떨며 핸드폰을 누른다. 2번 혜수이모\n\n수리영\n받아, 이모. 받아….\n\n혜수(E)\n영아, 영아, 왜?\n\n답은 안 나오고… 엄마 손안에 구겨진 사진 한 장이 보인다.\n다가가 사진을 꺼내는데 엄마 손목에 있던 문신이 붉은색으로 변한다.\n헉! 호흡이 빨라지고... 침대 위 벽에 붉은 원이 생겨난다\n(마치 누군가 붓으로 벽에 원으로 그리는 것처럼).\n소름끼치는 으아악---!\n\n\n\n[씬 13] S#13. 옥탑방 외곽 / N\nS#13. 옥탑방 외곽 / N\n비명을 지르며 옥탑방을 빠져나오는 수리영, 허겁지겁 계단을 내려간다.\n동시에 사이렌이 울리고~. (포즈)\n차에서 내린 혜수(40대 중반, 여자, 경위) 초점을 잃고 멍하니 서있는\n수리영의 모습을 발견하고 달려간다.\n\n혜수\n영아? 왜! 무슨 일이야?\n\n수리영\n(올라다보며) 엄마가, 엄마가... 죽어있어.\n\n혜수\n(놀라) 뭐?!\n\n옥탑 방으로 뛰어 올라가는 혜수와 후배 형사(30대 남/ 이하 김형사)\n\n\n\n[씬 14] S#14. 옥탑방 안 / N\nS#14. 옥탑방 안 / N\n/현관\n집안 여기저기를 확인하면서 나오는 형사와 혜수\n\n김형사\n(허탈한 표정) 없는데.. 아무 것도.\n\n혜수\n(뒤따라온 수리영에게) 영아, 없어. 뭘 봤는데...?\n\n어? 수리영, 부리나케 방 안으로 뛰어 들어간다.\n\n/수리영 방 안\n지나칠 정도로 깨끗하게 정돈된 방안. 핏자국도 보이지 않고,\n침대 위에 붉은 표식은 물론 커튼 뒤의 시신도 감쪽 같이 사라졌다.\n얼굴이 파리해지는 수리영. ‘어----?’ ‘분명히 봤는데...’\n\n뛰쳐나가 식탁으로 가본다. 식탁 역시 깨끗한.\n\n수리영\n여기 찻잔도 두 개 있었고...\n\n김형사\n(답답) 허 참! 죽은 사람이 발이 달렸을 리도 없고. 쯧쯧\n그러게 살인사건은 자세하게 보도하면 안 된다구요...(궁시렁)\n이봐요. 학생? 장난전화 하면 안 되는 거 몰라? (짜증)\n안 그래도 살인사건으로 난리도 아닌데...\n\n혜수\n(김형사 째리고) 김형사. 먼저 가 있어. (김형사 나가면)\n(수리영 어깨를 어루만지며) 영아.\n\n수리영\n엄마(시신), 어디갔을까? 분명히 봤는데...\n\n혜수\n네가 요즘 과로했잖아. 공부에다 알바까지...\n악몽을 꾼 걸 수도 있으니... 바람이나 쐬러 가자.\n수리영 방안에 놓여진 백팩, 인형. 약간씩 위치가 달라진.\n(시신을 발견했을 때와 다른)\n\n\n\n[씬 17] S#17. 옥탑방 / 동틀무렵\nS#17. 옥탑방 / 동틀무렵\n새벽녘, 고양이 울음소리.\n검은 고양이가 불이 켜져 있는 옥탑 방을 슬쩍 보더니 담을 넘는다\n\n\n\n[씬 18] S#18. 안방 안 / D\nS#18. 안방 안 / D\n침대에 머리를 대고 앉아있는 수리영, 밤새 엄마를 기다리다 깜박 졸았다\n고양이 울음소리에 번쩍 눈을 뜨고, ‘엄마? ’혹시나 해서 집안을 살피지만\n아무런 인기척도 보이지 않는다\n\n/수리영 방안\n닫혀있는 자신의 방을 바라본다.\n[F.B: 1부12씬] 커튼 뒤에 죽어있던 엄마. 상처. 혈흔\n\n크게 심호흡하고 조심스럽게 문을 연다.\n지나치리만큼 깨끗하게 정돈된 방안.\n창문에 다가가 커튼을 확 열어젖힌다. 시신은 없다.\n\n한숨 후~ 다행이긴 한데.\n그때, 울리는 폰 벨소리, 화들짝 놀라는 수리영. 달려가 받자마자\n\n수리영\n엄마?\n\n혜수(E)\n아직이니?\n\n수리영\n응. 아무래도 이상해. 이럴 리가 없잖아! 우리 엄마가.\n이모, 사고 난 게 분명해\n\n혜수(E)\n실종신고 냈어. 이모가 엄마 폰 위치추적하고 있으니까\n조금만 기다려 별일 없을 거야. 알았지?\n\n수리영\n응.\n\n무작정 기다리는게 불안한 수리영,\n인형이 달린 자신의 백팩을 꺼내 나온다\n\n/욕실 안\n얼굴을 씻고 거울을 보며\n\n수리영\n엄마, 도대체 어딨는 거야...\n\n거울에 비친 욕실 벽에 갑자기 또 발생하는 붉은 원.\n호흡이 가빠지고... 훅 고개를 돌려 벽을 보는 수리영\n거짓말처럼 사라지고 없다.\n거실로 튀어나와 물 한컵 마시고 식탁에 놓인 엄마와 수리영의 사진을 보는데...\n환하게 웃는 엄마 얼굴이 뭉개져 흘러내린다\n\n수리영\n아아악~~~ (다시보니 멀쩡하다) 나 왜 이러는 거지.\n(자신의 뺨을 치며) 정신 차려 수리영!\n\n\n\n[씬 25] S#25. 옥탑방 안 / 해질 무렵\nS#25. 옥탑방 안 / 해질 무렵\n누군가 다녀간 흔적으로 보이는 발자국들.\n다시 호흡이 가빠지는 수리영.\n집안에서 뭔가를 찾기 위해 가재도구를 온통 헤집은 것으로 보인다.\n거실에 난 창은 열려있고, 식탁 의자들을 쓰러져있다.\n\n/수리영 방\n열린 자신의 방을 힐끗 보는데\n벽에 또 붉은 원이 그려져있다. 그 가운데 꽂혀있는 피묻은 사진 한 장!\n사진을 떼어서 자세히 본다.\n어? 그 사진!!!\n\n[F.B: 1부 12씬] 죽은 엄마의 손에 구겨져있던 바로 그 사진이다.\n7-80년대 쯤 보이는 시골 식당과 지붕위에 둥근 원이 설치된 (마치 십자가처럼)\n식당 앞에는 어린 여자애 둘(12살)이 앉아있다. 그중에 한 아이는 분명히\n어릴 적 엄마다.\n\n침대에 털썩 주저앉는 수리영. 연속해서 벌어지는 기이한 상황에 정신이 혼미한\n엉망이 된 집 안을 한번 획 둘러보는 수리영,\n마치 이끌리듯 백팩을 메고 밖으로 나간다. 사진을 손에 꼭 쥔 채.\n\n\n\n[씬 27] S#27. 옥탑방 안 / 해질 무렵\nS#27. 옥탑방 안 / 해질 무렵\n수리영의 녹음메시지를 확인하는 혜수,\n\n\n\n샷 목록(시간순):\nS4sh1: 맑은 낮, 오래된 다세대 빌라 옥상 위에 자리 잡은 옥탑방을 높은 곳에서 내려다본 부감 구도\nS10sh6: 현관 철문이 아주 살짝 열린 틈새로 보이는 어두운 실내와 신발 앞코\nS10sh7: 불이 켜진 옥탑방 창문에 거대한 그림자가 작은 그림자의 어깨 쪽으로 고개를 꺾은 형태가 맺혀 있는 정지 구도\nS11sh5: 옥상에 선 수리영의 시선 끝에 반쯤 열려 있는 어두운 현관 철문이 보이는 정면 구도\nS17sh2: 옥상 담벼락 위에서 한쪽 앞발을 허공으로 뻗은 검은 고양이의 측면\nS11sh4: 철제 파이프 난간을 손으로 잡은 수리영이 코끝을 찡그린 채 계단 중간에 서 있는 얼굴 클로즈업\nS13sh4: 수리영이 초점을 잃은 눈으로 허공을 응시하며 서 있는 모습\nS13sh6: 고개를 든 채 혜수의 얼굴을 마주보고 있는 수리영의 측면 구도\nS5sh5: 다급하게 상체를 기울이며 손가락 끝으로 TV 전원 버튼을 세게 누르고 있는 민숙의 측면 구도\nS5sh9: 민숙의 손목에 선명하게 드러난 작은 원형 표식의 타이트 샷\nS12sh11: 옷과 피부가 피투성이가 된 민숙이 바닥에 주저앉아 고개를 푹 숙인 정지 상태\nS12sh18: 민숙의 손에 꽉 쥐어진 구겨진 사진의 타이트 샷\nS12sh21: 침대 위쪽 벽면에 붉은색 원형 표식이 절반쯤 나타난 상태\nS14sh5: 핏자국 없이 깨끗한 방 내부 전경\nS14sh7: 수리영이 멍한 눈으로 텅 빈 방 안을 응시하는 얼굴 클로즈업\nS14sh11: 혜수가 날카로운 눈빛으로 김형사를 노려보는 모습\nS18sh11: 거울 속 반사된 욕실 타일 벽면에 붉은색 원형 표식이 절반쯤 나타난 상태\nS18sh15: 액자 속 민숙의 얼굴 부분 이미지가 아래로 일그러지며 흘러내리는 찰나\nS18sh16: 수리영이 두 손으로 머리를 감싸 쥐고 입을 크게 벌린 얼굴\nS25sh1: 해질 무렵 옥탑방 거실, 흙 묻은 발자국들이 찍힌 바닥과 쓰러진 식탁 의자들이 보이는 전경\nS25sh5: 붉은 원 한가운데 피 묻은 낡은 흑백 사진이 벽에 꽂혀 있는 타이트 샷\nS25sh9: 수리영의 손이 구겨진 사진을 꽉 움켜쥔 타이트 샷\nS27sh3: 혜수가 미간을 깊게 찌푸린 채 스마트폰을 내려다보는 얼굴 클로즈업"}
{"ts": "2026-07-12 23:48:10", "kind": "llm", "step": "s37_pose_fix_S12sh11", "model": "gpt", "dur_s": 11.4, "system_prompt": "당신은 프롬프트 교정자다. 한 샷의 이미지 생성 프롬프트 문장들\n(movement/figures/carried)과, 그 샷에 등장하는 '움직일 수 없는\n인물'의 자세 정본(canonical pose)을 받는다.\n각 문장을 정본과 대조해, 자세와 모순되거나 다르게 읽힐 수 있는\n표현(예: 위치 의미로 쓴 lie 가 '누워있다'로 읽히는 중의성,\n정본과 다른 자세 동사)만 최소 수정하라.\n규칙: 모순 없는 부분은 글자 그대로 유지(불필요한 재작성 금지),\n자세 서술은 정본의 표현을 그대로 차용, 카메라·크기·깊이 정보는\n보존. 수정이 전혀 불필요하면 원문 그대로 반환.\n출력: movement_en, figures_en, carried_en (각각 교정본 전문).", "user_prompt": "자세 정본(민숙): Min-sook is seated collapsed on the floor behind the curtain with her head dropped forward. One hand is clenched around a crumpled photograph.\n\n샷 텍스트: 옷과 피부가 피투성이가 된 민숙이 바닥에 주저앉아 고개를 푹 숙인 정지 상태\n\nmovement: static: lifeless Min-sook is collapsed against the floor in an asymmetric seated slump, her head dropped deeply forward, shoulders fallen, limbs limp, and body weight fully given way.\n\nfigures: Min-sook's blood-covered body fills about 2/3 of the frame height and is the NEAREST principal figure. The floor directly beneath her is nearer than the surrounding bedroom and curtain area, which recede FARTHER behind her.\n\ncarried: Minsuk remains dead behind the curtain, seated on the floor with her head bowed, her torn shoulder and collarbone exposed amid the blood and bloody footprints. The crumpled photograph is already clenched in her hand, and the small circular mark remains on her wrist."}
{"ts": "2026-07-12 23:48:19", "kind": "llm", "step": "s37_pose_fix_S12sh18", "model": "gpt", "dur_s": 9.2, "system_prompt": "당신은 프롬프트 교정자다. 한 샷의 이미지 생성 프롬프트 문장들\n(movement/figures/carried)과, 그 샷에 등장하는 '움직일 수 없는\n인물'의 자세 정본(canonical pose)을 받는다.\n각 문장을 정본과 대조해, 자세와 모순되거나 다르게 읽힐 수 있는\n표현(예: 위치 의미로 쓴 lie 가 '누워있다'로 읽히는 중의성,\n정본과 다른 자세 동사)만 최소 수정하라.\n규칙: 모순 없는 부분은 글자 그대로 유지(불필요한 재작성 금지),\n자세 서술은 정본의 표현을 그대로 차용, 카메라·크기·깊이 정보는\n보존. 수정이 전혀 불필요하면 원문 그대로 반환.\n출력: movement_en, figures_en, carried_en (각각 교정본 전문).", "user_prompt": "자세 정본(민숙): Min-sook is seated collapsed on the floor behind the curtain with her head dropped forward. One hand is clenched around a crumpled photograph.\n\n샷 텍스트: 민숙의 손에 꽉 쥐어진 구겨진 사진의 타이트 샷\n\nmovement: static: lifeless Min-sook's limp hand remains curled tightly around a crumpled photograph, with the photograph exposed toward the camera.\n\nfigures: The dead woman's hand fills roughly 2/3 of the tight frame, and the crumpled photograph fills about 1/3. The photograph is NEARER where it protrudes from her grasp, while her palm, wrist, and collapsed body lie progressively FARTHER behind it.\n\ncarried: Minsuk remains in the same seated, head-bowed position with the wounds and blood undisturbed. The crumpled photograph stays clenched in her hand until Suri-young pulls it free, as the circular wrist mark turns red."}
{"ts": "2026-07-12 23:49:28", "kind": "img_error", "tag": "s37_still_S12sh11", "attempt": 1, "error": "Gemini i2i returned no image: {\"candidates\": [{\"content\": {}, \"finishReason\": \"IMAGE_SAFETY\", \"index\": 0, \"finishMessage\": \"Unable to show the generated image. The image was filtered out because it violated Google's [Generative AI Prohibited Use policy](https://policies.google.com/terms/generative-ai/use-policy). You will not be charged for blocked images. Try rephrasing the prompt. If you think this was an error, [send feedback](https://ai.google.dev/gemini-api/docs/troubleshooting).\"}], \"usage"}
{"ts": "2026-07-12 23:50:00", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s37_still_S12sh11", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/panels/S12sh11.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/plate_daughter_bedroom_night_doorway_wide.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/1d7902d5-8b31-4ab6-9e6a-5da6ab5d842f.png"], "ref_labels": ["STORYBOARD PANEL — a REFERENCE ONLY, never the target: use it loosely for camera framing, figure placement and depth order. Do NOT photorealize this drawing as-is — the SHOT TEXT and the other references are authoritative; re-stage the moment naturally as a real photograph. Never copy the sketch's line style, paper texture, borders, simplified geometry or drawing errors.", "LOCATION PHOTOGRAPH — the exact place of this shot: its architecture, materials, fixed features and lighting mood are spatial truth; stage the moment inside this place. Never copy its camera framing.", "CHARACTER REFERENCE — 민숙 (환시): the exact person appearing in this shot; match face, hair and build exactly."], "attempt": 2, "dur_s": 64.8, "bytes": 2475535, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/stills/S12sh11_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\n\nSHOT TEXT (authoritative, Korean): 옷과 피부가 힘없이 무너져 미동이 없는 민숙이 바닥에 주저앉아 고개를 푹 숙인 정지 상태\n\nLOCATION (lock): A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.\n\nTHE STORYBOARD PANEL IS ONLY A REFERENCE: it is a\nrough pre-production sketch, not the image to\nreproduce. Take from it only the shot's rough\ncomposition — framing, where figures sit, near/far\norder. Everything else (real-world detail, materials,\nlight, anatomy, environment richness) must come from\nthe shot text and the photographic references,\nre-staged as if actually filmed on a real set. If the\nsketch conflicts with the shot text or looks\nsimplified/wrong, FOLLOW THE TEXT, not the sketch.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nMOVEMENT (follow exactly): static: utterly motionless, collapsed Min-sook is seated collapsed on the floor behind the curtain with her head dropped forward, shoulders fallen, limbs limp, and body weight fully given way.\n\nFIGURES — size & depth (follow exactly): Min-sook's dark stains-covered body fills about 2/3 of the frame height and is the NEAREST principal figure. The floor directly beneath her is nearer than the surrounding bedroom and curtain area, which recede FARTHER behind her.\n\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Min-sook remains motionless behind the curtain, seated collapsed on the floor with her head dropped forward, her torn shoulder and collarbone exposed amid the dark stains and dark-stained footprints. One hand is clenched around a crumpled photograph, and the small circular mark remains on her wrist.\n\nIMMOBILE CHARACTER POSE — CANONICAL (this exact wording recurs in every shot where this character appears; if MOVEMENT, FIGURES or CARRIED STATE conflicts with it, THIS POSE WINS): Min-sook is seated collapsed on the floor behind the curtain with her head dropped forward. One hand is clenched around a crumpled photograph.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of the referenced people (민숙 (환시)) matched exactly to their reference photo — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-12 23:50:30", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s37_still_S12sh18", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/stills/S12sh11_nb2.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/1d7902d5-8b31-4ab6-9e6a-5da6ab5d842f.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/fc23070d-a644-45e4-a5d8-ecb98fe8d2d3.png"], "ref_labels": ["PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing. If this photo shows a character who cannot move (dead or unconscious), that character's exact pose, position and orientation are ALSO LOCKED — treat their body as a fixed prop of the set that only the camera moves around.", "CHARACTER REFERENCE — 민숙 (환시): the exact person appearing in this shot; match face, hair and build exactly.", "PROP REFERENCE — 구겨진 피 묻은 낡은 흑백 사진: the exact object appearing in this shot; match its look, material and wear exactly."], "attempt": 1, "dur_s": 29.5, "bytes": 2251072, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/stills/S12sh18_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\n\nSHOT TEXT (authoritative, Korean): 민숙의 손에 꽉 쥐어진 구겨진 사진의 타이트 샷\n\nLOCATION (lock): A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nMOVEMENT (follow exactly): static: utterly motionless, collapsed Min-sook's hand remains clenched around a crumpled photograph, with the photograph exposed toward the camera.\n\nFIGURES — size & depth (follow exactly): The dead woman's hand fills roughly 2/3 of the tight frame, and the crumpled photograph fills about 1/3. The photograph is NEARER where it protrudes from her grasp, while her palm, wrist, and collapsed body are progressively FARTHER behind it.\n\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Minsuk remains seated collapsed on the floor behind the curtain with her head dropped forward, with the wounds and dark stains undisturbed. The crumpled photograph stays clenched in her hand until Suri-young pulls it free, as the circular wrist mark turns red.\n\nIMMOBILE CHARACTER POSE — CANONICAL (this exact wording recurs in every shot where this character appears; if MOVEMENT, FIGURES or CARRIED STATE conflicts with it, THIS POSE WINS): Min-sook is seated collapsed on the floor behind the curtain with her head dropped forward. One hand is clenched around a crumpled photograph.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of the referenced people (민숙 (환시)) matched exactly to their reference photo — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-12 23:50:52", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s37_still_S12sh21", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/stills/S12sh18_nb2.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/1d7902d5-8b31-4ab6-9e6a-5da6ab5d842f.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/fc23070d-a644-45e4-a5d8-ecb98fe8d2d3.png"], "ref_labels": ["PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing. If this photo shows a character who cannot move (dead or unconscious), that character's exact pose, position and orientation are ALSO LOCKED — treat their body as a fixed prop of the set that only the camera moves around.", "CHARACTER REFERENCE — 민숙 (환시): the exact person appearing in this shot; match face, hair and build exactly.", "PROP REFERENCE — 구겨진 피 묻은 낡은 흑백 사진: the exact object appearing in this shot; match its look, material and wear exactly."], "attempt": 1, "dur_s": 22.1, "bytes": 2475698, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/stills/S12sh21_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\n\nSHOT TEXT (authoritative, Korean): 침대 위쪽 벽면에 붉은색 원형 표식이 절반쯤 나타난 상태\n\nLOCATION (lock): A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nMOVEMENT (follow exactly): A red circular mark spreads around the wall above the bed, progressing along a ring-like path as though an unseen brush is drawing it, with about half the circle formed.\n\nFIGURES — size & depth (follow exactly): The half-formed red circle fills roughly 1/2 of the frame height on the wall and is the principal visible object. The wall surface and mark are FARTHER than the nearer edge of the bed, with the red pigment visually sitting closest on that wall plane.\n\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Minsuk’s motionless figure, wounds, and the room’s dark stains traces remain unchanged; her hand is now without the photograph, which Suri-young has taken, and the wrist mark is red. A red circle is partially formed on the wall above the bed.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of the referenced people (민숙 (환시)) matched exactly to their reference photo — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-12 23:51:16", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s37_still_S14sh5", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/stills/S12sh11_nb2.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/39864973-d3d5-4886-bfb2-f8db608a005b.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/bddad176-aa6a-4a71-b5d3-d02e36e19657.png"], "ref_labels": ["PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing. If this photo shows a character who cannot move (dead or unconscious), that character's exact pose, position and orientation are ALSO LOCKED — treat their body as a fixed prop of the set that only the camera moves around.", "CHARACTER REFERENCE — 수리영: the exact person appearing in this shot; match face, hair and build exactly.", "CHARACTER REFERENCE — 혜수: the exact person appearing in this shot; match face, hair and build exactly."], "attempt": 1, "dur_s": 23.9, "bytes": 2334480, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/stills/S14sh5_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\n\nSHOT TEXT (authoritative, Korean): 어두운 얼룩 없이 깨끗한 방 내부 전경\n\nLOCATION (lock): A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nMOVEMENT (follow exactly): static: the excessively tidy bedroom stands empty, with no dark stainsstains, red wall mark, or collapsed body remaining anywhere in the room.\n\nFIGURES — size & depth (follow exactly): The empty room fills the full frame; nearer floor and furniture edges occupy the foreground, while the bed, curtain, and clean back wall are FARTHER away. No person is visible, and the formerly occupied curtain area is now empty.\n\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The room is unnaturally spotless, with no dark stains, wall circle, or motionless figure behind the curtain. The backpack and doll are present in positions slightly different from when the body was discovered.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of the referenced people (수리영, 혜수) matched exactly to their reference photo — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-12 23:51:40", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s37_still_S14sh7", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/stills/S14sh5_nb2.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/39864973-d3d5-4886-bfb2-f8db608a005b.png"], "ref_labels": ["PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing. If this photo shows a character who cannot move (dead or unconscious), that character's exact pose, position and orientation are ALSO LOCKED — treat their body as a fixed prop of the set that only the camera moves around.", "CHARACTER REFERENCE — 수리영: the exact person appearing in this shot; match face, hair and build exactly."], "attempt": 1, "dur_s": 23.6, "bytes": 2109833, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/stills/S14sh7_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\n\nSHOT TEXT (authoritative, Korean): 수리영이 멍한 눈으로 텅 빈 방 안을 응시하는 얼굴 클로즈업\n\nLOCATION (lock): A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nMOVEMENT (follow exactly): static: pale-faced Su-ri-young holds her body rigid and stares blankly into the empty bedroom where she expected to find her mother's body.\n\nFIGURES — size & depth (follow exactly): Su-ri-young's face fills about 2/3 of the frame height and is the NEAREST figure. The empty room she watches is FARTHER beyond her eyeline, with no other person visible.\n\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The empty room remains excessively clean, with the motionless figure, dark stains, and red wall mark still absent. The backpack and doll remain in their altered positions.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of the referenced people (수리영) matched exactly to their reference photo — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-12 23:52:07", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s37_still_S18sh11", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/stills/S12sh21_nb2.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/39864973-d3d5-4886-bfb2-f8db608a005b.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/70af1a1c-b2e4-45ad-a166-7cef7e66e156.png"], "ref_labels": ["PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing. If this photo shows a character who cannot move (dead or unconscious), that character's exact pose, position and orientation are ALSO LOCKED — treat their body as a fixed prop of the set that only the camera moves around.", "CHARACTER REFERENCE — 수리영: the exact person appearing in this shot; match face, hair and build exactly.", "PROP REFERENCE — 민숙과 수리영의 액자 사진: the exact object appearing in this shot; match its look, material and wear exactly."], "attempt": 1, "dur_s": 27.2, "bytes": 2279931, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/stills/S18sh11_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): daytime.\n\nSHOT TEXT (authoritative, Korean): 거울 속 반사된 욕실 타일 벽면에 붉은색 원형 표식이 절반쯤 나타난 상태\n\nLOCATION (lock): A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nMOVEMENT (follow exactly): A red circular mark suddenly develops across the bathroom tile wall seen in the mirror, extending around a ring-like path until roughly half is visible.\n\nFIGURES — size & depth (follow exactly): The mirror and reflected tiled wall fill most of the frame, while the half-formed red circle occupies about 1/2 of the reflected frame height. The mirror surface is physically NEARER to the camera, while the marked bathroom wall appears FARTHER within the reflection.\n\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Suri-young continues to have her doll-adorned backpack with her, while her bedroom remains clean and without a motionless figure. A red circle is partially visible on the bathroom wall only in the mirror reflection.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of the referenced people (수리영) matched exactly to their reference photo — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-12 23:52:31", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s37_still_S25sh5", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/stills/S12sh21_nb2.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/fc23070d-a644-45e4-a5d8-ecb98fe8d2d3.png"], "ref_labels": ["PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing. If this photo shows a character who cannot move (dead or unconscious), that character's exact pose, position and orientation are ALSO LOCKED — treat their body as a fixed prop of the set that only the camera moves around.", "PROP REFERENCE — 구겨진 피 묻은 낡은 흑백 사진: the exact object appearing in this shot; match its look, material and wear exactly."], "attempt": 1, "dur_s": 24.4, "bytes": 2874690, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/stills/S25sh5_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): dusk, just after sunset.\n\nSHOT TEXT (authoritative, Korean): 붉은 원 한가운데 얼룩진 낡은 흑백 사진이 벽에 꽂혀 있는 타이트 샷\n\nLOCATION (lock): A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nMOVEMENT (follow exactly): static: a stained old photograph remains pinned at the center of the red circle on Su-ri-young's bedroom wall, facing outward toward the camera.\n\nFIGURES — size & depth (follow exactly): The photograph fills roughly 1/3 of the tight frame height, while the surrounding red circle occupies most of the frame. The photograph projects NEARER from the wall, and the red mark lies FARTHER against the flat wall surface behind it.\n\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The dirty footprints, ransacked furnishings, open window, and overturned chairs remain undisturbed. In the bedroom, the stained old photograph is still pinned at the center of the red wall circle.\n\nNo people appear unless the shot text itself says so.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-12 23:52:57", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s37_still_S25sh9", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/stills/S25sh5_nb2.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/39864973-d3d5-4886-bfb2-f8db608a005b.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/fc23070d-a644-45e4-a5d8-ecb98fe8d2d3.png"], "ref_labels": ["PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing. If this photo shows a character who cannot move (dead or unconscious), that character's exact pose, position and orientation are ALSO LOCKED — treat their body as a fixed prop of the set that only the camera moves around.", "CHARACTER REFERENCE — 수리영: the exact person appearing in this shot; match face, hair and build exactly.", "PROP REFERENCE — 구겨진 피 묻은 낡은 흑백 사진: the exact object appearing in this shot; match its look, material and wear exactly."], "attempt": 1, "dur_s": 25.8, "bytes": 2503249, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/stills/S25sh9_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): dusk, just after sunset.\n\nSHOT TEXT (authoritative, Korean): 수리영의 손이 구겨진 사진을 꽉 움켜쥔 타이트 샷\n\nLOCATION (lock): A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nMOVEMENT (follow exactly): static: Su-ri-young's tense hand crushes the crumpled photograph in a tight grip as she holds it close.\n\nFIGURES — size & depth (follow exactly): Su-ri-young's hand fills roughly 2/3 of the tight frame, and the exposed portion of the photograph fills about 1/3. Her knuckles are NEARER to the camera, while the photograph is partly FARTHER inside her closed fingers.\n\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The apartment remains ransacked, and the red wall circle remains after the photograph has been removed from its center. Suri-young tightly grips the same crumpled, stained photograph.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of the referenced people (수리영) matched exactly to their reference photo — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-12 23:58:10", "kind": "img_error", "tag": "x_quad_s12", "attempt": 1, "error": "Gemini i2i returned no image: {\"candidates\": [{\"content\": {}, \"finishReason\": \"IMAGE_SAFETY\", \"index\": 0, \"finishMessage\": \"Unable to show the generated image. The image was filtered out because it violated Google's [Generative AI Prohibited Use policy](https://policies.google.com/terms/generative-ai/use-policy). You will not be charged for blocked images. Try rephrasing the prompt. If you think this was an error, [send feedback](https://ai.google.dev/gemini-api/docs/troubleshooting).\"}], \"usage"}
{"ts": "2026-07-12 23:59:17", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "x_quad_s12", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/panels/S12sh11.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/panels/S12sh18.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/panels/S12sh21.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/panels/S14sh5.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/plate_daughter_bedroom_night_doorway_wide.png"], "ref_labels": ["STORYBOARD PANEL for PANEL 1 — a REFERENCE ONLY, never the target: use it loosely for that panel's camera framing, figure placement and depth order; never copy its sketch style.", "STORYBOARD PANEL for PANEL 2 — a REFERENCE ONLY, never the target: use it loosely for that panel's camera framing, figure placement and depth order; never copy its sketch style.", "STORYBOARD PANEL for PANEL 3 — a REFERENCE ONLY, never the target: use it loosely for that panel's camera framing, figure placement and depth order; never copy its sketch style.", "STORYBOARD PANEL for PANEL 4 — a REFERENCE ONLY, never the target: use it loosely for that panel's camera framing, figure placement and depth order; never copy its sketch style.", "LOCATION PHOTOGRAPH — the exact place of this shot: its architecture, materials, fixed features and lighting mood are spatial truth; stage the moment inside this place. Never copy its camera framing."], "attempt": 2, "dur_s": 118.3, "bytes": 2518020, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/quad_s12.png", "prompt": "Create ONE image split into 4 photorealistic live-action film stills: 4 panels made by ONE vertical cut at exactly 50% of the width and ONE horizontal cut at exactly 50% of the height — a 2x2 grid, each panel exactly one quarter of the image, separated only by thin straight black gutter lines at those exact positions. Panels are numbered 1 (top-left), 2 (top-right), 3 (bottom-left), 4 (bottom-right). Every panel is a FINAL photorealistic film still — contemporary South Korea, 2026; all people are Korean unless stated.\n\nLOCATION (lock, same interior in all panels): A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls. The attached LOCATION PHOTOGRAPH shows the exact place.\n\nPANELS ARE CHRONOLOGICAL — CONTINUE THE ACTION: each panel starts from the previous panel's end state (each person's position, pose, held objects, and the state of the room), advancing only what its shot text says. The SAME single location, its materials, fixed features and wear are identical across panels.\n\nIMMOBILE CHARACTER POSE — CANONICAL (identical wherever this character appears in ANY panel; on any conflict THIS POSE WINS): Min-sook is seated collapsed on the floor behind the curtain with her head dropped forward. One hand is clenched around a crumpled photograph.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nPANELS (one shot per panel):\n\nPANEL 1 (S12sh11) — TIME OF DAY (lock): night.\n  SHOT TEXT (authoritative, Korean): 옷과 피부가 힘없이 무너져 미동이 없는 민숙이 바닥에 주저앉아 고개를 푹 숙인 정지 상태\n  MOVEMENT (follow exactly): static: utterly motionless, collapsed Min-sook is seated collapsed on the floor behind the curtain with her head dropped forward, shoulders fallen, limbs limp, and body weight fully given way.\n  FIGURES — size & depth (follow exactly): Min-sook's dark stains-covered body fills about 2/3 of the frame height and is the NEAREST principal figure. The floor directly beneath her is nearer than the surrounding bedroom and curtain area, which recede FARTHER behind her.\n  CARRIED STATE (persist exactly across panels): Min-sook remains motionless behind the curtain, seated collapsed on the floor with her head dropped forward, her torn shoulder and collarbone exposed amid the dark stains and dark-stained footprints. One hand is clenched around a crumpled photograph, and the small circular mark remains on her wrist.\n  Composition reference: STORYBOARD PANEL for PANEL 1.\nPANEL 2 (S12sh18) — TIME OF DAY (lock): night.\n  SHOT TEXT (authoritative, Korean): 민숙의 손에 꽉 쥐어진 구겨진 사진의 타이트 샷\n  MOVEMENT (follow exactly): static: utterly motionless, collapsed Min-sook's hand remains clenched around a crumpled photograph, with the photograph exposed toward the camera.\n  FIGURES — size & depth (follow exactly): The motionless woman's hand fills roughly 2/3 of the tight frame, and the crumpled photograph fills about 1/3. The photograph is NEARER where it protrudes from her grasp, while her palm, wrist, and collapsed body are progressively FARTHER behind it.\n  CARRIED STATE (persist exactly across panels): Minsuk remains seated collapsed on the floor behind the curtain with her head dropped forward, with the prop mark and dark stains undisturbed. The crumpled photograph stays clenched in her hand until Suri-young pulls it free, as the circular wrist mark turns red.\n  Composition reference: STORYBOARD PANEL for PANEL 2.\nPANEL 3 (S12sh21) — TIME OF DAY (lock): night.\n  SHOT TEXT (authoritative, Korean): 침대 위쪽 벽면에 붉은색 원형 표식이 절반쯤 나타난 상태\n  MOVEMENT (follow exactly): A red circular mark spreads around the wall above the bed, progressing along a ring-like path as though an unseen brush is drawing it, with about half the circle formed.\n  FIGURES — size & depth (follow exactly): The half-formed red circle fills roughly 1/2 of the frame height on the wall and is the principal visible object. The wall surface and mark are FARTHER than the nearer edge of the bed, with the red pigment visually sitting closest on that wall plane.\n  CARRIED STATE (persist exactly across panels): Minsuk’s motionless figure, prop mark, and the room’s dark stains traces remain unchanged; her hand is now without the photograph, which Suri-young has taken, and the wrist mark is red. A red circle is partially formed on the wall above the bed.\n  Composition reference: STORYBOARD PANEL for PANEL 3.\nPANEL 4 (S14sh5) — TIME OF DAY (lock): night.\n  SHOT TEXT (authoritative, Korean): 어두운 얼룩 없이 깨끗한 방 내부 전경\n  MOVEMENT (follow exactly): static: the excessively tidy bedroom stands empty, with no dark stainsstains, red wall mark, or collapsed body remaining anywhere in the room.\n  FIGURES — size & depth (follow exactly): The empty room fills the full frame; nearer floor and furniture edges occupy the foreground, while the bed, curtain, and clean back wall are FARTHER away. No person is visible, and the formerly occupied curtain area is now empty.\n  CARRIED STATE (persist exactly across panels): The room is unnaturally spotless, with no dark stains, wall circle, or motionless figure behind the curtain. The backpack and doll are present in positions slightly different from when the body was discovered.\n  Composition reference: STORYBOARD PANEL for PANEL 4.\n\nNo text, captions, watermarks or annotations anywhere in any panel."}
{"ts": "2026-07-13 00:02:46", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "x_quad_refine_S12sh11", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/quad_panel_S12sh11.png"], "ref_labels": ["SOURCE FILM STILL — the exact image to refine: every single element is already final and LOCKED."], "attempt": 1, "dur_s": 20.4, "bytes": 2750825, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/quad_refined_S12sh11.png", "prompt": "Re-render the attached film still as a maximally PHOTOREALISTIC\nlive-action photograph — as if the identical frame had been\ncaptured on a real cinema camera on a real physical set.\nCHANGE NOTHING except realism: keep the exact same camera framing,\ncomposition, perspective, people, their poses and positions, every\nobject and its state, the room, all marks and stains, lighting\ndirection and mood, and time of day PRECISELY as in the source.\nOnly replace whatever looks rendered, illustrated, waxy or\nartificial with true photographic detail: natural human skin and\nhair, real fabric and material textures, believable optics (lens\ndepth of field, natural grain), physically accurate light falloff.\nDo NOT beautify, do NOT clean up, do NOT add or remove anything.\nNo text, captions or watermarks anywhere."}
{"ts": "2026-07-13 00:03:03", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "x_quad_refine_S12sh18", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/quad_panel_S12sh18.png"], "ref_labels": ["SOURCE FILM STILL — the exact image to refine: every single element is already final and LOCKED."], "attempt": 1, "dur_s": 17.6, "bytes": 2604082, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/quad_refined_S12sh18.png", "prompt": "Re-render the attached film still as a maximally PHOTOREALISTIC\nlive-action photograph — as if the identical frame had been\ncaptured on a real cinema camera on a real physical set.\nCHANGE NOTHING except realism: keep the exact same camera framing,\ncomposition, perspective, people, their poses and positions, every\nobject and its state, the room, all marks and stains, lighting\ndirection and mood, and time of day PRECISELY as in the source.\nOnly replace whatever looks rendered, illustrated, waxy or\nartificial with true photographic detail: natural human skin and\nhair, real fabric and material textures, believable optics (lens\ndepth of field, natural grain), physically accurate light falloff.\nDo NOT beautify, do NOT clean up, do NOT add or remove anything.\nNo text, captions or watermarks anywhere."}
{"ts": "2026-07-13 00:03:22", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "x_quad_refine_S12sh21", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/quad_panel_S12sh21.png"], "ref_labels": ["SOURCE FILM STILL — the exact image to refine: every single element is already final and LOCKED."], "attempt": 1, "dur_s": 18.3, "bytes": 2704613, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/quad_refined_S12sh21.png", "prompt": "Re-render the attached film still as a maximally PHOTOREALISTIC\nlive-action photograph — as if the identical frame had been\ncaptured on a real cinema camera on a real physical set.\nCHANGE NOTHING except realism: keep the exact same camera framing,\ncomposition, perspective, people, their poses and positions, every\nobject and its state, the room, all marks and stains, lighting\ndirection and mood, and time of day PRECISELY as in the source.\nOnly replace whatever looks rendered, illustrated, waxy or\nartificial with true photographic detail: natural human skin and\nhair, real fabric and material textures, believable optics (lens\ndepth of field, natural grain), physically accurate light falloff.\nDo NOT beautify, do NOT clean up, do NOT add or remove anything.\nNo text, captions or watermarks anywhere."}
{"ts": "2026-07-13 00:03:41", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "x_quad_refine_S14sh5", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/quad_panel_S14sh5.png"], "ref_labels": ["SOURCE FILM STILL — the exact image to refine: every single element is already final and LOCKED."], "attempt": 1, "dur_s": 19.1, "bytes": 2511957, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/quad_refined_S14sh5.png", "prompt": "Re-render the attached film still as a maximally PHOTOREALISTIC\nlive-action photograph — as if the identical frame had been\ncaptured on a real cinema camera on a real physical set.\nCHANGE NOTHING except realism: keep the exact same camera framing,\ncomposition, perspective, people, their poses and positions, every\nobject and its state, the room, all marks and stains, lighting\ndirection and mood, and time of day PRECISELY as in the source.\nOnly replace whatever looks rendered, illustrated, waxy or\nartificial with true photographic detail: natural human skin and\nhair, real fabric and material textures, believable optics (lens\ndepth of field, natural grain), physically accurate light falloff.\nDo NOT beautify, do NOT clean up, do NOT add or remove anything.\nNo text, captions or watermarks anywhere."}
{"ts": "2026-07-13 00:48:27", "kind": "img", "tag": "x_quad_refine_S12sh11", "skip": "exists", "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/quad_refined_S12sh11.png"}
{"ts": "2026-07-13 00:48:27", "kind": "img", "tag": "x_quad_refine_S12sh18", "skip": "exists", "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/quad_refined_S12sh18.png"}
{"ts": "2026-07-13 00:48:27", "kind": "img", "tag": "x_quad_refine_S12sh21", "skip": "exists", "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/quad_refined_S12sh21.png"}
{"ts": "2026-07-13 00:48:27", "kind": "img", "tag": "x_quad_refine_S14sh5", "skip": "exists", "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/quad_refined_S14sh5.png"}
{"ts": "2026-07-13 00:48:44", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "x_quad2_s12", "refs": [], "ref_labels": [], "attempt": 1, "dur_s": 16.7, "bytes": 2731803, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/quad2_s12.png", "prompt": "Create ONE image split into 4 photorealistic live-action film stills: 4 panels made by ONE vertical cut at exactly 50% of the width and ONE horizontal cut at exactly 50% of the height — a 2x2 grid, each panel exactly one quarter of the image, separated only by thin straight black gutter lines at those exact positions. Panels are numbered 1 (top-left), 2 (top-right), 3 (bottom-left), 4 (bottom-right). Every panel is a FINAL photorealistic film still, as if captured on a real cinema camera on a real physical set — contemporary South Korea, 2026; all people are Korean unless stated. No reference image is attached — build everything from this text alone, in a single consistent photographic look.\n\nLOCATION (lock, same interior in all panels): A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls.\n\nPANELS ARE CHRONOLOGICAL — CONTINUE THE ACTION: each panel starts from the previous panel's end state (each person's position, pose, held objects, and the state of the room), advancing only what its shot text says. The SAME single location, its materials, fixed features and wear are identical across panels.\n\nIMMOBILE CHARACTER POSE — CANONICAL (identical wherever this character appears in ANY panel; on any conflict THIS POSE WINS): Min-sook is seated collapsed on the floor behind the curtain with her head dropped forward. One hand is clenched around a crumpled photograph.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nPANELS (one shot per panel):\n\nPANEL 1 (S12sh11) — TIME OF DAY (lock): night.\n  SHOT TEXT (authoritative, Korean): 옷과 피부가 힘없이 무너져 미동이 없는 민숙이 바닥에 주저앉아 고개를 푹 숙인 정지 상태\n  MOVEMENT (follow exactly): static: utterly motionless, collapsed Min-sook is seated collapsed on the floor behind the curtain with her head dropped forward, shoulders fallen, limbs limp, and body weight fully given way.\n  FIGURES — size & depth (follow exactly): Min-sook's dark stains-covered body fills about 2/3 of the frame height and is the NEAREST principal figure. The floor directly beneath her is nearer than the surrounding bedroom and curtain area, which recede FARTHER behind her.\n  CARRIED STATE (persist exactly across panels): Min-sook remains dead behind the curtain, seated collapsed on the floor with her head dropped forward, her torn shoulder and collarbone exposed amid the dark stains and dark-stained footprints. One hand is clenched around a crumpled photograph, and the small circular mark remains on her wrist.\nPANEL 2 (S12sh18) — TIME OF DAY (lock): night.\n  SHOT TEXT (authoritative, Korean): 민숙의 손에 꽉 쥐어진 구겨진 사진의 타이트 샷\n  MOVEMENT (follow exactly): static: utterly motionless, collapsed Min-sook's hand remains clenched around a crumpled photograph, with the photograph exposed toward the camera.\n  FIGURES — size & depth (follow exactly): The dead woman's hand fills roughly 2/3 of the tight frame, and the crumpled photograph fills about 1/3. The photograph is NEARER where it protrudes from her grasp, while her palm, wrist, and collapsed body are progressively FARTHER behind it.\n  CARRIED STATE (persist exactly across panels): Minsuk remains seated collapsed on the floor behind the curtain with her head dropped forward, with the wounds and dark stains undisturbed. The crumpled photograph stays clenched in her hand until Suri-young pulls it free, as the circular wrist mark turns red.\nPANEL 3 (S12sh21) — TIME OF DAY (lock): night.\n  SHOT TEXT (authoritative, Korean): 침대 위쪽 벽면에 붉은색 원형 표식이 절반쯤 나타난 상태\n  MOVEMENT (follow exactly): A red circular mark spreads around the wall above the bed, progressing along a ring-like path as though an unseen brush is drawing it, with about half the circle formed.\n  FIGURES — size & depth (follow exactly): The half-formed red circle fills roughly 1/2 of the frame height on the wall and is the principal visible object. The wall surface and mark are FARTHER than the nearer edge of the bed, with the red pigment visually sitting closest on that wall plane.\n  CARRIED STATE (persist exactly across panels): Minsuk’s motionless figure, wounds, and the room’s dark stains traces remain unchanged; her hand is now without the photograph, which Suri-young has taken, and the wrist mark is red. A red circle is partially formed on the wall above the bed.\nPANEL 4 (S14sh5) — TIME OF DAY (lock): night.\n  SHOT TEXT (authoritative, Korean): 어두운 얼룩 없이 깨끗한 방 내부 전경\n  MOVEMENT (follow exactly): static: the excessively tidy bedroom stands empty, with no dark stainsstains, red wall mark, or collapsed body remaining anywhere in the room.\n  FIGURES — size & depth (follow exactly): The empty room fills the full frame; nearer floor and furniture edges occupy the foreground, while the bed, curtain, and clean back wall are FARTHER away. No person is visible, and the formerly occupied curtain area is now empty.\n  CARRIED STATE (persist exactly across panels): The room is unnaturally spotless, with no dark stains, wall circle, or motionless figure behind the curtain. The backpack and doll are present in positions slightly different from when the body was discovered.\n\nNo text, captions, watermarks or annotations anywhere in any panel."}
{"ts": "2026-07-13 00:49:08", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "x_quad2_refine_S12sh11", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/quad2_panel_S12sh11.png"], "ref_labels": ["SOURCE FILM STILL — the exact image to refine: every single element is already final and LOCKED."], "attempt": 1, "dur_s": 23.8, "bytes": 2905091, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/quad2_refined_S12sh11.png", "prompt": "Re-render the attached film still as a maximally PHOTOREALISTIC\nlive-action photograph — as if the identical frame had been\ncaptured on a real cinema camera on a real physical set.\nCHANGE NOTHING except realism: keep the exact same camera framing,\ncomposition, perspective, people, their poses and positions, every\nobject and its state, the room, all marks and stains, lighting\ndirection and mood, and time of day PRECISELY as in the source.\nOnly replace whatever looks rendered, illustrated, waxy or\nartificial with true photographic detail: natural human skin and\nhair, real fabric and material textures, believable optics (lens\ndepth of field, natural grain), physically accurate light falloff.\nDo NOT beautify, do NOT clean up, do NOT add or remove anything.\nNo text, captions or watermarks anywhere."}
{"ts": "2026-07-13 00:49:27", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "x_quad2_refine_S12sh18", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/quad2_panel_S12sh18.png"], "ref_labels": ["SOURCE FILM STILL — the exact image to refine: every single element is already final and LOCKED."], "attempt": 1, "dur_s": 19.1, "bytes": 2612753, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/quad2_refined_S12sh18.png", "prompt": "Re-render the attached film still as a maximally PHOTOREALISTIC\nlive-action photograph — as if the identical frame had been\ncaptured on a real cinema camera on a real physical set.\nCHANGE NOTHING except realism: keep the exact same camera framing,\ncomposition, perspective, people, their poses and positions, every\nobject and its state, the room, all marks and stains, lighting\ndirection and mood, and time of day PRECISELY as in the source.\nOnly replace whatever looks rendered, illustrated, waxy or\nartificial with true photographic detail: natural human skin and\nhair, real fabric and material textures, believable optics (lens\ndepth of field, natural grain), physically accurate light falloff.\nDo NOT beautify, do NOT clean up, do NOT add or remove anything.\nNo text, captions or watermarks anywhere."}
{"ts": "2026-07-13 00:49:47", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "x_quad2_refine_S12sh21", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/quad2_panel_S12sh21.png"], "ref_labels": ["SOURCE FILM STILL — the exact image to refine: every single element is already final and LOCKED."], "attempt": 1, "dur_s": 20.1, "bytes": 2725950, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/quad2_refined_S12sh21.png", "prompt": "Re-render the attached film still as a maximally PHOTOREALISTIC\nlive-action photograph — as if the identical frame had been\ncaptured on a real cinema camera on a real physical set.\nCHANGE NOTHING except realism: keep the exact same camera framing,\ncomposition, perspective, people, their poses and positions, every\nobject and its state, the room, all marks and stains, lighting\ndirection and mood, and time of day PRECISELY as in the source.\nOnly replace whatever looks rendered, illustrated, waxy or\nartificial with true photographic detail: natural human skin and\nhair, real fabric and material textures, believable optics (lens\ndepth of field, natural grain), physically accurate light falloff.\nDo NOT beautify, do NOT clean up, do NOT add or remove anything.\nNo text, captions or watermarks anywhere."}
{"ts": "2026-07-13 00:50:06", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "x_quad2_refine_S14sh5", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/quad2_panel_S14sh5.png"], "ref_labels": ["SOURCE FILM STILL — the exact image to refine: every single element is already final and LOCKED."], "attempt": 1, "dur_s": 19.1, "bytes": 2757341, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/quad2_refined_S14sh5.png", "prompt": "Re-render the attached film still as a maximally PHOTOREALISTIC\nlive-action photograph — as if the identical frame had been\ncaptured on a real cinema camera on a real physical set.\nCHANGE NOTHING except realism: keep the exact same camera framing,\ncomposition, perspective, people, their poses and positions, every\nobject and its state, the room, all marks and stains, lighting\ndirection and mood, and time of day PRECISELY as in the source.\nOnly replace whatever looks rendered, illustrated, waxy or\nartificial with true photographic detail: natural human skin and\nhair, real fabric and material textures, believable optics (lens\ndepth of field, natural grain), physically accurate light falloff.\nDo NOT beautify, do NOT clean up, do NOT add or remove anything.\nNo text, captions or watermarks anywhere."}
{"ts": "2026-07-13 04:24:51", "kind": "img", "tag": "x_quad_refine_S12sh11", "skip": "exists", "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/quad_refined_S12sh11.png"}
{"ts": "2026-07-13 04:24:51", "kind": "img", "tag": "x_quad_refine_S12sh18", "skip": "exists", "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/quad_refined_S12sh18.png"}
{"ts": "2026-07-13 04:24:51", "kind": "img", "tag": "x_quad_refine_S12sh21", "skip": "exists", "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/quad_refined_S12sh21.png"}
{"ts": "2026-07-13 04:24:51", "kind": "img", "tag": "x_quad_refine_S14sh5", "skip": "exists", "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/quad_refined_S14sh5.png"}
{"ts": "2026-07-13 04:27:11", "kind": "img_error", "tag": "x_quad3_conti", "attempt": 1, "error": "Error code: 400 - {'error': {'message': 'Your request was rejected by the safety system. If you believe this is an error, contact us at help.openai.com and include the request ID req_19578243eca04dfabe521044929db682. safety_violations=[violence, self-harm].', 'type': 'image_generation_user_error', 'param': None, 'code': 'moderation_blocked', 'moderation_details': {'moderation_stage': 'output', 'categories': ['self-harm', 'violence']}}}"}
{"ts": "2026-07-13 04:29:37", "kind": "img", "engine": "gpt-image-2", "mode": "generate", "tag": "x_quad3_conti", "refs": [], "size": "1024x1024", "attempt": 2, "dur_s": 285.7, "bytes": 1005247, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/quad3_conti.png", "prompt": "Draw ONE storyboard layout sheet: 4 panels made by ONE vertical cut at exactly 50% of the width and ONE horizontal cut at exactly 50% of the height — a 2x2 grid, each panel exactly one quarter of the image, separated only by thin straight black gutter lines.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. Each panel contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\n(bed, door, wall, curtain, window) as plain outline boxes/shapes.\nIt must read as a quick layout guide, never as a finished drawing.\n\nTHE LOCATION (same in all panels): A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls.\n\nIMMOBILE CHARACTER POSE — CANONICAL (identical wherever this character appears in ANY panel; on any conflict THIS POSE WINS): Min-sook is seated collapsed on the floor behind the curtain with her head dropped forward. One hand is clenched around a crumpled photograph.\n\nPANELS (one shot per panel, Korean shot text):\n\nPANEL 1 (S12sh11)\n  SHOT TEXT (authoritative, Korean): 옷과 피부가 힘없이 무너져 미동이 없는 민숙이 바닥에 주저앉아 고개를 푹 숙인 정지 상태\n  MOVEMENT (follow exactly): static: utterly motionless, collapsed Min-sook is seated collapsed on the floor behind the curtain with her head dropped forward, shoulders fallen, limbs limp, and body weight fully given way.\n  FIGURES — size & depth (follow exactly): Min-sook's dark stains-covered body fills about 2/3 of the frame height and is the NEAREST principal figure. The floor directly beneath her is nearer than the surrounding bedroom and curtain area, which recede FARTHER behind her.\n  CARRIED STATE (persist exactly across panels): Min-sook remains motionless behind the curtain, seated collapsed on the floor with her head dropped forward, her torn shoulder and collarbone exposed amid the dark stains and dark-stained footprints. One hand is clenched around a crumpled photograph, and the small circular mark remains on her wrist.\nPANEL 2 (S12sh18)\n  SHOT TEXT (authoritative, Korean): 민숙의 손에 꽉 쥐어진 구겨진 사진의 타이트 샷\n  MOVEMENT (follow exactly): static: utterly motionless, collapsed Min-sook's hand remains clenched around a crumpled photograph, with the photograph exposed toward the camera.\n  FIGURES — size & depth (follow exactly): The motionless woman's hand fills roughly 2/3 of the tight frame, and the crumpled photograph fills about 1/3. The photograph is NEARER where it protrudes from her grasp, while her palm, wrist, and collapsed body are progressively FARTHER behind it.\n  CARRIED STATE (persist exactly across panels): Minsuk remains seated collapsed on the floor behind the curtain with her head dropped forward, with the prop mark and dark stains undisturbed. The crumpled photograph stays clenched in her hand until Suri-young pulls it free, as the circular wrist mark turns red.\nPANEL 3 (S12sh21)\n  SHOT TEXT (authoritative, Korean): 침대 위쪽 벽면에 붉은색 원형 표식이 절반쯤 나타난 상태\n  MOVEMENT (follow exactly): A red circular mark spreads around the wall above the bed, progressing along a ring-like path as though an unseen brush is drawing it, with about half the circle formed.\n  FIGURES — size & depth (follow exactly): The half-formed red circle fills roughly 1/2 of the frame height on the wall and is the principal visible object. The wall surface and mark are FARTHER than the nearer edge of the bed, with the red pigment visually sitting closest on that wall plane.\n  CARRIED STATE (persist exactly across panels): Minsuk’s motionless figure, prop mark, and the room’s dark stains traces remain unchanged; her hand is now without the photograph, which Suri-young has taken, and the wrist mark is red. A red circle is partially formed on the wall above the bed.\nPANEL 4 (S14sh5)\n  SHOT TEXT (authoritative, Korean): 어두운 얼룩 없이 깨끗한 방 내부 전경\n  MOVEMENT (follow exactly): static: the excessively tidy bedroom stands empty, with no dark stainsstains, red wall mark, or collapsed body remaining anywhere in the room.\n  FIGURES — size & depth (follow exactly): The empty room fills the full frame; nearer floor and furniture edges occupy the foreground, while the bed, curtain, and clean back wall are FARTHER away. No person is visible, and the formerly occupied curtain area is now empty.\n  CARRIED STATE (persist exactly across panels): The room is unnaturally spotless, with no dark stains, wall circle, or motionless figure behind the curtain. The backpack and doll are present in positions slightly different from when the body was discovered.\n\nABSOLUTELY NO TEXT anywhere: the ONLY allowed marking is a small shot number digit (1, 2, 3, 4) in a corner INSIDE each panel. The grid fills the entire image edge-to-edge."}
{"ts": "2026-07-13 04:30:01", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "x_quad3_s12", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/quad3_conti_S12sh11.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/quad3_conti_S12sh18.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/quad3_conti_S12sh21.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/quad3_conti_S14sh5.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/plate_daughter_bedroom_night_doorway_wide.png"], "ref_labels": ["LAYOUT SKETCH for PANEL 1 — a bare thin-line layout guide, a REFERENCE ONLY: take from it ONLY the camera framing, figure placement, pose and size/depth order of that panel. It carries ZERO visual style — every texture, material, light and all realism come from the text and the photographic reference. Never let any line-drawing quality leak into the output.", "LAYOUT SKETCH for PANEL 2 — a bare thin-line layout guide, a REFERENCE ONLY: take from it ONLY the camera framing, figure placement, pose and size/depth order of that panel. It carries ZERO visual style — every texture, material, light and all realism come from the text and the photographic reference. Never let any line-drawing quality leak into the output.", "LAYOUT SKETCH for PANEL 3 — a bare thin-line layout guide, a REFERENCE ONLY: take from it ONLY the camera framing, figure placement, pose and size/depth order of that panel. It carries ZERO visual style — every texture, material, light and all realism come from the text and the photographic reference. Never let any line-drawing quality leak into the output.", "LAYOUT SKETCH for PANEL 4 — a bare thin-line layout guide, a REFERENCE ONLY: take from it ONLY the camera framing, figure placement, pose and size/depth order of that panel. It carries ZERO visual style — every texture, material, light and all realism come from the text and the photographic reference. Never let any line-drawing quality leak into the output.", "LOCATION PHOTOGRAPH — the exact place of this shot: its architecture, materials, fixed features and lighting mood are spatial truth; stage the moment inside this place. Never copy its camera framing."], "attempt": 1, "dur_s": 24.1, "bytes": 2570533, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/quad3_s12.png", "prompt": "Create ONE image split into 4 photorealistic live-action film stills: 4 panels made by ONE vertical cut at exactly 50% of the width and ONE horizontal cut at exactly 50% of the height — a 2x2 grid, each panel exactly one quarter of the image, separated only by thin straight black gutter lines at those exact positions. Panels are numbered 1 (top-left), 2 (top-right), 3 (bottom-left), 4 (bottom-right). Every panel is a FINAL photorealistic film still, as if captured on a real cinema camera on a real physical set — contemporary South Korea, 2026; all people are Korean unless stated. The attached LAYOUT SKETCHES are composition guides only and must leave NO stylistic trace in the image.\n\nLOCATION (lock, same interior in all panels): A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls. The attached LOCATION PHOTOGRAPH shows the exact place.\n\nPANELS ARE CHRONOLOGICAL — CONTINUE THE ACTION: each panel starts from the previous panel's end state (each person's position, pose, held objects, and the state of the room), advancing only what its shot text says. The SAME single location, its materials, fixed features and wear are identical across panels.\n\nIMMOBILE CHARACTER POSE — CANONICAL (identical wherever this character appears in ANY panel; on any conflict THIS POSE WINS): Min-sook is seated collapsed on the floor behind the curtain with her head dropped forward. One hand is clenched around a crumpled photograph.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nPANELS (one shot per panel):\n\nPANEL 1 (S12sh11) — TIME OF DAY (lock): night.\n  SHOT TEXT (authoritative, Korean): 옷과 피부가 힘없이 무너져 미동이 없는 민숙이 바닥에 주저앉아 고개를 푹 숙인 정지 상태\n  MOVEMENT (follow exactly): static: utterly motionless, collapsed Min-sook is seated collapsed on the floor behind the curtain with her head dropped forward, shoulders fallen, limbs limp, and body weight fully given way.\n  FIGURES — size & depth (follow exactly): Min-sook's dark stains-covered body fills about 2/3 of the frame height and is the NEAREST principal figure. The floor directly beneath her is nearer than the surrounding bedroom and curtain area, which recede FARTHER behind her.\n  CARRIED STATE (persist exactly across panels): Min-sook remains dead behind the curtain, seated collapsed on the floor with her head dropped forward, her torn shoulder and collarbone exposed amid the dark stains and dark-stained footprints. One hand is clenched around a crumpled photograph, and the small circular mark remains on her wrist.\nPANEL 2 (S12sh18) — TIME OF DAY (lock): night.\n  SHOT TEXT (authoritative, Korean): 민숙의 손에 꽉 쥐어진 구겨진 사진의 타이트 샷\n  MOVEMENT (follow exactly): static: utterly motionless, collapsed Min-sook's hand remains clenched around a crumpled photograph, with the photograph exposed toward the camera.\n  FIGURES — size & depth (follow exactly): The dead woman's hand fills roughly 2/3 of the tight frame, and the crumpled photograph fills about 1/3. The photograph is NEARER where it protrudes from her grasp, while her palm, wrist, and collapsed body are progressively FARTHER behind it.\n  CARRIED STATE (persist exactly across panels): Minsuk remains seated collapsed on the floor behind the curtain with her head dropped forward, with the wounds and dark stains undisturbed. The crumpled photograph stays clenched in her hand until Suri-young pulls it free, as the circular wrist mark turns red.\nPANEL 3 (S12sh21) — TIME OF DAY (lock): night.\n  SHOT TEXT (authoritative, Korean): 침대 위쪽 벽면에 붉은색 원형 표식이 절반쯤 나타난 상태\n  MOVEMENT (follow exactly): A red circular mark spreads around the wall above the bed, progressing along a ring-like path as though an unseen brush is drawing it, with about half the circle formed.\n  FIGURES — size & depth (follow exactly): The half-formed red circle fills roughly 1/2 of the frame height on the wall and is the principal visible object. The wall surface and mark are FARTHER than the nearer edge of the bed, with the red pigment visually sitting closest on that wall plane.\n  CARRIED STATE (persist exactly across panels): Minsuk’s motionless figure, wounds, and the room’s dark stains traces remain unchanged; her hand is now without the photograph, which Suri-young has taken, and the wrist mark is red. A red circle is partially formed on the wall above the bed.\nPANEL 4 (S14sh5) — TIME OF DAY (lock): night.\n  SHOT TEXT (authoritative, Korean): 어두운 얼룩 없이 깨끗한 방 내부 전경\n  MOVEMENT (follow exactly): static: the excessively tidy bedroom stands empty, with no dark stainsstains, red wall mark, or collapsed body remaining anywhere in the room.\n  FIGURES — size & depth (follow exactly): The empty room fills the full frame; nearer floor and furniture edges occupy the foreground, while the bed, curtain, and clean back wall are FARTHER away. No person is visible, and the formerly occupied curtain area is now empty.\n  CARRIED STATE (persist exactly across panels): The room is unnaturally spotless, with no dark stains, wall circle, or motionless figure behind the curtain. The backpack and doll are present in positions slightly different from when the body was discovered.\n\nNo text, captions, watermarks or annotations anywhere in any panel."}
{"ts": "2026-07-13 04:30:19", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "x_quad3_refine_S12sh11", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/quad3_panel_S12sh11.png"], "ref_labels": ["SOURCE FILM STILL — the exact image to refine: every single element is already final and LOCKED."], "attempt": 1, "dur_s": 17.4, "bytes": 2577429, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/quad3_refined_S12sh11.png", "prompt": "Re-render the attached film still as a maximally PHOTOREALISTIC\nlive-action photograph — as if the identical frame had been\ncaptured on a real cinema camera on a real physical set.\nCHANGE NOTHING except realism: keep the exact same camera framing,\ncomposition, perspective, people, their poses and positions, every\nobject and its state, the room, all marks and stains, lighting\ndirection and mood, and time of day PRECISELY as in the source.\nOnly replace whatever looks rendered, illustrated, waxy or\nartificial with true photographic detail: natural human skin and\nhair, real fabric and material textures, believable optics (lens\ndepth of field, natural grain), physically accurate light falloff.\nDo NOT beautify, do NOT clean up, do NOT add or remove anything.\nNo text, captions or watermarks anywhere."}
{"ts": "2026-07-13 04:30:34", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "x_quad3_refine_S12sh18", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/quad3_panel_S12sh18.png"], "ref_labels": ["SOURCE FILM STILL — the exact image to refine: every single element is already final and LOCKED."], "attempt": 1, "dur_s": 15.4, "bytes": 2383916, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/quad3_refined_S12sh18.png", "prompt": "Re-render the attached film still as a maximally PHOTOREALISTIC\nlive-action photograph — as if the identical frame had been\ncaptured on a real cinema camera on a real physical set.\nCHANGE NOTHING except realism: keep the exact same camera framing,\ncomposition, perspective, people, their poses and positions, every\nobject and its state, the room, all marks and stains, lighting\ndirection and mood, and time of day PRECISELY as in the source.\nOnly replace whatever looks rendered, illustrated, waxy or\nartificial with true photographic detail: natural human skin and\nhair, real fabric and material textures, believable optics (lens\ndepth of field, natural grain), physically accurate light falloff.\nDo NOT beautify, do NOT clean up, do NOT add or remove anything.\nNo text, captions or watermarks anywhere."}
{"ts": "2026-07-13 04:30:50", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "x_quad3_refine_S12sh21", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/quad3_panel_S12sh21.png"], "ref_labels": ["SOURCE FILM STILL — the exact image to refine: every single element is already final and LOCKED."], "attempt": 1, "dur_s": 15.6, "bytes": 2488155, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/quad3_refined_S12sh21.png", "prompt": "Re-render the attached film still as a maximally PHOTOREALISTIC\nlive-action photograph — as if the identical frame had been\ncaptured on a real cinema camera on a real physical set.\nCHANGE NOTHING except realism: keep the exact same camera framing,\ncomposition, perspective, people, their poses and positions, every\nobject and its state, the room, all marks and stains, lighting\ndirection and mood, and time of day PRECISELY as in the source.\nOnly replace whatever looks rendered, illustrated, waxy or\nartificial with true photographic detail: natural human skin and\nhair, real fabric and material textures, believable optics (lens\ndepth of field, natural grain), physically accurate light falloff.\nDo NOT beautify, do NOT clean up, do NOT add or remove anything.\nNo text, captions or watermarks anywhere."}
{"ts": "2026-07-13 04:31:07", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "x_quad3_refine_S14sh5", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/quad3_panel_S14sh5.png"], "ref_labels": ["SOURCE FILM STILL — the exact image to refine: every single element is already final and LOCKED."], "attempt": 1, "dur_s": 16.9, "bytes": 2470463, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/quad3_refined_S14sh5.png", "prompt": "Re-render the attached film still as a maximally PHOTOREALISTIC\nlive-action photograph — as if the identical frame had been\ncaptured on a real cinema camera on a real physical set.\nCHANGE NOTHING except realism: keep the exact same camera framing,\ncomposition, perspective, people, their poses and positions, every\nobject and its state, the room, all marks and stains, lighting\ndirection and mood, and time of day PRECISELY as in the source.\nOnly replace whatever looks rendered, illustrated, waxy or\nartificial with true photographic detail: natural human skin and\nhair, real fabric and material textures, believable optics (lens\ndepth of field, natural grain), physically accurate light falloff.\nDo NOT beautify, do NOT clean up, do NOT add or remove anything.\nNo text, captions or watermarks anywhere."}
{"ts": "2026-07-13 04:44:25", "kind": "img", "engine": "gpt-image-2", "mode": "edit", "tag": "x_conti_chain_S12sh18", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/quad3_conti_S12sh11.png"], "size": "1024x1024", "attempt": 1, "dur_s": 136.2, "bytes": 902531, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/quad3_conti_S12sh18_chained.png", "prompt": "Draw ONE single storyboard layout panel (one shot, full image, no grid).\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The panel contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes.\n\nPREVIOUS SHOT LAYOUT SKETCH (attached) — the immediately preceding shot of the SAME immobile character: her body pose, position and orientation are LOCKED to that sketch. She cannot move. This new panel shows a closer framing of THAT SAME unmoved body — every visible body part (hand, wrist, arm, torso angle) must be geometrically consistent with the attached sketch, only the camera changes.\n\nTHE LOCATION: A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls.\n\nIMMOBILE CHARACTER POSE — CANONICAL (on any conflict THIS POSE WINS): Min-sook is seated collapsed on the floor behind the curtain with her head dropped forward. One hand is clenched around a crumpled photograph.\n\nTHE SHOT (authoritative, Korean): 민숙의 손에 꽉 쥐어진 구겨진 사진의 타이트 샷\n\nMOVEMENT (follow exactly): static: utterly motionless, collapsed Min-sook's hand remains clenched around a crumpled photograph, with the photograph exposed toward the camera.\n\nFIGURES — size & depth (follow exactly): The dead woman's hand fills roughly 2/3 of the tight frame, and the crumpled photograph fills about 1/3. The photograph is NEARER where it protrudes from her grasp, while her palm, wrist, and collapsed body are progressively FARTHER behind it.\n\nCARRIED STATE (persist exactly): Minsuk remains seated collapsed on the floor behind the curtain with her head dropped forward, with the wounds and dark stains undisturbed. The crumpled photograph stays clenched in her hand until Suri-young pulls it free, as the circular wrist mark turns red.\n\nABSOLUTELY NO TEXT anywhere, no numbers, no captions."}
{"ts": "2026-07-13 04:55:32", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "x_still_chain_S12sh18", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/quad3_refined_S12sh11.png"], "ref_labels": ["PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing. If this photo shows a character who cannot move (dead or unconscious), that character's exact pose, position and orientation are ALSO LOCKED — treat their body as a fixed prop of the set that only the camera moves around."], "attempt": 1, "dur_s": 17.2, "bytes": 2822443, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/still_chain_S12sh18.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\n\nSHOT TEXT (authoritative, Korean): 민숙의 손에 꽉 쥐어진 구겨진 사진의 타이트 샷\n\nLOCATION (lock): A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.\n\nTHIS SHOT IS A CLOSER FRAMING OF THE PREVIOUS SHOT: the immobile woman in the attached still CANNOT MOVE — her body, her hand's exact resting position on the floor, the crumpled photograph in that hand, her clothing and every stain stay PRECISELY as in the attached photograph. Only the camera moves closer. Do NOT lift, turn, re-pose or re-light her hand or body.\n\nIMMOBILE CHARACTER POSE — CANONICAL (on any conflict THIS POSE WINS): Min-sook is seated collapsed on the floor behind the curtain with her head dropped forward. One hand is clenched around a crumpled photograph.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nMOVEMENT (follow exactly): static: utterly motionless, collapsed Min-sook's hand remains clenched around a crumpled photograph, with the photograph exposed toward the camera.\n\nFIGURES — size & depth (follow exactly): The dead woman's hand fills roughly 2/3 of the tight frame, and the crumpled photograph fills about 1/3. The photograph is NEARER where it protrudes from her grasp, while her palm, wrist, and collapsed body are progressively FARTHER behind it.\n\nCARRIED STATE (persist exactly): Minsuk remains seated collapsed on the floor behind the curtain with her head dropped forward, with the wounds and dark stains undisturbed. The crumpled photograph stays clenched in her hand until Suri-young pulls it free, as the circular wrist mark turns red.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-13 05:06:00", "kind": "img", "engine": "gpt-image-2", "mode": "generate", "tag": "s38_conti_rooftop_room_exterior_0", "refs": [], "size": "1536x1024", "attempt": 1, "dur_s": 99.6, "bytes": 1173918, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/conti38_rooftop_room_exterior_0.png", "prompt": "Draw ONE storyboard layout sheet: 6 panels made by TWO vertical cuts at exactly 1/3 and 2/3 of the width and ONE horizontal cut at exactly 50% of the height — a 3-column x 2-row grid, all six panels exactly equal.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. Each panel contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nTHE LOCATION (same in all drawn panels): The flat rooftop of an aging low-rise apartment building, enclosed by a waist-high parapet. A small rooftop dwelling has a metal entrance door and a window visible from the open roof.\n\nPANELS (one shot per panel, Korean shot text):\n\nPANEL 1 (S4sh1)\n  SHOT TEXT (authoritative, Korean): 맑은 낮, 오래된 다세대 빌라 옥상 위에 자리 잡은 옥탑방을 높은 곳에서 내려다본 부감 구도\n  MOVEMENT (follow exactly): static: No person is visible; the rooftop room remains fixed on top of the old multi-family villa beneath the high, downward-looking camera.\n  FIGURES — apparent size & depth (follow exactly): The rooftop room appears small, about ~1/6 of the frame height, and is FARTHER from the camera than the surrounding upper roof surfaces in the foreground.\nPANEL 2 (S10sh6)\n  SHOT TEXT (authoritative, Korean): 현관 철문이 아주 살짝 열린 틈새로 보이는 어두운 실내와 신발 앞코\n  MOVEMENT (follow exactly): The unknown man's shoe toe advances from the rooftop exterior through the narrowly opened iron doorway into the dark room, leading his unseen body inward.\n  FIGURES — apparent size & depth (follow exactly): The shoe toe is small, about ~1/10 of the frame height, and lies FARTHER from the camera than the NEARER iron door edges; the dark interior recedes farthest beyond it.\nPANEL 3 (S10sh7)\n  SHOT TEXT (authoritative, Korean): 불이 켜진 옥탑방 창문에 거대한 그림자가 작은 그림자의 어깨 쪽으로 고개를 꺾은 형태가 맺혀 있는 정지 구도\n  MOVEMENT (follow exactly): static: A real man appearing as a large dark silhouette, with normal human build, leans into Minsook and angles his head down toward her shoulder as she is caught beneath him.\n  FIGURES — apparent size & depth (follow exactly): The man's shadow fills roughly ~2/3 of the frame height, larger than Minsook's smaller shadow at about ~1/3; both people are FARTHER than the NEARER window surface, while their mutual camera-depth order is not established. Their silhouettes overlap at Minsook's shoulder, leaving almost no distance between their paths.\nPANEL 4 (S11sh5)\n  SHOT TEXT (authoritative, Korean): 옥상에 선 수리영의 시선 끝에 반쯤 열려 있는 어두운 현관 철문이 보이는 정면 구도\n  MOVEMENT (follow exactly): static: Suriyoung stands tensely on the rooftop with her body and gaze directed straight toward the half-open iron entrance door and its dark interior.\n  FIGURES — apparent size & depth (follow exactly): Suriyoung appears about ~1/2 of the frame height in the NEARER rooftop area, while the half-open door appears about ~1/3 and is FARTHER ahead along her line of sight.\nPANEL 5 (S17sh2)\n  SHOT TEXT (authoritative, Korean): 옥상 담벼락 위에서 한쪽 앞발을 허공으로 뻗은 검은 고양이의 측면\n  MOVEMENT (follow exactly): The black cat moves side-on across and over the rooftop wall toward the opposite side, extending one forepaw into the air as its body follows.\n  FIGURES — apparent size & depth (follow exactly): The cat appears medium-sized, about ~1/3 of the frame height, and is NEARER to the camera than the FARTHER side beyond the wall; the wall runs beneath its crossing path.\n\nThere are 5 shots but 6 panel slots: draw the shots in\npanels 1..5 and leave the remaining panel(s) COMPLETELY\nBLANK PURE WHITE — empty white paper, not even a frame line inside.\n\nABSOLUTELY NO TEXT anywhere: the ONLY allowed marking is a small shot number digit (1, 2, 3, 4, 5) in a corner INSIDE each drawn panel. The grid fills the entire image edge-to-edge; panels separated only by thin straight black gutter lines at the exact stated positions; ALL PANELS EXACTLY THE SAME SIZE."}
{"ts": "2026-07-13 05:07:31", "kind": "img", "engine": "gpt-image-2", "mode": "generate", "tag": "s38_conti_exterior_metal_staircase_0", "refs": [], "size": "1536x1024", "attempt": 1, "dur_s": 91.2, "bytes": 1104451, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/conti38_exterior_metal_staircase_0.png", "prompt": "Draw ONE storyboard layout sheet: 2 panels made by ONE vertical cut at exactly 50% of the image width — each panel is exactly half the width and the FULL height (1 row x 2 columns).\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. Each panel contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nTHE LOCATION (same in all drawn panels): A narrow exterior metal staircase attached to an old low-rise residential building. It has exposed steel steps and tubular pipe railings leading upward toward the roof.\n\nPANELS (one shot per panel, Korean shot text):\n\nPANEL 1 (S11sh4)\n  SHOT TEXT (authoritative, Korean): 철제 파이프 난간을 손으로 잡은 수리영이 코끝을 찡그린 채 계단 중간에 서 있는 얼굴 클로즈업\n  MOVEMENT (follow exactly): static: Suri-young pauses midway up the staircase while ascending toward the rooftop, gripping the metal-pipe railing with a tense posture and wrinkling her nose at the sudden foul smell, her body oriented uphill.\n  FIGURES — apparent size & depth (follow exactly): Suri-young’s face fills ~2/3 of the frame height in close-up and is the nearest figure; her hand and the metal-pipe railing sit slightly farther from the camera as she remains midway on the stairs.\n\nThere are 1 shots but 2 panel slots: draw the shots in\npanels 1..1 and leave the remaining panel(s) COMPLETELY\nBLANK PURE WHITE — empty white paper, not even a frame line inside.\n\nABSOLUTELY NO TEXT anywhere: the ONLY allowed marking is a small shot number digit (1) in a corner INSIDE each drawn panel. The grid fills the entire image edge-to-edge; panels separated only by thin straight black gutter lines at the exact stated positions; ALL PANELS EXACTLY THE SAME SIZE."}
{"ts": "2026-07-13 05:09:06", "kind": "img", "engine": "gpt-image-2", "mode": "generate", "tag": "s38_conti_residential_alley_courtyard_0", "refs": [], "size": "1536x1024", "attempt": 1, "dur_s": 95.2, "bytes": 1181937, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/conti38_residential_alley_courtyard_0.png", "prompt": "Draw ONE storyboard layout sheet: 2 panels made by ONE vertical cut at exactly 50% of the image width — each panel is exactly half the width and the FULL height (1 row x 2 columns).\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. Each panel contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nTHE LOCATION (same in all drawn panels): A confined ground-level alley and small courtyard beside an aging multi-unit residential building. Concrete walls, building entrances, and the base of the exterior access structure frame the space.\n\nPANELS (one shot per panel, Korean shot text):\n\nPANEL 1 (S13sh4)\n  SHOT TEXT (authoritative, Korean): 수리영이 초점을 잃은 눈으로 허공을 응시하며 서 있는 모습\n  MOVEMENT (follow exactly): static: Su-ri-young stands motionless and dazed after coming down from the rooftop room, her unfocused eyes staring into empty space and her body lacking purposeful direction.\n  FIGURES — apparent size & depth (follow exactly): Su-ri-young is the only visible figure, so she is both the nearest and farthest person; her apparent fraction of frame height is unspecified in the source.\nPANEL 2 (S13sh6)\n  SHOT TEXT (authoritative, Korean): 고개를 든 채 혜수의 얼굴을 마주보고 있는 수리영의 측면 구도\n  MOVEMENT (follow exactly): static: Su-ri-young holds her head raised and faces Hye-su directly in side profile, looking up at her while remaining dazed and stationary.\n  FIGURES — apparent size & depth (follow exactly): Su-ri-young and Hye-su's face are visible facing each other, but their respective frame-height fractions and which is nearer to the camera are unspecified; their paths have converged at conversational distance, with neither moving past the other.\n\nABSOLUTELY NO TEXT anywhere: the ONLY allowed marking is a small shot number digit (1, 2) in a corner INSIDE each drawn panel. The grid fills the entire image edge-to-edge; panels separated only by thin straight black gutter lines at the exact stated positions; ALL PANELS EXACTLY THE SAME SIZE."}
{"ts": "2026-07-13 05:10:59", "kind": "img", "engine": "gpt-image-2", "mode": "generate", "tag": "s38_conti_rooftop_room_interior_0", "refs": [], "size": "1536x1024", "attempt": 1, "dur_s": 112.7, "bytes": 1557684, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/conti38_rooftop_room_interior_0.png", "prompt": "Draw ONE storyboard layout sheet: 8 panels made by THREE vertical cuts at exactly 25%, 50% and 75% of the width and ONE horizontal cut at exactly 50% of the height — a 4-column x 2-row grid, all eight panels exactly equal.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. Each panel contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nTHE LOCATION (same in all drawn panels): A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls.\n\nIMMOBILE CHARACTER POSE — CANONICAL (identical wherever this character appears in ANY panel; on any conflict THIS POSE WINS): Min-sook is seated collapsed on the floor behind the curtain with her head dropped forward. One hand is clenched around a crumpled photograph.\n\nPANELS (one shot per panel, Korean shot text):\n\nPANEL 1 (S5sh5)\n  SHOT TEXT (authoritative, Korean): 다급하게 상체를 기울이며 손가락 끝으로 TV 전원 버튼을 세게 누르고 있는 민숙의 측면 구도\n  MOVEMENT (follow exactly): Min-sook urgently pitches her upper body forward toward the TV and forcefully drives a fingertip into its power button to turn it off as Su-ri-young emerges from her room.\n  FIGURES — apparent size & depth (follow exactly): Min-sook's side-view upper body fills roughly 2/3 of the frame height, with her reaching hand and the TV button NEARER to the camera than her face and torso. The TV is FARTHER along her forward reach, and her body closes the short distance toward it.\n  CARRIED STATE (persist exactly across panels): Minsuk remains in her apron, with the same small circular mark on her wrist; the mark must already be present here because she has had it since childhood.\nPANEL 2 (S5sh9)\n  SHOT TEXT (authoritative, Korean): 민숙의 손목에 선명하게 드러난 작은 원형 표식의 타이트 샷\n  MOVEMENT (follow exactly): static: Min-sook's wrist is held in view, with the sharply visible small circular mark facing the camera.\n  FIGURES — apparent size & depth (follow exactly): The wrist fills most of the tight frame, while the circular mark occupies a small area at its center. The skin and mark are the NEAREST and only principal subject, with any body or room detail FARTHER and out of focus.\n  CARRIED STATE (persist exactly across panels): The TV remains switched off, and Minsuk still wears the apron. The small, unusually distinct circular mark remains on her wrist.\nPANEL 3 (S12sh11)\n  SHOT TEXT (authoritative, Korean): 옷과 피부가 힘없이 무너져 미동이 없는 민숙이 바닥에 주저앉아 고개를 푹 숙인 정지 상태\n  MOVEMENT (follow exactly): static: utterly motionless, collapsed Min-sook is seated collapsed on the floor behind the curtain with her head dropped forward, shoulders fallen, limbs limp, and body weight fully given way.\n  FIGURES — apparent size & depth (follow exactly): Min-sook's dark stains-covered body fills about 2/3 of the frame height and is the NEAREST principal figure. The floor directly beneath her is nearer than the surrounding bedroom and curtain area, which recede FARTHER behind her.\n  CARRIED STATE (persist exactly across panels): Min-sook remains dead behind the curtain, seated collapsed on the floor with her head dropped forward, her torn shoulder and collarbone exposed amid the dark stains and dark-stained footprints. One hand is clenched around a crumpled photograph, and the small circular mark remains on her wrist.\nPANEL 4 (S12sh18)\n  SHOT TEXT (authoritative, Korean): 민숙의 손에 꽉 쥐어진 구겨진 사진의 타이트 샷\n  MOVEMENT (follow exactly): static: utterly motionless, collapsed Min-sook's hand remains clenched around a crumpled photograph, with the photograph exposed toward the camera.\n  FIGURES — apparent size & depth (follow exactly): The dead woman's hand fills roughly 2/3 of the tight frame, and the crumpled photograph fills about 1/3. The photograph is NEARER where it protrudes from her grasp, while her palm, wrist, and collapsed body are progressively FARTHER behind it.\n  CARRIED STATE (persist exactly across panels): Minsuk remains seated collapsed on the floor behind the curtain with her head dropped forward, with the wounds and dark stains undisturbed. The crumpled photograph stays clenched in her hand until Suri-young pulls it free, as the circular wrist mark turns red.\nPANEL 5 (S12sh21)\n  SHOT TEXT (authoritative, Korean): 침대 위쪽 벽면에 붉은색 원형 표식이 절반쯤 나타난 상태\n  MOVEMENT (follow exactly): A red circular mark spreads around the wall above the bed, progressing along a ring-like path as though an unseen brush is drawing it, with about half the circle formed.\n  FIGURES — apparent size & depth (follow exactly): The half-formed red circle fills roughly 1/2 of the frame height on the wall and is the principal visible object. The wall surface and mark are FARTHER than the nearer edge of the bed, with the red pigment visually sitting closest on that wall plane.\n  CARRIED STATE (persist exactly across panels): Minsuk’s motionless figure, wounds, and the room’s dark stains traces remain unchanged; her hand is now without the photograph, which Suri-young has taken, and the wrist mark is red. A red circle is partially formed on the wall above the bed.\nPANEL 6 (S14sh5)\n  SHOT TEXT (authoritative, Korean): 어두운 얼룩 없이 깨끗한 방 내부 전경\n  MOVEMENT (follow exactly): static: the excessively tidy bedroom stands empty, with no dark stainsstains, red wall mark, or collapsed body remaining anywhere in the room.\n  FIGURES — apparent size & depth (follow exactly): The empty room fills the full frame; nearer floor and furniture edges occupy the foreground, while the bed, curtain, and clean back wall are FARTHER away. No person is visible, and the formerly occupied curtain area is now empty.\n  CARRIED STATE (persist exactly across panels): The room is unnaturally spotless, with no dark stains, wall circle, or motionless figure behind the curtain. The backpack and doll are present in positions slightly different from when the body was discovered.\nPANEL 7 (S14sh7)\n  SHOT TEXT (authoritative, Korean): 수리영이 멍한 눈으로 텅 빈 방 안을 응시하는 얼굴 클로즈업\n  MOVEMENT (follow exactly): static: pale-faced Su-ri-young holds her body rigid and stares blankly into the empty bedroom where she expected to find her mother's body.\n  FIGURES — apparent size & depth (follow exactly): Su-ri-young's face fills about 2/3 of the frame height and is the NEAREST figure. The empty room she watches is FARTHER beyond her eyeline, with no other person visible.\n  CARRIED STATE (persist exactly across panels): The empty room remains excessively clean, with the motionless figure, dark stains, and red wall mark still absent. The backpack and doll remain in their altered positions.\nPANEL 8 (S14sh11)\n  SHOT TEXT (authoritative, Korean): 혜수가 날카로운 눈빛으로 김형사를 노려보는 모습\n  MOVEMENT (follow exactly): static: Hye-su fixes a sharp, hostile stare toward Detective Kim, her face and body oriented directly at him.\n  FIGURES — apparent size & depth (follow exactly): Hye-su fills roughly 2/3 of the frame height and is the NEAREST visible figure. Detective Kim is the FARTHER target of her gaze, whether at the edge of the frame or just off-screen, with no crossing movement between them.\n  CARRIED STATE (persist exactly across panels): The apartment remains cleared of the earlier evidence: the table is clean, and Suri-young’s room has no motionless figure, dark stains, or red circle. The backpack and doll remain slightly displaced from their earlier positions.\n\nABSOLUTELY NO TEXT anywhere: the ONLY allowed marking is a small shot number digit (1, 2, 3, 4, 5, 6, 7, 8) in a corner INSIDE each drawn panel. The grid fills the entire image edge-to-edge; panels separated only by thin straight black gutter lines at the exact stated positions; ALL PANELS EXACTLY THE SAME SIZE."}
{"ts": "2026-07-13 05:12:44", "kind": "img", "engine": "gpt-image-2", "mode": "generate", "tag": "s38_conti_rooftop_room_interior_1", "refs": [], "size": "1536x1024", "attempt": 1, "dur_s": 105.3, "bytes": 1409815, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/conti38_rooftop_room_interior_1.png", "prompt": "Draw ONE storyboard layout sheet: 8 panels made by THREE vertical cuts at exactly 25%, 50% and 75% of the width and ONE horizontal cut at exactly 50% of the height — a 4-column x 2-row grid, all eight panels exactly equal.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. Each panel contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nTHE LOCATION (same in all drawn panels): A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls.\n\nPANELS (one shot per panel, Korean shot text):\n\nPANEL 1 (S18sh11)\n  SHOT TEXT (authoritative, Korean): 거울 속 반사된 욕실 타일 벽면에 붉은색 원형 표식이 절반쯤 나타난 상태\n  MOVEMENT (follow exactly): A red circular mark suddenly develops across the bathroom tile wall seen in the mirror, extending around a ring-like path until roughly half is visible.\n  FIGURES — apparent size & depth (follow exactly): The mirror and reflected tiled wall fill most of the frame, while the half-formed red circle occupies about 1/2 of the reflected frame height. The mirror surface is physically NEARER to the camera, while the marked bathroom wall appears FARTHER within the reflection.\n  CARRIED STATE (persist exactly across panels): Suri-young continues to have her doll-adorned backpack with her, while her bedroom remains clean and without a motionless figure. A red circle is partially visible on the bathroom wall only in the mirror reflection.\nPANEL 2 (S18sh15)\n  SHOT TEXT (authoritative, Korean): 액자 속 민숙의 얼굴 부분 이미지가 아래로 일그러지며 흘러내리는 찰나\n  MOVEMENT (follow exactly): The image of Min-sook's smiling face inside the framed photograph distorts and flows downward before Su-ri-young's eyes.\n  FIGURES — apparent size & depth (follow exactly): The framed photograph fills most of the close frame, and Min-sook's pictured face occupies roughly 1/2 of its height. The photograph's glass and frame are NEARER to the camera, while the collapsing facial image is visually FARTHER beneath the surface.\n  CARRIED STATE (persist exactly across panels): The bathroom’s red circle has vanished, and Suri-young still has the doll-adorned backpack. The framed photograph remains on the table as Minsuk’s face in it distorts and runs downward.\nPANEL 3 (S18sh16)\n  SHOT TEXT (authoritative, Korean): 수리영이 두 손으로 머리를 감싸 쥐고 입을 크게 벌린 얼굴\n  MOVEMENT (follow exactly): static: terrified and overwhelmed, Su-ri-young clamps both hands around her head and holds her mouth wide open in a scream, her posture rigid with panic.\n  FIGURES — apparent size & depth (follow exactly): Su-ri-young's face and hands fill about 3/4 of the frame height and form the NEAREST subject. Her hands sit slightly NEARER than her face on either side, while the room behind her is FARTHER and secondary.\n  CARRIED STATE (persist exactly across panels): The framed photograph remains on the table but has returned to normal, and the bathroom wall remains without the red circle. Suri-young still has the doll-adorned backpack with her.\nPANEL 4 (S25sh1)\n  SHOT TEXT (authoritative, Korean): 해질 무렵 옥탑방 거실, 흙 묻은 발자국들이 찍힌 바닥과 쓰러진 식탁 의자들이 보이는 전경\n  MOVEMENT (follow exactly): static: muddy footprints remain across the ransacked living-room floor among overturned dining chairs, indicating a prior path through the room but no current movement.\n  FIGURES — apparent size & depth (follow exactly): The footprint-marked floor fills the lower half of the wide frame, with the NEAREST prints and fallen chair parts in the foreground appearing larger. Additional prints, the dining area, and the open living-room window recede FARTHER into the room.\n  CARRIED STATE (persist exactly across panels): The apartment remains ransacked, with dirty footprints on the floor, the living-room window open, and the dining chairs overturned. The red circle and the stained old photograph pinned at its center are already present in Suri-young’s room.\nPANEL 5 (S25sh5)\n  SHOT TEXT (authoritative, Korean): 붉은 원 한가운데 얼룩진 낡은 흑백 사진이 벽에 꽂혀 있는 타이트 샷\n  MOVEMENT (follow exactly): static: a stained old photograph remains pinned at the center of the red circle on Su-ri-young's bedroom wall, facing outward toward the camera.\n  FIGURES — apparent size & depth (follow exactly): The photograph fills roughly 1/3 of the tight frame height, while the surrounding red circle occupies most of the frame. The photograph projects NEARER from the wall, and the red mark lies FARTHER against the flat wall surface behind it.\n  CARRIED STATE (persist exactly across panels): The dirty footprints, ransacked furnishings, open window, and overturned chairs remain undisturbed. In the bedroom, the stained old photograph is still pinned at the center of the red wall circle.\nPANEL 6 (S25sh9)\n  SHOT TEXT (authoritative, Korean): 수리영의 손이 구겨진 사진을 꽉 움켜쥔 타이트 샷\n  MOVEMENT (follow exactly): static: Su-ri-young's tense hand crushes the crumpled photograph in a tight grip as she holds it close.\n  FIGURES — apparent size & depth (follow exactly): Su-ri-young's hand fills roughly 2/3 of the tight frame, and the exposed portion of the photograph fills about 1/3. Her knuckles are NEARER to the camera, while the photograph is partly FARTHER inside her closed fingers.\n  CARRIED STATE (persist exactly across panels): The apartment remains ransacked, and the red wall circle remains after the photograph has been removed from its center. Suri-young tightly grips the same crumpled, stained photograph.\nPANEL 7 (S27sh3)\n  SHOT TEXT (authoritative, Korean): 혜수가 미간을 깊게 찌푸린 채 스마트폰을 내려다보는 얼굴 클로즈업\n  MOVEMENT (follow exactly): static: Hye-su lowers her gaze toward the smartphone and listens to Su-ri-young's recorded message with her brow deeply furrowed.\n  FIGURES — apparent size & depth (follow exactly): Hye-su's face fills about 2/3 of the close-up frame, while the smartphone occupies a smaller area below her face. The phone is NEARER to the camera, Hye-su's face is slightly FARTHER, and the room behind her is farthest.\n  CARRIED STATE (persist exactly across panels): The apartment remains ransacked, with the footprints, open window, overturned chairs, and the now-empty red wall circle left in place; Suri-young has departed with the photograph and backpack. Hyesu holds the smartphone on which she is checking Suri-young’s recorded message.\n\nThere are 7 shots but 8 panel slots: draw the shots in\npanels 1..7 and leave the remaining panel(s) COMPLETELY\nBLANK PURE WHITE — empty white paper, not even a frame line inside.\n\nABSOLUTELY NO TEXT anywhere: the ONLY allowed marking is a small shot number digit (1, 2, 3, 4, 5, 6, 7) in a corner INSIDE each drawn panel. The grid fills the entire image edge-to-edge; panels separated only by thin straight black gutter lines at the exact stated positions; ALL PANELS EXACTLY THE SAME SIZE."}
{"ts": "2026-07-13 05:13:06", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s38_still_S4sh1", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/panels/S4sh1.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/bg_S4sh1.png"], "ref_labels": ["LAYOUT SKETCH — a bare thin-line layout guide, a REFERENCE ONLY: take from it ONLY the camera framing, figure placement, pose and size/depth order. It carries ZERO visual style — every texture, material, light and all realism come from the text and the photographic reference. Never let any line-drawing quality leak into the output.", "LOCATION PHOTOGRAPH — the exact place of this shot: its architecture, materials, fixed features and lighting mood are spatial truth; stage the moment inside this place. Never copy its camera framing."], "attempt": 1, "dur_s": 17.7, "bytes": 3294465, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/stills/S4sh1_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): daytime.\n\nSHOT TEXT (authoritative, Korean): 맑은 낮, 오래된 다세대 빌라 옥상 위에 자리 잡은 옥탑방을 높은 곳에서 내려다본 부감 구도\n\nLOCATION (lock): The flat rooftop of an aging low-rise apartment building, enclosed by a waist-high parapet. A small rooftop dwelling has a metal entrance door and a window visible from the open roof. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nMOVEMENT (follow exactly): static: No person is visible; the rooftop room remains fixed on top of the old multi-family villa beneath the high, downward-looking camera.\n\nFIGURES — size & depth (follow exactly): The rooftop room appears small, about ~1/6 of the frame height, and is FARTHER from the camera than the surrounding upper roof surfaces in the foreground.\n\nNo people appear unless the shot text itself says so.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-13 05:13:24", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s38_still_S10sh6", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/panels/S10sh6.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/bg_S10sh6.png"], "ref_labels": ["LAYOUT SKETCH — a bare thin-line layout guide, a REFERENCE ONLY: take from it ONLY the camera framing, figure placement, pose and size/depth order. It carries ZERO visual style — every texture, material, light and all realism come from the text and the photographic reference. Never let any line-drawing quality leak into the output.", "LOCATION PHOTOGRAPH — the exact place of this shot: its architecture, materials, fixed features and lighting mood are spatial truth; stage the moment inside this place. Never copy its camera framing."], "attempt": 1, "dur_s": 17.4, "bytes": 2112749, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/stills/S10sh6_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\n\nSHOT TEXT (authoritative, Korean): 현관 철문이 아주 살짝 열린 틈새로 보이는 어두운 실내와 신발 앞코\n\nLOCATION (lock): The flat rooftop of an aging low-rise apartment building, enclosed by a waist-high parapet. A small rooftop dwelling has a metal entrance door and a window visible from the open roof. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nMOVEMENT (follow exactly): The unknown man's shoe toe advances from the rooftop exterior through the narrowly opened iron doorway into the dark room, leading his unseen body inward.\n\nFIGURES — size & depth (follow exactly): The shoe toe is small, about ~1/10 of the frame height, and lies FARTHER from the camera than the NEARER iron door edges; the dark interior recedes farthest beyond it.\n\nNo people appear unless the shot text itself says so.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-13 05:13:42", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s38_still_S10sh7", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/stills/S10sh6_nb2.png"], "ref_labels": ["PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing. If this photo shows a character who cannot move (dead or unconscious), that character's exact pose, position and orientation are ALSO LOCKED — treat their body as a fixed prop of the set that only the camera moves around."], "attempt": 1, "dur_s": 18.1, "bytes": 2495285, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/stills/S10sh7_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\n\nSHOT TEXT (authoritative, Korean): 불이 켜진 옥탑방 창문에 거대한 그림자가 작은 그림자의 어깨 쪽으로 고개를 꺾은 형태가 맺혀 있는 정지 구도\n\nLOCATION (lock): The flat rooftop of an aging low-rise apartment building, enclosed by a waist-high parapet. A small rooftop dwelling has a metal entrance door and a window visible from the open roof. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.\n\nTHIS SHOT CONTINUES THE PREVIOUS SHOT: everything the attached still established — the place, its fixed features and wear, each person's clothing and state — persists. Any person in it who cannot move stays PRECISELY as photographed (body, pose, contact points, held objects); only the camera changes.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nMOVEMENT (follow exactly): static: A real man appearing as a large dark silhouette, with normal human build, leans into Minsook and angles his head down toward her shoulder as she is caught beneath him.\n\nFIGURES — size & depth (follow exactly): The man's shadow fills roughly ~2/3 of the frame height, larger than Minsook's smaller shadow at about ~1/3; both people are FARTHER than the NEARER window surface, while their mutual camera-depth order is not established. Their silhouettes overlap at Minsook's shoulder, leaving almost no distance between their paths.\n\nNo people appear unless the shot text itself says so.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-13 05:13:59", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s38_still_S11sh5", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/stills/S10sh6_nb2.png"], "ref_labels": ["PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing. If this photo shows a character who cannot move (dead or unconscious), that character's exact pose, position and orientation are ALSO LOCKED — treat their body as a fixed prop of the set that only the camera moves around."], "attempt": 1, "dur_s": 17.3, "bytes": 2292404, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/stills/S11sh5_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\n\nSHOT TEXT (authoritative, Korean): 옥상에 선 수리영의 시선 끝에 반쯤 열려 있는 어두운 현관 철문이 보이는 정면 구도\n\nLOCATION (lock): The flat rooftop of an aging low-rise apartment building, enclosed by a waist-high parapet. A small rooftop dwelling has a metal entrance door and a window visible from the open roof. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.\n\nTHIS SHOT CONTINUES THE PREVIOUS SHOT: everything the attached still established — the place, its fixed features and wear, each person's clothing and state — persists. Any person in it who cannot move stays PRECISELY as photographed (body, pose, contact points, held objects); only the camera changes.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nMOVEMENT (follow exactly): static: Suriyoung stands tensely on the rooftop with her body and gaze directed straight toward the half-open iron entrance door and its dark interior.\n\nFIGURES — size & depth (follow exactly): Suriyoung appears about ~1/2 of the frame height in the NEARER rooftop area, while the half-open door appears about ~1/3 and is FARTHER ahead along her line of sight.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 수리영 — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-13 05:14:18", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s38_still_S17sh2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/panels/S17sh2.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/bg_S17sh2.png"], "ref_labels": ["LAYOUT SKETCH — a bare thin-line layout guide, a REFERENCE ONLY: take from it ONLY the camera framing, figure placement, pose and size/depth order. It carries ZERO visual style — every texture, material, light and all realism come from the text and the photographic reference. Never let any line-drawing quality leak into the output.", "LOCATION PHOTOGRAPH — the exact place of this shot: its architecture, materials, fixed features and lighting mood are spatial truth; stage the moment inside this place. Never copy its camera framing."], "attempt": 1, "dur_s": 18.9, "bytes": 2432191, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/stills/S17sh2_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): dawn.\n\nSHOT TEXT (authoritative, Korean): 옥상 담벼락 위에서 한쪽 앞발을 허공으로 뻗은 검은 고양이의 측면\n\nLOCATION (lock): The flat rooftop of an aging low-rise apartment building, enclosed by a waist-high parapet. A small rooftop dwelling has a metal entrance door and a window visible from the open roof. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nMOVEMENT (follow exactly): The black cat moves side-on across and over the rooftop wall toward the opposite side, extending one forepaw into the air as its body follows.\n\nFIGURES — size & depth (follow exactly): The cat appears medium-sized, about ~1/3 of the frame height, and is NEARER to the camera than the FARTHER side beyond the wall; the wall runs beneath its crossing path.\n\nNo people appear unless the shot text itself says so.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-13 05:14:38", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s38_still_S11sh4", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/panels/S11sh4.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/bg_S11sh4.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/39864973-d3d5-4886-bfb2-f8db608a005b.png"], "ref_labels": ["LAYOUT SKETCH — a bare thin-line layout guide, a REFERENCE ONLY: take from it ONLY the camera framing, figure placement, pose and size/depth order. It carries ZERO visual style — every texture, material, light and all realism come from the text and the photographic reference. Never let any line-drawing quality leak into the output.", "LOCATION PHOTOGRAPH — the exact place of this shot: its architecture, materials, fixed features and lighting mood are spatial truth; stage the moment inside this place. Never copy its camera framing.", "CHARACTER REFERENCE — 수리영: the exact person appearing in this shot; match face, hair and build exactly."], "attempt": 1, "dur_s": 20.2, "bytes": 2289855, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/stills/S11sh4_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\n\nSHOT TEXT (authoritative, Korean): 철제 파이프 난간을 손으로 잡은 수리영이 코끝을 찡그린 채 계단 중간에 서 있는 얼굴 클로즈업\n\nLOCATION (lock): A narrow exterior metal staircase attached to an old low-rise residential building. It has exposed steel steps and tubular pipe railings leading upward toward the roof. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nMOVEMENT (follow exactly): static: Suri-young pauses midway up the staircase while ascending toward the rooftop, gripping the metal-pipe railing with a tense posture and wrinkling her nose at the sudden foul smell, her body oriented uphill.\n\nFIGURES — size & depth (follow exactly): Suri-young’s face fills ~2/3 of the frame height in close-up and is the nearest figure; her hand and the metal-pipe railing sit slightly farther from the camera as she remains midway on the stairs.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 수리영 — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-13 05:14:59", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s38_still_S13sh4", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/panels/S13sh4.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/bg_S13sh4.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/39864973-d3d5-4886-bfb2-f8db608a005b.png"], "ref_labels": ["LAYOUT SKETCH — a bare thin-line layout guide, a REFERENCE ONLY: take from it ONLY the camera framing, figure placement, pose and size/depth order. It carries ZERO visual style — every texture, material, light and all realism come from the text and the photographic reference. Never let any line-drawing quality leak into the output.", "LOCATION PHOTOGRAPH — the exact place of this shot: its architecture, materials, fixed features and lighting mood are spatial truth; stage the moment inside this place. Never copy its camera framing.", "CHARACTER REFERENCE — 수리영: the exact person appearing in this shot; match face, hair and build exactly."], "attempt": 1, "dur_s": 20.4, "bytes": 2633916, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/stills/S13sh4_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\n\nSHOT TEXT (authoritative, Korean): 수리영이 초점을 잃은 눈으로 허공을 응시하며 서 있는 모습\n\nLOCATION (lock): A confined ground-level alley and small courtyard beside an aging multi-unit residential building. Concrete walls, building entrances, and the base of the exterior access structure frame the space. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nMOVEMENT (follow exactly): static: Su-ri-young stands motionless and dazed after coming down from the rooftop room, her unfocused eyes staring into empty space and her body lacking purposeful direction.\n\nFIGURES — size & depth (follow exactly): Su-ri-young is the only visible figure, so she is both the nearest and farthest person; her apparent fraction of frame height is unspecified in the source.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 수리영 — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-13 05:15:18", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s38_still_S13sh6", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/stills/S13sh4_nb2.png"], "ref_labels": ["PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing. If this photo shows a character who cannot move (dead or unconscious), that character's exact pose, position and orientation are ALSO LOCKED — treat their body as a fixed prop of the set that only the camera moves around."], "attempt": 1, "dur_s": 19.1, "bytes": 2362610, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/stills/S13sh6_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\n\nSHOT TEXT (authoritative, Korean): 고개를 든 채 혜수의 얼굴을 마주보고 있는 수리영의 측면 구도\n\nLOCATION (lock): A confined ground-level alley and small courtyard beside an aging multi-unit residential building. Concrete walls, building entrances, and the base of the exterior access structure frame the space. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.\n\nTHIS SHOT CONTINUES THE PREVIOUS SHOT: everything the attached still established — the place, its fixed features and wear, each person's clothing and state — persists. Any person in it who cannot move stays PRECISELY as photographed (body, pose, contact points, held objects); only the camera changes.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nMOVEMENT (follow exactly): static: Su-ri-young holds her head raised and faces Hye-su directly in side profile, looking up at her while remaining dazed and stationary.\n\nFIGURES — size & depth (follow exactly): Su-ri-young and Hye-su's face are visible facing each other, but their respective frame-height fractions and which is nearer to the camera are unspecified; their paths have converged at conversational distance, with neither moving past the other.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 수리영, 혜수 — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-13 05:15:35", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s38_still_S5sh5", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/panels/S5sh5.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/plate_living_dining_day_root.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/899945af-f9bf-4880-bdd7-c9d1f45a5327.png"], "ref_labels": ["LAYOUT SKETCH — a bare thin-line layout guide, a REFERENCE ONLY: take from it ONLY the camera framing, figure placement, pose and size/depth order. It carries ZERO visual style — every texture, material, light and all realism come from the text and the photographic reference. Never let any line-drawing quality leak into the output.", "LOCATION PHOTOGRAPH — the exact place of this shot: its architecture, materials, fixed features and lighting mood are spatial truth; stage the moment inside this place. Never copy its camera framing.", "CHARACTER REFERENCE — 민숙: the exact person appearing in this shot; match face, hair and build exactly."], "attempt": 1, "dur_s": 17.3, "bytes": 2804079, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/stills/S5sh5_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): interior ambient light.\n\nSHOT TEXT (authoritative, Korean): 다급하게 상체를 기울이며 손가락 끝으로 TV 전원 버튼을 세게 누르고 있는 민숙의 측면 구도\n\nLOCATION (lock): A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nMOVEMENT (follow exactly): Min-sook urgently pitches her upper body forward toward the TV and forcefully drives a fingertip into its power button to turn it off as Su-ri-young emerges from her room.\n\nFIGURES — size & depth (follow exactly): Min-sook's side-view upper body fills roughly 2/3 of the frame height, with her reaching hand and the TV button NEARER to the camera than her face and torso. The TV is FARTHER along her forward reach, and her body closes the short distance toward it.\n\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Minsuk remains in her apron, with the same small circular mark on her wrist; the mark must already be present here because she has had it since childhood.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 민숙 — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-13 05:15:53", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s38_still_S5sh9", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/stills/S5sh5_nb2.png"], "ref_labels": ["PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing. If this photo shows a character who cannot move (dead or unconscious), that character's exact pose, position and orientation are ALSO LOCKED — treat their body as a fixed prop of the set that only the camera moves around."], "attempt": 1, "dur_s": 17.7, "bytes": 2617761, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/stills/S5sh9_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): interior ambient light.\n\nSHOT TEXT (authoritative, Korean): 민숙의 손목에 선명하게 드러난 작은 원형 표식의 타이트 샷\n\nLOCATION (lock): A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.\n\nTHIS SHOT CONTINUES THE PREVIOUS SHOT: everything the attached still established — the place, its fixed features and wear, each person's clothing and state — persists. Any person in it who cannot move stays PRECISELY as photographed (body, pose, contact points, held objects); only the camera changes.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nMOVEMENT (follow exactly): static: Min-sook's wrist is held in view, with the sharply visible small circular mark facing the camera.\n\nFIGURES — size & depth (follow exactly): The wrist fills most of the tight frame, while the circular mark occupies a small area at its center. The skin and mark are the NEAREST and only principal subject, with any body or room detail FARTHER and out of focus.\n\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The TV remains switched off, and Minsuk still wears the apron. The small, unusually distinct circular mark remains on her wrist.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 민숙 — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-13 05:16:14", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s38_still_S12sh11", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/panels/S12sh11.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/plate_daughter_bedroom_night_doorway_wide.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/1d7902d5-8b31-4ab6-9e6a-5da6ab5d842f.png"], "ref_labels": ["LAYOUT SKETCH — a bare thin-line layout guide, a REFERENCE ONLY: take from it ONLY the camera framing, figure placement, pose and size/depth order. It carries ZERO visual style — every texture, material, light and all realism come from the text and the photographic reference. Never let any line-drawing quality leak into the output.", "LOCATION PHOTOGRAPH — the exact place of this shot: its architecture, materials, fixed features and lighting mood are spatial truth; stage the moment inside this place. Never copy its camera framing.", "CHARACTER REFERENCE — 민숙 (환시): the exact person appearing in this shot; match face, hair and build exactly."], "attempt": 1, "dur_s": 21.3, "bytes": 2825959, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/stills/S12sh11_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\n\nSHOT TEXT (authoritative, Korean): 옷과 피부가 힘없이 무너져 미동이 없는 민숙이 바닥에 주저앉아 고개를 푹 숙인 정지 상태\n\nLOCATION (lock): A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.\n\nIMMOBILE CHARACTER POSE — CANONICAL (identical wherever this character appears in ANY panel; on any conflict THIS POSE WINS): Min-sook is seated collapsed on the floor behind the curtain with her head dropped forward. One hand is clenched around a crumpled photograph.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nMOVEMENT (follow exactly): static: utterly motionless, collapsed Min-sook is seated collapsed on the floor behind the curtain with her head dropped forward, shoulders fallen, limbs limp, and body weight fully given way.\n\nFIGURES — size & depth (follow exactly): Min-sook's dark stains-covered body fills about 2/3 of the frame height and is the NEAREST principal figure. The floor directly beneath her is nearer than the surrounding bedroom and curtain area, which recede FARTHER behind her.\n\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Min-sook remains dead behind the curtain, seated collapsed on the floor with her head dropped forward, her torn shoulder and collarbone exposed amid the dark stains and dark-stained footprints. One hand is clenched around a crumpled photograph, and the small circular mark remains on her wrist.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 민숙 (환시) — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-13 05:16:32", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s38_still_S12sh18", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/stills/S12sh11_nb2.png"], "ref_labels": ["PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing. If this photo shows a character who cannot move (dead or unconscious), that character's exact pose, position and orientation are ALSO LOCKED — treat their body as a fixed prop of the set that only the camera moves around."], "attempt": 1, "dur_s": 18.4, "bytes": 2172620, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/stills/S12sh18_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\n\nSHOT TEXT (authoritative, Korean): 민숙의 손에 꽉 쥐어진 구겨진 사진의 타이트 샷\n\nLOCATION (lock): A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.\n\nTHIS SHOT CONTINUES THE PREVIOUS SHOT: everything the attached still established — the place, its fixed features and wear, each person's clothing and state — persists. Any person in it who cannot move stays PRECISELY as photographed (body, pose, contact points, held objects); only the camera changes.\n\nIMMOBILE CHARACTER POSE — CANONICAL (identical wherever this character appears in ANY panel; on any conflict THIS POSE WINS): Min-sook is seated collapsed on the floor behind the curtain with her head dropped forward. One hand is clenched around a crumpled photograph.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nMOVEMENT (follow exactly): static: utterly motionless, collapsed Min-sook's hand remains clenched around a crumpled photograph, with the photograph exposed toward the camera.\n\nFIGURES — size & depth (follow exactly): The dead woman's hand fills roughly 2/3 of the tight frame, and the crumpled photograph fills about 1/3. The photograph is NEARER where it protrudes from her grasp, while her palm, wrist, and collapsed body are progressively FARTHER behind it.\n\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Minsuk remains seated collapsed on the floor behind the curtain with her head dropped forward, with the wounds and dark stains undisturbed. The crumpled photograph stays clenched in her hand until Suri-young pulls it free, as the circular wrist mark turns red.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 민숙 (환시) — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-13 05:16:49", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s38_still_S12sh21", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/stills/S12sh18_nb2.png"], "ref_labels": ["PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing. If this photo shows a character who cannot move (dead or unconscious), that character's exact pose, position and orientation are ALSO LOCKED — treat their body as a fixed prop of the set that only the camera moves around."], "attempt": 1, "dur_s": 16.7, "bytes": 2476745, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/stills/S12sh21_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\n\nSHOT TEXT (authoritative, Korean): 침대 위쪽 벽면에 붉은색 원형 표식이 절반쯤 나타난 상태\n\nLOCATION (lock): A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.\n\nTHIS SHOT CONTINUES THE PREVIOUS SHOT: everything the attached still established — the place, its fixed features and wear, each person's clothing and state — persists. Any person in it who cannot move stays PRECISELY as photographed (body, pose, contact points, held objects); only the camera changes.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nMOVEMENT (follow exactly): A red circular mark spreads around the wall above the bed, progressing along a ring-like path as though an unseen brush is drawing it, with about half the circle formed.\n\nFIGURES — size & depth (follow exactly): The half-formed red circle fills roughly 1/2 of the frame height on the wall and is the principal visible object. The wall surface and mark are FARTHER than the nearer edge of the bed, with the red pigment visually sitting closest on that wall plane.\n\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Minsuk’s motionless figure, wounds, and the room’s dark stains traces remain unchanged; her hand is now without the photograph, which Suri-young has taken, and the wrist mark is red. A red circle is partially formed on the wall above the bed.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 민숙 (환시) — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-13 05:17:06", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s38_still_S14sh5", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/stills/S12sh11_nb2.png"], "ref_labels": ["PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing. If this photo shows a character who cannot move (dead or unconscious), that character's exact pose, position and orientation are ALSO LOCKED — treat their body as a fixed prop of the set that only the camera moves around."], "attempt": 1, "dur_s": 16.6, "bytes": 2705181, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/stills/S14sh5_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\n\nSHOT TEXT (authoritative, Korean): 어두운 얼룩 없이 깨끗한 방 내부 전경\n\nLOCATION (lock): A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.\n\nTHIS SHOT CONTINUES THE PREVIOUS SHOT: everything the attached still established — the place, its fixed features and wear, each person's clothing and state — persists. Any person in it who cannot move stays PRECISELY as photographed (body, pose, contact points, held objects); only the camera changes.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nMOVEMENT (follow exactly): static: the excessively tidy bedroom stands empty, with no dark stainsstains, red wall mark, or collapsed body remaining anywhere in the room.\n\nFIGURES — size & depth (follow exactly): The empty room fills the full frame; nearer floor and furniture edges occupy the foreground, while the bed, curtain, and clean back wall are FARTHER away. No person is visible, and the formerly occupied curtain area is now empty.\n\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The room is unnaturally spotless, with no dark stains, wall circle, or motionless figure behind the curtain. The backpack and doll are present in positions slightly different from when the body was discovered.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 수리영, 혜수 — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-13 05:17:24", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s38_still_S14sh7", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/stills/S14sh5_nb2.png"], "ref_labels": ["PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing. If this photo shows a character who cannot move (dead or unconscious), that character's exact pose, position and orientation are ALSO LOCKED — treat their body as a fixed prop of the set that only the camera moves around."], "attempt": 1, "dur_s": 18.2, "bytes": 2328063, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/stills/S14sh7_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\n\nSHOT TEXT (authoritative, Korean): 수리영이 멍한 눈으로 텅 빈 방 안을 응시하는 얼굴 클로즈업\n\nLOCATION (lock): A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.\n\nTHIS SHOT CONTINUES THE PREVIOUS SHOT: everything the attached still established — the place, its fixed features and wear, each person's clothing and state — persists. Any person in it who cannot move stays PRECISELY as photographed (body, pose, contact points, held objects); only the camera changes.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nMOVEMENT (follow exactly): static: pale-faced Su-ri-young holds her body rigid and stares blankly into the empty bedroom where she expected to find her mother's body.\n\nFIGURES — size & depth (follow exactly): Su-ri-young's face fills about 2/3 of the frame height and is the NEAREST figure. The empty room she watches is FARTHER beyond her eyeline, with no other person visible.\n\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The empty room remains excessively clean, with the motionless figure, dark stains, and red wall mark still absent. The backpack and doll remain in their altered positions.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 수리영 — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-13 05:17:45", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s38_still_S14sh11", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/panels/S14sh11.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/plate_entry_night_inward_view.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/bddad176-aa6a-4a71-b5d3-d02e36e19657.png"], "ref_labels": ["LAYOUT SKETCH — a bare thin-line layout guide, a REFERENCE ONLY: take from it ONLY the camera framing, figure placement, pose and size/depth order. It carries ZERO visual style — every texture, material, light and all realism come from the text and the photographic reference. Never let any line-drawing quality leak into the output.", "LOCATION PHOTOGRAPH — the exact place of this shot: its architecture, materials, fixed features and lighting mood are spatial truth; stage the moment inside this place. Never copy its camera framing.", "CHARACTER REFERENCE — 혜수: the exact person appearing in this shot; match face, hair and build exactly."], "attempt": 1, "dur_s": 20.9, "bytes": 2054361, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/stills/S14sh11_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\n\nSHOT TEXT (authoritative, Korean): 혜수가 날카로운 눈빛으로 김형사를 노려보는 모습\n\nLOCATION (lock): A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nMOVEMENT (follow exactly): static: Hye-su fixes a sharp, hostile stare toward Detective Kim, her face and body oriented directly at him.\n\nFIGURES — size & depth (follow exactly): Hye-su fills roughly 2/3 of the frame height and is the NEAREST visible figure. Detective Kim is the FARTHER target of her gaze, whether at the edge of the frame or just off-screen, with no crossing movement between them.\n\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The apartment remains cleared of the earlier evidence: the table is clean, and Suri-young’s room has no motionless figure, dark stains, or red circle. The backpack and doll remain slightly displaced from their earlier positions.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 혜수 — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-13 05:18:03", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s38_still_S18sh11", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/stills/S12sh21_nb2.png"], "ref_labels": ["PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing. If this photo shows a character who cannot move (dead or unconscious), that character's exact pose, position and orientation are ALSO LOCKED — treat their body as a fixed prop of the set that only the camera moves around."], "attempt": 1, "dur_s": 17.9, "bytes": 2386535, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/stills/S18sh11_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): daytime.\n\nSHOT TEXT (authoritative, Korean): 거울 속 반사된 욕실 타일 벽면에 붉은색 원형 표식이 절반쯤 나타난 상태\n\nLOCATION (lock): A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.\n\nTHIS SHOT CONTINUES THE PREVIOUS SHOT: everything the attached still established — the place, its fixed features and wear, each person's clothing and state — persists. Any person in it who cannot move stays PRECISELY as photographed (body, pose, contact points, held objects); only the camera changes.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nMOVEMENT (follow exactly): A red circular mark suddenly develops across the bathroom tile wall seen in the mirror, extending around a ring-like path until roughly half is visible.\n\nFIGURES — size & depth (follow exactly): The mirror and reflected tiled wall fill most of the frame, while the half-formed red circle occupies about 1/2 of the reflected frame height. The mirror surface is physically NEARER to the camera, while the marked bathroom wall appears FARTHER within the reflection.\n\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Suri-young continues to have her doll-adorned backpack with her, while her bedroom remains clean and without a motionless figure. A red circle is partially visible on the bathroom wall only in the mirror reflection.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 수리영 — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-13 05:18:20", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s38_still_S18sh15", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/stills/S5sh5_nb2.png"], "ref_labels": ["PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing. If this photo shows a character who cannot move (dead or unconscious), that character's exact pose, position and orientation are ALSO LOCKED — treat their body as a fixed prop of the set that only the camera moves around."], "attempt": 1, "dur_s": 17.1, "bytes": 2668124, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/stills/S18sh15_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): daytime.\n\nSHOT TEXT (authoritative, Korean): 액자 속 민숙의 얼굴 부분 이미지가 아래로 일그러지며 흘러내리는 찰나\n\nLOCATION (lock): A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.\n\nTHIS SHOT CONTINUES THE PREVIOUS SHOT: everything the attached still established — the place, its fixed features and wear, each person's clothing and state — persists. Any person in it who cannot move stays PRECISELY as photographed (body, pose, contact points, held objects); only the camera changes.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nMOVEMENT (follow exactly): The image of Min-sook's smiling face inside the framed photograph distorts and flows downward before Su-ri-young's eyes.\n\nFIGURES — size & depth (follow exactly): The framed photograph fills most of the close frame, and Min-sook's pictured face occupies roughly 1/2 of its height. The photograph's glass and frame are NEARER to the camera, while the collapsing facial image is visually FARTHER beneath the surface.\n\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The bathroom’s red circle has vanished, and Suri-young still has the doll-adorned backpack. The framed photograph remains on the table as Minsuk’s face in it distorts and runs downward.\n\nNo people appear unless the shot text itself says so.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-13 05:18:37", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s38_still_S18sh16", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/stills/S18sh15_nb2.png"], "ref_labels": ["PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing. If this photo shows a character who cannot move (dead or unconscious), that character's exact pose, position and orientation are ALSO LOCKED — treat their body as a fixed prop of the set that only the camera moves around."], "attempt": 1, "dur_s": 17.6, "bytes": 2627215, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/stills/S18sh16_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): daytime.\n\nSHOT TEXT (authoritative, Korean): 수리영이 두 손으로 머리를 감싸 쥐고 입을 크게 벌린 얼굴\n\nLOCATION (lock): A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.\n\nTHIS SHOT CONTINUES THE PREVIOUS SHOT: everything the attached still established — the place, its fixed features and wear, each person's clothing and state — persists. Any person in it who cannot move stays PRECISELY as photographed (body, pose, contact points, held objects); only the camera changes.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nMOVEMENT (follow exactly): static: terrified and overwhelmed, Su-ri-young clamps both hands around her head and holds her mouth wide open in a scream, her posture rigid with panic.\n\nFIGURES — size & depth (follow exactly): Su-ri-young's face and hands fill about 3/4 of the frame height and form the NEAREST subject. Her hands sit slightly NEARER than her face on either side, while the room behind her is FARTHER and secondary.\n\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The framed photograph remains on the table but has returned to normal, and the bathroom wall remains without the red circle. Suri-young still has the doll-adorned backpack with her.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 수리영 — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-13 05:19:00", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s38_still_S25sh1", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/panels/S25sh1.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/plate_living_dining_sunset_floor_view.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/39864973-d3d5-4886-bfb2-f8db608a005b.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/fc23070d-a644-45e4-a5d8-ecb98fe8d2d3.png"], "ref_labels": ["LAYOUT SKETCH — a bare thin-line layout guide, a REFERENCE ONLY: take from it ONLY the camera framing, figure placement, pose and size/depth order. It carries ZERO visual style — every texture, material, light and all realism come from the text and the photographic reference. Never let any line-drawing quality leak into the output.", "LOCATION PHOTOGRAPH — the exact place of this shot: its architecture, materials, fixed features and lighting mood are spatial truth; stage the moment inside this place. Never copy its camera framing.", "CHARACTER REFERENCE — 수리영: the exact person appearing in this shot; match face, hair and build exactly.", "PROP REFERENCE — 구겨진 피 묻은 낡은 흑백 사진: the exact object appearing in this shot; match its look, material and wear exactly."], "attempt": 1, "dur_s": 23.1, "bytes": 2582084, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/stills/S25sh1_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): dusk, just after sunset.\n\nSHOT TEXT (authoritative, Korean): 해질 무렵 옥탑방 거실, 흙 묻은 발자국들이 찍힌 바닥과 쓰러진 식탁 의자들이 보이는 전경\n\nLOCATION (lock): A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nMOVEMENT (follow exactly): static: muddy footprints remain across the ransacked living-room floor among overturned dining chairs, indicating a prior path through the room but no current movement.\n\nFIGURES — size & depth (follow exactly): The footprint-marked floor fills the lower half of the wide frame, with the NEAREST prints and fallen chair parts in the foreground appearing larger. Additional prints, the dining area, and the open living-room window recede FARTHER into the room.\n\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The apartment remains ransacked, with dirty footprints on the floor, the living-room window open, and the dining chairs overturned. The red circle and the stained old photograph pinned at its center are already present in Suri-young’s room.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 수리영 — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-13 05:19:17", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s38_still_S25sh5", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/stills/S12sh21_nb2.png"], "ref_labels": ["PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing. If this photo shows a character who cannot move (dead or unconscious), that character's exact pose, position and orientation are ALSO LOCKED — treat their body as a fixed prop of the set that only the camera moves around."], "attempt": 1, "dur_s": 17.0, "bytes": 2956832, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/stills/S25sh5_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): dusk, just after sunset.\n\nSHOT TEXT (authoritative, Korean): 붉은 원 한가운데 얼룩진 낡은 흑백 사진이 벽에 꽂혀 있는 타이트 샷\n\nLOCATION (lock): A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.\n\nTHIS SHOT CONTINUES THE PREVIOUS SHOT: everything the attached still established — the place, its fixed features and wear, each person's clothing and state — persists. Any person in it who cannot move stays PRECISELY as photographed (body, pose, contact points, held objects); only the camera changes.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nMOVEMENT (follow exactly): static: a stained old photograph remains pinned at the center of the red circle on Su-ri-young's bedroom wall, facing outward toward the camera.\n\nFIGURES — size & depth (follow exactly): The photograph fills roughly 1/3 of the tight frame height, while the surrounding red circle occupies most of the frame. The photograph projects NEARER from the wall, and the red mark lies FARTHER against the flat wall surface behind it.\n\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The dirty footprints, ransacked furnishings, open window, and overturned chairs remain undisturbed. In the bedroom, the stained old photograph is still pinned at the center of the red wall circle.\n\nNo people appear unless the shot text itself says so.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-13 05:19:35", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s38_still_S25sh9", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/stills/S25sh5_nb2.png"], "ref_labels": ["PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing. If this photo shows a character who cannot move (dead or unconscious), that character's exact pose, position and orientation are ALSO LOCKED — treat their body as a fixed prop of the set that only the camera moves around."], "attempt": 1, "dur_s": 18.0, "bytes": 2511236, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/stills/S25sh9_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): dusk, just after sunset.\n\nSHOT TEXT (authoritative, Korean): 수리영의 손이 구겨진 사진을 꽉 움켜쥔 타이트 샷\n\nLOCATION (lock): A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.\n\nTHIS SHOT CONTINUES THE PREVIOUS SHOT: everything the attached still established — the place, its fixed features and wear, each person's clothing and state — persists. Any person in it who cannot move stays PRECISELY as photographed (body, pose, contact points, held objects); only the camera changes.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nMOVEMENT (follow exactly): static: Su-ri-young's tense hand crushes the crumpled photograph in a tight grip as she holds it close.\n\nFIGURES — size & depth (follow exactly): Su-ri-young's hand fills roughly 2/3 of the tight frame, and the exposed portion of the photograph fills about 1/3. Her knuckles are NEARER to the camera, while the photograph is partly FARTHER inside her closed fingers.\n\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The apartment remains ransacked, and the red wall circle remains after the photograph has been removed from its center. Suri-young tightly grips the same crumpled, stained photograph.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 수리영 — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-13 05:19:53", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s38_still_S27sh3", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/panels/S27sh3.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/plate_living_dining_sunset_floor_view.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/bddad176-aa6a-4a71-b5d3-d02e36e19657.png"], "ref_labels": ["LAYOUT SKETCH — a bare thin-line layout guide, a REFERENCE ONLY: take from it ONLY the camera framing, figure placement, pose and size/depth order. It carries ZERO visual style — every texture, material, light and all realism come from the text and the photographic reference. Never let any line-drawing quality leak into the output.", "LOCATION PHOTOGRAPH — the exact place of this shot: its architecture, materials, fixed features and lighting mood are spatial truth; stage the moment inside this place. Never copy its camera framing.", "CHARACTER REFERENCE — 혜수: the exact person appearing in this shot; match face, hair and build exactly."], "attempt": 1, "dur_s": 18.2, "bytes": 2514708, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/stills/S27sh3_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): dusk, just after sunset.\n\nSHOT TEXT (authoritative, Korean): 혜수가 미간을 깊게 찌푸린 채 스마트폰을 내려다보는 얼굴 클로즈업\n\nLOCATION (lock): A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nMOVEMENT (follow exactly): static: Hye-su lowers her gaze toward the smartphone and listens to Su-ri-young's recorded message with her brow deeply furrowed.\n\nFIGURES — size & depth (follow exactly): Hye-su's face fills about 2/3 of the close-up frame, while the smartphone occupies a smaller area below her face. The phone is NEARER to the camera, Hye-su's face is slightly FARTHER, and the room behind her is farthest.\n\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The apartment remains ransacked, with the footprints, open window, overturned chairs, and the now-empty red wall circle left in place; Suri-young has departed with the photograph and backpack. Hyesu holds the smartphone on which she is checking Suri-young’s recorded message.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 혜수 — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-13 05:26:50", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s38_still_S14sh7", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/stills/S14sh5_nb2.png"], "ref_labels": ["PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing. If this photo shows a character who cannot move (dead or unconscious), that character's exact pose, position and orientation are ALSO LOCKED — treat their body as a fixed prop of the set that only the camera moves around."], "attempt": 1, "dur_s": 19.0, "bytes": 2286184, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/stills/S14sh7_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\n\nSHOT TEXT (authoritative, Korean): 수리영이 멍한 눈으로 텅 빈 방 안을 응시하는 얼굴 클로즈업\n\nLOCATION (lock): A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.\n\nTHIS SHOT CONTINUES THE PREVIOUS SHOT: everything the attached still established — the place, its fixed features and wear, each person's clothing and state — persists. Any person in it who cannot move stays PRECISELY as photographed (body, pose, contact points, held objects); only the camera changes.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nMOVEMENT (follow exactly): static: pale-faced Su-ri-young holds her body rigid and stares blankly into the empty bedroom where she expected to find her mother's body.\n\nFIGURES — size & depth (follow exactly): Su-ri-young's face fills about 2/3 of the frame height and is the NEAREST figure. The empty room she watches is FARTHER beyond her eyeline, with no other person visible.\n\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The empty room remains excessively clean, with the motionless figure, dark stains, and red wall mark still absent. The backpack and doll remain in their altered positions.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 수리영 — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-13 06:01:41", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s38_bg2_S4sh1", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/forest_map/top2/top2_photo_fixed_nb2.png"], "ref_labels": ["LOCATION MASTER PHOTOGRAPH — the exact building and grounds where this background takes place: its architecture, massing, materials and fixed features are spatial truth; render the requested view OF THIS PLACE. Never copy this photo's camera or crop."], "attempt": 1, "dur_s": 20.6, "bytes": 3573801, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/bg2_S4sh1.png", "prompt": "Using the attached master photo as the exact architectural and location reference, create a photorealistic live-action empty background plate of the same old low-rise Korean multifamily villa and its rooftop dwelling in the outskirts of contemporary Incheon. High-angle bird’s-eye view looking down toward the rooftop: clearly show the flat roof terrace, low parapet, separate rectangular rooftop home, plain closed metal entrance door, small living-room window, water tank, clothesline, and low wooden herb-drying platform in their established master-image arrangement. Include only the restrained surrounding fabric visible from this elevated direction—narrow paved alleys, nearby aging villas, utility poles and cables, and a subdued urban horizon. Clear ordinary daytime with soft natural sunlight and realistic colors, matching the scene. Deep focus, believable scale, documentary architectural photography, wide establishing composition. Empty set: no people, animals, moving vehicles, readable text, incident evidence, police activity, dramatic shadows, or event-specific props."}
{"ts": "2026-07-13 06:02:01", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s38_bg2_S10sh6", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/forest_map/top2/top2_photo_fixed_nb2.png"], "ref_labels": ["LOCATION MASTER PHOTOGRAPH — the exact building and grounds where this background takes place: its architecture, massing, materials and fixed features are spatial truth; render the requested view OF THIS PLACE. Never copy this photo's camera or crop."], "attempt": 1, "dur_s": 20.4, "bytes": 2698603, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/bg2_S10sh6.png", "prompt": "Using the attached master photo as the exact reference for the same rooftop dwelling, create a photorealistic live-action empty background plate at night from an extremely low, tight camera position directly outside the rooftop home’s metal entrance, aimed toward the threshold and entry area. Frame the established plain metal door, doorframe, and the narrow floor area at the threshold in close-up. The interior beyond the entrance should read as unlit and dark, without inventing additional rooms or architectural details. For the clean empty plate, keep the metal door closed in its ordinary undisturbed state; no visible person, shoe, hand, flyer, forced lock, damage, or incident-specific condition. Restrained natural night ambience on the rooftop, realistic weathered surfaces, shallow-to-moderate depth of field, no readable text, no ominous stylization."}
{"ts": "2026-07-13 06:02:20", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s38_bg2_S10sh7", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/forest_map/top2/top2_photo_fixed_nb2.png"], "ref_labels": ["LOCATION MASTER PHOTOGRAPH — the exact building and grounds where this background takes place: its architecture, massing, materials and fixed features are spatial truth; render the requested view OF THIS PLACE. Never copy this photo's camera or crop."], "attempt": 1, "dur_s": 19.2, "bytes": 2186648, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/bg2_S10sh7.png", "prompt": "Using the attached master photo as the exact reference for the same rooftop dwelling, create a locked-off photorealistic live-action empty background plate at night, facing the established small living-room window from across the open roof terrace. The rooftop room is illuminated from inside, so the window glows naturally against the weathered exterior wall, but the glass and curtain surface must contain no human figures, silhouettes, reflections of people, violent action, or event-specific shadows. Preserve the master location’s flat roof, low parapet, and only those nearby rooftop fixtures that naturally fall within this camera angle. Static composition, realistic low-light exposure, subdued contemporary Incheon residential surroundings, no people, animals, readable text, police activity, or incident evidence."}
{"ts": "2026-07-13 06:02:39", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s38_bg2_S11sh5", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/forest_map/top2/top2_photo_fixed_nb2.png"], "ref_labels": ["LOCATION MASTER PHOTOGRAPH — the exact building and grounds where this background takes place: its architecture, massing, materials and fixed features are spatial truth; render the requested view OF THIS PLACE. Never copy this photo's camera or crop."], "attempt": 1, "dur_s": 19.0, "bytes": 2646486, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/bg2_S11sh5.png", "prompt": "Using the attached master photo as the exact architectural reference, create a photorealistic live-action empty background plate at night from eye level on the rooftop landing, looking straight toward the same rooftop dwelling’s plain metal entrance door. Show the open roof terrace leading to the doorway, the weathered exterior wall, doorframe, and any fixed rooftop elements visible in their established master-image positions. As a clean undisturbed plate, the metal door is fully closed and intact, with no flyer in the seam, no forced entry, no interior figure, and no incident-specific condition. Natural dim night ambience, realistic scale and weathering, frontal composition, no people, animals, readable text, police lights, vehicles, blood, or dramatic horror lighting."}
{"ts": "2026-07-13 06:02:58", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s38_bg2_S17sh2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/forest_map/top2/top2_photo_fixed_nb2.png"], "ref_labels": ["LOCATION MASTER PHOTOGRAPH — the exact building and grounds where this background takes place: its architecture, massing, materials and fixed features are spatial truth; render the requested view OF THIS PLACE. Never copy this photo's camera or crop."], "attempt": 1, "dur_s": 18.4, "bytes": 2285943, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/bg2_S17sh2.png", "prompt": "Using the attached master photo as the exact location reference, create a photorealistic live-action empty background plate at dawn from parapet height on the same rooftop, composed in side profile along the top edge of the low rooftop wall. Keep the parapet edge prominent in the foreground as the surface where an animal would be composited, with the rooftop dwelling and its established small window visible in the background from the appropriate lateral direction. The room window may retain a subdued warm interior glow against the cool first light of dawn. Quiet outskirts-of-Incheon atmosphere, soft blue-gray dawn sky, realistic weathered masonry, shallow-to-moderate depth of field. No cat, no people, no animals, no readable text, no incident evidence, and no invented rooftop structures."}
{"ts": "2026-07-13 06:03:16", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s38_bg2_S11sh4", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/forest_map/top2/top2_photo_fixed_nb2.png"], "ref_labels": ["LOCATION MASTER PHOTOGRAPH — the exact building and grounds where this background takes place: its architecture, massing, materials and fixed features are spatial truth; render the requested view OF THIS PLACE. Never copy this photo's camera or crop."], "attempt": 1, "dur_s": 17.9, "bytes": 2466353, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/bg2_S11sh4.png", "prompt": "Using the attached master photo as the exact architectural and spatial reference, create a photorealistic live-action empty background plate at night from close face height on the continuous side/rear staircase connecting the enclosed courtyard to the rooftop. The camera is positioned at a middle stair landing beside the established simple metal pipe handrail, with the handrail and adjacent weathered villa wall forming the near background and the stair route receding naturally behind. Compose it as a close-up background suitable for placing a person paused midway on the stairs, but show no person or hand. Preserve only the stair geometry and fixed surfaces supported by the master image. Realistic dim residential night lighting, natural colors, shallow depth of field, no animals, readable text, police lights, damage, or event-specific props."}
{"ts": "2026-07-13 06:03:34", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s38_bg2_S13sh4", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/forest_map/top2/top2_photo_fixed_nb2.png"], "ref_labels": ["LOCATION MASTER PHOTOGRAPH — the exact building and grounds where this background takes place: its architecture, massing, materials and fixed features are spatial truth; render the requested view OF THIS PLACE. Never copy this photo's camera or crop."], "attempt": 1, "dur_s": 17.9, "bytes": 2702726, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/bg2_S13sh4.png", "prompt": "Using the attached master photo as the exact reference for the same old multifamily villa and its ground-level surroundings, create a photorealistic live-action empty background plate at night from standing eye level near the villa’s ground entrance, facing the small enclosed courtyard and the base of the continuous side/rear stair. Compose a neutral medium close-up background with sufficient clear foreground space for a standing person, while keeping the weathered entrance area, courtyard surfaces, and lower stair architecture spatially consistent with the master. Do not add a police car or any unestablished object. Restrained natural neighborhood night ambience, realistic exposure and weathering, no people, animals, vehicles in action, siren light, readable text, blood, evidence, or event-specific disturbance."}
{"ts": "2026-07-13 06:03:51", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s38_bg2_S13sh6", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/forest_map/top2/top2_photo_fixed_nb2.png"], "ref_labels": ["LOCATION MASTER PHOTOGRAPH — the exact building and grounds where this background takes place: its architecture, massing, materials and fixed features are spatial truth; render the requested view OF THIS PLACE. Never copy this photo's camera or crop."], "attempt": 1, "dur_s": 17.0, "bytes": 2674661, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/bg2_S13sh6.png", "prompt": "Using the attached master photo as the exact reference for the same villa location, create a photorealistic live-action empty background plate at night from shoulder height beside the ground-level entrance and enclosed courtyard, oriented laterally across the approach between the narrow alley and the base of the rooftop stair. Frame the weathered villa wall, courtyard edge, entrance architecture, and lower portion of the established metal-railed stair as a side-profile dialogue background, leaving uncluttered midground space where two performers would be composited facing each other. Keep all architecture consistent with the master and do not invent signage or additional structures. Natural subdued residential night lighting, realistic depth of field, no people, police personnel, vehicles, flashing lights, readable text, blood, or incident-specific props."}
{"ts": "2026-07-13 06:04:14", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s38_still_S4sh1", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/panels/S4sh1.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/bg2_S4sh1.png"], "ref_labels": ["LAYOUT SKETCH — a bare thin-line layout guide, a REFERENCE ONLY: take from it ONLY the camera framing, figure placement, pose and size/depth order. It carries ZERO visual style — every texture, material, light and all realism come from the text and the photographic reference. Never let any line-drawing quality leak into the output.", "LOCATION PHOTOGRAPH — the exact place of this shot: its architecture, materials, fixed features and lighting mood are spatial truth; stage the moment inside this place. Never copy its camera framing."], "attempt": 1, "dur_s": 21.2, "bytes": 3446924, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/stills/S4sh1_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): daytime.\n\nSHOT TEXT (authoritative, Korean): 맑은 낮, 오래된 다세대 빌라 옥상 위에 자리 잡은 옥탑방을 높은 곳에서 내려다본 부감 구도\n\nLOCATION (lock): The flat rooftop of an aging low-rise apartment building, enclosed by a waist-high parapet. A small rooftop dwelling has a metal entrance door and a window visible from the open roof. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nMOVEMENT (follow exactly): static: No person is visible; the rooftop room remains fixed on top of the old multi-family villa beneath the high, downward-looking camera.\n\nFIGURES — size & depth (follow exactly): The rooftop room appears small, about ~1/6 of the frame height, and is FARTHER from the camera than the surrounding upper roof surfaces in the foreground.\n\nNo people appear unless the shot text itself says so.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-13 06:04:35", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s38_still_S10sh6", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/panels/S10sh6.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/bg2_S10sh6.png"], "ref_labels": ["LAYOUT SKETCH — a bare thin-line layout guide, a REFERENCE ONLY: take from it ONLY the camera framing, figure placement, pose and size/depth order. It carries ZERO visual style — every texture, material, light and all realism come from the text and the photographic reference. Never let any line-drawing quality leak into the output.", "LOCATION PHOTOGRAPH — the exact place of this shot: its architecture, materials, fixed features and lighting mood are spatial truth; stage the moment inside this place. Never copy its camera framing."], "attempt": 1, "dur_s": 21.0, "bytes": 2740568, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/stills/S10sh6_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\n\nSHOT TEXT (authoritative, Korean): 현관 철문이 아주 살짝 열린 틈새로 보이는 어두운 실내와 신발 앞코\n\nLOCATION (lock): The flat rooftop of an aging low-rise apartment building, enclosed by a waist-high parapet. A small rooftop dwelling has a metal entrance door and a window visible from the open roof. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nMOVEMENT (follow exactly): The unknown man's shoe toe advances from the rooftop exterior through the narrowly opened iron doorway into the dark room, leading his unseen body inward.\n\nFIGURES — size & depth (follow exactly): The shoe toe is small, about ~1/10 of the frame height, and lies FARTHER from the camera than the NEARER iron door edges; the dark interior recedes farthest beyond it.\n\nNo people appear unless the shot text itself says so.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-13 06:04:56", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s38_still_S10sh7", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/stills/S10sh6_nb2.png"], "ref_labels": ["PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing. If this photo shows a character who cannot move (dead or unconscious), that character's exact pose, position and orientation are ALSO LOCKED — treat their body as a fixed prop of the set that only the camera moves around."], "attempt": 1, "dur_s": 21.3, "bytes": 2781644, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/stills/S10sh7_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\n\nSHOT TEXT (authoritative, Korean): 불이 켜진 옥탑방 창문에 거대한 그림자가 작은 그림자의 어깨 쪽으로 고개를 꺾은 형태가 맺혀 있는 정지 구도\n\nLOCATION (lock): The flat rooftop of an aging low-rise apartment building, enclosed by a waist-high parapet. A small rooftop dwelling has a metal entrance door and a window visible from the open roof. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.\n\nTHIS SHOT CONTINUES THE PREVIOUS SHOT: everything the attached still established — the place, its fixed features and wear, each person's clothing and state — persists. Any person in it who cannot move stays PRECISELY as photographed (body, pose, contact points, held objects); only the camera changes.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nMOVEMENT (follow exactly): static: A real man appearing as a large dark silhouette, with normal human build, leans into Minsook and angles his head down toward her shoulder as she is caught beneath him.\n\nFIGURES — size & depth (follow exactly): The man's shadow fills roughly ~2/3 of the frame height, larger than Minsook's smaller shadow at about ~1/3; both people are FARTHER than the NEARER window surface, while their mutual camera-depth order is not established. Their silhouettes overlap at Minsook's shoulder, leaving almost no distance between their paths.\n\nNo people appear unless the shot text itself says so.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-13 06:05:16", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s38_still_S11sh5", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/stills/S10sh6_nb2.png"], "ref_labels": ["PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing. If this photo shows a character who cannot move (dead or unconscious), that character's exact pose, position and orientation are ALSO LOCKED — treat their body as a fixed prop of the set that only the camera moves around."], "attempt": 1, "dur_s": 19.9, "bytes": 2909581, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/stills/S11sh5_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\n\nSHOT TEXT (authoritative, Korean): 옥상에 선 수리영의 시선 끝에 반쯤 열려 있는 어두운 현관 철문이 보이는 정면 구도\n\nLOCATION (lock): The flat rooftop of an aging low-rise apartment building, enclosed by a waist-high parapet. A small rooftop dwelling has a metal entrance door and a window visible from the open roof. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.\n\nTHIS SHOT CONTINUES THE PREVIOUS SHOT: everything the attached still established — the place, its fixed features and wear, each person's clothing and state — persists. Any person in it who cannot move stays PRECISELY as photographed (body, pose, contact points, held objects); only the camera changes.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nMOVEMENT (follow exactly): static: Suriyoung stands tensely on the rooftop with her body and gaze directed straight toward the half-open iron entrance door and its dark interior.\n\nFIGURES — size & depth (follow exactly): Suriyoung appears about ~1/2 of the frame height in the NEARER rooftop area, while the half-open door appears about ~1/3 and is FARTHER ahead along her line of sight.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 수리영 — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-13 06:05:38", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s38_still_S17sh2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/panels/S17sh2.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/bg2_S17sh2.png"], "ref_labels": ["LAYOUT SKETCH — a bare thin-line layout guide, a REFERENCE ONLY: take from it ONLY the camera framing, figure placement, pose and size/depth order. It carries ZERO visual style — every texture, material, light and all realism come from the text and the photographic reference. Never let any line-drawing quality leak into the output.", "LOCATION PHOTOGRAPH — the exact place of this shot: its architecture, materials, fixed features and lighting mood are spatial truth; stage the moment inside this place. Never copy its camera framing."], "attempt": 1, "dur_s": 21.4, "bytes": 2377592, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/stills/S17sh2_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): dawn.\n\nSHOT TEXT (authoritative, Korean): 옥상 담벼락 위에서 한쪽 앞발을 허공으로 뻗은 검은 고양이의 측면\n\nLOCATION (lock): The flat rooftop of an aging low-rise apartment building, enclosed by a waist-high parapet. A small rooftop dwelling has a metal entrance door and a window visible from the open roof. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nMOVEMENT (follow exactly): The black cat moves side-on across and over the rooftop wall toward the opposite side, extending one forepaw into the air as its body follows.\n\nFIGURES — size & depth (follow exactly): The cat appears medium-sized, about ~1/3 of the frame height, and is NEARER to the camera than the FARTHER side beyond the wall; the wall runs beneath its crossing path.\n\nNo people appear unless the shot text itself says so.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-13 06:05:55", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s38_still_S11sh4", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/panels/S11sh4.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/bg2_S11sh4.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/39864973-d3d5-4886-bfb2-f8db608a005b.png"], "ref_labels": ["LAYOUT SKETCH — a bare thin-line layout guide, a REFERENCE ONLY: take from it ONLY the camera framing, figure placement, pose and size/depth order. It carries ZERO visual style — every texture, material, light and all realism come from the text and the photographic reference. Never let any line-drawing quality leak into the output.", "LOCATION PHOTOGRAPH — the exact place of this shot: its architecture, materials, fixed features and lighting mood are spatial truth; stage the moment inside this place. Never copy its camera framing.", "CHARACTER REFERENCE — 수리영: the exact person appearing in this shot; match face, hair and build exactly."], "attempt": 1, "dur_s": 17.0, "bytes": 2448356, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/stills/S11sh4_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\n\nSHOT TEXT (authoritative, Korean): 철제 파이프 난간을 손으로 잡은 수리영이 코끝을 찡그린 채 계단 중간에 서 있는 얼굴 클로즈업\n\nLOCATION (lock): A narrow exterior metal staircase attached to an old low-rise residential building. It has exposed steel steps and tubular pipe railings leading upward toward the roof. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nMOVEMENT (follow exactly): static: Suri-young pauses midway up the staircase while ascending toward the rooftop, gripping the metal-pipe railing with a tense posture and wrinkling her nose at the sudden foul smell, her body oriented uphill.\n\nFIGURES — size & depth (follow exactly): Suri-young’s face fills ~2/3 of the frame height in close-up and is the nearest figure; her hand and the metal-pipe railing sit slightly farther from the camera as she remains midway on the stairs.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 수리영 — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-13 06:06:17", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s38_still_S13sh4", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/panels/S13sh4.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/bg2_S13sh4.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/39864973-d3d5-4886-bfb2-f8db608a005b.png"], "ref_labels": ["LAYOUT SKETCH — a bare thin-line layout guide, a REFERENCE ONLY: take from it ONLY the camera framing, figure placement, pose and size/depth order. It carries ZERO visual style — every texture, material, light and all realism come from the text and the photographic reference. Never let any line-drawing quality leak into the output.", "LOCATION PHOTOGRAPH — the exact place of this shot: its architecture, materials, fixed features and lighting mood are spatial truth; stage the moment inside this place. Never copy its camera framing.", "CHARACTER REFERENCE — 수리영: the exact person appearing in this shot; match face, hair and build exactly."], "attempt": 1, "dur_s": 21.9, "bytes": 2697488, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/stills/S13sh4_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\n\nSHOT TEXT (authoritative, Korean): 수리영이 초점을 잃은 눈으로 허공을 응시하며 서 있는 모습\n\nLOCATION (lock): A confined ground-level alley and small courtyard beside an aging multi-unit residential building. Concrete walls, building entrances, and the base of the exterior access structure frame the space. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nMOVEMENT (follow exactly): static: Su-ri-young stands motionless and dazed after coming down from the rooftop room, her unfocused eyes staring into empty space and her body lacking purposeful direction.\n\nFIGURES — size & depth (follow exactly): Su-ri-young is the only visible figure, so she is both the nearest and farthest person; her apparent fraction of frame height is unspecified in the source.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 수리영 — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-13 06:06:35", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s38_still_S13sh6", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/stills/S13sh4_nb2.png"], "ref_labels": ["PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing. If this photo shows a character who cannot move (dead or unconscious), that character's exact pose, position and orientation are ALSO LOCKED — treat their body as a fixed prop of the set that only the camera moves around."], "attempt": 1, "dur_s": 18.3, "bytes": 2440448, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/stills/S13sh6_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\n\nSHOT TEXT (authoritative, Korean): 고개를 든 채 혜수의 얼굴을 마주보고 있는 수리영의 측면 구도\n\nLOCATION (lock): A confined ground-level alley and small courtyard beside an aging multi-unit residential building. Concrete walls, building entrances, and the base of the exterior access structure frame the space. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.\n\nTHIS SHOT CONTINUES THE PREVIOUS SHOT: everything the attached still established — the place, its fixed features and wear, each person's clothing and state — persists. Any person in it who cannot move stays PRECISELY as photographed (body, pose, contact points, held objects); only the camera changes.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nMOVEMENT (follow exactly): static: Su-ri-young holds her head raised and faces Hye-su directly in side profile, looking up at her while remaining dazed and stationary.\n\nFIGURES — size & depth (follow exactly): Su-ri-young and Hye-su's face are visible facing each other, but their respective frame-height fractions and which is nearer to the camera are unspecified; their paths have converged at conversational distance, with neither moving past the other.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 수리영, 혜수 — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-13 06:48:02", "kind": "llm", "step": "s38_prev2", "model": "gpt", "dur_s": 77.9, "system_prompt": "당신은 콘티 연속성 판정가다. 같은 건물(실내·실외 포함)에서 찍는\n샷 목록(시간순)과 씬 원문 전문을 받는다. 각 샷마다 두 가지를\n판정하라.\n(a) prev: 시각적으로 관련된 앞쪽 샷 — 같은 공간·연속 액션·같은\n인물 구도가 이어져, 앞 샷의 생성 이미지를 참조 사진으로 붙이면\n일관성에 도움이 되는 경우만. 실내·실외처럼 공간이 달라도 문·창·\n계단 등으로 시각적으로 이어지면 허용. 시간대가 다르거나 연결\n단서가 없으면 null. 반드시 목록에서 자기보다 앞의 샷.\n(b) usage_en: prev 가 있으면, 그 참조 사진을 '어떻게' 쓸지\n명령문 영어 2~4문장으로 저작하라 — 반드시 두 축을 다 쓸 것:\n  · TAKE: 이어받을 것 — 장소의 룩·재질·조명, 지속되는 상태물,\n    움직일 수 없는 인물의 자세·위치, 인물의 의상 등 원문상 이\n    샷에도 그대로 존재해야 하는 것.\n  · EXCLUDE: 배제할 것 — 이 샷의 공간·프레임에 없어야 하는\n    가구·인물·소품, 앞 샷 전용의 순간 요소, 다른 서브공간의\n    요소. '배경(장소)만 쓰고 인물은 쓰지 말 것', '특정 물체는\n    지우고 쓸 것'처럼 구체적으로.\n원문 근거로만 판단하고, 작품 고유명사 대신 일반 서술을 써라.\n각 샷: shot, prev(태그|null), reason_ko(한 구절), usage_en\n(prev 없으면 빈 문자열).", "user_prompt": "씬 원문 전문:\n[씬 4] S#4. 옥탑방 / D\nS#4. 옥탑방 / D\n인천 변두리 부감, 오래된 빌라 옥탑방 전경.\n\n기자(E)\n지역 주민들 사이에 횡행한 소문이 돌고 있지만, 경찰은\n범인의 윤곽조차 잡지 못하고 있어 지역주민들의 불안과\n두려움을 더 키우는 모양새입니다.\n\n\n\n[씬 5] S#5. 옥탑방 안 / 실내\nS#5. 옥탑방 안 / 실내\n거실에 난 작은 창으로 햇살에 가늘게 비친다.\n싱크대 수도꼭지에 흐르는 물, 씻다 만 약초(석창포).\n냄비의 물이 끓어 달그락거리는 소리… 김이 피어오르고.\n앞치마를 두른 채 TV 뉴스를 뚫어지게 바라보는\n민숙(수리영 엄마. 40세) 표정이 어둡다.\n(뉴스멘트는 작아졌다 커졌다 반복하면서 여기까지 이어진다)\n\n딸, 수리영(21. 애완동물미용학과 2년)이 방문을 열고 기지개를 켜며\n나오자 후다닥 TV를 끄는 민숙. 다정한 말투로\n\n수리영\n(심드렁) 뭐~야. 사건 났어? 뭔데.\n\n민숙\n아냐.\n\n수리영\n(식탁에 앉으며) 이모 또 야근하겠네. 조그만 도시에\n왠 사건이 이렇게 많아. 바다가 가까워서 그런가.\n\n민숙\n신경 꺼. (석창포 달인 물을 따라주면서) 마셔. 방학인데\n왜 더 자지않고.\n\n수리영\n(마시고 나서) 아, 진짜 맛 없어...(투정) 나 알바 있어, 엄마.\n원장님이 하루만 봐 달래.\n\n(cut to.)\n가벼운 차림새. 수리영 신발을 신으며\n\n수리영\n엄마는 오늘 안 나가?\n\n민숙\n이따가 1시 타임.\n\n수리영\n(엄마의 냄새를 맡으며) 아, 좋다. 끝나고 마트로 갈게. 모처럼\n밖에서 저녁먹자 엄마.\n\n민숙\n응 (미소)\n\n힐끗, 민숙 손목에 보이는 작은 원(이하 표식)을 본다.\n오늘따라 유난히 또렷해 보이지만 워낙 어릴 적부터 봐온 터라 개의치 않는.\n\n\n\n[씬 10] S#10. 옥탑방 / N\nS#10. 옥탑방 / N\n그 시각. 옥탑방 옥상. 물탱크. 바람에 빨랫줄이 툭- 툭-\n평상에 놓인 말린 석창포가 바람에 날리는데...\n말린 잎이 걸어오는 낯선 남자의 신발 위를 스친다.\n남자의 긴 그림자. (얼굴은 보이지 않는다)\n\n신발은 옥탑방 철문 현관 앞에 멈춰 선다.\n문틈에 낀 광고 전단지.\n전단지를 뽑아서 손가락으로 문틈에 꾹 밀어 넣는다.\n‘철컥’ 하고 잠금 새가 풀리는 소리.\n문이 미세하게 열리고 안으로 들어가는 남자.\n창문에 비친 그림자. 민숙을 덮쳐 어깨를 물어뜯는 듯한 모습 ‘아악-’\n\n\n\n[씬 11] S#11. 옥탑 방 밖 / N\nS#11. 옥탑 방 밖 / N\n자전거를 타고 골목길을 달리는 수리영.\n다세대 빌라 문을 열고 들어와 마당 후미진 곳에 자전거를 대충 세우고,\n옥탑방과 연결되는 계단을 급히 오른다.\n\n갑자기 훅- 느껴지는 역겨운 냄새. 뭐지?\n옥상에 올라와 보니 반쯤 열린 현관 철문.\n\n\n\n[씬 12] S#12. 옥탑방 안 / N\nS#12. 옥탑방 안 / N\n/거실\n‘엄마?’를 부르며 들어오는 수리영,\n끓다 식은 냄비. 켜져 있는 TV. 희미한 거실 스탠드 불빛,\n\n/민숙 방\n안방 문을 여는데... 없다.\n거실 식탁에 놓여있는 찻잔 두 개. 하나는 엎어져있다.\n\n/수리영 방\n마지막으로 자기 방문을 연다\n헉!- 여기저기 핏자국. 바닥에 흥건한 혈흔.\n피묻은 발자국은 커튼으로 이어져 있다\n호흡을 가두고 커튼을 젖히자\n앉은 채로 고개를 떨군 채 죽어있는 엄마- 민숙!!!!\n\n수리영\n(달려가) 어어어어----엄마\n\n충격에 온 몸이 얼어붙은 수리영,\n살점이 뜯긴 어깨와 쇄골, 마치 동물에게 물어뜯긴 듯한 거친 상처가 고스란히\n드러나있다. 덜렁거리는 살점과 뜯겨진 부위에 흘러내리는 피.\n\n수리영\n(놀라 뒤로 주춤) 어-어-어- 엄마….\n\n부들부들 떨며 핸드폰을 누른다. 2번 혜수이모\n\n수리영\n받아, 이모. 받아….\n\n혜수(E)\n영아, 영아, 왜?\n\n답은 안 나오고… 엄마 손안에 구겨진 사진 한 장이 보인다.\n다가가 사진을 꺼내는데 엄마 손목에 있던 문신이 붉은색으로 변한다.\n헉! 호흡이 빨라지고... 침대 위 벽에 붉은 원이 생겨난다\n(마치 누군가 붓으로 벽에 원으로 그리는 것처럼).\n소름끼치는 으아악---!\n\n\n\n[씬 13] S#13. 옥탑방 외곽 / N\nS#13. 옥탑방 외곽 / N\n비명을 지르며 옥탑방을 빠져나오는 수리영, 허겁지겁 계단을 내려간다.\n동시에 사이렌이 울리고~. (포즈)\n차에서 내린 혜수(40대 중반, 여자, 경위) 초점을 잃고 멍하니 서있는\n수리영의 모습을 발견하고 달려간다.\n\n혜수\n영아? 왜! 무슨 일이야?\n\n수리영\n(올라다보며) 엄마가, 엄마가... 죽어있어.\n\n혜수\n(놀라) 뭐?!\n\n옥탑 방으로 뛰어 올라가는 혜수와 후배 형사(30대 남/ 이하 김형사)\n\n\n\n[씬 14] S#14. 옥탑방 안 / N\nS#14. 옥탑방 안 / N\n/현관\n집안 여기저기를 확인하면서 나오는 형사와 혜수\n\n김형사\n(허탈한 표정) 없는데.. 아무 것도.\n\n혜수\n(뒤따라온 수리영에게) 영아, 없어. 뭘 봤는데...?\n\n어? 수리영, 부리나케 방 안으로 뛰어 들어간다.\n\n/수리영 방 안\n지나칠 정도로 깨끗하게 정돈된 방안. 핏자국도 보이지 않고,\n침대 위에 붉은 표식은 물론 커튼 뒤의 시신도 감쪽 같이 사라졌다.\n얼굴이 파리해지는 수리영. ‘어----?’ ‘분명히 봤는데...’\n\n뛰쳐나가 식탁으로 가본다. 식탁 역시 깨끗한.\n\n수리영\n여기 찻잔도 두 개 있었고...\n\n김형사\n(답답) 허 참! 죽은 사람이 발이 달렸을 리도 없고. 쯧쯧\n그러게 살인사건은 자세하게 보도하면 안 된다구요...(궁시렁)\n이봐요. 학생? 장난전화 하면 안 되는 거 몰라? (짜증)\n안 그래도 살인사건으로 난리도 아닌데...\n\n혜수\n(김형사 째리고) 김형사. 먼저 가 있어. (김형사 나가면)\n(수리영 어깨를 어루만지며) 영아.\n\n수리영\n엄마(시신), 어디갔을까? 분명히 봤는데...\n\n혜수\n네가 요즘 과로했잖아. 공부에다 알바까지...\n악몽을 꾼 걸 수도 있으니... 바람이나 쐬러 가자.\n수리영 방안에 놓여진 백팩, 인형. 약간씩 위치가 달라진.\n(시신을 발견했을 때와 다른)\n\n\n\n[씬 17] S#17. 옥탑방 / 동틀무렵\nS#17. 옥탑방 / 동틀무렵\n새벽녘, 고양이 울음소리.\n검은 고양이가 불이 켜져 있는 옥탑 방을 슬쩍 보더니 담을 넘는다\n\n\n\n[씬 18] S#18. 안방 안 / D\nS#18. 안방 안 / D\n침대에 머리를 대고 앉아있는 수리영, 밤새 엄마를 기다리다 깜박 졸았다\n고양이 울음소리에 번쩍 눈을 뜨고, ‘엄마? ’혹시나 해서 집안을 살피지만\n아무런 인기척도 보이지 않는다\n\n/수리영 방안\n닫혀있는 자신의 방을 바라본다.\n[F.B: 1부12씬] 커튼 뒤에 죽어있던 엄마. 상처. 혈흔\n\n크게 심호흡하고 조심스럽게 문을 연다.\n지나치리만큼 깨끗하게 정돈된 방안.\n창문에 다가가 커튼을 확 열어젖힌다. 시신은 없다.\n\n한숨 후~ 다행이긴 한데.\n그때, 울리는 폰 벨소리, 화들짝 놀라는 수리영. 달려가 받자마자\n\n수리영\n엄마?\n\n혜수(E)\n아직이니?\n\n수리영\n응. 아무래도 이상해. 이럴 리가 없잖아! 우리 엄마가.\n이모, 사고 난 게 분명해\n\n혜수(E)\n실종신고 냈어. 이모가 엄마 폰 위치추적하고 있으니까\n조금만 기다려 별일 없을 거야. 알았지?\n\n수리영\n응.\n\n무작정 기다리는게 불안한 수리영,\n인형이 달린 자신의 백팩을 꺼내 나온다\n\n/욕실 안\n얼굴을 씻고 거울을 보며\n\n수리영\n엄마, 도대체 어딨는 거야...\n\n거울에 비친 욕실 벽에 갑자기 또 발생하는 붉은 원.\n호흡이 가빠지고... 훅 고개를 돌려 벽을 보는 수리영\n거짓말처럼 사라지고 없다.\n거실로 튀어나와 물 한컵 마시고 식탁에 놓인 엄마와 수리영의 사진을 보는데...\n환하게 웃는 엄마 얼굴이 뭉개져 흘러내린다\n\n수리영\n아아악~~~ (다시보니 멀쩡하다) 나 왜 이러는 거지.\n(자신의 뺨을 치며) 정신 차려 수리영!\n\n\n\n[씬 25] S#25. 옥탑방 안 / 해질 무렵\nS#25. 옥탑방 안 / 해질 무렵\n누군가 다녀간 흔적으로 보이는 발자국들.\n다시 호흡이 가빠지는 수리영.\n집안에서 뭔가를 찾기 위해 가재도구를 온통 헤집은 것으로 보인다.\n거실에 난 창은 열려있고, 식탁 의자들을 쓰러져있다.\n\n/수리영 방\n열린 자신의 방을 힐끗 보는데\n벽에 또 붉은 원이 그려져있다. 그 가운데 꽂혀있는 피묻은 사진 한 장!\n사진을 떼어서 자세히 본다.\n어? 그 사진!!!\n\n[F.B: 1부 12씬] 죽은 엄마의 손에 구겨져있던 바로 그 사진이다.\n7-80년대 쯤 보이는 시골 식당과 지붕위에 둥근 원이 설치된 (마치 십자가처럼)\n식당 앞에는 어린 여자애 둘(12살)이 앉아있다. 그중에 한 아이는 분명히\n어릴 적 엄마다.\n\n침대에 털썩 주저앉는 수리영. 연속해서 벌어지는 기이한 상황에 정신이 혼미한\n엉망이 된 집 안을 한번 획 둘러보는 수리영,\n마치 이끌리듯 백팩을 메고 밖으로 나간다. 사진을 손에 꼭 쥔 채.\n\n\n\n[씬 27] S#27. 옥탑방 안 / 해질 무렵\nS#27. 옥탑방 안 / 해질 무렵\n수리영의 녹음메시지를 확인하는 혜수,\n\n\n\n샷 목록(시간순):\nS4sh1: 맑은 낮, 오래된 다세대 빌라 옥상 위에 자리 잡은 옥탑방을 높은 곳에서 내려다본 부감 구도\nS5sh5: 다급하게 상체를 기울이며 손가락 끝으로 TV 전원 버튼을 세게 누르고 있는 민숙의 측면 구도\nS5sh9: 민숙의 손목에 선명하게 드러난 작은 원형 표식의 타이트 샷\nS10sh6: 현관 철문이 아주 살짝 열린 틈새로 보이는 어두운 실내와 신발 앞코\nS10sh7: 불이 켜진 옥탑방 창문에 거대한 그림자가 작은 그림자의 어깨 쪽으로 고개를 꺾은 형태가 맺혀 있는 정지 구도\nS11sh4: 철제 파이프 난간을 손으로 잡은 수리영이 코끝을 찡그린 채 계단 중간에 서 있는 얼굴 클로즈업\nS11sh5: 옥상에 선 수리영의 시선 끝에 반쯤 열려 있는 어두운 현관 철문이 보이는 정면 구도\nS12sh11: 옷과 피부가 피투성이가 된 민숙이 바닥에 주저앉아 고개를 푹 숙인 정지 상태\nS12sh18: 민숙의 손에 꽉 쥐어진 구겨진 사진의 타이트 샷\nS12sh21: 침대 위쪽 벽면에 붉은색 원형 표식이 절반쯤 나타난 상태\nS13sh4: 수리영이 초점을 잃은 눈으로 허공을 응시하며 서 있는 모습\nS13sh6: 고개를 든 채 혜수의 얼굴을 마주보고 있는 수리영의 측면 구도\nS14sh5: 핏자국 없이 깨끗한 방 내부 전경\nS14sh7: 수리영이 멍한 눈으로 텅 빈 방 안을 응시하는 얼굴 클로즈업\nS14sh11: 혜수가 날카로운 눈빛으로 김형사를 노려보는 모습\nS17sh2: 옥상 담벼락 위에서 한쪽 앞발을 허공으로 뻗은 검은 고양이의 측면\nS18sh11: 거울 속 반사된 욕실 타일 벽면에 붉은색 원형 표식이 절반쯤 나타난 상태\nS18sh15: 액자 속 민숙의 얼굴 부분 이미지가 아래로 일그러지며 흘러내리는 찰나\nS18sh16: 수리영이 두 손으로 머리를 감싸 쥐고 입을 크게 벌린 얼굴\nS25sh1: 해질 무렵 옥탑방 거실, 흙 묻은 발자국들이 찍힌 바닥과 쓰러진 식탁 의자들이 보이는 전경\nS25sh5: 붉은 원 한가운데 피 묻은 낡은 흑백 사진이 벽에 꽂혀 있는 타이트 샷\nS25sh9: 수리영의 손이 구겨진 사진을 꽉 움켜쥔 타이트 샷\nS27sh3: 혜수가 미간을 깊게 찌푸린 채 스마트폰을 내려다보는 얼굴 클로즈업"}
{"ts": "2026-07-13 06:48:44", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s38_still_S4sh1", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/panels/S4sh1.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/bg2_S4sh1.png"], "ref_labels": ["LAYOUT SKETCH — a bare thin-line layout guide, a REFERENCE ONLY: take from it ONLY the camera framing, figure placement, pose and size/depth order. It carries ZERO visual style — every texture, material, light and all realism come from the text and the photographic reference. Never let any line-drawing quality leak into the output.", "LOCATION PHOTOGRAPH — the exact place of this shot: its architecture, materials, fixed features and lighting mood are spatial truth; stage the moment inside this place. Never copy its camera framing."], "attempt": 1, "dur_s": 17.4, "bytes": 3360772, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/stills/S4sh1_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): daytime.\n\nSHOT TEXT (authoritative, Korean): 맑은 낮, 오래된 다세대 빌라 옥상 위에 자리 잡은 옥탑방을 높은 곳에서 내려다본 부감 구도\n\nLOCATION (lock): The flat rooftop of an aging low-rise apartment building, enclosed by a waist-high parapet. A small rooftop dwelling has a metal entrance door and a window visible from the open roof. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nMOVEMENT (follow exactly): static: No person is visible; the rooftop room remains fixed on top of the old multi-family villa beneath the high, downward-looking camera.\n\nFIGURES — size & depth (follow exactly): The rooftop room appears small, about ~1/6 of the frame height, and is FARTHER from the camera than the surrounding upper roof surfaces in the foreground.\n\nNo people appear unless the shot text itself says so.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-13 06:49:06", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s38_still_S5sh5", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/panels/S5sh5.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/plate_living_dining_day_root.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/899945af-f9bf-4880-bdd7-c9d1f45a5327.png"], "ref_labels": ["LAYOUT SKETCH — a bare thin-line layout guide, a REFERENCE ONLY: take from it ONLY the camera framing, figure placement, pose and size/depth order. It carries ZERO visual style — every texture, material, light and all realism come from the text and the photographic reference. Never let any line-drawing quality leak into the output.", "LOCATION PHOTOGRAPH — the exact place of this shot: its architecture, materials, fixed features and lighting mood are spatial truth; stage the moment inside this place. Never copy its camera framing.", "CHARACTER REFERENCE — 민숙: the exact person appearing in this shot; match face, hair and build exactly."], "attempt": 1, "dur_s": 21.9, "bytes": 2736211, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/stills/S5sh5_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): interior ambient light.\n\nSHOT TEXT (authoritative, Korean): 다급하게 상체를 기울이며 손가락 끝으로 TV 전원 버튼을 세게 누르고 있는 민숙의 측면 구도\n\nLOCATION (lock): A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nMOVEMENT (follow exactly): Min-sook urgently pitches her upper body forward toward the TV and forcefully drives a fingertip into its power button to turn it off as Su-ri-young emerges from her room.\n\nFIGURES — size & depth (follow exactly): Min-sook's side-view upper body fills roughly 2/3 of the frame height, with her reaching hand and the TV button NEARER to the camera than her face and torso. The TV is FARTHER along her forward reach, and her body closes the short distance toward it.\n\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Minsuk remains in her apron, with the same small circular mark on her wrist; the mark must already be present here because she has had it since childhood.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 민숙 — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-13 06:49:25", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s38_still_S5sh9", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/stills/S5sh5_nb2.png"], "ref_labels": ["PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing. If this photo shows a character who cannot move (dead or unconscious), that character's exact pose, position and orientation are ALSO LOCKED — treat their body as a fixed prop of the set that only the camera moves around."], "attempt": 1, "dur_s": 19.0, "bytes": 2621445, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/stills/S5sh9_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): interior ambient light.\n\nSHOT TEXT (authoritative, Korean): 민숙의 손목에 선명하게 드러난 작은 원형 표식의 타이트 샷\n\nLOCATION (lock): A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.\n\nTHIS SHOT CONTINUES THE PREVIOUS SHOT: everything the attached still established — the place, its fixed features and wear, each person's clothing and state — persists. Any person in it who cannot move stays PRECISELY as photographed (body, pose, contact points, held objects); only the camera changes.\n\nPREVIOUS STILL USAGE (follow exactly — what to take from the attached still and what to exclude): TAKE the same daylight, skin tone, apron, and wardrobe continuity from the middle-aged woman. EXCLUDE the television, the button-pressing gesture, and most of her face and body from this tight wrist framing.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nMOVEMENT (follow exactly): static: Min-sook's wrist is held in view, with the sharply visible small circular mark facing the camera.\n\nFIGURES — size & depth (follow exactly): The wrist fills most of the tight frame, while the circular mark occupies a small area at its center. The skin and mark are the NEAREST and only principal subject, with any body or room detail FARTHER and out of focus.\n\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The TV remains switched off, and Minsuk still wears the apron. The small, unusually distinct circular mark remains on her wrist.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 민숙 — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-13 06:49:42", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s38_still_S10sh6", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/panels/S10sh6.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/bg2_S10sh6.png"], "ref_labels": ["LAYOUT SKETCH — a bare thin-line layout guide, a REFERENCE ONLY: take from it ONLY the camera framing, figure placement, pose and size/depth order. It carries ZERO visual style — every texture, material, light and all realism come from the text and the photographic reference. Never let any line-drawing quality leak into the output.", "LOCATION PHOTOGRAPH — the exact place of this shot: its architecture, materials, fixed features and lighting mood are spatial truth; stage the moment inside this place. Never copy its camera framing."], "attempt": 1, "dur_s": 17.1, "bytes": 2638346, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/stills/S10sh6_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\n\nSHOT TEXT (authoritative, Korean): 현관 철문이 아주 살짝 열린 틈새로 보이는 어두운 실내와 신발 앞코\n\nLOCATION (lock): The flat rooftop of an aging low-rise apartment building, enclosed by a waist-high parapet. A small rooftop dwelling has a metal entrance door and a window visible from the open roof. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nMOVEMENT (follow exactly): The unknown man's shoe toe advances from the rooftop exterior through the narrowly opened iron doorway into the dark room, leading his unseen body inward.\n\nFIGURES — size & depth (follow exactly): The shoe toe is small, about ~1/10 of the frame height, and lies FARTHER from the camera than the NEARER iron door edges; the dark interior recedes farthest beyond it.\n\nNo people appear unless the shot text itself says so.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-13 06:50:02", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s38_still_S10sh7", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/stills/S10sh6_nb2.png"], "ref_labels": ["PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing. If this photo shows a character who cannot move (dead or unconscious), that character's exact pose, position and orientation are ALSO LOCKED — treat their body as a fixed prop of the set that only the camera moves around."], "attempt": 1, "dur_s": 20.2, "bytes": 2799715, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/stills/S10sh7_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\n\nSHOT TEXT (authoritative, Korean): 불이 켜진 옥탑방 창문에 거대한 그림자가 작은 그림자의 어깨 쪽으로 고개를 꺾은 형태가 맺혀 있는 정지 구도\n\nLOCATION (lock): The flat rooftop of an aging low-rise apartment building, enclosed by a waist-high parapet. A small rooftop dwelling has a metal entrance door and a window visible from the open roof. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.\n\nTHIS SHOT CONTINUES THE PREVIOUS SHOT: everything the attached still established — the place, its fixed features and wear, each person's clothing and state — persists. Any person in it who cannot move stays PRECISELY as photographed (body, pose, contact points, held objects); only the camera changes.\n\nPREVIOUS STILL USAGE (follow exactly — what to take from the attached still and what to exclude): TAKE the same nighttime rooftop-room lighting, dark interior tone, and ominous intruder presence. EXCLUDE the iron-door gap, the visible shoe tip, and any flyer or lock-manipulation details; render the figures only as window shadows.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nMOVEMENT (follow exactly): static: A real man appearing as a large dark silhouette, with normal human build, leans into Minsook and angles his head down toward her shoulder as she is caught beneath him.\n\nFIGURES — size & depth (follow exactly): The man's shadow fills roughly ~2/3 of the frame height, larger than Minsook's smaller shadow at about ~1/3; both people are FARTHER than the NEARER window surface, while their mutual camera-depth order is not established. Their silhouettes overlap at Minsook's shoulder, leaving almost no distance between their paths.\n\nNo people appear unless the shot text itself says so.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-13 06:50:26", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s38_still_S11sh4", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/panels/S11sh4.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/bg2_S11sh4.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/39864973-d3d5-4886-bfb2-f8db608a005b.png"], "ref_labels": ["LAYOUT SKETCH — a bare thin-line layout guide, a REFERENCE ONLY: take from it ONLY the camera framing, figure placement, pose and size/depth order. It carries ZERO visual style — every texture, material, light and all realism come from the text and the photographic reference. Never let any line-drawing quality leak into the output.", "LOCATION PHOTOGRAPH — the exact place of this shot: its architecture, materials, fixed features and lighting mood are spatial truth; stage the moment inside this place. Never copy its camera framing.", "CHARACTER REFERENCE — 수리영: the exact person appearing in this shot; match face, hair and build exactly."], "attempt": 1, "dur_s": 24.3, "bytes": 2638845, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/stills/S11sh4_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\n\nSHOT TEXT (authoritative, Korean): 철제 파이프 난간을 손으로 잡은 수리영이 코끝을 찡그린 채 계단 중간에 서 있는 얼굴 클로즈업\n\nLOCATION (lock): A narrow exterior metal staircase attached to an old low-rise residential building. It has exposed steel steps and tubular pipe railings leading upward toward the roof. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nMOVEMENT (follow exactly): static: Suri-young pauses midway up the staircase while ascending toward the rooftop, gripping the metal-pipe railing with a tense posture and wrinkling her nose at the sudden foul smell, her body oriented uphill.\n\nFIGURES — size & depth (follow exactly): Suri-young’s face fills ~2/3 of the frame height in close-up and is the nearest figure; her hand and the metal-pipe railing sit slightly farther from the camera as she remains midway on the stairs.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 수리영 — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-13 06:50:45", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s38_still_S11sh5", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/stills/S11sh4_nb2.png"], "ref_labels": ["PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing. If this photo shows a character who cannot move (dead or unconscious), that character's exact pose, position and orientation are ALSO LOCKED — treat their body as a fixed prop of the set that only the camera moves around."], "attempt": 1, "dur_s": 18.3, "bytes": 2831616, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/stills/S11sh5_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\n\nSHOT TEXT (authoritative, Korean): 옥상에 선 수리영의 시선 끝에 반쯤 열려 있는 어두운 현관 철문이 보이는 정면 구도\n\nLOCATION (lock): The flat rooftop of an aging low-rise apartment building, enclosed by a waist-high parapet. A small rooftop dwelling has a metal entrance door and a window visible from the open roof. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.\n\nTHIS SHOT CONTINUES THE PREVIOUS SHOT: everything the attached still established — the place, its fixed features and wear, each person's clothing and state — persists. Any person in it who cannot move stays PRECISELY as photographed (body, pose, contact points, held objects); only the camera changes.\n\nPREVIOUS STILL USAGE (follow exactly — what to take from the attached still and what to exclude): TAKE the young woman's clothing, nighttime exterior lighting, and the metal stair-and-railing materials as she reaches the rooftop. EXCLUDE the earlier facial close-up, nose-wrinkling expression, and hand gripping the railing; frame her sightline toward the half-open iron door.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nMOVEMENT (follow exactly): static: Suriyoung stands tensely on the rooftop with her body and gaze directed straight toward the half-open iron entrance door and its dark interior.\n\nFIGURES — size & depth (follow exactly): Suriyoung appears about ~1/2 of the frame height in the NEARER rooftop area, while the half-open door appears about ~1/3 and is FARTHER ahead along her line of sight.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 수리영 — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-13 06:51:02", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s38_still_S12sh11", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/stills/S10sh7_nb2.png"], "ref_labels": ["PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing. If this photo shows a character who cannot move (dead or unconscious), that character's exact pose, position and orientation are ALSO LOCKED — treat their body as a fixed prop of the set that only the camera moves around."], "attempt": 1, "dur_s": 17.4, "bytes": 2789985, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/stills/S12sh11_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\n\nSHOT TEXT (authoritative, Korean): 옷과 피부가 힘없이 무너져 미동이 없는 민숙이 바닥에 주저앉아 고개를 푹 숙인 정지 상태\n\nLOCATION (lock): A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.\n\nTHIS SHOT CONTINUES THE PREVIOUS SHOT: everything the attached still established — the place, its fixed features and wear, each person's clothing and state — persists. Any person in it who cannot move stays PRECISELY as photographed (body, pose, contact points, held objects); only the camera changes.\n\nPREVIOUS STILL USAGE (follow exactly — what to take from the attached still and what to exclude): TAKE the same nighttime room illumination and the attacked middle-aged woman's clothing, body proportions, and injured-shoulder continuity. EXCLUDE the attacker, the exterior window-reflection composition, and the oversized shadow treatment; show only the dark-stained victim slumped inside the room.\n\nIMMOBILE CHARACTER POSE — CANONICAL (identical wherever this character appears in ANY panel; on any conflict THIS POSE WINS): Min-sook is seated collapsed on the floor behind the curtain with her head dropped forward. One hand is clenched around a crumpled photograph.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nMOVEMENT (follow exactly): static: utterly motionless, collapsed Min-sook is seated collapsed on the floor behind the curtain with her head dropped forward, shoulders fallen, limbs limp, and body weight fully given way.\n\nFIGURES — size & depth (follow exactly): Min-sook's dark stains-covered body fills about 2/3 of the frame height and is the NEAREST principal figure. The floor directly beneath her is nearer than the surrounding bedroom and curtain area, which recede FARTHER behind her.\n\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Min-sook remains dead behind the curtain, seated collapsed on the floor with her head dropped forward, her torn shoulder and collarbone exposed amid the dark stains and dark-stained footprints. One hand is clenched around a crumpled photograph, and the small circular mark remains on her wrist.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 민숙 (환시) — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-13 06:51:21", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s38_still_S12sh18", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/stills/S12sh11_nb2.png"], "ref_labels": ["PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing. If this photo shows a character who cannot move (dead or unconscious), that character's exact pose, position and orientation are ALSO LOCKED — treat their body as a fixed prop of the set that only the camera moves around."], "attempt": 1, "dur_s": 18.6, "bytes": 2392686, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/stills/S12sh18_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\n\nSHOT TEXT (authoritative, Korean): 민숙의 손에 꽉 쥐어진 구겨진 사진의 타이트 샷\n\nLOCATION (lock): A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.\n\nTHIS SHOT CONTINUES THE PREVIOUS SHOT: everything the attached still established — the place, its fixed features and wear, each person's clothing and state — persists. Any person in it who cannot move stays PRECISELY as photographed (body, pose, contact points, held objects); only the camera changes.\n\nPREVIOUS STILL USAGE (follow exactly — what to take from the attached still and what to exclude): TAKE the victim's stained skin and clothing, her unmoving seated state, and the same dim nighttime room light. EXCLUDE her face, full body, exposed shoulder wound, and the approaching young woman from this tight hand-and-photograph shot.\n\nIMMOBILE CHARACTER POSE — CANONICAL (identical wherever this character appears in ANY panel; on any conflict THIS POSE WINS): Min-sook is seated collapsed on the floor behind the curtain with her head dropped forward. One hand is clenched around a crumpled photograph.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nMOVEMENT (follow exactly): static: utterly motionless, collapsed Min-sook's hand remains clenched around a crumpled photograph, with the photograph exposed toward the camera.\n\nFIGURES — size & depth (follow exactly): The dead woman's hand fills roughly 2/3 of the tight frame, and the crumpled photograph fills about 1/3. The photograph is NEARER where it protrudes from her grasp, while her palm, wrist, and collapsed body are progressively FARTHER behind it.\n\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Minsuk remains seated collapsed on the floor behind the curtain with her head dropped forward, with the wounds and dark stains undisturbed. The crumpled photograph stays clenched in her hand until Suri-young pulls it free, as the circular wrist mark turns red.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 민숙 (환시) — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-13 06:51:37", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s38_still_S12sh21", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/stills/S12sh11_nb2.png"], "ref_labels": ["PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing. If this photo shows a character who cannot move (dead or unconscious), that character's exact pose, position and orientation are ALSO LOCKED — treat their body as a fixed prop of the set that only the camera moves around."], "attempt": 1, "dur_s": 16.4, "bytes": 2452055, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/stills/S12sh21_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\n\nSHOT TEXT (authoritative, Korean): 침대 위쪽 벽면에 붉은색 원형 표식이 절반쯤 나타난 상태\n\nLOCATION (lock): A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.\n\nTHIS SHOT CONTINUES THE PREVIOUS SHOT: everything the attached still established — the place, its fixed features and wear, each person's clothing and state — persists. Any person in it who cannot move stays PRECISELY as photographed (body, pose, contact points, held objects); only the camera changes.\n\nPREVIOUS STILL USAGE (follow exactly — what to take from the attached still and what to exclude): TAKE the same bedroom wall and bed materials, dim nighttime lighting, and dark stains-tinged atmosphere established in the room. EXCLUDE the victim's body, her wounds, the young woman, and the crumpled photograph from the wall-focused frame; the half-formed red circle is the new focal element.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nMOVEMENT (follow exactly): A red circular mark spreads around the wall above the bed, progressing along a ring-like path as though an unseen brush is drawing it, with about half the circle formed.\n\nFIGURES — size & depth (follow exactly): The half-formed red circle fills roughly 1/2 of the frame height on the wall and is the principal visible object. The wall surface and mark are FARTHER than the nearer edge of the bed, with the red pigment visually sitting closest on that wall plane.\n\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Minsuk’s motionless figure, wounds, and the room’s dark stains traces remain unchanged; her hand is now without the photograph, which Suri-young has taken, and the wrist mark is red. A red circle is partially formed on the wall above the bed.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 민숙 (환시) — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-13 06:51:54", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s38_still_S13sh4", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/stills/S11sh4_nb2.png"], "ref_labels": ["PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing. If this photo shows a character who cannot move (dead or unconscious), that character's exact pose, position and orientation are ALSO LOCKED — treat their body as a fixed prop of the set that only the camera moves around."], "attempt": 1, "dur_s": 17.0, "bytes": 2511156, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/stills/S13sh4_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\n\nSHOT TEXT (authoritative, Korean): 수리영이 초점을 잃은 눈으로 허공을 응시하며 서 있는 모습\n\nLOCATION (lock): A confined ground-level alley and small courtyard beside an aging multi-unit residential building. Concrete walls, building entrances, and the base of the exterior access structure frame the space. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.\n\nTHIS SHOT CONTINUES THE PREVIOUS SHOT: everything the attached still established — the place, its fixed features and wear, each person's clothing and state — persists. Any person in it who cannot move stays PRECISELY as photographed (body, pose, contact points, held objects); only the camera changes.\n\nPREVIOUS STILL USAGE (follow exactly — what to take from the attached still and what to exclude): TAKE the young woman's same clothing and appearance, along with the building's nighttime exterior lighting and metal stair materials. EXCLUDE the earlier hand-on-railing pose and disgusted expression; she should now stand motionless with a vacant, shocked gaze.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nMOVEMENT (follow exactly): static: Su-ri-young stands motionless and dazed after coming down from the rooftop room, her unfocused eyes staring into empty space and her body lacking purposeful direction.\n\nFIGURES — size & depth (follow exactly): Su-ri-young is the only visible figure, so she is both the nearest and farthest person; her apparent fraction of frame height is unspecified in the source.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 수리영 — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-13 06:52:11", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s38_still_S13sh6", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/stills/S13sh4_nb2.png"], "ref_labels": ["PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing. If this photo shows a character who cannot move (dead or unconscious), that character's exact pose, position and orientation are ALSO LOCKED — treat their body as a fixed prop of the set that only the camera moves around."], "attempt": 1, "dur_s": 16.9, "bytes": 2532557, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/stills/S13sh6_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\n\nSHOT TEXT (authoritative, Korean): 고개를 든 채 혜수의 얼굴을 마주보고 있는 수리영의 측면 구도\n\nLOCATION (lock): A confined ground-level alley and small courtyard beside an aging multi-unit residential building. Concrete walls, building entrances, and the base of the exterior access structure frame the space. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.\n\nTHIS SHOT CONTINUES THE PREVIOUS SHOT: everything the attached still established — the place, its fixed features and wear, each person's clothing and state — persists. Any person in it who cannot move stays PRECISELY as photographed (body, pose, contact points, held objects); only the camera changes.\n\nPREVIOUS STILL USAGE (follow exactly — what to take from the attached still and what to exclude): TAKE the young woman's clothing, pale shocked appearance, standing position, and the same nighttime courtyard lighting. EXCLUDE her previous empty-space gaze and solitary composition; turn her face upward toward the approaching middle-aged woman.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nMOVEMENT (follow exactly): static: Su-ri-young holds her head raised and faces Hye-su directly in side profile, looking up at her while remaining dazed and stationary.\n\nFIGURES — size & depth (follow exactly): Su-ri-young and Hye-su's face are visible facing each other, but their respective frame-height fractions and which is nearer to the camera are unspecified; their paths have converged at conversational distance, with neither moving past the other.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 수리영, 혜수 — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-13 06:52:31", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s38_still_S14sh5", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/stills/S12sh11_nb2.png"], "ref_labels": ["PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing. If this photo shows a character who cannot move (dead or unconscious), that character's exact pose, position and orientation are ALSO LOCKED — treat their body as a fixed prop of the set that only the camera moves around."], "attempt": 1, "dur_s": 19.7, "bytes": 2658514, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/stills/S14sh5_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\n\nSHOT TEXT (authoritative, Korean): 어두운 얼룩 없이 깨끗한 방 내부 전경\n\nLOCATION (lock): A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.\n\nTHIS SHOT CONTINUES THE PREVIOUS SHOT: everything the attached still established — the place, its fixed features and wear, each person's clothing and state — persists. Any person in it who cannot move stays PRECISELY as photographed (body, pose, contact points, held objects); only the camera changes.\n\nPREVIOUS STILL USAGE (follow exactly — what to take from the attached still and what to exclude): TAKE the same bedroom architecture, curtain and bed placement, surface materials, and nighttime lighting. EXCLUDE the victim, every dark stainsstain and footprint, exposed wounds, and all signs of violence; the room must appear excessively clean and orderly.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nMOVEMENT (follow exactly): static: the excessively tidy bedroom stands empty, with no dark stainsstains, red wall mark, or collapsed body remaining anywhere in the room.\n\nFIGURES — size & depth (follow exactly): The empty room fills the full frame; nearer floor and furniture edges occupy the foreground, while the bed, curtain, and clean back wall are FARTHER away. No person is visible, and the formerly occupied curtain area is now empty.\n\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The room is unnaturally spotless, with no dark stains, wall circle, or motionless figure behind the curtain. The backpack and doll are present in positions slightly different from when the body was discovered.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 수리영, 혜수 — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-13 06:52:52", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s38_still_S14sh7", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/stills/S14sh5_nb2.png"], "ref_labels": ["PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing. If this photo shows a character who cannot move (dead or unconscious), that character's exact pose, position and orientation are ALSO LOCKED — treat their body as a fixed prop of the set that only the camera moves around."], "attempt": 1, "dur_s": 21.2, "bytes": 2587397, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/stills/S14sh7_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\n\nSHOT TEXT (authoritative, Korean): 수리영이 멍한 눈으로 텅 빈 방 안을 응시하는 얼굴 클로즈업\n\nLOCATION (lock): A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.\n\nTHIS SHOT CONTINUES THE PREVIOUS SHOT: everything the attached still established — the place, its fixed features and wear, each person's clothing and state — persists. Any person in it who cannot move stays PRECISELY as photographed (body, pose, contact points, held objects); only the camera changes.\n\nPREVIOUS STILL USAGE (follow exactly — what to take from the attached still and what to exclude): TAKE the exact clean bedroom look, orderly arrangement, and nighttime interior lighting. EXCLUDE the previous wide empty-room framing and do not restore any motionless figure, dark stains, wound, or red wall mark; use the room only as the setting behind the young woman's stunned close-up.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nMOVEMENT (follow exactly): static: pale-faced Su-ri-young holds her body rigid and stares blankly into the empty bedroom where she expected to find her mother's body.\n\nFIGURES — size & depth (follow exactly): Su-ri-young's face fills about 2/3 of the frame height and is the NEAREST figure. The empty room she watches is FARTHER beyond her eyeline, with no other person visible.\n\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The empty room remains excessively clean, with the motionless figure, dark stains, and red wall mark still absent. The backpack and doll remain in their altered positions.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 수리영 — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-13 06:53:09", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s38_still_S14sh11", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/stills/S13sh6_nb2.png"], "ref_labels": ["PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing. If this photo shows a character who cannot move (dead or unconscious), that character's exact pose, position and orientation are ALSO LOCKED — treat their body as a fixed prop of the set that only the camera moves around."], "attempt": 1, "dur_s": 17.1, "bytes": 2540957, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/stills/S14sh11_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\n\nSHOT TEXT (authoritative, Korean): 혜수가 날카로운 눈빛으로 김형사를 노려보는 모습\n\nLOCATION (lock): A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.\n\nTHIS SHOT CONTINUES THE PREVIOUS SHOT: everything the attached still established — the place, its fixed features and wear, each person's clothing and state — persists. Any person in it who cannot move stays PRECISELY as photographed (body, pose, contact points, held objects); only the camera changes.\n\nPREVIOUS STILL USAGE (follow exactly — what to take from the attached still and what to exclude): TAKE the middle-aged woman's same face, hair, clothing, and nighttime continuity from her arrival. EXCLUDE the outdoor courtyard, vehicle, siren context, and the distressed young woman from this framing; direct her gaze sharply toward the male detective indoors.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nMOVEMENT (follow exactly): static: Hye-su fixes a sharp, hostile stare toward Detective Kim, her face and body oriented directly at him.\n\nFIGURES — size & depth (follow exactly): Hye-su fills roughly 2/3 of the frame height and is the NEAREST visible figure. Detective Kim is the FARTHER target of her gaze, whether at the edge of the frame or just off-screen, with no crossing movement between them.\n\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The apartment remains cleared of the earlier evidence: the table is clean, and Suri-young’s room has no motionless figure, dark stains, or red circle. The backpack and doll remain slightly displaced from their earlier positions.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 혜수 — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-13 06:53:25", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s38_still_S17sh2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/panels/S17sh2.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/bg2_S17sh2.png"], "ref_labels": ["LAYOUT SKETCH — a bare thin-line layout guide, a REFERENCE ONLY: take from it ONLY the camera framing, figure placement, pose and size/depth order. It carries ZERO visual style — every texture, material, light and all realism come from the text and the photographic reference. Never let any line-drawing quality leak into the output.", "LOCATION PHOTOGRAPH — the exact place of this shot: its architecture, materials, fixed features and lighting mood are spatial truth; stage the moment inside this place. Never copy its camera framing."], "attempt": 1, "dur_s": 16.0, "bytes": 2447957, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/stills/S17sh2_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): dawn.\n\nSHOT TEXT (authoritative, Korean): 옥상 담벼락 위에서 한쪽 앞발을 허공으로 뻗은 검은 고양이의 측면\n\nLOCATION (lock): The flat rooftop of an aging low-rise apartment building, enclosed by a waist-high parapet. A small rooftop dwelling has a metal entrance door and a window visible from the open roof. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nMOVEMENT (follow exactly): The black cat moves side-on across and over the rooftop wall toward the opposite side, extending one forepaw into the air as its body follows.\n\nFIGURES — size & depth (follow exactly): The cat appears medium-sized, about ~1/3 of the frame height, and is NEARER to the camera than the FARTHER side beyond the wall; the wall runs beneath its crossing path.\n\nNo people appear unless the shot text itself says so.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-13 06:53:45", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s38_still_S18sh11", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/panels/S18sh11.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/plate_bathroom_day_mirror_tile_view.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/39864973-d3d5-4886-bfb2-f8db608a005b.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/70af1a1c-b2e4-45ad-a166-7cef7e66e156.png"], "ref_labels": ["LAYOUT SKETCH — a bare thin-line layout guide, a REFERENCE ONLY: take from it ONLY the camera framing, figure placement, pose and size/depth order. It carries ZERO visual style — every texture, material, light and all realism come from the text and the photographic reference. Never let any line-drawing quality leak into the output.", "LOCATION PHOTOGRAPH — the exact place of this shot: its architecture, materials, fixed features and lighting mood are spatial truth; stage the moment inside this place. Never copy its camera framing.", "CHARACTER REFERENCE — 수리영: the exact person appearing in this shot; match face, hair and build exactly.", "PROP REFERENCE — 민숙과 수리영의 액자 사진: the exact object appearing in this shot; match its look, material and wear exactly."], "attempt": 1, "dur_s": 20.2, "bytes": 2719398, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/stills/S18sh11_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): daytime.\n\nSHOT TEXT (authoritative, Korean): 거울 속 반사된 욕실 타일 벽면에 붉은색 원형 표식이 절반쯤 나타난 상태\n\nLOCATION (lock): A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nMOVEMENT (follow exactly): A red circular mark suddenly develops across the bathroom tile wall seen in the mirror, extending around a ring-like path until roughly half is visible.\n\nFIGURES — size & depth (follow exactly): The mirror and reflected tiled wall fill most of the frame, while the half-formed red circle occupies about 1/2 of the reflected frame height. The mirror surface is physically NEARER to the camera, while the marked bathroom wall appears FARTHER within the reflection.\n\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Suri-young continues to have her doll-adorned backpack with her, while her bedroom remains clean and without a motionless figure. A red circle is partially visible on the bathroom wall only in the mirror reflection.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 수리영 — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-13 06:54:06", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s38_still_S18sh15", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/panels/S18sh15.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/plate_living_dining_day_root.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/70af1a1c-b2e4-45ad-a166-7cef7e66e156.png"], "ref_labels": ["LAYOUT SKETCH — a bare thin-line layout guide, a REFERENCE ONLY: take from it ONLY the camera framing, figure placement, pose and size/depth order. It carries ZERO visual style — every texture, material, light and all realism come from the text and the photographic reference. Never let any line-drawing quality leak into the output.", "LOCATION PHOTOGRAPH — the exact place of this shot: its architecture, materials, fixed features and lighting mood are spatial truth; stage the moment inside this place. Never copy its camera framing.", "PROP REFERENCE — 민숙과 수리영의 액자 사진: the exact object appearing in this shot; match its look, material and wear exactly."], "attempt": 1, "dur_s": 21.1, "bytes": 2535538, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/stills/S18sh15_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): daytime.\n\nSHOT TEXT (authoritative, Korean): 액자 속 민숙의 얼굴 부분 이미지가 아래로 일그러지며 흘러내리는 찰나\n\nLOCATION (lock): A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nMOVEMENT (follow exactly): The image of Min-sook's smiling face inside the framed photograph distorts and flows downward before Su-ri-young's eyes.\n\nFIGURES — size & depth (follow exactly): The framed photograph fills most of the close frame, and Min-sook's pictured face occupies roughly 1/2 of its height. The photograph's glass and frame are NEARER to the camera, while the collapsing facial image is visually FARTHER beneath the surface.\n\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The bathroom’s red circle has vanished, and Suri-young still has the doll-adorned backpack. The framed photograph remains on the table as Minsuk’s face in it distorts and runs downward.\n\nNo people appear unless the shot text itself says so.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-13 06:54:22", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s38_still_S18sh16", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/stills/S18sh15_nb2.png"], "ref_labels": ["PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing. If this photo shows a character who cannot move (dead or unconscious), that character's exact pose, position and orientation are ALSO LOCKED — treat their body as a fixed prop of the set that only the camera moves around."], "attempt": 1, "dur_s": 15.8, "bytes": 2499693, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/stills/S18sh16_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): daytime.\n\nSHOT TEXT (authoritative, Korean): 수리영이 두 손으로 머리를 감싸 쥐고 입을 크게 벌린 얼굴\n\nLOCATION (lock): A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.\n\nTHIS SHOT CONTINUES THE PREVIOUS SHOT: everything the attached still established — the place, its fixed features and wear, each person's clothing and state — persists. Any person in it who cannot move stays PRECISELY as photographed (body, pose, contact points, held objects); only the camera changes.\n\nPREVIOUS STILL USAGE (follow exactly — what to take from the attached still and what to exclude): TAKE the same daytime living-room light, color balance, and immediate supernatural tension. EXCLUDE the framed portrait, the melting facial image, and any wall-bound distortion from this close-up; show only the young woman's terrified reaction.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nMOVEMENT (follow exactly): static: terrified and overwhelmed, Su-ri-young clamps both hands around her head and holds her mouth wide open in a scream, her posture rigid with panic.\n\nFIGURES — size & depth (follow exactly): Su-ri-young's face and hands fill about 3/4 of the frame height and form the NEAREST subject. Her hands sit slightly NEARER than her face on either side, while the room behind her is FARTHER and secondary.\n\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The framed photograph remains on the table but has returned to normal, and the bathroom wall remains without the red circle. Suri-young still has the doll-adorned backpack with her.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 수리영 — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-13 06:54:44", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s38_still_S25sh1", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/panels/S25sh1.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/plate_living_dining_sunset_floor_view.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/39864973-d3d5-4886-bfb2-f8db608a005b.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/fc23070d-a644-45e4-a5d8-ecb98fe8d2d3.png"], "ref_labels": ["LAYOUT SKETCH — a bare thin-line layout guide, a REFERENCE ONLY: take from it ONLY the camera framing, figure placement, pose and size/depth order. It carries ZERO visual style — every texture, material, light and all realism come from the text and the photographic reference. Never let any line-drawing quality leak into the output.", "LOCATION PHOTOGRAPH — the exact place of this shot: its architecture, materials, fixed features and lighting mood are spatial truth; stage the moment inside this place. Never copy its camera framing.", "CHARACTER REFERENCE — 수리영: the exact person appearing in this shot; match face, hair and build exactly.", "PROP REFERENCE — 구겨진 피 묻은 낡은 흑백 사진: the exact object appearing in this shot; match its look, material and wear exactly."], "attempt": 1, "dur_s": 21.8, "bytes": 2389972, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/stills/S25sh1_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): dusk, just after sunset.\n\nSHOT TEXT (authoritative, Korean): 해질 무렵 옥탑방 거실, 흙 묻은 발자국들이 찍힌 바닥과 쓰러진 식탁 의자들이 보이는 전경\n\nLOCATION (lock): A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nMOVEMENT (follow exactly): static: muddy footprints remain across the ransacked living-room floor among overturned dining chairs, indicating a prior path through the room but no current movement.\n\nFIGURES — size & depth (follow exactly): The footprint-marked floor fills the lower half of the wide frame, with the NEAREST prints and fallen chair parts in the foreground appearing larger. Additional prints, the dining area, and the open living-room window recede FARTHER into the room.\n\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The apartment remains ransacked, with dirty footprints on the floor, the living-room window open, and the dining chairs overturned. The red circle and the stained old photograph pinned at its center are already present in Suri-young’s room.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 수리영 — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-13 06:55:03", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s38_still_S25sh5", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/stills/S25sh1_nb2.png"], "ref_labels": ["PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing. If this photo shows a character who cannot move (dead or unconscious), that character's exact pose, position and orientation are ALSO LOCKED — treat their body as a fixed prop of the set that only the camera moves around."], "attempt": 1, "dur_s": 19.4, "bytes": 2742637, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/stills/S25sh5_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): dusk, just after sunset.\n\nSHOT TEXT (authoritative, Korean): 붉은 원 한가운데 얼룩진 낡은 흑백 사진이 벽에 꽂혀 있는 타이트 샷\n\nLOCATION (lock): A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.\n\nTHIS SHOT CONTINUES THE PREVIOUS SHOT: everything the attached still established — the place, its fixed features and wear, each person's clothing and state — persists. Any person in it who cannot move stays PRECISELY as photographed (body, pose, contact points, held objects); only the camera changes.\n\nPREVIOUS STILL USAGE (follow exactly — what to take from the attached still and what to exclude): TAKE the same sunset interior light, aged wall materials, and persistent sense of the ransacked home. EXCLUDE the living-room floor, muddy footprints, fallen dining chairs, and wide furniture layout from this tight bedroom-wall shot; center the dark-stained photograph within the red circle.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nMOVEMENT (follow exactly): static: a stained old photograph remains pinned at the center of the red circle on Su-ri-young's bedroom wall, facing outward toward the camera.\n\nFIGURES — size & depth (follow exactly): The photograph fills roughly 1/3 of the tight frame height, while the surrounding red circle occupies most of the frame. The photograph projects NEARER from the wall, and the red mark lies FARTHER against the flat wall surface behind it.\n\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The dirty footprints, ransacked furnishings, open window, and overturned chairs remain undisturbed. In the bedroom, the stained old photograph is still pinned at the center of the red wall circle.\n\nNo people appear unless the shot text itself says so.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-13 06:55:22", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s38_still_S25sh9", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/stills/S25sh5_nb2.png"], "ref_labels": ["PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing. If this photo shows a character who cannot move (dead or unconscious), that character's exact pose, position and orientation are ALSO LOCKED — treat their body as a fixed prop of the set that only the camera moves around."], "attempt": 1, "dur_s": 18.4, "bytes": 2590362, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/stills/S25sh9_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): dusk, just after sunset.\n\nSHOT TEXT (authoritative, Korean): 수리영의 손이 구겨진 사진을 꽉 움켜쥔 타이트 샷\n\nLOCATION (lock): A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.\n\nTHIS SHOT CONTINUES THE PREVIOUS SHOT: everything the attached still established — the place, its fixed features and wear, each person's clothing and state — persists. Any person in it who cannot move stays PRECISELY as photographed (body, pose, contact points, held objects); only the camera changes.\n\nPREVIOUS STILL USAGE (follow exactly — what to take from the attached still and what to exclude): TAKE the exact old photograph, including its dark stains marks, creases, worn texture, and the same sunset illumination. EXCLUDE the red wall circle, the mounting point, and the surrounding wall; show the photograph only in the young woman's tightly clenched hand.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nMOVEMENT (follow exactly): static: Su-ri-young's tense hand crushes the crumpled photograph in a tight grip as she holds it close.\n\nFIGURES — size & depth (follow exactly): Su-ri-young's hand fills roughly 2/3 of the tight frame, and the exposed portion of the photograph fills about 1/3. Her knuckles are NEARER to the camera, while the photograph is partly FARTHER inside her closed fingers.\n\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The apartment remains ransacked, and the red wall circle remains after the photograph has been removed from its center. Suri-young tightly grips the same crumpled, stained photograph.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 수리영 — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-13 06:55:43", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s38_still_S27sh3", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/stills/S25sh1_nb2.png"], "ref_labels": ["PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing. If this photo shows a character who cannot move (dead or unconscious), that character's exact pose, position and orientation are ALSO LOCKED — treat their body as a fixed prop of the set that only the camera moves around."], "attempt": 1, "dur_s": 21.1, "bytes": 2027646, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/stills/S27sh3_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): dusk, just after sunset.\n\nSHOT TEXT (authoritative, Korean): 혜수가 미간을 깊게 찌푸린 채 스마트폰을 내려다보는 얼굴 클로즈업\n\nLOCATION (lock): A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.\n\nTHIS SHOT CONTINUES THE PREVIOUS SHOT: everything the attached still established — the place, its fixed features and wear, each person's clothing and state — persists. Any person in it who cannot move stays PRECISELY as photographed (body, pose, contact points, held objects); only the camera changes.\n\nPREVIOUS STILL USAGE (follow exactly — what to take from the attached still and what to exclude): TAKE the same sunset room lighting, aged interior materials, and persistent ransacked condition for any visible background. EXCLUDE the young woman, the dark-stained old photograph, and the red wall circle; do not force the fallen chairs or muddy floor into the tight facial framing.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nMOVEMENT (follow exactly): static: Hye-su lowers her gaze toward the smartphone and listens to Su-ri-young's recorded message with her brow deeply furrowed.\n\nFIGURES — size & depth (follow exactly): Hye-su's face fills about 2/3 of the close-up frame, while the smartphone occupies a smaller area below her face. The phone is NEARER to the camera, Hye-su's face is slightly FARTHER, and the room behind her is farthest.\n\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The apartment remains ransacked, with the footprints, open window, overturned chairs, and the now-empty red wall circle left in place; Suri-young has departed with the photograph and backpack. Hyesu holds the smartphone on which she is checking Suri-young’s recorded message.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 혜수 — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-13 11:56:09", "kind": "llm", "step": "x_bgfix_s4_gpt", "model": "gpt", "dur_s": 37.0, "system_prompt": "You are given: an image-generation prompt, a MASTER location\nphotograph (the ground-truth look of this property), and ONE\ncandidate photograph generated from the prompt with the master\nattached as reference. List what is WRONG with the candidate:\n- fidelity: any visible deviation from the prompt's stated\n  structure, camera, materials, state and exclusions,\n- physical coherence: any construction that could not physically\n  work (floating or split volumes, stairs that do not reach their\n  destination, impossible geometry),\n- MASTER consistency: any structural mismatch with the master\n  photograph — number of storeys, massing, the external stair's\n  full run, the rooftop structure's placement, walls, gate and\n  yard layout must match the master,\n- regional authenticity: the prompt declares a real region and\n  era; every building, street and object must look like the\n  real, ordinary built environment of that region — flag anything\n  that reads foreign, genericized or theme-park-like.\nBase every finding only on what is visible. Ignore taste.\nissues: each finding as issue_ko (one short Korean line) plus\nfix_en (ONE imperative English edit instruction fixing exactly\nthat finding while changing nothing else). Empty array if nothing\nis wrong.", "user_prompt": "[{\"type\": \"text\", \"text\": \"THE PROMPT:\\nUsing the attached master photo as the exact architectural and location reference, create a photorealistic live-action empty background plate of the same old low-rise Korean multifamily villa and its rooftop dwelling in the outskirts of contemporary Incheon. High-angle bird’s-eye view looking down toward the rooftop: clearly show the flat roof terrace, low parapet, separate rectangular rooftop home, plain closed metal entrance door, small living-room window, water tank, clothesline, and low wooden herb-drying platform in their established master-image arrangement. Include only the restrained surrounding fabric visible from this elevated direction—narrow paved alleys, nearby aging villas, utility poles and cables, and a subdued urban horizon. Clear ordinary daytime with soft natural sunlight and realistic colors, matching the scene. Deep focus, believable scale, documentary architectural photography, wide establishing composition. Empty set: no people, animals, moving vehicles, readable text, incident evidence, police activity, dramatic shadows, or event-specific props.\"}, {\"type\": \"text\", \"text\": \"MASTER photograph (ground truth):\"}, {\"type\": \"text\", \"text\": \"Candidate photograph to examine:\"}]"}
{"ts": "2026-07-13 11:56:36", "kind": "llm", "step": "x_bgfix_s4_gemini", "model": "gemini-pro", "dur_s": 27.1, "system_prompt": "You are given: an image-generation prompt, a MASTER location\nphotograph (the ground-truth look of this property), and ONE\ncandidate photograph generated from the prompt with the master\nattached as reference. List what is WRONG with the candidate:\n- fidelity: any visible deviation from the prompt's stated\n  structure, camera, materials, state and exclusions,\n- physical coherence: any construction that could not physically\n  work (floating or split volumes, stairs that do not reach their\n  destination, impossible geometry),\n- MASTER consistency: any structural mismatch with the master\n  photograph — number of storeys, massing, the external stair's\n  full run, the rooftop structure's placement, walls, gate and\n  yard layout must match the master,\n- regional authenticity: the prompt declares a real region and\n  era; every building, street and object must look like the\n  real, ordinary built environment of that region — flag anything\n  that reads foreign, genericized or theme-park-like.\nBase every finding only on what is visible. Ignore taste.\nissues: each finding as issue_ko (one short Korean line) plus\nfix_en (ONE imperative English edit instruction fixing exactly\nthat finding while changing nothing else). Empty array if nothing\nis wrong.", "user_prompt": "[{\"type\": \"text\", \"text\": \"THE PROMPT:\\nUsing the attached master photo as the exact architectural and location reference, create a photorealistic live-action empty background plate of the same old low-rise Korean multifamily villa and its rooftop dwelling in the outskirts of contemporary Incheon. High-angle bird’s-eye view looking down toward the rooftop: clearly show the flat roof terrace, low parapet, separate rectangular rooftop home, plain closed metal entrance door, small living-room window, water tank, clothesline, and low wooden herb-drying platform in their established master-image arrangement. Include only the restrained surrounding fabric visible from this elevated direction—narrow paved alleys, nearby aging villas, utility poles and cables, and a subdued urban horizon. Clear ordinary daytime with soft natural sunlight and realistic colors, matching the scene. Deep focus, believable scale, documentary architectural photography, wide establishing composition. Empty set: no people, animals, moving vehicles, readable text, incident evidence, police activity, dramatic shadows, or event-specific props.\"}, {\"type\": \"text\", \"text\": \"MASTER photograph (ground truth):\"}, {\"type\": \"text\", \"text\": \"Candidate photograph to examine:\"}]"}
{"ts": "2026-07-13 11:56:59", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "x_bgfix_s4_fix", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/bg2_S4sh1.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/forest_map/top2/top2_photo_fixed_nb2.png"], "ref_labels": ["PHOTOGRAPH TO EDIT — fix ONLY the issues the prompt lists; preserve everything else exactly.", "MASTER photograph — ground truth of this property's structure; align the edited photo's building to it."], "attempt": 1, "dur_s": 22.6, "bytes": 3505130, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/bg2fix_S4sh1.png", "prompt": "Edit this photograph. Fix ONLY the issues listed below, each in\nplace, changing nothing else about the property:\n\nISSUES TO FIX:\n- (GPT VLM) Close the rooftop dwelling’s metal entrance door while changing nothing else.\n- (GPT VLM) Replace the dominant mountain-and-apartment-tower panorama with the subdued urban horizon shown in the master while preserving the foreground property.\n- (GPT VLM) Remove all legible building names and numbers from the distant apartment towers while leaving the buildings otherwise unchanged.\n- (GPT VLM) Soften the direct sunlight to produce gentler, less sharply defined shadows without altering the scene layout.\n- (Gemini VLM) Reconstruct the external metal stairs so that each flight realistically connects between landings without impossible intersections.\n- (Gemini VLM) Remove all readable text, logos, and numbers from the distant apartment buildings in the background.\n- (Gemini VLM) Change the open door of the rooftop dwelling to a completely closed plain metal entrance door.\n- (Gemini VLM) Restore the building immediately to the right of the central villa to match the beige and brick multi-story structure seen in the master image.\n\nThe attached MASTER photograph is the ground truth for the property's structure — align every fixed feature to it.\n\nPRESERVE EVERYTHING ELSE EXACTLY as in the original photograph —\nbuildings, roof objects, yard, surroundings, lighting, camera,\nframing. No people, no readable text anywhere."}
{"ts": "2026-07-13 12:06:26", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s38_bg3_S4sh1_a", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/forest_map/top2/top2_photo_fixed_nb2.png"], "ref_labels": ["LOCATION MASTER PHOTOGRAPH — the exact building and grounds where this background takes place: its architecture, massing, materials and fixed features are spatial truth; render the requested view OF THIS PLACE. Never copy this photo's camera or crop."], "attempt": 1, "dur_s": 22.7, "bytes": 3368957, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/bg3_S4sh1_a.png", "prompt": "Using the attached master photo as the exact architectural and location reference, create a photorealistic live-action empty background plate of the same old low-rise Korean multifamily villa and its rooftop dwelling in the outskirts of contemporary Incheon. High-angle bird’s-eye view looking down toward the rooftop: clearly show the flat roof terrace, low parapet, separate rectangular rooftop home, plain closed metal entrance door, small living-room window, water tank, clothesline, and low wooden herb-drying platform in their established master-image arrangement. Include only the restrained surrounding fabric visible from this elevated direction—narrow paved alleys, nearby aging villas, utility poles and cables, and a subdued urban horizon. Clear ordinary daytime with soft natural sunlight and realistic colors, matching the scene. Deep focus, believable scale, documentary architectural photography, wide establishing composition. Empty set: no people, animals, moving vehicles, readable text, incident evidence, police activity, dramatic shadows, or event-specific props."}
{"ts": "2026-07-13 12:06:50", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s38_bg3_S4sh1_b", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/forest_map/top2/top2_photo_fixed_nb2.png"], "ref_labels": ["LOCATION MASTER PHOTOGRAPH — the exact building and grounds where this background takes place: its architecture, massing, materials and fixed features are spatial truth; render the requested view OF THIS PLACE. Never copy this photo's camera or crop."], "attempt": 1, "dur_s": 23.2, "bytes": 3388410, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/bg3_S4sh1_b.png", "prompt": "Using the attached master photo as the exact architectural and location reference, create a photorealistic live-action empty background plate of the same old low-rise Korean multifamily villa and its rooftop dwelling in the outskirts of contemporary Incheon. High-angle bird’s-eye view looking down toward the rooftop: clearly show the flat roof terrace, low parapet, separate rectangular rooftop home, plain closed metal entrance door, small living-room window, water tank, clothesline, and low wooden herb-drying platform in their established master-image arrangement. Include only the restrained surrounding fabric visible from this elevated direction—narrow paved alleys, nearby aging villas, utility poles and cables, and a subdued urban horizon. Clear ordinary daytime with soft natural sunlight and realistic colors, matching the scene. Deep focus, believable scale, documentary architectural photography, wide establishing composition. Empty set: no people, animals, moving vehicles, readable text, incident evidence, police activity, dramatic shadows, or event-specific props."}
{"ts": "2026-07-13 12:07:12", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s38_bg3_S4sh1_c", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/forest_map/top2/top2_photo_fixed_nb2.png"], "ref_labels": ["LOCATION MASTER PHOTOGRAPH — the exact building and grounds where this background takes place: its architecture, massing, materials and fixed features are spatial truth; render the requested view OF THIS PLACE. Never copy this photo's camera or crop."], "attempt": 1, "dur_s": 22.4, "bytes": 3520728, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/bg3_S4sh1_c.png", "prompt": "Using the attached master photo as the exact architectural and location reference, create a photorealistic live-action empty background plate of the same old low-rise Korean multifamily villa and its rooftop dwelling in the outskirts of contemporary Incheon. High-angle bird’s-eye view looking down toward the rooftop: clearly show the flat roof terrace, low parapet, separate rectangular rooftop home, plain closed metal entrance door, small living-room window, water tank, clothesline, and low wooden herb-drying platform in their established master-image arrangement. Include only the restrained surrounding fabric visible from this elevated direction—narrow paved alleys, nearby aging villas, utility poles and cables, and a subdued urban horizon. Clear ordinary daytime with soft natural sunlight and realistic colors, matching the scene. Deep focus, believable scale, documentary architectural photography, wide establishing composition. Empty set: no people, animals, moving vehicles, readable text, incident evidence, police activity, dramatic shadows, or event-specific props."}
{"ts": "2026-07-13 12:07:27", "kind": "llm", "step": "s38_bg3_judge_gpt_S4sh1", "model": "gpt", "dur_s": 15.0, "system_prompt": "You are given ONE image-generation prompt, ONE MASTER location\nphotograph (the ground truth of this property), and THREE candidate\nphotographs labelled A, B, C in the order attached, all generated\nfrom that prompt with the master attached as reference.\nPick the ONE candidate that best satisfies ALL of:\n- fidelity to the prompt (structure, camera, materials, state,\n  exclusions such as no people and no readable text),\n- physical coherence (no floating/split volumes, stairs reach\n  their destination, possible geometry),\n- MASTER consistency (storey count, massing, the external stair's\n  full run, rooftop structure placement, walls, gate and yard must\n  match the master photograph),\n- regional authenticity (the prompt declares a real region and\n  era; everything must look like that region's real, ordinary\n  built environment — nothing foreign or genericized).\nCheck every candidate point by point; base verdicts only on what\nis visible. Also give every candidate an integer score 0-10.\nOutput: winner, ranking best-to-worst, and per candidate a score\nplus a one-line Korean verdict citing the decisive points.", "user_prompt": "[{\"type\": \"text\", \"text\": \"THE PROMPT:\\nUsing the attached master photo as the exact architectural and location reference, create a photorealistic live-action empty background plate of the same old low-rise Korean multifamily villa and its rooftop dwelling in the outskirts of contemporary Incheon. High-angle bird’s-eye view looking down toward the rooftop: clearly show the flat roof terrace, low parapet, separate rectangular rooftop home, plain closed metal entrance door, small living-room window, water tank, clothesline, and low wooden herb-drying platform in their established master-image arrangement. Include only the restrained surrounding fabric visible from this elevated direction—narrow paved alleys, nearby aging villas, utility poles and cables, and a subdued urban horizon. Clear ordinary daytime with soft natural sunlight and realistic colors, matching the scene. Deep focus, believable scale, documentary architectural photography, wide establishing composition. Empty set: no people, animals, moving vehicles, readable text, incident evidence, police activity, dramatic shadows, or event-specific props.\"}, {\"type\": \"text\", \"text\": \"MASTER photograph (ground truth):\"}, {\"type\": \"text\", \"text\": \"Candidate A:\"}, {\"type\": \"text\", \"text\": \"Candidate B:\"}, {\"type\": \"text\", \"text\": \"Candidate C:\"}]"}
{"ts": "2026-07-13 12:07:54", "kind": "llm", "step": "s38_bg3_judge_gem_S4sh1", "model": "gemini-pro", "dur_s": 26.5, "system_prompt": "You are given ONE image-generation prompt, ONE MASTER location\nphotograph (the ground truth of this property), and THREE candidate\nphotographs labelled A, B, C in the order attached, all generated\nfrom that prompt with the master attached as reference.\nPick the ONE candidate that best satisfies ALL of:\n- fidelity to the prompt (structure, camera, materials, state,\n  exclusions such as no people and no readable text),\n- physical coherence (no floating/split volumes, stairs reach\n  their destination, possible geometry),\n- MASTER consistency (storey count, massing, the external stair's\n  full run, rooftop structure placement, walls, gate and yard must\n  match the master photograph),\n- regional authenticity (the prompt declares a real region and\n  era; everything must look like that region's real, ordinary\n  built environment — nothing foreign or genericized).\nCheck every candidate point by point; base verdicts only on what\nis visible. Also give every candidate an integer score 0-10.\nOutput: winner, ranking best-to-worst, and per candidate a score\nplus a one-line Korean verdict citing the decisive points.", "user_prompt": "[{\"type\": \"text\", \"text\": \"THE PROMPT:\\nUsing the attached master photo as the exact architectural and location reference, create a photorealistic live-action empty background plate of the same old low-rise Korean multifamily villa and its rooftop dwelling in the outskirts of contemporary Incheon. High-angle bird’s-eye view looking down toward the rooftop: clearly show the flat roof terrace, low parapet, separate rectangular rooftop home, plain closed metal entrance door, small living-room window, water tank, clothesline, and low wooden herb-drying platform in their established master-image arrangement. Include only the restrained surrounding fabric visible from this elevated direction—narrow paved alleys, nearby aging villas, utility poles and cables, and a subdued urban horizon. Clear ordinary daytime with soft natural sunlight and realistic colors, matching the scene. Deep focus, believable scale, documentary architectural photography, wide establishing composition. Empty set: no people, animals, moving vehicles, readable text, incident evidence, police activity, dramatic shadows, or event-specific props.\"}, {\"type\": \"text\", \"text\": \"MASTER photograph (ground truth):\"}, {\"type\": \"text\", \"text\": \"Candidate A:\"}, {\"type\": \"text\", \"text\": \"Candidate B:\"}, {\"type\": \"text\", \"text\": \"Candidate C:\"}]"}
{"ts": "2026-07-13 12:08:11", "kind": "llm", "step": "s38_bg3_crit_gpt_S4sh1", "model": "gpt", "dur_s": 17.8, "system_prompt": "You are given: an image-generation prompt, a MASTER location\nphotograph (ground truth), and ONE photograph generated from the\nprompt with the master as reference. List what is WRONG with it:\n- fidelity to the prompt, - physical coherence,\n- MASTER consistency (storeys, massing, stair run, rooftop, walls,\n  gate, yard), - regional authenticity per the prompt's region.\nBase every finding only on what is visible. Ignore taste.\nissues: issue_ko (short Korean line) + fix_en (ONE imperative\nEnglish edit fixing exactly that while changing nothing else).\nEmpty array if nothing is wrong.", "user_prompt": "[{\"type\": \"text\", \"text\": \"THE PROMPT:\\nUsing the attached master photo as the exact architectural and location reference, create a photorealistic live-action empty background plate of the same old low-rise Korean multifamily villa and its rooftop dwelling in the outskirts of contemporary Incheon. High-angle bird’s-eye view looking down toward the rooftop: clearly show the flat roof terrace, low parapet, separate rectangular rooftop home, plain closed metal entrance door, small living-room window, water tank, clothesline, and low wooden herb-drying platform in their established master-image arrangement. Include only the restrained surrounding fabric visible from this elevated direction—narrow paved alleys, nearby aging villas, utility poles and cables, and a subdued urban horizon. Clear ordinary daytime with soft natural sunlight and realistic colors, matching the scene. Deep focus, believable scale, documentary architectural photography, wide establishing composition. Empty set: no people, animals, moving vehicles, readable text, incident evidence, police activity, dramatic shadows, or event-specific props.\"}, {\"type\": \"text\", \"text\": \"MASTER photograph:\"}, {\"type\": \"text\", \"text\": \"Photograph to examine:\"}]"}
{"ts": "2026-07-13 12:08:36", "kind": "llm", "step": "s38_bg3_crit_gem_S4sh1", "model": "gemini-pro", "dur_s": 24.7, "system_prompt": "You are given: an image-generation prompt, a MASTER location\nphotograph (ground truth), and ONE photograph generated from the\nprompt with the master as reference. List what is WRONG with it:\n- fidelity to the prompt, - physical coherence,\n- MASTER consistency (storeys, massing, stair run, rooftop, walls,\n  gate, yard), - regional authenticity per the prompt's region.\nBase every finding only on what is visible. Ignore taste.\nissues: issue_ko (short Korean line) + fix_en (ONE imperative\nEnglish edit fixing exactly that while changing nothing else).\nEmpty array if nothing is wrong.", "user_prompt": "[{\"type\": \"text\", \"text\": \"THE PROMPT:\\nUsing the attached master photo as the exact architectural and location reference, create a photorealistic live-action empty background plate of the same old low-rise Korean multifamily villa and its rooftop dwelling in the outskirts of contemporary Incheon. High-angle bird’s-eye view looking down toward the rooftop: clearly show the flat roof terrace, low parapet, separate rectangular rooftop home, plain closed metal entrance door, small living-room window, water tank, clothesline, and low wooden herb-drying platform in their established master-image arrangement. Include only the restrained surrounding fabric visible from this elevated direction—narrow paved alleys, nearby aging villas, utility poles and cables, and a subdued urban horizon. Clear ordinary daytime with soft natural sunlight and realistic colors, matching the scene. Deep focus, believable scale, documentary architectural photography, wide establishing composition. Empty set: no people, animals, moving vehicles, readable text, incident evidence, police activity, dramatic shadows, or event-specific props.\"}, {\"type\": \"text\", \"text\": \"MASTER photograph:\"}, {\"type\": \"text\", \"text\": \"Photograph to examine:\"}]"}
{"ts": "2026-07-13 12:09:06", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s38_bg3_fix_S4sh1", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/bg3_S4sh1_c.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/forest_map/top2/top2_photo_fixed_nb2.png"], "ref_labels": ["PHOTOGRAPH TO EDIT — fix ONLY the issues the prompt lists; preserve everything else exactly.", "MASTER photograph — ground truth; align the edited photo's building to it."], "attempt": 1, "dur_s": 29.4, "bytes": 3387486, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/bg3_S4sh1.png", "prompt": "Edit this photograph. Fix ONLY the issues listed below, each in\nplace, changing nothing else about the property:\n\nISSUES TO FIX:\n- (GPT VLM) Close the rooftop dwelling’s metal entrance door while changing nothing else.\n- (GPT VLM) Restore the MASTER’s taller, wider bird’s-eye framing so the full front yard, gate, main building, rooftop, and subdued urban horizon are visible while changing nothing else.\n- (GPT VLM) Soften and shorten the strong directional shadows to match ordinary soft daytime light while changing nothing else.\n- (GPT VLM) Match the surrounding utility poles, transformers, and cable routes exactly to the MASTER while changing nothing else.\n- (Gemini VLM) Close the open entrance door on the rooftop structure.\n- (Gemini VLM) Remove the large utility pole and its transformers from the street on the right.\n- (Gemini VLM) Restore the neighboring building on the right to the white-facade multi-story design of the master image.\n\nThe attached MASTER photograph is the ground truth for the property's structure — align every fixed feature to it.\n\nPRESERVE EVERYTHING ELSE EXACTLY as in the original photograph —\nbuildings, roof objects, yard, surroundings, lighting, camera,\nframing. No people, no readable text anywhere."}
{"ts": "2026-07-13 12:09:26", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s38_bg3_S10sh6_a", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/forest_map/top2/top2_photo_fixed_nb2.png"], "ref_labels": ["LOCATION MASTER PHOTOGRAPH — the exact building and grounds where this background takes place: its architecture, massing, materials and fixed features are spatial truth; render the requested view OF THIS PLACE. Never copy this photo's camera or crop."], "attempt": 1, "dur_s": 20.7, "bytes": 2330246, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/bg3_S10sh6_a.png", "prompt": "Using the attached master photo as the exact reference for the same rooftop dwelling, create a photorealistic live-action empty background plate at night from an extremely low, tight camera position directly outside the rooftop home’s metal entrance, aimed toward the threshold and entry area. Frame the established plain metal door, doorframe, and the narrow floor area at the threshold in close-up. The interior beyond the entrance should read as unlit and dark, without inventing additional rooms or architectural details. For the clean empty plate, keep the metal door closed in its ordinary undisturbed state; no visible person, shoe, hand, flyer, forced lock, damage, or incident-specific condition. Restrained natural night ambience on the rooftop, realistic weathered surfaces, shallow-to-moderate depth of field, no readable text, no ominous stylization."}
{"ts": "2026-07-13 12:09:48", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s38_bg3_S10sh6_b", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/forest_map/top2/top2_photo_fixed_nb2.png"], "ref_labels": ["LOCATION MASTER PHOTOGRAPH — the exact building and grounds where this background takes place: its architecture, massing, materials and fixed features are spatial truth; render the requested view OF THIS PLACE. Never copy this photo's camera or crop."], "attempt": 1, "dur_s": 21.6, "bytes": 1923986, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/bg3_S10sh6_b.png", "prompt": "Using the attached master photo as the exact reference for the same rooftop dwelling, create a photorealistic live-action empty background plate at night from an extremely low, tight camera position directly outside the rooftop home’s metal entrance, aimed toward the threshold and entry area. Frame the established plain metal door, doorframe, and the narrow floor area at the threshold in close-up. The interior beyond the entrance should read as unlit and dark, without inventing additional rooms or architectural details. For the clean empty plate, keep the metal door closed in its ordinary undisturbed state; no visible person, shoe, hand, flyer, forced lock, damage, or incident-specific condition. Restrained natural night ambience on the rooftop, realistic weathered surfaces, shallow-to-moderate depth of field, no readable text, no ominous stylization."}
{"ts": "2026-07-13 12:10:08", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s38_bg3_S10sh6_c", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/forest_map/top2/top2_photo_fixed_nb2.png"], "ref_labels": ["LOCATION MASTER PHOTOGRAPH — the exact building and grounds where this background takes place: its architecture, massing, materials and fixed features are spatial truth; render the requested view OF THIS PLACE. Never copy this photo's camera or crop."], "attempt": 1, "dur_s": 20.0, "bytes": 2278484, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/bg3_S10sh6_c.png", "prompt": "Using the attached master photo as the exact reference for the same rooftop dwelling, create a photorealistic live-action empty background plate at night from an extremely low, tight camera position directly outside the rooftop home’s metal entrance, aimed toward the threshold and entry area. Frame the established plain metal door, doorframe, and the narrow floor area at the threshold in close-up. The interior beyond the entrance should read as unlit and dark, without inventing additional rooms or architectural details. For the clean empty plate, keep the metal door closed in its ordinary undisturbed state; no visible person, shoe, hand, flyer, forced lock, damage, or incident-specific condition. Restrained natural night ambience on the rooftop, realistic weathered surfaces, shallow-to-moderate depth of field, no readable text, no ominous stylization."}
{"ts": "2026-07-13 12:10:21", "kind": "llm", "step": "s38_bg3_judge_gpt_S10sh6", "model": "gpt", "dur_s": 12.7, "system_prompt": "You are given ONE image-generation prompt, ONE MASTER location\nphotograph (the ground truth of this property), and THREE candidate\nphotographs labelled A, B, C in the order attached, all generated\nfrom that prompt with the master attached as reference.\nPick the ONE candidate that best satisfies ALL of:\n- fidelity to the prompt (structure, camera, materials, state,\n  exclusions such as no people and no readable text),\n- physical coherence (no floating/split volumes, stairs reach\n  their destination, possible geometry),\n- MASTER consistency (storey count, massing, the external stair's\n  full run, rooftop structure placement, walls, gate and yard must\n  match the master photograph),\n- regional authenticity (the prompt declares a real region and\n  era; everything must look like that region's real, ordinary\n  built environment — nothing foreign or genericized).\nCheck every candidate point by point; base verdicts only on what\nis visible. Also give every candidate an integer score 0-10.\nOutput: winner, ranking best-to-worst, and per candidate a score\nplus a one-line Korean verdict citing the decisive points.", "user_prompt": "[{\"type\": \"text\", \"text\": \"THE PROMPT:\\nUsing the attached master photo as the exact reference for the same rooftop dwelling, create a photorealistic live-action empty background plate at night from an extremely low, tight camera position directly outside the rooftop home’s metal entrance, aimed toward the threshold and entry area. Frame the established plain metal door, doorframe, and the narrow floor area at the threshold in close-up. The interior beyond the entrance should read as unlit and dark, without inventing additional rooms or architectural details. For the clean empty plate, keep the metal door closed in its ordinary undisturbed state; no visible person, shoe, hand, flyer, forced lock, damage, or incident-specific condition. Restrained natural night ambience on the rooftop, realistic weathered surfaces, shallow-to-moderate depth of field, no readable text, no ominous stylization.\"}, {\"type\": \"text\", \"text\": \"MASTER photograph (ground truth):\"}, {\"type\": \"text\", \"text\": \"Candidate A:\"}, {\"type\": \"text\", \"text\": \"Candidate B:\"}, {\"type\": \"text\", \"text\": \"Candidate C:\"}]"}
{"ts": "2026-07-13 12:11:11", "kind": "llm", "step": "s38_bg3_judge_gem_S10sh6", "model": "gemini-pro", "dur_s": 50.6, "system_prompt": "You are given ONE image-generation prompt, ONE MASTER location\nphotograph (the ground truth of this property), and THREE candidate\nphotographs labelled A, B, C in the order attached, all generated\nfrom that prompt with the master attached as reference.\nPick the ONE candidate that best satisfies ALL of:\n- fidelity to the prompt (structure, camera, materials, state,\n  exclusions such as no people and no readable text),\n- physical coherence (no floating/split volumes, stairs reach\n  their destination, possible geometry),\n- MASTER consistency (storey count, massing, the external stair's\n  full run, rooftop structure placement, walls, gate and yard must\n  match the master photograph),\n- regional authenticity (the prompt declares a real region and\n  era; everything must look like that region's real, ordinary\n  built environment — nothing foreign or genericized).\nCheck every candidate point by point; base verdicts only on what\nis visible. Also give every candidate an integer score 0-10.\nOutput: winner, ranking best-to-worst, and per candidate a score\nplus a one-line Korean verdict citing the decisive points.", "user_prompt": "[{\"type\": \"text\", \"text\": \"THE PROMPT:\\nUsing the attached master photo as the exact reference for the same rooftop dwelling, create a photorealistic live-action empty background plate at night from an extremely low, tight camera position directly outside the rooftop home’s metal entrance, aimed toward the threshold and entry area. Frame the established plain metal door, doorframe, and the narrow floor area at the threshold in close-up. The interior beyond the entrance should read as unlit and dark, without inventing additional rooms or architectural details. For the clean empty plate, keep the metal door closed in its ordinary undisturbed state; no visible person, shoe, hand, flyer, forced lock, damage, or incident-specific condition. Restrained natural night ambience on the rooftop, realistic weathered surfaces, shallow-to-moderate depth of field, no readable text, no ominous stylization.\"}, {\"type\": \"text\", \"text\": \"MASTER photograph (ground truth):\"}, {\"type\": \"text\", \"text\": \"Candidate A:\"}, {\"type\": \"text\", \"text\": \"Candidate B:\"}, {\"type\": \"text\", \"text\": \"Candidate C:\"}]"}
{"ts": "2026-07-13 12:11:29", "kind": "llm", "step": "s38_bg3_crit_gpt_S10sh6", "model": "gpt", "dur_s": 17.7, "system_prompt": "You are given: an image-generation prompt, a MASTER location\nphotograph (ground truth), and ONE photograph generated from the\nprompt with the master as reference. List what is WRONG with it:\n- fidelity to the prompt, - physical coherence,\n- MASTER consistency (storeys, massing, stair run, rooftop, walls,\n  gate, yard), - regional authenticity per the prompt's region.\nBase every finding only on what is visible. Ignore taste.\nissues: issue_ko (short Korean line) + fix_en (ONE imperative\nEnglish edit fixing exactly that while changing nothing else).\nEmpty array if nothing is wrong.", "user_prompt": "[{\"type\": \"text\", \"text\": \"THE PROMPT:\\nUsing the attached master photo as the exact reference for the same rooftop dwelling, create a photorealistic live-action empty background plate at night from an extremely low, tight camera position directly outside the rooftop home’s metal entrance, aimed toward the threshold and entry area. Frame the established plain metal door, doorframe, and the narrow floor area at the threshold in close-up. The interior beyond the entrance should read as unlit and dark, without inventing additional rooms or architectural details. For the clean empty plate, keep the metal door closed in its ordinary undisturbed state; no visible person, shoe, hand, flyer, forced lock, damage, or incident-specific condition. Restrained natural night ambience on the rooftop, realistic weathered surfaces, shallow-to-moderate depth of field, no readable text, no ominous stylization.\"}, {\"type\": \"text\", \"text\": \"MASTER photograph:\"}, {\"type\": \"text\", \"text\": \"Photograph to examine:\"}]"}
{"ts": "2026-07-13 12:11:44", "kind": "llm", "step": "s38_bg3_crit_gem_S10sh6", "model": "gemini-pro", "dur_s": 14.6, "system_prompt": "You are given: an image-generation prompt, a MASTER location\nphotograph (ground truth), and ONE photograph generated from the\nprompt with the master as reference. List what is WRONG with it:\n- fidelity to the prompt, - physical coherence,\n- MASTER consistency (storeys, massing, stair run, rooftop, walls,\n  gate, yard), - regional authenticity per the prompt's region.\nBase every finding only on what is visible. Ignore taste.\nissues: issue_ko (short Korean line) + fix_en (ONE imperative\nEnglish edit fixing exactly that while changing nothing else).\nEmpty array if nothing is wrong.", "user_prompt": "[{\"type\": \"text\", \"text\": \"THE PROMPT:\\nUsing the attached master photo as the exact reference for the same rooftop dwelling, create a photorealistic live-action empty background plate at night from an extremely low, tight camera position directly outside the rooftop home’s metal entrance, aimed toward the threshold and entry area. Frame the established plain metal door, doorframe, and the narrow floor area at the threshold in close-up. The interior beyond the entrance should read as unlit and dark, without inventing additional rooms or architectural details. For the clean empty plate, keep the metal door closed in its ordinary undisturbed state; no visible person, shoe, hand, flyer, forced lock, damage, or incident-specific condition. Restrained natural night ambience on the rooftop, realistic weathered surfaces, shallow-to-moderate depth of field, no readable text, no ominous stylization.\"}, {\"type\": \"text\", \"text\": \"MASTER photograph:\"}, {\"type\": \"text\", \"text\": \"Photograph to examine:\"}]"}
{"ts": "2026-07-13 12:12:04", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s38_bg3_fix_S10sh6", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/bg3_S10sh6_a.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/forest_map/top2/top2_photo_fixed_nb2.png"], "ref_labels": ["PHOTOGRAPH TO EDIT — fix ONLY the issues the prompt lists; preserve everything else exactly.", "MASTER photograph — ground truth; align the edited photo's building to it."], "attempt": 1, "dur_s": 20.3, "bytes": 2510346, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/bg3_S10sh6.png", "prompt": "Edit this photograph. Fix ONLY the issues listed below, each in\nplace, changing nothing else about the property:\n\nISSUES TO FIX:\n- (GPT VLM) Close the metal entrance door fully in its ordinary undisturbed position, changing nothing else.\n- (GPT VLM) Replace the blue recessed-panel door with the master's dark, weathered, patch-plated metal door, changing nothing else.\n- (GPT VLM) Remove the visible cabinet and rectangular fixture from the interior and render the space beyond the threshold uniformly unlit and dark, changing nothing else.\n- (Gemini VLM) Close the metal door completely so it covers the entrance.\n\nThe attached MASTER photograph is the ground truth for the property's structure — align every fixed feature to it.\n\nPRESERVE EVERYTHING ELSE EXACTLY as in the original photograph —\nbuildings, roof objects, yard, surroundings, lighting, camera,\nframing. No people, no readable text anywhere."}
{"ts": "2026-07-13 12:12:28", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s38_bg3_S10sh7_a", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/forest_map/top2/top2_photo_fixed_nb2.png"], "ref_labels": ["LOCATION MASTER PHOTOGRAPH — the exact building and grounds where this background takes place: its architecture, massing, materials and fixed features are spatial truth; render the requested view OF THIS PLACE. Never copy this photo's camera or crop."], "attempt": 1, "dur_s": 24.3, "bytes": 2913874, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/bg3_S10sh7_a.png", "prompt": "Using the attached master photo as the exact reference for the same rooftop dwelling, create a locked-off photorealistic live-action empty background plate at night, facing the established small living-room window from across the open roof terrace. The rooftop room is illuminated from inside, so the window glows naturally against the weathered exterior wall, but the glass and curtain surface must contain no human figures, silhouettes, reflections of people, violent action, or event-specific shadows. Preserve the master location’s flat roof, low parapet, and only those nearby rooftop fixtures that naturally fall within this camera angle. Static composition, realistic low-light exposure, subdued contemporary Incheon residential surroundings, no people, animals, readable text, police activity, or incident evidence."}
{"ts": "2026-07-13 12:12:51", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s38_bg3_S10sh7_b", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/forest_map/top2/top2_photo_fixed_nb2.png"], "ref_labels": ["LOCATION MASTER PHOTOGRAPH — the exact building and grounds where this background takes place: its architecture, massing, materials and fixed features are spatial truth; render the requested view OF THIS PLACE. Never copy this photo's camera or crop."], "attempt": 1, "dur_s": 22.8, "bytes": 2506467, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/bg3_S10sh7_b.png", "prompt": "Using the attached master photo as the exact reference for the same rooftop dwelling, create a locked-off photorealistic live-action empty background plate at night, facing the established small living-room window from across the open roof terrace. The rooftop room is illuminated from inside, so the window glows naturally against the weathered exterior wall, but the glass and curtain surface must contain no human figures, silhouettes, reflections of people, violent action, or event-specific shadows. Preserve the master location’s flat roof, low parapet, and only those nearby rooftop fixtures that naturally fall within this camera angle. Static composition, realistic low-light exposure, subdued contemporary Incheon residential surroundings, no people, animals, readable text, police activity, or incident evidence."}
{"ts": "2026-07-13 12:13:10", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s38_bg3_S10sh7_c", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/forest_map/top2/top2_photo_fixed_nb2.png"], "ref_labels": ["LOCATION MASTER PHOTOGRAPH — the exact building and grounds where this background takes place: its architecture, massing, materials and fixed features are spatial truth; render the requested view OF THIS PLACE. Never copy this photo's camera or crop."], "attempt": 1, "dur_s": 19.3, "bytes": 2081598, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/bg3_S10sh7_c.png", "prompt": "Using the attached master photo as the exact reference for the same rooftop dwelling, create a locked-off photorealistic live-action empty background plate at night, facing the established small living-room window from across the open roof terrace. The rooftop room is illuminated from inside, so the window glows naturally against the weathered exterior wall, but the glass and curtain surface must contain no human figures, silhouettes, reflections of people, violent action, or event-specific shadows. Preserve the master location’s flat roof, low parapet, and only those nearby rooftop fixtures that naturally fall within this camera angle. Static composition, realistic low-light exposure, subdued contemporary Incheon residential surroundings, no people, animals, readable text, police activity, or incident evidence."}
{"ts": "2026-07-13 12:13:24", "kind": "llm", "step": "s38_bg3_judge_gpt_S10sh7", "model": "gpt", "dur_s": 13.7, "system_prompt": "You are given ONE image-generation prompt, ONE MASTER location\nphotograph (the ground truth of this property), and THREE candidate\nphotographs labelled A, B, C in the order attached, all generated\nfrom that prompt with the master attached as reference.\nPick the ONE candidate that best satisfies ALL of:\n- fidelity to the prompt (structure, camera, materials, state,\n  exclusions such as no people and no readable text),\n- physical coherence (no floating/split volumes, stairs reach\n  their destination, possible geometry),\n- MASTER consistency (storey count, massing, the external stair's\n  full run, rooftop structure placement, walls, gate and yard must\n  match the master photograph),\n- regional authenticity (the prompt declares a real region and\n  era; everything must look like that region's real, ordinary\n  built environment — nothing foreign or genericized).\nCheck every candidate point by point; base verdicts only on what\nis visible. Also give every candidate an integer score 0-10.\nOutput: winner, ranking best-to-worst, and per candidate a score\nplus a one-line Korean verdict citing the decisive points.", "user_prompt": "[{\"type\": \"text\", \"text\": \"THE PROMPT:\\nUsing the attached master photo as the exact reference for the same rooftop dwelling, create a locked-off photorealistic live-action empty background plate at night, facing the established small living-room window from across the open roof terrace. The rooftop room is illuminated from inside, so the window glows naturally against the weathered exterior wall, but the glass and curtain surface must contain no human figures, silhouettes, reflections of people, violent action, or event-specific shadows. Preserve the master location’s flat roof, low parapet, and only those nearby rooftop fixtures that naturally fall within this camera angle. Static composition, realistic low-light exposure, subdued contemporary Incheon residential surroundings, no people, animals, readable text, police activity, or incident evidence.\"}, {\"type\": \"text\", \"text\": \"MASTER photograph (ground truth):\"}, {\"type\": \"text\", \"text\": \"Candidate A:\"}, {\"type\": \"text\", \"text\": \"Candidate B:\"}, {\"type\": \"text\", \"text\": \"Candidate C:\"}]"}
{"ts": "2026-07-13 12:14:06", "kind": "llm", "step": "s38_bg3_judge_gem_S10sh7", "model": "gemini-pro", "dur_s": 41.5, "system_prompt": "You are given ONE image-generation prompt, ONE MASTER location\nphotograph (the ground truth of this property), and THREE candidate\nphotographs labelled A, B, C in the order attached, all generated\nfrom that prompt with the master attached as reference.\nPick the ONE candidate that best satisfies ALL of:\n- fidelity to the prompt (structure, camera, materials, state,\n  exclusions such as no people and no readable text),\n- physical coherence (no floating/split volumes, stairs reach\n  their destination, possible geometry),\n- MASTER consistency (storey count, massing, the external stair's\n  full run, rooftop structure placement, walls, gate and yard must\n  match the master photograph),\n- regional authenticity (the prompt declares a real region and\n  era; everything must look like that region's real, ordinary\n  built environment — nothing foreign or genericized).\nCheck every candidate point by point; base verdicts only on what\nis visible. Also give every candidate an integer score 0-10.\nOutput: winner, ranking best-to-worst, and per candidate a score\nplus a one-line Korean verdict citing the decisive points.", "user_prompt": "[{\"type\": \"text\", \"text\": \"THE PROMPT:\\nUsing the attached master photo as the exact reference for the same rooftop dwelling, create a locked-off photorealistic live-action empty background plate at night, facing the established small living-room window from across the open roof terrace. The rooftop room is illuminated from inside, so the window glows naturally against the weathered exterior wall, but the glass and curtain surface must contain no human figures, silhouettes, reflections of people, violent action, or event-specific shadows. Preserve the master location’s flat roof, low parapet, and only those nearby rooftop fixtures that naturally fall within this camera angle. Static composition, realistic low-light exposure, subdued contemporary Incheon residential surroundings, no people, animals, readable text, police activity, or incident evidence.\"}, {\"type\": \"text\", \"text\": \"MASTER photograph (ground truth):\"}, {\"type\": \"text\", \"text\": \"Candidate A:\"}, {\"type\": \"text\", \"text\": \"Candidate B:\"}, {\"type\": \"text\", \"text\": \"Candidate C:\"}]"}
{"ts": "2026-07-13 12:14:49", "kind": "llm", "step": "s38_bg3_crit_gpt_S10sh7", "model": "gpt", "dur_s": 43.4, "system_prompt": "You are given: an image-generation prompt, a MASTER location\nphotograph (ground truth), and ONE photograph generated from the\nprompt with the master as reference. List what is WRONG with it:\n- fidelity to the prompt, - physical coherence,\n- MASTER consistency (storeys, massing, stair run, rooftop, walls,\n  gate, yard), - regional authenticity per the prompt's region.\nBase every finding only on what is visible. Ignore taste.\nissues: issue_ko (short Korean line) + fix_en (ONE imperative\nEnglish edit fixing exactly that while changing nothing else).\nEmpty array if nothing is wrong.", "user_prompt": "[{\"type\": \"text\", \"text\": \"THE PROMPT:\\nUsing the attached master photo as the exact reference for the same rooftop dwelling, create a locked-off photorealistic live-action empty background plate at night, facing the established small living-room window from across the open roof terrace. The rooftop room is illuminated from inside, so the window glows naturally against the weathered exterior wall, but the glass and curtain surface must contain no human figures, silhouettes, reflections of people, violent action, or event-specific shadows. Preserve the master location’s flat roof, low parapet, and only those nearby rooftop fixtures that naturally fall within this camera angle. Static composition, realistic low-light exposure, subdued contemporary Incheon residential surroundings, no people, animals, readable text, police activity, or incident evidence.\"}, {\"type\": \"text\", \"text\": \"MASTER photograph:\"}, {\"type\": \"text\", \"text\": \"Photograph to examine:\"}]"}
{"ts": "2026-07-13 12:15:18", "kind": "llm", "step": "s38_bg3_crit_gem_S10sh7", "model": "gemini-pro", "dur_s": 28.6, "system_prompt": "You are given: an image-generation prompt, a MASTER location\nphotograph (ground truth), and ONE photograph generated from the\nprompt with the master as reference. List what is WRONG with it:\n- fidelity to the prompt, - physical coherence,\n- MASTER consistency (storeys, massing, stair run, rooftop, walls,\n  gate, yard), - regional authenticity per the prompt's region.\nBase every finding only on what is visible. Ignore taste.\nissues: issue_ko (short Korean line) + fix_en (ONE imperative\nEnglish edit fixing exactly that while changing nothing else).\nEmpty array if nothing is wrong.", "user_prompt": "[{\"type\": \"text\", \"text\": \"THE PROMPT:\\nUsing the attached master photo as the exact reference for the same rooftop dwelling, create a locked-off photorealistic live-action empty background plate at night, facing the established small living-room window from across the open roof terrace. The rooftop room is illuminated from inside, so the window glows naturally against the weathered exterior wall, but the glass and curtain surface must contain no human figures, silhouettes, reflections of people, violent action, or event-specific shadows. Preserve the master location’s flat roof, low parapet, and only those nearby rooftop fixtures that naturally fall within this camera angle. Static composition, realistic low-light exposure, subdued contemporary Incheon residential surroundings, no people, animals, readable text, police activity, or incident evidence.\"}, {\"type\": \"text\", \"text\": \"MASTER photograph:\"}, {\"type\": \"text\", \"text\": \"Photograph to examine:\"}]"}
{"ts": "2026-07-13 12:15:52", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s38_bg3_fix_S10sh7", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/bg3_S10sh7_a.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/forest_map/top2/top2_photo_fixed_nb2.png"], "ref_labels": ["PHOTOGRAPH TO EDIT — fix ONLY the issues the prompt lists; preserve everything else exactly.", "MASTER photograph — ground truth; align the edited photo's building to it."], "attempt": 1, "dur_s": 34.0, "bytes": 2975306, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/bg3_S10sh7.png", "prompt": "Edit this photograph. Fix ONLY the issues listed below, each in\nplace, changing nothing else about the property:\n\nISSUES TO FIX:\n- (GPT VLM) Restore the master’s raised drying table and spread produce on the right side of the terrace while leaving everything else unchanged.\n- (GPT VLM) Replace the altered bare hanger rack with the master’s central clothesline frame and hanging laundry while leaving everything else unchanged.\n- (GPT VLM) Restore the master’s two rooftop floodlights in their original positions while leaving everything else unchanged.\n- (GPT VLM) Remove the readable blue address plaque at the lower left while leaving everything else unchanged.\n- (GPT VLM) Reduce the window exposure so the lit glass and curtain retain natural low-light detail while leaving everything else unchanged.\n- (Gemini VLM) Replace the floating wireframe structure on the left with a standard T-pole clothesline rooted to the floor.\n- (Gemini VLM) Add the low wooden drying table to the right side of the rooftop dwelling.\n- (Gemini VLM) Change the water tank support from thin metal bars to a solid concrete block base.\n- (Gemini VLM) Adjust the light spill on the terrace floor to accurately match the geometry and shadows cast by the doorway and window.\n- (Gemini VLM) Remove the small, unexplained rectangular object resting on the foreground parapet wall.\n\nThe attached MASTER photograph is the ground truth for the property's structure — align every fixed feature to it.\n\nPRESERVE EVERYTHING ELSE EXACTLY as in the original photograph —\nbuildings, roof objects, yard, surroundings, lighting, camera,\nframing. No people, no readable text anywhere."}
{"ts": "2026-07-13 12:16:17", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s38_bg3_S11sh5_a", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/forest_map/top2/top2_photo_fixed_nb2.png"], "ref_labels": ["LOCATION MASTER PHOTOGRAPH — the exact building and grounds where this background takes place: its architecture, massing, materials and fixed features are spatial truth; render the requested view OF THIS PLACE. Never copy this photo's camera or crop."], "attempt": 1, "dur_s": 25.8, "bytes": 2505661, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/bg3_S11sh5_a.png", "prompt": "Using the attached master photo as the exact architectural reference, create a photorealistic live-action empty background plate at night from eye level on the rooftop landing, looking straight toward the same rooftop dwelling’s plain metal entrance door. Show the open roof terrace leading to the doorway, the weathered exterior wall, doorframe, and any fixed rooftop elements visible in their established master-image positions. As a clean undisturbed plate, the metal door is fully closed and intact, with no flyer in the seam, no forced entry, no interior figure, and no incident-specific condition. Natural dim night ambience, realistic scale and weathering, frontal composition, no people, animals, readable text, police lights, vehicles, blood, or dramatic horror lighting."}
{"ts": "2026-07-13 12:16:39", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s38_bg3_S11sh5_b", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/forest_map/top2/top2_photo_fixed_nb2.png"], "ref_labels": ["LOCATION MASTER PHOTOGRAPH — the exact building and grounds where this background takes place: its architecture, massing, materials and fixed features are spatial truth; render the requested view OF THIS PLACE. Never copy this photo's camera or crop."], "attempt": 1, "dur_s": 21.9, "bytes": 2712127, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/bg3_S11sh5_b.png", "prompt": "Using the attached master photo as the exact architectural reference, create a photorealistic live-action empty background plate at night from eye level on the rooftop landing, looking straight toward the same rooftop dwelling’s plain metal entrance door. Show the open roof terrace leading to the doorway, the weathered exterior wall, doorframe, and any fixed rooftop elements visible in their established master-image positions. As a clean undisturbed plate, the metal door is fully closed and intact, with no flyer in the seam, no forced entry, no interior figure, and no incident-specific condition. Natural dim night ambience, realistic scale and weathering, frontal composition, no people, animals, readable text, police lights, vehicles, blood, or dramatic horror lighting."}
{"ts": "2026-07-13 12:17:00", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s38_bg3_S11sh5_c", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/forest_map/top2/top2_photo_fixed_nb2.png"], "ref_labels": ["LOCATION MASTER PHOTOGRAPH — the exact building and grounds where this background takes place: its architecture, massing, materials and fixed features are spatial truth; render the requested view OF THIS PLACE. Never copy this photo's camera or crop."], "attempt": 1, "dur_s": 20.7, "bytes": 2825597, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/bg3_S11sh5_c.png", "prompt": "Using the attached master photo as the exact architectural reference, create a photorealistic live-action empty background plate at night from eye level on the rooftop landing, looking straight toward the same rooftop dwelling’s plain metal entrance door. Show the open roof terrace leading to the doorway, the weathered exterior wall, doorframe, and any fixed rooftop elements visible in their established master-image positions. As a clean undisturbed plate, the metal door is fully closed and intact, with no flyer in the seam, no forced entry, no interior figure, and no incident-specific condition. Natural dim night ambience, realistic scale and weathering, frontal composition, no people, animals, readable text, police lights, vehicles, blood, or dramatic horror lighting."}
{"ts": "2026-07-13 12:17:15", "kind": "llm", "step": "s38_bg3_judge_gpt_S11sh5", "model": "gpt", "dur_s": 14.6, "system_prompt": "You are given ONE image-generation prompt, ONE MASTER location\nphotograph (the ground truth of this property), and THREE candidate\nphotographs labelled A, B, C in the order attached, all generated\nfrom that prompt with the master attached as reference.\nPick the ONE candidate that best satisfies ALL of:\n- fidelity to the prompt (structure, camera, materials, state,\n  exclusions such as no people and no readable text),\n- physical coherence (no floating/split volumes, stairs reach\n  their destination, possible geometry),\n- MASTER consistency (storey count, massing, the external stair's\n  full run, rooftop structure placement, walls, gate and yard must\n  match the master photograph),\n- regional authenticity (the prompt declares a real region and\n  era; everything must look like that region's real, ordinary\n  built environment — nothing foreign or genericized).\nCheck every candidate point by point; base verdicts only on what\nis visible. Also give every candidate an integer score 0-10.\nOutput: winner, ranking best-to-worst, and per candidate a score\nplus a one-line Korean verdict citing the decisive points.", "user_prompt": "[{\"type\": \"text\", \"text\": \"THE PROMPT:\\nUsing the attached master photo as the exact architectural reference, create a photorealistic live-action empty background plate at night from eye level on the rooftop landing, looking straight toward the same rooftop dwelling’s plain metal entrance door. Show the open roof terrace leading to the doorway, the weathered exterior wall, doorframe, and any fixed rooftop elements visible in their established master-image positions. As a clean undisturbed plate, the metal door is fully closed and intact, with no flyer in the seam, no forced entry, no interior figure, and no incident-specific condition. Natural dim night ambience, realistic scale and weathering, frontal composition, no people, animals, readable text, police lights, vehicles, blood, or dramatic horror lighting.\"}, {\"type\": \"text\", \"text\": \"MASTER photograph (ground truth):\"}, {\"type\": \"text\", \"text\": \"Candidate A:\"}, {\"type\": \"text\", \"text\": \"Candidate B:\"}, {\"type\": \"text\", \"text\": \"Candidate C:\"}]"}
{"ts": "2026-07-13 12:17:50", "kind": "llm", "step": "s38_bg3_judge_gem_S11sh5", "model": "gemini-pro", "dur_s": 35.3, "system_prompt": "You are given ONE image-generation prompt, ONE MASTER location\nphotograph (the ground truth of this property), and THREE candidate\nphotographs labelled A, B, C in the order attached, all generated\nfrom that prompt with the master attached as reference.\nPick the ONE candidate that best satisfies ALL of:\n- fidelity to the prompt (structure, camera, materials, state,\n  exclusions such as no people and no readable text),\n- physical coherence (no floating/split volumes, stairs reach\n  their destination, possible geometry),\n- MASTER consistency (storey count, massing, the external stair's\n  full run, rooftop structure placement, walls, gate and yard must\n  match the master photograph),\n- regional authenticity (the prompt declares a real region and\n  era; everything must look like that region's real, ordinary\n  built environment — nothing foreign or genericized).\nCheck every candidate point by point; base verdicts only on what\nis visible. Also give every candidate an integer score 0-10.\nOutput: winner, ranking best-to-worst, and per candidate a score\nplus a one-line Korean verdict citing the decisive points.", "user_prompt": "[{\"type\": \"text\", \"text\": \"THE PROMPT:\\nUsing the attached master photo as the exact architectural reference, create a photorealistic live-action empty background plate at night from eye level on the rooftop landing, looking straight toward the same rooftop dwelling’s plain metal entrance door. Show the open roof terrace leading to the doorway, the weathered exterior wall, doorframe, and any fixed rooftop elements visible in their established master-image positions. As a clean undisturbed plate, the metal door is fully closed and intact, with no flyer in the seam, no forced entry, no interior figure, and no incident-specific condition. Natural dim night ambience, realistic scale and weathering, frontal composition, no people, animals, readable text, police lights, vehicles, blood, or dramatic horror lighting.\"}, {\"type\": \"text\", \"text\": \"MASTER photograph (ground truth):\"}, {\"type\": \"text\", \"text\": \"Candidate A:\"}, {\"type\": \"text\", \"text\": \"Candidate B:\"}, {\"type\": \"text\", \"text\": \"Candidate C:\"}]"}
{"ts": "2026-07-13 12:18:23", "kind": "llm", "step": "s38_bg3_crit_gpt_S11sh5", "model": "gpt", "dur_s": 32.8, "system_prompt": "You are given: an image-generation prompt, a MASTER location\nphotograph (ground truth), and ONE photograph generated from the\nprompt with the master as reference. List what is WRONG with it:\n- fidelity to the prompt, - physical coherence,\n- MASTER consistency (storeys, massing, stair run, rooftop, walls,\n  gate, yard), - regional authenticity per the prompt's region.\nBase every finding only on what is visible. Ignore taste.\nissues: issue_ko (short Korean line) + fix_en (ONE imperative\nEnglish edit fixing exactly that while changing nothing else).\nEmpty array if nothing is wrong.", "user_prompt": "[{\"type\": \"text\", \"text\": \"THE PROMPT:\\nUsing the attached master photo as the exact architectural reference, create a photorealistic live-action empty background plate at night from eye level on the rooftop landing, looking straight toward the same rooftop dwelling’s plain metal entrance door. Show the open roof terrace leading to the doorway, the weathered exterior wall, doorframe, and any fixed rooftop elements visible in their established master-image positions. As a clean undisturbed plate, the metal door is fully closed and intact, with no flyer in the seam, no forced entry, no interior figure, and no incident-specific condition. Natural dim night ambience, realistic scale and weathering, frontal composition, no people, animals, readable text, police lights, vehicles, blood, or dramatic horror lighting.\"}, {\"type\": \"text\", \"text\": \"MASTER photograph:\"}, {\"type\": \"text\", \"text\": \"Photograph to examine:\"}]"}
{"ts": "2026-07-13 12:19:01", "kind": "llm", "step": "s38_bg3_crit_gem_S11sh5", "model": "gemini-pro", "dur_s": 38.6, "system_prompt": "You are given: an image-generation prompt, a MASTER location\nphotograph (ground truth), and ONE photograph generated from the\nprompt with the master as reference. List what is WRONG with it:\n- fidelity to the prompt, - physical coherence,\n- MASTER consistency (storeys, massing, stair run, rooftop, walls,\n  gate, yard), - regional authenticity per the prompt's region.\nBase every finding only on what is visible. Ignore taste.\nissues: issue_ko (short Korean line) + fix_en (ONE imperative\nEnglish edit fixing exactly that while changing nothing else).\nEmpty array if nothing is wrong.", "user_prompt": "[{\"type\": \"text\", \"text\": \"THE PROMPT:\\nUsing the attached master photo as the exact architectural reference, create a photorealistic live-action empty background plate at night from eye level on the rooftop landing, looking straight toward the same rooftop dwelling’s plain metal entrance door. Show the open roof terrace leading to the doorway, the weathered exterior wall, doorframe, and any fixed rooftop elements visible in their established master-image positions. As a clean undisturbed plate, the metal door is fully closed and intact, with no flyer in the seam, no forced entry, no interior figure, and no incident-specific condition. Natural dim night ambience, realistic scale and weathering, frontal composition, no people, animals, readable text, police lights, vehicles, blood, or dramatic horror lighting.\"}, {\"type\": \"text\", \"text\": \"MASTER photograph:\"}, {\"type\": \"text\", \"text\": \"Photograph to examine:\"}]"}
{"ts": "2026-07-13 12:19:33", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s38_bg3_fix_S11sh5", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/bg3_S11sh5_c.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/forest_map/top2/top2_photo_fixed_nb2.png"], "ref_labels": ["PHOTOGRAPH TO EDIT — fix ONLY the issues the prompt lists; preserve everything else exactly.", "MASTER photograph — ground truth; align the edited photo's building to it."], "attempt": 1, "dur_s": 31.6, "bytes": 2894647, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/bg3_S11sh5.png", "prompt": "Edit this photograph. Fix ONLY the issues listed below, each in\nplace, changing nothing else about the property:\n\nISSUES TO FIX:\n- (GPT VLM) Place the camera at eye level on the rooftop landing, looking straight across the terrace rather than upward from the staircase.\n- (GPT VLM) Restore the master’s broad, flat open terrace between the stair arrival and the rooftop dwelling, without changing anything else.\n- (GPT VLM) Restore the master’s exterior stair run so it reaches the front roof edge instead of rising directly toward the rooftop dwelling.\n- (GPT VLM) Replace the smooth pale door with the master’s dark, panelled metal door in a fully closed and intact state, preserving its original frame and hardware.\n- (GPT VLM) Move the doorway leftward to match its near-left-edge placement on the master rooftop dwelling while changing nothing else.\n- (GPT VLM) Restore the master window’s proportions, frame divisions, and visible pale curtains while keeping the nighttime interior unoccupied.\n- (GPT VLM) Restore the master terrace’s established parapet layout instead of enclosing the approach with tall corridor-like walls.\n- (GPT VLM) Restore the rooftop water tank to the master’s established size and position on the left side of the terrace.\n- (Gemini VLM) Replace the foreground stairs and lower platform with a flat, continuous roof surface extending from the door to the camera.\n- (Gemini VLM) Remove the concrete parapet walls in the foreground that divide the roof space.\n- (Gemini VLM) Move the water tank so it rests on the same flat roof surface as the door, without an intervening wall.\n- (Gemini VLM) Add the louvered vent panel to the lower half of the metal door.\n- (Gemini VLM) Delete the white vertical pipe on the right side of the building's exterior wall.\n\nThe attached MASTER photograph is the ground truth for the property's structure — align every fixed feature to it.\n\nPRESERVE EVERYTHING ELSE EXACTLY as in the original photograph —\nbuildings, roof objects, yard, surroundings, lighting, camera,\nframing. No people, no readable text anywhere."}
{"ts": "2026-07-13 12:19:56", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s38_bg3_S17sh2_a", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/forest_map/top2/top2_photo_fixed_nb2.png"], "ref_labels": ["LOCATION MASTER PHOTOGRAPH — the exact building and grounds where this background takes place: its architecture, massing, materials and fixed features are spatial truth; render the requested view OF THIS PLACE. Never copy this photo's camera or crop."], "attempt": 1, "dur_s": 23.4, "bytes": 2467480, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/bg3_S17sh2_a.png", "prompt": "Using the attached master photo as the exact location reference, create a photorealistic live-action empty background plate at dawn from parapet height on the same rooftop, composed in side profile along the top edge of the low rooftop wall. Keep the parapet edge prominent in the foreground as the surface where an animal would be composited, with the rooftop dwelling and its established small window visible in the background from the appropriate lateral direction. The room window may retain a subdued warm interior glow against the cool first light of dawn. Quiet outskirts-of-Incheon atmosphere, soft blue-gray dawn sky, realistic weathered masonry, shallow-to-moderate depth of field. No cat, no people, no animals, no readable text, no incident evidence, and no invented rooftop structures."}
{"ts": "2026-07-13 12:20:19", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s38_bg3_S17sh2_b", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/forest_map/top2/top2_photo_fixed_nb2.png"], "ref_labels": ["LOCATION MASTER PHOTOGRAPH — the exact building and grounds where this background takes place: its architecture, massing, materials and fixed features are spatial truth; render the requested view OF THIS PLACE. Never copy this photo's camera or crop."], "attempt": 1, "dur_s": 22.5, "bytes": 2401126, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/bg3_S17sh2_b.png", "prompt": "Using the attached master photo as the exact location reference, create a photorealistic live-action empty background plate at dawn from parapet height on the same rooftop, composed in side profile along the top edge of the low rooftop wall. Keep the parapet edge prominent in the foreground as the surface where an animal would be composited, with the rooftop dwelling and its established small window visible in the background from the appropriate lateral direction. The room window may retain a subdued warm interior glow against the cool first light of dawn. Quiet outskirts-of-Incheon atmosphere, soft blue-gray dawn sky, realistic weathered masonry, shallow-to-moderate depth of field. No cat, no people, no animals, no readable text, no incident evidence, and no invented rooftop structures."}
{"ts": "2026-07-13 12:20:40", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s38_bg3_S17sh2_c", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/forest_map/top2/top2_photo_fixed_nb2.png"], "ref_labels": ["LOCATION MASTER PHOTOGRAPH — the exact building and grounds where this background takes place: its architecture, massing, materials and fixed features are spatial truth; render the requested view OF THIS PLACE. Never copy this photo's camera or crop."], "attempt": 1, "dur_s": 21.1, "bytes": 2374933, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/bg3_S17sh2_c.png", "prompt": "Using the attached master photo as the exact location reference, create a photorealistic live-action empty background plate at dawn from parapet height on the same rooftop, composed in side profile along the top edge of the low rooftop wall. Keep the parapet edge prominent in the foreground as the surface where an animal would be composited, with the rooftop dwelling and its established small window visible in the background from the appropriate lateral direction. The room window may retain a subdued warm interior glow against the cool first light of dawn. Quiet outskirts-of-Incheon atmosphere, soft blue-gray dawn sky, realistic weathered masonry, shallow-to-moderate depth of field. No cat, no people, no animals, no readable text, no incident evidence, and no invented rooftop structures."}
{"ts": "2026-07-13 12:20:55", "kind": "llm", "step": "s38_bg3_judge_gpt_S17sh2", "model": "gpt", "dur_s": 15.1, "system_prompt": "You are given ONE image-generation prompt, ONE MASTER location\nphotograph (the ground truth of this property), and THREE candidate\nphotographs labelled A, B, C in the order attached, all generated\nfrom that prompt with the master attached as reference.\nPick the ONE candidate that best satisfies ALL of:\n- fidelity to the prompt (structure, camera, materials, state,\n  exclusions such as no people and no readable text),\n- physical coherence (no floating/split volumes, stairs reach\n  their destination, possible geometry),\n- MASTER consistency (storey count, massing, the external stair's\n  full run, rooftop structure placement, walls, gate and yard must\n  match the master photograph),\n- regional authenticity (the prompt declares a real region and\n  era; everything must look like that region's real, ordinary\n  built environment — nothing foreign or genericized).\nCheck every candidate point by point; base verdicts only on what\nis visible. Also give every candidate an integer score 0-10.\nOutput: winner, ranking best-to-worst, and per candidate a score\nplus a one-line Korean verdict citing the decisive points.", "user_prompt": "[{\"type\": \"text\", \"text\": \"THE PROMPT:\\nUsing the attached master photo as the exact location reference, create a photorealistic live-action empty background plate at dawn from parapet height on the same rooftop, composed in side profile along the top edge of the low rooftop wall. Keep the parapet edge prominent in the foreground as the surface where an animal would be composited, with the rooftop dwelling and its established small window visible in the background from the appropriate lateral direction. The room window may retain a subdued warm interior glow against the cool first light of dawn. Quiet outskirts-of-Incheon atmosphere, soft blue-gray dawn sky, realistic weathered masonry, shallow-to-moderate depth of field. No cat, no people, no animals, no readable text, no incident evidence, and no invented rooftop structures.\"}, {\"type\": \"text\", \"text\": \"MASTER photograph (ground truth):\"}, {\"type\": \"text\", \"text\": \"Candidate A:\"}, {\"type\": \"text\", \"text\": \"Candidate B:\"}, {\"type\": \"text\", \"text\": \"Candidate C:\"}]"}
{"ts": "2026-07-13 12:21:36", "kind": "llm", "step": "s38_bg3_judge_gem_S17sh2", "model": "gemini-pro", "dur_s": 40.9, "system_prompt": "You are given ONE image-generation prompt, ONE MASTER location\nphotograph (the ground truth of this property), and THREE candidate\nphotographs labelled A, B, C in the order attached, all generated\nfrom that prompt with the master attached as reference.\nPick the ONE candidate that best satisfies ALL of:\n- fidelity to the prompt (structure, camera, materials, state,\n  exclusions such as no people and no readable text),\n- physical coherence (no floating/split volumes, stairs reach\n  their destination, possible geometry),\n- MASTER consistency (storey count, massing, the external stair's\n  full run, rooftop structure placement, walls, gate and yard must\n  match the master photograph),\n- regional authenticity (the prompt declares a real region and\n  era; everything must look like that region's real, ordinary\n  built environment — nothing foreign or genericized).\nCheck every candidate point by point; base verdicts only on what\nis visible. Also give every candidate an integer score 0-10.\nOutput: winner, ranking best-to-worst, and per candidate a score\nplus a one-line Korean verdict citing the decisive points.", "user_prompt": "[{\"type\": \"text\", \"text\": \"THE PROMPT:\\nUsing the attached master photo as the exact location reference, create a photorealistic live-action empty background plate at dawn from parapet height on the same rooftop, composed in side profile along the top edge of the low rooftop wall. Keep the parapet edge prominent in the foreground as the surface where an animal would be composited, with the rooftop dwelling and its established small window visible in the background from the appropriate lateral direction. The room window may retain a subdued warm interior glow against the cool first light of dawn. Quiet outskirts-of-Incheon atmosphere, soft blue-gray dawn sky, realistic weathered masonry, shallow-to-moderate depth of field. No cat, no people, no animals, no readable text, no incident evidence, and no invented rooftop structures.\"}, {\"type\": \"text\", \"text\": \"MASTER photograph (ground truth):\"}, {\"type\": \"text\", \"text\": \"Candidate A:\"}, {\"type\": \"text\", \"text\": \"Candidate B:\"}, {\"type\": \"text\", \"text\": \"Candidate C:\"}]"}
{"ts": "2026-07-13 12:21:58", "kind": "llm", "step": "s38_bg3_crit_gpt_S17sh2", "model": "gpt", "dur_s": 21.7, "system_prompt": "You are given: an image-generation prompt, a MASTER location\nphotograph (ground truth), and ONE photograph generated from the\nprompt with the master as reference. List what is WRONG with it:\n- fidelity to the prompt, - physical coherence,\n- MASTER consistency (storeys, massing, stair run, rooftop, walls,\n  gate, yard), - regional authenticity per the prompt's region.\nBase every finding only on what is visible. Ignore taste.\nissues: issue_ko (short Korean line) + fix_en (ONE imperative\nEnglish edit fixing exactly that while changing nothing else).\nEmpty array if nothing is wrong.", "user_prompt": "[{\"type\": \"text\", \"text\": \"THE PROMPT:\\nUsing the attached master photo as the exact location reference, create a photorealistic live-action empty background plate at dawn from parapet height on the same rooftop, composed in side profile along the top edge of the low rooftop wall. Keep the parapet edge prominent in the foreground as the surface where an animal would be composited, with the rooftop dwelling and its established small window visible in the background from the appropriate lateral direction. The room window may retain a subdued warm interior glow against the cool first light of dawn. Quiet outskirts-of-Incheon atmosphere, soft blue-gray dawn sky, realistic weathered masonry, shallow-to-moderate depth of field. No cat, no people, no animals, no readable text, no incident evidence, and no invented rooftop structures.\"}, {\"type\": \"text\", \"text\": \"MASTER photograph:\"}, {\"type\": \"text\", \"text\": \"Photograph to examine:\"}]"}
{"ts": "2026-07-13 12:22:07", "kind": "llm", "step": "s38_bg3_crit_gem_S17sh2", "model": "gemini-pro", "dur_s": 9.6, "system_prompt": "You are given: an image-generation prompt, a MASTER location\nphotograph (ground truth), and ONE photograph generated from the\nprompt with the master as reference. List what is WRONG with it:\n- fidelity to the prompt, - physical coherence,\n- MASTER consistency (storeys, massing, stair run, rooftop, walls,\n  gate, yard), - regional authenticity per the prompt's region.\nBase every finding only on what is visible. Ignore taste.\nissues: issue_ko (short Korean line) + fix_en (ONE imperative\nEnglish edit fixing exactly that while changing nothing else).\nEmpty array if nothing is wrong.", "user_prompt": "[{\"type\": \"text\", \"text\": \"THE PROMPT:\\nUsing the attached master photo as the exact location reference, create a photorealistic live-action empty background plate at dawn from parapet height on the same rooftop, composed in side profile along the top edge of the low rooftop wall. Keep the parapet edge prominent in the foreground as the surface where an animal would be composited, with the rooftop dwelling and its established small window visible in the background from the appropriate lateral direction. The room window may retain a subdued warm interior glow against the cool first light of dawn. Quiet outskirts-of-Incheon atmosphere, soft blue-gray dawn sky, realistic weathered masonry, shallow-to-moderate depth of field. No cat, no people, no animals, no readable text, no incident evidence, and no invented rooftop structures.\"}, {\"type\": \"text\", \"text\": \"MASTER photograph:\"}, {\"type\": \"text\", \"text\": \"Photograph to examine:\"}]"}
{"ts": "2026-07-13 12:22:33", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s38_bg3_fix_S17sh2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/bg3_S17sh2_a.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/forest_map/top2/top2_photo_fixed_nb2.png"], "ref_labels": ["PHOTOGRAPH TO EDIT — fix ONLY the issues the prompt lists; preserve everything else exactly.", "MASTER photograph — ground truth; align the edited photo's building to it."], "attempt": 1, "dur_s": 25.3, "bytes": 2410001, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/bg3_S17sh2.png", "prompt": "Edit this photograph. Fix ONLY the issues listed below, each in\nplace, changing nothing else about the property:\n\nISSUES TO FIX:\n- (GPT VLM) Restore the rooftop dwelling’s flat raised-edge roof slab and exact boxy massing from the master while changing nothing else.\n- (GPT VLM) Replace the broad horizontal two-pane window with the master’s narrower vertical sliding window in the same façade position while changing nothing else.\n- (GPT VLM) Reduce the window illumination to a subdued warm interior glow while changing nothing else.\n- (GPT VLM) Restore the master’s outward-open studded metal door and remove the invented white item attached to it while changing nothing else.\n- (GPT VLM) Match the foreground parapet’s thickness, height, cap profile, and milder weathering to the master rooftop wall while changing nothing else.\n- (Gemini VLM) Change the window to be wider horizontally and openable like a casement window.\n- (Gemini VLM) Increase the distance between the window and the door.\n- (Gemini VLM) Make the door open inwards instead of outwards.\n\nThe attached MASTER photograph is the ground truth for the property's structure — align every fixed feature to it.\n\nPRESERVE EVERYTHING ELSE EXACTLY as in the original photograph —\nbuildings, roof objects, yard, surroundings, lighting, camera,\nframing. No people, no readable text anywhere."}
{"ts": "2026-07-13 12:22:56", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s38_bg3_S11sh4_a", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/forest_map/top2/top2_photo_fixed_nb2.png"], "ref_labels": ["LOCATION MASTER PHOTOGRAPH — the exact building and grounds where this background takes place: its architecture, massing, materials and fixed features are spatial truth; render the requested view OF THIS PLACE. Never copy this photo's camera or crop."], "attempt": 1, "dur_s": 22.9, "bytes": 2184349, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/bg3_S11sh4_a.png", "prompt": "Using the attached master photo as the exact architectural and spatial reference, create a photorealistic live-action empty background plate at night from close face height on the continuous side/rear staircase connecting the enclosed courtyard to the rooftop. The camera is positioned at a middle stair landing beside the established simple metal pipe handrail, with the handrail and adjacent weathered villa wall forming the near background and the stair route receding naturally behind. Compose it as a close-up background suitable for placing a person paused midway on the stairs, but show no person or hand. Preserve only the stair geometry and fixed surfaces supported by the master image. Realistic dim residential night lighting, natural colors, shallow depth of field, no animals, readable text, police lights, damage, or event-specific props."}
{"ts": "2026-07-13 12:23:17", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s38_bg3_S11sh4_b", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/forest_map/top2/top2_photo_fixed_nb2.png"], "ref_labels": ["LOCATION MASTER PHOTOGRAPH — the exact building and grounds where this background takes place: its architecture, massing, materials and fixed features are spatial truth; render the requested view OF THIS PLACE. Never copy this photo's camera or crop."], "attempt": 1, "dur_s": 21.1, "bytes": 2723794, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/bg3_S11sh4_b.png", "prompt": "Using the attached master photo as the exact architectural and spatial reference, create a photorealistic live-action empty background plate at night from close face height on the continuous side/rear staircase connecting the enclosed courtyard to the rooftop. The camera is positioned at a middle stair landing beside the established simple metal pipe handrail, with the handrail and adjacent weathered villa wall forming the near background and the stair route receding naturally behind. Compose it as a close-up background suitable for placing a person paused midway on the stairs, but show no person or hand. Preserve only the stair geometry and fixed surfaces supported by the master image. Realistic dim residential night lighting, natural colors, shallow depth of field, no animals, readable text, police lights, damage, or event-specific props."}
{"ts": "2026-07-13 12:23:37", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s38_bg3_S11sh4_c", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/forest_map/top2/top2_photo_fixed_nb2.png"], "ref_labels": ["LOCATION MASTER PHOTOGRAPH — the exact building and grounds where this background takes place: its architecture, massing, materials and fixed features are spatial truth; render the requested view OF THIS PLACE. Never copy this photo's camera or crop."], "attempt": 1, "dur_s": 20.5, "bytes": 2293428, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/bg3_S11sh4_c.png", "prompt": "Using the attached master photo as the exact architectural and spatial reference, create a photorealistic live-action empty background plate at night from close face height on the continuous side/rear staircase connecting the enclosed courtyard to the rooftop. The camera is positioned at a middle stair landing beside the established simple metal pipe handrail, with the handrail and adjacent weathered villa wall forming the near background and the stair route receding naturally behind. Compose it as a close-up background suitable for placing a person paused midway on the stairs, but show no person or hand. Preserve only the stair geometry and fixed surfaces supported by the master image. Realistic dim residential night lighting, natural colors, shallow depth of field, no animals, readable text, police lights, damage, or event-specific props."}
{"ts": "2026-07-13 12:23:50", "kind": "llm", "step": "s38_bg3_judge_gpt_S11sh4", "model": "gpt", "dur_s": 12.4, "system_prompt": "You are given ONE image-generation prompt, ONE MASTER location\nphotograph (the ground truth of this property), and THREE candidate\nphotographs labelled A, B, C in the order attached, all generated\nfrom that prompt with the master attached as reference.\nPick the ONE candidate that best satisfies ALL of:\n- fidelity to the prompt (structure, camera, materials, state,\n  exclusions such as no people and no readable text),\n- physical coherence (no floating/split volumes, stairs reach\n  their destination, possible geometry),\n- MASTER consistency (storey count, massing, the external stair's\n  full run, rooftop structure placement, walls, gate and yard must\n  match the master photograph),\n- regional authenticity (the prompt declares a real region and\n  era; everything must look like that region's real, ordinary\n  built environment — nothing foreign or genericized).\nCheck every candidate point by point; base verdicts only on what\nis visible. Also give every candidate an integer score 0-10.\nOutput: winner, ranking best-to-worst, and per candidate a score\nplus a one-line Korean verdict citing the decisive points.", "user_prompt": "[{\"type\": \"text\", \"text\": \"THE PROMPT:\\nUsing the attached master photo as the exact architectural and spatial reference, create a photorealistic live-action empty background plate at night from close face height on the continuous side/rear staircase connecting the enclosed courtyard to the rooftop. The camera is positioned at a middle stair landing beside the established simple metal pipe handrail, with the handrail and adjacent weathered villa wall forming the near background and the stair route receding naturally behind. Compose it as a close-up background suitable for placing a person paused midway on the stairs, but show no person or hand. Preserve only the stair geometry and fixed surfaces supported by the master image. Realistic dim residential night lighting, natural colors, shallow depth of field, no animals, readable text, police lights, damage, or event-specific props.\"}, {\"type\": \"text\", \"text\": \"MASTER photograph (ground truth):\"}, {\"type\": \"text\", \"text\": \"Candidate A:\"}, {\"type\": \"text\", \"text\": \"Candidate B:\"}, {\"type\": \"text\", \"text\": \"Candidate C:\"}]"}
{"ts": "2026-07-13 12:24:27", "kind": "llm", "step": "s38_bg3_judge_gem_S11sh4", "model": "gemini-pro", "dur_s": 37.8, "system_prompt": "You are given ONE image-generation prompt, ONE MASTER location\nphotograph (the ground truth of this property), and THREE candidate\nphotographs labelled A, B, C in the order attached, all generated\nfrom that prompt with the master attached as reference.\nPick the ONE candidate that best satisfies ALL of:\n- fidelity to the prompt (structure, camera, materials, state,\n  exclusions such as no people and no readable text),\n- physical coherence (no floating/split volumes, stairs reach\n  their destination, possible geometry),\n- MASTER consistency (storey count, massing, the external stair's\n  full run, rooftop structure placement, walls, gate and yard must\n  match the master photograph),\n- regional authenticity (the prompt declares a real region and\n  era; everything must look like that region's real, ordinary\n  built environment — nothing foreign or genericized).\nCheck every candidate point by point; base verdicts only on what\nis visible. Also give every candidate an integer score 0-10.\nOutput: winner, ranking best-to-worst, and per candidate a score\nplus a one-line Korean verdict citing the decisive points.", "user_prompt": "[{\"type\": \"text\", \"text\": \"THE PROMPT:\\nUsing the attached master photo as the exact architectural and spatial reference, create a photorealistic live-action empty background plate at night from close face height on the continuous side/rear staircase connecting the enclosed courtyard to the rooftop. The camera is positioned at a middle stair landing beside the established simple metal pipe handrail, with the handrail and adjacent weathered villa wall forming the near background and the stair route receding naturally behind. Compose it as a close-up background suitable for placing a person paused midway on the stairs, but show no person or hand. Preserve only the stair geometry and fixed surfaces supported by the master image. Realistic dim residential night lighting, natural colors, shallow depth of field, no animals, readable text, police lights, damage, or event-specific props.\"}, {\"type\": \"text\", \"text\": \"MASTER photograph (ground truth):\"}, {\"type\": \"text\", \"text\": \"Candidate A:\"}, {\"type\": \"text\", \"text\": \"Candidate B:\"}, {\"type\": \"text\", \"text\": \"Candidate C:\"}]"}
{"ts": "2026-07-13 12:25:07", "kind": "llm", "step": "s38_bg3_crit_gpt_S11sh4", "model": "gpt", "dur_s": 39.5, "system_prompt": "You are given: an image-generation prompt, a MASTER location\nphotograph (ground truth), and ONE photograph generated from the\nprompt with the master as reference. List what is WRONG with it:\n- fidelity to the prompt, - physical coherence,\n- MASTER consistency (storeys, massing, stair run, rooftop, walls,\n  gate, yard), - regional authenticity per the prompt's region.\nBase every finding only on what is visible. Ignore taste.\nissues: issue_ko (short Korean line) + fix_en (ONE imperative\nEnglish edit fixing exactly that while changing nothing else).\nEmpty array if nothing is wrong.", "user_prompt": "[{\"type\": \"text\", \"text\": \"THE PROMPT:\\nUsing the attached master photo as the exact architectural and spatial reference, create a photorealistic live-action empty background plate at night from close face height on the continuous side/rear staircase connecting the enclosed courtyard to the rooftop. The camera is positioned at a middle stair landing beside the established simple metal pipe handrail, with the handrail and adjacent weathered villa wall forming the near background and the stair route receding naturally behind. Compose it as a close-up background suitable for placing a person paused midway on the stairs, but show no person or hand. Preserve only the stair geometry and fixed surfaces supported by the master image. Realistic dim residential night lighting, natural colors, shallow depth of field, no animals, readable text, police lights, damage, or event-specific props.\"}, {\"type\": \"text\", \"text\": \"MASTER photograph:\"}, {\"type\": \"text\", \"text\": \"Photograph to examine:\"}]"}
{"ts": "2026-07-13 12:25:29", "kind": "llm", "step": "s38_bg3_crit_gem_S11sh4", "model": "gemini-pro", "dur_s": 22.3, "system_prompt": "You are given: an image-generation prompt, a MASTER location\nphotograph (ground truth), and ONE photograph generated from the\nprompt with the master as reference. List what is WRONG with it:\n- fidelity to the prompt, - physical coherence,\n- MASTER consistency (storeys, massing, stair run, rooftop, walls,\n  gate, yard), - regional authenticity per the prompt's region.\nBase every finding only on what is visible. Ignore taste.\nissues: issue_ko (short Korean line) + fix_en (ONE imperative\nEnglish edit fixing exactly that while changing nothing else).\nEmpty array if nothing is wrong.", "user_prompt": "[{\"type\": \"text\", \"text\": \"THE PROMPT:\\nUsing the attached master photo as the exact architectural and spatial reference, create a photorealistic live-action empty background plate at night from close face height on the continuous side/rear staircase connecting the enclosed courtyard to the rooftop. The camera is positioned at a middle stair landing beside the established simple metal pipe handrail, with the handrail and adjacent weathered villa wall forming the near background and the stair route receding naturally behind. Compose it as a close-up background suitable for placing a person paused midway on the stairs, but show no person or hand. Preserve only the stair geometry and fixed surfaces supported by the master image. Realistic dim residential night lighting, natural colors, shallow depth of field, no animals, readable text, police lights, damage, or event-specific props.\"}, {\"type\": \"text\", \"text\": \"MASTER photograph:\"}, {\"type\": \"text\", \"text\": \"Photograph to examine:\"}]"}
{"ts": "2026-07-13 12:25:52", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s38_bg3_fix_S11sh4", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/bg3_S11sh4_a.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/forest_map/top2/top2_photo_fixed_nb2.png"], "ref_labels": ["PHOTOGRAPH TO EDIT — fix ONLY the issues the prompt lists; preserve everything else exactly.", "MASTER photograph — ground truth; align the edited photo's building to it."], "attempt": 1, "dur_s": 22.4, "bytes": 2266770, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/bg3_S11sh4.png", "prompt": "Edit this photograph. Fix ONLY the issues listed below, each in\nplace, changing nothing else about the property:\n\nISSUES TO FIX:\n- (GPT VLM) Reconfigure the visible switchback staircase to match the master's exact flight lengths, landing positions, and orientation while changing nothing else.\n- (GPT VLM) Make the upper flight terminate directly at the open parapeted rooftop shown in the master, not at a door beside a continuing façade, while changing nothing else.\n- (GPT VLM) Replace the dark round railing with the master's galvanized rectangular metal railing and sparse horizontal-bar pattern while changing nothing else.\n- (GPT VLM) Replace the rusty diamond-plate stair surfaces with the master's plain light-colored stair treads while changing nothing else.\n- (GPT VLM) Restore the adjacent villa wall to the master's smoother light beige finish with its restrained weather staining while changing nothing else.\n- (GPT VLM) Remove the unsupported canopy lamp and match the visible door and window placement to the master façade while changing nothing else.\n- (GPT VLM) Remove the hanging laundry visible in the background while changing nothing else.\n- (Gemini VLM) Remove the duplicate building and staircase in the background so the scene accurately reflects a perspective from within the master staircase itself.\n- (Gemini VLM) Modify the foreground stair geometry to be an open, projecting zig-zag structure that matches the architectural layout of the master image.\n- (Gemini VLM) Replace the thick round handrails in the foreground with thin square tubing and vertical balusters exactly as seen in the master image.\n\nThe attached MASTER photograph is the ground truth for the property's structure — align every fixed feature to it.\n\nPRESERVE EVERYTHING ELSE EXACTLY as in the original photograph —\nbuildings, roof objects, yard, surroundings, lighting, camera,\nframing. No people, no readable text anywhere."}
{"ts": "2026-07-13 12:26:13", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s38_bg3_S13sh4_a", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/forest_map/top2/top2_photo_fixed_nb2.png"], "ref_labels": ["LOCATION MASTER PHOTOGRAPH — the exact building and grounds where this background takes place: its architecture, massing, materials and fixed features are spatial truth; render the requested view OF THIS PLACE. Never copy this photo's camera or crop."], "attempt": 1, "dur_s": 21.1, "bytes": 2655151, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/bg3_S13sh4_a.png", "prompt": "Using the attached master photo as the exact reference for the same old multifamily villa and its ground-level surroundings, create a photorealistic live-action empty background plate at night from standing eye level near the villa’s ground entrance, facing the small enclosed courtyard and the base of the continuous side/rear stair. Compose a neutral medium close-up background with sufficient clear foreground space for a standing person, while keeping the weathered entrance area, courtyard surfaces, and lower stair architecture spatially consistent with the master. Do not add a police car or any unestablished object. Restrained natural neighborhood night ambience, realistic exposure and weathering, no people, animals, vehicles in action, siren light, readable text, blood, evidence, or event-specific disturbance."}
{"ts": "2026-07-13 12:26:38", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s38_bg3_S13sh4_b", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/forest_map/top2/top2_photo_fixed_nb2.png"], "ref_labels": ["LOCATION MASTER PHOTOGRAPH — the exact building and grounds where this background takes place: its architecture, massing, materials and fixed features are spatial truth; render the requested view OF THIS PLACE. Never copy this photo's camera or crop."], "attempt": 1, "dur_s": 25.2, "bytes": 2800904, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/bg3_S13sh4_b.png", "prompt": "Using the attached master photo as the exact reference for the same old multifamily villa and its ground-level surroundings, create a photorealistic live-action empty background plate at night from standing eye level near the villa’s ground entrance, facing the small enclosed courtyard and the base of the continuous side/rear stair. Compose a neutral medium close-up background with sufficient clear foreground space for a standing person, while keeping the weathered entrance area, courtyard surfaces, and lower stair architecture spatially consistent with the master. Do not add a police car or any unestablished object. Restrained natural neighborhood night ambience, realistic exposure and weathering, no people, animals, vehicles in action, siren light, readable text, blood, evidence, or event-specific disturbance."}
{"ts": "2026-07-13 12:26:59", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s38_bg3_S13sh4_c", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/forest_map/top2/top2_photo_fixed_nb2.png"], "ref_labels": ["LOCATION MASTER PHOTOGRAPH — the exact building and grounds where this background takes place: its architecture, massing, materials and fixed features are spatial truth; render the requested view OF THIS PLACE. Never copy this photo's camera or crop."], "attempt": 1, "dur_s": 21.2, "bytes": 2607819, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/bg3_S13sh4_c.png", "prompt": "Using the attached master photo as the exact reference for the same old multifamily villa and its ground-level surroundings, create a photorealistic live-action empty background plate at night from standing eye level near the villa’s ground entrance, facing the small enclosed courtyard and the base of the continuous side/rear stair. Compose a neutral medium close-up background with sufficient clear foreground space for a standing person, while keeping the weathered entrance area, courtyard surfaces, and lower stair architecture spatially consistent with the master. Do not add a police car or any unestablished object. Restrained natural neighborhood night ambience, realistic exposure and weathering, no people, animals, vehicles in action, siren light, readable text, blood, evidence, or event-specific disturbance."}
{"ts": "2026-07-13 12:27:17", "kind": "llm", "step": "s38_bg3_judge_gpt_S13sh4", "model": "gpt", "dur_s": 18.0, "system_prompt": "You are given ONE image-generation prompt, ONE MASTER location\nphotograph (the ground truth of this property), and THREE candidate\nphotographs labelled A, B, C in the order attached, all generated\nfrom that prompt with the master attached as reference.\nPick the ONE candidate that best satisfies ALL of:\n- fidelity to the prompt (structure, camera, materials, state,\n  exclusions such as no people and no readable text),\n- physical coherence (no floating/split volumes, stairs reach\n  their destination, possible geometry),\n- MASTER consistency (storey count, massing, the external stair's\n  full run, rooftop structure placement, walls, gate and yard must\n  match the master photograph),\n- regional authenticity (the prompt declares a real region and\n  era; everything must look like that region's real, ordinary\n  built environment — nothing foreign or genericized).\nCheck every candidate point by point; base verdicts only on what\nis visible. Also give every candidate an integer score 0-10.\nOutput: winner, ranking best-to-worst, and per candidate a score\nplus a one-line Korean verdict citing the decisive points.", "user_prompt": "[{\"type\": \"text\", \"text\": \"THE PROMPT:\\nUsing the attached master photo as the exact reference for the same old multifamily villa and its ground-level surroundings, create a photorealistic live-action empty background plate at night from standing eye level near the villa’s ground entrance, facing the small enclosed courtyard and the base of the continuous side/rear stair. Compose a neutral medium close-up background with sufficient clear foreground space for a standing person, while keeping the weathered entrance area, courtyard surfaces, and lower stair architecture spatially consistent with the master. Do not add a police car or any unestablished object. Restrained natural neighborhood night ambience, realistic exposure and weathering, no people, animals, vehicles in action, siren light, readable text, blood, evidence, or event-specific disturbance.\"}, {\"type\": \"text\", \"text\": \"MASTER photograph (ground truth):\"}, {\"type\": \"text\", \"text\": \"Candidate A:\"}, {\"type\": \"text\", \"text\": \"Candidate B:\"}, {\"type\": \"text\", \"text\": \"Candidate C:\"}]"}
{"ts": "2026-07-13 12:28:05", "kind": "llm", "step": "s38_bg3_judge_gem_S13sh4", "model": "gemini-pro", "dur_s": 47.2, "system_prompt": "You are given ONE image-generation prompt, ONE MASTER location\nphotograph (the ground truth of this property), and THREE candidate\nphotographs labelled A, B, C in the order attached, all generated\nfrom that prompt with the master attached as reference.\nPick the ONE candidate that best satisfies ALL of:\n- fidelity to the prompt (structure, camera, materials, state,\n  exclusions such as no people and no readable text),\n- physical coherence (no floating/split volumes, stairs reach\n  their destination, possible geometry),\n- MASTER consistency (storey count, massing, the external stair's\n  full run, rooftop structure placement, walls, gate and yard must\n  match the master photograph),\n- regional authenticity (the prompt declares a real region and\n  era; everything must look like that region's real, ordinary\n  built environment — nothing foreign or genericized).\nCheck every candidate point by point; base verdicts only on what\nis visible. Also give every candidate an integer score 0-10.\nOutput: winner, ranking best-to-worst, and per candidate a score\nplus a one-line Korean verdict citing the decisive points.", "user_prompt": "[{\"type\": \"text\", \"text\": \"THE PROMPT:\\nUsing the attached master photo as the exact reference for the same old multifamily villa and its ground-level surroundings, create a photorealistic live-action empty background plate at night from standing eye level near the villa’s ground entrance, facing the small enclosed courtyard and the base of the continuous side/rear stair. Compose a neutral medium close-up background with sufficient clear foreground space for a standing person, while keeping the weathered entrance area, courtyard surfaces, and lower stair architecture spatially consistent with the master. Do not add a police car or any unestablished object. Restrained natural neighborhood night ambience, realistic exposure and weathering, no people, animals, vehicles in action, siren light, readable text, blood, evidence, or event-specific disturbance.\"}, {\"type\": \"text\", \"text\": \"MASTER photograph (ground truth):\"}, {\"type\": \"text\", \"text\": \"Candidate A:\"}, {\"type\": \"text\", \"text\": \"Candidate B:\"}, {\"type\": \"text\", \"text\": \"Candidate C:\"}]"}
{"ts": "2026-07-13 12:28:46", "kind": "llm", "step": "s38_bg3_crit_gpt_S13sh4", "model": "gpt", "dur_s": 41.1, "system_prompt": "You are given: an image-generation prompt, a MASTER location\nphotograph (ground truth), and ONE photograph generated from the\nprompt with the master as reference. List what is WRONG with it:\n- fidelity to the prompt, - physical coherence,\n- MASTER consistency (storeys, massing, stair run, rooftop, walls,\n  gate, yard), - regional authenticity per the prompt's region.\nBase every finding only on what is visible. Ignore taste.\nissues: issue_ko (short Korean line) + fix_en (ONE imperative\nEnglish edit fixing exactly that while changing nothing else).\nEmpty array if nothing is wrong.", "user_prompt": "[{\"type\": \"text\", \"text\": \"THE PROMPT:\\nUsing the attached master photo as the exact reference for the same old multifamily villa and its ground-level surroundings, create a photorealistic live-action empty background plate at night from standing eye level near the villa’s ground entrance, facing the small enclosed courtyard and the base of the continuous side/rear stair. Compose a neutral medium close-up background with sufficient clear foreground space for a standing person, while keeping the weathered entrance area, courtyard surfaces, and lower stair architecture spatially consistent with the master. Do not add a police car or any unestablished object. Restrained natural neighborhood night ambience, realistic exposure and weathering, no people, animals, vehicles in action, siren light, readable text, blood, evidence, or event-specific disturbance.\"}, {\"type\": \"text\", \"text\": \"MASTER photograph:\"}, {\"type\": \"text\", \"text\": \"Photograph to examine:\"}]"}
{"ts": "2026-07-13 12:29:12", "kind": "llm", "step": "s38_bg3_crit_gem_S13sh4", "model": "gemini-pro", "dur_s": 26.1, "system_prompt": "You are given: an image-generation prompt, a MASTER location\nphotograph (ground truth), and ONE photograph generated from the\nprompt with the master as reference. List what is WRONG with it:\n- fidelity to the prompt, - physical coherence,\n- MASTER consistency (storeys, massing, stair run, rooftop, walls,\n  gate, yard), - regional authenticity per the prompt's region.\nBase every finding only on what is visible. Ignore taste.\nissues: issue_ko (short Korean line) + fix_en (ONE imperative\nEnglish edit fixing exactly that while changing nothing else).\nEmpty array if nothing is wrong.", "user_prompt": "[{\"type\": \"text\", \"text\": \"THE PROMPT:\\nUsing the attached master photo as the exact reference for the same old multifamily villa and its ground-level surroundings, create a photorealistic live-action empty background plate at night from standing eye level near the villa’s ground entrance, facing the small enclosed courtyard and the base of the continuous side/rear stair. Compose a neutral medium close-up background with sufficient clear foreground space for a standing person, while keeping the weathered entrance area, courtyard surfaces, and lower stair architecture spatially consistent with the master. Do not add a police car or any unestablished object. Restrained natural neighborhood night ambience, realistic exposure and weathering, no people, animals, vehicles in action, siren light, readable text, blood, evidence, or event-specific disturbance.\"}, {\"type\": \"text\", \"text\": \"MASTER photograph:\"}, {\"type\": \"text\", \"text\": \"Photograph to examine:\"}]"}
{"ts": "2026-07-13 12:29:37", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s38_bg3_fix_S13sh4", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/bg3_S13sh4_b.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/forest_map/top2/top2_photo_fixed_nb2.png"], "ref_labels": ["PHOTOGRAPH TO EDIT — fix ONLY the issues the prompt lists; preserve everything else exactly.", "MASTER photograph — ground truth; align the edited photo's building to it."], "attempt": 1, "dur_s": 25.0, "bytes": 2757080, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/bg3_S13sh4.png", "prompt": "Edit this photograph. Fix ONLY the issues listed below, each in\nplace, changing nothing else about the property:\n\nISSUES TO FIX:\n- (GPT VLM) Move the camera to standing eye level near the ground entrance and frame a neutral medium close-up toward the enclosed courtyard and stair base, changing nothing else.\n- (GPT VLM) Restore the master's continuous front boundary wall, narrow roofed pedestrian gate, and gate opening around the courtyard, changing nothing else.\n- (GPT VLM) Rebuild the exterior stair as the master's stacked parallel stair runs and landings rather than the generated crossing X-shaped flights, changing nothing else.\n- (GPT VLM) Return the ground entrance to the master's position and form beside the stair, removing the added recessed lit vestibule and three-step stoop, changing nothing else.\n- (GPT VLM) Replace the tarp-covered lean-to at left with the master's blue-metal-roofed side annex and low corrugated canopy, changing nothing else.\n- (GPT VLM) Restore the master's enclosed concrete courtyard depth and remove the excessive exposed street-and-sidewalk foreground, changing nothing else.\n- (GPT VLM) Remove the unestablished exposed bulb fixtures and retain only restrained ambient neighborhood night illumination, changing nothing else.\n- (Gemini VLM) Restore the concrete boundary wall and entrance gate between the block-paved street and the courtyard.\n- (Gemini VLM) Reconstruct the external staircase to precisely match the structural geometry, landing placements, and continuous zigzag flow of the master.\n- (Gemini VLM) Replace the blue tarps on the left shack with the master's rusty corrugated metal material.\n- (Gemini VLM) Remove the steps at the central ground door to match the master's recessed entryway, and change the right window's security bars to a square grid pattern.\n\nThe attached MASTER photograph is the ground truth for the property's structure — align every fixed feature to it.\n\nPRESERVE EVERYTHING ELSE EXACTLY as in the original photograph —\nbuildings, roof objects, yard, surroundings, lighting, camera,\nframing. No people, no readable text anywhere."}
{"ts": "2026-07-13 12:29:59", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s38_bg3_S13sh6_a", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/forest_map/top2/top2_photo_fixed_nb2.png"], "ref_labels": ["LOCATION MASTER PHOTOGRAPH — the exact building and grounds where this background takes place: its architecture, massing, materials and fixed features are spatial truth; render the requested view OF THIS PLACE. Never copy this photo's camera or crop."], "attempt": 1, "dur_s": 22.1, "bytes": 2545965, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/bg3_S13sh6_a.png", "prompt": "Using the attached master photo as the exact reference for the same villa location, create a photorealistic live-action empty background plate at night from shoulder height beside the ground-level entrance and enclosed courtyard, oriented laterally across the approach between the narrow alley and the base of the rooftop stair. Frame the weathered villa wall, courtyard edge, entrance architecture, and lower portion of the established metal-railed stair as a side-profile dialogue background, leaving uncluttered midground space where two performers would be composited facing each other. Keep all architecture consistent with the master and do not invent signage or additional structures. Natural subdued residential night lighting, realistic depth of field, no people, police personnel, vehicles, flashing lights, readable text, blood, or incident-specific props."}
{"ts": "2026-07-13 12:30:20", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s38_bg3_S13sh6_b", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/forest_map/top2/top2_photo_fixed_nb2.png"], "ref_labels": ["LOCATION MASTER PHOTOGRAPH — the exact building and grounds where this background takes place: its architecture, massing, materials and fixed features are spatial truth; render the requested view OF THIS PLACE. Never copy this photo's camera or crop."], "attempt": 1, "dur_s": 21.0, "bytes": 2625064, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/bg3_S13sh6_b.png", "prompt": "Using the attached master photo as the exact reference for the same villa location, create a photorealistic live-action empty background plate at night from shoulder height beside the ground-level entrance and enclosed courtyard, oriented laterally across the approach between the narrow alley and the base of the rooftop stair. Frame the weathered villa wall, courtyard edge, entrance architecture, and lower portion of the established metal-railed stair as a side-profile dialogue background, leaving uncluttered midground space where two performers would be composited facing each other. Keep all architecture consistent with the master and do not invent signage or additional structures. Natural subdued residential night lighting, realistic depth of field, no people, police personnel, vehicles, flashing lights, readable text, blood, or incident-specific props."}
{"ts": "2026-07-13 12:30:42", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s38_bg3_S13sh6_c", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/forest_map/top2/top2_photo_fixed_nb2.png"], "ref_labels": ["LOCATION MASTER PHOTOGRAPH — the exact building and grounds where this background takes place: its architecture, massing, materials and fixed features are spatial truth; render the requested view OF THIS PLACE. Never copy this photo's camera or crop."], "attempt": 1, "dur_s": 21.7, "bytes": 2707232, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/bg3_S13sh6_c.png", "prompt": "Using the attached master photo as the exact reference for the same villa location, create a photorealistic live-action empty background plate at night from shoulder height beside the ground-level entrance and enclosed courtyard, oriented laterally across the approach between the narrow alley and the base of the rooftop stair. Frame the weathered villa wall, courtyard edge, entrance architecture, and lower portion of the established metal-railed stair as a side-profile dialogue background, leaving uncluttered midground space where two performers would be composited facing each other. Keep all architecture consistent with the master and do not invent signage or additional structures. Natural subdued residential night lighting, realistic depth of field, no people, police personnel, vehicles, flashing lights, readable text, blood, or incident-specific props."}
{"ts": "2026-07-13 12:30:58", "kind": "llm", "step": "s38_bg3_judge_gpt_S13sh6", "model": "gpt", "dur_s": 16.1, "system_prompt": "You are given ONE image-generation prompt, ONE MASTER location\nphotograph (the ground truth of this property), and THREE candidate\nphotographs labelled A, B, C in the order attached, all generated\nfrom that prompt with the master attached as reference.\nPick the ONE candidate that best satisfies ALL of:\n- fidelity to the prompt (structure, camera, materials, state,\n  exclusions such as no people and no readable text),\n- physical coherence (no floating/split volumes, stairs reach\n  their destination, possible geometry),\n- MASTER consistency (storey count, massing, the external stair's\n  full run, rooftop structure placement, walls, gate and yard must\n  match the master photograph),\n- regional authenticity (the prompt declares a real region and\n  era; everything must look like that region's real, ordinary\n  built environment — nothing foreign or genericized).\nCheck every candidate point by point; base verdicts only on what\nis visible. Also give every candidate an integer score 0-10.\nOutput: winner, ranking best-to-worst, and per candidate a score\nplus a one-line Korean verdict citing the decisive points.", "user_prompt": "[{\"type\": \"text\", \"text\": \"THE PROMPT:\\nUsing the attached master photo as the exact reference for the same villa location, create a photorealistic live-action empty background plate at night from shoulder height beside the ground-level entrance and enclosed courtyard, oriented laterally across the approach between the narrow alley and the base of the rooftop stair. Frame the weathered villa wall, courtyard edge, entrance architecture, and lower portion of the established metal-railed stair as a side-profile dialogue background, leaving uncluttered midground space where two performers would be composited facing each other. Keep all architecture consistent with the master and do not invent signage or additional structures. Natural subdued residential night lighting, realistic depth of field, no people, police personnel, vehicles, flashing lights, readable text, blood, or incident-specific props.\"}, {\"type\": \"text\", \"text\": \"MASTER photograph (ground truth):\"}, {\"type\": \"text\", \"text\": \"Candidate A:\"}, {\"type\": \"text\", \"text\": \"Candidate B:\"}, {\"type\": \"text\", \"text\": \"Candidate C:\"}]"}
{"ts": "2026-07-13 12:31:32", "kind": "llm", "step": "s38_bg3_judge_gem_S13sh6", "model": "gemini-pro", "dur_s": 34.9, "system_prompt": "You are given ONE image-generation prompt, ONE MASTER location\nphotograph (the ground truth of this property), and THREE candidate\nphotographs labelled A, B, C in the order attached, all generated\nfrom that prompt with the master attached as reference.\nPick the ONE candidate that best satisfies ALL of:\n- fidelity to the prompt (structure, camera, materials, state,\n  exclusions such as no people and no readable text),\n- physical coherence (no floating/split volumes, stairs reach\n  their destination, possible geometry),\n- MASTER consistency (storey count, massing, the external stair's\n  full run, rooftop structure placement, walls, gate and yard must\n  match the master photograph),\n- regional authenticity (the prompt declares a real region and\n  era; everything must look like that region's real, ordinary\n  built environment — nothing foreign or genericized).\nCheck every candidate point by point; base verdicts only on what\nis visible. Also give every candidate an integer score 0-10.\nOutput: winner, ranking best-to-worst, and per candidate a score\nplus a one-line Korean verdict citing the decisive points.", "user_prompt": "[{\"type\": \"text\", \"text\": \"THE PROMPT:\\nUsing the attached master photo as the exact reference for the same villa location, create a photorealistic live-action empty background plate at night from shoulder height beside the ground-level entrance and enclosed courtyard, oriented laterally across the approach between the narrow alley and the base of the rooftop stair. Frame the weathered villa wall, courtyard edge, entrance architecture, and lower portion of the established metal-railed stair as a side-profile dialogue background, leaving uncluttered midground space where two performers would be composited facing each other. Keep all architecture consistent with the master and do not invent signage or additional structures. Natural subdued residential night lighting, realistic depth of field, no people, police personnel, vehicles, flashing lights, readable text, blood, or incident-specific props.\"}, {\"type\": \"text\", \"text\": \"MASTER photograph (ground truth):\"}, {\"type\": \"text\", \"text\": \"Candidate A:\"}, {\"type\": \"text\", \"text\": \"Candidate B:\"}, {\"type\": \"text\", \"text\": \"Candidate C:\"}]"}
{"ts": "2026-07-13 12:31:55", "kind": "llm", "step": "s38_bg3_crit_gpt_S13sh6", "model": "gpt", "dur_s": 22.7, "system_prompt": "You are given: an image-generation prompt, a MASTER location\nphotograph (ground truth), and ONE photograph generated from the\nprompt with the master as reference. List what is WRONG with it:\n- fidelity to the prompt, - physical coherence,\n- MASTER consistency (storeys, massing, stair run, rooftop, walls,\n  gate, yard), - regional authenticity per the prompt's region.\nBase every finding only on what is visible. Ignore taste.\nissues: issue_ko (short Korean line) + fix_en (ONE imperative\nEnglish edit fixing exactly that while changing nothing else).\nEmpty array if nothing is wrong.", "user_prompt": "[{\"type\": \"text\", \"text\": \"THE PROMPT:\\nUsing the attached master photo as the exact reference for the same villa location, create a photorealistic live-action empty background plate at night from shoulder height beside the ground-level entrance and enclosed courtyard, oriented laterally across the approach between the narrow alley and the base of the rooftop stair. Frame the weathered villa wall, courtyard edge, entrance architecture, and lower portion of the established metal-railed stair as a side-profile dialogue background, leaving uncluttered midground space where two performers would be composited facing each other. Keep all architecture consistent with the master and do not invent signage or additional structures. Natural subdued residential night lighting, realistic depth of field, no people, police personnel, vehicles, flashing lights, readable text, blood, or incident-specific props.\"}, {\"type\": \"text\", \"text\": \"MASTER photograph:\"}, {\"type\": \"text\", \"text\": \"Photograph to examine:\"}]"}
{"ts": "2026-07-13 12:32:20", "kind": "llm", "step": "s38_bg3_crit_gem_S13sh6", "model": "gemini-pro", "dur_s": 24.8, "system_prompt": "You are given: an image-generation prompt, a MASTER location\nphotograph (ground truth), and ONE photograph generated from the\nprompt with the master as reference. List what is WRONG with it:\n- fidelity to the prompt, - physical coherence,\n- MASTER consistency (storeys, massing, stair run, rooftop, walls,\n  gate, yard), - regional authenticity per the prompt's region.\nBase every finding only on what is visible. Ignore taste.\nissues: issue_ko (short Korean line) + fix_en (ONE imperative\nEnglish edit fixing exactly that while changing nothing else).\nEmpty array if nothing is wrong.", "user_prompt": "[{\"type\": \"text\", \"text\": \"THE PROMPT:\\nUsing the attached master photo as the exact reference for the same villa location, create a photorealistic live-action empty background plate at night from shoulder height beside the ground-level entrance and enclosed courtyard, oriented laterally across the approach between the narrow alley and the base of the rooftop stair. Frame the weathered villa wall, courtyard edge, entrance architecture, and lower portion of the established metal-railed stair as a side-profile dialogue background, leaving uncluttered midground space where two performers would be composited facing each other. Keep all architecture consistent with the master and do not invent signage or additional structures. Natural subdued residential night lighting, realistic depth of field, no people, police personnel, vehicles, flashing lights, readable text, blood, or incident-specific props.\"}, {\"type\": \"text\", \"text\": \"MASTER photograph:\"}, {\"type\": \"text\", \"text\": \"Photograph to examine:\"}]"}
{"ts": "2026-07-13 12:32:51", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s38_bg3_fix_S13sh6", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/bg3_S13sh6_b.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/forest_map/top2/top2_photo_fixed_nb2.png"], "ref_labels": ["PHOTOGRAPH TO EDIT — fix ONLY the issues the prompt lists; preserve everything else exactly.", "MASTER photograph — ground truth; align the edited photo's building to it."], "attempt": 1, "dur_s": 31.0, "bytes": 2657173, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/bg3_S13sh6.png", "prompt": "Edit this photograph. Fix ONLY the issues listed below, each in\nplace, changing nothing else about the property:\n\nISSUES TO FIX:\n- (GPT VLM) Restore the master’s exact three-flight switchback staircase, including its run directions, landings, railings, supports, and attachment to the left side of the villa.\n- (GPT VLM) Show only the lower established portion of the staircase instead of letting multiple upper runs dominate the frame.\n- (GPT VLM) Reconstruct the villa façade with the master’s exact door, barred-window, balcony, and bay arrangement without adding extra entrances.\n- (GPT VLM) Match the master’s front courtyard wall, broad central gate opening, gate leaves, pillars, and shallow flat canopy exactly.\n- (GPT VLM) Remove the wooden storage structure and miscellaneous containers beneath the stairs while leaving all established architecture unchanged.\n- (GPT VLM) Clear the bicycle and stored items from the courtyard midground to preserve the requested uncluttered performer space.\n- (GPT VLM) Remove all invented plaques, labels, and other signage from the gate and walls.\n- (GPT VLM) Restore the master’s courtyard proportions and the original spacing between the front wall, villa façade, and stair base.\n- (Gemini VLM) Remove the blue numbered sign from the gate pillar.\n- (Gemini VLM) Replace the narrow single door entrance with the wide, flat-roofed double gate structure from the master.\n- (Gemini VLM) Realign the metal staircase so it passes directly in front of the central column of doors.\n- (Gemini VLM) Change the tall wooden structure in the courtyard to the low, corrugated tin-roofed shed seen in the master.\n- (Gemini VLM) Adjust the boundary wall to follow a strict rectangular layout parallel to the building facade.\n\nThe attached MASTER photograph is the ground truth for the property's structure — align every fixed feature to it.\n\nPRESERVE EVERYTHING ELSE EXACTLY as in the original photograph —\nbuildings, roof objects, yard, surroundings, lighting, camera,\nframing. No people, no readable text anywhere."}
{"ts": "2026-07-13 12:33:20", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s38_still_S4sh1", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/panels/S4sh1.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/bg3_S4sh1.png"], "ref_labels": ["LAYOUT SKETCH — a bare thin-line layout guide, a REFERENCE ONLY: take from it ONLY the camera framing, figure placement, pose and size/depth order. It carries ZERO visual style — every texture, material, light and all realism come from the text and the photographic reference. Never let any line-drawing quality leak into the output.", "LOCATION PHOTOGRAPH — the exact place of this shot: its architecture, materials, fixed features and lighting mood are spatial truth; stage the moment inside this place. Never copy its camera framing."], "attempt": 1, "dur_s": 27.1, "bytes": 3316765, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/stills/S4sh1_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): daytime.\n\nSHOT TEXT (authoritative, Korean): 맑은 낮, 오래된 다세대 빌라 옥상 위에 자리 잡은 옥탑방을 높은 곳에서 내려다본 부감 구도\n\nLOCATION (lock): The flat rooftop of an aging low-rise apartment building, enclosed by a waist-high parapet. A small rooftop dwelling has a metal entrance door and a window visible from the open roof. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nMOVEMENT (follow exactly): static: No person is visible; the rooftop room remains fixed on top of the old multi-family villa beneath the high, downward-looking camera.\n\nFIGURES — size & depth (follow exactly): The rooftop room appears small, about ~1/6 of the frame height, and is FARTHER from the camera than the surrounding upper roof surfaces in the foreground.\n\nNo people appear unless the shot text itself says so.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-13 12:33:42", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s38_still_S10sh6", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/panels/S10sh6.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/bg3_S10sh6.png"], "ref_labels": ["LAYOUT SKETCH — a bare thin-line layout guide, a REFERENCE ONLY: take from it ONLY the camera framing, figure placement, pose and size/depth order. It carries ZERO visual style — every texture, material, light and all realism come from the text and the photographic reference. Never let any line-drawing quality leak into the output.", "LOCATION PHOTOGRAPH — the exact place of this shot: its architecture, materials, fixed features and lighting mood are spatial truth; stage the moment inside this place. Never copy its camera framing."], "attempt": 1, "dur_s": 21.2, "bytes": 2668789, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/stills/S10sh6_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\n\nSHOT TEXT (authoritative, Korean): 현관 철문이 아주 살짝 열린 틈새로 보이는 어두운 실내와 신발 앞코\n\nLOCATION (lock): The flat rooftop of an aging low-rise apartment building, enclosed by a waist-high parapet. A small rooftop dwelling has a metal entrance door and a window visible from the open roof. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nMOVEMENT (follow exactly): The unknown man's shoe toe advances from the rooftop exterior through the narrowly opened iron doorway into the dark room, leading his unseen body inward.\n\nFIGURES — size & depth (follow exactly): The shoe toe is small, about ~1/10 of the frame height, and lies FARTHER from the camera than the NEARER iron door edges; the dark interior recedes farthest beyond it.\n\nNo people appear unless the shot text itself says so.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-13 12:34:05", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s38_still_S10sh7", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/stills/S10sh6_nb2.png"], "ref_labels": ["PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing. If this photo shows a character who cannot move (dead or unconscious), that character's exact pose, position and orientation are ALSO LOCKED — treat their body as a fixed prop of the set that only the camera moves around."], "attempt": 1, "dur_s": 23.1, "bytes": 2860680, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/stills/S10sh7_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\n\nSHOT TEXT (authoritative, Korean): 불이 켜진 옥탑방 창문에 거대한 그림자가 작은 그림자의 어깨 쪽으로 고개를 꺾은 형태가 맺혀 있는 정지 구도\n\nLOCATION (lock): The flat rooftop of an aging low-rise apartment building, enclosed by a waist-high parapet. A small rooftop dwelling has a metal entrance door and a window visible from the open roof. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.\n\nTHIS SHOT CONTINUES THE PREVIOUS SHOT: everything the attached still established — the place, its fixed features and wear, each person's clothing and state — persists. Any person in it who cannot move stays PRECISELY as photographed (body, pose, contact points, held objects); only the camera changes.\n\nPREVIOUS STILL USAGE (follow exactly — what to take from the attached still and what to exclude): TAKE the same nighttime rooftop-room lighting, dark interior tone, and ominous intruder presence. EXCLUDE the iron-door gap, the visible shoe tip, and any flyer or lock-manipulation details; render the figures only as window shadows.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nMOVEMENT (follow exactly): static: A real man appearing as a large dark silhouette, with normal human build, leans into Minsook and angles his head down toward her shoulder as she is caught beneath him.\n\nFIGURES — size & depth (follow exactly): The man's shadow fills roughly ~2/3 of the frame height, larger than Minsook's smaller shadow at about ~1/3; both people are FARTHER than the NEARER window surface, while their mutual camera-depth order is not established. Their silhouettes overlap at Minsook's shoulder, leaving almost no distance between their paths.\n\nNo people appear unless the shot text itself says so.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-13 12:34:37", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s38_still_S11sh4", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/panels/S11sh4.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/bg3_S11sh4.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/39864973-d3d5-4886-bfb2-f8db608a005b.png"], "ref_labels": ["LAYOUT SKETCH — a bare thin-line layout guide, a REFERENCE ONLY: take from it ONLY the camera framing, figure placement, pose and size/depth order. It carries ZERO visual style — every texture, material, light and all realism come from the text and the photographic reference. Never let any line-drawing quality leak into the output.", "LOCATION PHOTOGRAPH — the exact place of this shot: its architecture, materials, fixed features and lighting mood are spatial truth; stage the moment inside this place. Never copy its camera framing.", "CHARACTER REFERENCE — 수리영: the exact person appearing in this shot; match face, hair and build exactly."], "attempt": 1, "dur_s": 31.8, "bytes": 2554321, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/stills/S11sh4_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\n\nSHOT TEXT (authoritative, Korean): 철제 파이프 난간을 손으로 잡은 수리영이 코끝을 찡그린 채 계단 중간에 서 있는 얼굴 클로즈업\n\nLOCATION (lock): A narrow exterior metal staircase attached to an old low-rise residential building. It has exposed steel steps and tubular pipe railings leading upward toward the roof. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nMOVEMENT (follow exactly): static: Suri-young pauses midway up the staircase while ascending toward the rooftop, gripping the metal-pipe railing with a tense posture and wrinkling her nose at the sudden foul smell, her body oriented uphill.\n\nFIGURES — size & depth (follow exactly): Suri-young’s face fills ~2/3 of the frame height in close-up and is the nearest figure; her hand and the metal-pipe railing sit slightly farther from the camera as she remains midway on the stairs.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 수리영 — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-13 12:34:58", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s38_still_S11sh5", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/stills/S11sh4_nb2.png"], "ref_labels": ["PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing. If this photo shows a character who cannot move (dead or unconscious), that character's exact pose, position and orientation are ALSO LOCKED — treat their body as a fixed prop of the set that only the camera moves around."], "attempt": 1, "dur_s": 21.8, "bytes": 2698918, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/stills/S11sh5_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\n\nSHOT TEXT (authoritative, Korean): 옥상에 선 수리영의 시선 끝에 반쯤 열려 있는 어두운 현관 철문이 보이는 정면 구도\n\nLOCATION (lock): The flat rooftop of an aging low-rise apartment building, enclosed by a waist-high parapet. A small rooftop dwelling has a metal entrance door and a window visible from the open roof. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.\n\nTHIS SHOT CONTINUES THE PREVIOUS SHOT: everything the attached still established — the place, its fixed features and wear, each person's clothing and state — persists. Any person in it who cannot move stays PRECISELY as photographed (body, pose, contact points, held objects); only the camera changes.\n\nPREVIOUS STILL USAGE (follow exactly — what to take from the attached still and what to exclude): TAKE the young woman's clothing, nighttime exterior lighting, and the metal stair-and-railing materials as she reaches the rooftop. EXCLUDE the earlier facial close-up, nose-wrinkling expression, and hand gripping the railing; frame her sightline toward the half-open iron door.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nMOVEMENT (follow exactly): static: Suriyoung stands tensely on the rooftop with her body and gaze directed straight toward the half-open iron entrance door and its dark interior.\n\nFIGURES — size & depth (follow exactly): Suriyoung appears about ~1/2 of the frame height in the NEARER rooftop area, while the half-open door appears about ~1/3 and is FARTHER ahead along her line of sight.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 수리영 — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-13 12:35:21", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s38_still_S13sh4", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/stills/S11sh4_nb2.png"], "ref_labels": ["PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing. If this photo shows a character who cannot move (dead or unconscious), that character's exact pose, position and orientation are ALSO LOCKED — treat their body as a fixed prop of the set that only the camera moves around."], "attempt": 1, "dur_s": 22.5, "bytes": 2624939, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/stills/S13sh4_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\n\nSHOT TEXT (authoritative, Korean): 수리영이 초점을 잃은 눈으로 허공을 응시하며 서 있는 모습\n\nLOCATION (lock): A confined ground-level alley and small courtyard beside an aging multi-unit residential building. Concrete walls, building entrances, and the base of the exterior access structure frame the space. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.\n\nTHIS SHOT CONTINUES THE PREVIOUS SHOT: everything the attached still established — the place, its fixed features and wear, each person's clothing and state — persists. Any person in it who cannot move stays PRECISELY as photographed (body, pose, contact points, held objects); only the camera changes.\n\nPREVIOUS STILL USAGE (follow exactly — what to take from the attached still and what to exclude): TAKE the young woman's same clothing and appearance, along with the building's nighttime exterior lighting and metal stair materials. EXCLUDE the earlier hand-on-railing pose and disgusted expression; she should now stand motionless with a vacant, shocked gaze.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nMOVEMENT (follow exactly): static: Su-ri-young stands motionless and dazed after coming down from the rooftop room, her unfocused eyes staring into empty space and her body lacking purposeful direction.\n\nFIGURES — size & depth (follow exactly): Su-ri-young is the only visible figure, so she is both the nearest and farthest person; her apparent fraction of frame height is unspecified in the source.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 수리영 — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-13 12:35:43", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s38_still_S13sh6", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/stills/S13sh4_nb2.png"], "ref_labels": ["PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing. If this photo shows a character who cannot move (dead or unconscious), that character's exact pose, position and orientation are ALSO LOCKED — treat their body as a fixed prop of the set that only the camera moves around."], "attempt": 1, "dur_s": 22.3, "bytes": 2671248, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/stills/S13sh6_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\n\nSHOT TEXT (authoritative, Korean): 고개를 든 채 혜수의 얼굴을 마주보고 있는 수리영의 측면 구도\n\nLOCATION (lock): A confined ground-level alley and small courtyard beside an aging multi-unit residential building. Concrete walls, building entrances, and the base of the exterior access structure frame the space. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.\n\nTHIS SHOT CONTINUES THE PREVIOUS SHOT: everything the attached still established — the place, its fixed features and wear, each person's clothing and state — persists. Any person in it who cannot move stays PRECISELY as photographed (body, pose, contact points, held objects); only the camera changes.\n\nPREVIOUS STILL USAGE (follow exactly — what to take from the attached still and what to exclude): TAKE the young woman's clothing, pale shocked appearance, standing position, and the same nighttime courtyard lighting. EXCLUDE her previous empty-space gaze and solitary composition; turn her face upward toward the approaching middle-aged woman.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nMOVEMENT (follow exactly): static: Su-ri-young holds her head raised and faces Hye-su directly in side profile, looking up at her while remaining dazed and stationary.\n\nFIGURES — size & depth (follow exactly): Su-ri-young and Hye-su's face are visible facing each other, but their respective frame-height fractions and which is nearer to the camera are unspecified; their paths have converged at conversational distance, with neither moving past the other.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 수리영, 혜수 — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-13 12:36:05", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s38_still_S17sh2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/panels/S17sh2.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/bg3_S17sh2.png"], "ref_labels": ["LAYOUT SKETCH — a bare thin-line layout guide, a REFERENCE ONLY: take from it ONLY the camera framing, figure placement, pose and size/depth order. It carries ZERO visual style — every texture, material, light and all realism come from the text and the photographic reference. Never let any line-drawing quality leak into the output.", "LOCATION PHOTOGRAPH — the exact place of this shot: its architecture, materials, fixed features and lighting mood are spatial truth; stage the moment inside this place. Never copy its camera framing."], "attempt": 1, "dur_s": 21.4, "bytes": 2595293, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/stills/S17sh2_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): dawn.\n\nSHOT TEXT (authoritative, Korean): 옥상 담벼락 위에서 한쪽 앞발을 허공으로 뻗은 검은 고양이의 측면\n\nLOCATION (lock): The flat rooftop of an aging low-rise apartment building, enclosed by a waist-high parapet. A small rooftop dwelling has a metal entrance door and a window visible from the open roof. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nMOVEMENT (follow exactly): The black cat moves side-on across and over the rooftop wall toward the opposite side, extending one forepaw into the air as its body follows.\n\nFIGURES — size & depth (follow exactly): The cat appears medium-sized, about ~1/3 of the frame height, and is NEARER to the camera than the FARTHER side beyond the wall; the wall runs beneath its crossing path.\n\nNo people appear unless the shot text itself says so.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-13 13:04:39", "kind": "llm", "step": "x_master2_rewrite", "model": "gpt", "dur_s": 38.8, "system_prompt": "당신은 T2I 프롬프트 편집자다. 입력된 이미지 생성 프롬프트를 아래\n계약대로 재작성하라. 입력의 모든 공간 배치·연결 관계·스케일 사실\n(골목-대문-마당-계단-옥상-옥탑방 동선, 3층, 철제 후설치 계단,\n옥상 물탱크·빨래줄·건조 평상, 창 구성 등)은 하나도 빠짐없이\n보존하되 표현만 바꾼다.\n1) 도면·스케치 언어 전면 제거: draw/sketch/mark/detail sketch 류를\n   전부 '실제 사진에 무엇이 보이는가' 서술로 재작성.\n2) 본 건물의 국적·성격 명시: 'an ordinary lived-in South Korean\n   low-rise multi-family house on a real residential street,\n   contemporary South Korea, 2026'. 단어 villa 는 쓰지 마라.\n   'filming property' 표현도 금지.\n3) FACADE & LIVED-IN 절 신설: 그 지역·시대의 실물 전형을 따르라고\n   위임하는 서술 — 실제 한국 다세대 주택에서 흔히 보이는 외장\n   마감·창호와 방범창·에어컨 실외기·가스 배관·옥상 방수면·난간·\n   우편함·계량기·화분 같은 생활 흔적이 층층이 보이는, 사람이\n   실제로 사는 집. 특정 색상·자재를 단정하지 말고 '그 지역 실물\n   전형'에 맡겨라.\n4) 유지: 45도 고공 카메라로 마당 너머 건물을 보며 부지 전체가 한\n   프레임, 참조 이미지 없음 선언, 중립 주간광, 사람 없음, 읽히는\n   텍스트·간판 없음, 특정 사건의 순간 상태물 없음, 주석·마커류\n   금지, 주변=한국 저층 밀집 주거지 실물.\n출력: master_prompt_en (완결된 영어 프롬프트 전문).", "user_prompt": "재작성할 프롬프트 전문:\n\nCreate ONE PHOTOREALISTIC aerial location still of a filming\n\nproperty, from a 45-degree high aerial camera looking across the\n\nyard toward the building (whole property in frame). No reference\n\nimage is attached — build the scene from this text alone.\n\nLAYOUT (ground truth):\nBegin the detail sketch from the alley approach at the bottom, with the route leading straight to the gate on the property frontage. Immediately inside the gate, draw the yard as the first usable space, with the main path continuing toward the exterior stair. Put the secluded bicycle corner off that main path so it reads as a tucked-away part of the yard rather than the open center. Set the building footprint along the yard edge, and attach the exterior steel retrofit stair to the outside wall so its foot is reachable from the yard. Carry the stair upward to the rooftop landing, and make the landing face the iron door without obstruction. On the roof, draw the path from landing to iron door passing beside the clothesline and the wooden drying bench with dried leaves. Place the water tank as another rooftop object on the same roof surface, not blocking the landing-to-door approach. Draw the rooftop-room unit behind the iron door, with its window set oriented so the window-to-low-wall sightline can be understood. If the light-source position is shown, keep it as a functional low-angle source for shadows only, not as a general mood or material cue.\n\nELEMENTS (render each as the real thing, in its listed place):\n- alley approach — Show the alley approach at the lower edge of the detail sketch, leading directly toward the filming property gate and able to support bicycle movement.\n- multi-family villa gate — Place the gate on the alley frontage so that opening it leads directly into the property yard.\n- yard — Draw the yard immediately inside the gate, between the alley entry and the exterior stair route.\n- secluded bicycle corner — Set a tucked-away corner within the yard where a bicycle can be left roughly, separated from the main gate-to-stair path.\n- rooftop-room building footprint — Place the aged multi-family villa footprint along the yard, carrying the rooftop-room level above.\n- exterior steel retrofit stair run — Attach the exterior steel retrofit stair to the building wall, starting from the yard and rising outside the building toward the rooftop landing.\n- upper stair landing — Place the landing at the top of the exterior stair where the iron entrance door is immediately visible.\n- landing-to-door roof path — Draw the roof path from the landing toward the iron door so it passes beside the bench area and the clothesline area.\n- iron entrance door — Set the iron door on the rooftop-room unit facing the landing path; include the door-gap flyer detail and allow it to be shown partly open.\n- rooftop-room unit — Place the rooftop-room unit on the roof surface, connected to the iron entrance door and containing the indicated window openings.\n- rooftop-room window set — Mark the small living-room window and the curtained room window on the rooftop-room unit, with at least one window oriented for the low-wall sightline.\n- water tank — Place the water tank on the roof surface near the rooftop deck contents, clear of the landing-to-door path.\n- clothesline — Run the clothesline across the roof surface close enough to the approach path that hanging or dried leaves can brush a passerby.\n- wooden drying bench with dried leaves — Place the wooden drying bench on the rooftop near the clothesline and along the path toward the iron door, carrying the dried leaves.\n- low-angle night light-source position — Mark a low-angle light-source position affecting the rooftop path, only to support the long-shadow cue and without assigning any broader colour mood.\n\nSCALE & MASSING: the main building is a three-storey aged\n\nmulti-family villa, roof deck roughly 8-10 m above the yard, with\n\nthe small rooftop-room unit as a fourth-level volume on the deck;\n\nthe steel retrofit stair climbs the full three storeys as a\n\nmulti-flight zig-zag run with intermediate landings; each facade\n\nstorey shows a few modest windows of the regional multi-family\n\ntype; surrounding blocks are a dense low-rise Korean town, fully\n\nreal (windows, roofs, wires, pavement).\n\nThe output image must contain ZERO annotations — no circles, no\ncodes, no letters, no numbers, no text, no signage lettering, no\narrows, no dashed lines.\n\nReal-world rendering facts (creator-confirmed / evidence-bound):\n- The main building is an aged MULTI-FAMILY VILLA of three full\n  storeys (roof deck roughly 8-10 m above the yard) with the small\n  rooftop-room unit on its roof deck — regional vernacular materials\n  with varied lived-in aging.\n- The exterior stair is a later-added STEEL retrofit stair climbing\n  the full three storeys: open treads, thin steel plate stringers,\n  support posts, pipe railings. It is NOT a concrete stair.\nLighting: plain neutral daytime light. Do NOT add fog, rain,\ndramatic weather, colour-grade moods, or people. No text overlays."}
{"ts": "2026-07-13 13:04:56", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "x_master2_a", "refs": [], "ref_labels": [], "attempt": 1, "dur_s": 16.5, "bytes": 4386589, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/master2_a.png", "prompt": "Create ONE PHOTOREALISTIC aerial location still showing an ordinary lived-in South Korean low-rise multi-family house on a real residential street, contemporary South Korea, 2026. No reference image is attached; construct the scene from this text alone.\n\nCAMERA & COMPOSITION:\nUse a 45-degree high aerial camera looking across the yard toward the building, with the entire property visible in a single frame. The lower edge of the frame begins at the alley approach. The spatial route must read clearly and continuously as alley → frontage gate → yard → exterior stair → rooftop landing → roof path → iron entrance door → rooftop-room unit.\n\nPROPERTY LAYOUT:\nAt the bottom of the frame, show a real narrow residential alley that can accommodate bicycle movement and leads directly to the gate on the property frontage. Opening the gate leads immediately into the yard, which is the first usable space inside the property. A clear primary path continues through the yard to the foot of the exterior stair.\n\nPlace a secluded bicycle corner off this primary gate-to-stair route. It must read as a tucked-away part of the yard rather than its open center, suitable for an ordinary bicycle to be left casually without obstructing circulation.\n\nSet the main building footprint along the edge of the yard. Attach a later-added exterior steel stair directly to an outside wall, with its lowest flight accessible from the yard. The stair climbs the full height of the three-storey building as a multi-flight zig-zag run with intermediate landings. It has open treads, thin steel-plate stringers, support posts, and pipe railings; it is unmistakably a retrofit steel stair, never a concrete stair.\n\nAt the top, the exterior stair reaches an upper rooftop landing. From this landing, the iron entrance door of the rooftop-room unit is immediately visible and unobstructed. A walkable path continues across the same roof surface from the landing to the door, passing beside both the clothesline area and the wooden drying bench.\n\nROOFTOP ARRANGEMENT:\nThe main roof deck is approximately 8–10 metres above the yard. On this roof surface, place the small rooftop-room unit as a fourth-level volume above the three full storeys of the main building. Its iron entrance door faces the landing approach. Include the door’s narrow mail-or-flyer gap detail, without readable printing or a staged delivery moment; the door should rest in an ordinary stable position rather than suggesting a specific unfolding event.\n\nThe rooftop-room unit contains a small living-room window and a separate curtained room window. Orient at least one of these windows so that its sightline toward a low rooftop wall or parapet is spatially understandable from the camera view.\n\nRun a clothesline across the roof close enough to the landing-to-door route that hanging items or dried leaves could brush a passerby, while keeping the route physically usable. Beside this area and along the approach to the iron door, place a wooden drying bench carrying dried leaves. Include a rooftop water tank on the same roof surface near the other rooftop contents, positioned so that it does not block the landing-to-door path.\n\nInclude a low-mounted practical light fixture or clearly visible low-angle light-source position associated with the rooftop path. Its placement should communicate only its functional ability to create long low-angle shadows; it must not establish a night scene, theatrical mood, colour treatment, or material cue. Under the required neutral daytime conditions, it is not visibly illuminated.\n\nSCALE & MASSING:\nThe main building is an aged three-storey low-rise multi-family house with the roof deck roughly 8–10 metres above the yard. The small rooftop-room unit forms a compact fourth-level rooftop volume. Each facade storey has a few modest windows typical of regional South Korean multi-family housing. Preserve the full vertical relationship between the yard, the three-storey retrofit stair, the rooftop landing, the roof deck, and the rooftop-room unit.\n\nFACADE & LIVED-IN:\nMake this visibly inhabited and consistent with real low-rise multi-family houses found in this locality and period. Delegate the precise exterior finishes, window frames, and construction details to the authentic built conventions of an ordinary South Korean residential street in 2026 rather than prescribing a specific colour or facade material. Across the storeys, include the layered practical features commonly found on actual Korean multi-family houses: regionally typical exterior finishes and windows, security grilles where plausible, air-conditioner outdoor units, exposed gas piping, an ordinary waterproofed rooftop surface, practical roof and stair railings, mailboxes, utility meters, and modest potted plants. Show varied natural aging, maintenance, retrofits, and everyday residential traces so the property feels genuinely lived in, while avoiding clutter arranged to imply any particular incident or moment.\n\nSURROUNDINGS:\nSurround the property with a fully real, dense South Korean low-rise residential neighborhood. Include neighboring low-rise buildings, authentic windows and roofs, utility wires, walls, gates, pavement, alley surfaces, drainage, and other ordinary street infrastructure appropriate to contemporary South Korea. The surroundings must remain physically credible and visually continuous with the subject property.\n\nLIGHTING & EXCLUSIONS:\nUse plain, neutral daytime light. No fog, rain, dramatic weather, cinematic colour grading, stylized mood, or people. Do not show any specific incident, active event, or transient staged moment. No readable text, signage, lettering, addresses, labels, logos, numbers, or alphanumeric markings anywhere in the image.\n\nThe final image must contain ZERO annotations or graphic aids: no captions, circles, arrows, dashed lines, outlines, callouts, codes, letters, numbers, labels, markers, diagrams, overlays, or interface elements."}
{"ts": "2026-07-13 13:05:11", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "x_master2_b", "refs": [], "ref_labels": [], "attempt": 1, "dur_s": 15.5, "bytes": 4174596, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/master2_b.png", "prompt": "Create ONE PHOTOREALISTIC aerial location still showing an ordinary lived-in South Korean low-rise multi-family house on a real residential street, contemporary South Korea, 2026. No reference image is attached; construct the scene from this text alone.\n\nCAMERA & COMPOSITION:\nUse a 45-degree high aerial camera looking across the yard toward the building, with the entire property visible in a single frame. The lower edge of the frame begins at the alley approach. The spatial route must read clearly and continuously as alley → frontage gate → yard → exterior stair → rooftop landing → roof path → iron entrance door → rooftop-room unit.\n\nPROPERTY LAYOUT:\nAt the bottom of the frame, show a real narrow residential alley that can accommodate bicycle movement and leads directly to the gate on the property frontage. Opening the gate leads immediately into the yard, which is the first usable space inside the property. A clear primary path continues through the yard to the foot of the exterior stair.\n\nPlace a secluded bicycle corner off this primary gate-to-stair route. It must read as a tucked-away part of the yard rather than its open center, suitable for an ordinary bicycle to be left casually without obstructing circulation.\n\nSet the main building footprint along the edge of the yard. Attach a later-added exterior steel stair directly to an outside wall, with its lowest flight accessible from the yard. The stair climbs the full height of the three-storey building as a multi-flight zig-zag run with intermediate landings. It has open treads, thin steel-plate stringers, support posts, and pipe railings; it is unmistakably a retrofit steel stair, never a concrete stair.\n\nAt the top, the exterior stair reaches an upper rooftop landing. From this landing, the iron entrance door of the rooftop-room unit is immediately visible and unobstructed. A walkable path continues across the same roof surface from the landing to the door, passing beside both the clothesline area and the wooden drying bench.\n\nROOFTOP ARRANGEMENT:\nThe main roof deck is approximately 8–10 metres above the yard. On this roof surface, place the small rooftop-room unit as a fourth-level volume above the three full storeys of the main building. Its iron entrance door faces the landing approach. Include the door’s narrow mail-or-flyer gap detail, without readable printing or a staged delivery moment; the door should rest in an ordinary stable position rather than suggesting a specific unfolding event.\n\nThe rooftop-room unit contains a small living-room window and a separate curtained room window. Orient at least one of these windows so that its sightline toward a low rooftop wall or parapet is spatially understandable from the camera view.\n\nRun a clothesline across the roof close enough to the landing-to-door route that hanging items or dried leaves could brush a passerby, while keeping the route physically usable. Beside this area and along the approach to the iron door, place a wooden drying bench carrying dried leaves. Include a rooftop water tank on the same roof surface near the other rooftop contents, positioned so that it does not block the landing-to-door path.\n\nInclude a low-mounted practical light fixture or clearly visible low-angle light-source position associated with the rooftop path. Its placement should communicate only its functional ability to create long low-angle shadows; it must not establish a night scene, theatrical mood, colour treatment, or material cue. Under the required neutral daytime conditions, it is not visibly illuminated.\n\nSCALE & MASSING:\nThe main building is an aged three-storey low-rise multi-family house with the roof deck roughly 8–10 metres above the yard. The small rooftop-room unit forms a compact fourth-level rooftop volume. Each facade storey has a few modest windows typical of regional South Korean multi-family housing. Preserve the full vertical relationship between the yard, the three-storey retrofit stair, the rooftop landing, the roof deck, and the rooftop-room unit.\n\nFACADE & LIVED-IN:\nMake this visibly inhabited and consistent with real low-rise multi-family houses found in this locality and period. Delegate the precise exterior finishes, window frames, and construction details to the authentic built conventions of an ordinary South Korean residential street in 2026 rather than prescribing a specific colour or facade material. Across the storeys, include the layered practical features commonly found on actual Korean multi-family houses: regionally typical exterior finishes and windows, security grilles where plausible, air-conditioner outdoor units, exposed gas piping, an ordinary waterproofed rooftop surface, practical roof and stair railings, mailboxes, utility meters, and modest potted plants. Show varied natural aging, maintenance, retrofits, and everyday residential traces so the property feels genuinely lived in, while avoiding clutter arranged to imply any particular incident or moment.\n\nSURROUNDINGS:\nSurround the property with a fully real, dense South Korean low-rise residential neighborhood. Include neighboring low-rise buildings, authentic windows and roofs, utility wires, walls, gates, pavement, alley surfaces, drainage, and other ordinary street infrastructure appropriate to contemporary South Korea. The surroundings must remain physically credible and visually continuous with the subject property.\n\nLIGHTING & EXCLUSIONS:\nUse plain, neutral daytime light. No fog, rain, dramatic weather, cinematic colour grading, stylized mood, or people. Do not show any specific incident, active event, or transient staged moment. No readable text, signage, lettering, addresses, labels, logos, numbers, or alphanumeric markings anywhere in the image.\n\nThe final image must contain ZERO annotations or graphic aids: no captions, circles, arrows, dashed lines, outlines, callouts, codes, letters, numbers, labels, markers, diagrams, overlays, or interface elements."}
{"ts": "2026-07-13 13:05:26", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "x_master2_c", "refs": [], "ref_labels": [], "attempt": 1, "dur_s": 14.3, "bytes": 4081809, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/master2_c.png", "prompt": "Create ONE PHOTOREALISTIC aerial location still showing an ordinary lived-in South Korean low-rise multi-family house on a real residential street, contemporary South Korea, 2026. No reference image is attached; construct the scene from this text alone.\n\nCAMERA & COMPOSITION:\nUse a 45-degree high aerial camera looking across the yard toward the building, with the entire property visible in a single frame. The lower edge of the frame begins at the alley approach. The spatial route must read clearly and continuously as alley → frontage gate → yard → exterior stair → rooftop landing → roof path → iron entrance door → rooftop-room unit.\n\nPROPERTY LAYOUT:\nAt the bottom of the frame, show a real narrow residential alley that can accommodate bicycle movement and leads directly to the gate on the property frontage. Opening the gate leads immediately into the yard, which is the first usable space inside the property. A clear primary path continues through the yard to the foot of the exterior stair.\n\nPlace a secluded bicycle corner off this primary gate-to-stair route. It must read as a tucked-away part of the yard rather than its open center, suitable for an ordinary bicycle to be left casually without obstructing circulation.\n\nSet the main building footprint along the edge of the yard. Attach a later-added exterior steel stair directly to an outside wall, with its lowest flight accessible from the yard. The stair climbs the full height of the three-storey building as a multi-flight zig-zag run with intermediate landings. It has open treads, thin steel-plate stringers, support posts, and pipe railings; it is unmistakably a retrofit steel stair, never a concrete stair.\n\nAt the top, the exterior stair reaches an upper rooftop landing. From this landing, the iron entrance door of the rooftop-room unit is immediately visible and unobstructed. A walkable path continues across the same roof surface from the landing to the door, passing beside both the clothesline area and the wooden drying bench.\n\nROOFTOP ARRANGEMENT:\nThe main roof deck is approximately 8–10 metres above the yard. On this roof surface, place the small rooftop-room unit as a fourth-level volume above the three full storeys of the main building. Its iron entrance door faces the landing approach. Include the door’s narrow mail-or-flyer gap detail, without readable printing or a staged delivery moment; the door should rest in an ordinary stable position rather than suggesting a specific unfolding event.\n\nThe rooftop-room unit contains a small living-room window and a separate curtained room window. Orient at least one of these windows so that its sightline toward a low rooftop wall or parapet is spatially understandable from the camera view.\n\nRun a clothesline across the roof close enough to the landing-to-door route that hanging items or dried leaves could brush a passerby, while keeping the route physically usable. Beside this area and along the approach to the iron door, place a wooden drying bench carrying dried leaves. Include a rooftop water tank on the same roof surface near the other rooftop contents, positioned so that it does not block the landing-to-door path.\n\nInclude a low-mounted practical light fixture or clearly visible low-angle light-source position associated with the rooftop path. Its placement should communicate only its functional ability to create long low-angle shadows; it must not establish a night scene, theatrical mood, colour treatment, or material cue. Under the required neutral daytime conditions, it is not visibly illuminated.\n\nSCALE & MASSING:\nThe main building is an aged three-storey low-rise multi-family house with the roof deck roughly 8–10 metres above the yard. The small rooftop-room unit forms a compact fourth-level rooftop volume. Each facade storey has a few modest windows typical of regional South Korean multi-family housing. Preserve the full vertical relationship between the yard, the three-storey retrofit stair, the rooftop landing, the roof deck, and the rooftop-room unit.\n\nFACADE & LIVED-IN:\nMake this visibly inhabited and consistent with real low-rise multi-family houses found in this locality and period. Delegate the precise exterior finishes, window frames, and construction details to the authentic built conventions of an ordinary South Korean residential street in 2026 rather than prescribing a specific colour or facade material. Across the storeys, include the layered practical features commonly found on actual Korean multi-family houses: regionally typical exterior finishes and windows, security grilles where plausible, air-conditioner outdoor units, exposed gas piping, an ordinary waterproofed rooftop surface, practical roof and stair railings, mailboxes, utility meters, and modest potted plants. Show varied natural aging, maintenance, retrofits, and everyday residential traces so the property feels genuinely lived in, while avoiding clutter arranged to imply any particular incident or moment.\n\nSURROUNDINGS:\nSurround the property with a fully real, dense South Korean low-rise residential neighborhood. Include neighboring low-rise buildings, authentic windows and roofs, utility wires, walls, gates, pavement, alley surfaces, drainage, and other ordinary street infrastructure appropriate to contemporary South Korea. The surroundings must remain physically credible and visually continuous with the subject property.\n\nLIGHTING & EXCLUSIONS:\nUse plain, neutral daytime light. No fog, rain, dramatic weather, cinematic colour grading, stylized mood, or people. Do not show any specific incident, active event, or transient staged moment. No readable text, signage, lettering, addresses, labels, logos, numbers, or alphanumeric markings anywhere in the image.\n\nThe final image must contain ZERO annotations or graphic aids: no captions, circles, arrows, dashed lines, outlines, callouts, codes, letters, numbers, labels, markers, diagrams, overlays, or interface elements."}
{"ts": "2026-07-13 13:06:03", "kind": "llm", "step": "x_master2_judge_gpt", "model": "gpt", "dur_s": 37.1, "system_prompt": "You are given ONE image-generation prompt and THREE candidate\nimages, labelled A, B, C in the order attached, all generated\nfrom that exact prompt.\nPick the ONE candidate that most faithfully realises the prompt.\nJudge ONLY fidelity to the prompt: its stated structure (what\ncontains or carries what, counts, connections, placements), the\ncamera it asks for, materials and state, and its exclusions (no\npeople, no readable text). Ignore generic aesthetic appeal.\nCheck every candidate against the prompt point by point before\ndeciding; base every verdict only on what is visible.\nAlso give every candidate an integer score 0-10 for that same\nfidelity.\nOutput: winner, ranking best-to-worst, and per candidate a score\nplus a one-line Korean verdict citing the decisive prompt points.", "user_prompt": "[{\"type\": \"text\", \"text\": \"THE PROMPT (all three candidates were generated from this):\\nCreate ONE PHOTOREALISTIC aerial location still showing an ordinary lived-in South Korean low-rise multi-family house on a real residential street, contemporary South Korea, 2026. No reference image is attached; construct the scene from this text alone.\\n\\nCAMERA & COMPOSITION:\\nUse a 45-degree high aerial camera looking across the yard toward the building, with the entire property visible in a single frame. The lower edge of the frame begins at the alley approach. The spatial route must read clearly and continuously as alley → frontage gate → yard → exterior stair → rooftop landing → roof path → iron entrance door → rooftop-room unit.\\n\\nPROPERTY LAYOUT:\\nAt the bottom of the frame, show a real narrow residential alley that can accommodate bicycle movement and leads directly to the gate on the property frontage. Opening the gate leads immediately into the yard, which is the first usable space inside the property. A clear primary path continues through the yard to the foot of the exterior stair.\\n\\nPlace a secluded bicycle corner off this primary gate-to-stair route. It must read as a tucked-away part of the yard rather than its open center, suitable for an ordinary bicycle to be left casually without obstructing circulation.\\n\\nSet the main building footprint along the edge of the yard. Attach a later-added exterior steel stair directly to an outside wall, with its lowest flight accessible from the yard. The stair climbs the full height of the three-storey building as a multi-flight zig-zag run with intermediate landings. It has open treads, thin steel-plate stringers, support posts, and pipe railings; it is unmistakably a retrofit steel stair, never a concrete stair.\\n\\nAt the top, the exterior stair reaches an upper rooftop landing. From this landing, the iron entrance door of the rooftop-room unit is immediately visible and unobstructed. A walkable path continues across the same roof surface from the landing to the door, passing beside both the clothesline area and the wooden drying bench.\\n\\nROOFTOP ARRANGEMENT:\\nThe main roof deck is approximately 8–10 metres above the yard. On this roof surface, place the small rooftop-room unit as a fourth-level volume above the three full storeys of the main building. Its iron entrance door faces the landing approach. Include the door’s narrow mail-or-flyer gap detail, without readable printing or a staged delivery moment; the door should rest in an ordinary stable position rather than suggesting a specific unfolding event.\\n\\nThe rooftop-room unit contains a small living-room window and a separate curtained room window. Orient at least one of these windows so that its sightline toward a low rooftop wall or parapet is spatially understandable from the camera view.\\n\\nRun a clothesline across the roof close enough to the landing-to-door route that hanging items or dried leaves could brush a passerby, while keeping the route physically usable. Beside this area and along the approach to the iron door, place a wooden drying bench carrying dried leaves. Include a rooftop water tank on the same roof surface near the other rooftop contents, positioned so that it does not block the landing-to-door path.\\n\\nInclude a low-mounted practical light fixture or clearly visible low-angle light-source position associated with the rooftop path. Its placement should communicate only its functional ability to create long low-angle shadows; it must not establish a night scene, theatrical mood, colour treatment, or material cue. Under the required neutral daytime conditions, it is not visibly illuminated.\\n\\nSCALE & MASSING:\\nThe main building is an aged three-storey low-rise multi-family house with the roof deck roughly 8–10 metres above the yard. The small rooftop-room unit forms a compact fourth-level rooftop volume. Each facade storey has a few modest windows typical of regional South Korean multi-family housing. Preserve the full vertical relationship between the yard, the three-storey retrofit stair, the rooftop landing, the roof deck, and the rooftop-room unit.\\n\\nFACADE & LIVED-IN:\\nMake this visibly inhabited and consistent with real low-rise multi-family houses found in this locality and period. Delegate the precise exterior finishes, window frames, and construction details to the authentic built conventions of an ordinary South Korean residential street in 2026 rather than prescribing a specific colour or facade material. Across the storeys, include the layered practical features commonly found on actual Korean multi-family houses: regionally typical exterior finishes and windows, security grilles where plausible, air-conditioner outdoor units, exposed gas piping, an ordinary waterproofed rooftop surface, practical roof and stair railings, mailboxes, utility meters, and modest potted plants. Show varied natural aging, maintenance, retrofits, and everyday residential traces so the property feels genuinely lived in, while avoiding clutter arranged to imply any particular incident or moment.\\n\\nSURROUNDINGS:\\nSurround the property with a fully real, dense South Korean low-rise residential neighborhood. Include neighboring low-rise buildings, authentic windows and roofs, utility wires, walls, gates, pavement, alley surfaces, drainage, and other ordinary street infrastructure appropriate to contemporary South Korea. The surroundings must remain physically credible and visually continuous with the subject property.\\n\\nLIGHTING & EXCLUSIONS:\\nUse plain, neutral daytime light. No fog, rain, dramatic weather, cinematic colour grading, stylized mood, or people. Do not show any specific incident, active event, or transient staged moment. No readable text, signage, lettering, addresses, labels, logos, numbers, or alphanumeric markings anywhere in the image.\\n\\nThe final image must contain ZERO annotations or graphic aids: no captions, circles, arrows, dashed lines, outlines, callouts, codes, letters, numbers, labels, markers, diagrams, overlays, or interface elements.\"}, {\"type\": \"text\", \"text\": \"Candidate A:\"}, {\"type\": \"text\", \"text\": \"Candidate B:\"}, {\"type\": \"text\", \"text\": \"Candidate C:\"}]"}
{"ts": "2026-07-13 13:06:46", "kind": "llm", "step": "x_master2_judge_gem", "model": "gemini-pro", "dur_s": 43.4, "system_prompt": "You are given ONE image-generation prompt and THREE candidate\nimages, labelled A, B, C in the order attached, all generated\nfrom that exact prompt.\nPick the ONE candidate that most faithfully realises the prompt.\nJudge ONLY fidelity to the prompt: its stated structure (what\ncontains or carries what, counts, connections, placements), the\ncamera it asks for, materials and state, and its exclusions (no\npeople, no readable text). Ignore generic aesthetic appeal.\nCheck every candidate against the prompt point by point before\ndeciding; base every verdict only on what is visible.\nAlso give every candidate an integer score 0-10 for that same\nfidelity.\nOutput: winner, ranking best-to-worst, and per candidate a score\nplus a one-line Korean verdict citing the decisive prompt points.", "user_prompt": "[{\"type\": \"text\", \"text\": \"THE PROMPT (all three candidates were generated from this):\\nCreate ONE PHOTOREALISTIC aerial location still showing an ordinary lived-in South Korean low-rise multi-family house on a real residential street, contemporary South Korea, 2026. No reference image is attached; construct the scene from this text alone.\\n\\nCAMERA & COMPOSITION:\\nUse a 45-degree high aerial camera looking across the yard toward the building, with the entire property visible in a single frame. The lower edge of the frame begins at the alley approach. The spatial route must read clearly and continuously as alley → frontage gate → yard → exterior stair → rooftop landing → roof path → iron entrance door → rooftop-room unit.\\n\\nPROPERTY LAYOUT:\\nAt the bottom of the frame, show a real narrow residential alley that can accommodate bicycle movement and leads directly to the gate on the property frontage. Opening the gate leads immediately into the yard, which is the first usable space inside the property. A clear primary path continues through the yard to the foot of the exterior stair.\\n\\nPlace a secluded bicycle corner off this primary gate-to-stair route. It must read as a tucked-away part of the yard rather than its open center, suitable for an ordinary bicycle to be left casually without obstructing circulation.\\n\\nSet the main building footprint along the edge of the yard. Attach a later-added exterior steel stair directly to an outside wall, with its lowest flight accessible from the yard. The stair climbs the full height of the three-storey building as a multi-flight zig-zag run with intermediate landings. It has open treads, thin steel-plate stringers, support posts, and pipe railings; it is unmistakably a retrofit steel stair, never a concrete stair.\\n\\nAt the top, the exterior stair reaches an upper rooftop landing. From this landing, the iron entrance door of the rooftop-room unit is immediately visible and unobstructed. A walkable path continues across the same roof surface from the landing to the door, passing beside both the clothesline area and the wooden drying bench.\\n\\nROOFTOP ARRANGEMENT:\\nThe main roof deck is approximately 8–10 metres above the yard. On this roof surface, place the small rooftop-room unit as a fourth-level volume above the three full storeys of the main building. Its iron entrance door faces the landing approach. Include the door’s narrow mail-or-flyer gap detail, without readable printing or a staged delivery moment; the door should rest in an ordinary stable position rather than suggesting a specific unfolding event.\\n\\nThe rooftop-room unit contains a small living-room window and a separate curtained room window. Orient at least one of these windows so that its sightline toward a low rooftop wall or parapet is spatially understandable from the camera view.\\n\\nRun a clothesline across the roof close enough to the landing-to-door route that hanging items or dried leaves could brush a passerby, while keeping the route physically usable. Beside this area and along the approach to the iron door, place a wooden drying bench carrying dried leaves. Include a rooftop water tank on the same roof surface near the other rooftop contents, positioned so that it does not block the landing-to-door path.\\n\\nInclude a low-mounted practical light fixture or clearly visible low-angle light-source position associated with the rooftop path. Its placement should communicate only its functional ability to create long low-angle shadows; it must not establish a night scene, theatrical mood, colour treatment, or material cue. Under the required neutral daytime conditions, it is not visibly illuminated.\\n\\nSCALE & MASSING:\\nThe main building is an aged three-storey low-rise multi-family house with the roof deck roughly 8–10 metres above the yard. The small rooftop-room unit forms a compact fourth-level rooftop volume. Each facade storey has a few modest windows typical of regional South Korean multi-family housing. Preserve the full vertical relationship between the yard, the three-storey retrofit stair, the rooftop landing, the roof deck, and the rooftop-room unit.\\n\\nFACADE & LIVED-IN:\\nMake this visibly inhabited and consistent with real low-rise multi-family houses found in this locality and period. Delegate the precise exterior finishes, window frames, and construction details to the authentic built conventions of an ordinary South Korean residential street in 2026 rather than prescribing a specific colour or facade material. Across the storeys, include the layered practical features commonly found on actual Korean multi-family houses: regionally typical exterior finishes and windows, security grilles where plausible, air-conditioner outdoor units, exposed gas piping, an ordinary waterproofed rooftop surface, practical roof and stair railings, mailboxes, utility meters, and modest potted plants. Show varied natural aging, maintenance, retrofits, and everyday residential traces so the property feels genuinely lived in, while avoiding clutter arranged to imply any particular incident or moment.\\n\\nSURROUNDINGS:\\nSurround the property with a fully real, dense South Korean low-rise residential neighborhood. Include neighboring low-rise buildings, authentic windows and roofs, utility wires, walls, gates, pavement, alley surfaces, drainage, and other ordinary street infrastructure appropriate to contemporary South Korea. The surroundings must remain physically credible and visually continuous with the subject property.\\n\\nLIGHTING & EXCLUSIONS:\\nUse plain, neutral daytime light. No fog, rain, dramatic weather, cinematic colour grading, stylized mood, or people. Do not show any specific incident, active event, or transient staged moment. No readable text, signage, lettering, addresses, labels, logos, numbers, or alphanumeric markings anywhere in the image.\\n\\nThe final image must contain ZERO annotations or graphic aids: no captions, circles, arrows, dashed lines, outlines, callouts, codes, letters, numbers, labels, markers, diagrams, overlays, or interface elements.\"}, {\"type\": \"text\", \"text\": \"Candidate A:\"}, {\"type\": \"text\", \"text\": \"Candidate B:\"}, {\"type\": \"text\", \"text\": \"Candidate C:\"}]"}
{"ts": "2026-07-13 13:07:36", "kind": "llm", "step": "x_master2_crit_gpt", "model": "gpt", "dur_s": 49.6, "system_prompt": "You are given the image-generation prompt and ONE photograph\ngenerated from it. List what is WRONG with the photograph:\n- fidelity: any visible deviation from the prompt's stated\n  structure (what contains or carries what, counts, connections,\n  placements), its camera, materials and state, and its\n  exclusions (no people, no readable text),\n- physical coherence: any construction that could not physically\n  work in reality (broken, floating or overlapping structure,\n  unreachable routes, impossible geometry).\nBase every finding only on what is visible. Ignore generic\naesthetic taste.\nissues: each finding as issue_ko (one short Korean line) plus\nfix_en (ONE imperative English edit instruction that fixes\nexactly that finding while changing nothing else). Empty array\nif nothing is wrong.", "user_prompt": "[{\"type\": \"text\", \"text\": \"THE PROMPT (the photograph was generated from this):\\nCreate ONE PHOTOREALISTIC aerial location still showing an ordinary lived-in South Korean low-rise multi-family house on a real residential street, contemporary South Korea, 2026. No reference image is attached; construct the scene from this text alone.\\n\\nCAMERA & COMPOSITION:\\nUse a 45-degree high aerial camera looking across the yard toward the building, with the entire property visible in a single frame. The lower edge of the frame begins at the alley approach. The spatial route must read clearly and continuously as alley → frontage gate → yard → exterior stair → rooftop landing → roof path → iron entrance door → rooftop-room unit.\\n\\nPROPERTY LAYOUT:\\nAt the bottom of the frame, show a real narrow residential alley that can accommodate bicycle movement and leads directly to the gate on the property frontage. Opening the gate leads immediately into the yard, which is the first usable space inside the property. A clear primary path continues through the yard to the foot of the exterior stair.\\n\\nPlace a secluded bicycle corner off this primary gate-to-stair route. It must read as a tucked-away part of the yard rather than its open center, suitable for an ordinary bicycle to be left casually without obstructing circulation.\\n\\nSet the main building footprint along the edge of the yard. Attach a later-added exterior steel stair directly to an outside wall, with its lowest flight accessible from the yard. The stair climbs the full height of the three-storey building as a multi-flight zig-zag run with intermediate landings. It has open treads, thin steel-plate stringers, support posts, and pipe railings; it is unmistakably a retrofit steel stair, never a concrete stair.\\n\\nAt the top, the exterior stair reaches an upper rooftop landing. From this landing, the iron entrance door of the rooftop-room unit is immediately visible and unobstructed. A walkable path continues across the same roof surface from the landing to the door, passing beside both the clothesline area and the wooden drying bench.\\n\\nROOFTOP ARRANGEMENT:\\nThe main roof deck is approximately 8–10 metres above the yard. On this roof surface, place the small rooftop-room unit as a fourth-level volume above the three full storeys of the main building. Its iron entrance door faces the landing approach. Include the door’s narrow mail-or-flyer gap detail, without readable printing or a staged delivery moment; the door should rest in an ordinary stable position rather than suggesting a specific unfolding event.\\n\\nThe rooftop-room unit contains a small living-room window and a separate curtained room window. Orient at least one of these windows so that its sightline toward a low rooftop wall or parapet is spatially understandable from the camera view.\\n\\nRun a clothesline across the roof close enough to the landing-to-door route that hanging items or dried leaves could brush a passerby, while keeping the route physically usable. Beside this area and along the approach to the iron door, place a wooden drying bench carrying dried leaves. Include a rooftop water tank on the same roof surface near the other rooftop contents, positioned so that it does not block the landing-to-door path.\\n\\nInclude a low-mounted practical light fixture or clearly visible low-angle light-source position associated with the rooftop path. Its placement should communicate only its functional ability to create long low-angle shadows; it must not establish a night scene, theatrical mood, colour treatment, or material cue. Under the required neutral daytime conditions, it is not visibly illuminated.\\n\\nSCALE & MASSING:\\nThe main building is an aged three-storey low-rise multi-family house with the roof deck roughly 8–10 metres above the yard. The small rooftop-room unit forms a compact fourth-level rooftop volume. Each facade storey has a few modest windows typical of regional South Korean multi-family housing. Preserve the full vertical relationship between the yard, the three-storey retrofit stair, the rooftop landing, the roof deck, and the rooftop-room unit.\\n\\nFACADE & LIVED-IN:\\nMake this visibly inhabited and consistent with real low-rise multi-family houses found in this locality and period. Delegate the precise exterior finishes, window frames, and construction details to the authentic built conventions of an ordinary South Korean residential street in 2026 rather than prescribing a specific colour or facade material. Across the storeys, include the layered practical features commonly found on actual Korean multi-family houses: regionally typical exterior finishes and windows, security grilles where plausible, air-conditioner outdoor units, exposed gas piping, an ordinary waterproofed rooftop surface, practical roof and stair railings, mailboxes, utility meters, and modest potted plants. Show varied natural aging, maintenance, retrofits, and everyday residential traces so the property feels genuinely lived in, while avoiding clutter arranged to imply any particular incident or moment.\\n\\nSURROUNDINGS:\\nSurround the property with a fully real, dense South Korean low-rise residential neighborhood. Include neighboring low-rise buildings, authentic windows and roofs, utility wires, walls, gates, pavement, alley surfaces, drainage, and other ordinary street infrastructure appropriate to contemporary South Korea. The surroundings must remain physically credible and visually continuous with the subject property.\\n\\nLIGHTING & EXCLUSIONS:\\nUse plain, neutral daytime light. No fog, rain, dramatic weather, cinematic colour grading, stylized mood, or people. Do not show any specific incident, active event, or transient staged moment. No readable text, signage, lettering, addresses, labels, logos, numbers, or alphanumeric markings anywhere in the image.\\n\\nThe final image must contain ZERO annotations or graphic aids: no captions, circles, arrows, dashed lines, outlines, callouts, codes, letters, numbers, labels, markers, diagrams, overlays, or interface elements.\"}, {\"type\": \"text\", \"text\": \"Photograph to examine:\"}]"}
{"ts": "2026-07-13 13:08:09", "kind": "llm", "step": "x_master2_crit_gem", "model": "gemini-pro", "dur_s": 33.1, "system_prompt": "You are given the image-generation prompt and ONE photograph\ngenerated from it. List what is WRONG with the photograph:\n- fidelity: any visible deviation from the prompt's stated\n  structure (what contains or carries what, counts, connections,\n  placements), its camera, materials and state, and its\n  exclusions (no people, no readable text),\n- physical coherence: any construction that could not physically\n  work in reality (broken, floating or overlapping structure,\n  unreachable routes, impossible geometry).\nBase every finding only on what is visible. Ignore generic\naesthetic taste.\nissues: each finding as issue_ko (one short Korean line) plus\nfix_en (ONE imperative English edit instruction that fixes\nexactly that finding while changing nothing else). Empty array\nif nothing is wrong.", "user_prompt": "[{\"type\": \"text\", \"text\": \"THE PROMPT (the photograph was generated from this):\\nCreate ONE PHOTOREALISTIC aerial location still showing an ordinary lived-in South Korean low-rise multi-family house on a real residential street, contemporary South Korea, 2026. No reference image is attached; construct the scene from this text alone.\\n\\nCAMERA & COMPOSITION:\\nUse a 45-degree high aerial camera looking across the yard toward the building, with the entire property visible in a single frame. The lower edge of the frame begins at the alley approach. The spatial route must read clearly and continuously as alley → frontage gate → yard → exterior stair → rooftop landing → roof path → iron entrance door → rooftop-room unit.\\n\\nPROPERTY LAYOUT:\\nAt the bottom of the frame, show a real narrow residential alley that can accommodate bicycle movement and leads directly to the gate on the property frontage. Opening the gate leads immediately into the yard, which is the first usable space inside the property. A clear primary path continues through the yard to the foot of the exterior stair.\\n\\nPlace a secluded bicycle corner off this primary gate-to-stair route. It must read as a tucked-away part of the yard rather than its open center, suitable for an ordinary bicycle to be left casually without obstructing circulation.\\n\\nSet the main building footprint along the edge of the yard. Attach a later-added exterior steel stair directly to an outside wall, with its lowest flight accessible from the yard. The stair climbs the full height of the three-storey building as a multi-flight zig-zag run with intermediate landings. It has open treads, thin steel-plate stringers, support posts, and pipe railings; it is unmistakably a retrofit steel stair, never a concrete stair.\\n\\nAt the top, the exterior stair reaches an upper rooftop landing. From this landing, the iron entrance door of the rooftop-room unit is immediately visible and unobstructed. A walkable path continues across the same roof surface from the landing to the door, passing beside both the clothesline area and the wooden drying bench.\\n\\nROOFTOP ARRANGEMENT:\\nThe main roof deck is approximately 8–10 metres above the yard. On this roof surface, place the small rooftop-room unit as a fourth-level volume above the three full storeys of the main building. Its iron entrance door faces the landing approach. Include the door’s narrow mail-or-flyer gap detail, without readable printing or a staged delivery moment; the door should rest in an ordinary stable position rather than suggesting a specific unfolding event.\\n\\nThe rooftop-room unit contains a small living-room window and a separate curtained room window. Orient at least one of these windows so that its sightline toward a low rooftop wall or parapet is spatially understandable from the camera view.\\n\\nRun a clothesline across the roof close enough to the landing-to-door route that hanging items or dried leaves could brush a passerby, while keeping the route physically usable. Beside this area and along the approach to the iron door, place a wooden drying bench carrying dried leaves. Include a rooftop water tank on the same roof surface near the other rooftop contents, positioned so that it does not block the landing-to-door path.\\n\\nInclude a low-mounted practical light fixture or clearly visible low-angle light-source position associated with the rooftop path. Its placement should communicate only its functional ability to create long low-angle shadows; it must not establish a night scene, theatrical mood, colour treatment, or material cue. Under the required neutral daytime conditions, it is not visibly illuminated.\\n\\nSCALE & MASSING:\\nThe main building is an aged three-storey low-rise multi-family house with the roof deck roughly 8–10 metres above the yard. The small rooftop-room unit forms a compact fourth-level rooftop volume. Each facade storey has a few modest windows typical of regional South Korean multi-family housing. Preserve the full vertical relationship between the yard, the three-storey retrofit stair, the rooftop landing, the roof deck, and the rooftop-room unit.\\n\\nFACADE & LIVED-IN:\\nMake this visibly inhabited and consistent with real low-rise multi-family houses found in this locality and period. Delegate the precise exterior finishes, window frames, and construction details to the authentic built conventions of an ordinary South Korean residential street in 2026 rather than prescribing a specific colour or facade material. Across the storeys, include the layered practical features commonly found on actual Korean multi-family houses: regionally typical exterior finishes and windows, security grilles where plausible, air-conditioner outdoor units, exposed gas piping, an ordinary waterproofed rooftop surface, practical roof and stair railings, mailboxes, utility meters, and modest potted plants. Show varied natural aging, maintenance, retrofits, and everyday residential traces so the property feels genuinely lived in, while avoiding clutter arranged to imply any particular incident or moment.\\n\\nSURROUNDINGS:\\nSurround the property with a fully real, dense South Korean low-rise residential neighborhood. Include neighboring low-rise buildings, authentic windows and roofs, utility wires, walls, gates, pavement, alley surfaces, drainage, and other ordinary street infrastructure appropriate to contemporary South Korea. The surroundings must remain physically credible and visually continuous with the subject property.\\n\\nLIGHTING & EXCLUSIONS:\\nUse plain, neutral daytime light. No fog, rain, dramatic weather, cinematic colour grading, stylized mood, or people. Do not show any specific incident, active event, or transient staged moment. No readable text, signage, lettering, addresses, labels, logos, numbers, or alphanumeric markings anywhere in the image.\\n\\nThe final image must contain ZERO annotations or graphic aids: no captions, circles, arrows, dashed lines, outlines, callouts, codes, letters, numbers, labels, markers, diagrams, overlays, or interface elements.\"}, {\"type\": \"text\", \"text\": \"Photograph to examine:\"}]"}
{"ts": "2026-07-13 13:08:34", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "x_master2_fix", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/master2_a.png"], "ref_labels": ["PHOTOGRAPH TO EDIT — fix ONLY the issues the prompt lists; preserve everything else exactly."], "attempt": 1, "dur_s": 25.2, "bytes": 3792002, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/master2.png", "prompt": "Edit this photograph. Fix ONLY the issues listed below, each in\nplace, changing nothing else about the property:\n\nISSUES TO FIX:\n- (GPT VLM) Add a second, separate living-room window to the rooftop-room unit while retaining the existing curtained window and changing nothing else.\n- (GPT VLM) Move the rooftop water tank onto the subject building’s main roof deck near the rooftop contents without blocking the landing-to-door path.\n- (GPT VLM) Add one clearly recognizable, unlit, low-mounted practical light fixture beside the rooftop landing-to-door path.\n- (GPT VLM) Remove all visible letters, numbers, labels, and plaques from the rooftop door, meters, walls, gates, and neighboring frontage while preserving the objects themselves.\n- (Gemini VLM) Add one more full storey to the main building so it has three storeys below the roof deck.\n- (Gemini VLM) Connect the top landing of the exterior stair directly to the edge of the main green roof surface.\n- (Gemini VLM) Move the water tank from the top of the rooftop unit down to the main green roof surface.\n- (Gemini VLM) Remove all text and numbers from the blue wall plaques and the window on the rooftop door.\n\nPRESERVE EVERYTHING ELSE EXACTLY as in the original photograph —\nbuildings, roof objects, yard, surroundings, lighting, camera,\nframing. No people, no readable text anywhere."}
{"ts": "2026-07-13 13:08:57", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s38_still_S4sh1", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/panels/S4sh1.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/bg3_S4sh1.png"], "ref_labels": ["LAYOUT SKETCH — a bare thin-line layout guide, a REFERENCE ONLY: take from it ONLY the camera framing, figure placement, pose and size/depth order. It carries ZERO visual style — every texture, material, light and all realism come from the text and the photographic reference. Never let any line-drawing quality leak into the output.", "LOCATION PHOTOGRAPH — the exact place of this shot: its architecture, materials, fixed features and lighting mood are spatial truth; stage the moment inside this place. Never copy its camera framing."], "attempt": 1, "dur_s": 19.1, "bytes": 3399363, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/stills/S4sh1_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): daytime.\n\nSHOT TEXT (authoritative, Korean): 맑은 낮, 오래된 다세대 빌라 옥상 위에 자리 잡은 옥탑방을 높은 곳에서 내려다본 부감 구도\n\nLOCATION (lock): The flat rooftop of an aging low-rise apartment building, enclosed by a waist-high parapet. A small rooftop dwelling has a metal entrance door and a window visible from the open roof. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nMOVEMENT (follow exactly): static: No person is visible; the rooftop room remains fixed on top of the old multi-family villa beneath the high, downward-looking camera.\n\nFIGURES — size & depth (follow exactly): The rooftop room appears small, about ~1/6 of the frame height, and is FARTHER from the camera than the surrounding upper roof surfaces in the foreground.\n\nNo people appear unless the shot text itself says so.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-13 13:09:18", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s38_still_S10sh6", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/panels/S10sh6.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/bg3_S10sh6.png"], "ref_labels": ["LAYOUT SKETCH — a bare thin-line layout guide, a REFERENCE ONLY: take from it ONLY the camera framing, figure placement, pose and size/depth order. It carries ZERO visual style — every texture, material, light and all realism come from the text and the photographic reference. Never let any line-drawing quality leak into the output.", "LOCATION PHOTOGRAPH — the exact place of this shot: its architecture, materials, fixed features and lighting mood are spatial truth; stage the moment inside this place. Never copy its camera framing."], "attempt": 1, "dur_s": 21.2, "bytes": 2535172, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/stills/S10sh6_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\n\nSHOT TEXT (authoritative, Korean): 현관 철문이 아주 살짝 열린 틈새로 보이는 어두운 실내와 신발 앞코\n\nLOCATION (lock): The flat rooftop of an aging low-rise apartment building, enclosed by a waist-high parapet. A small rooftop dwelling has a metal entrance door and a window visible from the open roof. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nMOVEMENT (follow exactly): The unknown man's shoe toe advances from the rooftop exterior through the narrowly opened iron doorway into the dark room, leading his unseen body inward.\n\nFIGURES — size & depth (follow exactly): The shoe toe is small, about ~1/10 of the frame height, and lies FARTHER from the camera than the NEARER iron door edges; the dark interior recedes farthest beyond it.\n\nNo people appear unless the shot text itself says so.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-13 13:09:39", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s38_still_S10sh7", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/stills/S10sh6_nb2.png"], "ref_labels": ["PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing. If this photo shows a character who cannot move (dead or unconscious), that character's exact pose, position and orientation are ALSO LOCKED — treat their body as a fixed prop of the set that only the camera moves around."], "attempt": 1, "dur_s": 21.0, "bytes": 2740229, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/stills/S10sh7_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\n\nSHOT TEXT (authoritative, Korean): 불이 켜진 옥탑방 창문에 거대한 그림자가 작은 그림자의 어깨 쪽으로 고개를 꺾은 형태가 맺혀 있는 정지 구도\n\nLOCATION (lock): The flat rooftop of an aging low-rise apartment building, enclosed by a waist-high parapet. A small rooftop dwelling has a metal entrance door and a window visible from the open roof. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.\n\nTHIS SHOT CONTINUES THE PREVIOUS SHOT: everything the attached still established — the place, its fixed features and wear, each person's clothing and state — persists. Any person in it who cannot move stays PRECISELY as photographed (body, pose, contact points, held objects); only the camera changes.\n\nPREVIOUS STILL USAGE (follow exactly — what to take from the attached still and what to exclude): TAKE the same nighttime rooftop-room lighting, dark interior tone, and ominous intruder presence. EXCLUDE the iron-door gap, the visible shoe tip, and any flyer or lock-manipulation details; render the figures only as window shadows.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nMOVEMENT (follow exactly): static: A real man appearing as a large dark silhouette, with normal human build, leans into Minsook and angles his head down toward her shoulder as she is caught beneath him.\n\nFIGURES — size & depth (follow exactly): The man's shadow fills roughly ~2/3 of the frame height, larger than Minsook's smaller shadow at about ~1/3; both people are FARTHER than the NEARER window surface, while their mutual camera-depth order is not established. Their silhouettes overlap at Minsook's shoulder, leaving almost no distance between their paths.\n\nNo people appear unless the shot text itself says so.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-13 13:10:07", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s38_still_S11sh4", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/panels/S11sh4.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/bg3_S11sh4.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/39864973-d3d5-4886-bfb2-f8db608a005b.png"], "ref_labels": ["LAYOUT SKETCH — a bare thin-line layout guide, a REFERENCE ONLY: take from it ONLY the camera framing, figure placement, pose and size/depth order. It carries ZERO visual style — every texture, material, light and all realism come from the text and the photographic reference. Never let any line-drawing quality leak into the output.", "LOCATION PHOTOGRAPH — the exact place of this shot: its architecture, materials, fixed features and lighting mood are spatial truth; stage the moment inside this place. Never copy its camera framing.", "CHARACTER REFERENCE — 수리영: the exact person appearing in this shot; match face, hair and build exactly."], "attempt": 1, "dur_s": 27.7, "bytes": 2736386, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/stills/S11sh4_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\n\nSHOT TEXT (authoritative, Korean): 철제 파이프 난간을 손으로 잡은 수리영이 코끝을 찡그린 채 계단 중간에 서 있는 얼굴 클로즈업\n\nLOCATION (lock): A narrow exterior metal staircase attached to an old low-rise residential building. It has exposed steel steps and tubular pipe railings leading upward toward the roof. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nMOVEMENT (follow exactly): static: Suri-young pauses midway up the staircase while ascending toward the rooftop, gripping the metal-pipe railing with a tense posture and wrinkling her nose at the sudden foul smell, her body oriented uphill.\n\nFIGURES — size & depth (follow exactly): Suri-young’s face fills ~2/3 of the frame height in close-up and is the nearest figure; her hand and the metal-pipe railing sit slightly farther from the camera as she remains midway on the stairs.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 수리영 — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-13 13:10:26", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s38_still_S11sh5", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/stills/S11sh4_nb2.png"], "ref_labels": ["PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing. If this photo shows a character who cannot move (dead or unconscious), that character's exact pose, position and orientation are ALSO LOCKED — treat their body as a fixed prop of the set that only the camera moves around."], "attempt": 1, "dur_s": 18.6, "bytes": 2805136, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/stills/S11sh5_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\n\nSHOT TEXT (authoritative, Korean): 옥상에 선 수리영의 시선 끝에 반쯤 열려 있는 어두운 현관 철문이 보이는 정면 구도\n\nLOCATION (lock): The flat rooftop of an aging low-rise apartment building, enclosed by a waist-high parapet. A small rooftop dwelling has a metal entrance door and a window visible from the open roof. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.\n\nTHIS SHOT CONTINUES THE PREVIOUS SHOT: everything the attached still established — the place, its fixed features and wear, each person's clothing and state — persists. Any person in it who cannot move stays PRECISELY as photographed (body, pose, contact points, held objects); only the camera changes.\n\nPREVIOUS STILL USAGE (follow exactly — what to take from the attached still and what to exclude): TAKE the young woman's clothing, nighttime exterior lighting, and the metal stair-and-railing materials as she reaches the rooftop. EXCLUDE the earlier facial close-up, nose-wrinkling expression, and hand gripping the railing; frame her sightline toward the half-open iron door.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nMOVEMENT (follow exactly): static: Suriyoung stands tensely on the rooftop with her body and gaze directed straight toward the half-open iron entrance door and its dark interior.\n\nFIGURES — size & depth (follow exactly): Suriyoung appears about ~1/2 of the frame height in the NEARER rooftop area, while the half-open door appears about ~1/3 and is FARTHER ahead along her line of sight.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 수리영 — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-13 13:10:45", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s38_still_S13sh4", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/stills/S11sh4_nb2.png"], "ref_labels": ["PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing. If this photo shows a character who cannot move (dead or unconscious), that character's exact pose, position and orientation are ALSO LOCKED — treat their body as a fixed prop of the set that only the camera moves around."], "attempt": 1, "dur_s": 19.8, "bytes": 2767083, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/stills/S13sh4_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\n\nSHOT TEXT (authoritative, Korean): 수리영이 초점을 잃은 눈으로 허공을 응시하며 서 있는 모습\n\nLOCATION (lock): A confined ground-level alley and small courtyard beside an aging multi-unit residential building. Concrete walls, building entrances, and the base of the exterior access structure frame the space. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.\n\nTHIS SHOT CONTINUES THE PREVIOUS SHOT: everything the attached still established — the place, its fixed features and wear, each person's clothing and state — persists. Any person in it who cannot move stays PRECISELY as photographed (body, pose, contact points, held objects); only the camera changes.\n\nPREVIOUS STILL USAGE (follow exactly — what to take from the attached still and what to exclude): TAKE the young woman's same clothing and appearance, along with the building's nighttime exterior lighting and metal stair materials. EXCLUDE the earlier hand-on-railing pose and disgusted expression; she should now stand motionless with a vacant, shocked gaze.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nMOVEMENT (follow exactly): static: Su-ri-young stands motionless and dazed after coming down from the rooftop room, her unfocused eyes staring into empty space and her body lacking purposeful direction.\n\nFIGURES — size & depth (follow exactly): Su-ri-young is the only visible figure, so she is both the nearest and farthest person; her apparent fraction of frame height is unspecified in the source.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 수리영 — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-13 13:11:08", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s38_still_S13sh6", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/stills/S13sh4_nb2.png"], "ref_labels": ["PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing. If this photo shows a character who cannot move (dead or unconscious), that character's exact pose, position and orientation are ALSO LOCKED — treat their body as a fixed prop of the set that only the camera moves around."], "attempt": 1, "dur_s": 22.8, "bytes": 2795532, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/stills/S13sh6_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\n\nSHOT TEXT (authoritative, Korean): 고개를 든 채 혜수의 얼굴을 마주보고 있는 수리영의 측면 구도\n\nLOCATION (lock): A confined ground-level alley and small courtyard beside an aging multi-unit residential building. Concrete walls, building entrances, and the base of the exterior access structure frame the space. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.\n\nTHIS SHOT CONTINUES THE PREVIOUS SHOT: everything the attached still established — the place, its fixed features and wear, each person's clothing and state — persists. Any person in it who cannot move stays PRECISELY as photographed (body, pose, contact points, held objects); only the camera changes.\n\nPREVIOUS STILL USAGE (follow exactly — what to take from the attached still and what to exclude): TAKE the young woman's clothing, pale shocked appearance, standing position, and the same nighttime courtyard lighting. EXCLUDE her previous empty-space gaze and solitary composition; turn her face upward toward the approaching middle-aged woman.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nMOVEMENT (follow exactly): static: Su-ri-young holds her head raised and faces Hye-su directly in side profile, looking up at her while remaining dazed and stationary.\n\nFIGURES — size & depth (follow exactly): Su-ri-young and Hye-su's face are visible facing each other, but their respective frame-height fractions and which is nearer to the camera are unspecified; their paths have converged at conversational distance, with neither moving past the other.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 수리영, 혜수 — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-13 13:11:29", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s38_still_S17sh2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/panels/S17sh2.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/bg3_S17sh2.png"], "ref_labels": ["LAYOUT SKETCH — a bare thin-line layout guide, a REFERENCE ONLY: take from it ONLY the camera framing, figure placement, pose and size/depth order. It carries ZERO visual style — every texture, material, light and all realism come from the text and the photographic reference. Never let any line-drawing quality leak into the output.", "LOCATION PHOTOGRAPH — the exact place of this shot: its architecture, materials, fixed features and lighting mood are spatial truth; stage the moment inside this place. Never copy its camera framing."], "attempt": 1, "dur_s": 20.5, "bytes": 2492118, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/stills/S17sh2_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): dawn.\n\nSHOT TEXT (authoritative, Korean): 옥상 담벼락 위에서 한쪽 앞발을 허공으로 뻗은 검은 고양이의 측면\n\nLOCATION (lock): The flat rooftop of an aging low-rise apartment building, enclosed by a waist-high parapet. A small rooftop dwelling has a metal entrance door and a window visible from the open roof. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nMOVEMENT (follow exactly): The black cat moves side-on across and over the rooftop wall toward the opposite side, extending one forepaw into the air as its body follows.\n\nFIGURES — size & depth (follow exactly): The cat appears medium-sized, about ~1/3 of the frame height, and is NEARER to the camera than the FARTHER side beyond the wall; the wall runs beneath its crossing path.\n\nNo people appear unless the shot text itself says so.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-13 13:13:42", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s38_bg4_S4sh1_a", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/master2.png"], "ref_labels": ["LOCATION MASTER PHOTOGRAPH — the exact building and grounds where this background takes place: its architecture, massing, materials and fixed features are spatial truth; render the requested view OF THIS PLACE. Never copy this photo's camera or crop."], "attempt": 1, "dur_s": 24.9, "bytes": 3772615, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/bg4_S4sh1_a.png", "prompt": "Using the attached master photo as the exact architectural and location reference, create a photorealistic live-action empty background plate of the same old low-rise Korean multifamily villa and its rooftop dwelling in the outskirts of contemporary Incheon. High-angle bird’s-eye view looking down toward the rooftop: clearly show the flat roof terrace, low parapet, separate rectangular rooftop home, plain closed metal entrance door, small living-room window, water tank, clothesline, and low wooden herb-drying platform in their established master-image arrangement. Include only the restrained surrounding fabric visible from this elevated direction—narrow paved alleys, nearby aging villas, utility poles and cables, and a subdued urban horizon. Clear ordinary daytime with soft natural sunlight and realistic colors, matching the scene. Deep focus, believable scale, documentary architectural photography, wide establishing composition. Empty set: no people, animals, moving vehicles, readable text, incident evidence, police activity, dramatic shadows, or event-specific props."}
{"ts": "2026-07-13 13:14:05", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s38_bg4_S4sh1_b", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/master2.png"], "ref_labels": ["LOCATION MASTER PHOTOGRAPH — the exact building and grounds where this background takes place: its architecture, massing, materials and fixed features are spatial truth; render the requested view OF THIS PLACE. Never copy this photo's camera or crop."], "attempt": 1, "dur_s": 23.1, "bytes": 3808716, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/bg4_S4sh1_b.png", "prompt": "Using the attached master photo as the exact architectural and location reference, create a photorealistic live-action empty background plate of the same old low-rise Korean multifamily villa and its rooftop dwelling in the outskirts of contemporary Incheon. High-angle bird’s-eye view looking down toward the rooftop: clearly show the flat roof terrace, low parapet, separate rectangular rooftop home, plain closed metal entrance door, small living-room window, water tank, clothesline, and low wooden herb-drying platform in their established master-image arrangement. Include only the restrained surrounding fabric visible from this elevated direction—narrow paved alleys, nearby aging villas, utility poles and cables, and a subdued urban horizon. Clear ordinary daytime with soft natural sunlight and realistic colors, matching the scene. Deep focus, believable scale, documentary architectural photography, wide establishing composition. Empty set: no people, animals, moving vehicles, readable text, incident evidence, police activity, dramatic shadows, or event-specific props."}
{"ts": "2026-07-13 13:14:27", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s38_bg4_S4sh1_c", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/master2.png"], "ref_labels": ["LOCATION MASTER PHOTOGRAPH — the exact building and grounds where this background takes place: its architecture, massing, materials and fixed features are spatial truth; render the requested view OF THIS PLACE. Never copy this photo's camera or crop."], "attempt": 1, "dur_s": 21.6, "bytes": 3752384, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/bg4_S4sh1_c.png", "prompt": "Using the attached master photo as the exact architectural and location reference, create a photorealistic live-action empty background plate of the same old low-rise Korean multifamily villa and its rooftop dwelling in the outskirts of contemporary Incheon. High-angle bird’s-eye view looking down toward the rooftop: clearly show the flat roof terrace, low parapet, separate rectangular rooftop home, plain closed metal entrance door, small living-room window, water tank, clothesline, and low wooden herb-drying platform in their established master-image arrangement. Include only the restrained surrounding fabric visible from this elevated direction—narrow paved alleys, nearby aging villas, utility poles and cables, and a subdued urban horizon. Clear ordinary daytime with soft natural sunlight and realistic colors, matching the scene. Deep focus, believable scale, documentary architectural photography, wide establishing composition. Empty set: no people, animals, moving vehicles, readable text, incident evidence, police activity, dramatic shadows, or event-specific props."}
{"ts": "2026-07-13 13:14:46", "kind": "llm", "step": "s38_bg4_judge_gpt_S4sh1", "model": "gpt", "dur_s": 19.3, "system_prompt": "You are given ONE image-generation prompt, ONE MASTER location\nphotograph (the ground truth of this property), and THREE candidate\nphotographs labelled A, B, C in the order attached, all generated\nfrom that prompt with the master attached as reference.\nPick the ONE candidate that best satisfies ALL of:\n- fidelity to the prompt (structure, camera, materials, state,\n  exclusions such as no people and no readable text),\n- physical coherence (no floating/split volumes, stairs reach\n  their destination, possible geometry),\n- MASTER consistency (storey count, massing, the external stair's\n  full run, rooftop structure placement, walls, gate and yard must\n  match the master photograph),\n- regional authenticity (the prompt declares a real region and\n  era; everything must look like that region's real, ordinary\n  built environment — nothing foreign or genericized).\nCheck every candidate point by point; base verdicts only on what\nis visible. Also give every candidate an integer score 0-10.\nOutput: winner, ranking best-to-worst, and per candidate a score\nplus a one-line Korean verdict citing the decisive points.", "user_prompt": "[{\"type\": \"text\", \"text\": \"THE PROMPT:\\nUsing the attached master photo as the exact architectural and location reference, create a photorealistic live-action empty background plate of the same old low-rise Korean multifamily villa and its rooftop dwelling in the outskirts of contemporary Incheon. High-angle bird’s-eye view looking down toward the rooftop: clearly show the flat roof terrace, low parapet, separate rectangular rooftop home, plain closed metal entrance door, small living-room window, water tank, clothesline, and low wooden herb-drying platform in their established master-image arrangement. Include only the restrained surrounding fabric visible from this elevated direction—narrow paved alleys, nearby aging villas, utility poles and cables, and a subdued urban horizon. Clear ordinary daytime with soft natural sunlight and realistic colors, matching the scene. Deep focus, believable scale, documentary architectural photography, wide establishing composition. Empty set: no people, animals, moving vehicles, readable text, incident evidence, police activity, dramatic shadows, or event-specific props.\"}, {\"type\": \"text\", \"text\": \"MASTER photograph (ground truth):\"}, {\"type\": \"text\", \"text\": \"Candidate A:\"}, {\"type\": \"text\", \"text\": \"Candidate B:\"}, {\"type\": \"text\", \"text\": \"Candidate C:\"}]"}
{"ts": "2026-07-13 13:15:08", "kind": "llm", "step": "s38_bg4_judge_gem_S4sh1", "model": "gemini-pro", "dur_s": 22.4, "system_prompt": "You are given ONE image-generation prompt, ONE MASTER location\nphotograph (the ground truth of this property), and THREE candidate\nphotographs labelled A, B, C in the order attached, all generated\nfrom that prompt with the master attached as reference.\nPick the ONE candidate that best satisfies ALL of:\n- fidelity to the prompt (structure, camera, materials, state,\n  exclusions such as no people and no readable text),\n- physical coherence (no floating/split volumes, stairs reach\n  their destination, possible geometry),\n- MASTER consistency (storey count, massing, the external stair's\n  full run, rooftop structure placement, walls, gate and yard must\n  match the master photograph),\n- regional authenticity (the prompt declares a real region and\n  era; everything must look like that region's real, ordinary\n  built environment — nothing foreign or genericized).\nCheck every candidate point by point; base verdicts only on what\nis visible. Also give every candidate an integer score 0-10.\nOutput: winner, ranking best-to-worst, and per candidate a score\nplus a one-line Korean verdict citing the decisive points.", "user_prompt": "[{\"type\": \"text\", \"text\": \"THE PROMPT:\\nUsing the attached master photo as the exact architectural and location reference, create a photorealistic live-action empty background plate of the same old low-rise Korean multifamily villa and its rooftop dwelling in the outskirts of contemporary Incheon. High-angle bird’s-eye view looking down toward the rooftop: clearly show the flat roof terrace, low parapet, separate rectangular rooftop home, plain closed metal entrance door, small living-room window, water tank, clothesline, and low wooden herb-drying platform in their established master-image arrangement. Include only the restrained surrounding fabric visible from this elevated direction—narrow paved alleys, nearby aging villas, utility poles and cables, and a subdued urban horizon. Clear ordinary daytime with soft natural sunlight and realistic colors, matching the scene. Deep focus, believable scale, documentary architectural photography, wide establishing composition. Empty set: no people, animals, moving vehicles, readable text, incident evidence, police activity, dramatic shadows, or event-specific props.\"}, {\"type\": \"text\", \"text\": \"MASTER photograph (ground truth):\"}, {\"type\": \"text\", \"text\": \"Candidate A:\"}, {\"type\": \"text\", \"text\": \"Candidate B:\"}, {\"type\": \"text\", \"text\": \"Candidate C:\"}]"}
{"ts": "2026-07-13 13:15:40", "kind": "llm", "step": "s38_bg4_crit_gpt_S4sh1", "model": "gpt", "dur_s": 31.7, "system_prompt": "You are given: an image-generation prompt, a MASTER location\nphotograph (ground truth), and ONE photograph generated from the\nprompt with the master as reference. List what is WRONG with it:\n- fidelity to the prompt, - physical coherence,\n- MASTER consistency (storeys, massing, stair run, rooftop, walls,\n  gate, yard), - regional authenticity per the prompt's region.\nBase every finding only on what is visible. Ignore taste.\nissues: issue_ko (short Korean line) + fix_en (ONE imperative\nEnglish edit fixing exactly that while changing nothing else).\nEmpty array if nothing is wrong.", "user_prompt": "[{\"type\": \"text\", \"text\": \"THE PROMPT:\\nUsing the attached master photo as the exact architectural and location reference, create a photorealistic live-action empty background plate of the same old low-rise Korean multifamily villa and its rooftop dwelling in the outskirts of contemporary Incheon. High-angle bird’s-eye view looking down toward the rooftop: clearly show the flat roof terrace, low parapet, separate rectangular rooftop home, plain closed metal entrance door, small living-room window, water tank, clothesline, and low wooden herb-drying platform in their established master-image arrangement. Include only the restrained surrounding fabric visible from this elevated direction—narrow paved alleys, nearby aging villas, utility poles and cables, and a subdued urban horizon. Clear ordinary daytime with soft natural sunlight and realistic colors, matching the scene. Deep focus, believable scale, documentary architectural photography, wide establishing composition. Empty set: no people, animals, moving vehicles, readable text, incident evidence, police activity, dramatic shadows, or event-specific props.\"}, {\"type\": \"text\", \"text\": \"MASTER photograph:\"}, {\"type\": \"text\", \"text\": \"Photograph to examine:\"}]"}
{"ts": "2026-07-13 13:15:53", "kind": "llm", "step": "s38_bg4_crit_gem_S4sh1", "model": "gemini-pro", "dur_s": 13.2, "system_prompt": "You are given: an image-generation prompt, a MASTER location\nphotograph (ground truth), and ONE photograph generated from the\nprompt with the master as reference. List what is WRONG with it:\n- fidelity to the prompt, - physical coherence,\n- MASTER consistency (storeys, massing, stair run, rooftop, walls,\n  gate, yard), - regional authenticity per the prompt's region.\nBase every finding only on what is visible. Ignore taste.\nissues: issue_ko (short Korean line) + fix_en (ONE imperative\nEnglish edit fixing exactly that while changing nothing else).\nEmpty array if nothing is wrong.", "user_prompt": "[{\"type\": \"text\", \"text\": \"THE PROMPT:\\nUsing the attached master photo as the exact architectural and location reference, create a photorealistic live-action empty background plate of the same old low-rise Korean multifamily villa and its rooftop dwelling in the outskirts of contemporary Incheon. High-angle bird’s-eye view looking down toward the rooftop: clearly show the flat roof terrace, low parapet, separate rectangular rooftop home, plain closed metal entrance door, small living-room window, water tank, clothesline, and low wooden herb-drying platform in their established master-image arrangement. Include only the restrained surrounding fabric visible from this elevated direction—narrow paved alleys, nearby aging villas, utility poles and cables, and a subdued urban horizon. Clear ordinary daytime with soft natural sunlight and realistic colors, matching the scene. Deep focus, believable scale, documentary architectural photography, wide establishing composition. Empty set: no people, animals, moving vehicles, readable text, incident evidence, police activity, dramatic shadows, or event-specific props.\"}, {\"type\": \"text\", \"text\": \"MASTER photograph:\"}, {\"type\": \"text\", \"text\": \"Photograph to examine:\"}]"}
{"ts": "2026-07-13 13:16:22", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s38_bg4_fix_S4sh1", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/bg4_S4sh1_b.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/master2.png"], "ref_labels": ["PHOTOGRAPH TO EDIT — fix ONLY the issues the prompt lists; preserve everything else exactly.", "MASTER photograph — ground truth; align the edited photo's building to it."], "attempt": 1, "dur_s": 28.9, "bytes": 3831553, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/bg4_S4sh1.png", "prompt": "Edit this photograph. Fix ONLY the issues listed below, each in\nplace, changing nothing else about the property:\n\nISSUES TO FIX:\n- (GPT VLM) Extend the framing downward to include the complete lower storeys, enclosed front yard, boundary walls, and street gates exactly as shown in the master, changing nothing else.\n- (GPT VLM) Restore the clothesline to its master-image position across the middle of the roof terrace, changing nothing else.\n- (GPT VLM) Hang the same assortment of laundry visible on the master clothesline, changing nothing else.\n- (GPT VLM) Add the master-matching piles of drying herbs on and beside the wooden platform, changing nothing else.\n- (Gemini VLM) Crop the image to match the 1:1 aspect ratio and the exact framing of the master photograph.\n- (Gemini VLM) Reconstruct the background buildings on the right side to match the red brick and grey structures of the master photograph exactly.\n- (Gemini VLM) Realign the narrow alleyway on the left, adjusting the utility pole position and paving to match the master image.\n- (Gemini VLM) Rebuild the ground floor courtyard, adding the metal gate, low walls, and specific potted plants layout seen in the master image.\n- (Gemini VLM) Redraw the exterior metal staircase to follow the exact geometric run, landings, and railing style of the master photograph.\n- (Gemini VLM) Add the clothesline with hanging clothes to the left side of the rooftop.\n- (Gemini VLM) Reposition the wooden platform on the rooftop to sit directly in front of the water tank with the correct orientation.\n- (Gemini VLM) Adjust the proportions, placement, and framing of the windows on the main building facade to exactly replicate the master photograph.\n- (Gemini VLM) Move the rooftop entrance door slightly to the right and match its rusted metal texture to the master image.\n- (Gemini VLM) Place a bicycle on the ground floor next to the staircase.\n\nThe attached MASTER photograph is the ground truth for the property's structure — align every fixed feature to it.\n\nPRESERVE EVERYTHING ELSE EXACTLY as in the original photograph —\nbuildings, roof objects, yard, surroundings, lighting, camera,\nframing. No people, no readable text anywhere."}
{"ts": "2026-07-13 13:16:45", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s38_bg4_S10sh6_a", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/master2.png"], "ref_labels": ["LOCATION MASTER PHOTOGRAPH — the exact building and grounds where this background takes place: its architecture, massing, materials and fixed features are spatial truth; render the requested view OF THIS PLACE. Never copy this photo's camera or crop."], "attempt": 1, "dur_s": 22.6, "bytes": 1765532, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/bg4_S10sh6_a.png", "prompt": "Using the attached master photo as the exact reference for the same rooftop dwelling, create a photorealistic live-action empty background plate at night from an extremely low, tight camera position directly outside the rooftop home’s metal entrance, aimed toward the threshold and entry area. Frame the established plain metal door, doorframe, and the narrow floor area at the threshold in close-up. The interior beyond the entrance should read as unlit and dark, without inventing additional rooms or architectural details. For the clean empty plate, keep the metal door closed in its ordinary undisturbed state; no visible person, shoe, hand, flyer, forced lock, damage, or incident-specific condition. Restrained natural night ambience on the rooftop, realistic weathered surfaces, shallow-to-moderate depth of field, no readable text, no ominous stylization."}
{"ts": "2026-07-13 13:17:05", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s38_bg4_S10sh6_b", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/master2.png"], "ref_labels": ["LOCATION MASTER PHOTOGRAPH — the exact building and grounds where this background takes place: its architecture, massing, materials and fixed features are spatial truth; render the requested view OF THIS PLACE. Never copy this photo's camera or crop."], "attempt": 1, "dur_s": 19.8, "bytes": 1899038, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/bg4_S10sh6_b.png", "prompt": "Using the attached master photo as the exact reference for the same rooftop dwelling, create a photorealistic live-action empty background plate at night from an extremely low, tight camera position directly outside the rooftop home’s metal entrance, aimed toward the threshold and entry area. Frame the established plain metal door, doorframe, and the narrow floor area at the threshold in close-up. The interior beyond the entrance should read as unlit and dark, without inventing additional rooms or architectural details. For the clean empty plate, keep the metal door closed in its ordinary undisturbed state; no visible person, shoe, hand, flyer, forced lock, damage, or incident-specific condition. Restrained natural night ambience on the rooftop, realistic weathered surfaces, shallow-to-moderate depth of field, no readable text, no ominous stylization."}
{"ts": "2026-07-13 13:17:26", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s38_bg4_S10sh6_c", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/master2.png"], "ref_labels": ["LOCATION MASTER PHOTOGRAPH — the exact building and grounds where this background takes place: its architecture, massing, materials and fixed features are spatial truth; render the requested view OF THIS PLACE. Never copy this photo's camera or crop."], "attempt": 1, "dur_s": 21.3, "bytes": 1699100, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/bg4_S10sh6_c.png", "prompt": "Using the attached master photo as the exact reference for the same rooftop dwelling, create a photorealistic live-action empty background plate at night from an extremely low, tight camera position directly outside the rooftop home’s metal entrance, aimed toward the threshold and entry area. Frame the established plain metal door, doorframe, and the narrow floor area at the threshold in close-up. The interior beyond the entrance should read as unlit and dark, without inventing additional rooms or architectural details. For the clean empty plate, keep the metal door closed in its ordinary undisturbed state; no visible person, shoe, hand, flyer, forced lock, damage, or incident-specific condition. Restrained natural night ambience on the rooftop, realistic weathered surfaces, shallow-to-moderate depth of field, no readable text, no ominous stylization."}
{"ts": "2026-07-13 13:17:41", "kind": "llm", "step": "s38_bg4_judge_gpt_S10sh6", "model": "gpt", "dur_s": 14.7, "system_prompt": "You are given ONE image-generation prompt, ONE MASTER location\nphotograph (the ground truth of this property), and THREE candidate\nphotographs labelled A, B, C in the order attached, all generated\nfrom that prompt with the master attached as reference.\nPick the ONE candidate that best satisfies ALL of:\n- fidelity to the prompt (structure, camera, materials, state,\n  exclusions such as no people and no readable text),\n- physical coherence (no floating/split volumes, stairs reach\n  their destination, possible geometry),\n- MASTER consistency (storey count, massing, the external stair's\n  full run, rooftop structure placement, walls, gate and yard must\n  match the master photograph),\n- regional authenticity (the prompt declares a real region and\n  era; everything must look like that region's real, ordinary\n  built environment — nothing foreign or genericized).\nCheck every candidate point by point; base verdicts only on what\nis visible. Also give every candidate an integer score 0-10.\nOutput: winner, ranking best-to-worst, and per candidate a score\nplus a one-line Korean verdict citing the decisive points.", "user_prompt": "[{\"type\": \"text\", \"text\": \"THE PROMPT:\\nUsing the attached master photo as the exact reference for the same rooftop dwelling, create a photorealistic live-action empty background plate at night from an extremely low, tight camera position directly outside the rooftop home’s metal entrance, aimed toward the threshold and entry area. Frame the established plain metal door, doorframe, and the narrow floor area at the threshold in close-up. The interior beyond the entrance should read as unlit and dark, without inventing additional rooms or architectural details. For the clean empty plate, keep the metal door closed in its ordinary undisturbed state; no visible person, shoe, hand, flyer, forced lock, damage, or incident-specific condition. Restrained natural night ambience on the rooftop, realistic weathered surfaces, shallow-to-moderate depth of field, no readable text, no ominous stylization.\"}, {\"type\": \"text\", \"text\": \"MASTER photograph (ground truth):\"}, {\"type\": \"text\", \"text\": \"Candidate A:\"}, {\"type\": \"text\", \"text\": \"Candidate B:\"}, {\"type\": \"text\", \"text\": \"Candidate C:\"}]"}
{"ts": "2026-07-13 13:18:06", "kind": "llm", "step": "s38_bg4_judge_gem_S10sh6", "model": "gemini-pro", "dur_s": 25.6, "system_prompt": "You are given ONE image-generation prompt, ONE MASTER location\nphotograph (the ground truth of this property), and THREE candidate\nphotographs labelled A, B, C in the order attached, all generated\nfrom that prompt with the master attached as reference.\nPick the ONE candidate that best satisfies ALL of:\n- fidelity to the prompt (structure, camera, materials, state,\n  exclusions such as no people and no readable text),\n- physical coherence (no floating/split volumes, stairs reach\n  their destination, possible geometry),\n- MASTER consistency (storey count, massing, the external stair's\n  full run, rooftop structure placement, walls, gate and yard must\n  match the master photograph),\n- regional authenticity (the prompt declares a real region and\n  era; everything must look like that region's real, ordinary\n  built environment — nothing foreign or genericized).\nCheck every candidate point by point; base verdicts only on what\nis visible. Also give every candidate an integer score 0-10.\nOutput: winner, ranking best-to-worst, and per candidate a score\nplus a one-line Korean verdict citing the decisive points.", "user_prompt": "[{\"type\": \"text\", \"text\": \"THE PROMPT:\\nUsing the attached master photo as the exact reference for the same rooftop dwelling, create a photorealistic live-action empty background plate at night from an extremely low, tight camera position directly outside the rooftop home’s metal entrance, aimed toward the threshold and entry area. Frame the established plain metal door, doorframe, and the narrow floor area at the threshold in close-up. The interior beyond the entrance should read as unlit and dark, without inventing additional rooms or architectural details. For the clean empty plate, keep the metal door closed in its ordinary undisturbed state; no visible person, shoe, hand, flyer, forced lock, damage, or incident-specific condition. Restrained natural night ambience on the rooftop, realistic weathered surfaces, shallow-to-moderate depth of field, no readable text, no ominous stylization.\"}, {\"type\": \"text\", \"text\": \"MASTER photograph (ground truth):\"}, {\"type\": \"text\", \"text\": \"Candidate A:\"}, {\"type\": \"text\", \"text\": \"Candidate B:\"}, {\"type\": \"text\", \"text\": \"Candidate C:\"}]"}
{"ts": "2026-07-13 13:18:24", "kind": "llm", "step": "s38_bg4_crit_gpt_S10sh6", "model": "gpt", "dur_s": 17.7, "system_prompt": "You are given: an image-generation prompt, a MASTER location\nphotograph (ground truth), and ONE photograph generated from the\nprompt with the master as reference. List what is WRONG with it:\n- fidelity to the prompt, - physical coherence,\n- MASTER consistency (storeys, massing, stair run, rooftop, walls,\n  gate, yard), - regional authenticity per the prompt's region.\nBase every finding only on what is visible. Ignore taste.\nissues: issue_ko (short Korean line) + fix_en (ONE imperative\nEnglish edit fixing exactly that while changing nothing else).\nEmpty array if nothing is wrong.", "user_prompt": "[{\"type\": \"text\", \"text\": \"THE PROMPT:\\nUsing the attached master photo as the exact reference for the same rooftop dwelling, create a photorealistic live-action empty background plate at night from an extremely low, tight camera position directly outside the rooftop home’s metal entrance, aimed toward the threshold and entry area. Frame the established plain metal door, doorframe, and the narrow floor area at the threshold in close-up. The interior beyond the entrance should read as unlit and dark, without inventing additional rooms or architectural details. For the clean empty plate, keep the metal door closed in its ordinary undisturbed state; no visible person, shoe, hand, flyer, forced lock, damage, or incident-specific condition. Restrained natural night ambience on the rooftop, realistic weathered surfaces, shallow-to-moderate depth of field, no readable text, no ominous stylization.\"}, {\"type\": \"text\", \"text\": \"MASTER photograph:\"}, {\"type\": \"text\", \"text\": \"Photograph to examine:\"}]"}
{"ts": "2026-07-13 13:18:50", "kind": "llm", "step": "s38_bg4_crit_gem_S10sh6", "model": "gemini-pro", "dur_s": 26.2, "system_prompt": "You are given: an image-generation prompt, a MASTER location\nphotograph (ground truth), and ONE photograph generated from the\nprompt with the master as reference. List what is WRONG with it:\n- fidelity to the prompt, - physical coherence,\n- MASTER consistency (storeys, massing, stair run, rooftop, walls,\n  gate, yard), - regional authenticity per the prompt's region.\nBase every finding only on what is visible. Ignore taste.\nissues: issue_ko (short Korean line) + fix_en (ONE imperative\nEnglish edit fixing exactly that while changing nothing else).\nEmpty array if nothing is wrong.", "user_prompt": "[{\"type\": \"text\", \"text\": \"THE PROMPT:\\nUsing the attached master photo as the exact reference for the same rooftop dwelling, create a photorealistic live-action empty background plate at night from an extremely low, tight camera position directly outside the rooftop home’s metal entrance, aimed toward the threshold and entry area. Frame the established plain metal door, doorframe, and the narrow floor area at the threshold in close-up. The interior beyond the entrance should read as unlit and dark, without inventing additional rooms or architectural details. For the clean empty plate, keep the metal door closed in its ordinary undisturbed state; no visible person, shoe, hand, flyer, forced lock, damage, or incident-specific condition. Restrained natural night ambience on the rooftop, realistic weathered surfaces, shallow-to-moderate depth of field, no readable text, no ominous stylization.\"}, {\"type\": \"text\", \"text\": \"MASTER photograph:\"}, {\"type\": \"text\", \"text\": \"Photograph to examine:\"}]"}
{"ts": "2026-07-13 13:19:13", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s38_bg4_fix_S10sh6", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/bg4_S10sh6_b.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/master2.png"], "ref_labels": ["PHOTOGRAPH TO EDIT — fix ONLY the issues the prompt lists; preserve everything else exactly.", "MASTER photograph — ground truth; align the edited photo's building to it."], "attempt": 1, "dur_s": 22.8, "bytes": 1993052, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/bg4_S10sh6.png", "prompt": "Edit this photograph. Fix ONLY the issues listed below, each in\nplace, changing nothing else about the property:\n\nISSUES TO FIX:\n- (GPT VLM) Reposition the camera directly in front of the entrance at an extremely low angle while changing nothing else.\n- (GPT VLM) Replace the large dark glazed panel with the master’s opaque blue-gray metal door featuring only its small blue upper window, while changing nothing else.\n- (GPT VLM) Restore the master door’s visible knob, vertical pull handle, and mail slot while changing nothing else.\n- (GPT VLM) Replace the raised multi-tier metal sill with the master’s simple flat threshold and rectangular doormat while changing nothing else.\n- (GPT VLM) Reconfigure the visible stair so it approaches the rooftop landing from the front-left as in the master, rather than rising behind the doorway, while changing nothing else.\n- (GPT VLM) Match the entry wall to the master’s smooth pale-gray exterior finish while changing nothing else.\n- (Gemini VLM) Change the large dark glass panel in the doorframe to a solid metal door featuring a small upper window and a mail slot.\n- (Gemini VLM) Remove the upward-leading staircase in the left background and replace it with the open rooftop area.\n- (Gemini VLM) Remove the thick concrete wall in the left foreground to show the continuous flat green rooftop floor.\n\nThe attached MASTER photograph is the ground truth for the property's structure — align every fixed feature to it.\n\nPRESERVE EVERYTHING ELSE EXACTLY as in the original photograph —\nbuildings, roof objects, yard, surroundings, lighting, camera,\nframing. No people, no readable text anywhere."}
{"ts": "2026-07-13 13:19:35", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s38_bg4_S10sh7_a", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/master2.png"], "ref_labels": ["LOCATION MASTER PHOTOGRAPH — the exact building and grounds where this background takes place: its architecture, massing, materials and fixed features are spatial truth; render the requested view OF THIS PLACE. Never copy this photo's camera or crop."], "attempt": 1, "dur_s": 21.7, "bytes": 2762681, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/bg4_S10sh7_a.png", "prompt": "Using the attached master photo as the exact reference for the same rooftop dwelling, create a locked-off photorealistic live-action empty background plate at night, facing the established small living-room window from across the open roof terrace. The rooftop room is illuminated from inside, so the window glows naturally against the weathered exterior wall, but the glass and curtain surface must contain no human figures, silhouettes, reflections of people, violent action, or event-specific shadows. Preserve the master location’s flat roof, low parapet, and only those nearby rooftop fixtures that naturally fall within this camera angle. Static composition, realistic low-light exposure, subdued contemporary Incheon residential surroundings, no people, animals, readable text, police activity, or incident evidence."}
{"ts": "2026-07-13 13:19:59", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s38_bg4_S10sh7_b", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/master2.png"], "ref_labels": ["LOCATION MASTER PHOTOGRAPH — the exact building and grounds where this background takes place: its architecture, massing, materials and fixed features are spatial truth; render the requested view OF THIS PLACE. Never copy this photo's camera or crop."], "attempt": 1, "dur_s": 24.0, "bytes": 2477620, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/bg4_S10sh7_b.png", "prompt": "Using the attached master photo as the exact reference for the same rooftop dwelling, create a locked-off photorealistic live-action empty background plate at night, facing the established small living-room window from across the open roof terrace. The rooftop room is illuminated from inside, so the window glows naturally against the weathered exterior wall, but the glass and curtain surface must contain no human figures, silhouettes, reflections of people, violent action, or event-specific shadows. Preserve the master location’s flat roof, low parapet, and only those nearby rooftop fixtures that naturally fall within this camera angle. Static composition, realistic low-light exposure, subdued contemporary Incheon residential surroundings, no people, animals, readable text, police activity, or incident evidence."}
{"ts": "2026-07-13 13:20:19", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s38_bg4_S10sh7_c", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/master2.png"], "ref_labels": ["LOCATION MASTER PHOTOGRAPH — the exact building and grounds where this background takes place: its architecture, massing, materials and fixed features are spatial truth; render the requested view OF THIS PLACE. Never copy this photo's camera or crop."], "attempt": 1, "dur_s": 20.1, "bytes": 2770934, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/bg4_S10sh7_c.png", "prompt": "Using the attached master photo as the exact reference for the same rooftop dwelling, create a locked-off photorealistic live-action empty background plate at night, facing the established small living-room window from across the open roof terrace. The rooftop room is illuminated from inside, so the window glows naturally against the weathered exterior wall, but the glass and curtain surface must contain no human figures, silhouettes, reflections of people, violent action, or event-specific shadows. Preserve the master location’s flat roof, low parapet, and only those nearby rooftop fixtures that naturally fall within this camera angle. Static composition, realistic low-light exposure, subdued contemporary Incheon residential surroundings, no people, animals, readable text, police activity, or incident evidence."}
{"ts": "2026-07-13 13:20:38", "kind": "llm", "step": "s38_bg4_judge_gpt_S10sh7", "model": "gpt", "dur_s": 19.2, "system_prompt": "You are given ONE image-generation prompt, ONE MASTER location\nphotograph (the ground truth of this property), and THREE candidate\nphotographs labelled A, B, C in the order attached, all generated\nfrom that prompt with the master attached as reference.\nPick the ONE candidate that best satisfies ALL of:\n- fidelity to the prompt (structure, camera, materials, state,\n  exclusions such as no people and no readable text),\n- physical coherence (no floating/split volumes, stairs reach\n  their destination, possible geometry),\n- MASTER consistency (storey count, massing, the external stair's\n  full run, rooftop structure placement, walls, gate and yard must\n  match the master photograph),\n- regional authenticity (the prompt declares a real region and\n  era; everything must look like that region's real, ordinary\n  built environment — nothing foreign or genericized).\nCheck every candidate point by point; base verdicts only on what\nis visible. Also give every candidate an integer score 0-10.\nOutput: winner, ranking best-to-worst, and per candidate a score\nplus a one-line Korean verdict citing the decisive points.", "user_prompt": "[{\"type\": \"text\", \"text\": \"THE PROMPT:\\nUsing the attached master photo as the exact reference for the same rooftop dwelling, create a locked-off photorealistic live-action empty background plate at night, facing the established small living-room window from across the open roof terrace. The rooftop room is illuminated from inside, so the window glows naturally against the weathered exterior wall, but the glass and curtain surface must contain no human figures, silhouettes, reflections of people, violent action, or event-specific shadows. Preserve the master location’s flat roof, low parapet, and only those nearby rooftop fixtures that naturally fall within this camera angle. Static composition, realistic low-light exposure, subdued contemporary Incheon residential surroundings, no people, animals, readable text, police activity, or incident evidence.\"}, {\"type\": \"text\", \"text\": \"MASTER photograph (ground truth):\"}, {\"type\": \"text\", \"text\": \"Candidate A:\"}, {\"type\": \"text\", \"text\": \"Candidate B:\"}, {\"type\": \"text\", \"text\": \"Candidate C:\"}]"}
{"ts": "2026-07-13 13:21:36", "kind": "llm", "step": "s38_bg4_judge_gem_S10sh7", "model": "gemini-pro", "dur_s": 59.7, "system_prompt": "You are given ONE image-generation prompt, ONE MASTER location\nphotograph (the ground truth of this property), and THREE candidate\nphotographs labelled A, B, C in the order attached, all generated\nfrom that prompt with the master attached as reference.\nPick the ONE candidate that best satisfies ALL of:\n- fidelity to the prompt (structure, camera, materials, state,\n  exclusions such as no people and no readable text),\n- physical coherence (no floating/split volumes, stairs reach\n  their destination, possible geometry),\n- MASTER consistency (storey count, massing, the external stair's\n  full run, rooftop structure placement, walls, gate and yard must\n  match the master photograph),\n- regional authenticity (the prompt declares a real region and\n  era; everything must look like that region's real, ordinary\n  built environment — nothing foreign or genericized).\nCheck every candidate point by point; base verdicts only on what\nis visible. Also give every candidate an integer score 0-10.\nOutput: winner, ranking best-to-worst, and per candidate a score\nplus a one-line Korean verdict citing the decisive points.", "user_prompt": "[{\"type\": \"text\", \"text\": \"THE PROMPT:\\nUsing the attached master photo as the exact reference for the same rooftop dwelling, create a locked-off photorealistic live-action empty background plate at night, facing the established small living-room window from across the open roof terrace. The rooftop room is illuminated from inside, so the window glows naturally against the weathered exterior wall, but the glass and curtain surface must contain no human figures, silhouettes, reflections of people, violent action, or event-specific shadows. Preserve the master location’s flat roof, low parapet, and only those nearby rooftop fixtures that naturally fall within this camera angle. Static composition, realistic low-light exposure, subdued contemporary Incheon residential surroundings, no people, animals, readable text, police activity, or incident evidence.\"}, {\"type\": \"text\", \"text\": \"MASTER photograph (ground truth):\"}, {\"type\": \"text\", \"text\": \"Candidate A:\"}, {\"type\": \"text\", \"text\": \"Candidate B:\"}, {\"type\": \"text\", \"text\": \"Candidate C:\"}]"}
{"ts": "2026-07-13 13:22:01", "kind": "llm", "step": "s38_bg4_crit_gpt_S10sh7", "model": "gpt", "dur_s": 25.3, "system_prompt": "You are given: an image-generation prompt, a MASTER location\nphotograph (ground truth), and ONE photograph generated from the\nprompt with the master as reference. List what is WRONG with it:\n- fidelity to the prompt, - physical coherence,\n- MASTER consistency (storeys, massing, stair run, rooftop, walls,\n  gate, yard), - regional authenticity per the prompt's region.\nBase every finding only on what is visible. Ignore taste.\nissues: issue_ko (short Korean line) + fix_en (ONE imperative\nEnglish edit fixing exactly that while changing nothing else).\nEmpty array if nothing is wrong.", "user_prompt": "[{\"type\": \"text\", \"text\": \"THE PROMPT:\\nUsing the attached master photo as the exact reference for the same rooftop dwelling, create a locked-off photorealistic live-action empty background plate at night, facing the established small living-room window from across the open roof terrace. The rooftop room is illuminated from inside, so the window glows naturally against the weathered exterior wall, but the glass and curtain surface must contain no human figures, silhouettes, reflections of people, violent action, or event-specific shadows. Preserve the master location’s flat roof, low parapet, and only those nearby rooftop fixtures that naturally fall within this camera angle. Static composition, realistic low-light exposure, subdued contemporary Incheon residential surroundings, no people, animals, readable text, police activity, or incident evidence.\"}, {\"type\": \"text\", \"text\": \"MASTER photograph:\"}, {\"type\": \"text\", \"text\": \"Photograph to examine:\"}]"}
{"ts": "2026-07-13 13:22:34", "kind": "llm", "step": "s38_bg4_crit_gem_S10sh7", "model": "gemini-pro", "dur_s": 33.3, "system_prompt": "You are given: an image-generation prompt, a MASTER location\nphotograph (ground truth), and ONE photograph generated from the\nprompt with the master as reference. List what is WRONG with it:\n- fidelity to the prompt, - physical coherence,\n- MASTER consistency (storeys, massing, stair run, rooftop, walls,\n  gate, yard), - regional authenticity per the prompt's region.\nBase every finding only on what is visible. Ignore taste.\nissues: issue_ko (short Korean line) + fix_en (ONE imperative\nEnglish edit fixing exactly that while changing nothing else).\nEmpty array if nothing is wrong.", "user_prompt": "[{\"type\": \"text\", \"text\": \"THE PROMPT:\\nUsing the attached master photo as the exact reference for the same rooftop dwelling, create a locked-off photorealistic live-action empty background plate at night, facing the established small living-room window from across the open roof terrace. The rooftop room is illuminated from inside, so the window glows naturally against the weathered exterior wall, but the glass and curtain surface must contain no human figures, silhouettes, reflections of people, violent action, or event-specific shadows. Preserve the master location’s flat roof, low parapet, and only those nearby rooftop fixtures that naturally fall within this camera angle. Static composition, realistic low-light exposure, subdued contemporary Incheon residential surroundings, no people, animals, readable text, police activity, or incident evidence.\"}, {\"type\": \"text\", \"text\": \"MASTER photograph:\"}, {\"type\": \"text\", \"text\": \"Photograph to examine:\"}]"}
{"ts": "2026-07-13 13:23:01", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s38_bg4_fix_S10sh7", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/bg4_S10sh7_a.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/master2.png"], "ref_labels": ["PHOTOGRAPH TO EDIT — fix ONLY the issues the prompt lists; preserve everything else exactly.", "MASTER photograph — ground truth; align the edited photo's building to it."], "attempt": 1, "dur_s": 26.6, "bytes": 2794118, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/bg4_S10sh7.png", "prompt": "Edit this photograph. Fix ONLY the issues listed below, each in\nplace, changing nothing else about the property:\n\nISSUES TO FIX:\n- (GPT VLM) Lower and reposition the camera to the opposite side of the open roof terrace at terrace-level, directly facing the established living-room window, while changing nothing else.\n- (GPT VLM) Restore the master photograph’s hanging laundry on the existing rooftop clothesline while changing nothing else.\n- (Gemini VLM) Lower the camera to roof level to face the window directly from across the terrace.\n- (Gemini VLM) Redraw the metal stairs with physically coherent, horizontal treads and properly connected railings.\n- (Gemini VLM) Change the building's lower exterior walls to tan tiles matching the master location.\n- (Gemini VLM) Render clear, vertical supporting legs for the left side of the wooden platform under the water tank.\n\nThe attached MASTER photograph is the ground truth for the property's structure — align every fixed feature to it.\n\nPRESERVE EVERYTHING ELSE EXACTLY as in the original photograph —\nbuildings, roof objects, yard, surroundings, lighting, camera,\nframing. No people, no readable text anywhere."}
{"ts": "2026-07-13 13:23:26", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s38_bg4_S11sh5_a", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/master2.png"], "ref_labels": ["LOCATION MASTER PHOTOGRAPH — the exact building and grounds where this background takes place: its architecture, massing, materials and fixed features are spatial truth; render the requested view OF THIS PLACE. Never copy this photo's camera or crop."], "attempt": 1, "dur_s": 24.8, "bytes": 2699769, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/bg4_S11sh5_a.png", "prompt": "Using the attached master photo as the exact architectural reference, create a photorealistic live-action empty background plate at night from eye level on the rooftop landing, looking straight toward the same rooftop dwelling’s plain metal entrance door. Show the open roof terrace leading to the doorway, the weathered exterior wall, doorframe, and any fixed rooftop elements visible in their established master-image positions. As a clean undisturbed plate, the metal door is fully closed and intact, with no flyer in the seam, no forced entry, no interior figure, and no incident-specific condition. Natural dim night ambience, realistic scale and weathering, frontal composition, no people, animals, readable text, police lights, vehicles, blood, or dramatic horror lighting."}
{"ts": "2026-07-13 13:23:47", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s38_bg4_S11sh5_b", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/master2.png"], "ref_labels": ["LOCATION MASTER PHOTOGRAPH — the exact building and grounds where this background takes place: its architecture, massing, materials and fixed features are spatial truth; render the requested view OF THIS PLACE. Never copy this photo's camera or crop."], "attempt": 1, "dur_s": 21.5, "bytes": 2859321, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/bg4_S11sh5_b.png", "prompt": "Using the attached master photo as the exact architectural reference, create a photorealistic live-action empty background plate at night from eye level on the rooftop landing, looking straight toward the same rooftop dwelling’s plain metal entrance door. Show the open roof terrace leading to the doorway, the weathered exterior wall, doorframe, and any fixed rooftop elements visible in their established master-image positions. As a clean undisturbed plate, the metal door is fully closed and intact, with no flyer in the seam, no forced entry, no interior figure, and no incident-specific condition. Natural dim night ambience, realistic scale and weathering, frontal composition, no people, animals, readable text, police lights, vehicles, blood, or dramatic horror lighting."}
{"ts": "2026-07-13 13:24:10", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s38_bg4_S11sh5_c", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/master2.png"], "ref_labels": ["LOCATION MASTER PHOTOGRAPH — the exact building and grounds where this background takes place: its architecture, massing, materials and fixed features are spatial truth; render the requested view OF THIS PLACE. Never copy this photo's camera or crop."], "attempt": 1, "dur_s": 22.5, "bytes": 2667989, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/bg4_S11sh5_c.png", "prompt": "Using the attached master photo as the exact architectural reference, create a photorealistic live-action empty background plate at night from eye level on the rooftop landing, looking straight toward the same rooftop dwelling’s plain metal entrance door. Show the open roof terrace leading to the doorway, the weathered exterior wall, doorframe, and any fixed rooftop elements visible in their established master-image positions. As a clean undisturbed plate, the metal door is fully closed and intact, with no flyer in the seam, no forced entry, no interior figure, and no incident-specific condition. Natural dim night ambience, realistic scale and weathering, frontal composition, no people, animals, readable text, police lights, vehicles, blood, or dramatic horror lighting."}
{"ts": "2026-07-13 13:24:25", "kind": "llm", "step": "s38_bg4_judge_gpt_S11sh5", "model": "gpt", "dur_s": 14.9, "system_prompt": "You are given ONE image-generation prompt, ONE MASTER location\nphotograph (the ground truth of this property), and THREE candidate\nphotographs labelled A, B, C in the order attached, all generated\nfrom that prompt with the master attached as reference.\nPick the ONE candidate that best satisfies ALL of:\n- fidelity to the prompt (structure, camera, materials, state,\n  exclusions such as no people and no readable text),\n- physical coherence (no floating/split volumes, stairs reach\n  their destination, possible geometry),\n- MASTER consistency (storey count, massing, the external stair's\n  full run, rooftop structure placement, walls, gate and yard must\n  match the master photograph),\n- regional authenticity (the prompt declares a real region and\n  era; everything must look like that region's real, ordinary\n  built environment — nothing foreign or genericized).\nCheck every candidate point by point; base verdicts only on what\nis visible. Also give every candidate an integer score 0-10.\nOutput: winner, ranking best-to-worst, and per candidate a score\nplus a one-line Korean verdict citing the decisive points.", "user_prompt": "[{\"type\": \"text\", \"text\": \"THE PROMPT:\\nUsing the attached master photo as the exact architectural reference, create a photorealistic live-action empty background plate at night from eye level on the rooftop landing, looking straight toward the same rooftop dwelling’s plain metal entrance door. Show the open roof terrace leading to the doorway, the weathered exterior wall, doorframe, and any fixed rooftop elements visible in their established master-image positions. As a clean undisturbed plate, the metal door is fully closed and intact, with no flyer in the seam, no forced entry, no interior figure, and no incident-specific condition. Natural dim night ambience, realistic scale and weathering, frontal composition, no people, animals, readable text, police lights, vehicles, blood, or dramatic horror lighting.\"}, {\"type\": \"text\", \"text\": \"MASTER photograph (ground truth):\"}, {\"type\": \"text\", \"text\": \"Candidate A:\"}, {\"type\": \"text\", \"text\": \"Candidate B:\"}, {\"type\": \"text\", \"text\": \"Candidate C:\"}]"}
{"ts": "2026-07-13 13:24:57", "kind": "llm", "step": "s38_bg4_judge_gem_S11sh5", "model": "gemini-pro", "dur_s": 32.0, "system_prompt": "You are given ONE image-generation prompt, ONE MASTER location\nphotograph (the ground truth of this property), and THREE candidate\nphotographs labelled A, B, C in the order attached, all generated\nfrom that prompt with the master attached as reference.\nPick the ONE candidate that best satisfies ALL of:\n- fidelity to the prompt (structure, camera, materials, state,\n  exclusions such as no people and no readable text),\n- physical coherence (no floating/split volumes, stairs reach\n  their destination, possible geometry),\n- MASTER consistency (storey count, massing, the external stair's\n  full run, rooftop structure placement, walls, gate and yard must\n  match the master photograph),\n- regional authenticity (the prompt declares a real region and\n  era; everything must look like that region's real, ordinary\n  built environment — nothing foreign or genericized).\nCheck every candidate point by point; base verdicts only on what\nis visible. Also give every candidate an integer score 0-10.\nOutput: winner, ranking best-to-worst, and per candidate a score\nplus a one-line Korean verdict citing the decisive points.", "user_prompt": "[{\"type\": \"text\", \"text\": \"THE PROMPT:\\nUsing the attached master photo as the exact architectural reference, create a photorealistic live-action empty background plate at night from eye level on the rooftop landing, looking straight toward the same rooftop dwelling’s plain metal entrance door. Show the open roof terrace leading to the doorway, the weathered exterior wall, doorframe, and any fixed rooftop elements visible in their established master-image positions. As a clean undisturbed plate, the metal door is fully closed and intact, with no flyer in the seam, no forced entry, no interior figure, and no incident-specific condition. Natural dim night ambience, realistic scale and weathering, frontal composition, no people, animals, readable text, police lights, vehicles, blood, or dramatic horror lighting.\"}, {\"type\": \"text\", \"text\": \"MASTER photograph (ground truth):\"}, {\"type\": \"text\", \"text\": \"Candidate A:\"}, {\"type\": \"text\", \"text\": \"Candidate B:\"}, {\"type\": \"text\", \"text\": \"Candidate C:\"}]"}
{"ts": "2026-07-13 13:25:56", "kind": "llm", "step": "s38_bg4_crit_gpt_S11sh5", "model": "gpt", "dur_s": 59.0, "system_prompt": "You are given: an image-generation prompt, a MASTER location\nphotograph (ground truth), and ONE photograph generated from the\nprompt with the master as reference. List what is WRONG with it:\n- fidelity to the prompt, - physical coherence,\n- MASTER consistency (storeys, massing, stair run, rooftop, walls,\n  gate, yard), - regional authenticity per the prompt's region.\nBase every finding only on what is visible. Ignore taste.\nissues: issue_ko (short Korean line) + fix_en (ONE imperative\nEnglish edit fixing exactly that while changing nothing else).\nEmpty array if nothing is wrong.", "user_prompt": "[{\"type\": \"text\", \"text\": \"THE PROMPT:\\nUsing the attached master photo as the exact architectural reference, create a photorealistic live-action empty background plate at night from eye level on the rooftop landing, looking straight toward the same rooftop dwelling’s plain metal entrance door. Show the open roof terrace leading to the doorway, the weathered exterior wall, doorframe, and any fixed rooftop elements visible in their established master-image positions. As a clean undisturbed plate, the metal door is fully closed and intact, with no flyer in the seam, no forced entry, no interior figure, and no incident-specific condition. Natural dim night ambience, realistic scale and weathering, frontal composition, no people, animals, readable text, police lights, vehicles, blood, or dramatic horror lighting.\"}, {\"type\": \"text\", \"text\": \"MASTER photograph:\"}, {\"type\": \"text\", \"text\": \"Photograph to examine:\"}]"}
{"ts": "2026-07-13 13:26:23", "kind": "llm", "step": "s38_bg4_crit_gem_S11sh5", "model": "gemini-pro", "dur_s": 27.5, "system_prompt": "You are given: an image-generation prompt, a MASTER location\nphotograph (ground truth), and ONE photograph generated from the\nprompt with the master as reference. List what is WRONG with it:\n- fidelity to the prompt, - physical coherence,\n- MASTER consistency (storeys, massing, stair run, rooftop, walls,\n  gate, yard), - regional authenticity per the prompt's region.\nBase every finding only on what is visible. Ignore taste.\nissues: issue_ko (short Korean line) + fix_en (ONE imperative\nEnglish edit fixing exactly that while changing nothing else).\nEmpty array if nothing is wrong.", "user_prompt": "[{\"type\": \"text\", \"text\": \"THE PROMPT:\\nUsing the attached master photo as the exact architectural reference, create a photorealistic live-action empty background plate at night from eye level on the rooftop landing, looking straight toward the same rooftop dwelling’s plain metal entrance door. Show the open roof terrace leading to the doorway, the weathered exterior wall, doorframe, and any fixed rooftop elements visible in their established master-image positions. As a clean undisturbed plate, the metal door is fully closed and intact, with no flyer in the seam, no forced entry, no interior figure, and no incident-specific condition. Natural dim night ambience, realistic scale and weathering, frontal composition, no people, animals, readable text, police lights, vehicles, blood, or dramatic horror lighting.\"}, {\"type\": \"text\", \"text\": \"MASTER photograph:\"}, {\"type\": \"text\", \"text\": \"Photograph to examine:\"}]"}
{"ts": "2026-07-13 13:26:52", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s38_bg4_fix_S11sh5", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/bg4_S11sh5_a.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/master2.png"], "ref_labels": ["PHOTOGRAPH TO EDIT — fix ONLY the issues the prompt lists; preserve everything else exactly.", "MASTER photograph — ground truth; align the edited photo's building to it."], "attempt": 1, "dur_s": 29.2, "bytes": 2657982, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/bg4_S11sh5.png", "prompt": "Edit this photograph. Fix ONLY the issues listed below, each in\nplace, changing nothing else about the property:\n\nISSUES TO FIX:\n- (GPT VLM) Reposition the camera to eye level on the rooftop stair landing, aimed horizontally and frontally at the entrance door, while changing nothing else.\n- (GPT VLM) Restore the master's small blue inset window in the upper panel of the metal entrance door while changing nothing else.\n- (GPT VLM) Remove the black transom-like opening above the entrance door to match the master's solid wall and doorframe while changing nothing else.\n- (GPT VLM) Reduce and reposition the rooftop water tank to the master's scale and location so it only minimally overlaps the right edge of the window, while changing nothing else.\n- (GPT VLM) Replace the heavy wooden tank platform with the master's smaller perforated metal platform in the same position while changing nothing else.\n- (GPT VLM) Restore the fixed clothesline poles and wires in their exact master-image positions while changing nothing else.\n- (Gemini VLM) Add the square window with blue glass to the upper half of the metal door.\n- (Gemini VLM) Move the wooden platform to the right and place the large beige water tank directly on top of it.\n- (Gemini VLM) Remove the foreground stairs and railings to reveal the flat open green rooftop floor leading to the door.\n\nThe attached MASTER photograph is the ground truth for the property's structure — align every fixed feature to it.\n\nPRESERVE EVERYTHING ELSE EXACTLY as in the original photograph —\nbuildings, roof objects, yard, surroundings, lighting, camera,\nframing. No people, no readable text anywhere."}
{"ts": "2026-07-13 13:27:16", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s38_bg4_S17sh2_a", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/master2.png"], "ref_labels": ["LOCATION MASTER PHOTOGRAPH — the exact building and grounds where this background takes place: its architecture, massing, materials and fixed features are spatial truth; render the requested view OF THIS PLACE. Never copy this photo's camera or crop."], "attempt": 1, "dur_s": 23.6, "bytes": 2443101, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/bg4_S17sh2_a.png", "prompt": "Using the attached master photo as the exact location reference, create a photorealistic live-action empty background plate at dawn from parapet height on the same rooftop, composed in side profile along the top edge of the low rooftop wall. Keep the parapet edge prominent in the foreground as the surface where an animal would be composited, with the rooftop dwelling and its established small window visible in the background from the appropriate lateral direction. The room window may retain a subdued warm interior glow against the cool first light of dawn. Quiet outskirts-of-Incheon atmosphere, soft blue-gray dawn sky, realistic weathered masonry, shallow-to-moderate depth of field. No cat, no people, no animals, no readable text, no incident evidence, and no invented rooftop structures."}
{"ts": "2026-07-13 13:27:38", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s38_bg4_S17sh2_b", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/master2.png"], "ref_labels": ["LOCATION MASTER PHOTOGRAPH — the exact building and grounds where this background takes place: its architecture, massing, materials and fixed features are spatial truth; render the requested view OF THIS PLACE. Never copy this photo's camera or crop."], "attempt": 1, "dur_s": 21.5, "bytes": 2236736, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/bg4_S17sh2_b.png", "prompt": "Using the attached master photo as the exact location reference, create a photorealistic live-action empty background plate at dawn from parapet height on the same rooftop, composed in side profile along the top edge of the low rooftop wall. Keep the parapet edge prominent in the foreground as the surface where an animal would be composited, with the rooftop dwelling and its established small window visible in the background from the appropriate lateral direction. The room window may retain a subdued warm interior glow against the cool first light of dawn. Quiet outskirts-of-Incheon atmosphere, soft blue-gray dawn sky, realistic weathered masonry, shallow-to-moderate depth of field. No cat, no people, no animals, no readable text, no incident evidence, and no invented rooftop structures."}
{"ts": "2026-07-13 13:28:00", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s38_bg4_S17sh2_c", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/master2.png"], "ref_labels": ["LOCATION MASTER PHOTOGRAPH — the exact building and grounds where this background takes place: its architecture, massing, materials and fixed features are spatial truth; render the requested view OF THIS PLACE. Never copy this photo's camera or crop."], "attempt": 1, "dur_s": 22.3, "bytes": 2630430, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/bg4_S17sh2_c.png", "prompt": "Using the attached master photo as the exact location reference, create a photorealistic live-action empty background plate at dawn from parapet height on the same rooftop, composed in side profile along the top edge of the low rooftop wall. Keep the parapet edge prominent in the foreground as the surface where an animal would be composited, with the rooftop dwelling and its established small window visible in the background from the appropriate lateral direction. The room window may retain a subdued warm interior glow against the cool first light of dawn. Quiet outskirts-of-Incheon atmosphere, soft blue-gray dawn sky, realistic weathered masonry, shallow-to-moderate depth of field. No cat, no people, no animals, no readable text, no incident evidence, and no invented rooftop structures."}
{"ts": "2026-07-13 13:28:11", "kind": "llm", "step": "s38_bg4_judge_gpt_S17sh2", "model": "gpt", "dur_s": 10.8, "system_prompt": "You are given ONE image-generation prompt, ONE MASTER location\nphotograph (the ground truth of this property), and THREE candidate\nphotographs labelled A, B, C in the order attached, all generated\nfrom that prompt with the master attached as reference.\nPick the ONE candidate that best satisfies ALL of:\n- fidelity to the prompt (structure, camera, materials, state,\n  exclusions such as no people and no readable text),\n- physical coherence (no floating/split volumes, stairs reach\n  their destination, possible geometry),\n- MASTER consistency (storey count, massing, the external stair's\n  full run, rooftop structure placement, walls, gate and yard must\n  match the master photograph),\n- regional authenticity (the prompt declares a real region and\n  era; everything must look like that region's real, ordinary\n  built environment — nothing foreign or genericized).\nCheck every candidate point by point; base verdicts only on what\nis visible. Also give every candidate an integer score 0-10.\nOutput: winner, ranking best-to-worst, and per candidate a score\nplus a one-line Korean verdict citing the decisive points.", "user_prompt": "[{\"type\": \"text\", \"text\": \"THE PROMPT:\\nUsing the attached master photo as the exact location reference, create a photorealistic live-action empty background plate at dawn from parapet height on the same rooftop, composed in side profile along the top edge of the low rooftop wall. Keep the parapet edge prominent in the foreground as the surface where an animal would be composited, with the rooftop dwelling and its established small window visible in the background from the appropriate lateral direction. The room window may retain a subdued warm interior glow against the cool first light of dawn. Quiet outskirts-of-Incheon atmosphere, soft blue-gray dawn sky, realistic weathered masonry, shallow-to-moderate depth of field. No cat, no people, no animals, no readable text, no incident evidence, and no invented rooftop structures.\"}, {\"type\": \"text\", \"text\": \"MASTER photograph (ground truth):\"}, {\"type\": \"text\", \"text\": \"Candidate A:\"}, {\"type\": \"text\", \"text\": \"Candidate B:\"}, {\"type\": \"text\", \"text\": \"Candidate C:\"}]"}
{"ts": "2026-07-13 13:28:32", "kind": "llm", "step": "s38_bg4_judge_gem_S17sh2", "model": "gemini-pro", "dur_s": 21.8, "system_prompt": "You are given ONE image-generation prompt, ONE MASTER location\nphotograph (the ground truth of this property), and THREE candidate\nphotographs labelled A, B, C in the order attached, all generated\nfrom that prompt with the master attached as reference.\nPick the ONE candidate that best satisfies ALL of:\n- fidelity to the prompt (structure, camera, materials, state,\n  exclusions such as no people and no readable text),\n- physical coherence (no floating/split volumes, stairs reach\n  their destination, possible geometry),\n- MASTER consistency (storey count, massing, the external stair's\n  full run, rooftop structure placement, walls, gate and yard must\n  match the master photograph),\n- regional authenticity (the prompt declares a real region and\n  era; everything must look like that region's real, ordinary\n  built environment — nothing foreign or genericized).\nCheck every candidate point by point; base verdicts only on what\nis visible. Also give every candidate an integer score 0-10.\nOutput: winner, ranking best-to-worst, and per candidate a score\nplus a one-line Korean verdict citing the decisive points.", "user_prompt": "[{\"type\": \"text\", \"text\": \"THE PROMPT:\\nUsing the attached master photo as the exact location reference, create a photorealistic live-action empty background plate at dawn from parapet height on the same rooftop, composed in side profile along the top edge of the low rooftop wall. Keep the parapet edge prominent in the foreground as the surface where an animal would be composited, with the rooftop dwelling and its established small window visible in the background from the appropriate lateral direction. The room window may retain a subdued warm interior glow against the cool first light of dawn. Quiet outskirts-of-Incheon atmosphere, soft blue-gray dawn sky, realistic weathered masonry, shallow-to-moderate depth of field. No cat, no people, no animals, no readable text, no incident evidence, and no invented rooftop structures.\"}, {\"type\": \"text\", \"text\": \"MASTER photograph (ground truth):\"}, {\"type\": \"text\", \"text\": \"Candidate A:\"}, {\"type\": \"text\", \"text\": \"Candidate B:\"}, {\"type\": \"text\", \"text\": \"Candidate C:\"}]"}
{"ts": "2026-07-13 13:29:15", "kind": "llm", "step": "s38_bg4_crit_gpt_S17sh2", "model": "gpt", "dur_s": 42.6, "system_prompt": "You are given: an image-generation prompt, a MASTER location\nphotograph (ground truth), and ONE photograph generated from the\nprompt with the master as reference. List what is WRONG with it:\n- fidelity to the prompt, - physical coherence,\n- MASTER consistency (storeys, massing, stair run, rooftop, walls,\n  gate, yard), - regional authenticity per the prompt's region.\nBase every finding only on what is visible. Ignore taste.\nissues: issue_ko (short Korean line) + fix_en (ONE imperative\nEnglish edit fixing exactly that while changing nothing else).\nEmpty array if nothing is wrong.", "user_prompt": "[{\"type\": \"text\", \"text\": \"THE PROMPT:\\nUsing the attached master photo as the exact location reference, create a photorealistic live-action empty background plate at dawn from parapet height on the same rooftop, composed in side profile along the top edge of the low rooftop wall. Keep the parapet edge prominent in the foreground as the surface where an animal would be composited, with the rooftop dwelling and its established small window visible in the background from the appropriate lateral direction. The room window may retain a subdued warm interior glow against the cool first light of dawn. Quiet outskirts-of-Incheon atmosphere, soft blue-gray dawn sky, realistic weathered masonry, shallow-to-moderate depth of field. No cat, no people, no animals, no readable text, no incident evidence, and no invented rooftop structures.\"}, {\"type\": \"text\", \"text\": \"MASTER photograph:\"}, {\"type\": \"text\", \"text\": \"Photograph to examine:\"}]"}
{"ts": "2026-07-13 13:29:40", "kind": "llm", "step": "s38_bg4_crit_gem_S17sh2", "model": "gemini-pro", "dur_s": 24.9, "system_prompt": "You are given: an image-generation prompt, a MASTER location\nphotograph (ground truth), and ONE photograph generated from the\nprompt with the master as reference. List what is WRONG with it:\n- fidelity to the prompt, - physical coherence,\n- MASTER consistency (storeys, massing, stair run, rooftop, walls,\n  gate, yard), - regional authenticity per the prompt's region.\nBase every finding only on what is visible. Ignore taste.\nissues: issue_ko (short Korean line) + fix_en (ONE imperative\nEnglish edit fixing exactly that while changing nothing else).\nEmpty array if nothing is wrong.", "user_prompt": "[{\"type\": \"text\", \"text\": \"THE PROMPT:\\nUsing the attached master photo as the exact location reference, create a photorealistic live-action empty background plate at dawn from parapet height on the same rooftop, composed in side profile along the top edge of the low rooftop wall. Keep the parapet edge prominent in the foreground as the surface where an animal would be composited, with the rooftop dwelling and its established small window visible in the background from the appropriate lateral direction. The room window may retain a subdued warm interior glow against the cool first light of dawn. Quiet outskirts-of-Incheon atmosphere, soft blue-gray dawn sky, realistic weathered masonry, shallow-to-moderate depth of field. No cat, no people, no animals, no readable text, no incident evidence, and no invented rooftop structures.\"}, {\"type\": \"text\", \"text\": \"MASTER photograph:\"}, {\"type\": \"text\", \"text\": \"Photograph to examine:\"}]"}
{"ts": "2026-07-13 13:30:04", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s38_bg4_fix_S17sh2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/bg4_S17sh2_b.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/master2.png"], "ref_labels": ["PHOTOGRAPH TO EDIT — fix ONLY the issues the prompt lists; preserve everything else exactly.", "MASTER photograph — ground truth; align the edited photo's building to it."], "attempt": 1, "dur_s": 24.3, "bytes": 2248325, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/bg4_S17sh2.png", "prompt": "Edit this photograph. Fix ONLY the issues listed below, each in\nplace, changing nothing else about the property:\n\nISSUES TO FIX:\n- (GPT VLM) Replace the oversized cantilevered dwelling roof with the master's thin, shallow concrete roof slab while leaving everything else unchanged.\n- (GPT VLM) Remove the invented unit above the door and restore only the master's small concrete door awning while leaving everything else unchanged.\n- (GPT VLM) Remove the glowing transom above the door and restore the master's solid wall above the metal door while leaving everything else unchanged.\n- (GPT VLM) Reposition the concrete parapet to match the master's rooftop perimeter instead of running lengthwise between the stair and roof deck, while leaving everything else unchanged.\n- (GPT VLM) Rebuild the exterior stair flights and landings to follow the master's switchback run and rooftop termination while leaving everything else unchanged.\n- (GPT VLM) Replace the dark wooden water-tank platform with the master's perforated metal platform while leaving everything else unchanged.\n- (GPT VLM) Restore the visible surrounding buildings, blue-tile roofs, and utility-pole layout to their exact positions and forms in the master while leaving everything else unchanged.\n- (Gemini VLM) Change the glowing glass door panel to a solid metal surface with a blue rectangular patch.\n- (Gemini VLM) Add metal security grilles over the exterior of the glowing rooftop window.\n- (Gemini VLM) Add the continuous metal pipe railing along the perimeter of the upper green rooftop.\n- (Gemini VLM) Add distinct horizontal structural ribs around the cylindrical body of the water tank.\n- (Gemini VLM) Relocate the top landing of the metal staircase to connect to a lower roof tier instead of the upper roof deck.\n\nThe attached MASTER photograph is the ground truth for the property's structure — align every fixed feature to it.\n\nPRESERVE EVERYTHING ELSE EXACTLY as in the original photograph —\nbuildings, roof objects, yard, surroundings, lighting, camera,\nframing. No people, no readable text anywhere."}
{"ts": "2026-07-13 13:30:26", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s38_bg4_S11sh4_a", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/master2.png"], "ref_labels": ["LOCATION MASTER PHOTOGRAPH — the exact building and grounds where this background takes place: its architecture, massing, materials and fixed features are spatial truth; render the requested view OF THIS PLACE. Never copy this photo's camera or crop."], "attempt": 1, "dur_s": 21.6, "bytes": 2459511, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/bg4_S11sh4_a.png", "prompt": "Using the attached master photo as the exact architectural and spatial reference, create a photorealistic live-action empty background plate at night from close face height on the continuous side/rear staircase connecting the enclosed courtyard to the rooftop. The camera is positioned at a middle stair landing beside the established simple metal pipe handrail, with the handrail and adjacent weathered villa wall forming the near background and the stair route receding naturally behind. Compose it as a close-up background suitable for placing a person paused midway on the stairs, but show no person or hand. Preserve only the stair geometry and fixed surfaces supported by the master image. Realistic dim residential night lighting, natural colors, shallow depth of field, no animals, readable text, police lights, damage, or event-specific props."}
{"ts": "2026-07-13 13:30:47", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s38_bg4_S11sh4_b", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/master2.png"], "ref_labels": ["LOCATION MASTER PHOTOGRAPH — the exact building and grounds where this background takes place: its architecture, massing, materials and fixed features are spatial truth; render the requested view OF THIS PLACE. Never copy this photo's camera or crop."], "attempt": 1, "dur_s": 21.1, "bytes": 2627380, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/bg4_S11sh4_b.png", "prompt": "Using the attached master photo as the exact architectural and spatial reference, create a photorealistic live-action empty background plate at night from close face height on the continuous side/rear staircase connecting the enclosed courtyard to the rooftop. The camera is positioned at a middle stair landing beside the established simple metal pipe handrail, with the handrail and adjacent weathered villa wall forming the near background and the stair route receding naturally behind. Compose it as a close-up background suitable for placing a person paused midway on the stairs, but show no person or hand. Preserve only the stair geometry and fixed surfaces supported by the master image. Realistic dim residential night lighting, natural colors, shallow depth of field, no animals, readable text, police lights, damage, or event-specific props."}
{"ts": "2026-07-13 13:31:09", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s38_bg4_S11sh4_c", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/master2.png"], "ref_labels": ["LOCATION MASTER PHOTOGRAPH — the exact building and grounds where this background takes place: its architecture, massing, materials and fixed features are spatial truth; render the requested view OF THIS PLACE. Never copy this photo's camera or crop."], "attempt": 1, "dur_s": 22.1, "bytes": 1839828, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/bg4_S11sh4_c.png", "prompt": "Using the attached master photo as the exact architectural and spatial reference, create a photorealistic live-action empty background plate at night from close face height on the continuous side/rear staircase connecting the enclosed courtyard to the rooftop. The camera is positioned at a middle stair landing beside the established simple metal pipe handrail, with the handrail and adjacent weathered villa wall forming the near background and the stair route receding naturally behind. Compose it as a close-up background suitable for placing a person paused midway on the stairs, but show no person or hand. Preserve only the stair geometry and fixed surfaces supported by the master image. Realistic dim residential night lighting, natural colors, shallow depth of field, no animals, readable text, police lights, damage, or event-specific props."}
{"ts": "2026-07-13 13:31:22", "kind": "llm", "step": "s38_bg4_judge_gpt_S11sh4", "model": "gpt", "dur_s": 12.6, "system_prompt": "You are given ONE image-generation prompt, ONE MASTER location\nphotograph (the ground truth of this property), and THREE candidate\nphotographs labelled A, B, C in the order attached, all generated\nfrom that prompt with the master attached as reference.\nPick the ONE candidate that best satisfies ALL of:\n- fidelity to the prompt (structure, camera, materials, state,\n  exclusions such as no people and no readable text),\n- physical coherence (no floating/split volumes, stairs reach\n  their destination, possible geometry),\n- MASTER consistency (storey count, massing, the external stair's\n  full run, rooftop structure placement, walls, gate and yard must\n  match the master photograph),\n- regional authenticity (the prompt declares a real region and\n  era; everything must look like that region's real, ordinary\n  built environment — nothing foreign or genericized).\nCheck every candidate point by point; base verdicts only on what\nis visible. Also give every candidate an integer score 0-10.\nOutput: winner, ranking best-to-worst, and per candidate a score\nplus a one-line Korean verdict citing the decisive points.", "user_prompt": "[{\"type\": \"text\", \"text\": \"THE PROMPT:\\nUsing the attached master photo as the exact architectural and spatial reference, create a photorealistic live-action empty background plate at night from close face height on the continuous side/rear staircase connecting the enclosed courtyard to the rooftop. The camera is positioned at a middle stair landing beside the established simple metal pipe handrail, with the handrail and adjacent weathered villa wall forming the near background and the stair route receding naturally behind. Compose it as a close-up background suitable for placing a person paused midway on the stairs, but show no person or hand. Preserve only the stair geometry and fixed surfaces supported by the master image. Realistic dim residential night lighting, natural colors, shallow depth of field, no animals, readable text, police lights, damage, or event-specific props.\"}, {\"type\": \"text\", \"text\": \"MASTER photograph (ground truth):\"}, {\"type\": \"text\", \"text\": \"Candidate A:\"}, {\"type\": \"text\", \"text\": \"Candidate B:\"}, {\"type\": \"text\", \"text\": \"Candidate C:\"}]"}
{"ts": "2026-07-13 13:31:54", "kind": "llm", "step": "s38_bg4_judge_gem_S11sh4", "model": "gemini-pro", "dur_s": 32.3, "system_prompt": "You are given ONE image-generation prompt, ONE MASTER location\nphotograph (the ground truth of this property), and THREE candidate\nphotographs labelled A, B, C in the order attached, all generated\nfrom that prompt with the master attached as reference.\nPick the ONE candidate that best satisfies ALL of:\n- fidelity to the prompt (structure, camera, materials, state,\n  exclusions such as no people and no readable text),\n- physical coherence (no floating/split volumes, stairs reach\n  their destination, possible geometry),\n- MASTER consistency (storey count, massing, the external stair's\n  full run, rooftop structure placement, walls, gate and yard must\n  match the master photograph),\n- regional authenticity (the prompt declares a real region and\n  era; everything must look like that region's real, ordinary\n  built environment — nothing foreign or genericized).\nCheck every candidate point by point; base verdicts only on what\nis visible. Also give every candidate an integer score 0-10.\nOutput: winner, ranking best-to-worst, and per candidate a score\nplus a one-line Korean verdict citing the decisive points.", "user_prompt": "[{\"type\": \"text\", \"text\": \"THE PROMPT:\\nUsing the attached master photo as the exact architectural and spatial reference, create a photorealistic live-action empty background plate at night from close face height on the continuous side/rear staircase connecting the enclosed courtyard to the rooftop. The camera is positioned at a middle stair landing beside the established simple metal pipe handrail, with the handrail and adjacent weathered villa wall forming the near background and the stair route receding naturally behind. Compose it as a close-up background suitable for placing a person paused midway on the stairs, but show no person or hand. Preserve only the stair geometry and fixed surfaces supported by the master image. Realistic dim residential night lighting, natural colors, shallow depth of field, no animals, readable text, police lights, damage, or event-specific props.\"}, {\"type\": \"text\", \"text\": \"MASTER photograph (ground truth):\"}, {\"type\": \"text\", \"text\": \"Candidate A:\"}, {\"type\": \"text\", \"text\": \"Candidate B:\"}, {\"type\": \"text\", \"text\": \"Candidate C:\"}]"}
{"ts": "2026-07-13 13:32:26", "kind": "llm", "step": "s38_bg4_crit_gpt_S11sh4", "model": "gpt", "dur_s": 32.3, "system_prompt": "You are given: an image-generation prompt, a MASTER location\nphotograph (ground truth), and ONE photograph generated from the\nprompt with the master as reference. List what is WRONG with it:\n- fidelity to the prompt, - physical coherence,\n- MASTER consistency (storeys, massing, stair run, rooftop, walls,\n  gate, yard), - regional authenticity per the prompt's region.\nBase every finding only on what is visible. Ignore taste.\nissues: issue_ko (short Korean line) + fix_en (ONE imperative\nEnglish edit fixing exactly that while changing nothing else).\nEmpty array if nothing is wrong.", "user_prompt": "[{\"type\": \"text\", \"text\": \"THE PROMPT:\\nUsing the attached master photo as the exact architectural and spatial reference, create a photorealistic live-action empty background plate at night from close face height on the continuous side/rear staircase connecting the enclosed courtyard to the rooftop. The camera is positioned at a middle stair landing beside the established simple metal pipe handrail, with the handrail and adjacent weathered villa wall forming the near background and the stair route receding naturally behind. Compose it as a close-up background suitable for placing a person paused midway on the stairs, but show no person or hand. Preserve only the stair geometry and fixed surfaces supported by the master image. Realistic dim residential night lighting, natural colors, shallow depth of field, no animals, readable text, police lights, damage, or event-specific props.\"}, {\"type\": \"text\", \"text\": \"MASTER photograph:\"}, {\"type\": \"text\", \"text\": \"Photograph to examine:\"}]"}
{"ts": "2026-07-13 13:32:43", "kind": "llm", "step": "s38_bg4_crit_gem_S11sh4", "model": "gemini-pro", "dur_s": 16.1, "system_prompt": "You are given: an image-generation prompt, a MASTER location\nphotograph (ground truth), and ONE photograph generated from the\nprompt with the master as reference. List what is WRONG with it:\n- fidelity to the prompt, - physical coherence,\n- MASTER consistency (storeys, massing, stair run, rooftop, walls,\n  gate, yard), - regional authenticity per the prompt's region.\nBase every finding only on what is visible. Ignore taste.\nissues: issue_ko (short Korean line) + fix_en (ONE imperative\nEnglish edit fixing exactly that while changing nothing else).\nEmpty array if nothing is wrong.", "user_prompt": "[{\"type\": \"text\", \"text\": \"THE PROMPT:\\nUsing the attached master photo as the exact architectural and spatial reference, create a photorealistic live-action empty background plate at night from close face height on the continuous side/rear staircase connecting the enclosed courtyard to the rooftop. The camera is positioned at a middle stair landing beside the established simple metal pipe handrail, with the handrail and adjacent weathered villa wall forming the near background and the stair route receding naturally behind. Compose it as a close-up background suitable for placing a person paused midway on the stairs, but show no person or hand. Preserve only the stair geometry and fixed surfaces supported by the master image. Realistic dim residential night lighting, natural colors, shallow depth of field, no animals, readable text, police lights, damage, or event-specific props.\"}, {\"type\": \"text\", \"text\": \"MASTER photograph:\"}, {\"type\": \"text\", \"text\": \"Photograph to examine:\"}]"}
{"ts": "2026-07-13 13:33:17", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s38_bg4_fix_S11sh4", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/bg4_S11sh4_a.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/master2.png"], "ref_labels": ["PHOTOGRAPH TO EDIT — fix ONLY the issues the prompt lists; preserve everything else exactly.", "MASTER photograph — ground truth; align the edited photo's building to it."], "attempt": 1, "dur_s": 34.3, "bytes": 2719521, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/bg4_S11sh4.png", "prompt": "Edit this photograph. Fix ONLY the issues listed below, each in\nplace, changing nothing else about the property:\n\nISSUES TO FIX:\n- (GPT VLM) Shorten the visible stair flight to match the master’s roughly ten-step switchback run while changing nothing else.\n- (GPT VLM) Replace the dark masonry and large white-framed window with the master’s pale weathered villa wall and matching façade layout while changing nothing else.\n- (GPT VLM) Match the handrail to the master’s straight gray metal tubing without dents or heavy surface damage while changing nothing else.\n- (GPT VLM) Reconstruct the stair and landing junction as the master’s compact switchback connection while changing nothing else.\n- (GPT VLM) Replace the distant illuminated tower skyline with the master’s dense low-rise villa surroundings while changing nothing else.\n- (GPT VLM) Remove the unsupported exposed vertical utility pipes from the near wall while changing nothing else.\n- (Gemini VLM) Change the stair flight in the background to an open-riser metal frame structure to match the master image.\n- (Gemini VLM) Replace the dense vertical balusters on the handrail with a simple horizontal metal pipe railing.\n\nThe attached MASTER photograph is the ground truth for the property's structure — align every fixed feature to it.\n\nPRESERVE EVERYTHING ELSE EXACTLY as in the original photograph —\nbuildings, roof objects, yard, surroundings, lighting, camera,\nframing. No people, no readable text anywhere."}
{"ts": "2026-07-13 13:33:40", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s38_bg4_S13sh4_a", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/master2.png"], "ref_labels": ["LOCATION MASTER PHOTOGRAPH — the exact building and grounds where this background takes place: its architecture, massing, materials and fixed features are spatial truth; render the requested view OF THIS PLACE. Never copy this photo's camera or crop."], "attempt": 1, "dur_s": 22.9, "bytes": 2937445, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/bg4_S13sh4_a.png", "prompt": "Using the attached master photo as the exact reference for the same old multifamily villa and its ground-level surroundings, create a photorealistic live-action empty background plate at night from standing eye level near the villa’s ground entrance, facing the small enclosed courtyard and the base of the continuous side/rear stair. Compose a neutral medium close-up background with sufficient clear foreground space for a standing person, while keeping the weathered entrance area, courtyard surfaces, and lower stair architecture spatially consistent with the master. Do not add a police car or any unestablished object. Restrained natural neighborhood night ambience, realistic exposure and weathering, no people, animals, vehicles in action, siren light, readable text, blood, evidence, or event-specific disturbance."}
{"ts": "2026-07-13 13:34:03", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s38_bg4_S13sh4_b", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/master2.png"], "ref_labels": ["LOCATION MASTER PHOTOGRAPH — the exact building and grounds where this background takes place: its architecture, massing, materials and fixed features are spatial truth; render the requested view OF THIS PLACE. Never copy this photo's camera or crop."], "attempt": 1, "dur_s": 23.0, "bytes": 2178592, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/bg4_S13sh4_b.png", "prompt": "Using the attached master photo as the exact reference for the same old multifamily villa and its ground-level surroundings, create a photorealistic live-action empty background plate at night from standing eye level near the villa’s ground entrance, facing the small enclosed courtyard and the base of the continuous side/rear stair. Compose a neutral medium close-up background with sufficient clear foreground space for a standing person, while keeping the weathered entrance area, courtyard surfaces, and lower stair architecture spatially consistent with the master. Do not add a police car or any unestablished object. Restrained natural neighborhood night ambience, realistic exposure and weathering, no people, animals, vehicles in action, siren light, readable text, blood, evidence, or event-specific disturbance."}
{"ts": "2026-07-13 13:34:22", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s38_bg4_S13sh4_c", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/master2.png"], "ref_labels": ["LOCATION MASTER PHOTOGRAPH — the exact building and grounds where this background takes place: its architecture, massing, materials and fixed features are spatial truth; render the requested view OF THIS PLACE. Never copy this photo's camera or crop."], "attempt": 1, "dur_s": 19.0, "bytes": 3171173, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/bg4_S13sh4_c.png", "prompt": "Using the attached master photo as the exact reference for the same old multifamily villa and its ground-level surroundings, create a photorealistic live-action empty background plate at night from standing eye level near the villa’s ground entrance, facing the small enclosed courtyard and the base of the continuous side/rear stair. Compose a neutral medium close-up background with sufficient clear foreground space for a standing person, while keeping the weathered entrance area, courtyard surfaces, and lower stair architecture spatially consistent with the master. Do not add a police car or any unestablished object. Restrained natural neighborhood night ambience, realistic exposure and weathering, no people, animals, vehicles in action, siren light, readable text, blood, evidence, or event-specific disturbance."}
{"ts": "2026-07-13 13:34:39", "kind": "llm", "step": "s38_bg4_judge_gpt_S13sh4", "model": "gpt", "dur_s": 17.1, "system_prompt": "You are given ONE image-generation prompt, ONE MASTER location\nphotograph (the ground truth of this property), and THREE candidate\nphotographs labelled A, B, C in the order attached, all generated\nfrom that prompt with the master attached as reference.\nPick the ONE candidate that best satisfies ALL of:\n- fidelity to the prompt (structure, camera, materials, state,\n  exclusions such as no people and no readable text),\n- physical coherence (no floating/split volumes, stairs reach\n  their destination, possible geometry),\n- MASTER consistency (storey count, massing, the external stair's\n  full run, rooftop structure placement, walls, gate and yard must\n  match the master photograph),\n- regional authenticity (the prompt declares a real region and\n  era; everything must look like that region's real, ordinary\n  built environment — nothing foreign or genericized).\nCheck every candidate point by point; base verdicts only on what\nis visible. Also give every candidate an integer score 0-10.\nOutput: winner, ranking best-to-worst, and per candidate a score\nplus a one-line Korean verdict citing the decisive points.", "user_prompt": "[{\"type\": \"text\", \"text\": \"THE PROMPT:\\nUsing the attached master photo as the exact reference for the same old multifamily villa and its ground-level surroundings, create a photorealistic live-action empty background plate at night from standing eye level near the villa’s ground entrance, facing the small enclosed courtyard and the base of the continuous side/rear stair. Compose a neutral medium close-up background with sufficient clear foreground space for a standing person, while keeping the weathered entrance area, courtyard surfaces, and lower stair architecture spatially consistent with the master. Do not add a police car or any unestablished object. Restrained natural neighborhood night ambience, realistic exposure and weathering, no people, animals, vehicles in action, siren light, readable text, blood, evidence, or event-specific disturbance.\"}, {\"type\": \"text\", \"text\": \"MASTER photograph (ground truth):\"}, {\"type\": \"text\", \"text\": \"Candidate A:\"}, {\"type\": \"text\", \"text\": \"Candidate B:\"}, {\"type\": \"text\", \"text\": \"Candidate C:\"}]"}
{"ts": "2026-07-13 13:35:07", "kind": "llm", "step": "s38_bg4_judge_gem_S13sh4", "model": "gemini-pro", "dur_s": 28.1, "system_prompt": "You are given ONE image-generation prompt, ONE MASTER location\nphotograph (the ground truth of this property), and THREE candidate\nphotographs labelled A, B, C in the order attached, all generated\nfrom that prompt with the master attached as reference.\nPick the ONE candidate that best satisfies ALL of:\n- fidelity to the prompt (structure, camera, materials, state,\n  exclusions such as no people and no readable text),\n- physical coherence (no floating/split volumes, stairs reach\n  their destination, possible geometry),\n- MASTER consistency (storey count, massing, the external stair's\n  full run, rooftop structure placement, walls, gate and yard must\n  match the master photograph),\n- regional authenticity (the prompt declares a real region and\n  era; everything must look like that region's real, ordinary\n  built environment — nothing foreign or genericized).\nCheck every candidate point by point; base verdicts only on what\nis visible. Also give every candidate an integer score 0-10.\nOutput: winner, ranking best-to-worst, and per candidate a score\nplus a one-line Korean verdict citing the decisive points.", "user_prompt": "[{\"type\": \"text\", \"text\": \"THE PROMPT:\\nUsing the attached master photo as the exact reference for the same old multifamily villa and its ground-level surroundings, create a photorealistic live-action empty background plate at night from standing eye level near the villa’s ground entrance, facing the small enclosed courtyard and the base of the continuous side/rear stair. Compose a neutral medium close-up background with sufficient clear foreground space for a standing person, while keeping the weathered entrance area, courtyard surfaces, and lower stair architecture spatially consistent with the master. Do not add a police car or any unestablished object. Restrained natural neighborhood night ambience, realistic exposure and weathering, no people, animals, vehicles in action, siren light, readable text, blood, evidence, or event-specific disturbance.\"}, {\"type\": \"text\", \"text\": \"MASTER photograph (ground truth):\"}, {\"type\": \"text\", \"text\": \"Candidate A:\"}, {\"type\": \"text\", \"text\": \"Candidate B:\"}, {\"type\": \"text\", \"text\": \"Candidate C:\"}]"}
{"ts": "2026-07-13 13:35:40", "kind": "llm", "step": "s38_bg4_crit_gpt_S13sh4", "model": "gpt", "dur_s": 33.0, "system_prompt": "You are given: an image-generation prompt, a MASTER location\nphotograph (ground truth), and ONE photograph generated from the\nprompt with the master as reference. List what is WRONG with it:\n- fidelity to the prompt, - physical coherence,\n- MASTER consistency (storeys, massing, stair run, rooftop, walls,\n  gate, yard), - regional authenticity per the prompt's region.\nBase every finding only on what is visible. Ignore taste.\nissues: issue_ko (short Korean line) + fix_en (ONE imperative\nEnglish edit fixing exactly that while changing nothing else).\nEmpty array if nothing is wrong.", "user_prompt": "[{\"type\": \"text\", \"text\": \"THE PROMPT:\\nUsing the attached master photo as the exact reference for the same old multifamily villa and its ground-level surroundings, create a photorealistic live-action empty background plate at night from standing eye level near the villa’s ground entrance, facing the small enclosed courtyard and the base of the continuous side/rear stair. Compose a neutral medium close-up background with sufficient clear foreground space for a standing person, while keeping the weathered entrance area, courtyard surfaces, and lower stair architecture spatially consistent with the master. Do not add a police car or any unestablished object. Restrained natural neighborhood night ambience, realistic exposure and weathering, no people, animals, vehicles in action, siren light, readable text, blood, evidence, or event-specific disturbance.\"}, {\"type\": \"text\", \"text\": \"MASTER photograph:\"}, {\"type\": \"text\", \"text\": \"Photograph to examine:\"}]"}
{"ts": "2026-07-13 13:36:07", "kind": "llm", "step": "s38_bg4_crit_gem_S13sh4", "model": "gemini-pro", "dur_s": 27.4, "system_prompt": "You are given: an image-generation prompt, a MASTER location\nphotograph (ground truth), and ONE photograph generated from the\nprompt with the master as reference. List what is WRONG with it:\n- fidelity to the prompt, - physical coherence,\n- MASTER consistency (storeys, massing, stair run, rooftop, walls,\n  gate, yard), - regional authenticity per the prompt's region.\nBase every finding only on what is visible. Ignore taste.\nissues: issue_ko (short Korean line) + fix_en (ONE imperative\nEnglish edit fixing exactly that while changing nothing else).\nEmpty array if nothing is wrong.", "user_prompt": "[{\"type\": \"text\", \"text\": \"THE PROMPT:\\nUsing the attached master photo as the exact reference for the same old multifamily villa and its ground-level surroundings, create a photorealistic live-action empty background plate at night from standing eye level near the villa’s ground entrance, facing the small enclosed courtyard and the base of the continuous side/rear stair. Compose a neutral medium close-up background with sufficient clear foreground space for a standing person, while keeping the weathered entrance area, courtyard surfaces, and lower stair architecture spatially consistent with the master. Do not add a police car or any unestablished object. Restrained natural neighborhood night ambience, realistic exposure and weathering, no people, animals, vehicles in action, siren light, readable text, blood, evidence, or event-specific disturbance.\"}, {\"type\": \"text\", \"text\": \"MASTER photograph:\"}, {\"type\": \"text\", \"text\": \"Photograph to examine:\"}]"}
{"ts": "2026-07-13 13:36:33", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s38_bg4_fix_S13sh4", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/bg4_S13sh4_b.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/master2.png"], "ref_labels": ["PHOTOGRAPH TO EDIT — fix ONLY the issues the prompt lists; preserve everything else exactly.", "MASTER photograph — ground truth; align the edited photo's building to it."], "attempt": 1, "dur_s": 25.5, "bytes": 2238413, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/bg4_S13sh4.png", "prompt": "Edit this photograph. Fix ONLY the issues listed below, each in\nplace, changing nothing else about the property:\n\nISSUES TO FIX:\n- (GPT VLM) Replace the narrow single-leaf gate with the master’s broad double metal gate, preserving everything else.\n- (GPT VLM) Restore the master’s front wall proportions and the original positions of the mailbox and blue plaque without changing anything else.\n- (GPT VLM) Move and reconstruct the exterior stair along the villa’s left side with the master’s exact alternating lower flights and landings, changing nothing else.\n- (GPT VLM) Restore the ground-floor facade to the master’s tan tiled finish, barred window, recessed dark entrance, and utility layout while preserving everything else.\n- (GPT VLM) Restore the courtyard’s irregular concrete paving, stepping stones, and green-painted strip exactly as shown in the master, changing nothing else.\n- (GPT VLM) Reframe from just inside the ground entrance so the courtyard provides an unobstructed person-sized foreground area while keeping all architecture unchanged.\n- (Gemini VLM) Replace the tall vertical gate with the low, metallic double gate from the master.\n- (Gemini VLM) Reconstruct the staircase to match the master's specific switchback design and solid landing.\n- (Gemini VLM) Replace the lit door under the stairs with the window, security bars, and open alcove from the master.\n- (Gemini VLM) Add the irregular stone stepping paths to the courtyard surface to match the master.\n\nThe attached MASTER photograph is the ground truth for the property's structure — align every fixed feature to it.\n\nPRESERVE EVERYTHING ELSE EXACTLY as in the original photograph —\nbuildings, roof objects, yard, surroundings, lighting, camera,\nframing. No people, no readable text anywhere."}
{"ts": "2026-07-13 13:36:56", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s38_bg4_S13sh6_a", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/master2.png"], "ref_labels": ["LOCATION MASTER PHOTOGRAPH — the exact building and grounds where this background takes place: its architecture, massing, materials and fixed features are spatial truth; render the requested view OF THIS PLACE. Never copy this photo's camera or crop."], "attempt": 1, "dur_s": 23.2, "bytes": 2897050, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/bg4_S13sh6_a.png", "prompt": "Using the attached master photo as the exact reference for the same villa location, create a photorealistic live-action empty background plate at night from shoulder height beside the ground-level entrance and enclosed courtyard, oriented laterally across the approach between the narrow alley and the base of the rooftop stair. Frame the weathered villa wall, courtyard edge, entrance architecture, and lower portion of the established metal-railed stair as a side-profile dialogue background, leaving uncluttered midground space where two performers would be composited facing each other. Keep all architecture consistent with the master and do not invent signage or additional structures. Natural subdued residential night lighting, realistic depth of field, no people, police personnel, vehicles, flashing lights, readable text, blood, or incident-specific props."}
{"ts": "2026-07-13 13:37:20", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s38_bg4_S13sh6_b", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/master2.png"], "ref_labels": ["LOCATION MASTER PHOTOGRAPH — the exact building and grounds where this background takes place: its architecture, massing, materials and fixed features are spatial truth; render the requested view OF THIS PLACE. Never copy this photo's camera or crop."], "attempt": 1, "dur_s": 24.2, "bytes": 3000135, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/bg4_S13sh6_b.png", "prompt": "Using the attached master photo as the exact reference for the same villa location, create a photorealistic live-action empty background plate at night from shoulder height beside the ground-level entrance and enclosed courtyard, oriented laterally across the approach between the narrow alley and the base of the rooftop stair. Frame the weathered villa wall, courtyard edge, entrance architecture, and lower portion of the established metal-railed stair as a side-profile dialogue background, leaving uncluttered midground space where two performers would be composited facing each other. Keep all architecture consistent with the master and do not invent signage or additional structures. Natural subdued residential night lighting, realistic depth of field, no people, police personnel, vehicles, flashing lights, readable text, blood, or incident-specific props."}
{"ts": "2026-07-13 13:37:44", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s38_bg4_S13sh6_c", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/master2.png"], "ref_labels": ["LOCATION MASTER PHOTOGRAPH — the exact building and grounds where this background takes place: its architecture, massing, materials and fixed features are spatial truth; render the requested view OF THIS PLACE. Never copy this photo's camera or crop."], "attempt": 1, "dur_s": 23.7, "bytes": 2531859, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/bg4_S13sh6_c.png", "prompt": "Using the attached master photo as the exact reference for the same villa location, create a photorealistic live-action empty background plate at night from shoulder height beside the ground-level entrance and enclosed courtyard, oriented laterally across the approach between the narrow alley and the base of the rooftop stair. Frame the weathered villa wall, courtyard edge, entrance architecture, and lower portion of the established metal-railed stair as a side-profile dialogue background, leaving uncluttered midground space where two performers would be composited facing each other. Keep all architecture consistent with the master and do not invent signage or additional structures. Natural subdued residential night lighting, realistic depth of field, no people, police personnel, vehicles, flashing lights, readable text, blood, or incident-specific props."}
{"ts": "2026-07-13 13:38:03", "kind": "llm", "step": "s38_bg4_judge_gpt_S13sh6", "model": "gpt", "dur_s": 19.3, "system_prompt": "You are given ONE image-generation prompt, ONE MASTER location\nphotograph (the ground truth of this property), and THREE candidate\nphotographs labelled A, B, C in the order attached, all generated\nfrom that prompt with the master attached as reference.\nPick the ONE candidate that best satisfies ALL of:\n- fidelity to the prompt (structure, camera, materials, state,\n  exclusions such as no people and no readable text),\n- physical coherence (no floating/split volumes, stairs reach\n  their destination, possible geometry),\n- MASTER consistency (storey count, massing, the external stair's\n  full run, rooftop structure placement, walls, gate and yard must\n  match the master photograph),\n- regional authenticity (the prompt declares a real region and\n  era; everything must look like that region's real, ordinary\n  built environment — nothing foreign or genericized).\nCheck every candidate point by point; base verdicts only on what\nis visible. Also give every candidate an integer score 0-10.\nOutput: winner, ranking best-to-worst, and per candidate a score\nplus a one-line Korean verdict citing the decisive points.", "user_prompt": "[{\"type\": \"text\", \"text\": \"THE PROMPT:\\nUsing the attached master photo as the exact reference for the same villa location, create a photorealistic live-action empty background plate at night from shoulder height beside the ground-level entrance and enclosed courtyard, oriented laterally across the approach between the narrow alley and the base of the rooftop stair. Frame the weathered villa wall, courtyard edge, entrance architecture, and lower portion of the established metal-railed stair as a side-profile dialogue background, leaving uncluttered midground space where two performers would be composited facing each other. Keep all architecture consistent with the master and do not invent signage or additional structures. Natural subdued residential night lighting, realistic depth of field, no people, police personnel, vehicles, flashing lights, readable text, blood, or incident-specific props.\"}, {\"type\": \"text\", \"text\": \"MASTER photograph (ground truth):\"}, {\"type\": \"text\", \"text\": \"Candidate A:\"}, {\"type\": \"text\", \"text\": \"Candidate B:\"}, {\"type\": \"text\", \"text\": \"Candidate C:\"}]"}
{"ts": "2026-07-13 13:38:42", "kind": "llm", "step": "s38_bg4_judge_gem_S13sh6", "model": "gemini-pro", "dur_s": 38.6, "system_prompt": "You are given ONE image-generation prompt, ONE MASTER location\nphotograph (the ground truth of this property), and THREE candidate\nphotographs labelled A, B, C in the order attached, all generated\nfrom that prompt with the master attached as reference.\nPick the ONE candidate that best satisfies ALL of:\n- fidelity to the prompt (structure, camera, materials, state,\n  exclusions such as no people and no readable text),\n- physical coherence (no floating/split volumes, stairs reach\n  their destination, possible geometry),\n- MASTER consistency (storey count, massing, the external stair's\n  full run, rooftop structure placement, walls, gate and yard must\n  match the master photograph),\n- regional authenticity (the prompt declares a real region and\n  era; everything must look like that region's real, ordinary\n  built environment — nothing foreign or genericized).\nCheck every candidate point by point; base verdicts only on what\nis visible. Also give every candidate an integer score 0-10.\nOutput: winner, ranking best-to-worst, and per candidate a score\nplus a one-line Korean verdict citing the decisive points.", "user_prompt": "[{\"type\": \"text\", \"text\": \"THE PROMPT:\\nUsing the attached master photo as the exact reference for the same villa location, create a photorealistic live-action empty background plate at night from shoulder height beside the ground-level entrance and enclosed courtyard, oriented laterally across the approach between the narrow alley and the base of the rooftop stair. Frame the weathered villa wall, courtyard edge, entrance architecture, and lower portion of the established metal-railed stair as a side-profile dialogue background, leaving uncluttered midground space where two performers would be composited facing each other. Keep all architecture consistent with the master and do not invent signage or additional structures. Natural subdued residential night lighting, realistic depth of field, no people, police personnel, vehicles, flashing lights, readable text, blood, or incident-specific props.\"}, {\"type\": \"text\", \"text\": \"MASTER photograph (ground truth):\"}, {\"type\": \"text\", \"text\": \"Candidate A:\"}, {\"type\": \"text\", \"text\": \"Candidate B:\"}, {\"type\": \"text\", \"text\": \"Candidate C:\"}]"}
{"ts": "2026-07-13 13:39:10", "kind": "llm", "step": "s38_bg4_crit_gpt_S13sh6", "model": "gpt", "dur_s": 28.5, "system_prompt": "You are given: an image-generation prompt, a MASTER location\nphotograph (ground truth), and ONE photograph generated from the\nprompt with the master as reference. List what is WRONG with it:\n- fidelity to the prompt, - physical coherence,\n- MASTER consistency (storeys, massing, stair run, rooftop, walls,\n  gate, yard), - regional authenticity per the prompt's region.\nBase every finding only on what is visible. Ignore taste.\nissues: issue_ko (short Korean line) + fix_en (ONE imperative\nEnglish edit fixing exactly that while changing nothing else).\nEmpty array if nothing is wrong.", "user_prompt": "[{\"type\": \"text\", \"text\": \"THE PROMPT:\\nUsing the attached master photo as the exact reference for the same villa location, create a photorealistic live-action empty background plate at night from shoulder height beside the ground-level entrance and enclosed courtyard, oriented laterally across the approach between the narrow alley and the base of the rooftop stair. Frame the weathered villa wall, courtyard edge, entrance architecture, and lower portion of the established metal-railed stair as a side-profile dialogue background, leaving uncluttered midground space where two performers would be composited facing each other. Keep all architecture consistent with the master and do not invent signage or additional structures. Natural subdued residential night lighting, realistic depth of field, no people, police personnel, vehicles, flashing lights, readable text, blood, or incident-specific props.\"}, {\"type\": \"text\", \"text\": \"MASTER photograph:\"}, {\"type\": \"text\", \"text\": \"Photograph to examine:\"}]"}
{"ts": "2026-07-13 13:39:40", "kind": "llm", "step": "s38_bg4_crit_gem_S13sh6", "model": "gemini-pro", "dur_s": 29.5, "system_prompt": "You are given: an image-generation prompt, a MASTER location\nphotograph (ground truth), and ONE photograph generated from the\nprompt with the master as reference. List what is WRONG with it:\n- fidelity to the prompt, - physical coherence,\n- MASTER consistency (storeys, massing, stair run, rooftop, walls,\n  gate, yard), - regional authenticity per the prompt's region.\nBase every finding only on what is visible. Ignore taste.\nissues: issue_ko (short Korean line) + fix_en (ONE imperative\nEnglish edit fixing exactly that while changing nothing else).\nEmpty array if nothing is wrong.", "user_prompt": "[{\"type\": \"text\", \"text\": \"THE PROMPT:\\nUsing the attached master photo as the exact reference for the same villa location, create a photorealistic live-action empty background plate at night from shoulder height beside the ground-level entrance and enclosed courtyard, oriented laterally across the approach between the narrow alley and the base of the rooftop stair. Frame the weathered villa wall, courtyard edge, entrance architecture, and lower portion of the established metal-railed stair as a side-profile dialogue background, leaving uncluttered midground space where two performers would be composited facing each other. Keep all architecture consistent with the master and do not invent signage or additional structures. Natural subdued residential night lighting, realistic depth of field, no people, police personnel, vehicles, flashing lights, readable text, blood, or incident-specific props.\"}, {\"type\": \"text\", \"text\": \"MASTER photograph:\"}, {\"type\": \"text\", \"text\": \"Photograph to examine:\"}]"}
{"ts": "2026-07-13 13:40:05", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s38_bg4_fix_S13sh6", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/bg4_S13sh6_c.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/master2.png"], "ref_labels": ["PHOTOGRAPH TO EDIT — fix ONLY the issues the prompt lists; preserve everything else exactly.", "MASTER photograph — ground truth; align the edited photo's building to it."], "attempt": 1, "dur_s": 24.9, "bytes": 2786251, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/bg4_S13sh6.png", "prompt": "Edit this photograph. Fix ONLY the issues listed below, each in\nplace, changing nothing else about the property:\n\nISSUES TO FIX:\n- (GPT VLM) Rotate the shoulder-height camera to look laterally across the approach between the narrow alley and the stair base, while changing nothing else.\n- (GPT VLM) Restore the master villa’s ground-level façade arrangement, including the established dark entrance, window, wall surfaces, and adjoining building mass, while changing nothing else.\n- (GPT VLM) Replace the staircase with the master’s exact multi-flight switchback metal stair, preserving its landings, run directions, supports, and railings while changing nothing else.\n- (GPT VLM) Reposition and resize the courtyard wall and vertical-slat gate to match the master’s front boundary orientation and proportions while changing nothing else.\n- (GPT VLM) Restore the master’s wider enclosed courtyard footprint and its established relationship to the stair base, entrance, and front gate while changing nothing else.\n- (GPT VLM) Remove the invented blank wall panel, canopy light, and freestanding table, and restore the corresponding master wall details while changing nothing else.\n- (GPT VLM) Restore the master’s visible yellow gas piping, meters, and exterior utility layout in their exact façade positions while changing nothing else.\n- (Gemini VLM) Reduce the height of the right-hand wall and gate to match the low, waist-level perimeter of the master photo.\n- (Gemini VLM) Widen the ground space between the staircase and the outer wall to restore the open courtyard layout seen in the master.\n- (Gemini VLM) Remove the table on the ground floor and replace the blank wall behind it with the sliding window layout from the master photo.\n\nThe attached MASTER photograph is the ground truth for the property's structure — align every fixed feature to it.\n\nPRESERVE EVERYTHING ELSE EXACTLY as in the original photograph —\nbuildings, roof objects, yard, surroundings, lighting, camera,\nframing. No people, no readable text anywhere."}
{"ts": "2026-07-13 13:40:27", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s38_still_S4sh1", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/panels/S4sh1.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/bg4_S4sh1.png"], "ref_labels": ["LAYOUT SKETCH — a bare thin-line layout guide, a REFERENCE ONLY: take from it ONLY the camera framing, figure placement, pose and size/depth order. It carries ZERO visual style — every texture, material, light and all realism come from the text and the photographic reference. Never let any line-drawing quality leak into the output.", "LOCATION PHOTOGRAPH — the exact place of this shot: its architecture, materials, fixed features and lighting mood are spatial truth; stage the moment inside this place. Never copy its camera framing."], "attempt": 1, "dur_s": 20.2, "bytes": 3758018, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/stills/S4sh1_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): daytime.\n\nSHOT TEXT (authoritative, Korean): 맑은 낮, 오래된 다세대 빌라 옥상 위에 자리 잡은 옥탑방을 높은 곳에서 내려다본 부감 구도\n\nLOCATION (lock): The flat rooftop of an aging low-rise apartment building, enclosed by a waist-high parapet. A small rooftop dwelling has a metal entrance door and a window visible from the open roof. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nMOVEMENT (follow exactly): static: No person is visible; the rooftop room remains fixed on top of the old multi-family villa beneath the high, downward-looking camera.\n\nFIGURES — size & depth (follow exactly): The rooftop room appears small, about ~1/6 of the frame height, and is FARTHER from the camera than the surrounding upper roof surfaces in the foreground.\n\nNo people appear unless the shot text itself says so.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-13 13:40:57", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s38_still_S10sh6", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/panels/S10sh6.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/bg4_S10sh6.png"], "ref_labels": ["LAYOUT SKETCH — a bare thin-line layout guide, a REFERENCE ONLY: take from it ONLY the camera framing, figure placement, pose and size/depth order. It carries ZERO visual style — every texture, material, light and all realism come from the text and the photographic reference. Never let any line-drawing quality leak into the output.", "LOCATION PHOTOGRAPH — the exact place of this shot: its architecture, materials, fixed features and lighting mood are spatial truth; stage the moment inside this place. Never copy its camera framing."], "attempt": 1, "dur_s": 29.2, "bytes": 1840476, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/stills/S10sh6_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\n\nSHOT TEXT (authoritative, Korean): 현관 철문이 아주 살짝 열린 틈새로 보이는 어두운 실내와 신발 앞코\n\nLOCATION (lock): The flat rooftop of an aging low-rise apartment building, enclosed by a waist-high parapet. A small rooftop dwelling has a metal entrance door and a window visible from the open roof. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nMOVEMENT (follow exactly): The unknown man's shoe toe advances from the rooftop exterior through the narrowly opened iron doorway into the dark room, leading his unseen body inward.\n\nFIGURES — size & depth (follow exactly): The shoe toe is small, about ~1/10 of the frame height, and lies FARTHER from the camera than the NEARER iron door edges; the dark interior recedes farthest beyond it.\n\nNo people appear unless the shot text itself says so.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-13 13:41:19", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s38_still_S10sh7", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/stills/S10sh6_nb2.png"], "ref_labels": ["PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing. If this photo shows a character who cannot move (dead or unconscious), that character's exact pose, position and orientation are ALSO LOCKED — treat their body as a fixed prop of the set that only the camera moves around."], "attempt": 1, "dur_s": 22.0, "bytes": 1728611, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/stills/S10sh7_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\n\nSHOT TEXT (authoritative, Korean): 불이 켜진 옥탑방 창문에 거대한 그림자가 작은 그림자의 어깨 쪽으로 고개를 꺾은 형태가 맺혀 있는 정지 구도\n\nLOCATION (lock): The flat rooftop of an aging low-rise apartment building, enclosed by a waist-high parapet. A small rooftop dwelling has a metal entrance door and a window visible from the open roof. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.\n\nTHIS SHOT CONTINUES THE PREVIOUS SHOT: everything the attached still established — the place, its fixed features and wear, each person's clothing and state — persists. Any person in it who cannot move stays PRECISELY as photographed (body, pose, contact points, held objects); only the camera changes.\n\nPREVIOUS STILL USAGE (follow exactly — what to take from the attached still and what to exclude): TAKE the same nighttime rooftop-room lighting, dark interior tone, and ominous intruder presence. EXCLUDE the iron-door gap, the visible shoe tip, and any flyer or lock-manipulation details; render the figures only as window shadows.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nMOVEMENT (follow exactly): static: A real man appearing as a large dark silhouette, with normal human build, leans into Minsook and angles his head down toward her shoulder as she is caught beneath him.\n\nFIGURES — size & depth (follow exactly): The man's shadow fills roughly ~2/3 of the frame height, larger than Minsook's smaller shadow at about ~1/3; both people are FARTHER than the NEARER window surface, while their mutual camera-depth order is not established. Their silhouettes overlap at Minsook's shoulder, leaving almost no distance between their paths.\n\nNo people appear unless the shot text itself says so.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-13 13:41:47", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s38_still_S11sh4", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/panels/S11sh4.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/bg4_S11sh4.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/39864973-d3d5-4886-bfb2-f8db608a005b.png"], "ref_labels": ["LAYOUT SKETCH — a bare thin-line layout guide, a REFERENCE ONLY: take from it ONLY the camera framing, figure placement, pose and size/depth order. It carries ZERO visual style — every texture, material, light and all realism come from the text and the photographic reference. Never let any line-drawing quality leak into the output.", "LOCATION PHOTOGRAPH — the exact place of this shot: its architecture, materials, fixed features and lighting mood are spatial truth; stage the moment inside this place. Never copy its camera framing.", "CHARACTER REFERENCE — 수리영: the exact person appearing in this shot; match face, hair and build exactly."], "attempt": 1, "dur_s": 28.3, "bytes": 2744924, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/stills/S11sh4_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\n\nSHOT TEXT (authoritative, Korean): 철제 파이프 난간을 손으로 잡은 수리영이 코끝을 찡그린 채 계단 중간에 서 있는 얼굴 클로즈업\n\nLOCATION (lock): A narrow exterior metal staircase attached to an old low-rise residential building. It has exposed steel steps and tubular pipe railings leading upward toward the roof. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nMOVEMENT (follow exactly): static: Suri-young pauses midway up the staircase while ascending toward the rooftop, gripping the metal-pipe railing with a tense posture and wrinkling her nose at the sudden foul smell, her body oriented uphill.\n\nFIGURES — size & depth (follow exactly): Suri-young’s face fills ~2/3 of the frame height in close-up and is the nearest figure; her hand and the metal-pipe railing sit slightly farther from the camera as she remains midway on the stairs.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 수리영 — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-13 13:42:12", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s38_still_S11sh5", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/stills/S11sh4_nb2.png"], "ref_labels": ["PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing. If this photo shows a character who cannot move (dead or unconscious), that character's exact pose, position and orientation are ALSO LOCKED — treat their body as a fixed prop of the set that only the camera moves around."], "attempt": 1, "dur_s": 24.8, "bytes": 2634286, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/stills/S11sh5_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\n\nSHOT TEXT (authoritative, Korean): 옥상에 선 수리영의 시선 끝에 반쯤 열려 있는 어두운 현관 철문이 보이는 정면 구도\n\nLOCATION (lock): The flat rooftop of an aging low-rise apartment building, enclosed by a waist-high parapet. A small rooftop dwelling has a metal entrance door and a window visible from the open roof. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.\n\nTHIS SHOT CONTINUES THE PREVIOUS SHOT: everything the attached still established — the place, its fixed features and wear, each person's clothing and state — persists. Any person in it who cannot move stays PRECISELY as photographed (body, pose, contact points, held objects); only the camera changes.\n\nPREVIOUS STILL USAGE (follow exactly — what to take from the attached still and what to exclude): TAKE the young woman's clothing, nighttime exterior lighting, and the metal stair-and-railing materials as she reaches the rooftop. EXCLUDE the earlier facial close-up, nose-wrinkling expression, and hand gripping the railing; frame her sightline toward the half-open iron door.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nMOVEMENT (follow exactly): static: Suriyoung stands tensely on the rooftop with her body and gaze directed straight toward the half-open iron entrance door and its dark interior.\n\nFIGURES — size & depth (follow exactly): Suriyoung appears about ~1/2 of the frame height in the NEARER rooftop area, while the half-open door appears about ~1/3 and is FARTHER ahead along her line of sight.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 수리영 — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-13 13:42:36", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s38_still_S13sh4", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/stills/S11sh4_nb2.png"], "ref_labels": ["PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing. If this photo shows a character who cannot move (dead or unconscious), that character's exact pose, position and orientation are ALSO LOCKED — treat their body as a fixed prop of the set that only the camera moves around."], "attempt": 1, "dur_s": 23.9, "bytes": 2729942, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/stills/S13sh4_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\n\nSHOT TEXT (authoritative, Korean): 수리영이 초점을 잃은 눈으로 허공을 응시하며 서 있는 모습\n\nLOCATION (lock): A confined ground-level alley and small courtyard beside an aging multi-unit residential building. Concrete walls, building entrances, and the base of the exterior access structure frame the space. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.\n\nTHIS SHOT CONTINUES THE PREVIOUS SHOT: everything the attached still established — the place, its fixed features and wear, each person's clothing and state — persists. Any person in it who cannot move stays PRECISELY as photographed (body, pose, contact points, held objects); only the camera changes.\n\nPREVIOUS STILL USAGE (follow exactly — what to take from the attached still and what to exclude): TAKE the young woman's same clothing and appearance, along with the building's nighttime exterior lighting and metal stair materials. EXCLUDE the earlier hand-on-railing pose and disgusted expression; she should now stand motionless with a vacant, shocked gaze.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nMOVEMENT (follow exactly): static: Su-ri-young stands motionless and dazed after coming down from the rooftop room, her unfocused eyes staring into empty space and her body lacking purposeful direction.\n\nFIGURES — size & depth (follow exactly): Su-ri-young is the only visible figure, so she is both the nearest and farthest person; her apparent fraction of frame height is unspecified in the source.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 수리영 — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-13 13:42:54", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s38_still_S13sh6", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/stills/S13sh4_nb2.png"], "ref_labels": ["PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing. If this photo shows a character who cannot move (dead or unconscious), that character's exact pose, position and orientation are ALSO LOCKED — treat their body as a fixed prop of the set that only the camera moves around."], "attempt": 1, "dur_s": 18.5, "bytes": 2857246, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/stills/S13sh6_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\n\nSHOT TEXT (authoritative, Korean): 고개를 든 채 혜수의 얼굴을 마주보고 있는 수리영의 측면 구도\n\nLOCATION (lock): A confined ground-level alley and small courtyard beside an aging multi-unit residential building. Concrete walls, building entrances, and the base of the exterior access structure frame the space. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.\n\nTHIS SHOT CONTINUES THE PREVIOUS SHOT: everything the attached still established — the place, its fixed features and wear, each person's clothing and state — persists. Any person in it who cannot move stays PRECISELY as photographed (body, pose, contact points, held objects); only the camera changes.\n\nPREVIOUS STILL USAGE (follow exactly — what to take from the attached still and what to exclude): TAKE the young woman's clothing, pale shocked appearance, standing position, and the same nighttime courtyard lighting. EXCLUDE her previous empty-space gaze and solitary composition; turn her face upward toward the approaching middle-aged woman.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nMOVEMENT (follow exactly): static: Su-ri-young holds her head raised and faces Hye-su directly in side profile, looking up at her while remaining dazed and stationary.\n\nFIGURES — size & depth (follow exactly): Su-ri-young and Hye-su's face are visible facing each other, but their respective frame-height fractions and which is nearer to the camera are unspecified; their paths have converged at conversational distance, with neither moving past the other.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 수리영, 혜수 — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-13 13:43:14", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s38_still_S17sh2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/panels/S17sh2.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/bg4_S17sh2.png"], "ref_labels": ["LAYOUT SKETCH — a bare thin-line layout guide, a REFERENCE ONLY: take from it ONLY the camera framing, figure placement, pose and size/depth order. It carries ZERO visual style — every texture, material, light and all realism come from the text and the photographic reference. Never let any line-drawing quality leak into the output.", "LOCATION PHOTOGRAPH — the exact place of this shot: its architecture, materials, fixed features and lighting mood are spatial truth; stage the moment inside this place. Never copy its camera framing."], "attempt": 1, "dur_s": 19.5, "bytes": 2282991, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/stills/S17sh2_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): dawn.\n\nSHOT TEXT (authoritative, Korean): 옥상 담벼락 위에서 한쪽 앞발을 허공으로 뻗은 검은 고양이의 측면\n\nLOCATION (lock): The flat rooftop of an aging low-rise apartment building, enclosed by a waist-high parapet. A small rooftop dwelling has a metal entrance door and a window visible from the open roof. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nMOVEMENT (follow exactly): The black cat moves side-on across and over the rooftop wall toward the opposite side, extending one forepaw into the air as its body follows.\n\nFIGURES — size & depth (follow exactly): The cat appears medium-sized, about ~1/3 of the frame height, and is NEARER to the camera than the FARTHER side beyond the wall; the wall runs beneath its crossing path.\n\nNo people appear unless the shot text itself says so.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-13 14:43:53", "kind": "llm", "step": "s38_prev2", "model": "gpt", "dur_s": 59.4, "system_prompt": "당신은 촬영 연속성 판정가다. 샷 목록(시간순, 샷마다 LOCATION\n명시)과 씬 원문 전문을 받는다. 각 샷마다, 앞쪽 샷의 생성 이미지\n한 장을 '배경(장소) 앵커' 참조 사진으로 붙일지 판정하라.\n(a) prev: ★유일한 기준 = 배경 동일성. 두 샷이 사실상 같은 지점,\n같은 카메라 공간(같은 방의 같은 구역, 같은 계단의 같은 위치 등)을\n비추고, 앞 샷 이미지에 그 배경이 실제로 보일 때만 지정하라.\n다음은 전부 null 이다:\n  · 인물이 이동해 다른 지점이 된 경우 — 같은 건물이라도\n    계단→옥상, 마당→골목, 실외→실내, 방→거실은 다른 배경이다.\n  · 두 샷의 LOCATION 서술이 서로 다른 경우 (무조건 null).\n  · 앞 샷이 얼굴 클로즈업·손 인서트 등이라 프레임에 배경이 거의\n    안 담겨 장소 앵커 구실을 못 하는 경우 — 이때는 그보다 앞의,\n    같은 배경이 넓게 보이는 샷으로 거슬러 지정하는 것은 허용.\n  · 같은 배경이라도 시간대(낮/밤 등)가 다른 경우.\n★스토리가 이어진다, 같은 사건이다, 같은 인물이 나온다는 것은\n근거가 아니다 — 인물의 의상·자세 일관성은 별도 장치가 담당하므로\n고려하지 마라. 배경이 거의 똑같은 곳이 아니면 무조건 null.\n반드시 목록에서 자기보다 앞의 샷만 지정할 수 있다.\n(b) usage_en: prev 가 있으면, 그 참조 사진을 '어떻게' 쓸지\n명령문 영어 2~4문장으로 저작하라 — 반드시 두 축을 다 쓸 것:\n  · TAKE: 이어받을 것 — 장소의 룩·재질·조명, 지속되는 상태물,\n    움직일 수 없는 인물의 자세·위치, 인물의 의상 등 원문상 이\n    샷에도 그대로 존재해야 하는 것.\n  · EXCLUDE: 배제할 것 — 이 샷의 공간·프레임에 없어야 하는\n    가구·인물·소품, 앞 샷 전용의 순간 요소, 다른 서브공간의\n    요소. '배경(장소)만 쓰고 인물은 쓰지 말 것', '특정 물체는\n    지우고 쓸 것'처럼 구체적으로.\n원문 근거로만 판단하고, 작품 고유명사 대신 일반 서술을 써라.\n각 샷: shot, prev(태그|null), reason_ko(한 구절 — 배경 동일/\n상이 근거), usage_en(prev 없으면 빈 문자열).", "user_prompt": "씬 원문 전문:\n[씬 4] S#4. 옥탑방 / D\nS#4. 옥탑방 / D\n인천 변두리 부감, 오래된 빌라 옥탑방 전경.\n\n기자(E)\n지역 주민들 사이에 횡행한 소문이 돌고 있지만, 경찰은\n범인의 윤곽조차 잡지 못하고 있어 지역주민들의 불안과\n두려움을 더 키우는 모양새입니다.\n\n\n\n[씬 5] S#5. 옥탑방 안 / 실내\nS#5. 옥탑방 안 / 실내\n거실에 난 작은 창으로 햇살에 가늘게 비친다.\n싱크대 수도꼭지에 흐르는 물, 씻다 만 약초(석창포).\n냄비의 물이 끓어 달그락거리는 소리… 김이 피어오르고.\n앞치마를 두른 채 TV 뉴스를 뚫어지게 바라보는\n민숙(수리영 엄마. 40세) 표정이 어둡다.\n(뉴스멘트는 작아졌다 커졌다 반복하면서 여기까지 이어진다)\n\n딸, 수리영(21. 애완동물미용학과 2년)이 방문을 열고 기지개를 켜며\n나오자 후다닥 TV를 끄는 민숙. 다정한 말투로\n\n수리영\n(심드렁) 뭐~야. 사건 났어? 뭔데.\n\n민숙\n아냐.\n\n수리영\n(식탁에 앉으며) 이모 또 야근하겠네. 조그만 도시에\n왠 사건이 이렇게 많아. 바다가 가까워서 그런가.\n\n민숙\n신경 꺼. (석창포 달인 물을 따라주면서) 마셔. 방학인데\n왜 더 자지않고.\n\n수리영\n(마시고 나서) 아, 진짜 맛 없어...(투정) 나 알바 있어, 엄마.\n원장님이 하루만 봐 달래.\n\n(cut to.)\n가벼운 차림새. 수리영 신발을 신으며\n\n수리영\n엄마는 오늘 안 나가?\n\n민숙\n이따가 1시 타임.\n\n수리영\n(엄마의 냄새를 맡으며) 아, 좋다. 끝나고 마트로 갈게. 모처럼\n밖에서 저녁먹자 엄마.\n\n민숙\n응 (미소)\n\n힐끗, 민숙 손목에 보이는 작은 원(이하 표식)을 본다.\n오늘따라 유난히 또렷해 보이지만 워낙 어릴 적부터 봐온 터라 개의치 않는.\n\n\n\n[씬 10] S#10. 옥탑방 / N\nS#10. 옥탑방 / N\n그 시각. 옥탑방 옥상. 물탱크. 바람에 빨랫줄이 툭- 툭-\n평상에 놓인 말린 석창포가 바람에 날리는데...\n말린 잎이 걸어오는 낯선 남자의 신발 위를 스친다.\n남자의 긴 그림자. (얼굴은 보이지 않는다)\n\n신발은 옥탑방 철문 현관 앞에 멈춰 선다.\n문틈에 낀 광고 전단지.\n전단지를 뽑아서 손가락으로 문틈에 꾹 밀어 넣는다.\n‘철컥’ 하고 잠금 새가 풀리는 소리.\n문이 미세하게 열리고 안으로 들어가는 남자.\n창문에 비친 그림자. 민숙을 덮쳐 어깨를 물어뜯는 듯한 모습 ‘아악-’\n\n\n\n[씬 11] S#11. 옥탑 방 밖 / N\nS#11. 옥탑 방 밖 / N\n자전거를 타고 골목길을 달리는 수리영.\n다세대 빌라 문을 열고 들어와 마당 후미진 곳에 자전거를 대충 세우고,\n옥탑방과 연결되는 계단을 급히 오른다.\n\n갑자기 훅- 느껴지는 역겨운 냄새. 뭐지?\n옥상에 올라와 보니 반쯤 열린 현관 철문.\n\n\n\n[씬 12] S#12. 옥탑방 안 / N\nS#12. 옥탑방 안 / N\n/거실\n‘엄마?’를 부르며 들어오는 수리영,\n끓다 식은 냄비. 켜져 있는 TV. 희미한 거실 스탠드 불빛,\n\n/민숙 방\n안방 문을 여는데... 없다.\n거실 식탁에 놓여있는 찻잔 두 개. 하나는 엎어져있다.\n\n/수리영 방\n마지막으로 자기 방문을 연다\n헉!- 여기저기 핏자국. 바닥에 흥건한 혈흔.\n피묻은 발자국은 커튼으로 이어져 있다\n호흡을 가두고 커튼을 젖히자\n앉은 채로 고개를 떨군 채 죽어있는 엄마- 민숙!!!!\n\n수리영\n(달려가) 어어어어----엄마\n\n충격에 온 몸이 얼어붙은 수리영,\n살점이 뜯긴 어깨와 쇄골, 마치 동물에게 물어뜯긴 듯한 거친 상처가 고스란히\n드러나있다. 덜렁거리는 살점과 뜯겨진 부위에 흘러내리는 피.\n\n수리영\n(놀라 뒤로 주춤) 어-어-어- 엄마….\n\n부들부들 떨며 핸드폰을 누른다. 2번 혜수이모\n\n수리영\n받아, 이모. 받아….\n\n혜수(E)\n영아, 영아, 왜?\n\n답은 안 나오고… 엄마 손안에 구겨진 사진 한 장이 보인다.\n다가가 사진을 꺼내는데 엄마 손목에 있던 문신이 붉은색으로 변한다.\n헉! 호흡이 빨라지고... 침대 위 벽에 붉은 원이 생겨난다\n(마치 누군가 붓으로 벽에 원으로 그리는 것처럼).\n소름끼치는 으아악---!\n\n\n\n[씬 13] S#13. 옥탑방 외곽 / N\nS#13. 옥탑방 외곽 / N\n비명을 지르며 옥탑방을 빠져나오는 수리영, 허겁지겁 계단을 내려간다.\n동시에 사이렌이 울리고~. (포즈)\n차에서 내린 혜수(40대 중반, 여자, 경위) 초점을 잃고 멍하니 서있는\n수리영의 모습을 발견하고 달려간다.\n\n혜수\n영아? 왜! 무슨 일이야?\n\n수리영\n(올라다보며) 엄마가, 엄마가... 죽어있어.\n\n혜수\n(놀라) 뭐?!\n\n옥탑 방으로 뛰어 올라가는 혜수와 후배 형사(30대 남/ 이하 김형사)\n\n\n\n[씬 14] S#14. 옥탑방 안 / N\nS#14. 옥탑방 안 / N\n/현관\n집안 여기저기를 확인하면서 나오는 형사와 혜수\n\n김형사\n(허탈한 표정) 없는데.. 아무 것도.\n\n혜수\n(뒤따라온 수리영에게) 영아, 없어. 뭘 봤는데...?\n\n어? 수리영, 부리나케 방 안으로 뛰어 들어간다.\n\n/수리영 방 안\n지나칠 정도로 깨끗하게 정돈된 방안. 핏자국도 보이지 않고,\n침대 위에 붉은 표식은 물론 커튼 뒤의 시신도 감쪽 같이 사라졌다.\n얼굴이 파리해지는 수리영. ‘어----?’ ‘분명히 봤는데...’\n\n뛰쳐나가 식탁으로 가본다. 식탁 역시 깨끗한.\n\n수리영\n여기 찻잔도 두 개 있었고...\n\n김형사\n(답답) 허 참! 죽은 사람이 발이 달렸을 리도 없고. 쯧쯧\n그러게 살인사건은 자세하게 보도하면 안 된다구요...(궁시렁)\n이봐요. 학생? 장난전화 하면 안 되는 거 몰라? (짜증)\n안 그래도 살인사건으로 난리도 아닌데...\n\n혜수\n(김형사 째리고) 김형사. 먼저 가 있어. (김형사 나가면)\n(수리영 어깨를 어루만지며) 영아.\n\n수리영\n엄마(시신), 어디갔을까? 분명히 봤는데...\n\n혜수\n네가 요즘 과로했잖아. 공부에다 알바까지...\n악몽을 꾼 걸 수도 있으니... 바람이나 쐬러 가자.\n수리영 방안에 놓여진 백팩, 인형. 약간씩 위치가 달라진.\n(시신을 발견했을 때와 다른)\n\n\n\n[씬 17] S#17. 옥탑방 / 동틀무렵\nS#17. 옥탑방 / 동틀무렵\n새벽녘, 고양이 울음소리.\n검은 고양이가 불이 켜져 있는 옥탑 방을 슬쩍 보더니 담을 넘는다\n\n\n\n[씬 18] S#18. 안방 안 / D\nS#18. 안방 안 / D\n침대에 머리를 대고 앉아있는 수리영, 밤새 엄마를 기다리다 깜박 졸았다\n고양이 울음소리에 번쩍 눈을 뜨고, ‘엄마? ’혹시나 해서 집안을 살피지만\n아무런 인기척도 보이지 않는다\n\n/수리영 방안\n닫혀있는 자신의 방을 바라본다.\n[F.B: 1부12씬] 커튼 뒤에 죽어있던 엄마. 상처. 혈흔\n\n크게 심호흡하고 조심스럽게 문을 연다.\n지나치리만큼 깨끗하게 정돈된 방안.\n창문에 다가가 커튼을 확 열어젖힌다. 시신은 없다.\n\n한숨 후~ 다행이긴 한데.\n그때, 울리는 폰 벨소리, 화들짝 놀라는 수리영. 달려가 받자마자\n\n수리영\n엄마?\n\n혜수(E)\n아직이니?\n\n수리영\n응. 아무래도 이상해. 이럴 리가 없잖아! 우리 엄마가.\n이모, 사고 난 게 분명해\n\n혜수(E)\n실종신고 냈어. 이모가 엄마 폰 위치추적하고 있으니까\n조금만 기다려 별일 없을 거야. 알았지?\n\n수리영\n응.\n\n무작정 기다리는게 불안한 수리영,\n인형이 달린 자신의 백팩을 꺼내 나온다\n\n/욕실 안\n얼굴을 씻고 거울을 보며\n\n수리영\n엄마, 도대체 어딨는 거야...\n\n거울에 비친 욕실 벽에 갑자기 또 발생하는 붉은 원.\n호흡이 가빠지고... 훅 고개를 돌려 벽을 보는 수리영\n거짓말처럼 사라지고 없다.\n거실로 튀어나와 물 한컵 마시고 식탁에 놓인 엄마와 수리영의 사진을 보는데...\n환하게 웃는 엄마 얼굴이 뭉개져 흘러내린다\n\n수리영\n아아악~~~ (다시보니 멀쩡하다) 나 왜 이러는 거지.\n(자신의 뺨을 치며) 정신 차려 수리영!\n\n\n\n[씬 25] S#25. 옥탑방 안 / 해질 무렵\nS#25. 옥탑방 안 / 해질 무렵\n누군가 다녀간 흔적으로 보이는 발자국들.\n다시 호흡이 가빠지는 수리영.\n집안에서 뭔가를 찾기 위해 가재도구를 온통 헤집은 것으로 보인다.\n거실에 난 창은 열려있고, 식탁 의자들을 쓰러져있다.\n\n/수리영 방\n열린 자신의 방을 힐끗 보는데\n벽에 또 붉은 원이 그려져있다. 그 가운데 꽂혀있는 피묻은 사진 한 장!\n사진을 떼어서 자세히 본다.\n어? 그 사진!!!\n\n[F.B: 1부 12씬] 죽은 엄마의 손에 구겨져있던 바로 그 사진이다.\n7-80년대 쯤 보이는 시골 식당과 지붕위에 둥근 원이 설치된 (마치 십자가처럼)\n식당 앞에는 어린 여자애 둘(12살)이 앉아있다. 그중에 한 아이는 분명히\n어릴 적 엄마다.\n\n침대에 털썩 주저앉는 수리영. 연속해서 벌어지는 기이한 상황에 정신이 혼미한\n엉망이 된 집 안을 한번 획 둘러보는 수리영,\n마치 이끌리듯 백팩을 메고 밖으로 나간다. 사진을 손에 꼭 쥔 채.\n\n\n\n[씬 27] S#27. 옥탑방 안 / 해질 무렵\nS#27. 옥탑방 안 / 해질 무렵\n수리영의 녹음메시지를 확인하는 혜수,\n\n\n\n샷 목록(시간순):\nS4sh1 [LOCATION: The flat rooftop of an aging low-rise apartment building, enclosed by a waist-high parapet. A small rooftop dwelling has a metal entrance door and a window visible from the open roof.]\n  맑은 낮, 오래된 다세대 빌라 옥상 위에 자리 잡은 옥탑방을 높은 곳에서 내려다본 부감 구도\nS5sh5 [LOCATION: A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls. | sub-space: living_dining_day_root]\n  다급하게 상체를 기울이며 손가락 끝으로 TV 전원 버튼을 세게 누르고 있는 민숙의 측면 구도\nS5sh9 [LOCATION: A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls. | sub-space: living_dining_day_root]\n  민숙의 손목에 선명하게 드러난 작은 원형 표식의 타이트 샷\nS10sh6 [LOCATION: The flat rooftop of an aging low-rise apartment building, enclosed by a waist-high parapet. A small rooftop dwelling has a metal entrance door and a window visible from the open roof.]\n  현관 철문이 아주 살짝 열린 틈새로 보이는 어두운 실내와 신발 앞코\nS10sh7 [LOCATION: The flat rooftop of an aging low-rise apartment building, enclosed by a waist-high parapet. A small rooftop dwelling has a metal entrance door and a window visible from the open roof.]\n  불이 켜진 옥탑방 창문에 거대한 그림자가 작은 그림자의 어깨 쪽으로 고개를 꺾은 형태가 맺혀 있는 정지 구도\nS11sh4 [LOCATION: A narrow exterior metal staircase attached to an old low-rise residential building. It has exposed steel steps and tubular pipe railings leading upward toward the roof.]\n  철제 파이프 난간을 손으로 잡은 수리영이 코끝을 찡그린 채 계단 중간에 서 있는 얼굴 클로즈업\nS11sh5 [LOCATION: The flat rooftop of an aging low-rise apartment building, enclosed by a waist-high parapet. A small rooftop dwelling has a metal entrance door and a window visible from the open roof.]\n  옥상에 선 수리영의 시선 끝에 반쯤 열려 있는 어두운 현관 철문이 보이는 정면 구도\nS12sh11 [LOCATION: A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls. | sub-space: daughter_bedroom_night_doorway_wide]\n  옷과 피부가 피투성이가 된 민숙이 바닥에 주저앉아 고개를 푹 숙인 정지 상태\nS12sh18 [LOCATION: A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls. | sub-space: daughter_bedroom_night_doorway_wide]\n  민숙의 손에 꽉 쥐어진 구겨진 사진의 타이트 샷\nS12sh21 [LOCATION: A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls. | sub-space: daughter_bedroom_night_doorway_wide]\n  침대 위쪽 벽면에 붉은색 원형 표식이 절반쯤 나타난 상태\nS13sh4 [LOCATION: A confined ground-level alley and small courtyard beside an aging multi-unit residential building. Concrete walls, building entrances, and the base of the exterior access structure frame the space.]\n  수리영이 초점을 잃은 눈으로 허공을 응시하며 서 있는 모습\nS13sh6 [LOCATION: A confined ground-level alley and small courtyard beside an aging multi-unit residential building. Concrete walls, building entrances, and the base of the exterior access structure frame the space.]\n  고개를 든 채 혜수의 얼굴을 마주보고 있는 수리영의 측면 구도\nS14sh5 [LOCATION: A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls. | sub-space: daughter_bedroom_night_doorway_wide]\n  핏자국 없이 깨끗한 방 내부 전경\nS14sh7 [LOCATION: A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls. | sub-space: daughter_bedroom_night_doorway_wide]\n  수리영이 멍한 눈으로 텅 빈 방 안을 응시하는 얼굴 클로즈업\nS14sh11 [LOCATION: A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls. | sub-space: entry_night_inward_view]\n  혜수가 날카로운 눈빛으로 김형사를 노려보는 모습\nS17sh2 [LOCATION: The flat rooftop of an aging low-rise apartment building, enclosed by a waist-high parapet. A small rooftop dwelling has a metal entrance door and a window visible from the open roof.]\n  옥상 담벼락 위에서 한쪽 앞발을 허공으로 뻗은 검은 고양이의 측면\nS18sh11 [LOCATION: A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls. | sub-space: bathroom_day_mirror_tile_view]\n  거울 속 반사된 욕실 타일 벽면에 붉은색 원형 표식이 절반쯤 나타난 상태\nS18sh15 [LOCATION: A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls. | sub-space: living_dining_day_root]\n  액자 속 민숙의 얼굴 부분 이미지가 아래로 일그러지며 흘러내리는 찰나\nS18sh16 [LOCATION: A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls. | sub-space: living_dining_day_root]\n  수리영이 두 손으로 머리를 감싸 쥐고 입을 크게 벌린 얼굴\nS25sh1 [LOCATION: A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls. | sub-space: living_dining_sunset_floor_view]\n  해질 무렵 옥탑방 거실, 흙 묻은 발자국들이 찍힌 바닥과 쓰러진 식탁 의자들이 보이는 전경\nS25sh5 [LOCATION: A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls. | sub-space: daughter_bedroom_sunset_bed_wall]\n  붉은 원 한가운데 피 묻은 낡은 흑백 사진이 벽에 꽂혀 있는 타이트 샷\nS25sh9 [LOCATION: A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls. | sub-space: daughter_bedroom_sunset_bed_wall]\n  수리영의 손이 구겨진 사진을 꽉 움켜쥔 타이트 샷\nS27sh3 [LOCATION: A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls. | sub-space: living_dining_sunset_floor_view]\n  혜수가 미간을 깊게 찌푸린 채 스마트폰을 내려다보는 얼굴 클로즈업"}
{"ts": "2026-07-13 14:44:54", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s38_still_S4sh1", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/panels/S4sh1.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/bg4_S4sh1.png"], "ref_labels": ["LAYOUT SKETCH — a bare thin-line layout guide, a REFERENCE ONLY: take from it ONLY the camera framing, figure placement, pose and size/depth order. It carries ZERO visual style — every texture, material, light and all realism come from the text and the photographic reference. Never let any line-drawing quality leak into the output.", "LOCATION PHOTOGRAPH — the exact place of this shot: its architecture, materials, fixed features and lighting mood are spatial truth; stage the moment inside this place. Never copy its camera framing."], "attempt": 1, "dur_s": 22.3, "bytes": 3569815, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/stills/S4sh1_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): daytime.\n\nSHOT TEXT (authoritative, Korean): 맑은 낮, 오래된 다세대 빌라 옥상 위에 자리 잡은 옥탑방을 높은 곳에서 내려다본 부감 구도\n\nLOCATION (lock): The flat rooftop of an aging low-rise apartment building, enclosed by a waist-high parapet. A small rooftop dwelling has a metal entrance door and a window visible from the open roof. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nMOVEMENT (follow exactly): static: No person is visible; the rooftop room remains fixed on top of the old multi-family villa beneath the high, downward-looking camera.\n\nFIGURES — size & depth (follow exactly): The rooftop room appears small, about ~1/6 of the frame height, and is FARTHER from the camera than the surrounding upper roof surfaces in the foreground.\n\nNo people appear unless the shot text itself says so.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-13 14:45:24", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s38_still_S5sh5", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/panels/S5sh5.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/plate_living_dining_day_root.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/899945af-f9bf-4880-bdd7-c9d1f45a5327.png"], "ref_labels": ["LAYOUT SKETCH — a bare thin-line layout guide, a REFERENCE ONLY: take from it ONLY the camera framing, figure placement, pose and size/depth order. It carries ZERO visual style — every texture, material, light and all realism come from the text and the photographic reference. Never let any line-drawing quality leak into the output.", "LOCATION PHOTOGRAPH — the exact place of this shot: its architecture, materials, fixed features and lighting mood are spatial truth; stage the moment inside this place. Never copy its camera framing.", "CHARACTER REFERENCE — 민숙: the exact person appearing in this shot; match face, hair and build exactly."], "attempt": 1, "dur_s": 30.5, "bytes": 2341674, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/stills/S5sh5_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): interior ambient light.\n\nSHOT TEXT (authoritative, Korean): 다급하게 상체를 기울이며 손가락 끝으로 TV 전원 버튼을 세게 누르고 있는 민숙의 측면 구도\n\nLOCATION (lock): A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nMOVEMENT (follow exactly): Min-sook urgently pitches her upper body forward toward the TV and forcefully drives a fingertip into its power button to turn it off as Su-ri-young emerges from her room.\n\nFIGURES — size & depth (follow exactly): Min-sook's side-view upper body fills roughly 2/3 of the frame height, with her reaching hand and the TV button NEARER to the camera than her face and torso. The TV is FARTHER along her forward reach, and her body closes the short distance toward it.\n\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Minsuk remains in her apron, with the same small circular mark on her wrist; the mark must already be present here because she has had it since childhood.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 민숙 — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-13 14:45:45", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s38_still_S5sh9", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/stills/S5sh5_nb2.png"], "ref_labels": ["PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing. If this photo shows a character who cannot move (dead or unconscious), that character's exact pose, position and orientation are ALSO LOCKED — treat their body as a fixed prop of the set that only the camera moves around."], "attempt": 1, "dur_s": 21.1, "bytes": 2271443, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/stills/S5sh9_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): interior ambient light.\n\nSHOT TEXT (authoritative, Korean): 민숙의 손목에 선명하게 드러난 작은 원형 표식의 타이트 샷\n\nLOCATION (lock): A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.\n\nTHIS SHOT CONTINUES THE PREVIOUS SHOT: everything the attached still established — the place, its fixed features and wear, each person's clothing and state — persists. Any person in it who cannot move stays PRECISELY as photographed (body, pose, contact points, held objects); only the camera changes.\n\nPREVIOUS STILL USAGE (follow exactly — what to take from the attached still and what to exclude): Take the cramped living area's worn materials, daylight, and the woman's apron and position from the reference. Preserve the continuity of her wrist and its small circular mark. Exclude the TV-button-pressing action and any wider room elements that fall outside this tight wrist framing.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nMOVEMENT (follow exactly): static: Min-sook's wrist is held in view, with the sharply visible small circular mark facing the camera.\n\nFIGURES — size & depth (follow exactly): The wrist fills most of the tight frame, while the circular mark occupies a small area at its center. The skin and mark are the NEAREST and only principal subject, with any body or room detail FARTHER and out of focus.\n\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The TV remains switched off, and Minsuk still wears the apron. The small, unusually distinct circular mark remains on her wrist.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 민숙 — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-13 14:46:09", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s38_still_S10sh6", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/panels/S10sh6.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/bg4_S10sh6.png"], "ref_labels": ["LAYOUT SKETCH — a bare thin-line layout guide, a REFERENCE ONLY: take from it ONLY the camera framing, figure placement, pose and size/depth order. It carries ZERO visual style — every texture, material, light and all realism come from the text and the photographic reference. Never let any line-drawing quality leak into the output.", "LOCATION PHOTOGRAPH — the exact place of this shot: its architecture, materials, fixed features and lighting mood are spatial truth; stage the moment inside this place. Never copy its camera framing."], "attempt": 1, "dur_s": 23.9, "bytes": 1995311, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/stills/S10sh6_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\n\nSHOT TEXT (authoritative, Korean): 현관 철문이 아주 살짝 열린 틈새로 보이는 어두운 실내와 신발 앞코\n\nLOCATION (lock): The flat rooftop of an aging low-rise apartment building, enclosed by a waist-high parapet. A small rooftop dwelling has a metal entrance door and a window visible from the open roof. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nMOVEMENT (follow exactly): The unknown man's shoe toe advances from the rooftop exterior through the narrowly opened iron doorway into the dark room, leading his unseen body inward.\n\nFIGURES — size & depth (follow exactly): The shoe toe is small, about ~1/10 of the frame height, and lies FARTHER from the camera than the NEARER iron door edges; the dark interior recedes farthest beyond it.\n\nNo people appear unless the shot text itself says so.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-13 14:46:28", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s38_still_S10sh7", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/stills/S10sh6_nb2.png"], "ref_labels": ["PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing. If this photo shows a character who cannot move (dead or unconscious), that character's exact pose, position and orientation are ALSO LOCKED — treat their body as a fixed prop of the set that only the camera moves around."], "attempt": 1, "dur_s": 19.1, "bytes": 2210800, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/stills/S10sh7_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\n\nSHOT TEXT (authoritative, Korean): 불이 켜진 옥탑방 창문에 거대한 그림자가 작은 그림자의 어깨 쪽으로 고개를 꺾은 형태가 맺혀 있는 정지 구도\n\nLOCATION (lock): The flat rooftop of an aging low-rise apartment building, enclosed by a waist-high parapet. A small rooftop dwelling has a metal entrance door and a window visible from the open roof. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.\n\nTHIS SHOT CONTINUES THE PREVIOUS SHOT: everything the attached still established — the place, its fixed features and wear, each person's clothing and state — persists. Any person in it who cannot move stays PRECISELY as photographed (body, pose, contact points, held objects); only the camera changes.\n\nPREVIOUS STILL USAGE (follow exactly — what to take from the attached still and what to exclude): Take the rooftop dwelling's aged exterior materials, metal fixtures, dark interior tone, and nighttime lighting from the reference. Preserve the slightly opened entrance door as an ongoing state where it remains visible. Exclude the shoe tip and the doorway-focused composition; do not place the intruder visibly in the window-shadow frame.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nMOVEMENT (follow exactly): static: A real man appearing as a large dark silhouette, with normal human build, leans into Minsook and angles his head down toward her shoulder as she is caught beneath him.\n\nFIGURES — size & depth (follow exactly): The man's shadow fills roughly ~2/3 of the frame height, larger than Minsook's smaller shadow at about ~1/3; both people are FARTHER than the NEARER window surface, while their mutual camera-depth order is not established. Their silhouettes overlap at Minsook's shoulder, leaving almost no distance between their paths.\n\nNo people appear unless the shot text itself says so.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-13 14:46:57", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s38_still_S11sh4", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/panels/S11sh4.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/bg4_S11sh4.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/39864973-d3d5-4886-bfb2-f8db608a005b.png"], "ref_labels": ["LAYOUT SKETCH — a bare thin-line layout guide, a REFERENCE ONLY: take from it ONLY the camera framing, figure placement, pose and size/depth order. It carries ZERO visual style — every texture, material, light and all realism come from the text and the photographic reference. Never let any line-drawing quality leak into the output.", "LOCATION PHOTOGRAPH — the exact place of this shot: its architecture, materials, fixed features and lighting mood are spatial truth; stage the moment inside this place. Never copy its camera framing.", "CHARACTER REFERENCE — 수리영: the exact person appearing in this shot; match face, hair and build exactly."], "attempt": 1, "dur_s": 28.8, "bytes": 2907843, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/stills/S11sh4_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\n\nSHOT TEXT (authoritative, Korean): 철제 파이프 난간을 손으로 잡은 수리영이 코끝을 찡그린 채 계단 중간에 서 있는 얼굴 클로즈업\n\nLOCATION (lock): A narrow exterior metal staircase attached to an old low-rise residential building. It has exposed steel steps and tubular pipe railings leading upward toward the roof. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nMOVEMENT (follow exactly): static: Suri-young pauses midway up the staircase while ascending toward the rooftop, gripping the metal-pipe railing with a tense posture and wrinkling her nose at the sudden foul smell, her body oriented uphill.\n\nFIGURES — size & depth (follow exactly): Suri-young’s face fills ~2/3 of the frame height in close-up and is the nearest figure; her hand and the metal-pipe railing sit slightly farther from the camera as she remains midway on the stairs.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 수리영 — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-13 14:47:18", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s38_still_S11sh5", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/stills/S10sh6_nb2.png"], "ref_labels": ["PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing. If this photo shows a character who cannot move (dead or unconscious), that character's exact pose, position and orientation are ALSO LOCKED — treat their body as a fixed prop of the set that only the camera moves around."], "attempt": 1, "dur_s": 20.8, "bytes": 2717008, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/stills/S11sh5_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\n\nSHOT TEXT (authoritative, Korean): 옥상에 선 수리영의 시선 끝에 반쯤 열려 있는 어두운 현관 철문이 보이는 정면 구도\n\nLOCATION (lock): The flat rooftop of an aging low-rise apartment building, enclosed by a waist-high parapet. A small rooftop dwelling has a metal entrance door and a window visible from the open roof. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.\n\nTHIS SHOT CONTINUES THE PREVIOUS SHOT: everything the attached still established — the place, its fixed features and wear, each person's clothing and state — persists. Any person in it who cannot move stays PRECISELY as photographed (body, pose, contact points, held objects); only the camera changes.\n\nPREVIOUS STILL USAGE (follow exactly — what to take from the attached still and what to exclude): Take the aged rooftop surface, metal entrance door, surrounding exterior materials, and nighttime illumination from the reference. Keep the entrance door visibly open to the degree required by the current scene. Exclude the stranger's shoe and any suggestion that the stranger is still standing at the doorway.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nMOVEMENT (follow exactly): static: Suriyoung stands tensely on the rooftop with her body and gaze directed straight toward the half-open iron entrance door and its dark interior.\n\nFIGURES — size & depth (follow exactly): Suriyoung appears about ~1/2 of the frame height in the NEARER rooftop area, while the half-open door appears about ~1/3 and is FARTHER ahead along her line of sight.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 수리영 — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-13 14:47:48", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s38_still_S12sh11", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/panels/S12sh11.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/plate_daughter_bedroom_night_doorway_wide.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/1d7902d5-8b31-4ab6-9e6a-5da6ab5d842f.png"], "ref_labels": ["LAYOUT SKETCH — a bare thin-line layout guide, a REFERENCE ONLY: take from it ONLY the camera framing, figure placement, pose and size/depth order. It carries ZERO visual style — every texture, material, light and all realism come from the text and the photographic reference. Never let any line-drawing quality leak into the output.", "LOCATION PHOTOGRAPH — the exact place of this shot: its architecture, materials, fixed features and lighting mood are spatial truth; stage the moment inside this place. Never copy its camera framing.", "CHARACTER REFERENCE — 민숙 (환시): the exact person appearing in this shot; match face, hair and build exactly."], "attempt": 1, "dur_s": 30.3, "bytes": 2627213, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/stills/S12sh11_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\n\nSHOT TEXT (authoritative, Korean): 옷과 피부가 힘없이 무너져 미동이 없는 민숙이 바닥에 주저앉아 고개를 푹 숙인 정지 상태\n\nLOCATION (lock): A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.\n\nIMMOBILE CHARACTER POSE — CANONICAL (identical wherever this character appears in ANY panel; on any conflict THIS POSE WINS): Min-sook is seated collapsed on the floor behind the curtain with her head dropped forward. One hand is clenched around a crumpled photograph.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nMOVEMENT (follow exactly): static: utterly motionless, collapsed Min-sook is seated collapsed on the floor behind the curtain with her head dropped forward, shoulders fallen, limbs limp, and body weight fully given way.\n\nFIGURES — size & depth (follow exactly): Min-sook's dark stains-covered body fills about 2/3 of the frame height and is the NEAREST principal figure. The floor directly beneath her is nearer than the surrounding bedroom and curtain area, which recede FARTHER behind her.\n\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Min-sook remains dead behind the curtain, seated collapsed on the floor with her head dropped forward, her torn shoulder and collarbone exposed amid the dark stains and dark-stained footprints. One hand is clenched around a crumpled photograph, and the small circular mark remains on her wrist.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 민숙 (환시) — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-13 14:48:11", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s38_still_S12sh18", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/stills/S12sh11_nb2.png"], "ref_labels": ["PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing. If this photo shows a character who cannot move (dead or unconscious), that character's exact pose, position and orientation are ALSO LOCKED — treat their body as a fixed prop of the set that only the camera moves around."], "attempt": 1, "dur_s": 22.8, "bytes": 2514280, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/stills/S12sh18_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\n\nSHOT TEXT (authoritative, Korean): 민숙의 손에 꽉 쥐어진 구겨진 사진의 타이트 샷\n\nLOCATION (lock): A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.\n\nTHIS SHOT CONTINUES THE PREVIOUS SHOT: everything the attached still established — the place, its fixed features and wear, each person's clothing and state — persists. Any person in it who cannot move stays PRECISELY as photographed (body, pose, contact points, held objects); only the camera changes.\n\nPREVIOUS STILL USAGE (follow exactly — what to take from the attached still and what to exclude): Take the bedroom's dim nighttime look and the seated woman's fixed body, clothing, and hand position from the reference. Preserve the dark-stained condition and the crumpled photograph held in her hand. Exclude the wider view of her body, wounds, bed, and curtain from this tight photograph insert.\n\nIMMOBILE CHARACTER POSE — CANONICAL (identical wherever this character appears in ANY panel; on any conflict THIS POSE WINS): Min-sook is seated collapsed on the floor behind the curtain with her head dropped forward. One hand is clenched around a crumpled photograph.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nMOVEMENT (follow exactly): static: utterly motionless, collapsed Min-sook's hand remains clenched around a crumpled photograph, with the photograph exposed toward the camera.\n\nFIGURES — size & depth (follow exactly): The dead woman's hand fills roughly 2/3 of the tight frame, and the crumpled photograph fills about 1/3. The photograph is NEARER where it protrudes from her grasp, while her palm, wrist, and collapsed body are progressively FARTHER behind it.\n\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Minsuk remains seated collapsed on the floor behind the curtain with her head dropped forward, with the wounds and dark stains undisturbed. The crumpled photograph stays clenched in her hand until Suri-young pulls it free, as the circular wrist mark turns red.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 민숙 (환시) — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-13 14:48:36", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s38_still_S12sh21", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/stills/S12sh11_nb2.png"], "ref_labels": ["PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing. If this photo shows a character who cannot move (dead or unconscious), that character's exact pose, position and orientation are ALSO LOCKED — treat their body as a fixed prop of the set that only the camera moves around."], "attempt": 1, "dur_s": 25.4, "bytes": 2960770, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/stills/S12sh21_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\n\nSHOT TEXT (authoritative, Korean): 침대 위쪽 벽면에 붉은색 원형 표식이 절반쯤 나타난 상태\n\nLOCATION (lock): A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.\n\nTHIS SHOT CONTINUES THE PREVIOUS SHOT: everything the attached still established — the place, its fixed features and wear, each person's clothing and state — persists. Any person in it who cannot move stays PRECISELY as photographed (body, pose, contact points, held objects); only the camera changes.\n\nPREVIOUS STILL USAGE (follow exactly — what to take from the attached still and what to exclude): Take the worn bedroom wall, bed placement, dim nighttime lighting, and the continuing dark-stained room state from the reference. Keep the seated body and dark stains evidence spatially consistent even when they fall outside the crop. Exclude the motionless figure and handheld photograph from the wall-focused frame, and show only the newly forming red circle on the wall.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nMOVEMENT (follow exactly): A red circular mark spreads around the wall above the bed, progressing along a ring-like path as though an unseen brush is drawing it, with about half the circle formed.\n\nFIGURES — size & depth (follow exactly): The half-formed red circle fills roughly 1/2 of the frame height on the wall and is the principal visible object. The wall surface and mark are FARTHER than the nearer edge of the bed, with the red pigment visually sitting closest on that wall plane.\n\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Minsuk’s motionless figure, wounds, and the room’s dark stains traces remain unchanged; her hand is now without the photograph, which Suri-young has taken, and the wrist mark is red. A red circle is partially formed on the wall above the bed.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 민숙 (환시) — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-13 14:49:07", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s38_still_S13sh4", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/panels/S13sh4.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/bg4_S13sh4.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/39864973-d3d5-4886-bfb2-f8db608a005b.png"], "ref_labels": ["LAYOUT SKETCH — a bare thin-line layout guide, a REFERENCE ONLY: take from it ONLY the camera framing, figure placement, pose and size/depth order. It carries ZERO visual style — every texture, material, light and all realism come from the text and the photographic reference. Never let any line-drawing quality leak into the output.", "LOCATION PHOTOGRAPH — the exact place of this shot: its architecture, materials, fixed features and lighting mood are spatial truth; stage the moment inside this place. Never copy its camera framing.", "CHARACTER REFERENCE — 수리영: the exact person appearing in this shot; match face, hair and build exactly."], "attempt": 1, "dur_s": 30.4, "bytes": 2314564, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/stills/S13sh4_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\n\nSHOT TEXT (authoritative, Korean): 수리영이 초점을 잃은 눈으로 허공을 응시하며 서 있는 모습\n\nLOCATION (lock): A confined ground-level alley and small courtyard beside an aging multi-unit residential building. Concrete walls, building entrances, and the base of the exterior access structure frame the space. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nMOVEMENT (follow exactly): static: Su-ri-young stands motionless and dazed after coming down from the rooftop room, her unfocused eyes staring into empty space and her body lacking purposeful direction.\n\nFIGURES — size & depth (follow exactly): Su-ri-young is the only visible figure, so she is both the nearest and farthest person; her apparent fraction of frame height is unspecified in the source.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 수리영 — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-13 14:49:29", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s38_still_S13sh6", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/stills/S13sh4_nb2.png"], "ref_labels": ["PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing. If this photo shows a character who cannot move (dead or unconscious), that character's exact pose, position and orientation are ALSO LOCKED — treat their body as a fixed prop of the set that only the camera moves around."], "attempt": 1, "dur_s": 22.1, "bytes": 2257730, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/stills/S13sh6_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\n\nSHOT TEXT (authoritative, Korean): 고개를 든 채 혜수의 얼굴을 마주보고 있는 수리영의 측면 구도\n\nLOCATION (lock): A confined ground-level alley and small courtyard beside an aging multi-unit residential building. Concrete walls, building entrances, and the base of the exterior access structure frame the space. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.\n\nTHIS SHOT CONTINUES THE PREVIOUS SHOT: everything the attached still established — the place, its fixed features and wear, each person's clothing and state — persists. Any person in it who cannot move stays PRECISELY as photographed (body, pose, contact points, held objects); only the camera changes.\n\nPREVIOUS STILL USAGE (follow exactly — what to take from the attached still and what to exclude): Take the confined courtyard's concrete surfaces, building entrances, access structure, and nighttime emergency ambience from the reference. Preserve the young woman's standing position in the same ground-level area. Exclude her earlier vacant stare and empty-air eyeline; frame her now looking up at the approaching woman.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nMOVEMENT (follow exactly): static: Su-ri-young holds her head raised and faces Hye-su directly in side profile, looking up at her while remaining dazed and stationary.\n\nFIGURES — size & depth (follow exactly): Su-ri-young and Hye-su's face are visible facing each other, but their respective frame-height fractions and which is nearer to the camera are unspecified; their paths have converged at conversational distance, with neither moving past the other.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 수리영, 혜수 — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-13 14:49:49", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s38_still_S14sh5", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/stills/S12sh11_nb2.png"], "ref_labels": ["PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing. If this photo shows a character who cannot move (dead or unconscious), that character's exact pose, position and orientation are ALSO LOCKED — treat their body as a fixed prop of the set that only the camera moves around."], "attempt": 1, "dur_s": 20.2, "bytes": 2603181, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/stills/S14sh5_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\n\nSHOT TEXT (authoritative, Korean): 어두운 얼룩 없이 깨끗한 방 내부 전경\n\nLOCATION (lock): A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.\n\nTHIS SHOT CONTINUES THE PREVIOUS SHOT: everything the attached still established — the place, its fixed features and wear, each person's clothing and state — persists. Any person in it who cannot move stays PRECISELY as photographed (body, pose, contact points, held objects); only the camera changes.\n\nPREVIOUS STILL USAGE (follow exactly — what to take from the attached still and what to exclude): Take only the bedroom's fixed architecture, worn wall materials, bed placement, curtain, and nighttime lighting from the reference. Preserve the same camera-space layout. Exclude the dead woman, all dark stainsstains, dark-stained footprints, wounds, and the earlier disturbed state so the room appears unnaturally clean.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nMOVEMENT (follow exactly): static: the excessively tidy bedroom stands empty, with no dark stainsstains, red wall mark, or collapsed body remaining anywhere in the room.\n\nFIGURES — size & depth (follow exactly): The empty room fills the full frame; nearer floor and furniture edges occupy the foreground, while the bed, curtain, and clean back wall are FARTHER away. No person is visible, and the formerly occupied curtain area is now empty.\n\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The room is unnaturally spotless, with no dark stains, wall circle, or motionless figure behind the curtain. The backpack and doll are present in positions slightly different from when the body was discovered.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 수리영, 혜수 — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-13 14:50:12", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s38_still_S14sh7", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/stills/S14sh5_nb2.png"], "ref_labels": ["PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing. If this photo shows a character who cannot move (dead or unconscious), that character's exact pose, position and orientation are ALSO LOCKED — treat their body as a fixed prop of the set that only the camera moves around."], "attempt": 1, "dur_s": 23.2, "bytes": 2403207, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/stills/S14sh7_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\n\nSHOT TEXT (authoritative, Korean): 수리영이 멍한 눈으로 텅 빈 방 안을 응시하는 얼굴 클로즈업\n\nLOCATION (lock): A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.\n\nTHIS SHOT CONTINUES THE PREVIOUS SHOT: everything the attached still established — the place, its fixed features and wear, each person's clothing and state — persists. Any person in it who cannot move stays PRECISELY as photographed (body, pose, contact points, held objects); only the camera changes.\n\nPREVIOUS STILL USAGE (follow exactly — what to take from the attached still and what to exclude): Take the spotless bedroom layout, fixed furnishings, worn surfaces, and nighttime lighting from the reference. Keep the room free of dark stains, a body, and the red wall mark. Exclude the wide empty-room composition from the close-up, showing only as much background as supports the woman's stunned gaze.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nMOVEMENT (follow exactly): static: pale-faced Su-ri-young holds her body rigid and stares blankly into the empty bedroom where she expected to find her mother's body.\n\nFIGURES — size & depth (follow exactly): Su-ri-young's face fills about 2/3 of the frame height and is the NEAREST figure. The empty room she watches is FARTHER beyond her eyeline, with no other person visible.\n\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The empty room remains excessively clean, with the motionless figure, dark stains, and red wall mark still absent. The backpack and doll remain in their altered positions.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 수리영 — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-13 14:50:42", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s38_still_S14sh11", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/panels/S14sh11.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/plate_entry_night_inward_view.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/bddad176-aa6a-4a71-b5d3-d02e36e19657.png"], "ref_labels": ["LAYOUT SKETCH — a bare thin-line layout guide, a REFERENCE ONLY: take from it ONLY the camera framing, figure placement, pose and size/depth order. It carries ZERO visual style — every texture, material, light and all realism come from the text and the photographic reference. Never let any line-drawing quality leak into the output.", "LOCATION PHOTOGRAPH — the exact place of this shot: its architecture, materials, fixed features and lighting mood are spatial truth; stage the moment inside this place. Never copy its camera framing.", "CHARACTER REFERENCE — 혜수: the exact person appearing in this shot; match face, hair and build exactly."], "attempt": 1, "dur_s": 29.8, "bytes": 2733694, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/stills/S14sh11_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\n\nSHOT TEXT (authoritative, Korean): 혜수가 날카로운 눈빛으로 김형사를 노려보는 모습\n\nLOCATION (lock): A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nMOVEMENT (follow exactly): static: Hye-su fixes a sharp, hostile stare toward Detective Kim, her face and body oriented directly at him.\n\nFIGURES — size & depth (follow exactly): Hye-su fills roughly 2/3 of the frame height and is the NEAREST visible figure. Detective Kim is the FARTHER target of her gaze, whether at the edge of the frame or just off-screen, with no crossing movement between them.\n\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The apartment remains cleared of the earlier evidence: the table is clean, and Suri-young’s room has no motionless figure, dark stains, or red circle. The backpack and doll remain slightly displaced from their earlier positions.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 혜수 — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-13 14:51:03", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s38_still_S17sh2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/panels/S17sh2.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/bg4_S17sh2.png"], "ref_labels": ["LAYOUT SKETCH — a bare thin-line layout guide, a REFERENCE ONLY: take from it ONLY the camera framing, figure placement, pose and size/depth order. It carries ZERO visual style — every texture, material, light and all realism come from the text and the photographic reference. Never let any line-drawing quality leak into the output.", "LOCATION PHOTOGRAPH — the exact place of this shot: its architecture, materials, fixed features and lighting mood are spatial truth; stage the moment inside this place. Never copy its camera framing."], "attempt": 1, "dur_s": 20.5, "bytes": 2227410, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/stills/S17sh2_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): dawn.\n\nSHOT TEXT (authoritative, Korean): 옥상 담벼락 위에서 한쪽 앞발을 허공으로 뻗은 검은 고양이의 측면\n\nLOCATION (lock): The flat rooftop of an aging low-rise apartment building, enclosed by a waist-high parapet. A small rooftop dwelling has a metal entrance door and a window visible from the open roof. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nMOVEMENT (follow exactly): The black cat moves side-on across and over the rooftop wall toward the opposite side, extending one forepaw into the air as its body follows.\n\nFIGURES — size & depth (follow exactly): The cat appears medium-sized, about ~1/3 of the frame height, and is NEARER to the camera than the FARTHER side beyond the wall; the wall runs beneath its crossing path.\n\nNo people appear unless the shot text itself says so.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-13 14:51:25", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s38_still_S18sh11", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/panels/S18sh11.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/plate_bathroom_day_mirror_tile_view.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/39864973-d3d5-4886-bfb2-f8db608a005b.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/70af1a1c-b2e4-45ad-a166-7cef7e66e156.png"], "ref_labels": ["LAYOUT SKETCH — a bare thin-line layout guide, a REFERENCE ONLY: take from it ONLY the camera framing, figure placement, pose and size/depth order. It carries ZERO visual style — every texture, material, light and all realism come from the text and the photographic reference. Never let any line-drawing quality leak into the output.", "LOCATION PHOTOGRAPH — the exact place of this shot: its architecture, materials, fixed features and lighting mood are spatial truth; stage the moment inside this place. Never copy its camera framing.", "CHARACTER REFERENCE — 수리영: the exact person appearing in this shot; match face, hair and build exactly.", "PROP REFERENCE — 민숙과 수리영의 액자 사진: the exact object appearing in this shot; match its look, material and wear exactly."], "attempt": 1, "dur_s": 23.0, "bytes": 2459502, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/stills/S18sh11_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): daytime.\n\nSHOT TEXT (authoritative, Korean): 거울 속 반사된 욕실 타일 벽면에 붉은색 원형 표식이 절반쯤 나타난 상태\n\nLOCATION (lock): A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nMOVEMENT (follow exactly): A red circular mark suddenly develops across the bathroom tile wall seen in the mirror, extending around a ring-like path until roughly half is visible.\n\nFIGURES — size & depth (follow exactly): The mirror and reflected tiled wall fill most of the frame, while the half-formed red circle occupies about 1/2 of the reflected frame height. The mirror surface is physically NEARER to the camera, while the marked bathroom wall appears FARTHER within the reflection.\n\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Suri-young continues to have her doll-adorned backpack with her, while her bedroom remains clean and without a motionless figure. A red circle is partially visible on the bathroom wall only in the mirror reflection.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 수리영 — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-13 14:51:49", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s38_still_S18sh15", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/stills/S5sh5_nb2.png"], "ref_labels": ["PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing. If this photo shows a character who cannot move (dead or unconscious), that character's exact pose, position and orientation are ALSO LOCKED — treat their body as a fixed prop of the set that only the camera moves around."], "attempt": 1, "dur_s": 23.6, "bytes": 2229069, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/stills/S18sh15_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): daytime.\n\nSHOT TEXT (authoritative, Korean): 액자 속 민숙의 얼굴 부분 이미지가 아래로 일그러지며 흘러내리는 찰나\n\nLOCATION (lock): A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.\n\nTHIS SHOT CONTINUES THE PREVIOUS SHOT: everything the attached still established — the place, its fixed features and wear, each person's clothing and state — persists. Any person in it who cannot move stays PRECISELY as photographed (body, pose, contact points, held objects); only the camera changes.\n\nPREVIOUS STILL USAGE (follow exactly — what to take from the attached still and what to exclude): Take the cramped living area's worn materials, daylight quality, and established domestic look from the reference. Preserve the framed family photograph as an object belonging in this room. Exclude the apron-wearing woman, the TV-button action, and unrelated furniture from the tight photograph framing.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nMOVEMENT (follow exactly): The image of Min-sook's smiling face inside the framed photograph distorts and flows downward before Su-ri-young's eyes.\n\nFIGURES — size & depth (follow exactly): The framed photograph fills most of the close frame, and Min-sook's pictured face occupies roughly 1/2 of its height. The photograph's glass and frame are NEARER to the camera, while the collapsing facial image is visually FARTHER beneath the surface.\n\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The bathroom’s red circle has vanished, and Suri-young still has the doll-adorned backpack. The framed photograph remains on the table as Minsuk’s face in it distorts and runs downward.\n\nNo people appear unless the shot text itself says so.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-13 14:52:08", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s38_still_S18sh16", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/stills/S5sh5_nb2.png"], "ref_labels": ["PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing. If this photo shows a character who cannot move (dead or unconscious), that character's exact pose, position and orientation are ALSO LOCKED — treat their body as a fixed prop of the set that only the camera moves around."], "attempt": 1, "dur_s": 19.2, "bytes": 2111124, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/stills/S18sh16_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): daytime.\n\nSHOT TEXT (authoritative, Korean): 수리영이 두 손으로 머리를 감싸 쥐고 입을 크게 벌린 얼굴\n\nLOCATION (lock): A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.\n\nTHIS SHOT CONTINUES THE PREVIOUS SHOT: everything the attached still established — the place, its fixed features and wear, each person's clothing and state — persists. Any person in it who cannot move stays PRECISELY as photographed (body, pose, contact points, held objects); only the camera changes.\n\nPREVIOUS STILL USAGE (follow exactly — what to take from the attached still and what to exclude): Take the same worn living-room materials, small-window daylight, sparse furnishings, and established room layout from the reference. Use only the background continuity and place the distressed young woman within that space. Exclude the apron-wearing woman and the earlier TV-button-pressing action, and do not reproduce the distorted photograph as the main subject.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nMOVEMENT (follow exactly): static: terrified and overwhelmed, Su-ri-young clamps both hands around her head and holds her mouth wide open in a scream, her posture rigid with panic.\n\nFIGURES — size & depth (follow exactly): Su-ri-young's face and hands fill about 3/4 of the frame height and form the NEAREST subject. Her hands sit slightly NEARER than her face on either side, while the room behind her is FARTHER and secondary.\n\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The framed photograph remains on the table but has returned to normal, and the bathroom wall remains without the red circle. Suri-young still has the doll-adorned backpack with her.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 수리영 — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-13 14:52:45", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s38_still_S25sh1", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/panels/S25sh1.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/plate_living_dining_sunset_floor_view.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/39864973-d3d5-4886-bfb2-f8db608a005b.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/fc23070d-a644-45e4-a5d8-ecb98fe8d2d3.png"], "ref_labels": ["LAYOUT SKETCH — a bare thin-line layout guide, a REFERENCE ONLY: take from it ONLY the camera framing, figure placement, pose and size/depth order. It carries ZERO visual style — every texture, material, light and all realism come from the text and the photographic reference. Never let any line-drawing quality leak into the output.", "LOCATION PHOTOGRAPH — the exact place of this shot: its architecture, materials, fixed features and lighting mood are spatial truth; stage the moment inside this place. Never copy its camera framing.", "CHARACTER REFERENCE — 수리영: the exact person appearing in this shot; match face, hair and build exactly.", "PROP REFERENCE — 구겨진 피 묻은 낡은 흑백 사진: the exact object appearing in this shot; match its look, material and wear exactly."], "attempt": 1, "dur_s": 36.5, "bytes": 2733998, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/stills/S25sh1_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): dusk, just after sunset.\n\nSHOT TEXT (authoritative, Korean): 해질 무렵 옥탑방 거실, 흙 묻은 발자국들이 찍힌 바닥과 쓰러진 식탁 의자들이 보이는 전경\n\nLOCATION (lock): A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nMOVEMENT (follow exactly): static: muddy footprints remain across the ransacked living-room floor among overturned dining chairs, indicating a prior path through the room but no current movement.\n\nFIGURES — size & depth (follow exactly): The footprint-marked floor fills the lower half of the wide frame, with the NEAREST prints and fallen chair parts in the foreground appearing larger. Additional prints, the dining area, and the open living-room window recede FARTHER into the room.\n\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The apartment remains ransacked, with dirty footprints on the floor, the living-room window open, and the dining chairs overturned. The red circle and the stained old photograph pinned at its center are already present in Suri-young’s room.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 수리영 — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-13 14:53:06", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s38_still_S25sh5", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/panels/S25sh5.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/plate_daughter_bedroom_sunset_bed_wall.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/fc23070d-a644-45e4-a5d8-ecb98fe8d2d3.png"], "ref_labels": ["LAYOUT SKETCH — a bare thin-line layout guide, a REFERENCE ONLY: take from it ONLY the camera framing, figure placement, pose and size/depth order. It carries ZERO visual style — every texture, material, light and all realism come from the text and the photographic reference. Never let any line-drawing quality leak into the output.", "LOCATION PHOTOGRAPH — the exact place of this shot: its architecture, materials, fixed features and lighting mood are spatial truth; stage the moment inside this place. Never copy its camera framing.", "PROP REFERENCE — 구겨진 피 묻은 낡은 흑백 사진: the exact object appearing in this shot; match its look, material and wear exactly."], "attempt": 1, "dur_s": 21.2, "bytes": 2488864, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/stills/S25sh5_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): dusk, just after sunset.\n\nSHOT TEXT (authoritative, Korean): 붉은 원 한가운데 얼룩진 낡은 흑백 사진이 벽에 꽂혀 있는 타이트 샷\n\nLOCATION (lock): A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nMOVEMENT (follow exactly): static: a stained old photograph remains pinned at the center of the red circle on Su-ri-young's bedroom wall, facing outward toward the camera.\n\nFIGURES — size & depth (follow exactly): The photograph fills roughly 1/3 of the tight frame height, while the surrounding red circle occupies most of the frame. The photograph projects NEARER from the wall, and the red mark lies FARTHER against the flat wall surface behind it.\n\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The dirty footprints, ransacked furnishings, open window, and overturned chairs remain undisturbed. In the bedroom, the stained old photograph is still pinned at the center of the red wall circle.\n\nNo people appear unless the shot text itself says so.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-13 14:53:28", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s38_still_S25sh9", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/stills/S25sh5_nb2.png"], "ref_labels": ["PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing. If this photo shows a character who cannot move (dead or unconscious), that character's exact pose, position and orientation are ALSO LOCKED — treat their body as a fixed prop of the set that only the camera moves around."], "attempt": 1, "dur_s": 21.8, "bytes": 2419931, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/stills/S25sh9_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): dusk, just after sunset.\n\nSHOT TEXT (authoritative, Korean): 수리영의 손이 구겨진 사진을 꽉 움켜쥔 타이트 샷\n\nLOCATION (lock): A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.\n\nTHIS SHOT CONTINUES THE PREVIOUS SHOT: everything the attached still established — the place, its fixed features and wear, each person's clothing and state — persists. Any person in it who cannot move stays PRECISELY as photographed (body, pose, contact points, held objects); only the camera changes.\n\nPREVIOUS STILL USAGE (follow exactly — what to take from the attached still and what to exclude): Take the worn bedroom wall texture, sunset illumination, and the continuing red circle from the reference. Preserve the same stained old photograph after it has been pulled from the wall. Exclude the pinning position and empty the center of the wall mark; focus instead on the hand tightly gripping the photograph.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nMOVEMENT (follow exactly): static: Su-ri-young's tense hand crushes the crumpled photograph in a tight grip as she holds it close.\n\nFIGURES — size & depth (follow exactly): Su-ri-young's hand fills roughly 2/3 of the tight frame, and the exposed portion of the photograph fills about 1/3. Her knuckles are NEARER to the camera, while the photograph is partly FARTHER inside her closed fingers.\n\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The apartment remains ransacked, and the red wall circle remains after the photograph has been removed from its center. Suri-young tightly grips the same crumpled, stained photograph.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 수리영 — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-13 14:53:48", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s38_still_S27sh3", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/stills/S25sh1_nb2.png"], "ref_labels": ["PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing. If this photo shows a character who cannot move (dead or unconscious), that character's exact pose, position and orientation are ALSO LOCKED — treat their body as a fixed prop of the set that only the camera moves around."], "attempt": 1, "dur_s": 20.0, "bytes": 2557959, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/stills/S27sh3_nb2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): dusk, just after sunset.\n\nSHOT TEXT (authoritative, Korean): 혜수가 미간을 깊게 찌푸린 채 스마트폰을 내려다보는 얼굴 클로즈업\n\nLOCATION (lock): A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.\n\nTHIS SHOT CONTINUES THE PREVIOUS SHOT: everything the attached still established — the place, its fixed features and wear, each person's clothing and state — persists. Any person in it who cannot move stays PRECISELY as photographed (body, pose, contact points, held objects); only the camera changes.\n\nPREVIOUS STILL USAGE (follow exactly — what to take from the attached still and what to exclude): Take the ransacked living area's worn materials, sunset light, open-window condition, muddy footprints, and overturned chairs from the reference as continuing environmental state. Place the middle-aged woman with her smartphone within that same room. Exclude the earlier empty wide-floor emphasis, and do not add the young woman, her backpack, or the stained photograph to this close-up.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nMOVEMENT (follow exactly): static: Hye-su lowers her gaze toward the smartphone and listens to Su-ri-young's recorded message with her brow deeply furrowed.\n\nFIGURES — size & depth (follow exactly): Hye-su's face fills about 2/3 of the close-up frame, while the smartphone occupies a smaller area below her face. The phone is NEARER to the camera, Hye-su's face is slightly FARTHER, and the room behind her is farthest.\n\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The apartment remains ransacked, with the footprints, open window, overturned chairs, and the now-empty red wall circle left in place; Suri-young has departed with the photograph and backpack. Hyesu holds the smartphone on which she is checking Suri-young’s recorded message.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 혜수 — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-13 15:24:13", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s39_S4sh1_a", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/bg4_S4sh1.png"], "ref_labels": ["LOCATION PHOTOGRAPH — the exact place of this shot: its architecture, materials, fixed features and lighting mood are spatial truth; stage the moment inside this place. Never copy its camera framing."], "attempt": 1, "dur_s": 26.1, "bytes": 3708180, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s39/stills/S4sh1_a.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): daytime.\n\nSHOT TEXT (authoritative, Korean): 맑은 낮, 오래된 다세대 빌라 옥상 위에 자리 잡은 옥탑방을 높은 곳에서 내려다본 부감 구도\n\nLOCATION (lock): The flat rooftop of an aging low-rise apartment building, enclosed by a waist-high parapet. A small rooftop dwelling has a metal entrance door and a window visible from the open roof. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nMOVEMENT (follow exactly): static: No person is visible; the rooftop room remains fixed on top of the old multi-family villa beneath the high, downward-looking camera.\n\nFIGURES — size & depth (follow exactly): The rooftop room appears small, about ~1/6 of the frame height, and is FARTHER from the camera than the surrounding upper roof surfaces in the foreground.\n\nNo people appear unless the shot text itself says so.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-13 15:24:34", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s39_S4sh1_b", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/bg4_S4sh1.png"], "ref_labels": ["LOCATION PHOTOGRAPH — the exact place of this shot: its architecture, materials, fixed features and lighting mood are spatial truth; stage the moment inside this place. Never copy its camera framing."], "attempt": 1, "dur_s": 21.4, "bytes": 3819895, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s39/stills/S4sh1_b.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): daytime.\n\nSHOT TEXT (authoritative, Korean): 맑은 낮, 오래된 다세대 빌라 옥상 위에 자리 잡은 옥탑방을 높은 곳에서 내려다본 부감 구도\n\nLOCATION (lock): The flat rooftop of an aging low-rise apartment building, enclosed by a waist-high parapet. A small rooftop dwelling has a metal entrance door and a window visible from the open roof. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nMOVEMENT (follow exactly): static: No person is visible; the rooftop room remains fixed on top of the old multi-family villa beneath the high, downward-looking camera.\n\nFIGURES — size & depth (follow exactly): The rooftop room appears small, about ~1/6 of the frame height, and is FARTHER from the camera than the surrounding upper roof surfaces in the foreground.\n\nNo people appear unless the shot text itself says so.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-13 15:24:55", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s39_S4sh1_c", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/bg4_S4sh1.png"], "ref_labels": ["LOCATION PHOTOGRAPH — the exact place of this shot: its architecture, materials, fixed features and lighting mood are spatial truth; stage the moment inside this place. Never copy its camera framing."], "attempt": 1, "dur_s": 20.6, "bytes": 3838668, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s39/stills/S4sh1_c.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): daytime.\n\nSHOT TEXT (authoritative, Korean): 맑은 낮, 오래된 다세대 빌라 옥상 위에 자리 잡은 옥탑방을 높은 곳에서 내려다본 부감 구도\n\nLOCATION (lock): The flat rooftop of an aging low-rise apartment building, enclosed by a waist-high parapet. A small rooftop dwelling has a metal entrance door and a window visible from the open roof. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nMOVEMENT (follow exactly): static: No person is visible; the rooftop room remains fixed on top of the old multi-family villa beneath the high, downward-looking camera.\n\nFIGURES — size & depth (follow exactly): The rooftop room appears small, about ~1/6 of the frame height, and is FARTHER from the camera than the surrounding upper roof surfaces in the foreground.\n\nNo people appear unless the shot text itself says so.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-13 15:25:12", "kind": "llm", "step": "s39_judge_gpt_S4sh1", "model": "gpt", "dur_s": 17.0, "system_prompt": "You are given ONE image-generation prompt, the REFERENCE image(s)\nthat were attached to it (labelled), and THREE candidate images,\nlabelled A, B, C in the order attached, all generated from that\nexact prompt with those exact references.\nPick the ONE candidate that most faithfully realises the prompt.\nJudge ONLY fidelity to the prompt and its reference instructions:\nthe shot text's moment and action, who is and is NOT in frame,\ncamera framing, time of day, the LOCATION lock (the place must be\nthe one the reference shows — same architecture, materials,\nfixtures), pose/immobility and carried-state clauses, and every\nexclusion (no text, no invented people or objects). Consistency\nwith the attached reference image counts as prompt fidelity.\nIgnore generic aesthetic appeal.\nCheck every candidate point by point before deciding; base every\nverdict only on what is visible.\nAlso give every candidate an integer score 0-10 for that same\nfidelity.\nOutput: winner, ranking best-to-worst, and per candidate a score\nplus a one-line Korean verdict citing the decisive prompt points.", "user_prompt": "[{\"type\": \"text\", \"text\": \"THE PROMPT (all three candidates were generated from this):\\nCreate ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): daytime.\\n\\nSHOT TEXT (authoritative, Korean): 맑은 낮, 오래된 다세대 빌라 옥상 위에 자리 잡은 옥탑방을 높은 곳에서 내려다본 부감 구도\\n\\nLOCATION (lock): The flat rooftop of an aging low-rise apartment building, enclosed by a waist-high parapet. A small rooftop dwelling has a metal entrance door and a window visible from the open roof. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.\\n\\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\\ntext may describe characters metaphorically, figuratively or with\\nexaggeration. Photograph what a real movie camera would actually\\nrecord on a physical set — exaggerated or figurative impressions\\nbecome realistic staging choices (lighting, distance, angle,\\nwardrobe), not literal fantasy imagery.\\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\\nfeatures non-human or virtual beings (as in science fiction or\\nfantasy), every character — however indirectly, vaguely or\\nfiguratively the text describes them — IS a real human. When the\\ntext gives no direct visual description of a person, IMAGINE one\\nand still show them as a concrete, fully-formed human being:\\nalways render the human form to the maximum extent — build,\\nposture, face, hands, clothing — never reduce a person to a shape,\\nblob, solid silhouette or abstract mass.\\n\\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\\nperson's eyes, face or presence emotionally or figuratively (vacant,\\nhollow, dazed, burning, lifeless gaze and the like), it describes an\\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\\nthrough gaze direction, focus, eyelids, facial muscles, stillness\\nand posture. Every living person's eyes remain anatomically normal\\nhuman eyes with a natural iris and pupil, natural sclera and normal\\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\\notherwise alter eyeballs, skin or anatomy — unless the story\\nexplicitly declares that being non-human or supernatural in form.\\n\\nMOVEMENT (follow exactly): static: No person is visible; the rooftop room remains fixed on top of the old multi-family villa beneath the high, downward-looking camera.\\n\\nFIGURES — size & depth (follow exactly): The rooftop room appears small, about ~1/6 of the frame height, and is FARTHER from the camera than the surrounding upper roof surfaces in the foreground.\\n\\nNo people appear unless the shot text itself says so.\\n\\nNo text, captions, watermarks or annotations anywhere.\"}, {\"type\": \"text\", \"text\": \"REFERENCE — LOCATION PHOTOGRAPH — the exact place of this shot: its architecture, materials, fixed features and lighting mood are spatial truth; stage the moment inside this place. Never copy its camera framing.\"}, {\"type\": \"text\", \"text\": \"Candidate A:\"}, {\"type\": \"text\", \"text\": \"Candidate B:\"}, {\"type\": \"text\", \"text\": \"Candidate C:\"}]"}
{"ts": "2026-07-13 15:25:35", "kind": "llm", "step": "s39_judge_gemini_S4sh1", "model": "gemini-pro", "dur_s": 23.6, "system_prompt": "You are given ONE image-generation prompt, the REFERENCE image(s)\nthat were attached to it (labelled), and THREE candidate images,\nlabelled A, B, C in the order attached, all generated from that\nexact prompt with those exact references.\nPick the ONE candidate that most faithfully realises the prompt.\nJudge ONLY fidelity to the prompt and its reference instructions:\nthe shot text's moment and action, who is and is NOT in frame,\ncamera framing, time of day, the LOCATION lock (the place must be\nthe one the reference shows — same architecture, materials,\nfixtures), pose/immobility and carried-state clauses, and every\nexclusion (no text, no invented people or objects). Consistency\nwith the attached reference image counts as prompt fidelity.\nIgnore generic aesthetic appeal.\nCheck every candidate point by point before deciding; base every\nverdict only on what is visible.\nAlso give every candidate an integer score 0-10 for that same\nfidelity.\nOutput: winner, ranking best-to-worst, and per candidate a score\nplus a one-line Korean verdict citing the decisive prompt points.", "user_prompt": "[{\"type\": \"text\", \"text\": \"THE PROMPT (all three candidates were generated from this):\\nCreate ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): daytime.\\n\\nSHOT TEXT (authoritative, Korean): 맑은 낮, 오래된 다세대 빌라 옥상 위에 자리 잡은 옥탑방을 높은 곳에서 내려다본 부감 구도\\n\\nLOCATION (lock): The flat rooftop of an aging low-rise apartment building, enclosed by a waist-high parapet. A small rooftop dwelling has a metal entrance door and a window visible from the open roof. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.\\n\\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\\ntext may describe characters metaphorically, figuratively or with\\nexaggeration. Photograph what a real movie camera would actually\\nrecord on a physical set — exaggerated or figurative impressions\\nbecome realistic staging choices (lighting, distance, angle,\\nwardrobe), not literal fantasy imagery.\\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\\nfeatures non-human or virtual beings (as in science fiction or\\nfantasy), every character — however indirectly, vaguely or\\nfiguratively the text describes them — IS a real human. When the\\ntext gives no direct visual description of a person, IMAGINE one\\nand still show them as a concrete, fully-formed human being:\\nalways render the human form to the maximum extent — build,\\nposture, face, hands, clothing — never reduce a person to a shape,\\nblob, solid silhouette or abstract mass.\\n\\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\\nperson's eyes, face or presence emotionally or figuratively (vacant,\\nhollow, dazed, burning, lifeless gaze and the like), it describes an\\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\\nthrough gaze direction, focus, eyelids, facial muscles, stillness\\nand posture. Every living person's eyes remain anatomically normal\\nhuman eyes with a natural iris and pupil, natural sclera and normal\\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\\notherwise alter eyeballs, skin or anatomy — unless the story\\nexplicitly declares that being non-human or supernatural in form.\\n\\nMOVEMENT (follow exactly): static: No person is visible; the rooftop room remains fixed on top of the old multi-family villa beneath the high, downward-looking camera.\\n\\nFIGURES — size & depth (follow exactly): The rooftop room appears small, about ~1/6 of the frame height, and is FARTHER from the camera than the surrounding upper roof surfaces in the foreground.\\n\\nNo people appear unless the shot text itself says so.\\n\\nNo text, captions, watermarks or annotations anywhere.\"}, {\"type\": \"text\", \"text\": \"REFERENCE — LOCATION PHOTOGRAPH — the exact place of this shot: its architecture, materials, fixed features and lighting mood are spatial truth; stage the moment inside this place. Never copy its camera framing.\"}, {\"type\": \"text\", \"text\": \"Candidate A:\"}, {\"type\": \"text\", \"text\": \"Candidate B:\"}, {\"type\": \"text\", \"text\": \"Candidate C:\"}]"}
{"ts": "2026-07-13 15:26:00", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s39_S5sh5_a", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/plate_living_dining_day_root.png"], "ref_labels": ["LOCATION PHOTOGRAPH — the exact place of this shot: its architecture, materials, fixed features and lighting mood are spatial truth; stage the moment inside this place. Never copy its camera framing."], "attempt": 1, "dur_s": 24.5, "bytes": 2766241, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s39/stills/S5sh5_a.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): interior ambient light.\n\nSHOT TEXT (authoritative, Korean): 다급하게 상체를 기울이며 손가락 끝으로 TV 전원 버튼을 세게 누르고 있는 민숙의 측면 구도\n\nLOCATION (lock): A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nMOVEMENT (follow exactly): Min-sook urgently pitches her upper body forward toward the TV and forcefully drives a fingertip into its power button to turn it off as Su-ri-young emerges from her room.\n\nFIGURES — size & depth (follow exactly): Min-sook's side-view upper body fills roughly 2/3 of the frame height, with her reaching hand and the TV button NEARER to the camera than her face and torso. The TV is FARTHER along her forward reach, and her body closes the short distance toward it.\n\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Minsuk remains in her apron, with the same small circular mark on her wrist; the mark must already be present here because she has had it since childhood.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 민숙 — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-13 15:26:20", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s39_S5sh5_b", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/plate_living_dining_day_root.png"], "ref_labels": ["LOCATION PHOTOGRAPH — the exact place of this shot: its architecture, materials, fixed features and lighting mood are spatial truth; stage the moment inside this place. Never copy its camera framing."], "attempt": 1, "dur_s": 20.0, "bytes": 2358315, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s39/stills/S5sh5_b.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): interior ambient light.\n\nSHOT TEXT (authoritative, Korean): 다급하게 상체를 기울이며 손가락 끝으로 TV 전원 버튼을 세게 누르고 있는 민숙의 측면 구도\n\nLOCATION (lock): A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nMOVEMENT (follow exactly): Min-sook urgently pitches her upper body forward toward the TV and forcefully drives a fingertip into its power button to turn it off as Su-ri-young emerges from her room.\n\nFIGURES — size & depth (follow exactly): Min-sook's side-view upper body fills roughly 2/3 of the frame height, with her reaching hand and the TV button NEARER to the camera than her face and torso. The TV is FARTHER along her forward reach, and her body closes the short distance toward it.\n\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Minsuk remains in her apron, with the same small circular mark on her wrist; the mark must already be present here because she has had it since childhood.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 민숙 — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-13 15:26:41", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s39_S5sh5_c", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/plate_living_dining_day_root.png"], "ref_labels": ["LOCATION PHOTOGRAPH — the exact place of this shot: its architecture, materials, fixed features and lighting mood are spatial truth; stage the moment inside this place. Never copy its camera framing."], "attempt": 1, "dur_s": 20.8, "bytes": 2663206, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s39/stills/S5sh5_c.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): interior ambient light.\n\nSHOT TEXT (authoritative, Korean): 다급하게 상체를 기울이며 손가락 끝으로 TV 전원 버튼을 세게 누르고 있는 민숙의 측면 구도\n\nLOCATION (lock): A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nMOVEMENT (follow exactly): Min-sook urgently pitches her upper body forward toward the TV and forcefully drives a fingertip into its power button to turn it off as Su-ri-young emerges from her room.\n\nFIGURES — size & depth (follow exactly): Min-sook's side-view upper body fills roughly 2/3 of the frame height, with her reaching hand and the TV button NEARER to the camera than her face and torso. The TV is FARTHER along her forward reach, and her body closes the short distance toward it.\n\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Minsuk remains in her apron, with the same small circular mark on her wrist; the mark must already be present here because she has had it since childhood.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 민숙 — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-13 15:26:56", "kind": "llm", "step": "s39_judge_gpt_S5sh5", "model": "gpt", "dur_s": 14.9, "system_prompt": "You are given ONE image-generation prompt, the REFERENCE image(s)\nthat were attached to it (labelled), and THREE candidate images,\nlabelled A, B, C in the order attached, all generated from that\nexact prompt with those exact references.\nPick the ONE candidate that most faithfully realises the prompt.\nJudge ONLY fidelity to the prompt and its reference instructions:\nthe shot text's moment and action, who is and is NOT in frame,\ncamera framing, time of day, the LOCATION lock (the place must be\nthe one the reference shows — same architecture, materials,\nfixtures), pose/immobility and carried-state clauses, and every\nexclusion (no text, no invented people or objects). Consistency\nwith the attached reference image counts as prompt fidelity.\nIgnore generic aesthetic appeal.\nCheck every candidate point by point before deciding; base every\nverdict only on what is visible.\nAlso give every candidate an integer score 0-10 for that same\nfidelity.\nOutput: winner, ranking best-to-worst, and per candidate a score\nplus a one-line Korean verdict citing the decisive prompt points.", "user_prompt": "[{\"type\": \"text\", \"text\": \"THE PROMPT (all three candidates were generated from this):\\nCreate ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): interior ambient light.\\n\\nSHOT TEXT (authoritative, Korean): 다급하게 상체를 기울이며 손가락 끝으로 TV 전원 버튼을 세게 누르고 있는 민숙의 측면 구도\\n\\nLOCATION (lock): A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.\\n\\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\\ntext may describe characters metaphorically, figuratively or with\\nexaggeration. Photograph what a real movie camera would actually\\nrecord on a physical set — exaggerated or figurative impressions\\nbecome realistic staging choices (lighting, distance, angle,\\nwardrobe), not literal fantasy imagery.\\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\\nfeatures non-human or virtual beings (as in science fiction or\\nfantasy), every character — however indirectly, vaguely or\\nfiguratively the text describes them — IS a real human. When the\\ntext gives no direct visual description of a person, IMAGINE one\\nand still show them as a concrete, fully-formed human being:\\nalways render the human form to the maximum extent — build,\\nposture, face, hands, clothing — never reduce a person to a shape,\\nblob, solid silhouette or abstract mass.\\n\\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\\nperson's eyes, face or presence emotionally or figuratively (vacant,\\nhollow, dazed, burning, lifeless gaze and the like), it describes an\\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\\nthrough gaze direction, focus, eyelids, facial muscles, stillness\\nand posture. Every living person's eyes remain anatomically normal\\nhuman eyes with a natural iris and pupil, natural sclera and normal\\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\\notherwise alter eyeballs, skin or anatomy — unless the story\\nexplicitly declares that being non-human or supernatural in form.\\n\\nMOVEMENT (follow exactly): Min-sook urgently pitches her upper body forward toward the TV and forcefully drives a fingertip into its power button to turn it off as Su-ri-young emerges from her room.\\n\\nFIGURES — size & depth (follow exactly): Min-sook's side-view upper body fills roughly 2/3 of the frame height, with her reaching hand and the TV button NEARER to the camera than her face and torso. The TV is FARTHER along her forward reach, and her body closes the short distance toward it.\\n\\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Minsuk remains in her apron, with the same small circular mark on her wrist; the mark must already be present here because she has had it since childhood.\\n\\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 민숙 — never anyone else, and never add a person the shot text does not show.\\n\\nNo text, captions, watermarks or annotations anywhere.\"}, {\"type\": \"text\", \"text\": \"REFERENCE — LOCATION PHOTOGRAPH — the exact place of this shot: its architecture, materials, fixed features and lighting mood are spatial truth; stage the moment inside this place. Never copy its camera framing.\"}, {\"type\": \"text\", \"text\": \"Candidate A:\"}, {\"type\": \"text\", \"text\": \"Candidate B:\"}, {\"type\": \"text\", \"text\": \"Candidate C:\"}]"}
{"ts": "2026-07-13 15:27:57", "kind": "llm", "step": "s39_judge_gemini_S5sh5", "model": "gemini-pro", "dur_s": 60.9, "system_prompt": "You are given ONE image-generation prompt, the REFERENCE image(s)\nthat were attached to it (labelled), and THREE candidate images,\nlabelled A, B, C in the order attached, all generated from that\nexact prompt with those exact references.\nPick the ONE candidate that most faithfully realises the prompt.\nJudge ONLY fidelity to the prompt and its reference instructions:\nthe shot text's moment and action, who is and is NOT in frame,\ncamera framing, time of day, the LOCATION lock (the place must be\nthe one the reference shows — same architecture, materials,\nfixtures), pose/immobility and carried-state clauses, and every\nexclusion (no text, no invented people or objects). Consistency\nwith the attached reference image counts as prompt fidelity.\nIgnore generic aesthetic appeal.\nCheck every candidate point by point before deciding; base every\nverdict only on what is visible.\nAlso give every candidate an integer score 0-10 for that same\nfidelity.\nOutput: winner, ranking best-to-worst, and per candidate a score\nplus a one-line Korean verdict citing the decisive prompt points.", "user_prompt": "[{\"type\": \"text\", \"text\": \"THE PROMPT (all three candidates were generated from this):\\nCreate ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): interior ambient light.\\n\\nSHOT TEXT (authoritative, Korean): 다급하게 상체를 기울이며 손가락 끝으로 TV 전원 버튼을 세게 누르고 있는 민숙의 측면 구도\\n\\nLOCATION (lock): A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.\\n\\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\\ntext may describe characters metaphorically, figuratively or with\\nexaggeration. Photograph what a real movie camera would actually\\nrecord on a physical set — exaggerated or figurative impressions\\nbecome realistic staging choices (lighting, distance, angle,\\nwardrobe), not literal fantasy imagery.\\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\\nfeatures non-human or virtual beings (as in science fiction or\\nfantasy), every character — however indirectly, vaguely or\\nfiguratively the text describes them — IS a real human. When the\\ntext gives no direct visual description of a person, IMAGINE one\\nand still show them as a concrete, fully-formed human being:\\nalways render the human form to the maximum extent — build,\\nposture, face, hands, clothing — never reduce a person to a shape,\\nblob, solid silhouette or abstract mass.\\n\\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\\nperson's eyes, face or presence emotionally or figuratively (vacant,\\nhollow, dazed, burning, lifeless gaze and the like), it describes an\\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\\nthrough gaze direction, focus, eyelids, facial muscles, stillness\\nand posture. Every living person's eyes remain anatomically normal\\nhuman eyes with a natural iris and pupil, natural sclera and normal\\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\\notherwise alter eyeballs, skin or anatomy — unless the story\\nexplicitly declares that being non-human or supernatural in form.\\n\\nMOVEMENT (follow exactly): Min-sook urgently pitches her upper body forward toward the TV and forcefully drives a fingertip into its power button to turn it off as Su-ri-young emerges from her room.\\n\\nFIGURES — size & depth (follow exactly): Min-sook's side-view upper body fills roughly 2/3 of the frame height, with her reaching hand and the TV button NEARER to the camera than her face and torso. The TV is FARTHER along her forward reach, and her body closes the short distance toward it.\\n\\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Minsuk remains in her apron, with the same small circular mark on her wrist; the mark must already be present here because she has had it since childhood.\\n\\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 민숙 — never anyone else, and never add a person the shot text does not show.\\n\\nNo text, captions, watermarks or annotations anywhere.\"}, {\"type\": \"text\", \"text\": \"REFERENCE — LOCATION PHOTOGRAPH — the exact place of this shot: its architecture, materials, fixed features and lighting mood are spatial truth; stage the moment inside this place. Never copy its camera framing.\"}, {\"type\": \"text\", \"text\": \"Candidate A:\"}, {\"type\": \"text\", \"text\": \"Candidate B:\"}, {\"type\": \"text\", \"text\": \"Candidate C:\"}]"}
{"ts": "2026-07-13 15:28:17", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s39_S5sh9_a", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s39/stills/S5sh5_sel.png"], "ref_labels": ["PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing. If this photo shows a character who cannot move (dead or unconscious), that character's exact pose, position and orientation are ALSO LOCKED — treat their body as a fixed prop of the set that only the camera moves around."], "attempt": 1, "dur_s": 20.1, "bytes": 2079728, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s39/stills/S5sh9_a.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): interior ambient light.\n\nSHOT TEXT (authoritative, Korean): 민숙의 손목에 선명하게 드러난 작은 원형 표식의 타이트 샷\n\nLOCATION (lock): A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.\n\nTHIS SHOT CONTINUES THE PREVIOUS SHOT: everything the attached still established — the place, its fixed features and wear, each person's clothing and state — persists. Any person in it who cannot move stays PRECISELY as photographed (body, pose, contact points, held objects); only the camera changes.\n\nPREVIOUS STILL USAGE (follow exactly — what to take from the attached still and what to exclude): Take the cramped living area's worn materials, daylight, and the woman's apron and position from the reference. Preserve the continuity of her wrist and its small circular mark. Exclude the TV-button-pressing action and any wider room elements that fall outside this tight wrist framing.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nMOVEMENT (follow exactly): static: Min-sook's wrist is held in view, with the sharply visible small circular mark facing the camera.\n\nFIGURES — size & depth (follow exactly): The wrist fills most of the tight frame, while the circular mark occupies a small area at its center. The skin and mark are the NEAREST and only principal subject, with any body or room detail FARTHER and out of focus.\n\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The TV remains switched off, and Minsuk still wears the apron. The small, unusually distinct circular mark remains on her wrist.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 민숙 — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-13 15:28:42", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s39_S5sh9_b", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s39/stills/S5sh5_sel.png"], "ref_labels": ["PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing. If this photo shows a character who cannot move (dead or unconscious), that character's exact pose, position and orientation are ALSO LOCKED — treat their body as a fixed prop of the set that only the camera moves around."], "attempt": 1, "dur_s": 25.3, "bytes": 2262729, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s39/stills/S5sh9_b.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): interior ambient light.\n\nSHOT TEXT (authoritative, Korean): 민숙의 손목에 선명하게 드러난 작은 원형 표식의 타이트 샷\n\nLOCATION (lock): A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.\n\nTHIS SHOT CONTINUES THE PREVIOUS SHOT: everything the attached still established — the place, its fixed features and wear, each person's clothing and state — persists. Any person in it who cannot move stays PRECISELY as photographed (body, pose, contact points, held objects); only the camera changes.\n\nPREVIOUS STILL USAGE (follow exactly — what to take from the attached still and what to exclude): Take the cramped living area's worn materials, daylight, and the woman's apron and position from the reference. Preserve the continuity of her wrist and its small circular mark. Exclude the TV-button-pressing action and any wider room elements that fall outside this tight wrist framing.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nMOVEMENT (follow exactly): static: Min-sook's wrist is held in view, with the sharply visible small circular mark facing the camera.\n\nFIGURES — size & depth (follow exactly): The wrist fills most of the tight frame, while the circular mark occupies a small area at its center. The skin and mark are the NEAREST and only principal subject, with any body or room detail FARTHER and out of focus.\n\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The TV remains switched off, and Minsuk still wears the apron. The small, unusually distinct circular mark remains on her wrist.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 민숙 — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-13 15:29:05", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s39_S5sh9_c", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s39/stills/S5sh5_sel.png"], "ref_labels": ["PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing. If this photo shows a character who cannot move (dead or unconscious), that character's exact pose, position and orientation are ALSO LOCKED — treat their body as a fixed prop of the set that only the camera moves around."], "attempt": 1, "dur_s": 23.1, "bytes": 1957795, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s39/stills/S5sh9_c.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): interior ambient light.\n\nSHOT TEXT (authoritative, Korean): 민숙의 손목에 선명하게 드러난 작은 원형 표식의 타이트 샷\n\nLOCATION (lock): A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.\n\nTHIS SHOT CONTINUES THE PREVIOUS SHOT: everything the attached still established — the place, its fixed features and wear, each person's clothing and state — persists. Any person in it who cannot move stays PRECISELY as photographed (body, pose, contact points, held objects); only the camera changes.\n\nPREVIOUS STILL USAGE (follow exactly — what to take from the attached still and what to exclude): Take the cramped living area's worn materials, daylight, and the woman's apron and position from the reference. Preserve the continuity of her wrist and its small circular mark. Exclude the TV-button-pressing action and any wider room elements that fall outside this tight wrist framing.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nMOVEMENT (follow exactly): static: Min-sook's wrist is held in view, with the sharply visible small circular mark facing the camera.\n\nFIGURES — size & depth (follow exactly): The wrist fills most of the tight frame, while the circular mark occupies a small area at its center. The skin and mark are the NEAREST and only principal subject, with any body or room detail FARTHER and out of focus.\n\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The TV remains switched off, and Minsuk still wears the apron. The small, unusually distinct circular mark remains on her wrist.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 민숙 — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-13 15:29:17", "kind": "llm", "step": "s39_judge_gpt_S5sh9", "model": "gpt", "dur_s": 11.5, "system_prompt": "You are given ONE image-generation prompt, the REFERENCE image(s)\nthat were attached to it (labelled), and THREE candidate images,\nlabelled A, B, C in the order attached, all generated from that\nexact prompt with those exact references.\nPick the ONE candidate that most faithfully realises the prompt.\nJudge ONLY fidelity to the prompt and its reference instructions:\nthe shot text's moment and action, who is and is NOT in frame,\ncamera framing, time of day, the LOCATION lock (the place must be\nthe one the reference shows — same architecture, materials,\nfixtures), pose/immobility and carried-state clauses, and every\nexclusion (no text, no invented people or objects). Consistency\nwith the attached reference image counts as prompt fidelity.\nIgnore generic aesthetic appeal.\nCheck every candidate point by point before deciding; base every\nverdict only on what is visible.\nAlso give every candidate an integer score 0-10 for that same\nfidelity.\nOutput: winner, ranking best-to-worst, and per candidate a score\nplus a one-line Korean verdict citing the decisive prompt points.", "user_prompt": "[{\"type\": \"text\", \"text\": \"THE PROMPT (all three candidates were generated from this):\\nCreate ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): interior ambient light.\\n\\nSHOT TEXT (authoritative, Korean): 민숙의 손목에 선명하게 드러난 작은 원형 표식의 타이트 샷\\n\\nLOCATION (lock): A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.\\n\\nTHIS SHOT CONTINUES THE PREVIOUS SHOT: everything the attached still established — the place, its fixed features and wear, each person's clothing and state — persists. Any person in it who cannot move stays PRECISELY as photographed (body, pose, contact points, held objects); only the camera changes.\\n\\nPREVIOUS STILL USAGE (follow exactly — what to take from the attached still and what to exclude): Take the cramped living area's worn materials, daylight, and the woman's apron and position from the reference. Preserve the continuity of her wrist and its small circular mark. Exclude the TV-button-pressing action and any wider room elements that fall outside this tight wrist framing.\\n\\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\\ntext may describe characters metaphorically, figuratively or with\\nexaggeration. Photograph what a real movie camera would actually\\nrecord on a physical set — exaggerated or figurative impressions\\nbecome realistic staging choices (lighting, distance, angle,\\nwardrobe), not literal fantasy imagery.\\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\\nfeatures non-human or virtual beings (as in science fiction or\\nfantasy), every character — however indirectly, vaguely or\\nfiguratively the text describes them — IS a real human. When the\\ntext gives no direct visual description of a person, IMAGINE one\\nand still show them as a concrete, fully-formed human being:\\nalways render the human form to the maximum extent — build,\\nposture, face, hands, clothing — never reduce a person to a shape,\\nblob, solid silhouette or abstract mass.\\n\\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\\nperson's eyes, face or presence emotionally or figuratively (vacant,\\nhollow, dazed, burning, lifeless gaze and the like), it describes an\\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\\nthrough gaze direction, focus, eyelids, facial muscles, stillness\\nand posture. Every living person's eyes remain anatomically normal\\nhuman eyes with a natural iris and pupil, natural sclera and normal\\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\\notherwise alter eyeballs, skin or anatomy — unless the story\\nexplicitly declares that being non-human or supernatural in form.\\n\\nMOVEMENT (follow exactly): static: Min-sook's wrist is held in view, with the sharply visible small circular mark facing the camera.\\n\\nFIGURES — size & depth (follow exactly): The wrist fills most of the tight frame, while the circular mark occupies a small area at its center. The skin and mark are the NEAREST and only principal subject, with any body or room detail FARTHER and out of focus.\\n\\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The TV remains switched off, and Minsuk still wears the apron. The small, unusually distinct circular mark remains on her wrist.\\n\\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 민숙 — never anyone else, and never add a person the shot text does not show.\\n\\nNo text, captions, watermarks or annotations anywhere.\"}, {\"type\": \"text\", \"text\": \"REFERENCE — PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing. If this photo shows a character who cannot move (dead or unconscious), that character's exact pose, position and orientation are ALSO LOCKED — treat their body as a fixed prop of the set that only the camera moves around.\"}, {\"type\": \"text\", \"text\": \"Candidate A:\"}, {\"type\": \"text\", \"text\": \"Candidate B:\"}, {\"type\": \"text\", \"text\": \"Candidate C:\"}]"}
{"ts": "2026-07-13 15:29:38", "kind": "llm", "step": "s39_judge_gemini_S5sh9", "model": "gemini-pro", "dur_s": 21.7, "system_prompt": "You are given ONE image-generation prompt, the REFERENCE image(s)\nthat were attached to it (labelled), and THREE candidate images,\nlabelled A, B, C in the order attached, all generated from that\nexact prompt with those exact references.\nPick the ONE candidate that most faithfully realises the prompt.\nJudge ONLY fidelity to the prompt and its reference instructions:\nthe shot text's moment and action, who is and is NOT in frame,\ncamera framing, time of day, the LOCATION lock (the place must be\nthe one the reference shows — same architecture, materials,\nfixtures), pose/immobility and carried-state clauses, and every\nexclusion (no text, no invented people or objects). Consistency\nwith the attached reference image counts as prompt fidelity.\nIgnore generic aesthetic appeal.\nCheck every candidate point by point before deciding; base every\nverdict only on what is visible.\nAlso give every candidate an integer score 0-10 for that same\nfidelity.\nOutput: winner, ranking best-to-worst, and per candidate a score\nplus a one-line Korean verdict citing the decisive prompt points.", "user_prompt": "[{\"type\": \"text\", \"text\": \"THE PROMPT (all three candidates were generated from this):\\nCreate ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): interior ambient light.\\n\\nSHOT TEXT (authoritative, Korean): 민숙의 손목에 선명하게 드러난 작은 원형 표식의 타이트 샷\\n\\nLOCATION (lock): A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.\\n\\nTHIS SHOT CONTINUES THE PREVIOUS SHOT: everything the attached still established — the place, its fixed features and wear, each person's clothing and state — persists. Any person in it who cannot move stays PRECISELY as photographed (body, pose, contact points, held objects); only the camera changes.\\n\\nPREVIOUS STILL USAGE (follow exactly — what to take from the attached still and what to exclude): Take the cramped living area's worn materials, daylight, and the woman's apron and position from the reference. Preserve the continuity of her wrist and its small circular mark. Exclude the TV-button-pressing action and any wider room elements that fall outside this tight wrist framing.\\n\\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\\ntext may describe characters metaphorically, figuratively or with\\nexaggeration. Photograph what a real movie camera would actually\\nrecord on a physical set — exaggerated or figurative impressions\\nbecome realistic staging choices (lighting, distance, angle,\\nwardrobe), not literal fantasy imagery.\\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\\nfeatures non-human or virtual beings (as in science fiction or\\nfantasy), every character — however indirectly, vaguely or\\nfiguratively the text describes them — IS a real human. When the\\ntext gives no direct visual description of a person, IMAGINE one\\nand still show them as a concrete, fully-formed human being:\\nalways render the human form to the maximum extent — build,\\nposture, face, hands, clothing — never reduce a person to a shape,\\nblob, solid silhouette or abstract mass.\\n\\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\\nperson's eyes, face or presence emotionally or figuratively (vacant,\\nhollow, dazed, burning, lifeless gaze and the like), it describes an\\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\\nthrough gaze direction, focus, eyelids, facial muscles, stillness\\nand posture. Every living person's eyes remain anatomically normal\\nhuman eyes with a natural iris and pupil, natural sclera and normal\\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\\notherwise alter eyeballs, skin or anatomy — unless the story\\nexplicitly declares that being non-human or supernatural in form.\\n\\nMOVEMENT (follow exactly): static: Min-sook's wrist is held in view, with the sharply visible small circular mark facing the camera.\\n\\nFIGURES — size & depth (follow exactly): The wrist fills most of the tight frame, while the circular mark occupies a small area at its center. The skin and mark are the NEAREST and only principal subject, with any body or room detail FARTHER and out of focus.\\n\\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The TV remains switched off, and Minsuk still wears the apron. The small, unusually distinct circular mark remains on her wrist.\\n\\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 민숙 — never anyone else, and never add a person the shot text does not show.\\n\\nNo text, captions, watermarks or annotations anywhere.\"}, {\"type\": \"text\", \"text\": \"REFERENCE — PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing. If this photo shows a character who cannot move (dead or unconscious), that character's exact pose, position and orientation are ALSO LOCKED — treat their body as a fixed prop of the set that only the camera moves around.\"}, {\"type\": \"text\", \"text\": \"Candidate A:\"}, {\"type\": \"text\", \"text\": \"Candidate B:\"}, {\"type\": \"text\", \"text\": \"Candidate C:\"}]"}
{"ts": "2026-07-13 15:29:59", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s39_S10sh6_a", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/bg4_S10sh6.png"], "ref_labels": ["LOCATION PHOTOGRAPH — the exact place of this shot: its architecture, materials, fixed features and lighting mood are spatial truth; stage the moment inside this place. Never copy its camera framing."], "attempt": 1, "dur_s": 20.9, "bytes": 2016668, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s39/stills/S10sh6_a.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\n\nSHOT TEXT (authoritative, Korean): 현관 철문이 아주 살짝 열린 틈새로 보이는 어두운 실내와 신발 앞코\n\nLOCATION (lock): The flat rooftop of an aging low-rise apartment building, enclosed by a waist-high parapet. A small rooftop dwelling has a metal entrance door and a window visible from the open roof. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nMOVEMENT (follow exactly): The unknown man's shoe toe advances from the rooftop exterior through the narrowly opened iron doorway into the dark room, leading his unseen body inward.\n\nFIGURES — size & depth (follow exactly): The shoe toe is small, about ~1/10 of the frame height, and lies FARTHER from the camera than the NEARER iron door edges; the dark interior recedes farthest beyond it.\n\nNo people appear unless the shot text itself says so.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-13 15:30:23", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s39_S10sh6_b", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/bg4_S10sh6.png"], "ref_labels": ["LOCATION PHOTOGRAPH — the exact place of this shot: its architecture, materials, fixed features and lighting mood are spatial truth; stage the moment inside this place. Never copy its camera framing."], "attempt": 1, "dur_s": 23.8, "bytes": 2156935, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s39/stills/S10sh6_b.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\n\nSHOT TEXT (authoritative, Korean): 현관 철문이 아주 살짝 열린 틈새로 보이는 어두운 실내와 신발 앞코\n\nLOCATION (lock): The flat rooftop of an aging low-rise apartment building, enclosed by a waist-high parapet. A small rooftop dwelling has a metal entrance door and a window visible from the open roof. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nMOVEMENT (follow exactly): The unknown man's shoe toe advances from the rooftop exterior through the narrowly opened iron doorway into the dark room, leading his unseen body inward.\n\nFIGURES — size & depth (follow exactly): The shoe toe is small, about ~1/10 of the frame height, and lies FARTHER from the camera than the NEARER iron door edges; the dark interior recedes farthest beyond it.\n\nNo people appear unless the shot text itself says so.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-13 15:30:50", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s39_S10sh6_c", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/bg4_S10sh6.png"], "ref_labels": ["LOCATION PHOTOGRAPH — the exact place of this shot: its architecture, materials, fixed features and lighting mood are spatial truth; stage the moment inside this place. Never copy its camera framing."], "attempt": 1, "dur_s": 26.7, "bytes": 2750942, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s39/stills/S10sh6_c.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\n\nSHOT TEXT (authoritative, Korean): 현관 철문이 아주 살짝 열린 틈새로 보이는 어두운 실내와 신발 앞코\n\nLOCATION (lock): The flat rooftop of an aging low-rise apartment building, enclosed by a waist-high parapet. A small rooftop dwelling has a metal entrance door and a window visible from the open roof. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nMOVEMENT (follow exactly): The unknown man's shoe toe advances from the rooftop exterior through the narrowly opened iron doorway into the dark room, leading his unseen body inward.\n\nFIGURES — size & depth (follow exactly): The shoe toe is small, about ~1/10 of the frame height, and lies FARTHER from the camera than the NEARER iron door edges; the dark interior recedes farthest beyond it.\n\nNo people appear unless the shot text itself says so.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-13 15:31:02", "kind": "llm", "step": "s39_judge_gpt_S10sh6", "model": "gpt", "dur_s": 12.5, "system_prompt": "You are given ONE image-generation prompt, the REFERENCE image(s)\nthat were attached to it (labelled), and THREE candidate images,\nlabelled A, B, C in the order attached, all generated from that\nexact prompt with those exact references.\nPick the ONE candidate that most faithfully realises the prompt.\nJudge ONLY fidelity to the prompt and its reference instructions:\nthe shot text's moment and action, who is and is NOT in frame,\ncamera framing, time of day, the LOCATION lock (the place must be\nthe one the reference shows — same architecture, materials,\nfixtures), pose/immobility and carried-state clauses, and every\nexclusion (no text, no invented people or objects). Consistency\nwith the attached reference image counts as prompt fidelity.\nIgnore generic aesthetic appeal.\nCheck every candidate point by point before deciding; base every\nverdict only on what is visible.\nAlso give every candidate an integer score 0-10 for that same\nfidelity.\nOutput: winner, ranking best-to-worst, and per candidate a score\nplus a one-line Korean verdict citing the decisive prompt points.", "user_prompt": "[{\"type\": \"text\", \"text\": \"THE PROMPT (all three candidates were generated from this):\\nCreate ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\\n\\nSHOT TEXT (authoritative, Korean): 현관 철문이 아주 살짝 열린 틈새로 보이는 어두운 실내와 신발 앞코\\n\\nLOCATION (lock): The flat rooftop of an aging low-rise apartment building, enclosed by a waist-high parapet. A small rooftop dwelling has a metal entrance door and a window visible from the open roof. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.\\n\\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\\ntext may describe characters metaphorically, figuratively or with\\nexaggeration. Photograph what a real movie camera would actually\\nrecord on a physical set — exaggerated or figurative impressions\\nbecome realistic staging choices (lighting, distance, angle,\\nwardrobe), not literal fantasy imagery.\\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\\nfeatures non-human or virtual beings (as in science fiction or\\nfantasy), every character — however indirectly, vaguely or\\nfiguratively the text describes them — IS a real human. When the\\ntext gives no direct visual description of a person, IMAGINE one\\nand still show them as a concrete, fully-formed human being:\\nalways render the human form to the maximum extent — build,\\nposture, face, hands, clothing — never reduce a person to a shape,\\nblob, solid silhouette or abstract mass.\\n\\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\\nperson's eyes, face or presence emotionally or figuratively (vacant,\\nhollow, dazed, burning, lifeless gaze and the like), it describes an\\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\\nthrough gaze direction, focus, eyelids, facial muscles, stillness\\nand posture. Every living person's eyes remain anatomically normal\\nhuman eyes with a natural iris and pupil, natural sclera and normal\\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\\notherwise alter eyeballs, skin or anatomy — unless the story\\nexplicitly declares that being non-human or supernatural in form.\\n\\nMOVEMENT (follow exactly): The unknown man's shoe toe advances from the rooftop exterior through the narrowly opened iron doorway into the dark room, leading his unseen body inward.\\n\\nFIGURES — size & depth (follow exactly): The shoe toe is small, about ~1/10 of the frame height, and lies FARTHER from the camera than the NEARER iron door edges; the dark interior recedes farthest beyond it.\\n\\nNo people appear unless the shot text itself says so.\\n\\nNo text, captions, watermarks or annotations anywhere.\"}, {\"type\": \"text\", \"text\": \"REFERENCE — LOCATION PHOTOGRAPH — the exact place of this shot: its architecture, materials, fixed features and lighting mood are spatial truth; stage the moment inside this place. Never copy its camera framing.\"}, {\"type\": \"text\", \"text\": \"Candidate A:\"}, {\"type\": \"text\", \"text\": \"Candidate B:\"}, {\"type\": \"text\", \"text\": \"Candidate C:\"}]"}
{"ts": "2026-07-13 15:31:35", "kind": "llm", "step": "s39_judge_gemini_S10sh6", "model": "gemini-pro", "dur_s": 32.7, "system_prompt": "You are given ONE image-generation prompt, the REFERENCE image(s)\nthat were attached to it (labelled), and THREE candidate images,\nlabelled A, B, C in the order attached, all generated from that\nexact prompt with those exact references.\nPick the ONE candidate that most faithfully realises the prompt.\nJudge ONLY fidelity to the prompt and its reference instructions:\nthe shot text's moment and action, who is and is NOT in frame,\ncamera framing, time of day, the LOCATION lock (the place must be\nthe one the reference shows — same architecture, materials,\nfixtures), pose/immobility and carried-state clauses, and every\nexclusion (no text, no invented people or objects). Consistency\nwith the attached reference image counts as prompt fidelity.\nIgnore generic aesthetic appeal.\nCheck every candidate point by point before deciding; base every\nverdict only on what is visible.\nAlso give every candidate an integer score 0-10 for that same\nfidelity.\nOutput: winner, ranking best-to-worst, and per candidate a score\nplus a one-line Korean verdict citing the decisive prompt points.", "user_prompt": "[{\"type\": \"text\", \"text\": \"THE PROMPT (all three candidates were generated from this):\\nCreate ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\\n\\nSHOT TEXT (authoritative, Korean): 현관 철문이 아주 살짝 열린 틈새로 보이는 어두운 실내와 신발 앞코\\n\\nLOCATION (lock): The flat rooftop of an aging low-rise apartment building, enclosed by a waist-high parapet. A small rooftop dwelling has a metal entrance door and a window visible from the open roof. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.\\n\\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\\ntext may describe characters metaphorically, figuratively or with\\nexaggeration. Photograph what a real movie camera would actually\\nrecord on a physical set — exaggerated or figurative impressions\\nbecome realistic staging choices (lighting, distance, angle,\\nwardrobe), not literal fantasy imagery.\\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\\nfeatures non-human or virtual beings (as in science fiction or\\nfantasy), every character — however indirectly, vaguely or\\nfiguratively the text describes them — IS a real human. When the\\ntext gives no direct visual description of a person, IMAGINE one\\nand still show them as a concrete, fully-formed human being:\\nalways render the human form to the maximum extent — build,\\nposture, face, hands, clothing — never reduce a person to a shape,\\nblob, solid silhouette or abstract mass.\\n\\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\\nperson's eyes, face or presence emotionally or figuratively (vacant,\\nhollow, dazed, burning, lifeless gaze and the like), it describes an\\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\\nthrough gaze direction, focus, eyelids, facial muscles, stillness\\nand posture. Every living person's eyes remain anatomically normal\\nhuman eyes with a natural iris and pupil, natural sclera and normal\\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\\notherwise alter eyeballs, skin or anatomy — unless the story\\nexplicitly declares that being non-human or supernatural in form.\\n\\nMOVEMENT (follow exactly): The unknown man's shoe toe advances from the rooftop exterior through the narrowly opened iron doorway into the dark room, leading his unseen body inward.\\n\\nFIGURES — size & depth (follow exactly): The shoe toe is small, about ~1/10 of the frame height, and lies FARTHER from the camera than the NEARER iron door edges; the dark interior recedes farthest beyond it.\\n\\nNo people appear unless the shot text itself says so.\\n\\nNo text, captions, watermarks or annotations anywhere.\"}, {\"type\": \"text\", \"text\": \"REFERENCE — LOCATION PHOTOGRAPH — the exact place of this shot: its architecture, materials, fixed features and lighting mood are spatial truth; stage the moment inside this place. Never copy its camera framing.\"}, {\"type\": \"text\", \"text\": \"Candidate A:\"}, {\"type\": \"text\", \"text\": \"Candidate B:\"}, {\"type\": \"text\", \"text\": \"Candidate C:\"}]"}
{"ts": "2026-07-13 15:32:00", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s39_S10sh7_a", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s39/stills/S10sh6_sel.png"], "ref_labels": ["PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing. If this photo shows a character who cannot move (dead or unconscious), that character's exact pose, position and orientation are ALSO LOCKED — treat their body as a fixed prop of the set that only the camera moves around."], "attempt": 1, "dur_s": 24.8, "bytes": 2386423, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s39/stills/S10sh7_a.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\n\nSHOT TEXT (authoritative, Korean): 불이 켜진 옥탑방 창문에 거대한 그림자가 작은 그림자의 어깨 쪽으로 고개를 꺾은 형태가 맺혀 있는 정지 구도\n\nLOCATION (lock): The flat rooftop of an aging low-rise apartment building, enclosed by a waist-high parapet. A small rooftop dwelling has a metal entrance door and a window visible from the open roof. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.\n\nTHIS SHOT CONTINUES THE PREVIOUS SHOT: everything the attached still established — the place, its fixed features and wear, each person's clothing and state — persists. Any person in it who cannot move stays PRECISELY as photographed (body, pose, contact points, held objects); only the camera changes.\n\nPREVIOUS STILL USAGE (follow exactly — what to take from the attached still and what to exclude): Take the rooftop dwelling's aged exterior materials, metal fixtures, dark interior tone, and nighttime lighting from the reference. Preserve the slightly opened entrance door as an ongoing state where it remains visible. Exclude the shoe tip and the doorway-focused composition; do not place the intruder visibly in the window-shadow frame.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nMOVEMENT (follow exactly): static: A real man appearing as a large dark silhouette, with normal human build, leans into Minsook and angles his head down toward her shoulder as she is caught beneath him.\n\nFIGURES — size & depth (follow exactly): The man's shadow fills roughly ~2/3 of the frame height, larger than Minsook's smaller shadow at about ~1/3; both people are FARTHER than the NEARER window surface, while their mutual camera-depth order is not established. Their silhouettes overlap at Minsook's shoulder, leaving almost no distance between their paths.\n\nNo people appear unless the shot text itself says so.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-13 15:32:20", "kind": "img_error", "tag": "s39_S10sh7_b", "attempt": 1, "error": "Gemini i2i returned no image: {\"candidates\": [{\"content\": {}, \"finishReason\": \"IMAGE_SAFETY\", \"index\": 0, \"finishMessage\": \"Unable to show the generated image. The image was filtered out because it violated Google's [Generative AI Prohibited Use policy](https://policies.google.com/terms/generative-ai/use-policy). You will not be charged for blocked images. Try rephrasing the prompt. If you think this was an error, [send feedback](https://ai.google.dev/gemini-api/docs/troubleshooting).\"}], \"usage"}
{"ts": "2026-07-13 15:32:43", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s39_S10sh7_b", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s39/stills/S10sh6_sel.png"], "ref_labels": ["PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing. If this photo shows a character who cannot move (dead or unconscious), that character's exact pose, position and orientation are ALSO LOCKED — treat their body as a fixed prop of the set that only the camera moves around."], "attempt": 2, "dur_s": 42.9, "bytes": 2647278, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s39/stills/S10sh7_b.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\n\nSHOT TEXT (authoritative, Korean): 불이 켜진 옥탑방 창문에 거대한 그림자가 작은 그림자의 어깨 쪽으로 고개를 꺾은 형태가 맺혀 있는 정지 구도\n\nLOCATION (lock): The flat rooftop of an aging low-rise apartment building, enclosed by a waist-high parapet. A small rooftop dwelling has a metal entrance door and a window visible from the open roof. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.\n\nTHIS SHOT CONTINUES THE PREVIOUS SHOT: everything the attached still established — the place, its fixed features and wear, each person's clothing and state — persists. Any person in it who cannot move stays PRECISELY as photographed (body, pose, contact points, held objects); only the camera changes.\n\nPREVIOUS STILL USAGE (follow exactly — what to take from the attached still and what to exclude): Take the rooftop dwelling's aged exterior materials, metal fixtures, dark interior tone, and nighttime lighting from the reference. Preserve the slightly opened entrance door as an ongoing state where it remains visible. Exclude the shoe tip and the doorway-focused composition; do not place the intruder visibly in the window-shadow frame.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nMOVEMENT (follow exactly): static: A real man appearing as a large dark silhouette, with normal human build, leans into Minsook and angles his head down toward her shoulder as she is caught beneath him.\n\nFIGURES — size & depth (follow exactly): The man's shadow fills roughly ~2/3 of the frame height, larger than Minsook's smaller shadow at about ~1/3; both people are FARTHER than the NEARER window surface, while their mutual camera-depth order is not established. Their silhouettes overlap at Minsook's shoulder, leaving almost no distance between their paths.\n\nNo people appear unless the shot text itself says so.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-13 15:33:04", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s39_S10sh7_c", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s39/stills/S10sh6_sel.png"], "ref_labels": ["PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing. If this photo shows a character who cannot move (dead or unconscious), that character's exact pose, position and orientation are ALSO LOCKED — treat their body as a fixed prop of the set that only the camera moves around."], "attempt": 1, "dur_s": 21.6, "bytes": 2353433, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s39/stills/S10sh7_c.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\n\nSHOT TEXT (authoritative, Korean): 불이 켜진 옥탑방 창문에 거대한 그림자가 작은 그림자의 어깨 쪽으로 고개를 꺾은 형태가 맺혀 있는 정지 구도\n\nLOCATION (lock): The flat rooftop of an aging low-rise apartment building, enclosed by a waist-high parapet. A small rooftop dwelling has a metal entrance door and a window visible from the open roof. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.\n\nTHIS SHOT CONTINUES THE PREVIOUS SHOT: everything the attached still established — the place, its fixed features and wear, each person's clothing and state — persists. Any person in it who cannot move stays PRECISELY as photographed (body, pose, contact points, held objects); only the camera changes.\n\nPREVIOUS STILL USAGE (follow exactly — what to take from the attached still and what to exclude): Take the rooftop dwelling's aged exterior materials, metal fixtures, dark interior tone, and nighttime lighting from the reference. Preserve the slightly opened entrance door as an ongoing state where it remains visible. Exclude the shoe tip and the doorway-focused composition; do not place the intruder visibly in the window-shadow frame.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nMOVEMENT (follow exactly): static: A real man appearing as a large dark silhouette, with normal human build, leans into Minsook and angles his head down toward her shoulder as she is caught beneath him.\n\nFIGURES — size & depth (follow exactly): The man's shadow fills roughly ~2/3 of the frame height, larger than Minsook's smaller shadow at about ~1/3; both people are FARTHER than the NEARER window surface, while their mutual camera-depth order is not established. Their silhouettes overlap at Minsook's shoulder, leaving almost no distance between their paths.\n\nNo people appear unless the shot text itself says so.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-13 15:33:21", "kind": "llm", "step": "s39_judge_gpt_S10sh7", "model": "gpt", "dur_s": 17.0, "system_prompt": "You are given ONE image-generation prompt, the REFERENCE image(s)\nthat were attached to it (labelled), and THREE candidate images,\nlabelled A, B, C in the order attached, all generated from that\nexact prompt with those exact references.\nPick the ONE candidate that most faithfully realises the prompt.\nJudge ONLY fidelity to the prompt and its reference instructions:\nthe shot text's moment and action, who is and is NOT in frame,\ncamera framing, time of day, the LOCATION lock (the place must be\nthe one the reference shows — same architecture, materials,\nfixtures), pose/immobility and carried-state clauses, and every\nexclusion (no text, no invented people or objects). Consistency\nwith the attached reference image counts as prompt fidelity.\nIgnore generic aesthetic appeal.\nCheck every candidate point by point before deciding; base every\nverdict only on what is visible.\nAlso give every candidate an integer score 0-10 for that same\nfidelity.\nOutput: winner, ranking best-to-worst, and per candidate a score\nplus a one-line Korean verdict citing the decisive prompt points.", "user_prompt": "[{\"type\": \"text\", \"text\": \"THE PROMPT (all three candidates were generated from this):\\nCreate ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\\n\\nSHOT TEXT (authoritative, Korean): 불이 켜진 옥탑방 창문에 거대한 그림자가 작은 그림자의 어깨 쪽으로 고개를 꺾은 형태가 맺혀 있는 정지 구도\\n\\nLOCATION (lock): The flat rooftop of an aging low-rise apartment building, enclosed by a waist-high parapet. A small rooftop dwelling has a metal entrance door and a window visible from the open roof. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.\\n\\nTHIS SHOT CONTINUES THE PREVIOUS SHOT: everything the attached still established — the place, its fixed features and wear, each person's clothing and state — persists. Any person in it who cannot move stays PRECISELY as photographed (body, pose, contact points, held objects); only the camera changes.\\n\\nPREVIOUS STILL USAGE (follow exactly — what to take from the attached still and what to exclude): Take the rooftop dwelling's aged exterior materials, metal fixtures, dark interior tone, and nighttime lighting from the reference. Preserve the slightly opened entrance door as an ongoing state where it remains visible. Exclude the shoe tip and the doorway-focused composition; do not place the intruder visibly in the window-shadow frame.\\n\\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\\ntext may describe characters metaphorically, figuratively or with\\nexaggeration. Photograph what a real movie camera would actually\\nrecord on a physical set — exaggerated or figurative impressions\\nbecome realistic staging choices (lighting, distance, angle,\\nwardrobe), not literal fantasy imagery.\\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\\nfeatures non-human or virtual beings (as in science fiction or\\nfantasy), every character — however indirectly, vaguely or\\nfiguratively the text describes them — IS a real human. When the\\ntext gives no direct visual description of a person, IMAGINE one\\nand still show them as a concrete, fully-formed human being:\\nalways render the human form to the maximum extent — build,\\nposture, face, hands, clothing — never reduce a person to a shape,\\nblob, solid silhouette or abstract mass.\\n\\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\\nperson's eyes, face or presence emotionally or figuratively (vacant,\\nhollow, dazed, burning, lifeless gaze and the like), it describes an\\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\\nthrough gaze direction, focus, eyelids, facial muscles, stillness\\nand posture. Every living person's eyes remain anatomically normal\\nhuman eyes with a natural iris and pupil, natural sclera and normal\\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\\notherwise alter eyeballs, skin or anatomy — unless the story\\nexplicitly declares that being non-human or supernatural in form.\\n\\nMOVEMENT (follow exactly): static: A real man appearing as a large dark silhouette, with normal human build, leans into Minsook and angles his head down toward her shoulder as she is caught beneath him.\\n\\nFIGURES — size & depth (follow exactly): The man's shadow fills roughly ~2/3 of the frame height, larger than Minsook's smaller shadow at about ~1/3; both people are FARTHER than the NEARER window surface, while their mutual camera-depth order is not established. Their silhouettes overlap at Minsook's shoulder, leaving almost no distance between their paths.\\n\\nNo people appear unless the shot text itself says so.\\n\\nNo text, captions, watermarks or annotations anywhere.\"}, {\"type\": \"text\", \"text\": \"REFERENCE — PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing. If this photo shows a character who cannot move (dead or unconscious), that character's exact pose, position and orientation are ALSO LOCKED — treat their body as a fixed prop of the set that only the camera moves around.\"}, {\"type\": \"text\", \"text\": \"Candidate A:\"}, {\"type\": \"text\", \"text\": \"Candidate B:\"}, {\"type\": \"text\", \"text\": \"Candidate C:\"}]"}
{"ts": "2026-07-13 15:34:04", "kind": "llm", "step": "s39_judge_gemini_S10sh7", "model": "gemini-pro", "dur_s": 42.5, "system_prompt": "You are given ONE image-generation prompt, the REFERENCE image(s)\nthat were attached to it (labelled), and THREE candidate images,\nlabelled A, B, C in the order attached, all generated from that\nexact prompt with those exact references.\nPick the ONE candidate that most faithfully realises the prompt.\nJudge ONLY fidelity to the prompt and its reference instructions:\nthe shot text's moment and action, who is and is NOT in frame,\ncamera framing, time of day, the LOCATION lock (the place must be\nthe one the reference shows — same architecture, materials,\nfixtures), pose/immobility and carried-state clauses, and every\nexclusion (no text, no invented people or objects). Consistency\nwith the attached reference image counts as prompt fidelity.\nIgnore generic aesthetic appeal.\nCheck every candidate point by point before deciding; base every\nverdict only on what is visible.\nAlso give every candidate an integer score 0-10 for that same\nfidelity.\nOutput: winner, ranking best-to-worst, and per candidate a score\nplus a one-line Korean verdict citing the decisive prompt points.", "user_prompt": "[{\"type\": \"text\", \"text\": \"THE PROMPT (all three candidates were generated from this):\\nCreate ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\\n\\nSHOT TEXT (authoritative, Korean): 불이 켜진 옥탑방 창문에 거대한 그림자가 작은 그림자의 어깨 쪽으로 고개를 꺾은 형태가 맺혀 있는 정지 구도\\n\\nLOCATION (lock): The flat rooftop of an aging low-rise apartment building, enclosed by a waist-high parapet. A small rooftop dwelling has a metal entrance door and a window visible from the open roof. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.\\n\\nTHIS SHOT CONTINUES THE PREVIOUS SHOT: everything the attached still established — the place, its fixed features and wear, each person's clothing and state — persists. Any person in it who cannot move stays PRECISELY as photographed (body, pose, contact points, held objects); only the camera changes.\\n\\nPREVIOUS STILL USAGE (follow exactly — what to take from the attached still and what to exclude): Take the rooftop dwelling's aged exterior materials, metal fixtures, dark interior tone, and nighttime lighting from the reference. Preserve the slightly opened entrance door as an ongoing state where it remains visible. Exclude the shoe tip and the doorway-focused composition; do not place the intruder visibly in the window-shadow frame.\\n\\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\\ntext may describe characters metaphorically, figuratively or with\\nexaggeration. Photograph what a real movie camera would actually\\nrecord on a physical set — exaggerated or figurative impressions\\nbecome realistic staging choices (lighting, distance, angle,\\nwardrobe), not literal fantasy imagery.\\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\\nfeatures non-human or virtual beings (as in science fiction or\\nfantasy), every character — however indirectly, vaguely or\\nfiguratively the text describes them — IS a real human. When the\\ntext gives no direct visual description of a person, IMAGINE one\\nand still show them as a concrete, fully-formed human being:\\nalways render the human form to the maximum extent — build,\\nposture, face, hands, clothing — never reduce a person to a shape,\\nblob, solid silhouette or abstract mass.\\n\\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\\nperson's eyes, face or presence emotionally or figuratively (vacant,\\nhollow, dazed, burning, lifeless gaze and the like), it describes an\\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\\nthrough gaze direction, focus, eyelids, facial muscles, stillness\\nand posture. Every living person's eyes remain anatomically normal\\nhuman eyes with a natural iris and pupil, natural sclera and normal\\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\\notherwise alter eyeballs, skin or anatomy — unless the story\\nexplicitly declares that being non-human or supernatural in form.\\n\\nMOVEMENT (follow exactly): static: A real man appearing as a large dark silhouette, with normal human build, leans into Minsook and angles his head down toward her shoulder as she is caught beneath him.\\n\\nFIGURES — size & depth (follow exactly): The man's shadow fills roughly ~2/3 of the frame height, larger than Minsook's smaller shadow at about ~1/3; both people are FARTHER than the NEARER window surface, while their mutual camera-depth order is not established. Their silhouettes overlap at Minsook's shoulder, leaving almost no distance between their paths.\\n\\nNo people appear unless the shot text itself says so.\\n\\nNo text, captions, watermarks or annotations anywhere.\"}, {\"type\": \"text\", \"text\": \"REFERENCE — PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing. If this photo shows a character who cannot move (dead or unconscious), that character's exact pose, position and orientation are ALSO LOCKED — treat their body as a fixed prop of the set that only the camera moves around.\"}, {\"type\": \"text\", \"text\": \"Candidate A:\"}, {\"type\": \"text\", \"text\": \"Candidate B:\"}, {\"type\": \"text\", \"text\": \"Candidate C:\"}]"}
{"ts": "2026-07-13 15:34:29", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s39_S11sh4_a", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/bg4_S11sh4.png"], "ref_labels": ["LOCATION PHOTOGRAPH — the exact place of this shot: its architecture, materials, fixed features and lighting mood are spatial truth; stage the moment inside this place. Never copy its camera framing."], "attempt": 1, "dur_s": 25.3, "bytes": 2365529, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s39/stills/S11sh4_a.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\n\nSHOT TEXT (authoritative, Korean): 철제 파이프 난간을 손으로 잡은 수리영이 코끝을 찡그린 채 계단 중간에 서 있는 얼굴 클로즈업\n\nLOCATION (lock): A narrow exterior metal staircase attached to an old low-rise residential building. It has exposed steel steps and tubular pipe railings leading upward toward the roof. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nMOVEMENT (follow exactly): static: Suri-young pauses midway up the staircase while ascending toward the rooftop, gripping the metal-pipe railing with a tense posture and wrinkling her nose at the sudden foul smell, her body oriented uphill.\n\nFIGURES — size & depth (follow exactly): Suri-young’s face fills ~2/3 of the frame height in close-up and is the nearest figure; her hand and the metal-pipe railing sit slightly farther from the camera as she remains midway on the stairs.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 수리영 — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-13 15:34:58", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s39_S11sh4_b", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/bg4_S11sh4.png"], "ref_labels": ["LOCATION PHOTOGRAPH — the exact place of this shot: its architecture, materials, fixed features and lighting mood are spatial truth; stage the moment inside this place. Never copy its camera framing."], "attempt": 1, "dur_s": 28.7, "bytes": 2753600, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s39/stills/S11sh4_b.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\n\nSHOT TEXT (authoritative, Korean): 철제 파이프 난간을 손으로 잡은 수리영이 코끝을 찡그린 채 계단 중간에 서 있는 얼굴 클로즈업\n\nLOCATION (lock): A narrow exterior metal staircase attached to an old low-rise residential building. It has exposed steel steps and tubular pipe railings leading upward toward the roof. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nMOVEMENT (follow exactly): static: Suri-young pauses midway up the staircase while ascending toward the rooftop, gripping the metal-pipe railing with a tense posture and wrinkling her nose at the sudden foul smell, her body oriented uphill.\n\nFIGURES — size & depth (follow exactly): Suri-young’s face fills ~2/3 of the frame height in close-up and is the nearest figure; her hand and the metal-pipe railing sit slightly farther from the camera as she remains midway on the stairs.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 수리영 — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-13 15:35:21", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s39_S11sh4_c", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/bg4_S11sh4.png"], "ref_labels": ["LOCATION PHOTOGRAPH — the exact place of this shot: its architecture, materials, fixed features and lighting mood are spatial truth; stage the moment inside this place. Never copy its camera framing."], "attempt": 1, "dur_s": 22.7, "bytes": 2797511, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s39/stills/S11sh4_c.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\n\nSHOT TEXT (authoritative, Korean): 철제 파이프 난간을 손으로 잡은 수리영이 코끝을 찡그린 채 계단 중간에 서 있는 얼굴 클로즈업\n\nLOCATION (lock): A narrow exterior metal staircase attached to an old low-rise residential building. It has exposed steel steps and tubular pipe railings leading upward toward the roof. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nMOVEMENT (follow exactly): static: Suri-young pauses midway up the staircase while ascending toward the rooftop, gripping the metal-pipe railing with a tense posture and wrinkling her nose at the sudden foul smell, her body oriented uphill.\n\nFIGURES — size & depth (follow exactly): Suri-young’s face fills ~2/3 of the frame height in close-up and is the nearest figure; her hand and the metal-pipe railing sit slightly farther from the camera as she remains midway on the stairs.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 수리영 — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-13 15:35:36", "kind": "llm", "step": "s39_judge_gpt_S11sh4", "model": "gpt", "dur_s": 15.3, "system_prompt": "You are given ONE image-generation prompt, the REFERENCE image(s)\nthat were attached to it (labelled), and THREE candidate images,\nlabelled A, B, C in the order attached, all generated from that\nexact prompt with those exact references.\nPick the ONE candidate that most faithfully realises the prompt.\nJudge ONLY fidelity to the prompt and its reference instructions:\nthe shot text's moment and action, who is and is NOT in frame,\ncamera framing, time of day, the LOCATION lock (the place must be\nthe one the reference shows — same architecture, materials,\nfixtures), pose/immobility and carried-state clauses, and every\nexclusion (no text, no invented people or objects). Consistency\nwith the attached reference image counts as prompt fidelity.\nIgnore generic aesthetic appeal.\nCheck every candidate point by point before deciding; base every\nverdict only on what is visible.\nAlso give every candidate an integer score 0-10 for that same\nfidelity.\nOutput: winner, ranking best-to-worst, and per candidate a score\nplus a one-line Korean verdict citing the decisive prompt points.", "user_prompt": "[{\"type\": \"text\", \"text\": \"THE PROMPT (all three candidates were generated from this):\\nCreate ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\\n\\nSHOT TEXT (authoritative, Korean): 철제 파이프 난간을 손으로 잡은 수리영이 코끝을 찡그린 채 계단 중간에 서 있는 얼굴 클로즈업\\n\\nLOCATION (lock): A narrow exterior metal staircase attached to an old low-rise residential building. It has exposed steel steps and tubular pipe railings leading upward toward the roof. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.\\n\\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\\ntext may describe characters metaphorically, figuratively or with\\nexaggeration. Photograph what a real movie camera would actually\\nrecord on a physical set — exaggerated or figurative impressions\\nbecome realistic staging choices (lighting, distance, angle,\\nwardrobe), not literal fantasy imagery.\\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\\nfeatures non-human or virtual beings (as in science fiction or\\nfantasy), every character — however indirectly, vaguely or\\nfiguratively the text describes them — IS a real human. When the\\ntext gives no direct visual description of a person, IMAGINE one\\nand still show them as a concrete, fully-formed human being:\\nalways render the human form to the maximum extent — build,\\nposture, face, hands, clothing — never reduce a person to a shape,\\nblob, solid silhouette or abstract mass.\\n\\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\\nperson's eyes, face or presence emotionally or figuratively (vacant,\\nhollow, dazed, burning, lifeless gaze and the like), it describes an\\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\\nthrough gaze direction, focus, eyelids, facial muscles, stillness\\nand posture. Every living person's eyes remain anatomically normal\\nhuman eyes with a natural iris and pupil, natural sclera and normal\\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\\notherwise alter eyeballs, skin or anatomy — unless the story\\nexplicitly declares that being non-human or supernatural in form.\\n\\nMOVEMENT (follow exactly): static: Suri-young pauses midway up the staircase while ascending toward the rooftop, gripping the metal-pipe railing with a tense posture and wrinkling her nose at the sudden foul smell, her body oriented uphill.\\n\\nFIGURES — size & depth (follow exactly): Suri-young’s face fills ~2/3 of the frame height in close-up and is the nearest figure; her hand and the metal-pipe railing sit slightly farther from the camera as she remains midway on the stairs.\\n\\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 수리영 — never anyone else, and never add a person the shot text does not show.\\n\\nNo text, captions, watermarks or annotations anywhere.\"}, {\"type\": \"text\", \"text\": \"REFERENCE — LOCATION PHOTOGRAPH — the exact place of this shot: its architecture, materials, fixed features and lighting mood are spatial truth; stage the moment inside this place. Never copy its camera framing.\"}, {\"type\": \"text\", \"text\": \"Candidate A:\"}, {\"type\": \"text\", \"text\": \"Candidate B:\"}, {\"type\": \"text\", \"text\": \"Candidate C:\"}]"}
{"ts": "2026-07-13 15:36:21", "kind": "llm", "step": "s39_judge_gemini_S11sh4", "model": "gemini-pro", "dur_s": 44.9, "system_prompt": "You are given ONE image-generation prompt, the REFERENCE image(s)\nthat were attached to it (labelled), and THREE candidate images,\nlabelled A, B, C in the order attached, all generated from that\nexact prompt with those exact references.\nPick the ONE candidate that most faithfully realises the prompt.\nJudge ONLY fidelity to the prompt and its reference instructions:\nthe shot text's moment and action, who is and is NOT in frame,\ncamera framing, time of day, the LOCATION lock (the place must be\nthe one the reference shows — same architecture, materials,\nfixtures), pose/immobility and carried-state clauses, and every\nexclusion (no text, no invented people or objects). Consistency\nwith the attached reference image counts as prompt fidelity.\nIgnore generic aesthetic appeal.\nCheck every candidate point by point before deciding; base every\nverdict only on what is visible.\nAlso give every candidate an integer score 0-10 for that same\nfidelity.\nOutput: winner, ranking best-to-worst, and per candidate a score\nplus a one-line Korean verdict citing the decisive prompt points.", "user_prompt": "[{\"type\": \"text\", \"text\": \"THE PROMPT (all three candidates were generated from this):\\nCreate ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\\n\\nSHOT TEXT (authoritative, Korean): 철제 파이프 난간을 손으로 잡은 수리영이 코끝을 찡그린 채 계단 중간에 서 있는 얼굴 클로즈업\\n\\nLOCATION (lock): A narrow exterior metal staircase attached to an old low-rise residential building. It has exposed steel steps and tubular pipe railings leading upward toward the roof. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.\\n\\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\\ntext may describe characters metaphorically, figuratively or with\\nexaggeration. Photograph what a real movie camera would actually\\nrecord on a physical set — exaggerated or figurative impressions\\nbecome realistic staging choices (lighting, distance, angle,\\nwardrobe), not literal fantasy imagery.\\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\\nfeatures non-human or virtual beings (as in science fiction or\\nfantasy), every character — however indirectly, vaguely or\\nfiguratively the text describes them — IS a real human. When the\\ntext gives no direct visual description of a person, IMAGINE one\\nand still show them as a concrete, fully-formed human being:\\nalways render the human form to the maximum extent — build,\\nposture, face, hands, clothing — never reduce a person to a shape,\\nblob, solid silhouette or abstract mass.\\n\\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\\nperson's eyes, face or presence emotionally or figuratively (vacant,\\nhollow, dazed, burning, lifeless gaze and the like), it describes an\\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\\nthrough gaze direction, focus, eyelids, facial muscles, stillness\\nand posture. Every living person's eyes remain anatomically normal\\nhuman eyes with a natural iris and pupil, natural sclera and normal\\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\\notherwise alter eyeballs, skin or anatomy — unless the story\\nexplicitly declares that being non-human or supernatural in form.\\n\\nMOVEMENT (follow exactly): static: Suri-young pauses midway up the staircase while ascending toward the rooftop, gripping the metal-pipe railing with a tense posture and wrinkling her nose at the sudden foul smell, her body oriented uphill.\\n\\nFIGURES — size & depth (follow exactly): Suri-young’s face fills ~2/3 of the frame height in close-up and is the nearest figure; her hand and the metal-pipe railing sit slightly farther from the camera as she remains midway on the stairs.\\n\\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 수리영 — never anyone else, and never add a person the shot text does not show.\\n\\nNo text, captions, watermarks or annotations anywhere.\"}, {\"type\": \"text\", \"text\": \"REFERENCE — LOCATION PHOTOGRAPH — the exact place of this shot: its architecture, materials, fixed features and lighting mood are spatial truth; stage the moment inside this place. Never copy its camera framing.\"}, {\"type\": \"text\", \"text\": \"Candidate A:\"}, {\"type\": \"text\", \"text\": \"Candidate B:\"}, {\"type\": \"text\", \"text\": \"Candidate C:\"}]"}
{"ts": "2026-07-13 15:36:43", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s39_S11sh5_a", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s39/stills/S10sh6_sel.png"], "ref_labels": ["PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing. If this photo shows a character who cannot move (dead or unconscious), that character's exact pose, position and orientation are ALSO LOCKED — treat their body as a fixed prop of the set that only the camera moves around."], "attempt": 1, "dur_s": 22.4, "bytes": 2650792, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s39/stills/S11sh5_a.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\n\nSHOT TEXT (authoritative, Korean): 옥상에 선 수리영의 시선 끝에 반쯤 열려 있는 어두운 현관 철문이 보이는 정면 구도\n\nLOCATION (lock): The flat rooftop of an aging low-rise apartment building, enclosed by a waist-high parapet. A small rooftop dwelling has a metal entrance door and a window visible from the open roof. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.\n\nTHIS SHOT CONTINUES THE PREVIOUS SHOT: everything the attached still established — the place, its fixed features and wear, each person's clothing and state — persists. Any person in it who cannot move stays PRECISELY as photographed (body, pose, contact points, held objects); only the camera changes.\n\nPREVIOUS STILL USAGE (follow exactly — what to take from the attached still and what to exclude): Take the aged rooftop surface, metal entrance door, surrounding exterior materials, and nighttime illumination from the reference. Keep the entrance door visibly open to the degree required by the current scene. Exclude the stranger's shoe and any suggestion that the stranger is still standing at the doorway.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nMOVEMENT (follow exactly): static: Suriyoung stands tensely on the rooftop with her body and gaze directed straight toward the half-open iron entrance door and its dark interior.\n\nFIGURES — size & depth (follow exactly): Suriyoung appears about ~1/2 of the frame height in the NEARER rooftop area, while the half-open door appears about ~1/3 and is FARTHER ahead along her line of sight.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 수리영 — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-13 15:37:06", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s39_S11sh5_b", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s39/stills/S10sh6_sel.png"], "ref_labels": ["PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing. If this photo shows a character who cannot move (dead or unconscious), that character's exact pose, position and orientation are ALSO LOCKED — treat their body as a fixed prop of the set that only the camera moves around."], "attempt": 1, "dur_s": 23.0, "bytes": 1991260, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s39/stills/S11sh5_b.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\n\nSHOT TEXT (authoritative, Korean): 옥상에 선 수리영의 시선 끝에 반쯤 열려 있는 어두운 현관 철문이 보이는 정면 구도\n\nLOCATION (lock): The flat rooftop of an aging low-rise apartment building, enclosed by a waist-high parapet. A small rooftop dwelling has a metal entrance door and a window visible from the open roof. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.\n\nTHIS SHOT CONTINUES THE PREVIOUS SHOT: everything the attached still established — the place, its fixed features and wear, each person's clothing and state — persists. Any person in it who cannot move stays PRECISELY as photographed (body, pose, contact points, held objects); only the camera changes.\n\nPREVIOUS STILL USAGE (follow exactly — what to take from the attached still and what to exclude): Take the aged rooftop surface, metal entrance door, surrounding exterior materials, and nighttime illumination from the reference. Keep the entrance door visibly open to the degree required by the current scene. Exclude the stranger's shoe and any suggestion that the stranger is still standing at the doorway.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nMOVEMENT (follow exactly): static: Suriyoung stands tensely on the rooftop with her body and gaze directed straight toward the half-open iron entrance door and its dark interior.\n\nFIGURES — size & depth (follow exactly): Suriyoung appears about ~1/2 of the frame height in the NEARER rooftop area, while the half-open door appears about ~1/3 and is FARTHER ahead along her line of sight.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 수리영 — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-13 15:37:29", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s39_S11sh5_c", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s39/stills/S10sh6_sel.png"], "ref_labels": ["PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing. If this photo shows a character who cannot move (dead or unconscious), that character's exact pose, position and orientation are ALSO LOCKED — treat their body as a fixed prop of the set that only the camera moves around."], "attempt": 1, "dur_s": 22.6, "bytes": 2709507, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s39/stills/S11sh5_c.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\n\nSHOT TEXT (authoritative, Korean): 옥상에 선 수리영의 시선 끝에 반쯤 열려 있는 어두운 현관 철문이 보이는 정면 구도\n\nLOCATION (lock): The flat rooftop of an aging low-rise apartment building, enclosed by a waist-high parapet. A small rooftop dwelling has a metal entrance door and a window visible from the open roof. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.\n\nTHIS SHOT CONTINUES THE PREVIOUS SHOT: everything the attached still established — the place, its fixed features and wear, each person's clothing and state — persists. Any person in it who cannot move stays PRECISELY as photographed (body, pose, contact points, held objects); only the camera changes.\n\nPREVIOUS STILL USAGE (follow exactly — what to take from the attached still and what to exclude): Take the aged rooftop surface, metal entrance door, surrounding exterior materials, and nighttime illumination from the reference. Keep the entrance door visibly open to the degree required by the current scene. Exclude the stranger's shoe and any suggestion that the stranger is still standing at the doorway.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nMOVEMENT (follow exactly): static: Suriyoung stands tensely on the rooftop with her body and gaze directed straight toward the half-open iron entrance door and its dark interior.\n\nFIGURES — size & depth (follow exactly): Suriyoung appears about ~1/2 of the frame height in the NEARER rooftop area, while the half-open door appears about ~1/3 and is FARTHER ahead along her line of sight.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 수리영 — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-13 15:37:42", "kind": "llm", "step": "s39_judge_gpt_S11sh5", "model": "gpt", "dur_s": 13.4, "system_prompt": "You are given ONE image-generation prompt, the REFERENCE image(s)\nthat were attached to it (labelled), and THREE candidate images,\nlabelled A, B, C in the order attached, all generated from that\nexact prompt with those exact references.\nPick the ONE candidate that most faithfully realises the prompt.\nJudge ONLY fidelity to the prompt and its reference instructions:\nthe shot text's moment and action, who is and is NOT in frame,\ncamera framing, time of day, the LOCATION lock (the place must be\nthe one the reference shows — same architecture, materials,\nfixtures), pose/immobility and carried-state clauses, and every\nexclusion (no text, no invented people or objects). Consistency\nwith the attached reference image counts as prompt fidelity.\nIgnore generic aesthetic appeal.\nCheck every candidate point by point before deciding; base every\nverdict only on what is visible.\nAlso give every candidate an integer score 0-10 for that same\nfidelity.\nOutput: winner, ranking best-to-worst, and per candidate a score\nplus a one-line Korean verdict citing the decisive prompt points.", "user_prompt": "[{\"type\": \"text\", \"text\": \"THE PROMPT (all three candidates were generated from this):\\nCreate ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\\n\\nSHOT TEXT (authoritative, Korean): 옥상에 선 수리영의 시선 끝에 반쯤 열려 있는 어두운 현관 철문이 보이는 정면 구도\\n\\nLOCATION (lock): The flat rooftop of an aging low-rise apartment building, enclosed by a waist-high parapet. A small rooftop dwelling has a metal entrance door and a window visible from the open roof. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.\\n\\nTHIS SHOT CONTINUES THE PREVIOUS SHOT: everything the attached still established — the place, its fixed features and wear, each person's clothing and state — persists. Any person in it who cannot move stays PRECISELY as photographed (body, pose, contact points, held objects); only the camera changes.\\n\\nPREVIOUS STILL USAGE (follow exactly — what to take from the attached still and what to exclude): Take the aged rooftop surface, metal entrance door, surrounding exterior materials, and nighttime illumination from the reference. Keep the entrance door visibly open to the degree required by the current scene. Exclude the stranger's shoe and any suggestion that the stranger is still standing at the doorway.\\n\\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\\ntext may describe characters metaphorically, figuratively or with\\nexaggeration. Photograph what a real movie camera would actually\\nrecord on a physical set — exaggerated or figurative impressions\\nbecome realistic staging choices (lighting, distance, angle,\\nwardrobe), not literal fantasy imagery.\\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\\nfeatures non-human or virtual beings (as in science fiction or\\nfantasy), every character — however indirectly, vaguely or\\nfiguratively the text describes them — IS a real human. When the\\ntext gives no direct visual description of a person, IMAGINE one\\nand still show them as a concrete, fully-formed human being:\\nalways render the human form to the maximum extent — build,\\nposture, face, hands, clothing — never reduce a person to a shape,\\nblob, solid silhouette or abstract mass.\\n\\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\\nperson's eyes, face or presence emotionally or figuratively (vacant,\\nhollow, dazed, burning, lifeless gaze and the like), it describes an\\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\\nthrough gaze direction, focus, eyelids, facial muscles, stillness\\nand posture. Every living person's eyes remain anatomically normal\\nhuman eyes with a natural iris and pupil, natural sclera and normal\\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\\notherwise alter eyeballs, skin or anatomy — unless the story\\nexplicitly declares that being non-human or supernatural in form.\\n\\nMOVEMENT (follow exactly): static: Suriyoung stands tensely on the rooftop with her body and gaze directed straight toward the half-open iron entrance door and its dark interior.\\n\\nFIGURES — size & depth (follow exactly): Suriyoung appears about ~1/2 of the frame height in the NEARER rooftop area, while the half-open door appears about ~1/3 and is FARTHER ahead along her line of sight.\\n\\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 수리영 — never anyone else, and never add a person the shot text does not show.\\n\\nNo text, captions, watermarks or annotations anywhere.\"}, {\"type\": \"text\", \"text\": \"REFERENCE — PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing. If this photo shows a character who cannot move (dead or unconscious), that character's exact pose, position and orientation are ALSO LOCKED — treat their body as a fixed prop of the set that only the camera moves around.\"}, {\"type\": \"text\", \"text\": \"Candidate A:\"}, {\"type\": \"text\", \"text\": \"Candidate B:\"}, {\"type\": \"text\", \"text\": \"Candidate C:\"}]"}
{"ts": "2026-07-13 15:38:23", "kind": "llm", "step": "s39_judge_gemini_S11sh5", "model": "gemini-pro", "dur_s": 40.3, "system_prompt": "You are given ONE image-generation prompt, the REFERENCE image(s)\nthat were attached to it (labelled), and THREE candidate images,\nlabelled A, B, C in the order attached, all generated from that\nexact prompt with those exact references.\nPick the ONE candidate that most faithfully realises the prompt.\nJudge ONLY fidelity to the prompt and its reference instructions:\nthe shot text's moment and action, who is and is NOT in frame,\ncamera framing, time of day, the LOCATION lock (the place must be\nthe one the reference shows — same architecture, materials,\nfixtures), pose/immobility and carried-state clauses, and every\nexclusion (no text, no invented people or objects). Consistency\nwith the attached reference image counts as prompt fidelity.\nIgnore generic aesthetic appeal.\nCheck every candidate point by point before deciding; base every\nverdict only on what is visible.\nAlso give every candidate an integer score 0-10 for that same\nfidelity.\nOutput: winner, ranking best-to-worst, and per candidate a score\nplus a one-line Korean verdict citing the decisive prompt points.", "user_prompt": "[{\"type\": \"text\", \"text\": \"THE PROMPT (all three candidates were generated from this):\\nCreate ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\\n\\nSHOT TEXT (authoritative, Korean): 옥상에 선 수리영의 시선 끝에 반쯤 열려 있는 어두운 현관 철문이 보이는 정면 구도\\n\\nLOCATION (lock): The flat rooftop of an aging low-rise apartment building, enclosed by a waist-high parapet. A small rooftop dwelling has a metal entrance door and a window visible from the open roof. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.\\n\\nTHIS SHOT CONTINUES THE PREVIOUS SHOT: everything the attached still established — the place, its fixed features and wear, each person's clothing and state — persists. Any person in it who cannot move stays PRECISELY as photographed (body, pose, contact points, held objects); only the camera changes.\\n\\nPREVIOUS STILL USAGE (follow exactly — what to take from the attached still and what to exclude): Take the aged rooftop surface, metal entrance door, surrounding exterior materials, and nighttime illumination from the reference. Keep the entrance door visibly open to the degree required by the current scene. Exclude the stranger's shoe and any suggestion that the stranger is still standing at the doorway.\\n\\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\\ntext may describe characters metaphorically, figuratively or with\\nexaggeration. Photograph what a real movie camera would actually\\nrecord on a physical set — exaggerated or figurative impressions\\nbecome realistic staging choices (lighting, distance, angle,\\nwardrobe), not literal fantasy imagery.\\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\\nfeatures non-human or virtual beings (as in science fiction or\\nfantasy), every character — however indirectly, vaguely or\\nfiguratively the text describes them — IS a real human. When the\\ntext gives no direct visual description of a person, IMAGINE one\\nand still show them as a concrete, fully-formed human being:\\nalways render the human form to the maximum extent — build,\\nposture, face, hands, clothing — never reduce a person to a shape,\\nblob, solid silhouette or abstract mass.\\n\\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\\nperson's eyes, face or presence emotionally or figuratively (vacant,\\nhollow, dazed, burning, lifeless gaze and the like), it describes an\\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\\nthrough gaze direction, focus, eyelids, facial muscles, stillness\\nand posture. Every living person's eyes remain anatomically normal\\nhuman eyes with a natural iris and pupil, natural sclera and normal\\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\\notherwise alter eyeballs, skin or anatomy — unless the story\\nexplicitly declares that being non-human or supernatural in form.\\n\\nMOVEMENT (follow exactly): static: Suriyoung stands tensely on the rooftop with her body and gaze directed straight toward the half-open iron entrance door and its dark interior.\\n\\nFIGURES — size & depth (follow exactly): Suriyoung appears about ~1/2 of the frame height in the NEARER rooftop area, while the half-open door appears about ~1/3 and is FARTHER ahead along her line of sight.\\n\\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 수리영 — never anyone else, and never add a person the shot text does not show.\\n\\nNo text, captions, watermarks or annotations anywhere.\"}, {\"type\": \"text\", \"text\": \"REFERENCE — PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing. If this photo shows a character who cannot move (dead or unconscious), that character's exact pose, position and orientation are ALSO LOCKED — treat their body as a fixed prop of the set that only the camera moves around.\"}, {\"type\": \"text\", \"text\": \"Candidate A:\"}, {\"type\": \"text\", \"text\": \"Candidate B:\"}, {\"type\": \"text\", \"text\": \"Candidate C:\"}]"}
{"ts": "2026-07-13 15:38:41", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s39_S12sh11_a", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/plate_daughter_bedroom_night_doorway_wide.png"], "ref_labels": ["LOCATION PHOTOGRAPH — the exact place of this shot: its architecture, materials, fixed features and lighting mood are spatial truth; stage the moment inside this place. Never copy its camera framing."], "attempt": 1, "dur_s": 18.6, "bytes": 2850376, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s39/stills/S12sh11_a.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\n\nSHOT TEXT (authoritative, Korean): 옷과 피부가 힘없이 무너져 미동이 없는 민숙이 바닥에 주저앉아 고개를 푹 숙인 정지 상태\n\nLOCATION (lock): A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.\n\nIMMOBILE CHARACTER POSE — CANONICAL (identical wherever this character appears in ANY panel; on any conflict THIS POSE WINS): Min-sook is seated collapsed on the floor behind the curtain with her head dropped forward. One hand is clenched around a crumpled photograph.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nMOVEMENT (follow exactly): static: utterly motionless, collapsed Min-sook is seated collapsed on the floor behind the curtain with her head dropped forward, shoulders fallen, limbs limp, and body weight fully given way.\n\nFIGURES — size & depth (follow exactly): Min-sook's dark stains-covered body fills about 2/3 of the frame height and is the NEAREST principal figure. The floor directly beneath her is nearer than the surrounding bedroom and curtain area, which recede FARTHER behind her.\n\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Min-sook remains dead behind the curtain, seated collapsed on the floor with her head dropped forward, her torn shoulder and collarbone exposed amid the dark stains and dark-stained footprints. One hand is clenched around a crumpled photograph, and the small circular mark remains on her wrist.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 민숙 (환시) — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-13 15:39:06", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s39_S12sh11_b", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/plate_daughter_bedroom_night_doorway_wide.png"], "ref_labels": ["LOCATION PHOTOGRAPH — the exact place of this shot: its architecture, materials, fixed features and lighting mood are spatial truth; stage the moment inside this place. Never copy its camera framing."], "attempt": 1, "dur_s": 25.0, "bytes": 2345430, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s39/stills/S12sh11_b.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\n\nSHOT TEXT (authoritative, Korean): 옷과 피부가 힘없이 무너져 미동이 없는 민숙이 바닥에 주저앉아 고개를 푹 숙인 정지 상태\n\nLOCATION (lock): A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.\n\nIMMOBILE CHARACTER POSE — CANONICAL (identical wherever this character appears in ANY panel; on any conflict THIS POSE WINS): Min-sook is seated collapsed on the floor behind the curtain with her head dropped forward. One hand is clenched around a crumpled photograph.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nMOVEMENT (follow exactly): static: utterly motionless, collapsed Min-sook is seated collapsed on the floor behind the curtain with her head dropped forward, shoulders fallen, limbs limp, and body weight fully given way.\n\nFIGURES — size & depth (follow exactly): Min-sook's dark stains-covered body fills about 2/3 of the frame height and is the NEAREST principal figure. The floor directly beneath her is nearer than the surrounding bedroom and curtain area, which recede FARTHER behind her.\n\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Min-sook remains dead behind the curtain, seated collapsed on the floor with her head dropped forward, her torn shoulder and collarbone exposed amid the dark stains and dark-stained footprints. One hand is clenched around a crumpled photograph, and the small circular mark remains on her wrist.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 민숙 (환시) — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-13 15:39:28", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s39_S12sh11_c", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/plate_daughter_bedroom_night_doorway_wide.png"], "ref_labels": ["LOCATION PHOTOGRAPH — the exact place of this shot: its architecture, materials, fixed features and lighting mood are spatial truth; stage the moment inside this place. Never copy its camera framing."], "attempt": 1, "dur_s": 21.1, "bytes": 2330182, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s39/stills/S12sh11_c.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\n\nSHOT TEXT (authoritative, Korean): 옷과 피부가 힘없이 무너져 미동이 없는 민숙이 바닥에 주저앉아 고개를 푹 숙인 정지 상태\n\nLOCATION (lock): A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.\n\nIMMOBILE CHARACTER POSE — CANONICAL (identical wherever this character appears in ANY panel; on any conflict THIS POSE WINS): Min-sook is seated collapsed on the floor behind the curtain with her head dropped forward. One hand is clenched around a crumpled photograph.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nMOVEMENT (follow exactly): static: utterly motionless, collapsed Min-sook is seated collapsed on the floor behind the curtain with her head dropped forward, shoulders fallen, limbs limp, and body weight fully given way.\n\nFIGURES — size & depth (follow exactly): Min-sook's dark stains-covered body fills about 2/3 of the frame height and is the NEAREST principal figure. The floor directly beneath her is nearer than the surrounding bedroom and curtain area, which recede FARTHER behind her.\n\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Min-sook remains dead behind the curtain, seated collapsed on the floor with her head dropped forward, her torn shoulder and collarbone exposed amid the dark stains and dark-stained footprints. One hand is clenched around a crumpled photograph, and the small circular mark remains on her wrist.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 민숙 (환시) — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-13 15:39:45", "kind": "llm", "step": "s39_judge_gpt_S12sh11", "model": "gpt", "dur_s": 17.9, "system_prompt": "You are given ONE image-generation prompt, the REFERENCE image(s)\nthat were attached to it (labelled), and THREE candidate images,\nlabelled A, B, C in the order attached, all generated from that\nexact prompt with those exact references.\nPick the ONE candidate that most faithfully realises the prompt.\nJudge ONLY fidelity to the prompt and its reference instructions:\nthe shot text's moment and action, who is and is NOT in frame,\ncamera framing, time of day, the LOCATION lock (the place must be\nthe one the reference shows — same architecture, materials,\nfixtures), pose/immobility and carried-state clauses, and every\nexclusion (no text, no invented people or objects). Consistency\nwith the attached reference image counts as prompt fidelity.\nIgnore generic aesthetic appeal.\nCheck every candidate point by point before deciding; base every\nverdict only on what is visible.\nAlso give every candidate an integer score 0-10 for that same\nfidelity.\nOutput: winner, ranking best-to-worst, and per candidate a score\nplus a one-line Korean verdict citing the decisive prompt points.", "user_prompt": "[{\"type\": \"text\", \"text\": \"THE PROMPT (all three candidates were generated from this):\\nCreate ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\\n\\nSHOT TEXT (authoritative, Korean): 옷과 피부가 힘없이 무너져 미동이 없는 민숙이 바닥에 주저앉아 고개를 푹 숙인 정지 상태\\n\\nLOCATION (lock): A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.\\n\\nIMMOBILE CHARACTER POSE — CANONICAL (identical wherever this character appears in ANY panel; on any conflict THIS POSE WINS): Min-sook is seated collapsed on the floor behind the curtain with her head dropped forward. One hand is clenched around a crumpled photograph.\\n\\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\\ntext may describe characters metaphorically, figuratively or with\\nexaggeration. Photograph what a real movie camera would actually\\nrecord on a physical set — exaggerated or figurative impressions\\nbecome realistic staging choices (lighting, distance, angle,\\nwardrobe), not literal fantasy imagery.\\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\\nfeatures non-human or virtual beings (as in science fiction or\\nfantasy), every character — however indirectly, vaguely or\\nfiguratively the text describes them — IS a real human. When the\\ntext gives no direct visual description of a person, IMAGINE one\\nand still show them as a concrete, fully-formed human being:\\nalways render the human form to the maximum extent — build,\\nposture, face, hands, clothing — never reduce a person to a shape,\\nblob, solid silhouette or abstract mass.\\n\\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\\nperson's eyes, face or presence emotionally or figuratively (vacant,\\nhollow, dazed, burning, lifeless gaze and the like), it describes an\\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\\nthrough gaze direction, focus, eyelids, facial muscles, stillness\\nand posture. Every living person's eyes remain anatomically normal\\nhuman eyes with a natural iris and pupil, natural sclera and normal\\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\\notherwise alter eyeballs, skin or anatomy — unless the story\\nexplicitly declares that being non-human or supernatural in form.\\n\\nMOVEMENT (follow exactly): static: utterly motionless, collapsed Min-sook is seated collapsed on the floor behind the curtain with her head dropped forward, shoulders fallen, limbs limp, and body weight fully given way.\\n\\nFIGURES — size & depth (follow exactly): Min-sook's dark stains-covered body fills about 2/3 of the frame height and is the NEAREST principal figure. The floor directly beneath her is nearer than the surrounding bedroom and curtain area, which recede FARTHER behind her.\\n\\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Min-sook remains dead behind the curtain, seated collapsed on the floor with her head dropped forward, her torn shoulder and collarbone exposed amid the dark stains and dark-stained footprints. One hand is clenched around a crumpled photograph, and the small circular mark remains on her wrist.\\n\\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 민숙 (환시) — never anyone else, and never add a person the shot text does not show.\\n\\nNo text, captions, watermarks or annotations anywhere.\"}, {\"type\": \"text\", \"text\": \"REFERENCE — LOCATION PHOTOGRAPH — the exact place of this shot: its architecture, materials, fixed features and lighting mood are spatial truth; stage the moment inside this place. Never copy its camera framing.\"}, {\"type\": \"text\", \"text\": \"Candidate A:\"}, {\"type\": \"text\", \"text\": \"Candidate B:\"}, {\"type\": \"text\", \"text\": \"Candidate C:\"}]"}
{"ts": "2026-07-13 15:40:17", "kind": "llm", "step": "s39_judge_gemini_S12sh11", "model": "gemini-pro", "dur_s": 31.8, "system_prompt": "You are given ONE image-generation prompt, the REFERENCE image(s)\nthat were attached to it (labelled), and THREE candidate images,\nlabelled A, B, C in the order attached, all generated from that\nexact prompt with those exact references.\nPick the ONE candidate that most faithfully realises the prompt.\nJudge ONLY fidelity to the prompt and its reference instructions:\nthe shot text's moment and action, who is and is NOT in frame,\ncamera framing, time of day, the LOCATION lock (the place must be\nthe one the reference shows — same architecture, materials,\nfixtures), pose/immobility and carried-state clauses, and every\nexclusion (no text, no invented people or objects). Consistency\nwith the attached reference image counts as prompt fidelity.\nIgnore generic aesthetic appeal.\nCheck every candidate point by point before deciding; base every\nverdict only on what is visible.\nAlso give every candidate an integer score 0-10 for that same\nfidelity.\nOutput: winner, ranking best-to-worst, and per candidate a score\nplus a one-line Korean verdict citing the decisive prompt points.", "user_prompt": "[{\"type\": \"text\", \"text\": \"THE PROMPT (all three candidates were generated from this):\\nCreate ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\\n\\nSHOT TEXT (authoritative, Korean): 옷과 피부가 힘없이 무너져 미동이 없는 민숙이 바닥에 주저앉아 고개를 푹 숙인 정지 상태\\n\\nLOCATION (lock): A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.\\n\\nIMMOBILE CHARACTER POSE — CANONICAL (identical wherever this character appears in ANY panel; on any conflict THIS POSE WINS): Min-sook is seated collapsed on the floor behind the curtain with her head dropped forward. One hand is clenched around a crumpled photograph.\\n\\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\\ntext may describe characters metaphorically, figuratively or with\\nexaggeration. Photograph what a real movie camera would actually\\nrecord on a physical set — exaggerated or figurative impressions\\nbecome realistic staging choices (lighting, distance, angle,\\nwardrobe), not literal fantasy imagery.\\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\\nfeatures non-human or virtual beings (as in science fiction or\\nfantasy), every character — however indirectly, vaguely or\\nfiguratively the text describes them — IS a real human. When the\\ntext gives no direct visual description of a person, IMAGINE one\\nand still show them as a concrete, fully-formed human being:\\nalways render the human form to the maximum extent — build,\\nposture, face, hands, clothing — never reduce a person to a shape,\\nblob, solid silhouette or abstract mass.\\n\\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\\nperson's eyes, face or presence emotionally or figuratively (vacant,\\nhollow, dazed, burning, lifeless gaze and the like), it describes an\\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\\nthrough gaze direction, focus, eyelids, facial muscles, stillness\\nand posture. Every living person's eyes remain anatomically normal\\nhuman eyes with a natural iris and pupil, natural sclera and normal\\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\\notherwise alter eyeballs, skin or anatomy — unless the story\\nexplicitly declares that being non-human or supernatural in form.\\n\\nMOVEMENT (follow exactly): static: utterly motionless, collapsed Min-sook is seated collapsed on the floor behind the curtain with her head dropped forward, shoulders fallen, limbs limp, and body weight fully given way.\\n\\nFIGURES — size & depth (follow exactly): Min-sook's dark stains-covered body fills about 2/3 of the frame height and is the NEAREST principal figure. The floor directly beneath her is nearer than the surrounding bedroom and curtain area, which recede FARTHER behind her.\\n\\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Min-sook remains dead behind the curtain, seated collapsed on the floor with her head dropped forward, her torn shoulder and collarbone exposed amid the dark stains and dark-stained footprints. One hand is clenched around a crumpled photograph, and the small circular mark remains on her wrist.\\n\\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 민숙 (환시) — never anyone else, and never add a person the shot text does not show.\\n\\nNo text, captions, watermarks or annotations anywhere.\"}, {\"type\": \"text\", \"text\": \"REFERENCE — LOCATION PHOTOGRAPH — the exact place of this shot: its architecture, materials, fixed features and lighting mood are spatial truth; stage the moment inside this place. Never copy its camera framing.\"}, {\"type\": \"text\", \"text\": \"Candidate A:\"}, {\"type\": \"text\", \"text\": \"Candidate B:\"}, {\"type\": \"text\", \"text\": \"Candidate C:\"}]"}
{"ts": "2026-07-13 15:40:44", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s39_S12sh18_a", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s39/stills/S12sh11_sel.png"], "ref_labels": ["PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing. If this photo shows a character who cannot move (dead or unconscious), that character's exact pose, position and orientation are ALSO LOCKED — treat their body as a fixed prop of the set that only the camera moves around."], "attempt": 1, "dur_s": 26.8, "bytes": 2228295, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s39/stills/S12sh18_a.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\n\nSHOT TEXT (authoritative, Korean): 민숙의 손에 꽉 쥐어진 구겨진 사진의 타이트 샷\n\nLOCATION (lock): A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.\n\nTHIS SHOT CONTINUES THE PREVIOUS SHOT: everything the attached still established — the place, its fixed features and wear, each person's clothing and state — persists. Any person in it who cannot move stays PRECISELY as photographed (body, pose, contact points, held objects); only the camera changes.\n\nPREVIOUS STILL USAGE (follow exactly — what to take from the attached still and what to exclude): Take the bedroom's dim nighttime look and the seated woman's fixed body, clothing, and hand position from the reference. Preserve the dark-stained condition and the crumpled photograph held in her hand. Exclude the wider view of her body, wounds, bed, and curtain from this tight photograph insert.\n\nIMMOBILE CHARACTER POSE — CANONICAL (identical wherever this character appears in ANY panel; on any conflict THIS POSE WINS): Min-sook is seated collapsed on the floor behind the curtain with her head dropped forward. One hand is clenched around a crumpled photograph.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nMOVEMENT (follow exactly): static: utterly motionless, collapsed Min-sook's hand remains clenched around a crumpled photograph, with the photograph exposed toward the camera.\n\nFIGURES — size & depth (follow exactly): The dead woman's hand fills roughly 2/3 of the tight frame, and the crumpled photograph fills about 1/3. The photograph is NEARER where it protrudes from her grasp, while her palm, wrist, and collapsed body are progressively FARTHER behind it.\n\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Minsuk remains seated collapsed on the floor behind the curtain with her head dropped forward, with the wounds and dark stains undisturbed. The crumpled photograph stays clenched in her hand until Suri-young pulls it free, as the circular wrist mark turns red.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 민숙 (환시) — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-13 15:41:04", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s39_S12sh18_b", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s39/stills/S12sh11_sel.png"], "ref_labels": ["PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing. If this photo shows a character who cannot move (dead or unconscious), that character's exact pose, position and orientation are ALSO LOCKED — treat their body as a fixed prop of the set that only the camera moves around."], "attempt": 1, "dur_s": 20.0, "bytes": 2247435, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s39/stills/S12sh18_b.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\n\nSHOT TEXT (authoritative, Korean): 민숙의 손에 꽉 쥐어진 구겨진 사진의 타이트 샷\n\nLOCATION (lock): A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.\n\nTHIS SHOT CONTINUES THE PREVIOUS SHOT: everything the attached still established — the place, its fixed features and wear, each person's clothing and state — persists. Any person in it who cannot move stays PRECISELY as photographed (body, pose, contact points, held objects); only the camera changes.\n\nPREVIOUS STILL USAGE (follow exactly — what to take from the attached still and what to exclude): Take the bedroom's dim nighttime look and the seated woman's fixed body, clothing, and hand position from the reference. Preserve the dark-stained condition and the crumpled photograph held in her hand. Exclude the wider view of her body, wounds, bed, and curtain from this tight photograph insert.\n\nIMMOBILE CHARACTER POSE — CANONICAL (identical wherever this character appears in ANY panel; on any conflict THIS POSE WINS): Min-sook is seated collapsed on the floor behind the curtain with her head dropped forward. One hand is clenched around a crumpled photograph.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nMOVEMENT (follow exactly): static: utterly motionless, collapsed Min-sook's hand remains clenched around a crumpled photograph, with the photograph exposed toward the camera.\n\nFIGURES — size & depth (follow exactly): The dead woman's hand fills roughly 2/3 of the tight frame, and the crumpled photograph fills about 1/3. The photograph is NEARER where it protrudes from her grasp, while her palm, wrist, and collapsed body are progressively FARTHER behind it.\n\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Minsuk remains seated collapsed on the floor behind the curtain with her head dropped forward, with the wounds and dark stains undisturbed. The crumpled photograph stays clenched in her hand until Suri-young pulls it free, as the circular wrist mark turns red.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 민숙 (환시) — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-13 15:41:29", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s39_S12sh18_c", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s39/stills/S12sh11_sel.png"], "ref_labels": ["PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing. If this photo shows a character who cannot move (dead or unconscious), that character's exact pose, position and orientation are ALSO LOCKED — treat their body as a fixed prop of the set that only the camera moves around."], "attempt": 1, "dur_s": 25.1, "bytes": 2181111, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s39/stills/S12sh18_c.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\n\nSHOT TEXT (authoritative, Korean): 민숙의 손에 꽉 쥐어진 구겨진 사진의 타이트 샷\n\nLOCATION (lock): A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.\n\nTHIS SHOT CONTINUES THE PREVIOUS SHOT: everything the attached still established — the place, its fixed features and wear, each person's clothing and state — persists. Any person in it who cannot move stays PRECISELY as photographed (body, pose, contact points, held objects); only the camera changes.\n\nPREVIOUS STILL USAGE (follow exactly — what to take from the attached still and what to exclude): Take the bedroom's dim nighttime look and the seated woman's fixed body, clothing, and hand position from the reference. Preserve the dark-stained condition and the crumpled photograph held in her hand. Exclude the wider view of her body, wounds, bed, and curtain from this tight photograph insert.\n\nIMMOBILE CHARACTER POSE — CANONICAL (identical wherever this character appears in ANY panel; on any conflict THIS POSE WINS): Min-sook is seated collapsed on the floor behind the curtain with her head dropped forward. One hand is clenched around a crumpled photograph.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nMOVEMENT (follow exactly): static: utterly motionless, collapsed Min-sook's hand remains clenched around a crumpled photograph, with the photograph exposed toward the camera.\n\nFIGURES — size & depth (follow exactly): The dead woman's hand fills roughly 2/3 of the tight frame, and the crumpled photograph fills about 1/3. The photograph is NEARER where it protrudes from her grasp, while her palm, wrist, and collapsed body are progressively FARTHER behind it.\n\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Minsuk remains seated collapsed on the floor behind the curtain with her head dropped forward, with the wounds and dark stains undisturbed. The crumpled photograph stays clenched in her hand until Suri-young pulls it free, as the circular wrist mark turns red.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 민숙 (환시) — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-13 15:41:42", "kind": "llm", "step": "s39_judge_gpt_S12sh18", "model": "gpt", "dur_s": 12.9, "system_prompt": "You are given ONE image-generation prompt, the REFERENCE image(s)\nthat were attached to it (labelled), and THREE candidate images,\nlabelled A, B, C in the order attached, all generated from that\nexact prompt with those exact references.\nPick the ONE candidate that most faithfully realises the prompt.\nJudge ONLY fidelity to the prompt and its reference instructions:\nthe shot text's moment and action, who is and is NOT in frame,\ncamera framing, time of day, the LOCATION lock (the place must be\nthe one the reference shows — same architecture, materials,\nfixtures), pose/immobility and carried-state clauses, and every\nexclusion (no text, no invented people or objects). Consistency\nwith the attached reference image counts as prompt fidelity.\nIgnore generic aesthetic appeal.\nCheck every candidate point by point before deciding; base every\nverdict only on what is visible.\nAlso give every candidate an integer score 0-10 for that same\nfidelity.\nOutput: winner, ranking best-to-worst, and per candidate a score\nplus a one-line Korean verdict citing the decisive prompt points.", "user_prompt": "[{\"type\": \"text\", \"text\": \"THE PROMPT (all three candidates were generated from this):\\nCreate ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\\n\\nSHOT TEXT (authoritative, Korean): 민숙의 손에 꽉 쥐어진 구겨진 사진의 타이트 샷\\n\\nLOCATION (lock): A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.\\n\\nTHIS SHOT CONTINUES THE PREVIOUS SHOT: everything the attached still established — the place, its fixed features and wear, each person's clothing and state — persists. Any person in it who cannot move stays PRECISELY as photographed (body, pose, contact points, held objects); only the camera changes.\\n\\nPREVIOUS STILL USAGE (follow exactly — what to take from the attached still and what to exclude): Take the bedroom's dim nighttime look and the seated woman's fixed body, clothing, and hand position from the reference. Preserve the dark-stained condition and the crumpled photograph held in her hand. Exclude the wider view of her body, wounds, bed, and curtain from this tight photograph insert.\\n\\nIMMOBILE CHARACTER POSE — CANONICAL (identical wherever this character appears in ANY panel; on any conflict THIS POSE WINS): Min-sook is seated collapsed on the floor behind the curtain with her head dropped forward. One hand is clenched around a crumpled photograph.\\n\\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\\ntext may describe characters metaphorically, figuratively or with\\nexaggeration. Photograph what a real movie camera would actually\\nrecord on a physical set — exaggerated or figurative impressions\\nbecome realistic staging choices (lighting, distance, angle,\\nwardrobe), not literal fantasy imagery.\\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\\nfeatures non-human or virtual beings (as in science fiction or\\nfantasy), every character — however indirectly, vaguely or\\nfiguratively the text describes them — IS a real human. When the\\ntext gives no direct visual description of a person, IMAGINE one\\nand still show them as a concrete, fully-formed human being:\\nalways render the human form to the maximum extent — build,\\nposture, face, hands, clothing — never reduce a person to a shape,\\nblob, solid silhouette or abstract mass.\\n\\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\\nperson's eyes, face or presence emotionally or figuratively (vacant,\\nhollow, dazed, burning, lifeless gaze and the like), it describes an\\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\\nthrough gaze direction, focus, eyelids, facial muscles, stillness\\nand posture. Every living person's eyes remain anatomically normal\\nhuman eyes with a natural iris and pupil, natural sclera and normal\\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\\notherwise alter eyeballs, skin or anatomy — unless the story\\nexplicitly declares that being non-human or supernatural in form.\\n\\nMOVEMENT (follow exactly): static: utterly motionless, collapsed Min-sook's hand remains clenched around a crumpled photograph, with the photograph exposed toward the camera.\\n\\nFIGURES — size & depth (follow exactly): The dead woman's hand fills roughly 2/3 of the tight frame, and the crumpled photograph fills about 1/3. The photograph is NEARER where it protrudes from her grasp, while her palm, wrist, and collapsed body are progressively FARTHER behind it.\\n\\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Minsuk remains seated collapsed on the floor behind the curtain with her head dropped forward, with the wounds and dark stains undisturbed. The crumpled photograph stays clenched in her hand until Suri-young pulls it free, as the circular wrist mark turns red.\\n\\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 민숙 (환시) — never anyone else, and never add a person the shot text does not show.\\n\\nNo text, captions, watermarks or annotations anywhere.\"}, {\"type\": \"text\", \"text\": \"REFERENCE — PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing. If this photo shows a character who cannot move (dead or unconscious), that character's exact pose, position and orientation are ALSO LOCKED — treat their body as a fixed prop of the set that only the camera moves around.\"}, {\"type\": \"text\", \"text\": \"Candidate A:\"}, {\"type\": \"text\", \"text\": \"Candidate B:\"}, {\"type\": \"text\", \"text\": \"Candidate C:\"}]"}
{"ts": "2026-07-13 15:42:17", "kind": "llm", "step": "s39_judge_gemini_S12sh18", "model": "gemini-pro", "dur_s": 35.0, "system_prompt": "You are given ONE image-generation prompt, the REFERENCE image(s)\nthat were attached to it (labelled), and THREE candidate images,\nlabelled A, B, C in the order attached, all generated from that\nexact prompt with those exact references.\nPick the ONE candidate that most faithfully realises the prompt.\nJudge ONLY fidelity to the prompt and its reference instructions:\nthe shot text's moment and action, who is and is NOT in frame,\ncamera framing, time of day, the LOCATION lock (the place must be\nthe one the reference shows — same architecture, materials,\nfixtures), pose/immobility and carried-state clauses, and every\nexclusion (no text, no invented people or objects). Consistency\nwith the attached reference image counts as prompt fidelity.\nIgnore generic aesthetic appeal.\nCheck every candidate point by point before deciding; base every\nverdict only on what is visible.\nAlso give every candidate an integer score 0-10 for that same\nfidelity.\nOutput: winner, ranking best-to-worst, and per candidate a score\nplus a one-line Korean verdict citing the decisive prompt points.", "user_prompt": "[{\"type\": \"text\", \"text\": \"THE PROMPT (all three candidates were generated from this):\\nCreate ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\\n\\nSHOT TEXT (authoritative, Korean): 민숙의 손에 꽉 쥐어진 구겨진 사진의 타이트 샷\\n\\nLOCATION (lock): A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.\\n\\nTHIS SHOT CONTINUES THE PREVIOUS SHOT: everything the attached still established — the place, its fixed features and wear, each person's clothing and state — persists. Any person in it who cannot move stays PRECISELY as photographed (body, pose, contact points, held objects); only the camera changes.\\n\\nPREVIOUS STILL USAGE (follow exactly — what to take from the attached still and what to exclude): Take the bedroom's dim nighttime look and the seated woman's fixed body, clothing, and hand position from the reference. Preserve the dark-stained condition and the crumpled photograph held in her hand. Exclude the wider view of her body, wounds, bed, and curtain from this tight photograph insert.\\n\\nIMMOBILE CHARACTER POSE — CANONICAL (identical wherever this character appears in ANY panel; on any conflict THIS POSE WINS): Min-sook is seated collapsed on the floor behind the curtain with her head dropped forward. One hand is clenched around a crumpled photograph.\\n\\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\\ntext may describe characters metaphorically, figuratively or with\\nexaggeration. Photograph what a real movie camera would actually\\nrecord on a physical set — exaggerated or figurative impressions\\nbecome realistic staging choices (lighting, distance, angle,\\nwardrobe), not literal fantasy imagery.\\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\\nfeatures non-human or virtual beings (as in science fiction or\\nfantasy), every character — however indirectly, vaguely or\\nfiguratively the text describes them — IS a real human. When the\\ntext gives no direct visual description of a person, IMAGINE one\\nand still show them as a concrete, fully-formed human being:\\nalways render the human form to the maximum extent — build,\\nposture, face, hands, clothing — never reduce a person to a shape,\\nblob, solid silhouette or abstract mass.\\n\\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\\nperson's eyes, face or presence emotionally or figuratively (vacant,\\nhollow, dazed, burning, lifeless gaze and the like), it describes an\\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\\nthrough gaze direction, focus, eyelids, facial muscles, stillness\\nand posture. Every living person's eyes remain anatomically normal\\nhuman eyes with a natural iris and pupil, natural sclera and normal\\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\\notherwise alter eyeballs, skin or anatomy — unless the story\\nexplicitly declares that being non-human or supernatural in form.\\n\\nMOVEMENT (follow exactly): static: utterly motionless, collapsed Min-sook's hand remains clenched around a crumpled photograph, with the photograph exposed toward the camera.\\n\\nFIGURES — size & depth (follow exactly): The dead woman's hand fills roughly 2/3 of the tight frame, and the crumpled photograph fills about 1/3. The photograph is NEARER where it protrudes from her grasp, while her palm, wrist, and collapsed body are progressively FARTHER behind it.\\n\\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Minsuk remains seated collapsed on the floor behind the curtain with her head dropped forward, with the wounds and dark stains undisturbed. The crumpled photograph stays clenched in her hand until Suri-young pulls it free, as the circular wrist mark turns red.\\n\\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 민숙 (환시) — never anyone else, and never add a person the shot text does not show.\\n\\nNo text, captions, watermarks or annotations anywhere.\"}, {\"type\": \"text\", \"text\": \"REFERENCE — PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing. If this photo shows a character who cannot move (dead or unconscious), that character's exact pose, position and orientation are ALSO LOCKED — treat their body as a fixed prop of the set that only the camera moves around.\"}, {\"type\": \"text\", \"text\": \"Candidate A:\"}, {\"type\": \"text\", \"text\": \"Candidate B:\"}, {\"type\": \"text\", \"text\": \"Candidate C:\"}]"}
{"ts": "2026-07-13 15:42:37", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s39_S12sh21_a", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s39/stills/S12sh11_sel.png"], "ref_labels": ["PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing. If this photo shows a character who cannot move (dead or unconscious), that character's exact pose, position and orientation are ALSO LOCKED — treat their body as a fixed prop of the set that only the camera moves around."], "attempt": 1, "dur_s": 20.2, "bytes": 2333869, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s39/stills/S12sh21_a.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\n\nSHOT TEXT (authoritative, Korean): 침대 위쪽 벽면에 붉은색 원형 표식이 절반쯤 나타난 상태\n\nLOCATION (lock): A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.\n\nTHIS SHOT CONTINUES THE PREVIOUS SHOT: everything the attached still established — the place, its fixed features and wear, each person's clothing and state — persists. Any person in it who cannot move stays PRECISELY as photographed (body, pose, contact points, held objects); only the camera changes.\n\nPREVIOUS STILL USAGE (follow exactly — what to take from the attached still and what to exclude): Take the worn bedroom wall, bed placement, dim nighttime lighting, and the continuing dark-stained room state from the reference. Keep the seated body and dark stains evidence spatially consistent even when they fall outside the crop. Exclude the motionless figure and handheld photograph from the wall-focused frame, and show only the newly forming red circle on the wall.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nMOVEMENT (follow exactly): A red circular mark spreads around the wall above the bed, progressing along a ring-like path as though an unseen brush is drawing it, with about half the circle formed.\n\nFIGURES — size & depth (follow exactly): The half-formed red circle fills roughly 1/2 of the frame height on the wall and is the principal visible object. The wall surface and mark are FARTHER than the nearer edge of the bed, with the red pigment visually sitting closest on that wall plane.\n\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Minsuk’s motionless figure, wounds, and the room’s dark stains traces remain unchanged; her hand is now without the photograph, which Suri-young has taken, and the wrist mark is red. A red circle is partially formed on the wall above the bed.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 민숙 (환시) — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-13 15:43:00", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s39_S12sh21_b", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s39/stills/S12sh11_sel.png"], "ref_labels": ["PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing. If this photo shows a character who cannot move (dead or unconscious), that character's exact pose, position and orientation are ALSO LOCKED — treat their body as a fixed prop of the set that only the camera moves around."], "attempt": 1, "dur_s": 22.1, "bytes": 2433414, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s39/stills/S12sh21_b.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\n\nSHOT TEXT (authoritative, Korean): 침대 위쪽 벽면에 붉은색 원형 표식이 절반쯤 나타난 상태\n\nLOCATION (lock): A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.\n\nTHIS SHOT CONTINUES THE PREVIOUS SHOT: everything the attached still established — the place, its fixed features and wear, each person's clothing and state — persists. Any person in it who cannot move stays PRECISELY as photographed (body, pose, contact points, held objects); only the camera changes.\n\nPREVIOUS STILL USAGE (follow exactly — what to take from the attached still and what to exclude): Take the worn bedroom wall, bed placement, dim nighttime lighting, and the continuing dark-stained room state from the reference. Keep the seated body and dark stains evidence spatially consistent even when they fall outside the crop. Exclude the motionless figure and handheld photograph from the wall-focused frame, and show only the newly forming red circle on the wall.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nMOVEMENT (follow exactly): A red circular mark spreads around the wall above the bed, progressing along a ring-like path as though an unseen brush is drawing it, with about half the circle formed.\n\nFIGURES — size & depth (follow exactly): The half-formed red circle fills roughly 1/2 of the frame height on the wall and is the principal visible object. The wall surface and mark are FARTHER than the nearer edge of the bed, with the red pigment visually sitting closest on that wall plane.\n\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Minsuk’s motionless figure, wounds, and the room’s dark stains traces remain unchanged; her hand is now without the photograph, which Suri-young has taken, and the wrist mark is red. A red circle is partially formed on the wall above the bed.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 민숙 (환시) — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-13 15:43:21", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s39_S12sh21_c", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s39/stills/S12sh11_sel.png"], "ref_labels": ["PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing. If this photo shows a character who cannot move (dead or unconscious), that character's exact pose, position and orientation are ALSO LOCKED — treat their body as a fixed prop of the set that only the camera moves around."], "attempt": 1, "dur_s": 21.9, "bytes": 2205764, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s39/stills/S12sh21_c.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\n\nSHOT TEXT (authoritative, Korean): 침대 위쪽 벽면에 붉은색 원형 표식이 절반쯤 나타난 상태\n\nLOCATION (lock): A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.\n\nTHIS SHOT CONTINUES THE PREVIOUS SHOT: everything the attached still established — the place, its fixed features and wear, each person's clothing and state — persists. Any person in it who cannot move stays PRECISELY as photographed (body, pose, contact points, held objects); only the camera changes.\n\nPREVIOUS STILL USAGE (follow exactly — what to take from the attached still and what to exclude): Take the worn bedroom wall, bed placement, dim nighttime lighting, and the continuing dark-stained room state from the reference. Keep the seated body and dark stains evidence spatially consistent even when they fall outside the crop. Exclude the motionless figure and handheld photograph from the wall-focused frame, and show only the newly forming red circle on the wall.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nMOVEMENT (follow exactly): A red circular mark spreads around the wall above the bed, progressing along a ring-like path as though an unseen brush is drawing it, with about half the circle formed.\n\nFIGURES — size & depth (follow exactly): The half-formed red circle fills roughly 1/2 of the frame height on the wall and is the principal visible object. The wall surface and mark are FARTHER than the nearer edge of the bed, with the red pigment visually sitting closest on that wall plane.\n\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Minsuk’s motionless figure, wounds, and the room’s dark stains traces remain unchanged; her hand is now without the photograph, which Suri-young has taken, and the wrist mark is red. A red circle is partially formed on the wall above the bed.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 민숙 (환시) — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-13 15:43:34", "kind": "llm", "step": "s39_judge_gpt_S12sh21", "model": "gpt", "dur_s": 12.7, "system_prompt": "You are given ONE image-generation prompt, the REFERENCE image(s)\nthat were attached to it (labelled), and THREE candidate images,\nlabelled A, B, C in the order attached, all generated from that\nexact prompt with those exact references.\nPick the ONE candidate that most faithfully realises the prompt.\nJudge ONLY fidelity to the prompt and its reference instructions:\nthe shot text's moment and action, who is and is NOT in frame,\ncamera framing, time of day, the LOCATION lock (the place must be\nthe one the reference shows — same architecture, materials,\nfixtures), pose/immobility and carried-state clauses, and every\nexclusion (no text, no invented people or objects). Consistency\nwith the attached reference image counts as prompt fidelity.\nIgnore generic aesthetic appeal.\nCheck every candidate point by point before deciding; base every\nverdict only on what is visible.\nAlso give every candidate an integer score 0-10 for that same\nfidelity.\nOutput: winner, ranking best-to-worst, and per candidate a score\nplus a one-line Korean verdict citing the decisive prompt points.", "user_prompt": "[{\"type\": \"text\", \"text\": \"THE PROMPT (all three candidates were generated from this):\\nCreate ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\\n\\nSHOT TEXT (authoritative, Korean): 침대 위쪽 벽면에 붉은색 원형 표식이 절반쯤 나타난 상태\\n\\nLOCATION (lock): A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.\\n\\nTHIS SHOT CONTINUES THE PREVIOUS SHOT: everything the attached still established — the place, its fixed features and wear, each person's clothing and state — persists. Any person in it who cannot move stays PRECISELY as photographed (body, pose, contact points, held objects); only the camera changes.\\n\\nPREVIOUS STILL USAGE (follow exactly — what to take from the attached still and what to exclude): Take the worn bedroom wall, bed placement, dim nighttime lighting, and the continuing dark-stained room state from the reference. Keep the seated body and dark stains evidence spatially consistent even when they fall outside the crop. Exclude the motionless figure and handheld photograph from the wall-focused frame, and show only the newly forming red circle on the wall.\\n\\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\\ntext may describe characters metaphorically, figuratively or with\\nexaggeration. Photograph what a real movie camera would actually\\nrecord on a physical set — exaggerated or figurative impressions\\nbecome realistic staging choices (lighting, distance, angle,\\nwardrobe), not literal fantasy imagery.\\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\\nfeatures non-human or virtual beings (as in science fiction or\\nfantasy), every character — however indirectly, vaguely or\\nfiguratively the text describes them — IS a real human. When the\\ntext gives no direct visual description of a person, IMAGINE one\\nand still show them as a concrete, fully-formed human being:\\nalways render the human form to the maximum extent — build,\\nposture, face, hands, clothing — never reduce a person to a shape,\\nblob, solid silhouette or abstract mass.\\n\\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\\nperson's eyes, face or presence emotionally or figuratively (vacant,\\nhollow, dazed, burning, lifeless gaze and the like), it describes an\\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\\nthrough gaze direction, focus, eyelids, facial muscles, stillness\\nand posture. Every living person's eyes remain anatomically normal\\nhuman eyes with a natural iris and pupil, natural sclera and normal\\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\\notherwise alter eyeballs, skin or anatomy — unless the story\\nexplicitly declares that being non-human or supernatural in form.\\n\\nMOVEMENT (follow exactly): A red circular mark spreads around the wall above the bed, progressing along a ring-like path as though an unseen brush is drawing it, with about half the circle formed.\\n\\nFIGURES — size & depth (follow exactly): The half-formed red circle fills roughly 1/2 of the frame height on the wall and is the principal visible object. The wall surface and mark are FARTHER than the nearer edge of the bed, with the red pigment visually sitting closest on that wall plane.\\n\\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Minsuk’s motionless figure, wounds, and the room’s dark stains traces remain unchanged; her hand is now without the photograph, which Suri-young has taken, and the wrist mark is red. A red circle is partially formed on the wall above the bed.\\n\\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 민숙 (환시) — never anyone else, and never add a person the shot text does not show.\\n\\nNo text, captions, watermarks or annotations anywhere.\"}, {\"type\": \"text\", \"text\": \"REFERENCE — PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing. If this photo shows a character who cannot move (dead or unconscious), that character's exact pose, position and orientation are ALSO LOCKED — treat their body as a fixed prop of the set that only the camera moves around.\"}, {\"type\": \"text\", \"text\": \"Candidate A:\"}, {\"type\": \"text\", \"text\": \"Candidate B:\"}, {\"type\": \"text\", \"text\": \"Candidate C:\"}]"}
{"ts": "2026-07-13 15:44:11", "kind": "llm", "step": "s39_judge_gemini_S12sh21", "model": "gemini-pro", "dur_s": 37.0, "system_prompt": "You are given ONE image-generation prompt, the REFERENCE image(s)\nthat were attached to it (labelled), and THREE candidate images,\nlabelled A, B, C in the order attached, all generated from that\nexact prompt with those exact references.\nPick the ONE candidate that most faithfully realises the prompt.\nJudge ONLY fidelity to the prompt and its reference instructions:\nthe shot text's moment and action, who is and is NOT in frame,\ncamera framing, time of day, the LOCATION lock (the place must be\nthe one the reference shows — same architecture, materials,\nfixtures), pose/immobility and carried-state clauses, and every\nexclusion (no text, no invented people or objects). Consistency\nwith the attached reference image counts as prompt fidelity.\nIgnore generic aesthetic appeal.\nCheck every candidate point by point before deciding; base every\nverdict only on what is visible.\nAlso give every candidate an integer score 0-10 for that same\nfidelity.\nOutput: winner, ranking best-to-worst, and per candidate a score\nplus a one-line Korean verdict citing the decisive prompt points.", "user_prompt": "[{\"type\": \"text\", \"text\": \"THE PROMPT (all three candidates were generated from this):\\nCreate ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\\n\\nSHOT TEXT (authoritative, Korean): 침대 위쪽 벽면에 붉은색 원형 표식이 절반쯤 나타난 상태\\n\\nLOCATION (lock): A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.\\n\\nTHIS SHOT CONTINUES THE PREVIOUS SHOT: everything the attached still established — the place, its fixed features and wear, each person's clothing and state — persists. Any person in it who cannot move stays PRECISELY as photographed (body, pose, contact points, held objects); only the camera changes.\\n\\nPREVIOUS STILL USAGE (follow exactly — what to take from the attached still and what to exclude): Take the worn bedroom wall, bed placement, dim nighttime lighting, and the continuing dark-stained room state from the reference. Keep the seated body and dark stains evidence spatially consistent even when they fall outside the crop. Exclude the motionless figure and handheld photograph from the wall-focused frame, and show only the newly forming red circle on the wall.\\n\\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\\ntext may describe characters metaphorically, figuratively or with\\nexaggeration. Photograph what a real movie camera would actually\\nrecord on a physical set — exaggerated or figurative impressions\\nbecome realistic staging choices (lighting, distance, angle,\\nwardrobe), not literal fantasy imagery.\\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\\nfeatures non-human or virtual beings (as in science fiction or\\nfantasy), every character — however indirectly, vaguely or\\nfiguratively the text describes them — IS a real human. When the\\ntext gives no direct visual description of a person, IMAGINE one\\nand still show them as a concrete, fully-formed human being:\\nalways render the human form to the maximum extent — build,\\nposture, face, hands, clothing — never reduce a person to a shape,\\nblob, solid silhouette or abstract mass.\\n\\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\\nperson's eyes, face or presence emotionally or figuratively (vacant,\\nhollow, dazed, burning, lifeless gaze and the like), it describes an\\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\\nthrough gaze direction, focus, eyelids, facial muscles, stillness\\nand posture. Every living person's eyes remain anatomically normal\\nhuman eyes with a natural iris and pupil, natural sclera and normal\\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\\notherwise alter eyeballs, skin or anatomy — unless the story\\nexplicitly declares that being non-human or supernatural in form.\\n\\nMOVEMENT (follow exactly): A red circular mark spreads around the wall above the bed, progressing along a ring-like path as though an unseen brush is drawing it, with about half the circle formed.\\n\\nFIGURES — size & depth (follow exactly): The half-formed red circle fills roughly 1/2 of the frame height on the wall and is the principal visible object. The wall surface and mark are FARTHER than the nearer edge of the bed, with the red pigment visually sitting closest on that wall plane.\\n\\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Minsuk’s motionless figure, wounds, and the room’s dark stains traces remain unchanged; her hand is now without the photograph, which Suri-young has taken, and the wrist mark is red. A red circle is partially formed on the wall above the bed.\\n\\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 민숙 (환시) — never anyone else, and never add a person the shot text does not show.\\n\\nNo text, captions, watermarks or annotations anywhere.\"}, {\"type\": \"text\", \"text\": \"REFERENCE — PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing. If this photo shows a character who cannot move (dead or unconscious), that character's exact pose, position and orientation are ALSO LOCKED — treat their body as a fixed prop of the set that only the camera moves around.\"}, {\"type\": \"text\", \"text\": \"Candidate A:\"}, {\"type\": \"text\", \"text\": \"Candidate B:\"}, {\"type\": \"text\", \"text\": \"Candidate C:\"}]"}
{"ts": "2026-07-13 15:44:36", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s39_S13sh4_a", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/bg4_S13sh4.png"], "ref_labels": ["LOCATION PHOTOGRAPH — the exact place of this shot: its architecture, materials, fixed features and lighting mood are spatial truth; stage the moment inside this place. Never copy its camera framing."], "attempt": 1, "dur_s": 24.6, "bytes": 2629664, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s39/stills/S13sh4_a.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\n\nSHOT TEXT (authoritative, Korean): 수리영이 초점을 잃은 눈으로 허공을 응시하며 서 있는 모습\n\nLOCATION (lock): A confined ground-level alley and small courtyard beside an aging multi-unit residential building. Concrete walls, building entrances, and the base of the exterior access structure frame the space. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nMOVEMENT (follow exactly): static: Su-ri-young stands motionless and dazed after coming down from the rooftop room, her unfocused eyes staring into empty space and her body lacking purposeful direction.\n\nFIGURES — size & depth (follow exactly): Su-ri-young is the only visible figure, so she is both the nearest and farthest person; her apparent fraction of frame height is unspecified in the source.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 수리영 — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-13 15:44:57", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s39_S13sh4_b", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/bg4_S13sh4.png"], "ref_labels": ["LOCATION PHOTOGRAPH — the exact place of this shot: its architecture, materials, fixed features and lighting mood are spatial truth; stage the moment inside this place. Never copy its camera framing."], "attempt": 1, "dur_s": 21.1, "bytes": 2297703, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s39/stills/S13sh4_b.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\n\nSHOT TEXT (authoritative, Korean): 수리영이 초점을 잃은 눈으로 허공을 응시하며 서 있는 모습\n\nLOCATION (lock): A confined ground-level alley and small courtyard beside an aging multi-unit residential building. Concrete walls, building entrances, and the base of the exterior access structure frame the space. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nMOVEMENT (follow exactly): static: Su-ri-young stands motionless and dazed after coming down from the rooftop room, her unfocused eyes staring into empty space and her body lacking purposeful direction.\n\nFIGURES — size & depth (follow exactly): Su-ri-young is the only visible figure, so she is both the nearest and farthest person; her apparent fraction of frame height is unspecified in the source.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 수리영 — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-13 15:45:23", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s39_S13sh4_c", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/bg4_S13sh4.png"], "ref_labels": ["LOCATION PHOTOGRAPH — the exact place of this shot: its architecture, materials, fixed features and lighting mood are spatial truth; stage the moment inside this place. Never copy its camera framing."], "attempt": 1, "dur_s": 26.0, "bytes": 2742715, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s39/stills/S13sh4_c.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\n\nSHOT TEXT (authoritative, Korean): 수리영이 초점을 잃은 눈으로 허공을 응시하며 서 있는 모습\n\nLOCATION (lock): A confined ground-level alley and small courtyard beside an aging multi-unit residential building. Concrete walls, building entrances, and the base of the exterior access structure frame the space. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nMOVEMENT (follow exactly): static: Su-ri-young stands motionless and dazed after coming down from the rooftop room, her unfocused eyes staring into empty space and her body lacking purposeful direction.\n\nFIGURES — size & depth (follow exactly): Su-ri-young is the only visible figure, so she is both the nearest and farthest person; her apparent fraction of frame height is unspecified in the source.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 수리영 — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-13 15:45:40", "kind": "llm", "step": "s39_judge_gpt_S13sh4", "model": "gpt", "dur_s": 17.5, "system_prompt": "You are given ONE image-generation prompt, the REFERENCE image(s)\nthat were attached to it (labelled), and THREE candidate images,\nlabelled A, B, C in the order attached, all generated from that\nexact prompt with those exact references.\nPick the ONE candidate that most faithfully realises the prompt.\nJudge ONLY fidelity to the prompt and its reference instructions:\nthe shot text's moment and action, who is and is NOT in frame,\ncamera framing, time of day, the LOCATION lock (the place must be\nthe one the reference shows — same architecture, materials,\nfixtures), pose/immobility and carried-state clauses, and every\nexclusion (no text, no invented people or objects). Consistency\nwith the attached reference image counts as prompt fidelity.\nIgnore generic aesthetic appeal.\nCheck every candidate point by point before deciding; base every\nverdict only on what is visible.\nAlso give every candidate an integer score 0-10 for that same\nfidelity.\nOutput: winner, ranking best-to-worst, and per candidate a score\nplus a one-line Korean verdict citing the decisive prompt points.", "user_prompt": "[{\"type\": \"text\", \"text\": \"THE PROMPT (all three candidates were generated from this):\\nCreate ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\\n\\nSHOT TEXT (authoritative, Korean): 수리영이 초점을 잃은 눈으로 허공을 응시하며 서 있는 모습\\n\\nLOCATION (lock): A confined ground-level alley and small courtyard beside an aging multi-unit residential building. Concrete walls, building entrances, and the base of the exterior access structure frame the space. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.\\n\\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\\ntext may describe characters metaphorically, figuratively or with\\nexaggeration. Photograph what a real movie camera would actually\\nrecord on a physical set — exaggerated or figurative impressions\\nbecome realistic staging choices (lighting, distance, angle,\\nwardrobe), not literal fantasy imagery.\\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\\nfeatures non-human or virtual beings (as in science fiction or\\nfantasy), every character — however indirectly, vaguely or\\nfiguratively the text describes them — IS a real human. When the\\ntext gives no direct visual description of a person, IMAGINE one\\nand still show them as a concrete, fully-formed human being:\\nalways render the human form to the maximum extent — build,\\nposture, face, hands, clothing — never reduce a person to a shape,\\nblob, solid silhouette or abstract mass.\\n\\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\\nperson's eyes, face or presence emotionally or figuratively (vacant,\\nhollow, dazed, burning, lifeless gaze and the like), it describes an\\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\\nthrough gaze direction, focus, eyelids, facial muscles, stillness\\nand posture. Every living person's eyes remain anatomically normal\\nhuman eyes with a natural iris and pupil, natural sclera and normal\\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\\notherwise alter eyeballs, skin or anatomy — unless the story\\nexplicitly declares that being non-human or supernatural in form.\\n\\nMOVEMENT (follow exactly): static: Su-ri-young stands motionless and dazed after coming down from the rooftop room, her unfocused eyes staring into empty space and her body lacking purposeful direction.\\n\\nFIGURES — size & depth (follow exactly): Su-ri-young is the only visible figure, so she is both the nearest and farthest person; her apparent fraction of frame height is unspecified in the source.\\n\\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 수리영 — never anyone else, and never add a person the shot text does not show.\\n\\nNo text, captions, watermarks or annotations anywhere.\"}, {\"type\": \"text\", \"text\": \"REFERENCE — LOCATION PHOTOGRAPH — the exact place of this shot: its architecture, materials, fixed features and lighting mood are spatial truth; stage the moment inside this place. Never copy its camera framing.\"}, {\"type\": \"text\", \"text\": \"Candidate A:\"}, {\"type\": \"text\", \"text\": \"Candidate B:\"}, {\"type\": \"text\", \"text\": \"Candidate C:\"}]"}
{"ts": "2026-07-13 15:46:07", "kind": "llm", "step": "s39_judge_gemini_S13sh4", "model": "gemini-pro", "dur_s": 26.4, "system_prompt": "You are given ONE image-generation prompt, the REFERENCE image(s)\nthat were attached to it (labelled), and THREE candidate images,\nlabelled A, B, C in the order attached, all generated from that\nexact prompt with those exact references.\nPick the ONE candidate that most faithfully realises the prompt.\nJudge ONLY fidelity to the prompt and its reference instructions:\nthe shot text's moment and action, who is and is NOT in frame,\ncamera framing, time of day, the LOCATION lock (the place must be\nthe one the reference shows — same architecture, materials,\nfixtures), pose/immobility and carried-state clauses, and every\nexclusion (no text, no invented people or objects). Consistency\nwith the attached reference image counts as prompt fidelity.\nIgnore generic aesthetic appeal.\nCheck every candidate point by point before deciding; base every\nverdict only on what is visible.\nAlso give every candidate an integer score 0-10 for that same\nfidelity.\nOutput: winner, ranking best-to-worst, and per candidate a score\nplus a one-line Korean verdict citing the decisive prompt points.", "user_prompt": "[{\"type\": \"text\", \"text\": \"THE PROMPT (all three candidates were generated from this):\\nCreate ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\\n\\nSHOT TEXT (authoritative, Korean): 수리영이 초점을 잃은 눈으로 허공을 응시하며 서 있는 모습\\n\\nLOCATION (lock): A confined ground-level alley and small courtyard beside an aging multi-unit residential building. Concrete walls, building entrances, and the base of the exterior access structure frame the space. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.\\n\\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\\ntext may describe characters metaphorically, figuratively or with\\nexaggeration. Photograph what a real movie camera would actually\\nrecord on a physical set — exaggerated or figurative impressions\\nbecome realistic staging choices (lighting, distance, angle,\\nwardrobe), not literal fantasy imagery.\\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\\nfeatures non-human or virtual beings (as in science fiction or\\nfantasy), every character — however indirectly, vaguely or\\nfiguratively the text describes them — IS a real human. When the\\ntext gives no direct visual description of a person, IMAGINE one\\nand still show them as a concrete, fully-formed human being:\\nalways render the human form to the maximum extent — build,\\nposture, face, hands, clothing — never reduce a person to a shape,\\nblob, solid silhouette or abstract mass.\\n\\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\\nperson's eyes, face or presence emotionally or figuratively (vacant,\\nhollow, dazed, burning, lifeless gaze and the like), it describes an\\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\\nthrough gaze direction, focus, eyelids, facial muscles, stillness\\nand posture. Every living person's eyes remain anatomically normal\\nhuman eyes with a natural iris and pupil, natural sclera and normal\\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\\notherwise alter eyeballs, skin or anatomy — unless the story\\nexplicitly declares that being non-human or supernatural in form.\\n\\nMOVEMENT (follow exactly): static: Su-ri-young stands motionless and dazed after coming down from the rooftop room, her unfocused eyes staring into empty space and her body lacking purposeful direction.\\n\\nFIGURES — size & depth (follow exactly): Su-ri-young is the only visible figure, so she is both the nearest and farthest person; her apparent fraction of frame height is unspecified in the source.\\n\\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 수리영 — never anyone else, and never add a person the shot text does not show.\\n\\nNo text, captions, watermarks or annotations anywhere.\"}, {\"type\": \"text\", \"text\": \"REFERENCE — LOCATION PHOTOGRAPH — the exact place of this shot: its architecture, materials, fixed features and lighting mood are spatial truth; stage the moment inside this place. Never copy its camera framing.\"}, {\"type\": \"text\", \"text\": \"Candidate A:\"}, {\"type\": \"text\", \"text\": \"Candidate B:\"}, {\"type\": \"text\", \"text\": \"Candidate C:\"}]"}
{"ts": "2026-07-13 15:46:29", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s39_S13sh6_a", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s39/stills/S13sh4_sel.png"], "ref_labels": ["PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing. If this photo shows a character who cannot move (dead or unconscious), that character's exact pose, position and orientation are ALSO LOCKED — treat their body as a fixed prop of the set that only the camera moves around."], "attempt": 1, "dur_s": 22.1, "bytes": 2827387, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s39/stills/S13sh6_a.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\n\nSHOT TEXT (authoritative, Korean): 고개를 든 채 혜수의 얼굴을 마주보고 있는 수리영의 측면 구도\n\nLOCATION (lock): A confined ground-level alley and small courtyard beside an aging multi-unit residential building. Concrete walls, building entrances, and the base of the exterior access structure frame the space. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.\n\nTHIS SHOT CONTINUES THE PREVIOUS SHOT: everything the attached still established — the place, its fixed features and wear, each person's clothing and state — persists. Any person in it who cannot move stays PRECISELY as photographed (body, pose, contact points, held objects); only the camera changes.\n\nPREVIOUS STILL USAGE (follow exactly — what to take from the attached still and what to exclude): Take the confined courtyard's concrete surfaces, building entrances, access structure, and nighttime emergency ambience from the reference. Preserve the young woman's standing position in the same ground-level area. Exclude her earlier vacant stare and empty-air eyeline; frame her now looking up at the approaching woman.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nMOVEMENT (follow exactly): static: Su-ri-young holds her head raised and faces Hye-su directly in side profile, looking up at her while remaining dazed and stationary.\n\nFIGURES — size & depth (follow exactly): Su-ri-young and Hye-su's face are visible facing each other, but their respective frame-height fractions and which is nearer to the camera are unspecified; their paths have converged at conversational distance, with neither moving past the other.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 수리영, 혜수 — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-13 15:46:52", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s39_S13sh6_b", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s39/stills/S13sh4_sel.png"], "ref_labels": ["PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing. If this photo shows a character who cannot move (dead or unconscious), that character's exact pose, position and orientation are ALSO LOCKED — treat their body as a fixed prop of the set that only the camera moves around."], "attempt": 1, "dur_s": 23.5, "bytes": 2853040, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s39/stills/S13sh6_b.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\n\nSHOT TEXT (authoritative, Korean): 고개를 든 채 혜수의 얼굴을 마주보고 있는 수리영의 측면 구도\n\nLOCATION (lock): A confined ground-level alley and small courtyard beside an aging multi-unit residential building. Concrete walls, building entrances, and the base of the exterior access structure frame the space. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.\n\nTHIS SHOT CONTINUES THE PREVIOUS SHOT: everything the attached still established — the place, its fixed features and wear, each person's clothing and state — persists. Any person in it who cannot move stays PRECISELY as photographed (body, pose, contact points, held objects); only the camera changes.\n\nPREVIOUS STILL USAGE (follow exactly — what to take from the attached still and what to exclude): Take the confined courtyard's concrete surfaces, building entrances, access structure, and nighttime emergency ambience from the reference. Preserve the young woman's standing position in the same ground-level area. Exclude her earlier vacant stare and empty-air eyeline; frame her now looking up at the approaching woman.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nMOVEMENT (follow exactly): static: Su-ri-young holds her head raised and faces Hye-su directly in side profile, looking up at her while remaining dazed and stationary.\n\nFIGURES — size & depth (follow exactly): Su-ri-young and Hye-su's face are visible facing each other, but their respective frame-height fractions and which is nearer to the camera are unspecified; their paths have converged at conversational distance, with neither moving past the other.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 수리영, 혜수 — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-13 15:47:11", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s39_S13sh6_c", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s39/stills/S13sh4_sel.png"], "ref_labels": ["PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing. If this photo shows a character who cannot move (dead or unconscious), that character's exact pose, position and orientation are ALSO LOCKED — treat their body as a fixed prop of the set that only the camera moves around."], "attempt": 1, "dur_s": 18.9, "bytes": 2761357, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s39/stills/S13sh6_c.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\n\nSHOT TEXT (authoritative, Korean): 고개를 든 채 혜수의 얼굴을 마주보고 있는 수리영의 측면 구도\n\nLOCATION (lock): A confined ground-level alley and small courtyard beside an aging multi-unit residential building. Concrete walls, building entrances, and the base of the exterior access structure frame the space. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.\n\nTHIS SHOT CONTINUES THE PREVIOUS SHOT: everything the attached still established — the place, its fixed features and wear, each person's clothing and state — persists. Any person in it who cannot move stays PRECISELY as photographed (body, pose, contact points, held objects); only the camera changes.\n\nPREVIOUS STILL USAGE (follow exactly — what to take from the attached still and what to exclude): Take the confined courtyard's concrete surfaces, building entrances, access structure, and nighttime emergency ambience from the reference. Preserve the young woman's standing position in the same ground-level area. Exclude her earlier vacant stare and empty-air eyeline; frame her now looking up at the approaching woman.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nMOVEMENT (follow exactly): static: Su-ri-young holds her head raised and faces Hye-su directly in side profile, looking up at her while remaining dazed and stationary.\n\nFIGURES — size & depth (follow exactly): Su-ri-young and Hye-su's face are visible facing each other, but their respective frame-height fractions and which is nearer to the camera are unspecified; their paths have converged at conversational distance, with neither moving past the other.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 수리영, 혜수 — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-13 15:47:30", "kind": "llm", "step": "s39_judge_gpt_S13sh6", "model": "gpt", "dur_s": 18.1, "system_prompt": "You are given ONE image-generation prompt, the REFERENCE image(s)\nthat were attached to it (labelled), and THREE candidate images,\nlabelled A, B, C in the order attached, all generated from that\nexact prompt with those exact references.\nPick the ONE candidate that most faithfully realises the prompt.\nJudge ONLY fidelity to the prompt and its reference instructions:\nthe shot text's moment and action, who is and is NOT in frame,\ncamera framing, time of day, the LOCATION lock (the place must be\nthe one the reference shows — same architecture, materials,\nfixtures), pose/immobility and carried-state clauses, and every\nexclusion (no text, no invented people or objects). Consistency\nwith the attached reference image counts as prompt fidelity.\nIgnore generic aesthetic appeal.\nCheck every candidate point by point before deciding; base every\nverdict only on what is visible.\nAlso give every candidate an integer score 0-10 for that same\nfidelity.\nOutput: winner, ranking best-to-worst, and per candidate a score\nplus a one-line Korean verdict citing the decisive prompt points.", "user_prompt": "[{\"type\": \"text\", \"text\": \"THE PROMPT (all three candidates were generated from this):\\nCreate ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\\n\\nSHOT TEXT (authoritative, Korean): 고개를 든 채 혜수의 얼굴을 마주보고 있는 수리영의 측면 구도\\n\\nLOCATION (lock): A confined ground-level alley and small courtyard beside an aging multi-unit residential building. Concrete walls, building entrances, and the base of the exterior access structure frame the space. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.\\n\\nTHIS SHOT CONTINUES THE PREVIOUS SHOT: everything the attached still established — the place, its fixed features and wear, each person's clothing and state — persists. Any person in it who cannot move stays PRECISELY as photographed (body, pose, contact points, held objects); only the camera changes.\\n\\nPREVIOUS STILL USAGE (follow exactly — what to take from the attached still and what to exclude): Take the confined courtyard's concrete surfaces, building entrances, access structure, and nighttime emergency ambience from the reference. Preserve the young woman's standing position in the same ground-level area. Exclude her earlier vacant stare and empty-air eyeline; frame her now looking up at the approaching woman.\\n\\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\\ntext may describe characters metaphorically, figuratively or with\\nexaggeration. Photograph what a real movie camera would actually\\nrecord on a physical set — exaggerated or figurative impressions\\nbecome realistic staging choices (lighting, distance, angle,\\nwardrobe), not literal fantasy imagery.\\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\\nfeatures non-human or virtual beings (as in science fiction or\\nfantasy), every character — however indirectly, vaguely or\\nfiguratively the text describes them — IS a real human. When the\\ntext gives no direct visual description of a person, IMAGINE one\\nand still show them as a concrete, fully-formed human being:\\nalways render the human form to the maximum extent — build,\\nposture, face, hands, clothing — never reduce a person to a shape,\\nblob, solid silhouette or abstract mass.\\n\\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\\nperson's eyes, face or presence emotionally or figuratively (vacant,\\nhollow, dazed, burning, lifeless gaze and the like), it describes an\\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\\nthrough gaze direction, focus, eyelids, facial muscles, stillness\\nand posture. Every living person's eyes remain anatomically normal\\nhuman eyes with a natural iris and pupil, natural sclera and normal\\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\\notherwise alter eyeballs, skin or anatomy — unless the story\\nexplicitly declares that being non-human or supernatural in form.\\n\\nMOVEMENT (follow exactly): static: Su-ri-young holds her head raised and faces Hye-su directly in side profile, looking up at her while remaining dazed and stationary.\\n\\nFIGURES — size & depth (follow exactly): Su-ri-young and Hye-su's face are visible facing each other, but their respective frame-height fractions and which is nearer to the camera are unspecified; their paths have converged at conversational distance, with neither moving past the other.\\n\\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 수리영, 혜수 — never anyone else, and never add a person the shot text does not show.\\n\\nNo text, captions, watermarks or annotations anywhere.\"}, {\"type\": \"text\", \"text\": \"REFERENCE — PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing. If this photo shows a character who cannot move (dead or unconscious), that character's exact pose, position and orientation are ALSO LOCKED — treat their body as a fixed prop of the set that only the camera moves around.\"}, {\"type\": \"text\", \"text\": \"Candidate A:\"}, {\"type\": \"text\", \"text\": \"Candidate B:\"}, {\"type\": \"text\", \"text\": \"Candidate C:\"}]"}
{"ts": "2026-07-13 15:48:04", "kind": "llm", "step": "s39_judge_gemini_S13sh6", "model": "gemini-pro", "dur_s": 34.9, "system_prompt": "You are given ONE image-generation prompt, the REFERENCE image(s)\nthat were attached to it (labelled), and THREE candidate images,\nlabelled A, B, C in the order attached, all generated from that\nexact prompt with those exact references.\nPick the ONE candidate that most faithfully realises the prompt.\nJudge ONLY fidelity to the prompt and its reference instructions:\nthe shot text's moment and action, who is and is NOT in frame,\ncamera framing, time of day, the LOCATION lock (the place must be\nthe one the reference shows — same architecture, materials,\nfixtures), pose/immobility and carried-state clauses, and every\nexclusion (no text, no invented people or objects). Consistency\nwith the attached reference image counts as prompt fidelity.\nIgnore generic aesthetic appeal.\nCheck every candidate point by point before deciding; base every\nverdict only on what is visible.\nAlso give every candidate an integer score 0-10 for that same\nfidelity.\nOutput: winner, ranking best-to-worst, and per candidate a score\nplus a one-line Korean verdict citing the decisive prompt points.", "user_prompt": "[{\"type\": \"text\", \"text\": \"THE PROMPT (all three candidates were generated from this):\\nCreate ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\\n\\nSHOT TEXT (authoritative, Korean): 고개를 든 채 혜수의 얼굴을 마주보고 있는 수리영의 측면 구도\\n\\nLOCATION (lock): A confined ground-level alley and small courtyard beside an aging multi-unit residential building. Concrete walls, building entrances, and the base of the exterior access structure frame the space. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.\\n\\nTHIS SHOT CONTINUES THE PREVIOUS SHOT: everything the attached still established — the place, its fixed features and wear, each person's clothing and state — persists. Any person in it who cannot move stays PRECISELY as photographed (body, pose, contact points, held objects); only the camera changes.\\n\\nPREVIOUS STILL USAGE (follow exactly — what to take from the attached still and what to exclude): Take the confined courtyard's concrete surfaces, building entrances, access structure, and nighttime emergency ambience from the reference. Preserve the young woman's standing position in the same ground-level area. Exclude her earlier vacant stare and empty-air eyeline; frame her now looking up at the approaching woman.\\n\\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\\ntext may describe characters metaphorically, figuratively or with\\nexaggeration. Photograph what a real movie camera would actually\\nrecord on a physical set — exaggerated or figurative impressions\\nbecome realistic staging choices (lighting, distance, angle,\\nwardrobe), not literal fantasy imagery.\\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\\nfeatures non-human or virtual beings (as in science fiction or\\nfantasy), every character — however indirectly, vaguely or\\nfiguratively the text describes them — IS a real human. When the\\ntext gives no direct visual description of a person, IMAGINE one\\nand still show them as a concrete, fully-formed human being:\\nalways render the human form to the maximum extent — build,\\nposture, face, hands, clothing — never reduce a person to a shape,\\nblob, solid silhouette or abstract mass.\\n\\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\\nperson's eyes, face or presence emotionally or figuratively (vacant,\\nhollow, dazed, burning, lifeless gaze and the like), it describes an\\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\\nthrough gaze direction, focus, eyelids, facial muscles, stillness\\nand posture. Every living person's eyes remain anatomically normal\\nhuman eyes with a natural iris and pupil, natural sclera and normal\\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\\notherwise alter eyeballs, skin or anatomy — unless the story\\nexplicitly declares that being non-human or supernatural in form.\\n\\nMOVEMENT (follow exactly): static: Su-ri-young holds her head raised and faces Hye-su directly in side profile, looking up at her while remaining dazed and stationary.\\n\\nFIGURES — size & depth (follow exactly): Su-ri-young and Hye-su's face are visible facing each other, but their respective frame-height fractions and which is nearer to the camera are unspecified; their paths have converged at conversational distance, with neither moving past the other.\\n\\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 수리영, 혜수 — never anyone else, and never add a person the shot text does not show.\\n\\nNo text, captions, watermarks or annotations anywhere.\"}, {\"type\": \"text\", \"text\": \"REFERENCE — PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing. If this photo shows a character who cannot move (dead or unconscious), that character's exact pose, position and orientation are ALSO LOCKED — treat their body as a fixed prop of the set that only the camera moves around.\"}, {\"type\": \"text\", \"text\": \"Candidate A:\"}, {\"type\": \"text\", \"text\": \"Candidate B:\"}, {\"type\": \"text\", \"text\": \"Candidate C:\"}]"}
{"ts": "2026-07-13 15:48:29", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s39_S14sh5_a", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s39/stills/S12sh11_sel.png"], "ref_labels": ["PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing. If this photo shows a character who cannot move (dead or unconscious), that character's exact pose, position and orientation are ALSO LOCKED — treat their body as a fixed prop of the set that only the camera moves around."], "attempt": 1, "dur_s": 25.0, "bytes": 2356742, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s39/stills/S14sh5_a.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\n\nSHOT TEXT (authoritative, Korean): 어두운 얼룩 없이 깨끗한 방 내부 전경\n\nLOCATION (lock): A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.\n\nTHIS SHOT CONTINUES THE PREVIOUS SHOT: everything the attached still established — the place, its fixed features and wear, each person's clothing and state — persists. Any person in it who cannot move stays PRECISELY as photographed (body, pose, contact points, held objects); only the camera changes.\n\nPREVIOUS STILL USAGE (follow exactly — what to take from the attached still and what to exclude): Take only the bedroom's fixed architecture, worn wall materials, bed placement, curtain, and nighttime lighting from the reference. Preserve the same camera-space layout. Exclude the dead woman, all dark stainsstains, dark-stained footprints, wounds, and the earlier disturbed state so the room appears unnaturally clean.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nMOVEMENT (follow exactly): static: the excessively tidy bedroom stands empty, with no dark stainsstains, red wall mark, or collapsed body remaining anywhere in the room.\n\nFIGURES — size & depth (follow exactly): The empty room fills the full frame; nearer floor and furniture edges occupy the foreground, while the bed, curtain, and clean back wall are FARTHER away. No person is visible, and the formerly occupied curtain area is now empty.\n\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The room is unnaturally spotless, with no dark stains, wall circle, or motionless figure behind the curtain. The backpack and doll are present in positions slightly different from when the body was discovered.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 수리영, 혜수 — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-13 15:48:52", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s39_S14sh5_b", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s39/stills/S12sh11_sel.png"], "ref_labels": ["PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing. If this photo shows a character who cannot move (dead or unconscious), that character's exact pose, position and orientation are ALSO LOCKED — treat their body as a fixed prop of the set that only the camera moves around."], "attempt": 1, "dur_s": 22.8, "bytes": 2440775, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s39/stills/S14sh5_b.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\n\nSHOT TEXT (authoritative, Korean): 어두운 얼룩 없이 깨끗한 방 내부 전경\n\nLOCATION (lock): A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.\n\nTHIS SHOT CONTINUES THE PREVIOUS SHOT: everything the attached still established — the place, its fixed features and wear, each person's clothing and state — persists. Any person in it who cannot move stays PRECISELY as photographed (body, pose, contact points, held objects); only the camera changes.\n\nPREVIOUS STILL USAGE (follow exactly — what to take from the attached still and what to exclude): Take only the bedroom's fixed architecture, worn wall materials, bed placement, curtain, and nighttime lighting from the reference. Preserve the same camera-space layout. Exclude the dead woman, all dark stainsstains, dark-stained footprints, wounds, and the earlier disturbed state so the room appears unnaturally clean.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nMOVEMENT (follow exactly): static: the excessively tidy bedroom stands empty, with no dark stainsstains, red wall mark, or collapsed body remaining anywhere in the room.\n\nFIGURES — size & depth (follow exactly): The empty room fills the full frame; nearer floor and furniture edges occupy the foreground, while the bed, curtain, and clean back wall are FARTHER away. No person is visible, and the formerly occupied curtain area is now empty.\n\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The room is unnaturally spotless, with no dark stains, wall circle, or motionless figure behind the curtain. The backpack and doll are present in positions slightly different from when the body was discovered.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 수리영, 혜수 — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-13 15:49:13", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s39_S14sh5_c", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s39/stills/S12sh11_sel.png"], "ref_labels": ["PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing. If this photo shows a character who cannot move (dead or unconscious), that character's exact pose, position and orientation are ALSO LOCKED — treat their body as a fixed prop of the set that only the camera moves around."], "attempt": 1, "dur_s": 20.9, "bytes": 2571766, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s39/stills/S14sh5_c.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\n\nSHOT TEXT (authoritative, Korean): 어두운 얼룩 없이 깨끗한 방 내부 전경\n\nLOCATION (lock): A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.\n\nTHIS SHOT CONTINUES THE PREVIOUS SHOT: everything the attached still established — the place, its fixed features and wear, each person's clothing and state — persists. Any person in it who cannot move stays PRECISELY as photographed (body, pose, contact points, held objects); only the camera changes.\n\nPREVIOUS STILL USAGE (follow exactly — what to take from the attached still and what to exclude): Take only the bedroom's fixed architecture, worn wall materials, bed placement, curtain, and nighttime lighting from the reference. Preserve the same camera-space layout. Exclude the dead woman, all dark stainsstains, dark-stained footprints, wounds, and the earlier disturbed state so the room appears unnaturally clean.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nMOVEMENT (follow exactly): static: the excessively tidy bedroom stands empty, with no dark stainsstains, red wall mark, or collapsed body remaining anywhere in the room.\n\nFIGURES — size & depth (follow exactly): The empty room fills the full frame; nearer floor and furniture edges occupy the foreground, while the bed, curtain, and clean back wall are FARTHER away. No person is visible, and the formerly occupied curtain area is now empty.\n\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The room is unnaturally spotless, with no dark stains, wall circle, or motionless figure behind the curtain. The backpack and doll are present in positions slightly different from when the body was discovered.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 수리영, 혜수 — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-13 15:49:29", "kind": "llm", "step": "s39_judge_gpt_S14sh5", "model": "gpt", "dur_s": 16.2, "system_prompt": "You are given ONE image-generation prompt, the REFERENCE image(s)\nthat were attached to it (labelled), and THREE candidate images,\nlabelled A, B, C in the order attached, all generated from that\nexact prompt with those exact references.\nPick the ONE candidate that most faithfully realises the prompt.\nJudge ONLY fidelity to the prompt and its reference instructions:\nthe shot text's moment and action, who is and is NOT in frame,\ncamera framing, time of day, the LOCATION lock (the place must be\nthe one the reference shows — same architecture, materials,\nfixtures), pose/immobility and carried-state clauses, and every\nexclusion (no text, no invented people or objects). Consistency\nwith the attached reference image counts as prompt fidelity.\nIgnore generic aesthetic appeal.\nCheck every candidate point by point before deciding; base every\nverdict only on what is visible.\nAlso give every candidate an integer score 0-10 for that same\nfidelity.\nOutput: winner, ranking best-to-worst, and per candidate a score\nplus a one-line Korean verdict citing the decisive prompt points.", "user_prompt": "[{\"type\": \"text\", \"text\": \"THE PROMPT (all three candidates were generated from this):\\nCreate ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\\n\\nSHOT TEXT (authoritative, Korean): 어두운 얼룩 없이 깨끗한 방 내부 전경\\n\\nLOCATION (lock): A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.\\n\\nTHIS SHOT CONTINUES THE PREVIOUS SHOT: everything the attached still established — the place, its fixed features and wear, each person's clothing and state — persists. Any person in it who cannot move stays PRECISELY as photographed (body, pose, contact points, held objects); only the camera changes.\\n\\nPREVIOUS STILL USAGE (follow exactly — what to take from the attached still and what to exclude): Take only the bedroom's fixed architecture, worn wall materials, bed placement, curtain, and nighttime lighting from the reference. Preserve the same camera-space layout. Exclude the dead woman, all dark stainsstains, dark-stained footprints, wounds, and the earlier disturbed state so the room appears unnaturally clean.\\n\\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\\ntext may describe characters metaphorically, figuratively or with\\nexaggeration. Photograph what a real movie camera would actually\\nrecord on a physical set — exaggerated or figurative impressions\\nbecome realistic staging choices (lighting, distance, angle,\\nwardrobe), not literal fantasy imagery.\\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\\nfeatures non-human or virtual beings (as in science fiction or\\nfantasy), every character — however indirectly, vaguely or\\nfiguratively the text describes them — IS a real human. When the\\ntext gives no direct visual description of a person, IMAGINE one\\nand still show them as a concrete, fully-formed human being:\\nalways render the human form to the maximum extent — build,\\nposture, face, hands, clothing — never reduce a person to a shape,\\nblob, solid silhouette or abstract mass.\\n\\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\\nperson's eyes, face or presence emotionally or figuratively (vacant,\\nhollow, dazed, burning, lifeless gaze and the like), it describes an\\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\\nthrough gaze direction, focus, eyelids, facial muscles, stillness\\nand posture. Every living person's eyes remain anatomically normal\\nhuman eyes with a natural iris and pupil, natural sclera and normal\\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\\notherwise alter eyeballs, skin or anatomy — unless the story\\nexplicitly declares that being non-human or supernatural in form.\\n\\nMOVEMENT (follow exactly): static: the excessively tidy bedroom stands empty, with no dark stainsstains, red wall mark, or collapsed body remaining anywhere in the room.\\n\\nFIGURES — size & depth (follow exactly): The empty room fills the full frame; nearer floor and furniture edges occupy the foreground, while the bed, curtain, and clean back wall are FARTHER away. No person is visible, and the formerly occupied curtain area is now empty.\\n\\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The room is unnaturally spotless, with no dark stains, wall circle, or motionless figure behind the curtain. The backpack and doll are present in positions slightly different from when the body was discovered.\\n\\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 수리영, 혜수 — never anyone else, and never add a person the shot text does not show.\\n\\nNo text, captions, watermarks or annotations anywhere.\"}, {\"type\": \"text\", \"text\": \"REFERENCE — PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing. If this photo shows a character who cannot move (dead or unconscious), that character's exact pose, position and orientation are ALSO LOCKED — treat their body as a fixed prop of the set that only the camera moves around.\"}, {\"type\": \"text\", \"text\": \"Candidate A:\"}, {\"type\": \"text\", \"text\": \"Candidate B:\"}, {\"type\": \"text\", \"text\": \"Candidate C:\"}]"}
{"ts": "2026-07-13 15:49:55", "kind": "llm", "step": "s39_judge_gemini_S14sh5", "model": "gemini-pro", "dur_s": 25.5, "system_prompt": "You are given ONE image-generation prompt, the REFERENCE image(s)\nthat were attached to it (labelled), and THREE candidate images,\nlabelled A, B, C in the order attached, all generated from that\nexact prompt with those exact references.\nPick the ONE candidate that most faithfully realises the prompt.\nJudge ONLY fidelity to the prompt and its reference instructions:\nthe shot text's moment and action, who is and is NOT in frame,\ncamera framing, time of day, the LOCATION lock (the place must be\nthe one the reference shows — same architecture, materials,\nfixtures), pose/immobility and carried-state clauses, and every\nexclusion (no text, no invented people or objects). Consistency\nwith the attached reference image counts as prompt fidelity.\nIgnore generic aesthetic appeal.\nCheck every candidate point by point before deciding; base every\nverdict only on what is visible.\nAlso give every candidate an integer score 0-10 for that same\nfidelity.\nOutput: winner, ranking best-to-worst, and per candidate a score\nplus a one-line Korean verdict citing the decisive prompt points.", "user_prompt": "[{\"type\": \"text\", \"text\": \"THE PROMPT (all three candidates were generated from this):\\nCreate ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\\n\\nSHOT TEXT (authoritative, Korean): 어두운 얼룩 없이 깨끗한 방 내부 전경\\n\\nLOCATION (lock): A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.\\n\\nTHIS SHOT CONTINUES THE PREVIOUS SHOT: everything the attached still established — the place, its fixed features and wear, each person's clothing and state — persists. Any person in it who cannot move stays PRECISELY as photographed (body, pose, contact points, held objects); only the camera changes.\\n\\nPREVIOUS STILL USAGE (follow exactly — what to take from the attached still and what to exclude): Take only the bedroom's fixed architecture, worn wall materials, bed placement, curtain, and nighttime lighting from the reference. Preserve the same camera-space layout. Exclude the dead woman, all dark stainsstains, dark-stained footprints, wounds, and the earlier disturbed state so the room appears unnaturally clean.\\n\\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\\ntext may describe characters metaphorically, figuratively or with\\nexaggeration. Photograph what a real movie camera would actually\\nrecord on a physical set — exaggerated or figurative impressions\\nbecome realistic staging choices (lighting, distance, angle,\\nwardrobe), not literal fantasy imagery.\\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\\nfeatures non-human or virtual beings (as in science fiction or\\nfantasy), every character — however indirectly, vaguely or\\nfiguratively the text describes them — IS a real human. When the\\ntext gives no direct visual description of a person, IMAGINE one\\nand still show them as a concrete, fully-formed human being:\\nalways render the human form to the maximum extent — build,\\nposture, face, hands, clothing — never reduce a person to a shape,\\nblob, solid silhouette or abstract mass.\\n\\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\\nperson's eyes, face or presence emotionally or figuratively (vacant,\\nhollow, dazed, burning, lifeless gaze and the like), it describes an\\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\\nthrough gaze direction, focus, eyelids, facial muscles, stillness\\nand posture. Every living person's eyes remain anatomically normal\\nhuman eyes with a natural iris and pupil, natural sclera and normal\\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\\notherwise alter eyeballs, skin or anatomy — unless the story\\nexplicitly declares that being non-human or supernatural in form.\\n\\nMOVEMENT (follow exactly): static: the excessively tidy bedroom stands empty, with no dark stainsstains, red wall mark, or collapsed body remaining anywhere in the room.\\n\\nFIGURES — size & depth (follow exactly): The empty room fills the full frame; nearer floor and furniture edges occupy the foreground, while the bed, curtain, and clean back wall are FARTHER away. No person is visible, and the formerly occupied curtain area is now empty.\\n\\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The room is unnaturally spotless, with no dark stains, wall circle, or motionless figure behind the curtain. The backpack and doll are present in positions slightly different from when the body was discovered.\\n\\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 수리영, 혜수 — never anyone else, and never add a person the shot text does not show.\\n\\nNo text, captions, watermarks or annotations anywhere.\"}, {\"type\": \"text\", \"text\": \"REFERENCE — PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing. If this photo shows a character who cannot move (dead or unconscious), that character's exact pose, position and orientation are ALSO LOCKED — treat their body as a fixed prop of the set that only the camera moves around.\"}, {\"type\": \"text\", \"text\": \"Candidate A:\"}, {\"type\": \"text\", \"text\": \"Candidate B:\"}, {\"type\": \"text\", \"text\": \"Candidate C:\"}]"}
{"ts": "2026-07-13 15:50:15", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s39_S14sh7_a", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s39/stills/S14sh5_sel.png"], "ref_labels": ["PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing. If this photo shows a character who cannot move (dead or unconscious), that character's exact pose, position and orientation are ALSO LOCKED — treat their body as a fixed prop of the set that only the camera moves around."], "attempt": 1, "dur_s": 20.5, "bytes": 2254529, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s39/stills/S14sh7_a.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\n\nSHOT TEXT (authoritative, Korean): 수리영이 멍한 눈으로 텅 빈 방 안을 응시하는 얼굴 클로즈업\n\nLOCATION (lock): A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.\n\nTHIS SHOT CONTINUES THE PREVIOUS SHOT: everything the attached still established — the place, its fixed features and wear, each person's clothing and state — persists. Any person in it who cannot move stays PRECISELY as photographed (body, pose, contact points, held objects); only the camera changes.\n\nPREVIOUS STILL USAGE (follow exactly — what to take from the attached still and what to exclude): Take the spotless bedroom layout, fixed furnishings, worn surfaces, and nighttime lighting from the reference. Keep the room free of dark stains, a body, and the red wall mark. Exclude the wide empty-room composition from the close-up, showing only as much background as supports the woman's stunned gaze.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nMOVEMENT (follow exactly): static: pale-faced Su-ri-young holds her body rigid and stares blankly into the empty bedroom where she expected to find her mother's body.\n\nFIGURES — size & depth (follow exactly): Su-ri-young's face fills about 2/3 of the frame height and is the NEAREST figure. The empty room she watches is FARTHER beyond her eyeline, with no other person visible.\n\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The empty room remains excessively clean, with the motionless figure, dark stains, and red wall mark still absent. The backpack and doll remain in their altered positions.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 수리영 — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-13 15:50:35", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s39_S14sh7_b", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s39/stills/S14sh5_sel.png"], "ref_labels": ["PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing. If this photo shows a character who cannot move (dead or unconscious), that character's exact pose, position and orientation are ALSO LOCKED — treat their body as a fixed prop of the set that only the camera moves around."], "attempt": 1, "dur_s": 19.7, "bytes": 2073927, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s39/stills/S14sh7_b.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\n\nSHOT TEXT (authoritative, Korean): 수리영이 멍한 눈으로 텅 빈 방 안을 응시하는 얼굴 클로즈업\n\nLOCATION (lock): A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.\n\nTHIS SHOT CONTINUES THE PREVIOUS SHOT: everything the attached still established — the place, its fixed features and wear, each person's clothing and state — persists. Any person in it who cannot move stays PRECISELY as photographed (body, pose, contact points, held objects); only the camera changes.\n\nPREVIOUS STILL USAGE (follow exactly — what to take from the attached still and what to exclude): Take the spotless bedroom layout, fixed furnishings, worn surfaces, and nighttime lighting from the reference. Keep the room free of dark stains, a body, and the red wall mark. Exclude the wide empty-room composition from the close-up, showing only as much background as supports the woman's stunned gaze.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nMOVEMENT (follow exactly): static: pale-faced Su-ri-young holds her body rigid and stares blankly into the empty bedroom where she expected to find her mother's body.\n\nFIGURES — size & depth (follow exactly): Su-ri-young's face fills about 2/3 of the frame height and is the NEAREST figure. The empty room she watches is FARTHER beyond her eyeline, with no other person visible.\n\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The empty room remains excessively clean, with the motionless figure, dark stains, and red wall mark still absent. The backpack and doll remain in their altered positions.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 수리영 — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-13 15:51:03", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s39_S14sh7_c", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s39/stills/S14sh5_sel.png"], "ref_labels": ["PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing. If this photo shows a character who cannot move (dead or unconscious), that character's exact pose, position and orientation are ALSO LOCKED — treat their body as a fixed prop of the set that only the camera moves around."], "attempt": 1, "dur_s": 28.3, "bytes": 2132583, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s39/stills/S14sh7_c.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\n\nSHOT TEXT (authoritative, Korean): 수리영이 멍한 눈으로 텅 빈 방 안을 응시하는 얼굴 클로즈업\n\nLOCATION (lock): A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.\n\nTHIS SHOT CONTINUES THE PREVIOUS SHOT: everything the attached still established — the place, its fixed features and wear, each person's clothing and state — persists. Any person in it who cannot move stays PRECISELY as photographed (body, pose, contact points, held objects); only the camera changes.\n\nPREVIOUS STILL USAGE (follow exactly — what to take from the attached still and what to exclude): Take the spotless bedroom layout, fixed furnishings, worn surfaces, and nighttime lighting from the reference. Keep the room free of dark stains, a body, and the red wall mark. Exclude the wide empty-room composition from the close-up, showing only as much background as supports the woman's stunned gaze.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nMOVEMENT (follow exactly): static: pale-faced Su-ri-young holds her body rigid and stares blankly into the empty bedroom where she expected to find her mother's body.\n\nFIGURES — size & depth (follow exactly): Su-ri-young's face fills about 2/3 of the frame height and is the NEAREST figure. The empty room she watches is FARTHER beyond her eyeline, with no other person visible.\n\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The empty room remains excessively clean, with the motionless figure, dark stains, and red wall mark still absent. The backpack and doll remain in their altered positions.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 수리영 — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-13 15:51:21", "kind": "llm", "step": "s39_judge_gpt_S14sh7", "model": "gpt", "dur_s": 17.8, "system_prompt": "You are given ONE image-generation prompt, the REFERENCE image(s)\nthat were attached to it (labelled), and THREE candidate images,\nlabelled A, B, C in the order attached, all generated from that\nexact prompt with those exact references.\nPick the ONE candidate that most faithfully realises the prompt.\nJudge ONLY fidelity to the prompt and its reference instructions:\nthe shot text's moment and action, who is and is NOT in frame,\ncamera framing, time of day, the LOCATION lock (the place must be\nthe one the reference shows — same architecture, materials,\nfixtures), pose/immobility and carried-state clauses, and every\nexclusion (no text, no invented people or objects). Consistency\nwith the attached reference image counts as prompt fidelity.\nIgnore generic aesthetic appeal.\nCheck every candidate point by point before deciding; base every\nverdict only on what is visible.\nAlso give every candidate an integer score 0-10 for that same\nfidelity.\nOutput: winner, ranking best-to-worst, and per candidate a score\nplus a one-line Korean verdict citing the decisive prompt points.", "user_prompt": "[{\"type\": \"text\", \"text\": \"THE PROMPT (all three candidates were generated from this):\\nCreate ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\\n\\nSHOT TEXT (authoritative, Korean): 수리영이 멍한 눈으로 텅 빈 방 안을 응시하는 얼굴 클로즈업\\n\\nLOCATION (lock): A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.\\n\\nTHIS SHOT CONTINUES THE PREVIOUS SHOT: everything the attached still established — the place, its fixed features and wear, each person's clothing and state — persists. Any person in it who cannot move stays PRECISELY as photographed (body, pose, contact points, held objects); only the camera changes.\\n\\nPREVIOUS STILL USAGE (follow exactly — what to take from the attached still and what to exclude): Take the spotless bedroom layout, fixed furnishings, worn surfaces, and nighttime lighting from the reference. Keep the room free of dark stains, a body, and the red wall mark. Exclude the wide empty-room composition from the close-up, showing only as much background as supports the woman's stunned gaze.\\n\\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\\ntext may describe characters metaphorically, figuratively or with\\nexaggeration. Photograph what a real movie camera would actually\\nrecord on a physical set — exaggerated or figurative impressions\\nbecome realistic staging choices (lighting, distance, angle,\\nwardrobe), not literal fantasy imagery.\\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\\nfeatures non-human or virtual beings (as in science fiction or\\nfantasy), every character — however indirectly, vaguely or\\nfiguratively the text describes them — IS a real human. When the\\ntext gives no direct visual description of a person, IMAGINE one\\nand still show them as a concrete, fully-formed human being:\\nalways render the human form to the maximum extent — build,\\nposture, face, hands, clothing — never reduce a person to a shape,\\nblob, solid silhouette or abstract mass.\\n\\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\\nperson's eyes, face or presence emotionally or figuratively (vacant,\\nhollow, dazed, burning, lifeless gaze and the like), it describes an\\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\\nthrough gaze direction, focus, eyelids, facial muscles, stillness\\nand posture. Every living person's eyes remain anatomically normal\\nhuman eyes with a natural iris and pupil, natural sclera and normal\\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\\notherwise alter eyeballs, skin or anatomy — unless the story\\nexplicitly declares that being non-human or supernatural in form.\\n\\nMOVEMENT (follow exactly): static: pale-faced Su-ri-young holds her body rigid and stares blankly into the empty bedroom where she expected to find her mother's body.\\n\\nFIGURES — size & depth (follow exactly): Su-ri-young's face fills about 2/3 of the frame height and is the NEAREST figure. The empty room she watches is FARTHER beyond her eyeline, with no other person visible.\\n\\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The empty room remains excessively clean, with the motionless figure, dark stains, and red wall mark still absent. The backpack and doll remain in their altered positions.\\n\\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 수리영 — never anyone else, and never add a person the shot text does not show.\\n\\nNo text, captions, watermarks or annotations anywhere.\"}, {\"type\": \"text\", \"text\": \"REFERENCE — PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing. If this photo shows a character who cannot move (dead or unconscious), that character's exact pose, position and orientation are ALSO LOCKED — treat their body as a fixed prop of the set that only the camera moves around.\"}, {\"type\": \"text\", \"text\": \"Candidate A:\"}, {\"type\": \"text\", \"text\": \"Candidate B:\"}, {\"type\": \"text\", \"text\": \"Candidate C:\"}]"}
{"ts": "2026-07-13 15:51:50", "kind": "llm", "step": "s39_judge_gemini_S14sh7", "model": "gemini-pro", "dur_s": 28.5, "system_prompt": "You are given ONE image-generation prompt, the REFERENCE image(s)\nthat were attached to it (labelled), and THREE candidate images,\nlabelled A, B, C in the order attached, all generated from that\nexact prompt with those exact references.\nPick the ONE candidate that most faithfully realises the prompt.\nJudge ONLY fidelity to the prompt and its reference instructions:\nthe shot text's moment and action, who is and is NOT in frame,\ncamera framing, time of day, the LOCATION lock (the place must be\nthe one the reference shows — same architecture, materials,\nfixtures), pose/immobility and carried-state clauses, and every\nexclusion (no text, no invented people or objects). Consistency\nwith the attached reference image counts as prompt fidelity.\nIgnore generic aesthetic appeal.\nCheck every candidate point by point before deciding; base every\nverdict only on what is visible.\nAlso give every candidate an integer score 0-10 for that same\nfidelity.\nOutput: winner, ranking best-to-worst, and per candidate a score\nplus a one-line Korean verdict citing the decisive prompt points.", "user_prompt": "[{\"type\": \"text\", \"text\": \"THE PROMPT (all three candidates were generated from this):\\nCreate ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\\n\\nSHOT TEXT (authoritative, Korean): 수리영이 멍한 눈으로 텅 빈 방 안을 응시하는 얼굴 클로즈업\\n\\nLOCATION (lock): A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.\\n\\nTHIS SHOT CONTINUES THE PREVIOUS SHOT: everything the attached still established — the place, its fixed features and wear, each person's clothing and state — persists. Any person in it who cannot move stays PRECISELY as photographed (body, pose, contact points, held objects); only the camera changes.\\n\\nPREVIOUS STILL USAGE (follow exactly — what to take from the attached still and what to exclude): Take the spotless bedroom layout, fixed furnishings, worn surfaces, and nighttime lighting from the reference. Keep the room free of dark stains, a body, and the red wall mark. Exclude the wide empty-room composition from the close-up, showing only as much background as supports the woman's stunned gaze.\\n\\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\\ntext may describe characters metaphorically, figuratively or with\\nexaggeration. Photograph what a real movie camera would actually\\nrecord on a physical set — exaggerated or figurative impressions\\nbecome realistic staging choices (lighting, distance, angle,\\nwardrobe), not literal fantasy imagery.\\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\\nfeatures non-human or virtual beings (as in science fiction or\\nfantasy), every character — however indirectly, vaguely or\\nfiguratively the text describes them — IS a real human. When the\\ntext gives no direct visual description of a person, IMAGINE one\\nand still show them as a concrete, fully-formed human being:\\nalways render the human form to the maximum extent — build,\\nposture, face, hands, clothing — never reduce a person to a shape,\\nblob, solid silhouette or abstract mass.\\n\\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\\nperson's eyes, face or presence emotionally or figuratively (vacant,\\nhollow, dazed, burning, lifeless gaze and the like), it describes an\\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\\nthrough gaze direction, focus, eyelids, facial muscles, stillness\\nand posture. Every living person's eyes remain anatomically normal\\nhuman eyes with a natural iris and pupil, natural sclera and normal\\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\\notherwise alter eyeballs, skin or anatomy — unless the story\\nexplicitly declares that being non-human or supernatural in form.\\n\\nMOVEMENT (follow exactly): static: pale-faced Su-ri-young holds her body rigid and stares blankly into the empty bedroom where she expected to find her mother's body.\\n\\nFIGURES — size & depth (follow exactly): Su-ri-young's face fills about 2/3 of the frame height and is the NEAREST figure. The empty room she watches is FARTHER beyond her eyeline, with no other person visible.\\n\\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The empty room remains excessively clean, with the motionless figure, dark stains, and red wall mark still absent. The backpack and doll remain in their altered positions.\\n\\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 수리영 — never anyone else, and never add a person the shot text does not show.\\n\\nNo text, captions, watermarks or annotations anywhere.\"}, {\"type\": \"text\", \"text\": \"REFERENCE — PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing. If this photo shows a character who cannot move (dead or unconscious), that character's exact pose, position and orientation are ALSO LOCKED — treat their body as a fixed prop of the set that only the camera moves around.\"}, {\"type\": \"text\", \"text\": \"Candidate A:\"}, {\"type\": \"text\", \"text\": \"Candidate B:\"}, {\"type\": \"text\", \"text\": \"Candidate C:\"}]"}
{"ts": "2026-07-13 15:52:13", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s39_S14sh11_a", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/plate_entry_night_inward_view.png"], "ref_labels": ["LOCATION PHOTOGRAPH — the exact place of this shot: its architecture, materials, fixed features and lighting mood are spatial truth; stage the moment inside this place. Never copy its camera framing."], "attempt": 1, "dur_s": 23.4, "bytes": 2372124, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s39/stills/S14sh11_a.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\n\nSHOT TEXT (authoritative, Korean): 혜수가 날카로운 눈빛으로 김형사를 노려보는 모습\n\nLOCATION (lock): A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nMOVEMENT (follow exactly): static: Hye-su fixes a sharp, hostile stare toward Detective Kim, her face and body oriented directly at him.\n\nFIGURES — size & depth (follow exactly): Hye-su fills roughly 2/3 of the frame height and is the NEAREST visible figure. Detective Kim is the FARTHER target of her gaze, whether at the edge of the frame or just off-screen, with no crossing movement between them.\n\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The apartment remains cleared of the earlier evidence: the table is clean, and Suri-young’s room has no motionless figure, dark stains, or red circle. The backpack and doll remain slightly displaced from their earlier positions.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 혜수 — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-13 15:52:33", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s39_S14sh11_b", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/plate_entry_night_inward_view.png"], "ref_labels": ["LOCATION PHOTOGRAPH — the exact place of this shot: its architecture, materials, fixed features and lighting mood are spatial truth; stage the moment inside this place. Never copy its camera framing."], "attempt": 1, "dur_s": 19.7, "bytes": 2419703, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s39/stills/S14sh11_b.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\n\nSHOT TEXT (authoritative, Korean): 혜수가 날카로운 눈빛으로 김형사를 노려보는 모습\n\nLOCATION (lock): A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nMOVEMENT (follow exactly): static: Hye-su fixes a sharp, hostile stare toward Detective Kim, her face and body oriented directly at him.\n\nFIGURES — size & depth (follow exactly): Hye-su fills roughly 2/3 of the frame height and is the NEAREST visible figure. Detective Kim is the FARTHER target of her gaze, whether at the edge of the frame or just off-screen, with no crossing movement between them.\n\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The apartment remains cleared of the earlier evidence: the table is clean, and Suri-young’s room has no motionless figure, dark stains, or red circle. The backpack and doll remain slightly displaced from their earlier positions.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 혜수 — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-13 15:52:56", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s39_S14sh11_c", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/plate_entry_night_inward_view.png"], "ref_labels": ["LOCATION PHOTOGRAPH — the exact place of this shot: its architecture, materials, fixed features and lighting mood are spatial truth; stage the moment inside this place. Never copy its camera framing."], "attempt": 1, "dur_s": 22.7, "bytes": 2682005, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s39/stills/S14sh11_c.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\n\nSHOT TEXT (authoritative, Korean): 혜수가 날카로운 눈빛으로 김형사를 노려보는 모습\n\nLOCATION (lock): A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nMOVEMENT (follow exactly): static: Hye-su fixes a sharp, hostile stare toward Detective Kim, her face and body oriented directly at him.\n\nFIGURES — size & depth (follow exactly): Hye-su fills roughly 2/3 of the frame height and is the NEAREST visible figure. Detective Kim is the FARTHER target of her gaze, whether at the edge of the frame or just off-screen, with no crossing movement between them.\n\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The apartment remains cleared of the earlier evidence: the table is clean, and Suri-young’s room has no motionless figure, dark stains, or red circle. The backpack and doll remain slightly displaced from their earlier positions.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 혜수 — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-13 15:53:12", "kind": "llm", "step": "s39_judge_gpt_S14sh11", "model": "gpt", "dur_s": 16.5, "system_prompt": "You are given ONE image-generation prompt, the REFERENCE image(s)\nthat were attached to it (labelled), and THREE candidate images,\nlabelled A, B, C in the order attached, all generated from that\nexact prompt with those exact references.\nPick the ONE candidate that most faithfully realises the prompt.\nJudge ONLY fidelity to the prompt and its reference instructions:\nthe shot text's moment and action, who is and is NOT in frame,\ncamera framing, time of day, the LOCATION lock (the place must be\nthe one the reference shows — same architecture, materials,\nfixtures), pose/immobility and carried-state clauses, and every\nexclusion (no text, no invented people or objects). Consistency\nwith the attached reference image counts as prompt fidelity.\nIgnore generic aesthetic appeal.\nCheck every candidate point by point before deciding; base every\nverdict only on what is visible.\nAlso give every candidate an integer score 0-10 for that same\nfidelity.\nOutput: winner, ranking best-to-worst, and per candidate a score\nplus a one-line Korean verdict citing the decisive prompt points.", "user_prompt": "[{\"type\": \"text\", \"text\": \"THE PROMPT (all three candidates were generated from this):\\nCreate ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\\n\\nSHOT TEXT (authoritative, Korean): 혜수가 날카로운 눈빛으로 김형사를 노려보는 모습\\n\\nLOCATION (lock): A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.\\n\\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\\ntext may describe characters metaphorically, figuratively or with\\nexaggeration. Photograph what a real movie camera would actually\\nrecord on a physical set — exaggerated or figurative impressions\\nbecome realistic staging choices (lighting, distance, angle,\\nwardrobe), not literal fantasy imagery.\\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\\nfeatures non-human or virtual beings (as in science fiction or\\nfantasy), every character — however indirectly, vaguely or\\nfiguratively the text describes them — IS a real human. When the\\ntext gives no direct visual description of a person, IMAGINE one\\nand still show them as a concrete, fully-formed human being:\\nalways render the human form to the maximum extent — build,\\nposture, face, hands, clothing — never reduce a person to a shape,\\nblob, solid silhouette or abstract mass.\\n\\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\\nperson's eyes, face or presence emotionally or figuratively (vacant,\\nhollow, dazed, burning, lifeless gaze and the like), it describes an\\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\\nthrough gaze direction, focus, eyelids, facial muscles, stillness\\nand posture. Every living person's eyes remain anatomically normal\\nhuman eyes with a natural iris and pupil, natural sclera and normal\\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\\notherwise alter eyeballs, skin or anatomy — unless the story\\nexplicitly declares that being non-human or supernatural in form.\\n\\nMOVEMENT (follow exactly): static: Hye-su fixes a sharp, hostile stare toward Detective Kim, her face and body oriented directly at him.\\n\\nFIGURES — size & depth (follow exactly): Hye-su fills roughly 2/3 of the frame height and is the NEAREST visible figure. Detective Kim is the FARTHER target of her gaze, whether at the edge of the frame or just off-screen, with no crossing movement between them.\\n\\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The apartment remains cleared of the earlier evidence: the table is clean, and Suri-young’s room has no motionless figure, dark stains, or red circle. The backpack and doll remain slightly displaced from their earlier positions.\\n\\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 혜수 — never anyone else, and never add a person the shot text does not show.\\n\\nNo text, captions, watermarks or annotations anywhere.\"}, {\"type\": \"text\", \"text\": \"REFERENCE — LOCATION PHOTOGRAPH — the exact place of this shot: its architecture, materials, fixed features and lighting mood are spatial truth; stage the moment inside this place. Never copy its camera framing.\"}, {\"type\": \"text\", \"text\": \"Candidate A:\"}, {\"type\": \"text\", \"text\": \"Candidate B:\"}, {\"type\": \"text\", \"text\": \"Candidate C:\"}]"}
{"ts": "2026-07-13 15:54:02", "kind": "llm", "step": "s39_judge_gemini_S14sh11", "model": "gemini-pro", "dur_s": 50.2, "system_prompt": "You are given ONE image-generation prompt, the REFERENCE image(s)\nthat were attached to it (labelled), and THREE candidate images,\nlabelled A, B, C in the order attached, all generated from that\nexact prompt with those exact references.\nPick the ONE candidate that most faithfully realises the prompt.\nJudge ONLY fidelity to the prompt and its reference instructions:\nthe shot text's moment and action, who is and is NOT in frame,\ncamera framing, time of day, the LOCATION lock (the place must be\nthe one the reference shows — same architecture, materials,\nfixtures), pose/immobility and carried-state clauses, and every\nexclusion (no text, no invented people or objects). Consistency\nwith the attached reference image counts as prompt fidelity.\nIgnore generic aesthetic appeal.\nCheck every candidate point by point before deciding; base every\nverdict only on what is visible.\nAlso give every candidate an integer score 0-10 for that same\nfidelity.\nOutput: winner, ranking best-to-worst, and per candidate a score\nplus a one-line Korean verdict citing the decisive prompt points.", "user_prompt": "[{\"type\": \"text\", \"text\": \"THE PROMPT (all three candidates were generated from this):\\nCreate ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\\n\\nSHOT TEXT (authoritative, Korean): 혜수가 날카로운 눈빛으로 김형사를 노려보는 모습\\n\\nLOCATION (lock): A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.\\n\\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\\ntext may describe characters metaphorically, figuratively or with\\nexaggeration. Photograph what a real movie camera would actually\\nrecord on a physical set — exaggerated or figurative impressions\\nbecome realistic staging choices (lighting, distance, angle,\\nwardrobe), not literal fantasy imagery.\\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\\nfeatures non-human or virtual beings (as in science fiction or\\nfantasy), every character — however indirectly, vaguely or\\nfiguratively the text describes them — IS a real human. When the\\ntext gives no direct visual description of a person, IMAGINE one\\nand still show them as a concrete, fully-formed human being:\\nalways render the human form to the maximum extent — build,\\nposture, face, hands, clothing — never reduce a person to a shape,\\nblob, solid silhouette or abstract mass.\\n\\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\\nperson's eyes, face or presence emotionally or figuratively (vacant,\\nhollow, dazed, burning, lifeless gaze and the like), it describes an\\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\\nthrough gaze direction, focus, eyelids, facial muscles, stillness\\nand posture. Every living person's eyes remain anatomically normal\\nhuman eyes with a natural iris and pupil, natural sclera and normal\\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\\notherwise alter eyeballs, skin or anatomy — unless the story\\nexplicitly declares that being non-human or supernatural in form.\\n\\nMOVEMENT (follow exactly): static: Hye-su fixes a sharp, hostile stare toward Detective Kim, her face and body oriented directly at him.\\n\\nFIGURES — size & depth (follow exactly): Hye-su fills roughly 2/3 of the frame height and is the NEAREST visible figure. Detective Kim is the FARTHER target of her gaze, whether at the edge of the frame or just off-screen, with no crossing movement between them.\\n\\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The apartment remains cleared of the earlier evidence: the table is clean, and Suri-young’s room has no motionless figure, dark stains, or red circle. The backpack and doll remain slightly displaced from their earlier positions.\\n\\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 혜수 — never anyone else, and never add a person the shot text does not show.\\n\\nNo text, captions, watermarks or annotations anywhere.\"}, {\"type\": \"text\", \"text\": \"REFERENCE — LOCATION PHOTOGRAPH — the exact place of this shot: its architecture, materials, fixed features and lighting mood are spatial truth; stage the moment inside this place. Never copy its camera framing.\"}, {\"type\": \"text\", \"text\": \"Candidate A:\"}, {\"type\": \"text\", \"text\": \"Candidate B:\"}, {\"type\": \"text\", \"text\": \"Candidate C:\"}]"}
{"ts": "2026-07-13 15:54:26", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s39_S17sh2_a", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/bg4_S17sh2.png"], "ref_labels": ["LOCATION PHOTOGRAPH — the exact place of this shot: its architecture, materials, fixed features and lighting mood are spatial truth; stage the moment inside this place. Never copy its camera framing."], "attempt": 1, "dur_s": 23.6, "bytes": 2539535, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s39/stills/S17sh2_a.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): dawn.\n\nSHOT TEXT (authoritative, Korean): 옥상 담벼락 위에서 한쪽 앞발을 허공으로 뻗은 검은 고양이의 측면\n\nLOCATION (lock): The flat rooftop of an aging low-rise apartment building, enclosed by a waist-high parapet. A small rooftop dwelling has a metal entrance door and a window visible from the open roof. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nMOVEMENT (follow exactly): The black cat moves side-on across and over the rooftop wall toward the opposite side, extending one forepaw into the air as its body follows.\n\nFIGURES — size & depth (follow exactly): The cat appears medium-sized, about ~1/3 of the frame height, and is NEARER to the camera than the FARTHER side beyond the wall; the wall runs beneath its crossing path.\n\nNo people appear unless the shot text itself says so.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-13 15:54:46", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s39_S17sh2_b", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/bg4_S17sh2.png"], "ref_labels": ["LOCATION PHOTOGRAPH — the exact place of this shot: its architecture, materials, fixed features and lighting mood are spatial truth; stage the moment inside this place. Never copy its camera framing."], "attempt": 1, "dur_s": 20.3, "bytes": 2212840, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s39/stills/S17sh2_b.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): dawn.\n\nSHOT TEXT (authoritative, Korean): 옥상 담벼락 위에서 한쪽 앞발을 허공으로 뻗은 검은 고양이의 측면\n\nLOCATION (lock): The flat rooftop of an aging low-rise apartment building, enclosed by a waist-high parapet. A small rooftop dwelling has a metal entrance door and a window visible from the open roof. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nMOVEMENT (follow exactly): The black cat moves side-on across and over the rooftop wall toward the opposite side, extending one forepaw into the air as its body follows.\n\nFIGURES — size & depth (follow exactly): The cat appears medium-sized, about ~1/3 of the frame height, and is NEARER to the camera than the FARTHER side beyond the wall; the wall runs beneath its crossing path.\n\nNo people appear unless the shot text itself says so.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-13 15:55:09", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s39_S17sh2_c", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/bg4_S17sh2.png"], "ref_labels": ["LOCATION PHOTOGRAPH — the exact place of this shot: its architecture, materials, fixed features and lighting mood are spatial truth; stage the moment inside this place. Never copy its camera framing."], "attempt": 1, "dur_s": 22.4, "bytes": 2212426, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s39/stills/S17sh2_c.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): dawn.\n\nSHOT TEXT (authoritative, Korean): 옥상 담벼락 위에서 한쪽 앞발을 허공으로 뻗은 검은 고양이의 측면\n\nLOCATION (lock): The flat rooftop of an aging low-rise apartment building, enclosed by a waist-high parapet. A small rooftop dwelling has a metal entrance door and a window visible from the open roof. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nMOVEMENT (follow exactly): The black cat moves side-on across and over the rooftop wall toward the opposite side, extending one forepaw into the air as its body follows.\n\nFIGURES — size & depth (follow exactly): The cat appears medium-sized, about ~1/3 of the frame height, and is NEARER to the camera than the FARTHER side beyond the wall; the wall runs beneath its crossing path.\n\nNo people appear unless the shot text itself says so.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-13 15:55:20", "kind": "llm", "step": "s39_judge_gpt_S17sh2", "model": "gpt", "dur_s": 11.2, "system_prompt": "You are given ONE image-generation prompt, the REFERENCE image(s)\nthat were attached to it (labelled), and THREE candidate images,\nlabelled A, B, C in the order attached, all generated from that\nexact prompt with those exact references.\nPick the ONE candidate that most faithfully realises the prompt.\nJudge ONLY fidelity to the prompt and its reference instructions:\nthe shot text's moment and action, who is and is NOT in frame,\ncamera framing, time of day, the LOCATION lock (the place must be\nthe one the reference shows — same architecture, materials,\nfixtures), pose/immobility and carried-state clauses, and every\nexclusion (no text, no invented people or objects). Consistency\nwith the attached reference image counts as prompt fidelity.\nIgnore generic aesthetic appeal.\nCheck every candidate point by point before deciding; base every\nverdict only on what is visible.\nAlso give every candidate an integer score 0-10 for that same\nfidelity.\nOutput: winner, ranking best-to-worst, and per candidate a score\nplus a one-line Korean verdict citing the decisive prompt points.", "user_prompt": "[{\"type\": \"text\", \"text\": \"THE PROMPT (all three candidates were generated from this):\\nCreate ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): dawn.\\n\\nSHOT TEXT (authoritative, Korean): 옥상 담벼락 위에서 한쪽 앞발을 허공으로 뻗은 검은 고양이의 측면\\n\\nLOCATION (lock): The flat rooftop of an aging low-rise apartment building, enclosed by a waist-high parapet. A small rooftop dwelling has a metal entrance door and a window visible from the open roof. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.\\n\\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\\ntext may describe characters metaphorically, figuratively or with\\nexaggeration. Photograph what a real movie camera would actually\\nrecord on a physical set — exaggerated or figurative impressions\\nbecome realistic staging choices (lighting, distance, angle,\\nwardrobe), not literal fantasy imagery.\\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\\nfeatures non-human or virtual beings (as in science fiction or\\nfantasy), every character — however indirectly, vaguely or\\nfiguratively the text describes them — IS a real human. When the\\ntext gives no direct visual description of a person, IMAGINE one\\nand still show them as a concrete, fully-formed human being:\\nalways render the human form to the maximum extent — build,\\nposture, face, hands, clothing — never reduce a person to a shape,\\nblob, solid silhouette or abstract mass.\\n\\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\\nperson's eyes, face or presence emotionally or figuratively (vacant,\\nhollow, dazed, burning, lifeless gaze and the like), it describes an\\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\\nthrough gaze direction, focus, eyelids, facial muscles, stillness\\nand posture. Every living person's eyes remain anatomically normal\\nhuman eyes with a natural iris and pupil, natural sclera and normal\\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\\notherwise alter eyeballs, skin or anatomy — unless the story\\nexplicitly declares that being non-human or supernatural in form.\\n\\nMOVEMENT (follow exactly): The black cat moves side-on across and over the rooftop wall toward the opposite side, extending one forepaw into the air as its body follows.\\n\\nFIGURES — size & depth (follow exactly): The cat appears medium-sized, about ~1/3 of the frame height, and is NEARER to the camera than the FARTHER side beyond the wall; the wall runs beneath its crossing path.\\n\\nNo people appear unless the shot text itself says so.\\n\\nNo text, captions, watermarks or annotations anywhere.\"}, {\"type\": \"text\", \"text\": \"REFERENCE — LOCATION PHOTOGRAPH — the exact place of this shot: its architecture, materials, fixed features and lighting mood are spatial truth; stage the moment inside this place. Never copy its camera framing.\"}, {\"type\": \"text\", \"text\": \"Candidate A:\"}, {\"type\": \"text\", \"text\": \"Candidate B:\"}, {\"type\": \"text\", \"text\": \"Candidate C:\"}]"}
{"ts": "2026-07-13 15:55:46", "kind": "llm", "step": "s39_judge_gemini_S17sh2", "model": "gemini-pro", "dur_s": 26.0, "system_prompt": "You are given ONE image-generation prompt, the REFERENCE image(s)\nthat were attached to it (labelled), and THREE candidate images,\nlabelled A, B, C in the order attached, all generated from that\nexact prompt with those exact references.\nPick the ONE candidate that most faithfully realises the prompt.\nJudge ONLY fidelity to the prompt and its reference instructions:\nthe shot text's moment and action, who is and is NOT in frame,\ncamera framing, time of day, the LOCATION lock (the place must be\nthe one the reference shows — same architecture, materials,\nfixtures), pose/immobility and carried-state clauses, and every\nexclusion (no text, no invented people or objects). Consistency\nwith the attached reference image counts as prompt fidelity.\nIgnore generic aesthetic appeal.\nCheck every candidate point by point before deciding; base every\nverdict only on what is visible.\nAlso give every candidate an integer score 0-10 for that same\nfidelity.\nOutput: winner, ranking best-to-worst, and per candidate a score\nplus a one-line Korean verdict citing the decisive prompt points.", "user_prompt": "[{\"type\": \"text\", \"text\": \"THE PROMPT (all three candidates were generated from this):\\nCreate ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): dawn.\\n\\nSHOT TEXT (authoritative, Korean): 옥상 담벼락 위에서 한쪽 앞발을 허공으로 뻗은 검은 고양이의 측면\\n\\nLOCATION (lock): The flat rooftop of an aging low-rise apartment building, enclosed by a waist-high parapet. A small rooftop dwelling has a metal entrance door and a window visible from the open roof. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.\\n\\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\\ntext may describe characters metaphorically, figuratively or with\\nexaggeration. Photograph what a real movie camera would actually\\nrecord on a physical set — exaggerated or figurative impressions\\nbecome realistic staging choices (lighting, distance, angle,\\nwardrobe), not literal fantasy imagery.\\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\\nfeatures non-human or virtual beings (as in science fiction or\\nfantasy), every character — however indirectly, vaguely or\\nfiguratively the text describes them — IS a real human. When the\\ntext gives no direct visual description of a person, IMAGINE one\\nand still show them as a concrete, fully-formed human being:\\nalways render the human form to the maximum extent — build,\\nposture, face, hands, clothing — never reduce a person to a shape,\\nblob, solid silhouette or abstract mass.\\n\\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\\nperson's eyes, face or presence emotionally or figuratively (vacant,\\nhollow, dazed, burning, lifeless gaze and the like), it describes an\\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\\nthrough gaze direction, focus, eyelids, facial muscles, stillness\\nand posture. Every living person's eyes remain anatomically normal\\nhuman eyes with a natural iris and pupil, natural sclera and normal\\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\\notherwise alter eyeballs, skin or anatomy — unless the story\\nexplicitly declares that being non-human or supernatural in form.\\n\\nMOVEMENT (follow exactly): The black cat moves side-on across and over the rooftop wall toward the opposite side, extending one forepaw into the air as its body follows.\\n\\nFIGURES — size & depth (follow exactly): The cat appears medium-sized, about ~1/3 of the frame height, and is NEARER to the camera than the FARTHER side beyond the wall; the wall runs beneath its crossing path.\\n\\nNo people appear unless the shot text itself says so.\\n\\nNo text, captions, watermarks or annotations anywhere.\"}, {\"type\": \"text\", \"text\": \"REFERENCE — LOCATION PHOTOGRAPH — the exact place of this shot: its architecture, materials, fixed features and lighting mood are spatial truth; stage the moment inside this place. Never copy its camera framing.\"}, {\"type\": \"text\", \"text\": \"Candidate A:\"}, {\"type\": \"text\", \"text\": \"Candidate B:\"}, {\"type\": \"text\", \"text\": \"Candidate C:\"}]"}
{"ts": "2026-07-13 15:56:11", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s39_S18sh11_a", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/plate_bathroom_day_mirror_tile_view.png"], "ref_labels": ["LOCATION PHOTOGRAPH — the exact place of this shot: its architecture, materials, fixed features and lighting mood are spatial truth; stage the moment inside this place. Never copy its camera framing."], "attempt": 1, "dur_s": 24.6, "bytes": 2446781, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s39/stills/S18sh11_a.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): daytime.\n\nSHOT TEXT (authoritative, Korean): 거울 속 반사된 욕실 타일 벽면에 붉은색 원형 표식이 절반쯤 나타난 상태\n\nLOCATION (lock): A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nMOVEMENT (follow exactly): A red circular mark suddenly develops across the bathroom tile wall seen in the mirror, extending around a ring-like path until roughly half is visible.\n\nFIGURES — size & depth (follow exactly): The mirror and reflected tiled wall fill most of the frame, while the half-formed red circle occupies about 1/2 of the reflected frame height. The mirror surface is physically NEARER to the camera, while the marked bathroom wall appears FARTHER within the reflection.\n\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Suri-young continues to have her doll-adorned backpack with her, while her bedroom remains clean and without a motionless figure. A red circle is partially visible on the bathroom wall only in the mirror reflection.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 수리영 — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-13 15:56:36", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s39_S18sh11_b", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/plate_bathroom_day_mirror_tile_view.png"], "ref_labels": ["LOCATION PHOTOGRAPH — the exact place of this shot: its architecture, materials, fixed features and lighting mood are spatial truth; stage the moment inside this place. Never copy its camera framing."], "attempt": 1, "dur_s": 25.4, "bytes": 2712233, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s39/stills/S18sh11_b.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): daytime.\n\nSHOT TEXT (authoritative, Korean): 거울 속 반사된 욕실 타일 벽면에 붉은색 원형 표식이 절반쯤 나타난 상태\n\nLOCATION (lock): A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nMOVEMENT (follow exactly): A red circular mark suddenly develops across the bathroom tile wall seen in the mirror, extending around a ring-like path until roughly half is visible.\n\nFIGURES — size & depth (follow exactly): The mirror and reflected tiled wall fill most of the frame, while the half-formed red circle occupies about 1/2 of the reflected frame height. The mirror surface is physically NEARER to the camera, while the marked bathroom wall appears FARTHER within the reflection.\n\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Suri-young continues to have her doll-adorned backpack with her, while her bedroom remains clean and without a motionless figure. A red circle is partially visible on the bathroom wall only in the mirror reflection.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 수리영 — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-13 15:57:00", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s39_S18sh11_c", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/plate_bathroom_day_mirror_tile_view.png"], "ref_labels": ["LOCATION PHOTOGRAPH — the exact place of this shot: its architecture, materials, fixed features and lighting mood are spatial truth; stage the moment inside this place. Never copy its camera framing."], "attempt": 1, "dur_s": 23.5, "bytes": 2347195, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s39/stills/S18sh11_c.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): daytime.\n\nSHOT TEXT (authoritative, Korean): 거울 속 반사된 욕실 타일 벽면에 붉은색 원형 표식이 절반쯤 나타난 상태\n\nLOCATION (lock): A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nMOVEMENT (follow exactly): A red circular mark suddenly develops across the bathroom tile wall seen in the mirror, extending around a ring-like path until roughly half is visible.\n\nFIGURES — size & depth (follow exactly): The mirror and reflected tiled wall fill most of the frame, while the half-formed red circle occupies about 1/2 of the reflected frame height. The mirror surface is physically NEARER to the camera, while the marked bathroom wall appears FARTHER within the reflection.\n\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Suri-young continues to have her doll-adorned backpack with her, while her bedroom remains clean and without a motionless figure. A red circle is partially visible on the bathroom wall only in the mirror reflection.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 수리영 — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-13 15:57:12", "kind": "llm", "step": "s39_judge_gpt_S18sh11", "model": "gpt", "dur_s": 12.7, "system_prompt": "You are given ONE image-generation prompt, the REFERENCE image(s)\nthat were attached to it (labelled), and THREE candidate images,\nlabelled A, B, C in the order attached, all generated from that\nexact prompt with those exact references.\nPick the ONE candidate that most faithfully realises the prompt.\nJudge ONLY fidelity to the prompt and its reference instructions:\nthe shot text's moment and action, who is and is NOT in frame,\ncamera framing, time of day, the LOCATION lock (the place must be\nthe one the reference shows — same architecture, materials,\nfixtures), pose/immobility and carried-state clauses, and every\nexclusion (no text, no invented people or objects). Consistency\nwith the attached reference image counts as prompt fidelity.\nIgnore generic aesthetic appeal.\nCheck every candidate point by point before deciding; base every\nverdict only on what is visible.\nAlso give every candidate an integer score 0-10 for that same\nfidelity.\nOutput: winner, ranking best-to-worst, and per candidate a score\nplus a one-line Korean verdict citing the decisive prompt points.", "user_prompt": "[{\"type\": \"text\", \"text\": \"THE PROMPT (all three candidates were generated from this):\\nCreate ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): daytime.\\n\\nSHOT TEXT (authoritative, Korean): 거울 속 반사된 욕실 타일 벽면에 붉은색 원형 표식이 절반쯤 나타난 상태\\n\\nLOCATION (lock): A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.\\n\\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\\ntext may describe characters metaphorically, figuratively or with\\nexaggeration. Photograph what a real movie camera would actually\\nrecord on a physical set — exaggerated or figurative impressions\\nbecome realistic staging choices (lighting, distance, angle,\\nwardrobe), not literal fantasy imagery.\\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\\nfeatures non-human or virtual beings (as in science fiction or\\nfantasy), every character — however indirectly, vaguely or\\nfiguratively the text describes them — IS a real human. When the\\ntext gives no direct visual description of a person, IMAGINE one\\nand still show them as a concrete, fully-formed human being:\\nalways render the human form to the maximum extent — build,\\nposture, face, hands, clothing — never reduce a person to a shape,\\nblob, solid silhouette or abstract mass.\\n\\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\\nperson's eyes, face or presence emotionally or figuratively (vacant,\\nhollow, dazed, burning, lifeless gaze and the like), it describes an\\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\\nthrough gaze direction, focus, eyelids, facial muscles, stillness\\nand posture. Every living person's eyes remain anatomically normal\\nhuman eyes with a natural iris and pupil, natural sclera and normal\\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\\notherwise alter eyeballs, skin or anatomy — unless the story\\nexplicitly declares that being non-human or supernatural in form.\\n\\nMOVEMENT (follow exactly): A red circular mark suddenly develops across the bathroom tile wall seen in the mirror, extending around a ring-like path until roughly half is visible.\\n\\nFIGURES — size & depth (follow exactly): The mirror and reflected tiled wall fill most of the frame, while the half-formed red circle occupies about 1/2 of the reflected frame height. The mirror surface is physically NEARER to the camera, while the marked bathroom wall appears FARTHER within the reflection.\\n\\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Suri-young continues to have her doll-adorned backpack with her, while her bedroom remains clean and without a motionless figure. A red circle is partially visible on the bathroom wall only in the mirror reflection.\\n\\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 수리영 — never anyone else, and never add a person the shot text does not show.\\n\\nNo text, captions, watermarks or annotations anywhere.\"}, {\"type\": \"text\", \"text\": \"REFERENCE — LOCATION PHOTOGRAPH — the exact place of this shot: its architecture, materials, fixed features and lighting mood are spatial truth; stage the moment inside this place. Never copy its camera framing.\"}, {\"type\": \"text\", \"text\": \"Candidate A:\"}, {\"type\": \"text\", \"text\": \"Candidate B:\"}, {\"type\": \"text\", \"text\": \"Candidate C:\"}]"}
{"ts": "2026-07-13 15:57:43", "kind": "llm", "step": "s39_judge_gemini_S18sh11", "model": "gemini-pro", "dur_s": 30.3, "system_prompt": "You are given ONE image-generation prompt, the REFERENCE image(s)\nthat were attached to it (labelled), and THREE candidate images,\nlabelled A, B, C in the order attached, all generated from that\nexact prompt with those exact references.\nPick the ONE candidate that most faithfully realises the prompt.\nJudge ONLY fidelity to the prompt and its reference instructions:\nthe shot text's moment and action, who is and is NOT in frame,\ncamera framing, time of day, the LOCATION lock (the place must be\nthe one the reference shows — same architecture, materials,\nfixtures), pose/immobility and carried-state clauses, and every\nexclusion (no text, no invented people or objects). Consistency\nwith the attached reference image counts as prompt fidelity.\nIgnore generic aesthetic appeal.\nCheck every candidate point by point before deciding; base every\nverdict only on what is visible.\nAlso give every candidate an integer score 0-10 for that same\nfidelity.\nOutput: winner, ranking best-to-worst, and per candidate a score\nplus a one-line Korean verdict citing the decisive prompt points.", "user_prompt": "[{\"type\": \"text\", \"text\": \"THE PROMPT (all three candidates were generated from this):\\nCreate ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): daytime.\\n\\nSHOT TEXT (authoritative, Korean): 거울 속 반사된 욕실 타일 벽면에 붉은색 원형 표식이 절반쯤 나타난 상태\\n\\nLOCATION (lock): A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.\\n\\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\\ntext may describe characters metaphorically, figuratively or with\\nexaggeration. Photograph what a real movie camera would actually\\nrecord on a physical set — exaggerated or figurative impressions\\nbecome realistic staging choices (lighting, distance, angle,\\nwardrobe), not literal fantasy imagery.\\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\\nfeatures non-human or virtual beings (as in science fiction or\\nfantasy), every character — however indirectly, vaguely or\\nfiguratively the text describes them — IS a real human. When the\\ntext gives no direct visual description of a person, IMAGINE one\\nand still show them as a concrete, fully-formed human being:\\nalways render the human form to the maximum extent — build,\\nposture, face, hands, clothing — never reduce a person to a shape,\\nblob, solid silhouette or abstract mass.\\n\\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\\nperson's eyes, face or presence emotionally or figuratively (vacant,\\nhollow, dazed, burning, lifeless gaze and the like), it describes an\\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\\nthrough gaze direction, focus, eyelids, facial muscles, stillness\\nand posture. Every living person's eyes remain anatomically normal\\nhuman eyes with a natural iris and pupil, natural sclera and normal\\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\\notherwise alter eyeballs, skin or anatomy — unless the story\\nexplicitly declares that being non-human or supernatural in form.\\n\\nMOVEMENT (follow exactly): A red circular mark suddenly develops across the bathroom tile wall seen in the mirror, extending around a ring-like path until roughly half is visible.\\n\\nFIGURES — size & depth (follow exactly): The mirror and reflected tiled wall fill most of the frame, while the half-formed red circle occupies about 1/2 of the reflected frame height. The mirror surface is physically NEARER to the camera, while the marked bathroom wall appears FARTHER within the reflection.\\n\\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Suri-young continues to have her doll-adorned backpack with her, while her bedroom remains clean and without a motionless figure. A red circle is partially visible on the bathroom wall only in the mirror reflection.\\n\\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 수리영 — never anyone else, and never add a person the shot text does not show.\\n\\nNo text, captions, watermarks or annotations anywhere.\"}, {\"type\": \"text\", \"text\": \"REFERENCE — LOCATION PHOTOGRAPH — the exact place of this shot: its architecture, materials, fixed features and lighting mood are spatial truth; stage the moment inside this place. Never copy its camera framing.\"}, {\"type\": \"text\", \"text\": \"Candidate A:\"}, {\"type\": \"text\", \"text\": \"Candidate B:\"}, {\"type\": \"text\", \"text\": \"Candidate C:\"}]"}
{"ts": "2026-07-13 15:58:06", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s39_S18sh15_a", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s39/stills/S5sh5_sel.png"], "ref_labels": ["PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing. If this photo shows a character who cannot move (dead or unconscious), that character's exact pose, position and orientation are ALSO LOCKED — treat their body as a fixed prop of the set that only the camera moves around."], "attempt": 1, "dur_s": 23.4, "bytes": 2225728, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s39/stills/S18sh15_a.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): daytime.\n\nSHOT TEXT (authoritative, Korean): 액자 속 민숙의 얼굴 부분 이미지가 아래로 일그러지며 흘러내리는 찰나\n\nLOCATION (lock): A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.\n\nTHIS SHOT CONTINUES THE PREVIOUS SHOT: everything the attached still established — the place, its fixed features and wear, each person's clothing and state — persists. Any person in it who cannot move stays PRECISELY as photographed (body, pose, contact points, held objects); only the camera changes.\n\nPREVIOUS STILL USAGE (follow exactly — what to take from the attached still and what to exclude): Take the cramped living area's worn materials, daylight quality, and established domestic look from the reference. Preserve the framed family photograph as an object belonging in this room. Exclude the apron-wearing woman, the TV-button action, and unrelated furniture from the tight photograph framing.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nMOVEMENT (follow exactly): The image of Min-sook's smiling face inside the framed photograph distorts and flows downward before Su-ri-young's eyes.\n\nFIGURES — size & depth (follow exactly): The framed photograph fills most of the close frame, and Min-sook's pictured face occupies roughly 1/2 of its height. The photograph's glass and frame are NEARER to the camera, while the collapsing facial image is visually FARTHER beneath the surface.\n\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The bathroom’s red circle has vanished, and Suri-young still has the doll-adorned backpack. The framed photograph remains on the table as Minsuk’s face in it distorts and runs downward.\n\nNo people appear unless the shot text itself says so.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-13 15:58:30", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s39_S18sh15_b", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s39/stills/S5sh5_sel.png"], "ref_labels": ["PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing. If this photo shows a character who cannot move (dead or unconscious), that character's exact pose, position and orientation are ALSO LOCKED — treat their body as a fixed prop of the set that only the camera moves around."], "attempt": 1, "dur_s": 23.7, "bytes": 2176495, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s39/stills/S18sh15_b.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): daytime.\n\nSHOT TEXT (authoritative, Korean): 액자 속 민숙의 얼굴 부분 이미지가 아래로 일그러지며 흘러내리는 찰나\n\nLOCATION (lock): A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.\n\nTHIS SHOT CONTINUES THE PREVIOUS SHOT: everything the attached still established — the place, its fixed features and wear, each person's clothing and state — persists. Any person in it who cannot move stays PRECISELY as photographed (body, pose, contact points, held objects); only the camera changes.\n\nPREVIOUS STILL USAGE (follow exactly — what to take from the attached still and what to exclude): Take the cramped living area's worn materials, daylight quality, and established domestic look from the reference. Preserve the framed family photograph as an object belonging in this room. Exclude the apron-wearing woman, the TV-button action, and unrelated furniture from the tight photograph framing.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nMOVEMENT (follow exactly): The image of Min-sook's smiling face inside the framed photograph distorts and flows downward before Su-ri-young's eyes.\n\nFIGURES — size & depth (follow exactly): The framed photograph fills most of the close frame, and Min-sook's pictured face occupies roughly 1/2 of its height. The photograph's glass and frame are NEARER to the camera, while the collapsing facial image is visually FARTHER beneath the surface.\n\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The bathroom’s red circle has vanished, and Suri-young still has the doll-adorned backpack. The framed photograph remains on the table as Minsuk’s face in it distorts and runs downward.\n\nNo people appear unless the shot text itself says so.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-13 15:58:52", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s39_S18sh15_c", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s39/stills/S5sh5_sel.png"], "ref_labels": ["PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing. If this photo shows a character who cannot move (dead or unconscious), that character's exact pose, position and orientation are ALSO LOCKED — treat their body as a fixed prop of the set that only the camera moves around."], "attempt": 1, "dur_s": 22.5, "bytes": 2213407, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s39/stills/S18sh15_c.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): daytime.\n\nSHOT TEXT (authoritative, Korean): 액자 속 민숙의 얼굴 부분 이미지가 아래로 일그러지며 흘러내리는 찰나\n\nLOCATION (lock): A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.\n\nTHIS SHOT CONTINUES THE PREVIOUS SHOT: everything the attached still established — the place, its fixed features and wear, each person's clothing and state — persists. Any person in it who cannot move stays PRECISELY as photographed (body, pose, contact points, held objects); only the camera changes.\n\nPREVIOUS STILL USAGE (follow exactly — what to take from the attached still and what to exclude): Take the cramped living area's worn materials, daylight quality, and established domestic look from the reference. Preserve the framed family photograph as an object belonging in this room. Exclude the apron-wearing woman, the TV-button action, and unrelated furniture from the tight photograph framing.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nMOVEMENT (follow exactly): The image of Min-sook's smiling face inside the framed photograph distorts and flows downward before Su-ri-young's eyes.\n\nFIGURES — size & depth (follow exactly): The framed photograph fills most of the close frame, and Min-sook's pictured face occupies roughly 1/2 of its height. The photograph's glass and frame are NEARER to the camera, while the collapsing facial image is visually FARTHER beneath the surface.\n\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The bathroom’s red circle has vanished, and Suri-young still has the doll-adorned backpack. The framed photograph remains on the table as Minsuk’s face in it distorts and runs downward.\n\nNo people appear unless the shot text itself says so.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-13 15:59:10", "kind": "llm", "step": "s39_judge_gpt_S18sh15", "model": "gpt", "dur_s": 17.4, "system_prompt": "You are given ONE image-generation prompt, the REFERENCE image(s)\nthat were attached to it (labelled), and THREE candidate images,\nlabelled A, B, C in the order attached, all generated from that\nexact prompt with those exact references.\nPick the ONE candidate that most faithfully realises the prompt.\nJudge ONLY fidelity to the prompt and its reference instructions:\nthe shot text's moment and action, who is and is NOT in frame,\ncamera framing, time of day, the LOCATION lock (the place must be\nthe one the reference shows — same architecture, materials,\nfixtures), pose/immobility and carried-state clauses, and every\nexclusion (no text, no invented people or objects). Consistency\nwith the attached reference image counts as prompt fidelity.\nIgnore generic aesthetic appeal.\nCheck every candidate point by point before deciding; base every\nverdict only on what is visible.\nAlso give every candidate an integer score 0-10 for that same\nfidelity.\nOutput: winner, ranking best-to-worst, and per candidate a score\nplus a one-line Korean verdict citing the decisive prompt points.", "user_prompt": "[{\"type\": \"text\", \"text\": \"THE PROMPT (all three candidates were generated from this):\\nCreate ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): daytime.\\n\\nSHOT TEXT (authoritative, Korean): 액자 속 민숙의 얼굴 부분 이미지가 아래로 일그러지며 흘러내리는 찰나\\n\\nLOCATION (lock): A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.\\n\\nTHIS SHOT CONTINUES THE PREVIOUS SHOT: everything the attached still established — the place, its fixed features and wear, each person's clothing and state — persists. Any person in it who cannot move stays PRECISELY as photographed (body, pose, contact points, held objects); only the camera changes.\\n\\nPREVIOUS STILL USAGE (follow exactly — what to take from the attached still and what to exclude): Take the cramped living area's worn materials, daylight quality, and established domestic look from the reference. Preserve the framed family photograph as an object belonging in this room. Exclude the apron-wearing woman, the TV-button action, and unrelated furniture from the tight photograph framing.\\n\\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\\ntext may describe characters metaphorically, figuratively or with\\nexaggeration. Photograph what a real movie camera would actually\\nrecord on a physical set — exaggerated or figurative impressions\\nbecome realistic staging choices (lighting, distance, angle,\\nwardrobe), not literal fantasy imagery.\\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\\nfeatures non-human or virtual beings (as in science fiction or\\nfantasy), every character — however indirectly, vaguely or\\nfiguratively the text describes them — IS a real human. When the\\ntext gives no direct visual description of a person, IMAGINE one\\nand still show them as a concrete, fully-formed human being:\\nalways render the human form to the maximum extent — build,\\nposture, face, hands, clothing — never reduce a person to a shape,\\nblob, solid silhouette or abstract mass.\\n\\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\\nperson's eyes, face or presence emotionally or figuratively (vacant,\\nhollow, dazed, burning, lifeless gaze and the like), it describes an\\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\\nthrough gaze direction, focus, eyelids, facial muscles, stillness\\nand posture. Every living person's eyes remain anatomically normal\\nhuman eyes with a natural iris and pupil, natural sclera and normal\\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\\notherwise alter eyeballs, skin or anatomy — unless the story\\nexplicitly declares that being non-human or supernatural in form.\\n\\nMOVEMENT (follow exactly): The image of Min-sook's smiling face inside the framed photograph distorts and flows downward before Su-ri-young's eyes.\\n\\nFIGURES — size & depth (follow exactly): The framed photograph fills most of the close frame, and Min-sook's pictured face occupies roughly 1/2 of its height. The photograph's glass and frame are NEARER to the camera, while the collapsing facial image is visually FARTHER beneath the surface.\\n\\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The bathroom’s red circle has vanished, and Suri-young still has the doll-adorned backpack. The framed photograph remains on the table as Minsuk’s face in it distorts and runs downward.\\n\\nNo people appear unless the shot text itself says so.\\n\\nNo text, captions, watermarks or annotations anywhere.\"}, {\"type\": \"text\", \"text\": \"REFERENCE — PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing. If this photo shows a character who cannot move (dead or unconscious), that character's exact pose, position and orientation are ALSO LOCKED — treat their body as a fixed prop of the set that only the camera moves around.\"}, {\"type\": \"text\", \"text\": \"Candidate A:\"}, {\"type\": \"text\", \"text\": \"Candidate B:\"}, {\"type\": \"text\", \"text\": \"Candidate C:\"}]"}
{"ts": "2026-07-13 15:59:35", "kind": "llm", "step": "s39_judge_gemini_S18sh15", "model": "gemini-pro", "dur_s": 25.7, "system_prompt": "You are given ONE image-generation prompt, the REFERENCE image(s)\nthat were attached to it (labelled), and THREE candidate images,\nlabelled A, B, C in the order attached, all generated from that\nexact prompt with those exact references.\nPick the ONE candidate that most faithfully realises the prompt.\nJudge ONLY fidelity to the prompt and its reference instructions:\nthe shot text's moment and action, who is and is NOT in frame,\ncamera framing, time of day, the LOCATION lock (the place must be\nthe one the reference shows — same architecture, materials,\nfixtures), pose/immobility and carried-state clauses, and every\nexclusion (no text, no invented people or objects). Consistency\nwith the attached reference image counts as prompt fidelity.\nIgnore generic aesthetic appeal.\nCheck every candidate point by point before deciding; base every\nverdict only on what is visible.\nAlso give every candidate an integer score 0-10 for that same\nfidelity.\nOutput: winner, ranking best-to-worst, and per candidate a score\nplus a one-line Korean verdict citing the decisive prompt points.", "user_prompt": "[{\"type\": \"text\", \"text\": \"THE PROMPT (all three candidates were generated from this):\\nCreate ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): daytime.\\n\\nSHOT TEXT (authoritative, Korean): 액자 속 민숙의 얼굴 부분 이미지가 아래로 일그러지며 흘러내리는 찰나\\n\\nLOCATION (lock): A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.\\n\\nTHIS SHOT CONTINUES THE PREVIOUS SHOT: everything the attached still established — the place, its fixed features and wear, each person's clothing and state — persists. Any person in it who cannot move stays PRECISELY as photographed (body, pose, contact points, held objects); only the camera changes.\\n\\nPREVIOUS STILL USAGE (follow exactly — what to take from the attached still and what to exclude): Take the cramped living area's worn materials, daylight quality, and established domestic look from the reference. Preserve the framed family photograph as an object belonging in this room. Exclude the apron-wearing woman, the TV-button action, and unrelated furniture from the tight photograph framing.\\n\\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\\ntext may describe characters metaphorically, figuratively or with\\nexaggeration. Photograph what a real movie camera would actually\\nrecord on a physical set — exaggerated or figurative impressions\\nbecome realistic staging choices (lighting, distance, angle,\\nwardrobe), not literal fantasy imagery.\\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\\nfeatures non-human or virtual beings (as in science fiction or\\nfantasy), every character — however indirectly, vaguely or\\nfiguratively the text describes them — IS a real human. When the\\ntext gives no direct visual description of a person, IMAGINE one\\nand still show them as a concrete, fully-formed human being:\\nalways render the human form to the maximum extent — build,\\nposture, face, hands, clothing — never reduce a person to a shape,\\nblob, solid silhouette or abstract mass.\\n\\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\\nperson's eyes, face or presence emotionally or figuratively (vacant,\\nhollow, dazed, burning, lifeless gaze and the like), it describes an\\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\\nthrough gaze direction, focus, eyelids, facial muscles, stillness\\nand posture. Every living person's eyes remain anatomically normal\\nhuman eyes with a natural iris and pupil, natural sclera and normal\\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\\notherwise alter eyeballs, skin or anatomy — unless the story\\nexplicitly declares that being non-human or supernatural in form.\\n\\nMOVEMENT (follow exactly): The image of Min-sook's smiling face inside the framed photograph distorts and flows downward before Su-ri-young's eyes.\\n\\nFIGURES — size & depth (follow exactly): The framed photograph fills most of the close frame, and Min-sook's pictured face occupies roughly 1/2 of its height. The photograph's glass and frame are NEARER to the camera, while the collapsing facial image is visually FARTHER beneath the surface.\\n\\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The bathroom’s red circle has vanished, and Suri-young still has the doll-adorned backpack. The framed photograph remains on the table as Minsuk’s face in it distorts and runs downward.\\n\\nNo people appear unless the shot text itself says so.\\n\\nNo text, captions, watermarks or annotations anywhere.\"}, {\"type\": \"text\", \"text\": \"REFERENCE — PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing. If this photo shows a character who cannot move (dead or unconscious), that character's exact pose, position and orientation are ALSO LOCKED — treat their body as a fixed prop of the set that only the camera moves around.\"}, {\"type\": \"text\", \"text\": \"Candidate A:\"}, {\"type\": \"text\", \"text\": \"Candidate B:\"}, {\"type\": \"text\", \"text\": \"Candidate C:\"}]"}
{"ts": "2026-07-13 16:00:00", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s39_S18sh16_a", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s39/stills/S5sh5_sel.png"], "ref_labels": ["PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing. If this photo shows a character who cannot move (dead or unconscious), that character's exact pose, position and orientation are ALSO LOCKED — treat their body as a fixed prop of the set that only the camera moves around."], "attempt": 1, "dur_s": 24.9, "bytes": 2249928, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s39/stills/S18sh16_a.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): daytime.\n\nSHOT TEXT (authoritative, Korean): 수리영이 두 손으로 머리를 감싸 쥐고 입을 크게 벌린 얼굴\n\nLOCATION (lock): A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.\n\nTHIS SHOT CONTINUES THE PREVIOUS SHOT: everything the attached still established — the place, its fixed features and wear, each person's clothing and state — persists. Any person in it who cannot move stays PRECISELY as photographed (body, pose, contact points, held objects); only the camera changes.\n\nPREVIOUS STILL USAGE (follow exactly — what to take from the attached still and what to exclude): Take the same worn living-room materials, small-window daylight, sparse furnishings, and established room layout from the reference. Use only the background continuity and place the distressed young woman within that space. Exclude the apron-wearing woman and the earlier TV-button-pressing action, and do not reproduce the distorted photograph as the main subject.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nMOVEMENT (follow exactly): static: terrified and overwhelmed, Su-ri-young clamps both hands around her head and holds her mouth wide open in a scream, her posture rigid with panic.\n\nFIGURES — size & depth (follow exactly): Su-ri-young's face and hands fill about 3/4 of the frame height and form the NEAREST subject. Her hands sit slightly NEARER than her face on either side, while the room behind her is FARTHER and secondary.\n\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The framed photograph remains on the table but has returned to normal, and the bathroom wall remains without the red circle. Suri-young still has the doll-adorned backpack with her.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 수리영 — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-13 16:00:22", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s39_S18sh16_b", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s39/stills/S5sh5_sel.png"], "ref_labels": ["PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing. If this photo shows a character who cannot move (dead or unconscious), that character's exact pose, position and orientation are ALSO LOCKED — treat their body as a fixed prop of the set that only the camera moves around."], "attempt": 1, "dur_s": 21.4, "bytes": 2226923, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s39/stills/S18sh16_b.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): daytime.\n\nSHOT TEXT (authoritative, Korean): 수리영이 두 손으로 머리를 감싸 쥐고 입을 크게 벌린 얼굴\n\nLOCATION (lock): A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.\n\nTHIS SHOT CONTINUES THE PREVIOUS SHOT: everything the attached still established — the place, its fixed features and wear, each person's clothing and state — persists. Any person in it who cannot move stays PRECISELY as photographed (body, pose, contact points, held objects); only the camera changes.\n\nPREVIOUS STILL USAGE (follow exactly — what to take from the attached still and what to exclude): Take the same worn living-room materials, small-window daylight, sparse furnishings, and established room layout from the reference. Use only the background continuity and place the distressed young woman within that space. Exclude the apron-wearing woman and the earlier TV-button-pressing action, and do not reproduce the distorted photograph as the main subject.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nMOVEMENT (follow exactly): static: terrified and overwhelmed, Su-ri-young clamps both hands around her head and holds her mouth wide open in a scream, her posture rigid with panic.\n\nFIGURES — size & depth (follow exactly): Su-ri-young's face and hands fill about 3/4 of the frame height and form the NEAREST subject. Her hands sit slightly NEARER than her face on either side, while the room behind her is FARTHER and secondary.\n\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The framed photograph remains on the table but has returned to normal, and the bathroom wall remains without the red circle. Suri-young still has the doll-adorned backpack with her.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 수리영 — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-13 16:00:44", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s39_S18sh16_c", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s39/stills/S5sh5_sel.png"], "ref_labels": ["PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing. If this photo shows a character who cannot move (dead or unconscious), that character's exact pose, position and orientation are ALSO LOCKED — treat their body as a fixed prop of the set that only the camera moves around."], "attempt": 1, "dur_s": 21.7, "bytes": 2131721, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s39/stills/S18sh16_c.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): daytime.\n\nSHOT TEXT (authoritative, Korean): 수리영이 두 손으로 머리를 감싸 쥐고 입을 크게 벌린 얼굴\n\nLOCATION (lock): A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.\n\nTHIS SHOT CONTINUES THE PREVIOUS SHOT: everything the attached still established — the place, its fixed features and wear, each person's clothing and state — persists. Any person in it who cannot move stays PRECISELY as photographed (body, pose, contact points, held objects); only the camera changes.\n\nPREVIOUS STILL USAGE (follow exactly — what to take from the attached still and what to exclude): Take the same worn living-room materials, small-window daylight, sparse furnishings, and established room layout from the reference. Use only the background continuity and place the distressed young woman within that space. Exclude the apron-wearing woman and the earlier TV-button-pressing action, and do not reproduce the distorted photograph as the main subject.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nMOVEMENT (follow exactly): static: terrified and overwhelmed, Su-ri-young clamps both hands around her head and holds her mouth wide open in a scream, her posture rigid with panic.\n\nFIGURES — size & depth (follow exactly): Su-ri-young's face and hands fill about 3/4 of the frame height and form the NEAREST subject. Her hands sit slightly NEARER than her face on either side, while the room behind her is FARTHER and secondary.\n\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The framed photograph remains on the table but has returned to normal, and the bathroom wall remains without the red circle. Suri-young still has the doll-adorned backpack with her.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 수리영 — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-13 16:00:58", "kind": "llm", "step": "s39_judge_gpt_S18sh16", "model": "gpt", "dur_s": 14.7, "system_prompt": "You are given ONE image-generation prompt, the REFERENCE image(s)\nthat were attached to it (labelled), and THREE candidate images,\nlabelled A, B, C in the order attached, all generated from that\nexact prompt with those exact references.\nPick the ONE candidate that most faithfully realises the prompt.\nJudge ONLY fidelity to the prompt and its reference instructions:\nthe shot text's moment and action, who is and is NOT in frame,\ncamera framing, time of day, the LOCATION lock (the place must be\nthe one the reference shows — same architecture, materials,\nfixtures), pose/immobility and carried-state clauses, and every\nexclusion (no text, no invented people or objects). Consistency\nwith the attached reference image counts as prompt fidelity.\nIgnore generic aesthetic appeal.\nCheck every candidate point by point before deciding; base every\nverdict only on what is visible.\nAlso give every candidate an integer score 0-10 for that same\nfidelity.\nOutput: winner, ranking best-to-worst, and per candidate a score\nplus a one-line Korean verdict citing the decisive prompt points.", "user_prompt": "[{\"type\": \"text\", \"text\": \"THE PROMPT (all three candidates were generated from this):\\nCreate ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): daytime.\\n\\nSHOT TEXT (authoritative, Korean): 수리영이 두 손으로 머리를 감싸 쥐고 입을 크게 벌린 얼굴\\n\\nLOCATION (lock): A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.\\n\\nTHIS SHOT CONTINUES THE PREVIOUS SHOT: everything the attached still established — the place, its fixed features and wear, each person's clothing and state — persists. Any person in it who cannot move stays PRECISELY as photographed (body, pose, contact points, held objects); only the camera changes.\\n\\nPREVIOUS STILL USAGE (follow exactly — what to take from the attached still and what to exclude): Take the same worn living-room materials, small-window daylight, sparse furnishings, and established room layout from the reference. Use only the background continuity and place the distressed young woman within that space. Exclude the apron-wearing woman and the earlier TV-button-pressing action, and do not reproduce the distorted photograph as the main subject.\\n\\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\\ntext may describe characters metaphorically, figuratively or with\\nexaggeration. Photograph what a real movie camera would actually\\nrecord on a physical set — exaggerated or figurative impressions\\nbecome realistic staging choices (lighting, distance, angle,\\nwardrobe), not literal fantasy imagery.\\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\\nfeatures non-human or virtual beings (as in science fiction or\\nfantasy), every character — however indirectly, vaguely or\\nfiguratively the text describes them — IS a real human. When the\\ntext gives no direct visual description of a person, IMAGINE one\\nand still show them as a concrete, fully-formed human being:\\nalways render the human form to the maximum extent — build,\\nposture, face, hands, clothing — never reduce a person to a shape,\\nblob, solid silhouette or abstract mass.\\n\\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\\nperson's eyes, face or presence emotionally or figuratively (vacant,\\nhollow, dazed, burning, lifeless gaze and the like), it describes an\\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\\nthrough gaze direction, focus, eyelids, facial muscles, stillness\\nand posture. Every living person's eyes remain anatomically normal\\nhuman eyes with a natural iris and pupil, natural sclera and normal\\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\\notherwise alter eyeballs, skin or anatomy — unless the story\\nexplicitly declares that being non-human or supernatural in form.\\n\\nMOVEMENT (follow exactly): static: terrified and overwhelmed, Su-ri-young clamps both hands around her head and holds her mouth wide open in a scream, her posture rigid with panic.\\n\\nFIGURES — size & depth (follow exactly): Su-ri-young's face and hands fill about 3/4 of the frame height and form the NEAREST subject. Her hands sit slightly NEARER than her face on either side, while the room behind her is FARTHER and secondary.\\n\\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The framed photograph remains on the table but has returned to normal, and the bathroom wall remains without the red circle. Suri-young still has the doll-adorned backpack with her.\\n\\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 수리영 — never anyone else, and never add a person the shot text does not show.\\n\\nNo text, captions, watermarks or annotations anywhere.\"}, {\"type\": \"text\", \"text\": \"REFERENCE — PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing. If this photo shows a character who cannot move (dead or unconscious), that character's exact pose, position and orientation are ALSO LOCKED — treat their body as a fixed prop of the set that only the camera moves around.\"}, {\"type\": \"text\", \"text\": \"Candidate A:\"}, {\"type\": \"text\", \"text\": \"Candidate B:\"}, {\"type\": \"text\", \"text\": \"Candidate C:\"}]"}
{"ts": "2026-07-13 16:01:25", "kind": "llm", "step": "s39_judge_gemini_S18sh16", "model": "gemini-pro", "dur_s": 26.3, "system_prompt": "You are given ONE image-generation prompt, the REFERENCE image(s)\nthat were attached to it (labelled), and THREE candidate images,\nlabelled A, B, C in the order attached, all generated from that\nexact prompt with those exact references.\nPick the ONE candidate that most faithfully realises the prompt.\nJudge ONLY fidelity to the prompt and its reference instructions:\nthe shot text's moment and action, who is and is NOT in frame,\ncamera framing, time of day, the LOCATION lock (the place must be\nthe one the reference shows — same architecture, materials,\nfixtures), pose/immobility and carried-state clauses, and every\nexclusion (no text, no invented people or objects). Consistency\nwith the attached reference image counts as prompt fidelity.\nIgnore generic aesthetic appeal.\nCheck every candidate point by point before deciding; base every\nverdict only on what is visible.\nAlso give every candidate an integer score 0-10 for that same\nfidelity.\nOutput: winner, ranking best-to-worst, and per candidate a score\nplus a one-line Korean verdict citing the decisive prompt points.", "user_prompt": "[{\"type\": \"text\", \"text\": \"THE PROMPT (all three candidates were generated from this):\\nCreate ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): daytime.\\n\\nSHOT TEXT (authoritative, Korean): 수리영이 두 손으로 머리를 감싸 쥐고 입을 크게 벌린 얼굴\\n\\nLOCATION (lock): A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.\\n\\nTHIS SHOT CONTINUES THE PREVIOUS SHOT: everything the attached still established — the place, its fixed features and wear, each person's clothing and state — persists. Any person in it who cannot move stays PRECISELY as photographed (body, pose, contact points, held objects); only the camera changes.\\n\\nPREVIOUS STILL USAGE (follow exactly — what to take from the attached still and what to exclude): Take the same worn living-room materials, small-window daylight, sparse furnishings, and established room layout from the reference. Use only the background continuity and place the distressed young woman within that space. Exclude the apron-wearing woman and the earlier TV-button-pressing action, and do not reproduce the distorted photograph as the main subject.\\n\\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\\ntext may describe characters metaphorically, figuratively or with\\nexaggeration. Photograph what a real movie camera would actually\\nrecord on a physical set — exaggerated or figurative impressions\\nbecome realistic staging choices (lighting, distance, angle,\\nwardrobe), not literal fantasy imagery.\\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\\nfeatures non-human or virtual beings (as in science fiction or\\nfantasy), every character — however indirectly, vaguely or\\nfiguratively the text describes them — IS a real human. When the\\ntext gives no direct visual description of a person, IMAGINE one\\nand still show them as a concrete, fully-formed human being:\\nalways render the human form to the maximum extent — build,\\nposture, face, hands, clothing — never reduce a person to a shape,\\nblob, solid silhouette or abstract mass.\\n\\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\\nperson's eyes, face or presence emotionally or figuratively (vacant,\\nhollow, dazed, burning, lifeless gaze and the like), it describes an\\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\\nthrough gaze direction, focus, eyelids, facial muscles, stillness\\nand posture. Every living person's eyes remain anatomically normal\\nhuman eyes with a natural iris and pupil, natural sclera and normal\\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\\notherwise alter eyeballs, skin or anatomy — unless the story\\nexplicitly declares that being non-human or supernatural in form.\\n\\nMOVEMENT (follow exactly): static: terrified and overwhelmed, Su-ri-young clamps both hands around her head and holds her mouth wide open in a scream, her posture rigid with panic.\\n\\nFIGURES — size & depth (follow exactly): Su-ri-young's face and hands fill about 3/4 of the frame height and form the NEAREST subject. Her hands sit slightly NEARER than her face on either side, while the room behind her is FARTHER and secondary.\\n\\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The framed photograph remains on the table but has returned to normal, and the bathroom wall remains without the red circle. Suri-young still has the doll-adorned backpack with her.\\n\\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 수리영 — never anyone else, and never add a person the shot text does not show.\\n\\nNo text, captions, watermarks or annotations anywhere.\"}, {\"type\": \"text\", \"text\": \"REFERENCE — PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing. If this photo shows a character who cannot move (dead or unconscious), that character's exact pose, position and orientation are ALSO LOCKED — treat their body as a fixed prop of the set that only the camera moves around.\"}, {\"type\": \"text\", \"text\": \"Candidate A:\"}, {\"type\": \"text\", \"text\": \"Candidate B:\"}, {\"type\": \"text\", \"text\": \"Candidate C:\"}]"}
{"ts": "2026-07-13 16:01:46", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s39_S25sh1_a", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/plate_living_dining_sunset_floor_view.png"], "ref_labels": ["LOCATION PHOTOGRAPH — the exact place of this shot: its architecture, materials, fixed features and lighting mood are spatial truth; stage the moment inside this place. Never copy its camera framing."], "attempt": 1, "dur_s": 21.7, "bytes": 2375226, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s39/stills/S25sh1_a.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): dusk, just after sunset.\n\nSHOT TEXT (authoritative, Korean): 해질 무렵 옥탑방 거실, 흙 묻은 발자국들이 찍힌 바닥과 쓰러진 식탁 의자들이 보이는 전경\n\nLOCATION (lock): A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nMOVEMENT (follow exactly): static: muddy footprints remain across the ransacked living-room floor among overturned dining chairs, indicating a prior path through the room but no current movement.\n\nFIGURES — size & depth (follow exactly): The footprint-marked floor fills the lower half of the wide frame, with the NEAREST prints and fallen chair parts in the foreground appearing larger. Additional prints, the dining area, and the open living-room window recede FARTHER into the room.\n\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The apartment remains ransacked, with dirty footprints on the floor, the living-room window open, and the dining chairs overturned. The red circle and the stained old photograph pinned at its center are already present in Suri-young’s room.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 수리영 — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-13 16:02:08", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s39_S25sh1_b", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/plate_living_dining_sunset_floor_view.png"], "ref_labels": ["LOCATION PHOTOGRAPH — the exact place of this shot: its architecture, materials, fixed features and lighting mood are spatial truth; stage the moment inside this place. Never copy its camera framing."], "attempt": 1, "dur_s": 22.0, "bytes": 2681866, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s39/stills/S25sh1_b.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): dusk, just after sunset.\n\nSHOT TEXT (authoritative, Korean): 해질 무렵 옥탑방 거실, 흙 묻은 발자국들이 찍힌 바닥과 쓰러진 식탁 의자들이 보이는 전경\n\nLOCATION (lock): A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nMOVEMENT (follow exactly): static: muddy footprints remain across the ransacked living-room floor among overturned dining chairs, indicating a prior path through the room but no current movement.\n\nFIGURES — size & depth (follow exactly): The footprint-marked floor fills the lower half of the wide frame, with the NEAREST prints and fallen chair parts in the foreground appearing larger. Additional prints, the dining area, and the open living-room window recede FARTHER into the room.\n\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The apartment remains ransacked, with dirty footprints on the floor, the living-room window open, and the dining chairs overturned. The red circle and the stained old photograph pinned at its center are already present in Suri-young’s room.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 수리영 — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-13 16:02:32", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s39_S25sh1_c", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/plate_living_dining_sunset_floor_view.png"], "ref_labels": ["LOCATION PHOTOGRAPH — the exact place of this shot: its architecture, materials, fixed features and lighting mood are spatial truth; stage the moment inside this place. Never copy its camera framing."], "attempt": 1, "dur_s": 23.9, "bytes": 2476406, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s39/stills/S25sh1_c.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): dusk, just after sunset.\n\nSHOT TEXT (authoritative, Korean): 해질 무렵 옥탑방 거실, 흙 묻은 발자국들이 찍힌 바닥과 쓰러진 식탁 의자들이 보이는 전경\n\nLOCATION (lock): A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nMOVEMENT (follow exactly): static: muddy footprints remain across the ransacked living-room floor among overturned dining chairs, indicating a prior path through the room but no current movement.\n\nFIGURES — size & depth (follow exactly): The footprint-marked floor fills the lower half of the wide frame, with the NEAREST prints and fallen chair parts in the foreground appearing larger. Additional prints, the dining area, and the open living-room window recede FARTHER into the room.\n\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The apartment remains ransacked, with dirty footprints on the floor, the living-room window open, and the dining chairs overturned. The red circle and the stained old photograph pinned at its center are already present in Suri-young’s room.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 수리영 — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-13 16:02:56", "kind": "llm", "step": "s39_judge_gpt_S25sh1", "model": "gpt", "dur_s": 23.5, "system_prompt": "You are given ONE image-generation prompt, the REFERENCE image(s)\nthat were attached to it (labelled), and THREE candidate images,\nlabelled A, B, C in the order attached, all generated from that\nexact prompt with those exact references.\nPick the ONE candidate that most faithfully realises the prompt.\nJudge ONLY fidelity to the prompt and its reference instructions:\nthe shot text's moment and action, who is and is NOT in frame,\ncamera framing, time of day, the LOCATION lock (the place must be\nthe one the reference shows — same architecture, materials,\nfixtures), pose/immobility and carried-state clauses, and every\nexclusion (no text, no invented people or objects). Consistency\nwith the attached reference image counts as prompt fidelity.\nIgnore generic aesthetic appeal.\nCheck every candidate point by point before deciding; base every\nverdict only on what is visible.\nAlso give every candidate an integer score 0-10 for that same\nfidelity.\nOutput: winner, ranking best-to-worst, and per candidate a score\nplus a one-line Korean verdict citing the decisive prompt points.", "user_prompt": "[{\"type\": \"text\", \"text\": \"THE PROMPT (all three candidates were generated from this):\\nCreate ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): dusk, just after sunset.\\n\\nSHOT TEXT (authoritative, Korean): 해질 무렵 옥탑방 거실, 흙 묻은 발자국들이 찍힌 바닥과 쓰러진 식탁 의자들이 보이는 전경\\n\\nLOCATION (lock): A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.\\n\\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\\ntext may describe characters metaphorically, figuratively or with\\nexaggeration. Photograph what a real movie camera would actually\\nrecord on a physical set — exaggerated or figurative impressions\\nbecome realistic staging choices (lighting, distance, angle,\\nwardrobe), not literal fantasy imagery.\\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\\nfeatures non-human or virtual beings (as in science fiction or\\nfantasy), every character — however indirectly, vaguely or\\nfiguratively the text describes them — IS a real human. When the\\ntext gives no direct visual description of a person, IMAGINE one\\nand still show them as a concrete, fully-formed human being:\\nalways render the human form to the maximum extent — build,\\nposture, face, hands, clothing — never reduce a person to a shape,\\nblob, solid silhouette or abstract mass.\\n\\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\\nperson's eyes, face or presence emotionally or figuratively (vacant,\\nhollow, dazed, burning, lifeless gaze and the like), it describes an\\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\\nthrough gaze direction, focus, eyelids, facial muscles, stillness\\nand posture. Every living person's eyes remain anatomically normal\\nhuman eyes with a natural iris and pupil, natural sclera and normal\\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\\notherwise alter eyeballs, skin or anatomy — unless the story\\nexplicitly declares that being non-human or supernatural in form.\\n\\nMOVEMENT (follow exactly): static: muddy footprints remain across the ransacked living-room floor among overturned dining chairs, indicating a prior path through the room but no current movement.\\n\\nFIGURES — size & depth (follow exactly): The footprint-marked floor fills the lower half of the wide frame, with the NEAREST prints and fallen chair parts in the foreground appearing larger. Additional prints, the dining area, and the open living-room window recede FARTHER into the room.\\n\\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The apartment remains ransacked, with dirty footprints on the floor, the living-room window open, and the dining chairs overturned. The red circle and the stained old photograph pinned at its center are already present in Suri-young’s room.\\n\\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 수리영 — never anyone else, and never add a person the shot text does not show.\\n\\nNo text, captions, watermarks or annotations anywhere.\"}, {\"type\": \"text\", \"text\": \"REFERENCE — LOCATION PHOTOGRAPH — the exact place of this shot: its architecture, materials, fixed features and lighting mood are spatial truth; stage the moment inside this place. Never copy its camera framing.\"}, {\"type\": \"text\", \"text\": \"Candidate A:\"}, {\"type\": \"text\", \"text\": \"Candidate B:\"}, {\"type\": \"text\", \"text\": \"Candidate C:\"}]"}
{"ts": "2026-07-13 16:03:22", "kind": "llm", "step": "s39_judge_gemini_S25sh1", "model": "gemini-pro", "dur_s": 26.1, "system_prompt": "You are given ONE image-generation prompt, the REFERENCE image(s)\nthat were attached to it (labelled), and THREE candidate images,\nlabelled A, B, C in the order attached, all generated from that\nexact prompt with those exact references.\nPick the ONE candidate that most faithfully realises the prompt.\nJudge ONLY fidelity to the prompt and its reference instructions:\nthe shot text's moment and action, who is and is NOT in frame,\ncamera framing, time of day, the LOCATION lock (the place must be\nthe one the reference shows — same architecture, materials,\nfixtures), pose/immobility and carried-state clauses, and every\nexclusion (no text, no invented people or objects). Consistency\nwith the attached reference image counts as prompt fidelity.\nIgnore generic aesthetic appeal.\nCheck every candidate point by point before deciding; base every\nverdict only on what is visible.\nAlso give every candidate an integer score 0-10 for that same\nfidelity.\nOutput: winner, ranking best-to-worst, and per candidate a score\nplus a one-line Korean verdict citing the decisive prompt points.", "user_prompt": "[{\"type\": \"text\", \"text\": \"THE PROMPT (all three candidates were generated from this):\\nCreate ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): dusk, just after sunset.\\n\\nSHOT TEXT (authoritative, Korean): 해질 무렵 옥탑방 거실, 흙 묻은 발자국들이 찍힌 바닥과 쓰러진 식탁 의자들이 보이는 전경\\n\\nLOCATION (lock): A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.\\n\\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\\ntext may describe characters metaphorically, figuratively or with\\nexaggeration. Photograph what a real movie camera would actually\\nrecord on a physical set — exaggerated or figurative impressions\\nbecome realistic staging choices (lighting, distance, angle,\\nwardrobe), not literal fantasy imagery.\\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\\nfeatures non-human or virtual beings (as in science fiction or\\nfantasy), every character — however indirectly, vaguely or\\nfiguratively the text describes them — IS a real human. When the\\ntext gives no direct visual description of a person, IMAGINE one\\nand still show them as a concrete, fully-formed human being:\\nalways render the human form to the maximum extent — build,\\nposture, face, hands, clothing — never reduce a person to a shape,\\nblob, solid silhouette or abstract mass.\\n\\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\\nperson's eyes, face or presence emotionally or figuratively (vacant,\\nhollow, dazed, burning, lifeless gaze and the like), it describes an\\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\\nthrough gaze direction, focus, eyelids, facial muscles, stillness\\nand posture. Every living person's eyes remain anatomically normal\\nhuman eyes with a natural iris and pupil, natural sclera and normal\\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\\notherwise alter eyeballs, skin or anatomy — unless the story\\nexplicitly declares that being non-human or supernatural in form.\\n\\nMOVEMENT (follow exactly): static: muddy footprints remain across the ransacked living-room floor among overturned dining chairs, indicating a prior path through the room but no current movement.\\n\\nFIGURES — size & depth (follow exactly): The footprint-marked floor fills the lower half of the wide frame, with the NEAREST prints and fallen chair parts in the foreground appearing larger. Additional prints, the dining area, and the open living-room window recede FARTHER into the room.\\n\\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The apartment remains ransacked, with dirty footprints on the floor, the living-room window open, and the dining chairs overturned. The red circle and the stained old photograph pinned at its center are already present in Suri-young’s room.\\n\\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 수리영 — never anyone else, and never add a person the shot text does not show.\\n\\nNo text, captions, watermarks or annotations anywhere.\"}, {\"type\": \"text\", \"text\": \"REFERENCE — LOCATION PHOTOGRAPH — the exact place of this shot: its architecture, materials, fixed features and lighting mood are spatial truth; stage the moment inside this place. Never copy its camera framing.\"}, {\"type\": \"text\", \"text\": \"Candidate A:\"}, {\"type\": \"text\", \"text\": \"Candidate B:\"}, {\"type\": \"text\", \"text\": \"Candidate C:\"}]"}
{"ts": "2026-07-13 16:03:46", "kind": "img_error", "tag": "s39_S25sh5_a", "attempt": 1, "error": "Gemini i2i returned no image: {\"candidates\": [{\"content\": {}, \"finishReason\": \"IMAGE_SAFETY\", \"index\": 0, \"finishMessage\": \"Unable to show the generated image. The image was filtered out because it violated Google's [Generative AI Prohibited Use policy](https://policies.google.com/terms/generative-ai/use-policy). You will not be charged for blocked images. Try rephrasing the prompt. If you think this was an error, [send feedback](https://ai.google.dev/gemini-api/docs/troubleshooting).\"}], \"usage"}
{"ts": "2026-07-13 16:04:05", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s39_S25sh5_a", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/plate_daughter_bedroom_sunset_bed_wall.png"], "ref_labels": ["LOCATION PHOTOGRAPH — the exact place of this shot: its architecture, materials, fixed features and lighting mood are spatial truth; stage the moment inside this place. Never copy its camera framing."], "attempt": 2, "dur_s": 43.3, "bytes": 2068638, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s39/stills/S25sh5_a.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): dusk, just after sunset.\n\nSHOT TEXT (authoritative, Korean): 붉은 원 한가운데 얼룩진 낡은 흑백 사진이 벽에 꽂혀 있는 타이트 샷\n\nLOCATION (lock): A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nMOVEMENT (follow exactly): static: a stained old photograph remains pinned at the center of the red circle on Su-ri-young's bedroom wall, facing outward toward the camera.\n\nFIGURES — size & depth (follow exactly): The photograph fills roughly 1/3 of the tight frame height, while the surrounding red circle occupies most of the frame. The photograph projects NEARER from the wall, and the red mark lies FARTHER against the flat wall surface behind it.\n\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The dirty footprints, ransacked furnishings, open window, and overturned chairs remain undisturbed. In the bedroom, the stained old photograph is still pinned at the center of the red wall circle.\n\nNo people appear unless the shot text itself says so.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-13 16:04:29", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s39_S25sh5_b", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/plate_daughter_bedroom_sunset_bed_wall.png"], "ref_labels": ["LOCATION PHOTOGRAPH — the exact place of this shot: its architecture, materials, fixed features and lighting mood are spatial truth; stage the moment inside this place. Never copy its camera framing."], "attempt": 1, "dur_s": 23.4, "bytes": 2556474, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s39/stills/S25sh5_b.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): dusk, just after sunset.\n\nSHOT TEXT (authoritative, Korean): 붉은 원 한가운데 얼룩진 낡은 흑백 사진이 벽에 꽂혀 있는 타이트 샷\n\nLOCATION (lock): A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nMOVEMENT (follow exactly): static: a stained old photograph remains pinned at the center of the red circle on Su-ri-young's bedroom wall, facing outward toward the camera.\n\nFIGURES — size & depth (follow exactly): The photograph fills roughly 1/3 of the tight frame height, while the surrounding red circle occupies most of the frame. The photograph projects NEARER from the wall, and the red mark lies FARTHER against the flat wall surface behind it.\n\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The dirty footprints, ransacked furnishings, open window, and overturned chairs remain undisturbed. In the bedroom, the stained old photograph is still pinned at the center of the red wall circle.\n\nNo people appear unless the shot text itself says so.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-13 16:04:51", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s39_S25sh5_c", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/plate_daughter_bedroom_sunset_bed_wall.png"], "ref_labels": ["LOCATION PHOTOGRAPH — the exact place of this shot: its architecture, materials, fixed features and lighting mood are spatial truth; stage the moment inside this place. Never copy its camera framing."], "attempt": 1, "dur_s": 22.8, "bytes": 2397104, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s39/stills/S25sh5_c.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): dusk, just after sunset.\n\nSHOT TEXT (authoritative, Korean): 붉은 원 한가운데 얼룩진 낡은 흑백 사진이 벽에 꽂혀 있는 타이트 샷\n\nLOCATION (lock): A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nMOVEMENT (follow exactly): static: a stained old photograph remains pinned at the center of the red circle on Su-ri-young's bedroom wall, facing outward toward the camera.\n\nFIGURES — size & depth (follow exactly): The photograph fills roughly 1/3 of the tight frame height, while the surrounding red circle occupies most of the frame. The photograph projects NEARER from the wall, and the red mark lies FARTHER against the flat wall surface behind it.\n\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The dirty footprints, ransacked furnishings, open window, and overturned chairs remain undisturbed. In the bedroom, the stained old photograph is still pinned at the center of the red wall circle.\n\nNo people appear unless the shot text itself says so.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-13 16:05:07", "kind": "llm", "step": "s39_judge_gpt_S25sh5", "model": "gpt", "dur_s": 15.2, "system_prompt": "You are given ONE image-generation prompt, the REFERENCE image(s)\nthat were attached to it (labelled), and THREE candidate images,\nlabelled A, B, C in the order attached, all generated from that\nexact prompt with those exact references.\nPick the ONE candidate that most faithfully realises the prompt.\nJudge ONLY fidelity to the prompt and its reference instructions:\nthe shot text's moment and action, who is and is NOT in frame,\ncamera framing, time of day, the LOCATION lock (the place must be\nthe one the reference shows — same architecture, materials,\nfixtures), pose/immobility and carried-state clauses, and every\nexclusion (no text, no invented people or objects). Consistency\nwith the attached reference image counts as prompt fidelity.\nIgnore generic aesthetic appeal.\nCheck every candidate point by point before deciding; base every\nverdict only on what is visible.\nAlso give every candidate an integer score 0-10 for that same\nfidelity.\nOutput: winner, ranking best-to-worst, and per candidate a score\nplus a one-line Korean verdict citing the decisive prompt points.", "user_prompt": "[{\"type\": \"text\", \"text\": \"THE PROMPT (all three candidates were generated from this):\\nCreate ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): dusk, just after sunset.\\n\\nSHOT TEXT (authoritative, Korean): 붉은 원 한가운데 얼룩진 낡은 흑백 사진이 벽에 꽂혀 있는 타이트 샷\\n\\nLOCATION (lock): A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.\\n\\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\\ntext may describe characters metaphorically, figuratively or with\\nexaggeration. Photograph what a real movie camera would actually\\nrecord on a physical set — exaggerated or figurative impressions\\nbecome realistic staging choices (lighting, distance, angle,\\nwardrobe), not literal fantasy imagery.\\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\\nfeatures non-human or virtual beings (as in science fiction or\\nfantasy), every character — however indirectly, vaguely or\\nfiguratively the text describes them — IS a real human. When the\\ntext gives no direct visual description of a person, IMAGINE one\\nand still show them as a concrete, fully-formed human being:\\nalways render the human form to the maximum extent — build,\\nposture, face, hands, clothing — never reduce a person to a shape,\\nblob, solid silhouette or abstract mass.\\n\\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\\nperson's eyes, face or presence emotionally or figuratively (vacant,\\nhollow, dazed, burning, lifeless gaze and the like), it describes an\\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\\nthrough gaze direction, focus, eyelids, facial muscles, stillness\\nand posture. Every living person's eyes remain anatomically normal\\nhuman eyes with a natural iris and pupil, natural sclera and normal\\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\\notherwise alter eyeballs, skin or anatomy — unless the story\\nexplicitly declares that being non-human or supernatural in form.\\n\\nMOVEMENT (follow exactly): static: a stained old photograph remains pinned at the center of the red circle on Su-ri-young's bedroom wall, facing outward toward the camera.\\n\\nFIGURES — size & depth (follow exactly): The photograph fills roughly 1/3 of the tight frame height, while the surrounding red circle occupies most of the frame. The photograph projects NEARER from the wall, and the red mark lies FARTHER against the flat wall surface behind it.\\n\\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The dirty footprints, ransacked furnishings, open window, and overturned chairs remain undisturbed. In the bedroom, the stained old photograph is still pinned at the center of the red wall circle.\\n\\nNo people appear unless the shot text itself says so.\\n\\nNo text, captions, watermarks or annotations anywhere.\"}, {\"type\": \"text\", \"text\": \"REFERENCE — LOCATION PHOTOGRAPH — the exact place of this shot: its architecture, materials, fixed features and lighting mood are spatial truth; stage the moment inside this place. Never copy its camera framing.\"}, {\"type\": \"text\", \"text\": \"Candidate A:\"}, {\"type\": \"text\", \"text\": \"Candidate B:\"}, {\"type\": \"text\", \"text\": \"Candidate C:\"}]"}
{"ts": "2026-07-13 16:09:00", "kind": "llm", "step": "s39_judge_gemini_S25sh5", "model": "gemini-pro", "dur_s": 233.6, "system_prompt": "You are given ONE image-generation prompt, the REFERENCE image(s)\nthat were attached to it (labelled), and THREE candidate images,\nlabelled A, B, C in the order attached, all generated from that\nexact prompt with those exact references.\nPick the ONE candidate that most faithfully realises the prompt.\nJudge ONLY fidelity to the prompt and its reference instructions:\nthe shot text's moment and action, who is and is NOT in frame,\ncamera framing, time of day, the LOCATION lock (the place must be\nthe one the reference shows — same architecture, materials,\nfixtures), pose/immobility and carried-state clauses, and every\nexclusion (no text, no invented people or objects). Consistency\nwith the attached reference image counts as prompt fidelity.\nIgnore generic aesthetic appeal.\nCheck every candidate point by point before deciding; base every\nverdict only on what is visible.\nAlso give every candidate an integer score 0-10 for that same\nfidelity.\nOutput: winner, ranking best-to-worst, and per candidate a score\nplus a one-line Korean verdict citing the decisive prompt points.", "user_prompt": "[{\"type\": \"text\", \"text\": \"THE PROMPT (all three candidates were generated from this):\\nCreate ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): dusk, just after sunset.\\n\\nSHOT TEXT (authoritative, Korean): 붉은 원 한가운데 얼룩진 낡은 흑백 사진이 벽에 꽂혀 있는 타이트 샷\\n\\nLOCATION (lock): A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.\\n\\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\\ntext may describe characters metaphorically, figuratively or with\\nexaggeration. Photograph what a real movie camera would actually\\nrecord on a physical set — exaggerated or figurative impressions\\nbecome realistic staging choices (lighting, distance, angle,\\nwardrobe), not literal fantasy imagery.\\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\\nfeatures non-human or virtual beings (as in science fiction or\\nfantasy), every character — however indirectly, vaguely or\\nfiguratively the text describes them — IS a real human. When the\\ntext gives no direct visual description of a person, IMAGINE one\\nand still show them as a concrete, fully-formed human being:\\nalways render the human form to the maximum extent — build,\\nposture, face, hands, clothing — never reduce a person to a shape,\\nblob, solid silhouette or abstract mass.\\n\\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\\nperson's eyes, face or presence emotionally or figuratively (vacant,\\nhollow, dazed, burning, lifeless gaze and the like), it describes an\\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\\nthrough gaze direction, focus, eyelids, facial muscles, stillness\\nand posture. Every living person's eyes remain anatomically normal\\nhuman eyes with a natural iris and pupil, natural sclera and normal\\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\\notherwise alter eyeballs, skin or anatomy — unless the story\\nexplicitly declares that being non-human or supernatural in form.\\n\\nMOVEMENT (follow exactly): static: a stained old photograph remains pinned at the center of the red circle on Su-ri-young's bedroom wall, facing outward toward the camera.\\n\\nFIGURES — size & depth (follow exactly): The photograph fills roughly 1/3 of the tight frame height, while the surrounding red circle occupies most of the frame. The photograph projects NEARER from the wall, and the red mark lies FARTHER against the flat wall surface behind it.\\n\\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The dirty footprints, ransacked furnishings, open window, and overturned chairs remain undisturbed. In the bedroom, the stained old photograph is still pinned at the center of the red wall circle.\\n\\nNo people appear unless the shot text itself says so.\\n\\nNo text, captions, watermarks or annotations anywhere.\"}, {\"type\": \"text\", \"text\": \"REFERENCE — LOCATION PHOTOGRAPH — the exact place of this shot: its architecture, materials, fixed features and lighting mood are spatial truth; stage the moment inside this place. Never copy its camera framing.\"}, {\"type\": \"text\", \"text\": \"Candidate A:\"}, {\"type\": \"text\", \"text\": \"Candidate B:\"}, {\"type\": \"text\", \"text\": \"Candidate C:\"}]"}
{"ts": "2026-07-13 16:09:29", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s39_S25sh9_a", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s39/stills/S25sh5_sel.png"], "ref_labels": ["PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing. If this photo shows a character who cannot move (dead or unconscious), that character's exact pose, position and orientation are ALSO LOCKED — treat their body as a fixed prop of the set that only the camera moves around."], "attempt": 1, "dur_s": 28.3, "bytes": 2487549, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s39/stills/S25sh9_a.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): dusk, just after sunset.\n\nSHOT TEXT (authoritative, Korean): 수리영의 손이 구겨진 사진을 꽉 움켜쥔 타이트 샷\n\nLOCATION (lock): A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.\n\nTHIS SHOT CONTINUES THE PREVIOUS SHOT: everything the attached still established — the place, its fixed features and wear, each person's clothing and state — persists. Any person in it who cannot move stays PRECISELY as photographed (body, pose, contact points, held objects); only the camera changes.\n\nPREVIOUS STILL USAGE (follow exactly — what to take from the attached still and what to exclude): Take the worn bedroom wall texture, sunset illumination, and the continuing red circle from the reference. Preserve the same stained old photograph after it has been pulled from the wall. Exclude the pinning position and empty the center of the wall mark; focus instead on the hand tightly gripping the photograph.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nMOVEMENT (follow exactly): static: Su-ri-young's tense hand crushes the crumpled photograph in a tight grip as she holds it close.\n\nFIGURES — size & depth (follow exactly): Su-ri-young's hand fills roughly 2/3 of the tight frame, and the exposed portion of the photograph fills about 1/3. Her knuckles are NEARER to the camera, while the photograph is partly FARTHER inside her closed fingers.\n\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The apartment remains ransacked, and the red wall circle remains after the photograph has been removed from its center. Suri-young tightly grips the same crumpled, stained photograph.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 수리영 — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-13 16:09:56", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s39_S25sh9_b", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s39/stills/S25sh5_sel.png"], "ref_labels": ["PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing. If this photo shows a character who cannot move (dead or unconscious), that character's exact pose, position and orientation are ALSO LOCKED — treat their body as a fixed prop of the set that only the camera moves around."], "attempt": 1, "dur_s": 27.4, "bytes": 2346573, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s39/stills/S25sh9_b.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): dusk, just after sunset.\n\nSHOT TEXT (authoritative, Korean): 수리영의 손이 구겨진 사진을 꽉 움켜쥔 타이트 샷\n\nLOCATION (lock): A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.\n\nTHIS SHOT CONTINUES THE PREVIOUS SHOT: everything the attached still established — the place, its fixed features and wear, each person's clothing and state — persists. Any person in it who cannot move stays PRECISELY as photographed (body, pose, contact points, held objects); only the camera changes.\n\nPREVIOUS STILL USAGE (follow exactly — what to take from the attached still and what to exclude): Take the worn bedroom wall texture, sunset illumination, and the continuing red circle from the reference. Preserve the same stained old photograph after it has been pulled from the wall. Exclude the pinning position and empty the center of the wall mark; focus instead on the hand tightly gripping the photograph.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nMOVEMENT (follow exactly): static: Su-ri-young's tense hand crushes the crumpled photograph in a tight grip as she holds it close.\n\nFIGURES — size & depth (follow exactly): Su-ri-young's hand fills roughly 2/3 of the tight frame, and the exposed portion of the photograph fills about 1/3. Her knuckles are NEARER to the camera, while the photograph is partly FARTHER inside her closed fingers.\n\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The apartment remains ransacked, and the red wall circle remains after the photograph has been removed from its center. Suri-young tightly grips the same crumpled, stained photograph.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 수리영 — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-13 16:10:16", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s39_S25sh9_c", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s39/stills/S25sh5_sel.png"], "ref_labels": ["PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing. If this photo shows a character who cannot move (dead or unconscious), that character's exact pose, position and orientation are ALSO LOCKED — treat their body as a fixed prop of the set that only the camera moves around."], "attempt": 1, "dur_s": 20.0, "bytes": 2539621, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s39/stills/S25sh9_c.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): dusk, just after sunset.\n\nSHOT TEXT (authoritative, Korean): 수리영의 손이 구겨진 사진을 꽉 움켜쥔 타이트 샷\n\nLOCATION (lock): A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.\n\nTHIS SHOT CONTINUES THE PREVIOUS SHOT: everything the attached still established — the place, its fixed features and wear, each person's clothing and state — persists. Any person in it who cannot move stays PRECISELY as photographed (body, pose, contact points, held objects); only the camera changes.\n\nPREVIOUS STILL USAGE (follow exactly — what to take from the attached still and what to exclude): Take the worn bedroom wall texture, sunset illumination, and the continuing red circle from the reference. Preserve the same stained old photograph after it has been pulled from the wall. Exclude the pinning position and empty the center of the wall mark; focus instead on the hand tightly gripping the photograph.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nMOVEMENT (follow exactly): static: Su-ri-young's tense hand crushes the crumpled photograph in a tight grip as she holds it close.\n\nFIGURES — size & depth (follow exactly): Su-ri-young's hand fills roughly 2/3 of the tight frame, and the exposed portion of the photograph fills about 1/3. Her knuckles are NEARER to the camera, while the photograph is partly FARTHER inside her closed fingers.\n\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The apartment remains ransacked, and the red wall circle remains after the photograph has been removed from its center. Suri-young tightly grips the same crumpled, stained photograph.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 수리영 — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-13 16:10:31", "kind": "llm", "step": "s39_judge_gpt_S25sh9", "model": "gpt", "dur_s": 15.2, "system_prompt": "You are given ONE image-generation prompt, the REFERENCE image(s)\nthat were attached to it (labelled), and THREE candidate images,\nlabelled A, B, C in the order attached, all generated from that\nexact prompt with those exact references.\nPick the ONE candidate that most faithfully realises the prompt.\nJudge ONLY fidelity to the prompt and its reference instructions:\nthe shot text's moment and action, who is and is NOT in frame,\ncamera framing, time of day, the LOCATION lock (the place must be\nthe one the reference shows — same architecture, materials,\nfixtures), pose/immobility and carried-state clauses, and every\nexclusion (no text, no invented people or objects). Consistency\nwith the attached reference image counts as prompt fidelity.\nIgnore generic aesthetic appeal.\nCheck every candidate point by point before deciding; base every\nverdict only on what is visible.\nAlso give every candidate an integer score 0-10 for that same\nfidelity.\nOutput: winner, ranking best-to-worst, and per candidate a score\nplus a one-line Korean verdict citing the decisive prompt points.", "user_prompt": "[{\"type\": \"text\", \"text\": \"THE PROMPT (all three candidates were generated from this):\\nCreate ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): dusk, just after sunset.\\n\\nSHOT TEXT (authoritative, Korean): 수리영의 손이 구겨진 사진을 꽉 움켜쥔 타이트 샷\\n\\nLOCATION (lock): A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.\\n\\nTHIS SHOT CONTINUES THE PREVIOUS SHOT: everything the attached still established — the place, its fixed features and wear, each person's clothing and state — persists. Any person in it who cannot move stays PRECISELY as photographed (body, pose, contact points, held objects); only the camera changes.\\n\\nPREVIOUS STILL USAGE (follow exactly — what to take from the attached still and what to exclude): Take the worn bedroom wall texture, sunset illumination, and the continuing red circle from the reference. Preserve the same stained old photograph after it has been pulled from the wall. Exclude the pinning position and empty the center of the wall mark; focus instead on the hand tightly gripping the photograph.\\n\\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\\ntext may describe characters metaphorically, figuratively or with\\nexaggeration. Photograph what a real movie camera would actually\\nrecord on a physical set — exaggerated or figurative impressions\\nbecome realistic staging choices (lighting, distance, angle,\\nwardrobe), not literal fantasy imagery.\\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\\nfeatures non-human or virtual beings (as in science fiction or\\nfantasy), every character — however indirectly, vaguely or\\nfiguratively the text describes them — IS a real human. When the\\ntext gives no direct visual description of a person, IMAGINE one\\nand still show them as a concrete, fully-formed human being:\\nalways render the human form to the maximum extent — build,\\nposture, face, hands, clothing — never reduce a person to a shape,\\nblob, solid silhouette or abstract mass.\\n\\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\\nperson's eyes, face or presence emotionally or figuratively (vacant,\\nhollow, dazed, burning, lifeless gaze and the like), it describes an\\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\\nthrough gaze direction, focus, eyelids, facial muscles, stillness\\nand posture. Every living person's eyes remain anatomically normal\\nhuman eyes with a natural iris and pupil, natural sclera and normal\\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\\notherwise alter eyeballs, skin or anatomy — unless the story\\nexplicitly declares that being non-human or supernatural in form.\\n\\nMOVEMENT (follow exactly): static: Su-ri-young's tense hand crushes the crumpled photograph in a tight grip as she holds it close.\\n\\nFIGURES — size & depth (follow exactly): Su-ri-young's hand fills roughly 2/3 of the tight frame, and the exposed portion of the photograph fills about 1/3. Her knuckles are NEARER to the camera, while the photograph is partly FARTHER inside her closed fingers.\\n\\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The apartment remains ransacked, and the red wall circle remains after the photograph has been removed from its center. Suri-young tightly grips the same crumpled, stained photograph.\\n\\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 수리영 — never anyone else, and never add a person the shot text does not show.\\n\\nNo text, captions, watermarks or annotations anywhere.\"}, {\"type\": \"text\", \"text\": \"REFERENCE — PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing. If this photo shows a character who cannot move (dead or unconscious), that character's exact pose, position and orientation are ALSO LOCKED — treat their body as a fixed prop of the set that only the camera moves around.\"}, {\"type\": \"text\", \"text\": \"Candidate A:\"}, {\"type\": \"text\", \"text\": \"Candidate B:\"}, {\"type\": \"text\", \"text\": \"Candidate C:\"}]"}
{"ts": "2026-07-13 16:11:00", "kind": "llm", "step": "s39_judge_gemini_S25sh9", "model": "gemini-pro", "dur_s": 28.7, "system_prompt": "You are given ONE image-generation prompt, the REFERENCE image(s)\nthat were attached to it (labelled), and THREE candidate images,\nlabelled A, B, C in the order attached, all generated from that\nexact prompt with those exact references.\nPick the ONE candidate that most faithfully realises the prompt.\nJudge ONLY fidelity to the prompt and its reference instructions:\nthe shot text's moment and action, who is and is NOT in frame,\ncamera framing, time of day, the LOCATION lock (the place must be\nthe one the reference shows — same architecture, materials,\nfixtures), pose/immobility and carried-state clauses, and every\nexclusion (no text, no invented people or objects). Consistency\nwith the attached reference image counts as prompt fidelity.\nIgnore generic aesthetic appeal.\nCheck every candidate point by point before deciding; base every\nverdict only on what is visible.\nAlso give every candidate an integer score 0-10 for that same\nfidelity.\nOutput: winner, ranking best-to-worst, and per candidate a score\nplus a one-line Korean verdict citing the decisive prompt points.", "user_prompt": "[{\"type\": \"text\", \"text\": \"THE PROMPT (all three candidates were generated from this):\\nCreate ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): dusk, just after sunset.\\n\\nSHOT TEXT (authoritative, Korean): 수리영의 손이 구겨진 사진을 꽉 움켜쥔 타이트 샷\\n\\nLOCATION (lock): A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.\\n\\nTHIS SHOT CONTINUES THE PREVIOUS SHOT: everything the attached still established — the place, its fixed features and wear, each person's clothing and state — persists. Any person in it who cannot move stays PRECISELY as photographed (body, pose, contact points, held objects); only the camera changes.\\n\\nPREVIOUS STILL USAGE (follow exactly — what to take from the attached still and what to exclude): Take the worn bedroom wall texture, sunset illumination, and the continuing red circle from the reference. Preserve the same stained old photograph after it has been pulled from the wall. Exclude the pinning position and empty the center of the wall mark; focus instead on the hand tightly gripping the photograph.\\n\\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\\ntext may describe characters metaphorically, figuratively or with\\nexaggeration. Photograph what a real movie camera would actually\\nrecord on a physical set — exaggerated or figurative impressions\\nbecome realistic staging choices (lighting, distance, angle,\\nwardrobe), not literal fantasy imagery.\\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\\nfeatures non-human or virtual beings (as in science fiction or\\nfantasy), every character — however indirectly, vaguely or\\nfiguratively the text describes them — IS a real human. When the\\ntext gives no direct visual description of a person, IMAGINE one\\nand still show them as a concrete, fully-formed human being:\\nalways render the human form to the maximum extent — build,\\nposture, face, hands, clothing — never reduce a person to a shape,\\nblob, solid silhouette or abstract mass.\\n\\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\\nperson's eyes, face or presence emotionally or figuratively (vacant,\\nhollow, dazed, burning, lifeless gaze and the like), it describes an\\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\\nthrough gaze direction, focus, eyelids, facial muscles, stillness\\nand posture. Every living person's eyes remain anatomically normal\\nhuman eyes with a natural iris and pupil, natural sclera and normal\\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\\notherwise alter eyeballs, skin or anatomy — unless the story\\nexplicitly declares that being non-human or supernatural in form.\\n\\nMOVEMENT (follow exactly): static: Su-ri-young's tense hand crushes the crumpled photograph in a tight grip as she holds it close.\\n\\nFIGURES — size & depth (follow exactly): Su-ri-young's hand fills roughly 2/3 of the tight frame, and the exposed portion of the photograph fills about 1/3. Her knuckles are NEARER to the camera, while the photograph is partly FARTHER inside her closed fingers.\\n\\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The apartment remains ransacked, and the red wall circle remains after the photograph has been removed from its center. Suri-young tightly grips the same crumpled, stained photograph.\\n\\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 수리영 — never anyone else, and never add a person the shot text does not show.\\n\\nNo text, captions, watermarks or annotations anywhere.\"}, {\"type\": \"text\", \"text\": \"REFERENCE — PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing. If this photo shows a character who cannot move (dead or unconscious), that character's exact pose, position and orientation are ALSO LOCKED — treat their body as a fixed prop of the set that only the camera moves around.\"}, {\"type\": \"text\", \"text\": \"Candidate A:\"}, {\"type\": \"text\", \"text\": \"Candidate B:\"}, {\"type\": \"text\", \"text\": \"Candidate C:\"}]"}
{"ts": "2026-07-13 16:11:29", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s39_S27sh3_a", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s39/stills/S25sh1_sel.png"], "ref_labels": ["PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing. If this photo shows a character who cannot move (dead or unconscious), that character's exact pose, position and orientation are ALSO LOCKED — treat their body as a fixed prop of the set that only the camera moves around."], "attempt": 1, "dur_s": 28.8, "bytes": 2199476, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s39/stills/S27sh3_a.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): dusk, just after sunset.\n\nSHOT TEXT (authoritative, Korean): 혜수가 미간을 깊게 찌푸린 채 스마트폰을 내려다보는 얼굴 클로즈업\n\nLOCATION (lock): A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.\n\nTHIS SHOT CONTINUES THE PREVIOUS SHOT: everything the attached still established — the place, its fixed features and wear, each person's clothing and state — persists. Any person in it who cannot move stays PRECISELY as photographed (body, pose, contact points, held objects); only the camera changes.\n\nPREVIOUS STILL USAGE (follow exactly — what to take from the attached still and what to exclude): Take the ransacked living area's worn materials, sunset light, open-window condition, muddy footprints, and overturned chairs from the reference as continuing environmental state. Place the middle-aged woman with her smartphone within that same room. Exclude the earlier empty wide-floor emphasis, and do not add the young woman, her backpack, or the stained photograph to this close-up.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nMOVEMENT (follow exactly): static: Hye-su lowers her gaze toward the smartphone and listens to Su-ri-young's recorded message with her brow deeply furrowed.\n\nFIGURES — size & depth (follow exactly): Hye-su's face fills about 2/3 of the close-up frame, while the smartphone occupies a smaller area below her face. The phone is NEARER to the camera, Hye-su's face is slightly FARTHER, and the room behind her is farthest.\n\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The apartment remains ransacked, with the footprints, open window, overturned chairs, and the now-empty red wall circle left in place; Suri-young has departed with the photograph and backpack. Hyesu holds the smartphone on which she is checking Suri-young’s recorded message.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 혜수 — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-13 16:11:56", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s39_S27sh3_b", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s39/stills/S25sh1_sel.png"], "ref_labels": ["PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing. If this photo shows a character who cannot move (dead or unconscious), that character's exact pose, position and orientation are ALSO LOCKED — treat their body as a fixed prop of the set that only the camera moves around."], "attempt": 1, "dur_s": 27.5, "bytes": 2460487, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s39/stills/S27sh3_b.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): dusk, just after sunset.\n\nSHOT TEXT (authoritative, Korean): 혜수가 미간을 깊게 찌푸린 채 스마트폰을 내려다보는 얼굴 클로즈업\n\nLOCATION (lock): A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.\n\nTHIS SHOT CONTINUES THE PREVIOUS SHOT: everything the attached still established — the place, its fixed features and wear, each person's clothing and state — persists. Any person in it who cannot move stays PRECISELY as photographed (body, pose, contact points, held objects); only the camera changes.\n\nPREVIOUS STILL USAGE (follow exactly — what to take from the attached still and what to exclude): Take the ransacked living area's worn materials, sunset light, open-window condition, muddy footprints, and overturned chairs from the reference as continuing environmental state. Place the middle-aged woman with her smartphone within that same room. Exclude the earlier empty wide-floor emphasis, and do not add the young woman, her backpack, or the stained photograph to this close-up.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nMOVEMENT (follow exactly): static: Hye-su lowers her gaze toward the smartphone and listens to Su-ri-young's recorded message with her brow deeply furrowed.\n\nFIGURES — size & depth (follow exactly): Hye-su's face fills about 2/3 of the close-up frame, while the smartphone occupies a smaller area below her face. The phone is NEARER to the camera, Hye-su's face is slightly FARTHER, and the room behind her is farthest.\n\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The apartment remains ransacked, with the footprints, open window, overturned chairs, and the now-empty red wall circle left in place; Suri-young has departed with the photograph and backpack. Hyesu holds the smartphone on which she is checking Suri-young’s recorded message.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 혜수 — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-13 16:12:15", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s39_S27sh3_c", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s39/stills/S25sh1_sel.png"], "ref_labels": ["PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing. If this photo shows a character who cannot move (dead or unconscious), that character's exact pose, position and orientation are ALSO LOCKED — treat their body as a fixed prop of the set that only the camera moves around."], "attempt": 1, "dur_s": 18.8, "bytes": 2216465, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s39/stills/S27sh3_c.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): dusk, just after sunset.\n\nSHOT TEXT (authoritative, Korean): 혜수가 미간을 깊게 찌푸린 채 스마트폰을 내려다보는 얼굴 클로즈업\n\nLOCATION (lock): A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.\n\nTHIS SHOT CONTINUES THE PREVIOUS SHOT: everything the attached still established — the place, its fixed features and wear, each person's clothing and state — persists. Any person in it who cannot move stays PRECISELY as photographed (body, pose, contact points, held objects); only the camera changes.\n\nPREVIOUS STILL USAGE (follow exactly — what to take from the attached still and what to exclude): Take the ransacked living area's worn materials, sunset light, open-window condition, muddy footprints, and overturned chairs from the reference as continuing environmental state. Place the middle-aged woman with her smartphone within that same room. Exclude the earlier empty wide-floor emphasis, and do not add the young woman, her backpack, or the stained photograph to this close-up.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nMOVEMENT (follow exactly): static: Hye-su lowers her gaze toward the smartphone and listens to Su-ri-young's recorded message with her brow deeply furrowed.\n\nFIGURES — size & depth (follow exactly): Hye-su's face fills about 2/3 of the close-up frame, while the smartphone occupies a smaller area below her face. The phone is NEARER to the camera, Hye-su's face is slightly FARTHER, and the room behind her is farthest.\n\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The apartment remains ransacked, with the footprints, open window, overturned chairs, and the now-empty red wall circle left in place; Suri-young has departed with the photograph and backpack. Hyesu holds the smartphone on which she is checking Suri-young’s recorded message.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 혜수 — never anyone else, and never add a person the shot text does not show.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-13 16:12:29", "kind": "llm", "step": "s39_judge_gpt_S27sh3", "model": "gpt", "dur_s": 14.4, "system_prompt": "You are given ONE image-generation prompt, the REFERENCE image(s)\nthat were attached to it (labelled), and THREE candidate images,\nlabelled A, B, C in the order attached, all generated from that\nexact prompt with those exact references.\nPick the ONE candidate that most faithfully realises the prompt.\nJudge ONLY fidelity to the prompt and its reference instructions:\nthe shot text's moment and action, who is and is NOT in frame,\ncamera framing, time of day, the LOCATION lock (the place must be\nthe one the reference shows — same architecture, materials,\nfixtures), pose/immobility and carried-state clauses, and every\nexclusion (no text, no invented people or objects). Consistency\nwith the attached reference image counts as prompt fidelity.\nIgnore generic aesthetic appeal.\nCheck every candidate point by point before deciding; base every\nverdict only on what is visible.\nAlso give every candidate an integer score 0-10 for that same\nfidelity.\nOutput: winner, ranking best-to-worst, and per candidate a score\nplus a one-line Korean verdict citing the decisive prompt points.", "user_prompt": "[{\"type\": \"text\", \"text\": \"THE PROMPT (all three candidates were generated from this):\\nCreate ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): dusk, just after sunset.\\n\\nSHOT TEXT (authoritative, Korean): 혜수가 미간을 깊게 찌푸린 채 스마트폰을 내려다보는 얼굴 클로즈업\\n\\nLOCATION (lock): A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.\\n\\nTHIS SHOT CONTINUES THE PREVIOUS SHOT: everything the attached still established — the place, its fixed features and wear, each person's clothing and state — persists. Any person in it who cannot move stays PRECISELY as photographed (body, pose, contact points, held objects); only the camera changes.\\n\\nPREVIOUS STILL USAGE (follow exactly — what to take from the attached still and what to exclude): Take the ransacked living area's worn materials, sunset light, open-window condition, muddy footprints, and overturned chairs from the reference as continuing environmental state. Place the middle-aged woman with her smartphone within that same room. Exclude the earlier empty wide-floor emphasis, and do not add the young woman, her backpack, or the stained photograph to this close-up.\\n\\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\\ntext may describe characters metaphorically, figuratively or with\\nexaggeration. Photograph what a real movie camera would actually\\nrecord on a physical set — exaggerated or figurative impressions\\nbecome realistic staging choices (lighting, distance, angle,\\nwardrobe), not literal fantasy imagery.\\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\\nfeatures non-human or virtual beings (as in science fiction or\\nfantasy), every character — however indirectly, vaguely or\\nfiguratively the text describes them — IS a real human. When the\\ntext gives no direct visual description of a person, IMAGINE one\\nand still show them as a concrete, fully-formed human being:\\nalways render the human form to the maximum extent — build,\\nposture, face, hands, clothing — never reduce a person to a shape,\\nblob, solid silhouette or abstract mass.\\n\\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\\nperson's eyes, face or presence emotionally or figuratively (vacant,\\nhollow, dazed, burning, lifeless gaze and the like), it describes an\\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\\nthrough gaze direction, focus, eyelids, facial muscles, stillness\\nand posture. Every living person's eyes remain anatomically normal\\nhuman eyes with a natural iris and pupil, natural sclera and normal\\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\\notherwise alter eyeballs, skin or anatomy — unless the story\\nexplicitly declares that being non-human or supernatural in form.\\n\\nMOVEMENT (follow exactly): static: Hye-su lowers her gaze toward the smartphone and listens to Su-ri-young's recorded message with her brow deeply furrowed.\\n\\nFIGURES — size & depth (follow exactly): Hye-su's face fills about 2/3 of the close-up frame, while the smartphone occupies a smaller area below her face. The phone is NEARER to the camera, Hye-su's face is slightly FARTHER, and the room behind her is farthest.\\n\\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The apartment remains ransacked, with the footprints, open window, overturned chairs, and the now-empty red wall circle left in place; Suri-young has departed with the photograph and backpack. Hyesu holds the smartphone on which she is checking Suri-young’s recorded message.\\n\\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 혜수 — never anyone else, and never add a person the shot text does not show.\\n\\nNo text, captions, watermarks or annotations anywhere.\"}, {\"type\": \"text\", \"text\": \"REFERENCE — PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing. If this photo shows a character who cannot move (dead or unconscious), that character's exact pose, position and orientation are ALSO LOCKED — treat their body as a fixed prop of the set that only the camera moves around.\"}, {\"type\": \"text\", \"text\": \"Candidate A:\"}, {\"type\": \"text\", \"text\": \"Candidate B:\"}, {\"type\": \"text\", \"text\": \"Candidate C:\"}]"}
{"ts": "2026-07-13 16:13:00", "kind": "llm", "step": "s39_judge_gemini_S27sh3", "model": "gemini-pro", "dur_s": 30.8, "system_prompt": "You are given ONE image-generation prompt, the REFERENCE image(s)\nthat were attached to it (labelled), and THREE candidate images,\nlabelled A, B, C in the order attached, all generated from that\nexact prompt with those exact references.\nPick the ONE candidate that most faithfully realises the prompt.\nJudge ONLY fidelity to the prompt and its reference instructions:\nthe shot text's moment and action, who is and is NOT in frame,\ncamera framing, time of day, the LOCATION lock (the place must be\nthe one the reference shows — same architecture, materials,\nfixtures), pose/immobility and carried-state clauses, and every\nexclusion (no text, no invented people or objects). Consistency\nwith the attached reference image counts as prompt fidelity.\nIgnore generic aesthetic appeal.\nCheck every candidate point by point before deciding; base every\nverdict only on what is visible.\nAlso give every candidate an integer score 0-10 for that same\nfidelity.\nOutput: winner, ranking best-to-worst, and per candidate a score\nplus a one-line Korean verdict citing the decisive prompt points.", "user_prompt": "[{\"type\": \"text\", \"text\": \"THE PROMPT (all three candidates were generated from this):\\nCreate ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): dusk, just after sunset.\\n\\nSHOT TEXT (authoritative, Korean): 혜수가 미간을 깊게 찌푸린 채 스마트폰을 내려다보는 얼굴 클로즈업\\n\\nLOCATION (lock): A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.\\n\\nTHIS SHOT CONTINUES THE PREVIOUS SHOT: everything the attached still established — the place, its fixed features and wear, each person's clothing and state — persists. Any person in it who cannot move stays PRECISELY as photographed (body, pose, contact points, held objects); only the camera changes.\\n\\nPREVIOUS STILL USAGE (follow exactly — what to take from the attached still and what to exclude): Take the ransacked living area's worn materials, sunset light, open-window condition, muddy footprints, and overturned chairs from the reference as continuing environmental state. Place the middle-aged woman with her smartphone within that same room. Exclude the earlier empty wide-floor emphasis, and do not add the young woman, her backpack, or the stained photograph to this close-up.\\n\\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\\ntext may describe characters metaphorically, figuratively or with\\nexaggeration. Photograph what a real movie camera would actually\\nrecord on a physical set — exaggerated or figurative impressions\\nbecome realistic staging choices (lighting, distance, angle,\\nwardrobe), not literal fantasy imagery.\\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\\nfeatures non-human or virtual beings (as in science fiction or\\nfantasy), every character — however indirectly, vaguely or\\nfiguratively the text describes them — IS a real human. When the\\ntext gives no direct visual description of a person, IMAGINE one\\nand still show them as a concrete, fully-formed human being:\\nalways render the human form to the maximum extent — build,\\nposture, face, hands, clothing — never reduce a person to a shape,\\nblob, solid silhouette or abstract mass.\\n\\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\\nperson's eyes, face or presence emotionally or figuratively (vacant,\\nhollow, dazed, burning, lifeless gaze and the like), it describes an\\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\\nthrough gaze direction, focus, eyelids, facial muscles, stillness\\nand posture. Every living person's eyes remain anatomically normal\\nhuman eyes with a natural iris and pupil, natural sclera and normal\\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\\notherwise alter eyeballs, skin or anatomy — unless the story\\nexplicitly declares that being non-human or supernatural in form.\\n\\nMOVEMENT (follow exactly): static: Hye-su lowers her gaze toward the smartphone and listens to Su-ri-young's recorded message with her brow deeply furrowed.\\n\\nFIGURES — size & depth (follow exactly): Hye-su's face fills about 2/3 of the close-up frame, while the smartphone occupies a smaller area below her face. The phone is NEARER to the camera, Hye-su's face is slightly FARTHER, and the room behind her is farthest.\\n\\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The apartment remains ransacked, with the footprints, open window, overturned chairs, and the now-empty red wall circle left in place; Suri-young has departed with the photograph and backpack. Hyesu holds the smartphone on which she is checking Suri-young’s recorded message.\\n\\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 혜수 — never anyone else, and never add a person the shot text does not show.\\n\\nNo text, captions, watermarks or annotations anywhere.\"}, {\"type\": \"text\", \"text\": \"REFERENCE — PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing. If this photo shows a character who cannot move (dead or unconscious), that character's exact pose, position and orientation are ALSO LOCKED — treat their body as a fixed prop of the set that only the camera moves around.\"}, {\"type\": \"text\", \"text\": \"Candidate A:\"}, {\"type\": \"text\", \"text\": \"Candidate B:\"}, {\"type\": \"text\", \"text\": \"Candidate C:\"}]"}
{"ts": "2026-07-13 17:39:10", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s39_S25sh9_a", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s39/stills/S25sh5_sel.png"], "ref_labels": ["PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing. If this photo shows a character who cannot move (dead or unconscious), that character's exact pose, position and orientation are ALSO LOCKED — treat their body as a fixed prop of the set that only the camera moves around."], "attempt": 1, "dur_s": 26.6, "bytes": 2539918, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s39/stills/S25sh9_a.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): dusk, just after sunset.\n\nSHOT TEXT (authoritative, Korean): 수리영의 손이 구겨진 사진을 꽉 움켜쥔 타이트 샷\n\nLOCATION (lock): A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.\n\nTHIS SHOT CONTINUES THE PREVIOUS SHOT: everything the attached still established — the place, its fixed features and wear, each person's clothing and state — persists. Any person in it who cannot move stays PRECISELY as photographed (body, pose, contact points, held objects); only the camera changes.\n\nPREVIOUS STILL USAGE (follow exactly — what to take from the attached still and what to exclude): Take the worn bedroom wall texture, sunset illumination, and the continuing red circle from the reference. Preserve the same stained old photograph after it has been pulled from the wall. Exclude the pinning position and empty the center of the wall mark; focus instead on the hand tightly gripping the photograph.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nMOVEMENT (follow exactly): static: Su-ri-young's tense hand crushes the crumpled photograph in a tight grip as she holds it close.\n\nFIGURES — size & depth (follow exactly): Su-ri-young's hand fills roughly 2/3 of the tight frame, and the exposed portion of the photograph fills about 1/3. Her knuckles are NEARER to the camera, while the photograph is partly FARTHER inside her closed fingers.\n\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The apartment remains ransacked, and the red wall circle remains after the photograph has been removed from its center. Suri-young tightly grips the same crumpled, stained photograph.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 수리영 (Korean young woman, early 20s face, oval face, natural black long hair) — never anyone else, and never add a person the shot text does not show. IF only part of a person is in frame (a hand, arm, foot, back, silhouette), that body part belongs to the specific person the shot text names — its sex, age, build, skin and grooming must unmistakably match that person's profile above.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-13 17:39:36", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s39_S25sh9_b", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s39/stills/S25sh5_sel.png"], "ref_labels": ["PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing. If this photo shows a character who cannot move (dead or unconscious), that character's exact pose, position and orientation are ALSO LOCKED — treat their body as a fixed prop of the set that only the camera moves around."], "attempt": 1, "dur_s": 26.1, "bytes": 2527358, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s39/stills/S25sh9_b.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): dusk, just after sunset.\n\nSHOT TEXT (authoritative, Korean): 수리영의 손이 구겨진 사진을 꽉 움켜쥔 타이트 샷\n\nLOCATION (lock): A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.\n\nTHIS SHOT CONTINUES THE PREVIOUS SHOT: everything the attached still established — the place, its fixed features and wear, each person's clothing and state — persists. Any person in it who cannot move stays PRECISELY as photographed (body, pose, contact points, held objects); only the camera changes.\n\nPREVIOUS STILL USAGE (follow exactly — what to take from the attached still and what to exclude): Take the worn bedroom wall texture, sunset illumination, and the continuing red circle from the reference. Preserve the same stained old photograph after it has been pulled from the wall. Exclude the pinning position and empty the center of the wall mark; focus instead on the hand tightly gripping the photograph.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nMOVEMENT (follow exactly): static: Su-ri-young's tense hand crushes the crumpled photograph in a tight grip as she holds it close.\n\nFIGURES — size & depth (follow exactly): Su-ri-young's hand fills roughly 2/3 of the tight frame, and the exposed portion of the photograph fills about 1/3. Her knuckles are NEARER to the camera, while the photograph is partly FARTHER inside her closed fingers.\n\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The apartment remains ransacked, and the red wall circle remains after the photograph has been removed from its center. Suri-young tightly grips the same crumpled, stained photograph.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 수리영 (Korean young woman, early 20s face, oval face, natural black long hair) — never anyone else, and never add a person the shot text does not show. IF only part of a person is in frame (a hand, arm, foot, back, silhouette), that body part belongs to the specific person the shot text names — its sex, age, build, skin and grooming must unmistakably match that person's profile above.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-13 17:39:59", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s39_S25sh9_c", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s39/stills/S25sh5_sel.png"], "ref_labels": ["PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing. If this photo shows a character who cannot move (dead or unconscious), that character's exact pose, position and orientation are ALSO LOCKED — treat their body as a fixed prop of the set that only the camera moves around."], "attempt": 1, "dur_s": 22.2, "bytes": 2382776, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s39/stills/S25sh9_c.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): dusk, just after sunset.\n\nSHOT TEXT (authoritative, Korean): 수리영의 손이 구겨진 사진을 꽉 움켜쥔 타이트 샷\n\nLOCATION (lock): A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.\n\nTHIS SHOT CONTINUES THE PREVIOUS SHOT: everything the attached still established — the place, its fixed features and wear, each person's clothing and state — persists. Any person in it who cannot move stays PRECISELY as photographed (body, pose, contact points, held objects); only the camera changes.\n\nPREVIOUS STILL USAGE (follow exactly — what to take from the attached still and what to exclude): Take the worn bedroom wall texture, sunset illumination, and the continuing red circle from the reference. Preserve the same stained old photograph after it has been pulled from the wall. Exclude the pinning position and empty the center of the wall mark; focus instead on the hand tightly gripping the photograph.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nMOVEMENT (follow exactly): static: Su-ri-young's tense hand crushes the crumpled photograph in a tight grip as she holds it close.\n\nFIGURES — size & depth (follow exactly): Su-ri-young's hand fills roughly 2/3 of the tight frame, and the exposed portion of the photograph fills about 1/3. Her knuckles are NEARER to the camera, while the photograph is partly FARTHER inside her closed fingers.\n\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The apartment remains ransacked, and the red wall circle remains after the photograph has been removed from its center. Suri-young tightly grips the same crumpled, stained photograph.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 수리영 (Korean young woman, early 20s face, oval face, natural black long hair) — never anyone else, and never add a person the shot text does not show. IF only part of a person is in frame (a hand, arm, foot, back, silhouette), that body part belongs to the specific person the shot text names — its sex, age, build, skin and grooming must unmistakably match that person's profile above.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-13 17:40:32", "kind": "llm", "step": "s39_judge_gemini_S25sh9", "model": "gemini-pro", "dur_s": 33.4, "system_prompt": "You are given ONE image-generation prompt, the REFERENCE image(s)\nthat were attached to it (labelled), and THREE candidate images,\nlabelled A, B, C in the order attached, all generated from that\nexact prompt with those exact references.\nPick the ONE candidate that most faithfully realises the prompt.\nJudge ONLY fidelity to the prompt and its reference instructions:\nthe shot text's moment and action, who is and is NOT in frame,\ncamera framing, time of day, the LOCATION lock (the place must be\nthe one the reference shows — same architecture, materials,\nfixtures), pose/immobility and carried-state clauses, and every\nexclusion (no text, no invented people or objects). Consistency\nwith the attached reference image counts as prompt fidelity.\nIgnore generic aesthetic appeal.\nCheck every candidate point by point before deciding; base every\nverdict only on what is visible.\nAlso give every candidate an integer score 0-10 for that same\nfidelity.\nOutput: winner, ranking best-to-worst, and per candidate a score\nplus a one-line Korean verdict citing the decisive prompt points.", "user_prompt": "[{\"type\": \"text\", \"text\": \"THE PROMPT (all three candidates were generated from this):\\nCreate ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): dusk, just after sunset.\\n\\nSHOT TEXT (authoritative, Korean): 수리영의 손이 구겨진 사진을 꽉 움켜쥔 타이트 샷\\n\\nLOCATION (lock): A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.\\n\\nTHIS SHOT CONTINUES THE PREVIOUS SHOT: everything the attached still established — the place, its fixed features and wear, each person's clothing and state — persists. Any person in it who cannot move stays PRECISELY as photographed (body, pose, contact points, held objects); only the camera changes.\\n\\nPREVIOUS STILL USAGE (follow exactly — what to take from the attached still and what to exclude): Take the worn bedroom wall texture, sunset illumination, and the continuing red circle from the reference. Preserve the same stained old photograph after it has been pulled from the wall. Exclude the pinning position and empty the center of the wall mark; focus instead on the hand tightly gripping the photograph.\\n\\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\\ntext may describe characters metaphorically, figuratively or with\\nexaggeration. Photograph what a real movie camera would actually\\nrecord on a physical set — exaggerated or figurative impressions\\nbecome realistic staging choices (lighting, distance, angle,\\nwardrobe), not literal fantasy imagery.\\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\\nfeatures non-human or virtual beings (as in science fiction or\\nfantasy), every character — however indirectly, vaguely or\\nfiguratively the text describes them — IS a real human. When the\\ntext gives no direct visual description of a person, IMAGINE one\\nand still show them as a concrete, fully-formed human being:\\nalways render the human form to the maximum extent — build,\\nposture, face, hands, clothing — never reduce a person to a shape,\\nblob, solid silhouette or abstract mass.\\n\\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\\nperson's eyes, face or presence emotionally or figuratively (vacant,\\nhollow, dazed, burning, lifeless gaze and the like), it describes an\\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\\nthrough gaze direction, focus, eyelids, facial muscles, stillness\\nand posture. Every living person's eyes remain anatomically normal\\nhuman eyes with a natural iris and pupil, natural sclera and normal\\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\\notherwise alter eyeballs, skin or anatomy — unless the story\\nexplicitly declares that being non-human or supernatural in form.\\n\\nMOVEMENT (follow exactly): static: Su-ri-young's tense hand crushes the crumpled photograph in a tight grip as she holds it close.\\n\\nFIGURES — size & depth (follow exactly): Su-ri-young's hand fills roughly 2/3 of the tight frame, and the exposed portion of the photograph fills about 1/3. Her knuckles are NEARER to the camera, while the photograph is partly FARTHER inside her closed fingers.\\n\\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The apartment remains ransacked, and the red wall circle remains after the photograph has been removed from its center. Suri-young tightly grips the same crumpled, stained photograph.\\n\\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 수리영 (Korean young woman, early 20s face, oval face, natural black long hair) — never anyone else, and never add a person the shot text does not show. IF only part of a person is in frame (a hand, arm, foot, back, silhouette), that body part belongs to the specific person the shot text names — its sex, age, build, skin and grooming must unmistakably match that person's profile above.\\n\\nNo text, captions, watermarks or annotations anywhere.\"}, {\"type\": \"text\", \"text\": \"REFERENCE — PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing. If this photo shows a character who cannot move (dead or unconscious), that character's exact pose, position and orientation are ALSO LOCKED — treat their body as a fixed prop of the set that only the camera moves around.\"}, {\"type\": \"text\", \"text\": \"Candidate A:\"}, {\"type\": \"text\", \"text\": \"Candidate B:\"}, {\"type\": \"text\", \"text\": \"Candidate C:\"}]"}
{"ts": "2026-07-13 17:42:18", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s39_S27sh3_a", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s39/stills/S25sh1_sel.png"], "ref_labels": ["PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing. If this photo shows a character who cannot move (dead or unconscious), that character's exact pose, position and orientation are ALSO LOCKED — treat their body as a fixed prop of the set that only the camera moves around."], "attempt": 1, "dur_s": 22.8, "bytes": 2239520, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s39/stills/S27sh3_a.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): dusk, just after sunset.\n\nSHOT TEXT (authoritative, Korean): 혜수가 미간을 깊게 찌푸린 채 스마트폰을 내려다보는 얼굴 클로즈업\n\nLOCATION (lock): A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.\n\nTHIS SHOT CONTINUES THE PREVIOUS SHOT: everything the attached still established — the place, its fixed features and wear, each person's clothing and state — persists. Any person in it who cannot move stays PRECISELY as photographed (body, pose, contact points, held objects); only the camera changes.\n\nPREVIOUS STILL USAGE (follow exactly — what to take from the attached still and what to exclude): Take the ransacked living area's worn materials, sunset light, open-window condition, muddy footprints, and overturned chairs from the reference as continuing environmental state. Place the middle-aged woman with her smartphone within that same room. Exclude the earlier empty wide-floor emphasis, and do not add the young woman, her backpack, or the stained photograph to this close-up.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nPROPS FACE THE RIGHT WAY: every handheld or used object must be\noriented exactly as its real-world use requires. A person reading,\nwatching or operating something (a phone, a photograph, a paper,\nany device) has its functional side — screen, front, page — facing\nTHEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nMOVEMENT (follow exactly): static: Hye-su lowers her gaze toward the smartphone and listens to Su-ri-young's recorded message with her brow deeply furrowed.\n\nFIGURES — size & depth (follow exactly): Hye-su's face fills about 2/3 of the close-up frame, while the smartphone occupies a smaller area below her face. The phone is NEARER to the camera, Hye-su's face is slightly FARTHER, and the room behind her is farthest.\n\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The apartment remains ransacked, with the footprints, open window, overturned chairs, and the now-empty red wall circle left in place; Suri-young has departed with the photograph and backpack. Hyesu holds the smartphone on which she is checking Suri-young’s recorded message.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 혜수 (Korean middle-aged woman, mid-40s face, mature facial features, dark natural hair) — never anyone else, and never add a person the shot text does not show. IF only part of a person is in frame (a hand, arm, foot, back, silhouette), that body part belongs to the specific person the shot text names — its sex, age, build, skin and grooming must unmistakably match that person's profile above.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-13 17:42:39", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s39_S27sh3_b", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s39/stills/S25sh1_sel.png"], "ref_labels": ["PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing. If this photo shows a character who cannot move (dead or unconscious), that character's exact pose, position and orientation are ALSO LOCKED — treat their body as a fixed prop of the set that only the camera moves around."], "attempt": 1, "dur_s": 21.2, "bytes": 2509162, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s39/stills/S27sh3_b.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): dusk, just after sunset.\n\nSHOT TEXT (authoritative, Korean): 혜수가 미간을 깊게 찌푸린 채 스마트폰을 내려다보는 얼굴 클로즈업\n\nLOCATION (lock): A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.\n\nTHIS SHOT CONTINUES THE PREVIOUS SHOT: everything the attached still established — the place, its fixed features and wear, each person's clothing and state — persists. Any person in it who cannot move stays PRECISELY as photographed (body, pose, contact points, held objects); only the camera changes.\n\nPREVIOUS STILL USAGE (follow exactly — what to take from the attached still and what to exclude): Take the ransacked living area's worn materials, sunset light, open-window condition, muddy footprints, and overturned chairs from the reference as continuing environmental state. Place the middle-aged woman with her smartphone within that same room. Exclude the earlier empty wide-floor emphasis, and do not add the young woman, her backpack, or the stained photograph to this close-up.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nPROPS FACE THE RIGHT WAY: every handheld or used object must be\noriented exactly as its real-world use requires. A person reading,\nwatching or operating something (a phone, a photograph, a paper,\nany device) has its functional side — screen, front, page — facing\nTHEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nMOVEMENT (follow exactly): static: Hye-su lowers her gaze toward the smartphone and listens to Su-ri-young's recorded message with her brow deeply furrowed.\n\nFIGURES — size & depth (follow exactly): Hye-su's face fills about 2/3 of the close-up frame, while the smartphone occupies a smaller area below her face. The phone is NEARER to the camera, Hye-su's face is slightly FARTHER, and the room behind her is farthest.\n\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The apartment remains ransacked, with the footprints, open window, overturned chairs, and the now-empty red wall circle left in place; Suri-young has departed with the photograph and backpack. Hyesu holds the smartphone on which she is checking Suri-young’s recorded message.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 혜수 (Korean middle-aged woman, mid-40s face, mature facial features, dark natural hair) — never anyone else, and never add a person the shot text does not show. IF only part of a person is in frame (a hand, arm, foot, back, silhouette), that body part belongs to the specific person the shot text names — its sex, age, build, skin and grooming must unmistakably match that person's profile above.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-13 17:43:01", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s39_S27sh3_c", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s39/stills/S25sh1_sel.png"], "ref_labels": ["PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing. If this photo shows a character who cannot move (dead or unconscious), that character's exact pose, position and orientation are ALSO LOCKED — treat their body as a fixed prop of the set that only the camera moves around."], "attempt": 1, "dur_s": 21.6, "bytes": 2434321, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s39/stills/S27sh3_c.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): dusk, just after sunset.\n\nSHOT TEXT (authoritative, Korean): 혜수가 미간을 깊게 찌푸린 채 스마트폰을 내려다보는 얼굴 클로즈업\n\nLOCATION (lock): A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.\n\nTHIS SHOT CONTINUES THE PREVIOUS SHOT: everything the attached still established — the place, its fixed features and wear, each person's clothing and state — persists. Any person in it who cannot move stays PRECISELY as photographed (body, pose, contact points, held objects); only the camera changes.\n\nPREVIOUS STILL USAGE (follow exactly — what to take from the attached still and what to exclude): Take the ransacked living area's worn materials, sunset light, open-window condition, muddy footprints, and overturned chairs from the reference as continuing environmental state. Place the middle-aged woman with her smartphone within that same room. Exclude the earlier empty wide-floor emphasis, and do not add the young woman, her backpack, or the stained photograph to this close-up.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nPROPS FACE THE RIGHT WAY: every handheld or used object must be\noriented exactly as its real-world use requires. A person reading,\nwatching or operating something (a phone, a photograph, a paper,\nany device) has its functional side — screen, front, page — facing\nTHEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nMOVEMENT (follow exactly): static: Hye-su lowers her gaze toward the smartphone and listens to Su-ri-young's recorded message with her brow deeply furrowed.\n\nFIGURES — size & depth (follow exactly): Hye-su's face fills about 2/3 of the close-up frame, while the smartphone occupies a smaller area below her face. The phone is NEARER to the camera, Hye-su's face is slightly FARTHER, and the room behind her is farthest.\n\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The apartment remains ransacked, with the footprints, open window, overturned chairs, and the now-empty red wall circle left in place; Suri-young has departed with the photograph and backpack. Hyesu holds the smartphone on which she is checking Suri-young’s recorded message.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 혜수 (Korean middle-aged woman, mid-40s face, mature facial features, dark natural hair) — never anyone else, and never add a person the shot text does not show. IF only part of a person is in frame (a hand, arm, foot, back, silhouette), that body part belongs to the specific person the shot text names — its sex, age, build, skin and grooming must unmistakably match that person's profile above.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-13 17:43:27", "kind": "llm", "step": "s39_judge_gemini_S27sh3", "model": "gemini-pro", "dur_s": 26.2, "system_prompt": "You are given ONE image-generation prompt, the REFERENCE image(s)\nthat were attached to it (labelled), and THREE candidate images,\nlabelled A, B, C in the order attached, all generated from that\nexact prompt with those exact references.\nPick the ONE candidate that most faithfully realises the prompt.\nJudge ONLY fidelity to the prompt and its reference instructions:\nthe shot text's moment and action, who is and is NOT in frame,\ncamera framing, time of day, the LOCATION lock (the place must be\nthe one the reference shows — same architecture, materials,\nfixtures), pose/immobility and carried-state clauses, and every\nexclusion (no text, no invented people or objects). Consistency\nwith the attached reference image counts as prompt fidelity.\nIgnore generic aesthetic appeal.\nCheck every candidate point by point before deciding; base every\nverdict only on what is visible.\nAlso give every candidate an integer score 0-10 for that same\nfidelity.\nOutput: winner, ranking best-to-worst, and per candidate a score\nplus a one-line Korean verdict citing the decisive prompt points.", "user_prompt": "[{\"type\": \"text\", \"text\": \"THE PROMPT (all three candidates were generated from this):\\nCreate ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): dusk, just after sunset.\\n\\nSHOT TEXT (authoritative, Korean): 혜수가 미간을 깊게 찌푸린 채 스마트폰을 내려다보는 얼굴 클로즈업\\n\\nLOCATION (lock): A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.\\n\\nTHIS SHOT CONTINUES THE PREVIOUS SHOT: everything the attached still established — the place, its fixed features and wear, each person's clothing and state — persists. Any person in it who cannot move stays PRECISELY as photographed (body, pose, contact points, held objects); only the camera changes.\\n\\nPREVIOUS STILL USAGE (follow exactly — what to take from the attached still and what to exclude): Take the ransacked living area's worn materials, sunset light, open-window condition, muddy footprints, and overturned chairs from the reference as continuing environmental state. Place the middle-aged woman with her smartphone within that same room. Exclude the earlier empty wide-floor emphasis, and do not add the young woman, her backpack, or the stained photograph to this close-up.\\n\\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\\ntext may describe characters metaphorically, figuratively or with\\nexaggeration. Photograph what a real movie camera would actually\\nrecord on a physical set — exaggerated or figurative impressions\\nbecome realistic staging choices (lighting, distance, angle,\\nwardrobe), not literal fantasy imagery.\\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\\nfeatures non-human or virtual beings (as in science fiction or\\nfantasy), every character — however indirectly, vaguely or\\nfiguratively the text describes them — IS a real human. When the\\ntext gives no direct visual description of a person, IMAGINE one\\nand still show them as a concrete, fully-formed human being:\\nalways render the human form to the maximum extent — build,\\nposture, face, hands, clothing — never reduce a person to a shape,\\nblob, solid silhouette or abstract mass.\\n\\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\\nperson's eyes, face or presence emotionally or figuratively (vacant,\\nhollow, dazed, burning, lifeless gaze and the like), it describes an\\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\\nthrough gaze direction, focus, eyelids, facial muscles, stillness\\nand posture. Every living person's eyes remain anatomically normal\\nhuman eyes with a natural iris and pupil, natural sclera and normal\\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\\notherwise alter eyeballs, skin or anatomy — unless the story\\nexplicitly declares that being non-human or supernatural in form.\\n\\nPROPS FACE THE RIGHT WAY: every handheld or used object must be\\noriented exactly as its real-world use requires. A person reading,\\nwatching or operating something (a phone, a photograph, a paper,\\nany device) has its functional side — screen, front, page — facing\\nTHEIR OWN eyes; the camera then sees whatever side the staging\\ngeometry implies (often its back). Show the functional side to the\\ncamera ONLY when the shot text itself stages it toward the viewer.\\nNever flip, mirror or reverse an object's front and back.\\n\\nMOVEMENT (follow exactly): static: Hye-su lowers her gaze toward the smartphone and listens to Su-ri-young's recorded message with her brow deeply furrowed.\\n\\nFIGURES — size & depth (follow exactly): Hye-su's face fills about 2/3 of the close-up frame, while the smartphone occupies a smaller area below her face. The phone is NEARER to the camera, Hye-su's face is slightly FARTHER, and the room behind her is farthest.\\n\\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The apartment remains ransacked, with the footprints, open window, overturned chairs, and the now-empty red wall circle left in place; Suri-young has departed with the photograph and backpack. Hyesu holds the smartphone on which she is checking Suri-young’s recorded message.\\n\\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 혜수 (Korean middle-aged woman, mid-40s face, mature facial features, dark natural hair) — never anyone else, and never add a person the shot text does not show. IF only part of a person is in frame (a hand, arm, foot, back, silhouette), that body part belongs to the specific person the shot text names — its sex, age, build, skin and grooming must unmistakably match that person's profile above.\\n\\nNo text, captions, watermarks or annotations anywhere.\"}, {\"type\": \"text\", \"text\": \"REFERENCE — PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing. If this photo shows a character who cannot move (dead or unconscious), that character's exact pose, position and orientation are ALSO LOCKED — treat their body as a fixed prop of the set that only the camera moves around.\"}, {\"type\": \"text\", \"text\": \"Candidate A:\"}, {\"type\": \"text\", \"text\": \"Candidate B:\"}, {\"type\": \"text\", \"text\": \"Candidate C:\"}]"}
{"ts": "2026-07-13 17:53:34", "kind": "llm", "step": "s39_bgonly", "model": "gpt", "dur_s": 7.9, "system_prompt": "당신은 콘티 판독가다. 샷 목록을 받는다. 각 샷마다, 샷 텍스트가\n묘사하는 프레임 안에 '살아있는 인물의 실물 몸'이 직접 등장하는지\n판정하라 (person_visible).\n· 신체 일부(손·손목·발·뒷모습)만 보여도 등장이다.\n· 거울·수면 등 반사상에 인물이 보이는 것도 등장으로 친다.\n· 다음은 등장이 아니다: 벽·바닥·가구 등 공간의 상태만 보여주는\n  샷, 인물의 그림자만 맺힌 샷, 사진·액자·화면 '속' 인물 이미지만\n  보이는 샷, 발자국 같은 흔적만 있는 샷.\n샷 텍스트에 적힌 것만 근거로 판단하라. 각 샷: shot,\nperson_visible(bool), reason_ko(한 구절).", "user_prompt": "샷 목록:\nS4sh1: 맑은 낮, 오래된 다세대 빌라 옥상 위에 자리 잡은 옥탑방을 높은 곳에서 내려다본 부감 구도\nS5sh5: 다급하게 상체를 기울이며 손가락 끝으로 TV 전원 버튼을 세게 누르고 있는 민숙의 측면 구도\nS5sh9: 민숙의 손목에 선명하게 드러난 작은 원형 표식의 타이트 샷\nS10sh6: 현관 철문이 아주 살짝 열린 틈새로 보이는 어두운 실내와 신발 앞코\nS10sh7: 불이 켜진 옥탑방 창문에 거대한 그림자가 작은 그림자의 어깨 쪽으로 고개를 꺾은 형태가 맺혀 있는 정지 구도\nS11sh4: 철제 파이프 난간을 손으로 잡은 수리영이 코끝을 찡그린 채 계단 중간에 서 있는 얼굴 클로즈업\nS11sh5: 옥상에 선 수리영의 시선 끝에 반쯤 열려 있는 어두운 현관 철문이 보이는 정면 구도\nS12sh11: 옷과 피부가 피투성이가 된 민숙이 바닥에 주저앉아 고개를 푹 숙인 정지 상태\nS12sh18: 민숙의 손에 꽉 쥐어진 구겨진 사진의 타이트 샷\nS12sh21: 침대 위쪽 벽면에 붉은색 원형 표식이 절반쯤 나타난 상태\nS13sh4: 수리영이 초점을 잃은 눈으로 허공을 응시하며 서 있는 모습\nS13sh6: 고개를 든 채 혜수의 얼굴을 마주보고 있는 수리영의 측면 구도\nS14sh5: 핏자국 없이 깨끗한 방 내부 전경\nS14sh7: 수리영이 멍한 눈으로 텅 빈 방 안을 응시하는 얼굴 클로즈업\nS14sh11: 혜수가 날카로운 눈빛으로 김형사를 노려보는 모습\nS17sh2: 옥상 담벼락 위에서 한쪽 앞발을 허공으로 뻗은 검은 고양이의 측면\nS18sh11: 거울 속 반사된 욕실 타일 벽면에 붉은색 원형 표식이 절반쯤 나타난 상태\nS18sh15: 액자 속 민숙의 얼굴 부분 이미지가 아래로 일그러지며 흘러내리는 찰나\nS18sh16: 수리영이 두 손으로 머리를 감싸 쥐고 입을 크게 벌린 얼굴\nS25sh1: 해질 무렵 옥탑방 거실, 흙 묻은 발자국들이 찍힌 바닥과 쓰러진 식탁 의자들이 보이는 전경\nS25sh5: 붉은 원 한가운데 피 묻은 낡은 흑백 사진이 벽에 꽂혀 있는 타이트 샷\nS25sh9: 수리영의 손이 구겨진 사진을 꽉 움켜쥔 타이트 샷\nS27sh3: 혜수가 미간을 깊게 찌푸린 채 스마트폰을 내려다보는 얼굴 클로즈업"}
{"ts": "2026-07-13 17:54:24", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s39_S10sh7_a", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/bg4_S10sh7.png"], "ref_labels": ["LOCATION PHOTOGRAPH — the exact place of this shot: its architecture, materials, fixed features and lighting mood are spatial truth; stage the moment inside this place. Never copy its camera framing."], "attempt": 1, "dur_s": 25.9, "bytes": 2751938, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s39/stills/S10sh7_a.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\n\nSHOT TEXT (authoritative, Korean): 불이 켜진 옥탑방 창문에 거대한 그림자가 작은 그림자의 어깨 쪽으로 고개를 꺾은 형태가 맺혀 있는 정지 구도\n\nLOCATION (lock): The flat rooftop of an aging low-rise apartment building, enclosed by a waist-high parapet. A small rooftop dwelling has a metal entrance door and a window visible from the open roof. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nPROPS FACE THE RIGHT WAY: every handheld or used object must be\noriented exactly as its real-world use requires. A person reading,\nwatching or operating something (a phone, a photograph, a paper,\nany device) has its functional side — screen, front, page — facing\nTHEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nMOVEMENT (follow exactly): static: A real man appearing as a large dark silhouette, with normal human build, leans into Minsook and angles his head down toward her shoulder as she is caught beneath him.\n\nFIGURES — size & depth (follow exactly): The man's shadow fills roughly ~2/3 of the frame height, larger than Minsook's smaller shadow at about ~1/3; both people are FARTHER than the NEARER window surface, while their mutual camera-depth order is not established. Their silhouettes overlap at Minsook's shoulder, leaving almost no distance between their paths.\n\nNo people appear unless the shot text itself says so.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-13 17:54:47", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s39_S10sh7_b", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/bg4_S10sh7.png"], "ref_labels": ["LOCATION PHOTOGRAPH — the exact place of this shot: its architecture, materials, fixed features and lighting mood are spatial truth; stage the moment inside this place. Never copy its camera framing."], "attempt": 1, "dur_s": 22.9, "bytes": 2500087, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s39/stills/S10sh7_b.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\n\nSHOT TEXT (authoritative, Korean): 불이 켜진 옥탑방 창문에 거대한 그림자가 작은 그림자의 어깨 쪽으로 고개를 꺾은 형태가 맺혀 있는 정지 구도\n\nLOCATION (lock): The flat rooftop of an aging low-rise apartment building, enclosed by a waist-high parapet. A small rooftop dwelling has a metal entrance door and a window visible from the open roof. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nPROPS FACE THE RIGHT WAY: every handheld or used object must be\noriented exactly as its real-world use requires. A person reading,\nwatching or operating something (a phone, a photograph, a paper,\nany device) has its functional side — screen, front, page — facing\nTHEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nMOVEMENT (follow exactly): static: A real man appearing as a large dark silhouette, with normal human build, leans into Minsook and angles his head down toward her shoulder as she is caught beneath him.\n\nFIGURES — size & depth (follow exactly): The man's shadow fills roughly ~2/3 of the frame height, larger than Minsook's smaller shadow at about ~1/3; both people are FARTHER than the NEARER window surface, while their mutual camera-depth order is not established. Their silhouettes overlap at Minsook's shoulder, leaving almost no distance between their paths.\n\nNo people appear unless the shot text itself says so.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-13 17:55:13", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s39_S10sh7_c", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/bg4_S10sh7.png"], "ref_labels": ["LOCATION PHOTOGRAPH — the exact place of this shot: its architecture, materials, fixed features and lighting mood are spatial truth; stage the moment inside this place. Never copy its camera framing."], "attempt": 1, "dur_s": 25.6, "bytes": 2360818, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s39/stills/S10sh7_c.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\n\nSHOT TEXT (authoritative, Korean): 불이 켜진 옥탑방 창문에 거대한 그림자가 작은 그림자의 어깨 쪽으로 고개를 꺾은 형태가 맺혀 있는 정지 구도\n\nLOCATION (lock): The flat rooftop of an aging low-rise apartment building, enclosed by a waist-high parapet. A small rooftop dwelling has a metal entrance door and a window visible from the open roof. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nPROPS FACE THE RIGHT WAY: every handheld or used object must be\noriented exactly as its real-world use requires. A person reading,\nwatching or operating something (a phone, a photograph, a paper,\nany device) has its functional side — screen, front, page — facing\nTHEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nMOVEMENT (follow exactly): static: A real man appearing as a large dark silhouette, with normal human build, leans into Minsook and angles his head down toward her shoulder as she is caught beneath him.\n\nFIGURES — size & depth (follow exactly): The man's shadow fills roughly ~2/3 of the frame height, larger than Minsook's smaller shadow at about ~1/3; both people are FARTHER than the NEARER window surface, while their mutual camera-depth order is not established. Their silhouettes overlap at Minsook's shoulder, leaving almost no distance between their paths.\n\nNo people appear unless the shot text itself says so.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-13 17:55:40", "kind": "llm", "step": "s39_judge_gemini_S10sh7", "model": "gemini-pro", "dur_s": 27.2, "system_prompt": "You are given ONE image-generation prompt, the REFERENCE image(s)\nthat were attached to it (labelled), and THREE candidate images,\nlabelled A, B, C in the order attached, all generated from that\nexact prompt with those exact references.\nPick the ONE candidate that most faithfully realises the prompt.\nJudge ONLY fidelity to the prompt and its reference instructions:\nthe shot text's moment and action, who is and is NOT in frame,\ncamera framing, time of day, the LOCATION lock (the place must be\nthe one the reference shows — same architecture, materials,\nfixtures), pose/immobility and carried-state clauses, and every\nexclusion (no text, no invented people or objects). Consistency\nwith the attached reference image counts as prompt fidelity.\nIgnore generic aesthetic appeal.\nCheck every candidate point by point before deciding; base every\nverdict only on what is visible.\nAlso give every candidate an integer score 0-10 for that same\nfidelity.\nOutput: winner, ranking best-to-worst, and per candidate a score\nplus a one-line Korean verdict citing the decisive prompt points.", "user_prompt": "[{\"type\": \"text\", \"text\": \"THE PROMPT (all three candidates were generated from this):\\nCreate ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\\n\\nSHOT TEXT (authoritative, Korean): 불이 켜진 옥탑방 창문에 거대한 그림자가 작은 그림자의 어깨 쪽으로 고개를 꺾은 형태가 맺혀 있는 정지 구도\\n\\nLOCATION (lock): The flat rooftop of an aging low-rise apartment building, enclosed by a waist-high parapet. A small rooftop dwelling has a metal entrance door and a window visible from the open roof. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.\\n\\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\\ntext may describe characters metaphorically, figuratively or with\\nexaggeration. Photograph what a real movie camera would actually\\nrecord on a physical set — exaggerated or figurative impressions\\nbecome realistic staging choices (lighting, distance, angle,\\nwardrobe), not literal fantasy imagery.\\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\\nfeatures non-human or virtual beings (as in science fiction or\\nfantasy), every character — however indirectly, vaguely or\\nfiguratively the text describes them — IS a real human. When the\\ntext gives no direct visual description of a person, IMAGINE one\\nand still show them as a concrete, fully-formed human being:\\nalways render the human form to the maximum extent — build,\\nposture, face, hands, clothing — never reduce a person to a shape,\\nblob, solid silhouette or abstract mass.\\n\\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\\nperson's eyes, face or presence emotionally or figuratively (vacant,\\nhollow, dazed, burning, lifeless gaze and the like), it describes an\\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\\nthrough gaze direction, focus, eyelids, facial muscles, stillness\\nand posture. Every living person's eyes remain anatomically normal\\nhuman eyes with a natural iris and pupil, natural sclera and normal\\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\\notherwise alter eyeballs, skin or anatomy — unless the story\\nexplicitly declares that being non-human or supernatural in form.\\n\\nPROPS FACE THE RIGHT WAY: every handheld or used object must be\\noriented exactly as its real-world use requires. A person reading,\\nwatching or operating something (a phone, a photograph, a paper,\\nany device) has its functional side — screen, front, page — facing\\nTHEIR OWN eyes; the camera then sees whatever side the staging\\ngeometry implies (often its back). Show the functional side to the\\ncamera ONLY when the shot text itself stages it toward the viewer.\\nNever flip, mirror or reverse an object's front and back.\\n\\nMOVEMENT (follow exactly): static: A real man appearing as a large dark silhouette, with normal human build, leans into Minsook and angles his head down toward her shoulder as she is caught beneath him.\\n\\nFIGURES — size & depth (follow exactly): The man's shadow fills roughly ~2/3 of the frame height, larger than Minsook's smaller shadow at about ~1/3; both people are FARTHER than the NEARER window surface, while their mutual camera-depth order is not established. Their silhouettes overlap at Minsook's shoulder, leaving almost no distance between their paths.\\n\\nNo people appear unless the shot text itself says so.\\n\\nNo text, captions, watermarks or annotations anywhere.\"}, {\"type\": \"text\", \"text\": \"REFERENCE — LOCATION PHOTOGRAPH — the exact place of this shot: its architecture, materials, fixed features and lighting mood are spatial truth; stage the moment inside this place. Never copy its camera framing.\"}, {\"type\": \"text\", \"text\": \"Candidate A:\"}, {\"type\": \"text\", \"text\": \"Candidate B:\"}, {\"type\": \"text\", \"text\": \"Candidate C:\"}]"}
{"ts": "2026-07-13 17:56:03", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s39_S12sh21_a", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/plate_daughter_bedroom_night_doorway_wide.png"], "ref_labels": ["LOCATION PHOTOGRAPH — the exact place of this shot: its architecture, materials, fixed features and lighting mood are spatial truth; stage the moment inside this place. Never copy its camera framing."], "attempt": 1, "dur_s": 22.5, "bytes": 2147748, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s39/stills/S12sh21_a.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\n\nSHOT TEXT (authoritative, Korean): 침대 위쪽 벽면에 붉은색 원형 표식이 절반쯤 나타난 상태\n\nLOCATION (lock): A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nPROPS FACE THE RIGHT WAY: every handheld or used object must be\noriented exactly as its real-world use requires. A person reading,\nwatching or operating something (a phone, a photograph, a paper,\nany device) has its functional side — screen, front, page — facing\nTHEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nMOVEMENT (follow exactly): A red circular mark spreads around the wall above the bed, progressing along a ring-like path as though an unseen brush is drawing it, with about half the circle formed.\n\nFIGURES — size & depth (follow exactly): The half-formed red circle fills roughly 1/2 of the frame height on the wall and is the principal visible object. The wall surface and mark are FARTHER than the nearer edge of the bed, with the red pigment visually sitting closest on that wall plane.\n\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Minsuk’s motionless figure, wounds, and the room’s dark stains traces remain unchanged; her hand is now without the photograph, which Suri-young has taken, and the wrist mark is red. A red circle is partially formed on the wall above the bed.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 민숙 (환시) — never anyone else, and never add a person the shot text does not show. IF only part of a person is in frame (a hand, arm, foot, back, silhouette), that body part belongs to the specific person the shot text names — its sex, age, build, skin and grooming must unmistakably match that person's profile above.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-13 17:56:31", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s39_S12sh21_b", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/plate_daughter_bedroom_night_doorway_wide.png"], "ref_labels": ["LOCATION PHOTOGRAPH — the exact place of this shot: its architecture, materials, fixed features and lighting mood are spatial truth; stage the moment inside this place. Never copy its camera framing."], "attempt": 1, "dur_s": 28.7, "bytes": 2534018, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s39/stills/S12sh21_b.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\n\nSHOT TEXT (authoritative, Korean): 침대 위쪽 벽면에 붉은색 원형 표식이 절반쯤 나타난 상태\n\nLOCATION (lock): A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nPROPS FACE THE RIGHT WAY: every handheld or used object must be\noriented exactly as its real-world use requires. A person reading,\nwatching or operating something (a phone, a photograph, a paper,\nany device) has its functional side — screen, front, page — facing\nTHEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nMOVEMENT (follow exactly): A red circular mark spreads around the wall above the bed, progressing along a ring-like path as though an unseen brush is drawing it, with about half the circle formed.\n\nFIGURES — size & depth (follow exactly): The half-formed red circle fills roughly 1/2 of the frame height on the wall and is the principal visible object. The wall surface and mark are FARTHER than the nearer edge of the bed, with the red pigment visually sitting closest on that wall plane.\n\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Minsuk’s motionless figure, wounds, and the room’s dark stains traces remain unchanged; her hand is now without the photograph, which Suri-young has taken, and the wrist mark is red. A red circle is partially formed on the wall above the bed.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 민숙 (환시) — never anyone else, and never add a person the shot text does not show. IF only part of a person is in frame (a hand, arm, foot, back, silhouette), that body part belongs to the specific person the shot text names — its sex, age, build, skin and grooming must unmistakably match that person's profile above.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-13 17:56:54", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s39_S12sh21_c", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/plate_daughter_bedroom_night_doorway_wide.png"], "ref_labels": ["LOCATION PHOTOGRAPH — the exact place of this shot: its architecture, materials, fixed features and lighting mood are spatial truth; stage the moment inside this place. Never copy its camera framing."], "attempt": 1, "dur_s": 22.5, "bytes": 2254848, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s39/stills/S12sh21_c.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\n\nSHOT TEXT (authoritative, Korean): 침대 위쪽 벽면에 붉은색 원형 표식이 절반쯤 나타난 상태\n\nLOCATION (lock): A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nPROPS FACE THE RIGHT WAY: every handheld or used object must be\noriented exactly as its real-world use requires. A person reading,\nwatching or operating something (a phone, a photograph, a paper,\nany device) has its functional side — screen, front, page — facing\nTHEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nMOVEMENT (follow exactly): A red circular mark spreads around the wall above the bed, progressing along a ring-like path as though an unseen brush is drawing it, with about half the circle formed.\n\nFIGURES — size & depth (follow exactly): The half-formed red circle fills roughly 1/2 of the frame height on the wall and is the principal visible object. The wall surface and mark are FARTHER than the nearer edge of the bed, with the red pigment visually sitting closest on that wall plane.\n\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Minsuk’s motionless figure, wounds, and the room’s dark stains traces remain unchanged; her hand is now without the photograph, which Suri-young has taken, and the wrist mark is red. A red circle is partially formed on the wall above the bed.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 민숙 (환시) — never anyone else, and never add a person the shot text does not show. IF only part of a person is in frame (a hand, arm, foot, back, silhouette), that body part belongs to the specific person the shot text names — its sex, age, build, skin and grooming must unmistakably match that person's profile above.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-13 17:57:34", "kind": "llm", "step": "s39_judge_gemini_S12sh21", "model": "gemini-pro", "dur_s": 39.6, "system_prompt": "You are given ONE image-generation prompt, the REFERENCE image(s)\nthat were attached to it (labelled), and THREE candidate images,\nlabelled A, B, C in the order attached, all generated from that\nexact prompt with those exact references.\nPick the ONE candidate that most faithfully realises the prompt.\nJudge ONLY fidelity to the prompt and its reference instructions:\nthe shot text's moment and action, who is and is NOT in frame,\ncamera framing, time of day, the LOCATION lock (the place must be\nthe one the reference shows — same architecture, materials,\nfixtures), pose/immobility and carried-state clauses, and every\nexclusion (no text, no invented people or objects). Consistency\nwith the attached reference image counts as prompt fidelity.\nIgnore generic aesthetic appeal.\nCheck every candidate point by point before deciding; base every\nverdict only on what is visible.\nAlso give every candidate an integer score 0-10 for that same\nfidelity.\nOutput: winner, ranking best-to-worst, and per candidate a score\nplus a one-line Korean verdict citing the decisive prompt points.", "user_prompt": "[{\"type\": \"text\", \"text\": \"THE PROMPT (all three candidates were generated from this):\\nCreate ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\\n\\nSHOT TEXT (authoritative, Korean): 침대 위쪽 벽면에 붉은색 원형 표식이 절반쯤 나타난 상태\\n\\nLOCATION (lock): A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.\\n\\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\\ntext may describe characters metaphorically, figuratively or with\\nexaggeration. Photograph what a real movie camera would actually\\nrecord on a physical set — exaggerated or figurative impressions\\nbecome realistic staging choices (lighting, distance, angle,\\nwardrobe), not literal fantasy imagery.\\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\\nfeatures non-human or virtual beings (as in science fiction or\\nfantasy), every character — however indirectly, vaguely or\\nfiguratively the text describes them — IS a real human. When the\\ntext gives no direct visual description of a person, IMAGINE one\\nand still show them as a concrete, fully-formed human being:\\nalways render the human form to the maximum extent — build,\\nposture, face, hands, clothing — never reduce a person to a shape,\\nblob, solid silhouette or abstract mass.\\n\\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\\nperson's eyes, face or presence emotionally or figuratively (vacant,\\nhollow, dazed, burning, lifeless gaze and the like), it describes an\\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\\nthrough gaze direction, focus, eyelids, facial muscles, stillness\\nand posture. Every living person's eyes remain anatomically normal\\nhuman eyes with a natural iris and pupil, natural sclera and normal\\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\\notherwise alter eyeballs, skin or anatomy — unless the story\\nexplicitly declares that being non-human or supernatural in form.\\n\\nPROPS FACE THE RIGHT WAY: every handheld or used object must be\\noriented exactly as its real-world use requires. A person reading,\\nwatching or operating something (a phone, a photograph, a paper,\\nany device) has its functional side — screen, front, page — facing\\nTHEIR OWN eyes; the camera then sees whatever side the staging\\ngeometry implies (often its back). Show the functional side to the\\ncamera ONLY when the shot text itself stages it toward the viewer.\\nNever flip, mirror or reverse an object's front and back.\\n\\nMOVEMENT (follow exactly): A red circular mark spreads around the wall above the bed, progressing along a ring-like path as though an unseen brush is drawing it, with about half the circle formed.\\n\\nFIGURES — size & depth (follow exactly): The half-formed red circle fills roughly 1/2 of the frame height on the wall and is the principal visible object. The wall surface and mark are FARTHER than the nearer edge of the bed, with the red pigment visually sitting closest on that wall plane.\\n\\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Minsuk’s motionless figure, wounds, and the room’s dark stains traces remain unchanged; her hand is now without the photograph, which Suri-young has taken, and the wrist mark is red. A red circle is partially formed on the wall above the bed.\\n\\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 민숙 (환시) — never anyone else, and never add a person the shot text does not show. IF only part of a person is in frame (a hand, arm, foot, back, silhouette), that body part belongs to the specific person the shot text names — its sex, age, build, skin and grooming must unmistakably match that person's profile above.\\n\\nNo text, captions, watermarks or annotations anywhere.\"}, {\"type\": \"text\", \"text\": \"REFERENCE — LOCATION PHOTOGRAPH — the exact place of this shot: its architecture, materials, fixed features and lighting mood are spatial truth; stage the moment inside this place. Never copy its camera framing.\"}, {\"type\": \"text\", \"text\": \"Candidate A:\"}, {\"type\": \"text\", \"text\": \"Candidate B:\"}, {\"type\": \"text\", \"text\": \"Candidate C:\"}]"}
{"ts": "2026-07-13 17:57:55", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s39_S14sh5_a", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/plate_daughter_bedroom_night_doorway_wide.png"], "ref_labels": ["LOCATION PHOTOGRAPH — the exact place of this shot: its architecture, materials, fixed features and lighting mood are spatial truth; stage the moment inside this place. Never copy its camera framing."], "attempt": 1, "dur_s": 21.2, "bytes": 2386414, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s39/stills/S14sh5_a.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\n\nSHOT TEXT (authoritative, Korean): 어두운 얼룩 없이 깨끗한 방 내부 전경\n\nLOCATION (lock): A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nPROPS FACE THE RIGHT WAY: every handheld or used object must be\noriented exactly as its real-world use requires. A person reading,\nwatching or operating something (a phone, a photograph, a paper,\nany device) has its functional side — screen, front, page — facing\nTHEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nMOVEMENT (follow exactly): static: the excessively tidy bedroom stands empty, with no dark stainsstains, red wall mark, or collapsed body remaining anywhere in the room.\n\nFIGURES — size & depth (follow exactly): The empty room fills the full frame; nearer floor and furniture edges occupy the foreground, while the bed, curtain, and clean back wall are FARTHER away. No person is visible, and the formerly occupied curtain area is now empty.\n\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The room is unnaturally spotless, with no dark stains, wall circle, or motionless figure behind the curtain. The backpack and doll are present in positions slightly different from when the body was discovered.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 수리영 (Korean young woman, early 20s face, oval face, natural black long hair); 혜수 (Korean middle-aged woman, mid-40s face, mature facial features, dark natural hair) — never anyone else, and never add a person the shot text does not show. IF only part of a person is in frame (a hand, arm, foot, back, silhouette), that body part belongs to the specific person the shot text names — its sex, age, build, skin and grooming must unmistakably match that person's profile above.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-13 17:58:16", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s39_S14sh5_b", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/plate_daughter_bedroom_night_doorway_wide.png"], "ref_labels": ["LOCATION PHOTOGRAPH — the exact place of this shot: its architecture, materials, fixed features and lighting mood are spatial truth; stage the moment inside this place. Never copy its camera framing."], "attempt": 1, "dur_s": 21.3, "bytes": 2413925, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s39/stills/S14sh5_b.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\n\nSHOT TEXT (authoritative, Korean): 어두운 얼룩 없이 깨끗한 방 내부 전경\n\nLOCATION (lock): A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nPROPS FACE THE RIGHT WAY: every handheld or used object must be\noriented exactly as its real-world use requires. A person reading,\nwatching or operating something (a phone, a photograph, a paper,\nany device) has its functional side — screen, front, page — facing\nTHEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nMOVEMENT (follow exactly): static: the excessively tidy bedroom stands empty, with no dark stainsstains, red wall mark, or collapsed body remaining anywhere in the room.\n\nFIGURES — size & depth (follow exactly): The empty room fills the full frame; nearer floor and furniture edges occupy the foreground, while the bed, curtain, and clean back wall are FARTHER away. No person is visible, and the formerly occupied curtain area is now empty.\n\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The room is unnaturally spotless, with no dark stains, wall circle, or motionless figure behind the curtain. The backpack and doll are present in positions slightly different from when the body was discovered.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 수리영 (Korean young woman, early 20s face, oval face, natural black long hair); 혜수 (Korean middle-aged woman, mid-40s face, mature facial features, dark natural hair) — never anyone else, and never add a person the shot text does not show. IF only part of a person is in frame (a hand, arm, foot, back, silhouette), that body part belongs to the specific person the shot text names — its sex, age, build, skin and grooming must unmistakably match that person's profile above.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-13 17:58:39", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s39_S14sh5_c", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/plate_daughter_bedroom_night_doorway_wide.png"], "ref_labels": ["LOCATION PHOTOGRAPH — the exact place of this shot: its architecture, materials, fixed features and lighting mood are spatial truth; stage the moment inside this place. Never copy its camera framing."], "attempt": 1, "dur_s": 23.1, "bytes": 2491034, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s39/stills/S14sh5_c.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\n\nSHOT TEXT (authoritative, Korean): 어두운 얼룩 없이 깨끗한 방 내부 전경\n\nLOCATION (lock): A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nPROPS FACE THE RIGHT WAY: every handheld or used object must be\noriented exactly as its real-world use requires. A person reading,\nwatching or operating something (a phone, a photograph, a paper,\nany device) has its functional side — screen, front, page — facing\nTHEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nMOVEMENT (follow exactly): static: the excessively tidy bedroom stands empty, with no dark stainsstains, red wall mark, or collapsed body remaining anywhere in the room.\n\nFIGURES — size & depth (follow exactly): The empty room fills the full frame; nearer floor and furniture edges occupy the foreground, while the bed, curtain, and clean back wall are FARTHER away. No person is visible, and the formerly occupied curtain area is now empty.\n\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The room is unnaturally spotless, with no dark stains, wall circle, or motionless figure behind the curtain. The backpack and doll are present in positions slightly different from when the body was discovered.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 수리영 (Korean young woman, early 20s face, oval face, natural black long hair); 혜수 (Korean middle-aged woman, mid-40s face, mature facial features, dark natural hair) — never anyone else, and never add a person the shot text does not show. IF only part of a person is in frame (a hand, arm, foot, back, silhouette), that body part belongs to the specific person the shot text names — its sex, age, build, skin and grooming must unmistakably match that person's profile above.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-13 17:59:05", "kind": "llm", "step": "s39_judge_gemini_S14sh5", "model": "gemini-pro", "dur_s": 26.0, "system_prompt": "You are given ONE image-generation prompt, the REFERENCE image(s)\nthat were attached to it (labelled), and THREE candidate images,\nlabelled A, B, C in the order attached, all generated from that\nexact prompt with those exact references.\nPick the ONE candidate that most faithfully realises the prompt.\nJudge ONLY fidelity to the prompt and its reference instructions:\nthe shot text's moment and action, who is and is NOT in frame,\ncamera framing, time of day, the LOCATION lock (the place must be\nthe one the reference shows — same architecture, materials,\nfixtures), pose/immobility and carried-state clauses, and every\nexclusion (no text, no invented people or objects). Consistency\nwith the attached reference image counts as prompt fidelity.\nIgnore generic aesthetic appeal.\nCheck every candidate point by point before deciding; base every\nverdict only on what is visible.\nAlso give every candidate an integer score 0-10 for that same\nfidelity.\nOutput: winner, ranking best-to-worst, and per candidate a score\nplus a one-line Korean verdict citing the decisive prompt points.", "user_prompt": "[{\"type\": \"text\", \"text\": \"THE PROMPT (all three candidates were generated from this):\\nCreate ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\\n\\nSHOT TEXT (authoritative, Korean): 어두운 얼룩 없이 깨끗한 방 내부 전경\\n\\nLOCATION (lock): A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.\\n\\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\\ntext may describe characters metaphorically, figuratively or with\\nexaggeration. Photograph what a real movie camera would actually\\nrecord on a physical set — exaggerated or figurative impressions\\nbecome realistic staging choices (lighting, distance, angle,\\nwardrobe), not literal fantasy imagery.\\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\\nfeatures non-human or virtual beings (as in science fiction or\\nfantasy), every character — however indirectly, vaguely or\\nfiguratively the text describes them — IS a real human. When the\\ntext gives no direct visual description of a person, IMAGINE one\\nand still show them as a concrete, fully-formed human being:\\nalways render the human form to the maximum extent — build,\\nposture, face, hands, clothing — never reduce a person to a shape,\\nblob, solid silhouette or abstract mass.\\n\\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\\nperson's eyes, face or presence emotionally or figuratively (vacant,\\nhollow, dazed, burning, lifeless gaze and the like), it describes an\\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\\nthrough gaze direction, focus, eyelids, facial muscles, stillness\\nand posture. Every living person's eyes remain anatomically normal\\nhuman eyes with a natural iris and pupil, natural sclera and normal\\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\\notherwise alter eyeballs, skin or anatomy — unless the story\\nexplicitly declares that being non-human or supernatural in form.\\n\\nPROPS FACE THE RIGHT WAY: every handheld or used object must be\\noriented exactly as its real-world use requires. A person reading,\\nwatching or operating something (a phone, a photograph, a paper,\\nany device) has its functional side — screen, front, page — facing\\nTHEIR OWN eyes; the camera then sees whatever side the staging\\ngeometry implies (often its back). Show the functional side to the\\ncamera ONLY when the shot text itself stages it toward the viewer.\\nNever flip, mirror or reverse an object's front and back.\\n\\nMOVEMENT (follow exactly): static: the excessively tidy bedroom stands empty, with no dark stainsstains, red wall mark, or collapsed body remaining anywhere in the room.\\n\\nFIGURES — size & depth (follow exactly): The empty room fills the full frame; nearer floor and furniture edges occupy the foreground, while the bed, curtain, and clean back wall are FARTHER away. No person is visible, and the formerly occupied curtain area is now empty.\\n\\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The room is unnaturally spotless, with no dark stains, wall circle, or motionless figure behind the curtain. The backpack and doll are present in positions slightly different from when the body was discovered.\\n\\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 수리영 (Korean young woman, early 20s face, oval face, natural black long hair); 혜수 (Korean middle-aged woman, mid-40s face, mature facial features, dark natural hair) — never anyone else, and never add a person the shot text does not show. IF only part of a person is in frame (a hand, arm, foot, back, silhouette), that body part belongs to the specific person the shot text names — its sex, age, build, skin and grooming must unmistakably match that person's profile above.\\n\\nNo text, captions, watermarks or annotations anywhere.\"}, {\"type\": \"text\", \"text\": \"REFERENCE — LOCATION PHOTOGRAPH — the exact place of this shot: its architecture, materials, fixed features and lighting mood are spatial truth; stage the moment inside this place. Never copy its camera framing.\"}, {\"type\": \"text\", \"text\": \"Candidate A:\"}, {\"type\": \"text\", \"text\": \"Candidate B:\"}, {\"type\": \"text\", \"text\": \"Candidate C:\"}]"}
{"ts": "2026-07-13 17:59:32", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s39_S14sh7_a", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s39/stills/S14sh5_sel.png"], "ref_labels": ["PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing. If this photo shows a character who cannot move (dead or unconscious), that character's exact pose, position and orientation are ALSO LOCKED — treat their body as a fixed prop of the set that only the camera moves around."], "attempt": 1, "dur_s": 27.0, "bytes": 2258187, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s39/stills/S14sh7_a.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\n\nSHOT TEXT (authoritative, Korean): 수리영이 멍한 눈으로 텅 빈 방 안을 응시하는 얼굴 클로즈업\n\nLOCATION (lock): A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.\n\nTHIS SHOT CONTINUES THE PREVIOUS SHOT: everything the attached still established — the place, its fixed features and wear, each person's clothing and state — persists. Any person in it who cannot move stays PRECISELY as photographed (body, pose, contact points, held objects); only the camera changes.\n\nPREVIOUS STILL USAGE (follow exactly — what to take from the attached still and what to exclude): Take the spotless bedroom layout, fixed furnishings, worn surfaces, and nighttime lighting from the reference. Keep the room free of dark stains, a body, and the red wall mark. Exclude the wide empty-room composition from the close-up, showing only as much background as supports the woman's stunned gaze.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nPROPS FACE THE RIGHT WAY: every handheld or used object must be\noriented exactly as its real-world use requires. A person reading,\nwatching or operating something (a phone, a photograph, a paper,\nany device) has its functional side — screen, front, page — facing\nTHEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nMOVEMENT (follow exactly): static: pale-faced Su-ri-young holds her body rigid and stares blankly into the empty bedroom where she expected to find her mother's body.\n\nFIGURES — size & depth (follow exactly): Su-ri-young's face fills about 2/3 of the frame height and is the NEAREST figure. The empty room she watches is FARTHER beyond her eyeline, with no other person visible.\n\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The empty room remains excessively clean, with the motionless figure, dark stains, and red wall mark still absent. The backpack and doll remain in their altered positions.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 수리영 (Korean young woman, early 20s face, oval face, natural black long hair) — never anyone else, and never add a person the shot text does not show. IF only part of a person is in frame (a hand, arm, foot, back, silhouette), that body part belongs to the specific person the shot text names — its sex, age, build, skin and grooming must unmistakably match that person's profile above.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-13 17:59:52", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s39_S14sh7_b", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s39/stills/S14sh5_sel.png"], "ref_labels": ["PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing. If this photo shows a character who cannot move (dead or unconscious), that character's exact pose, position and orientation are ALSO LOCKED — treat their body as a fixed prop of the set that only the camera moves around."], "attempt": 1, "dur_s": 19.8, "bytes": 2054344, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s39/stills/S14sh7_b.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\n\nSHOT TEXT (authoritative, Korean): 수리영이 멍한 눈으로 텅 빈 방 안을 응시하는 얼굴 클로즈업\n\nLOCATION (lock): A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.\n\nTHIS SHOT CONTINUES THE PREVIOUS SHOT: everything the attached still established — the place, its fixed features and wear, each person's clothing and state — persists. Any person in it who cannot move stays PRECISELY as photographed (body, pose, contact points, held objects); only the camera changes.\n\nPREVIOUS STILL USAGE (follow exactly — what to take from the attached still and what to exclude): Take the spotless bedroom layout, fixed furnishings, worn surfaces, and nighttime lighting from the reference. Keep the room free of dark stains, a body, and the red wall mark. Exclude the wide empty-room composition from the close-up, showing only as much background as supports the woman's stunned gaze.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nPROPS FACE THE RIGHT WAY: every handheld or used object must be\noriented exactly as its real-world use requires. A person reading,\nwatching or operating something (a phone, a photograph, a paper,\nany device) has its functional side — screen, front, page — facing\nTHEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nMOVEMENT (follow exactly): static: pale-faced Su-ri-young holds her body rigid and stares blankly into the empty bedroom where she expected to find her mother's body.\n\nFIGURES — size & depth (follow exactly): Su-ri-young's face fills about 2/3 of the frame height and is the NEAREST figure. The empty room she watches is FARTHER beyond her eyeline, with no other person visible.\n\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The empty room remains excessively clean, with the motionless figure, dark stains, and red wall mark still absent. The backpack and doll remain in their altered positions.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 수리영 (Korean young woman, early 20s face, oval face, natural black long hair) — never anyone else, and never add a person the shot text does not show. IF only part of a person is in frame (a hand, arm, foot, back, silhouette), that body part belongs to the specific person the shot text names — its sex, age, build, skin and grooming must unmistakably match that person's profile above.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-13 18:00:16", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s39_S14sh7_c", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s39/stills/S14sh5_sel.png"], "ref_labels": ["PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing. If this photo shows a character who cannot move (dead or unconscious), that character's exact pose, position and orientation are ALSO LOCKED — treat their body as a fixed prop of the set that only the camera moves around."], "attempt": 1, "dur_s": 23.4, "bytes": 2212644, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s39/stills/S14sh7_c.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\n\nSHOT TEXT (authoritative, Korean): 수리영이 멍한 눈으로 텅 빈 방 안을 응시하는 얼굴 클로즈업\n\nLOCATION (lock): A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.\n\nTHIS SHOT CONTINUES THE PREVIOUS SHOT: everything the attached still established — the place, its fixed features and wear, each person's clothing and state — persists. Any person in it who cannot move stays PRECISELY as photographed (body, pose, contact points, held objects); only the camera changes.\n\nPREVIOUS STILL USAGE (follow exactly — what to take from the attached still and what to exclude): Take the spotless bedroom layout, fixed furnishings, worn surfaces, and nighttime lighting from the reference. Keep the room free of dark stains, a body, and the red wall mark. Exclude the wide empty-room composition from the close-up, showing only as much background as supports the woman's stunned gaze.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nPROPS FACE THE RIGHT WAY: every handheld or used object must be\noriented exactly as its real-world use requires. A person reading,\nwatching or operating something (a phone, a photograph, a paper,\nany device) has its functional side — screen, front, page — facing\nTHEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nMOVEMENT (follow exactly): static: pale-faced Su-ri-young holds her body rigid and stares blankly into the empty bedroom where she expected to find her mother's body.\n\nFIGURES — size & depth (follow exactly): Su-ri-young's face fills about 2/3 of the frame height and is the NEAREST figure. The empty room she watches is FARTHER beyond her eyeline, with no other person visible.\n\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The empty room remains excessively clean, with the motionless figure, dark stains, and red wall mark still absent. The backpack and doll remain in their altered positions.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 수리영 (Korean young woman, early 20s face, oval face, natural black long hair) — never anyone else, and never add a person the shot text does not show. IF only part of a person is in frame (a hand, arm, foot, back, silhouette), that body part belongs to the specific person the shot text names — its sex, age, build, skin and grooming must unmistakably match that person's profile above.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-13 18:00:35", "kind": "llm", "step": "s39_judge_gemini_S14sh7", "model": "gemini-pro", "dur_s": 19.3, "system_prompt": "You are given ONE image-generation prompt, the REFERENCE image(s)\nthat were attached to it (labelled), and THREE candidate images,\nlabelled A, B, C in the order attached, all generated from that\nexact prompt with those exact references.\nPick the ONE candidate that most faithfully realises the prompt.\nJudge ONLY fidelity to the prompt and its reference instructions:\nthe shot text's moment and action, who is and is NOT in frame,\ncamera framing, time of day, the LOCATION lock (the place must be\nthe one the reference shows — same architecture, materials,\nfixtures), pose/immobility and carried-state clauses, and every\nexclusion (no text, no invented people or objects). Consistency\nwith the attached reference image counts as prompt fidelity.\nIgnore generic aesthetic appeal.\nCheck every candidate point by point before deciding; base every\nverdict only on what is visible.\nAlso give every candidate an integer score 0-10 for that same\nfidelity.\nOutput: winner, ranking best-to-worst, and per candidate a score\nplus a one-line Korean verdict citing the decisive prompt points.", "user_prompt": "[{\"type\": \"text\", \"text\": \"THE PROMPT (all three candidates were generated from this):\\nCreate ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\\n\\nSHOT TEXT (authoritative, Korean): 수리영이 멍한 눈으로 텅 빈 방 안을 응시하는 얼굴 클로즈업\\n\\nLOCATION (lock): A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.\\n\\nTHIS SHOT CONTINUES THE PREVIOUS SHOT: everything the attached still established — the place, its fixed features and wear, each person's clothing and state — persists. Any person in it who cannot move stays PRECISELY as photographed (body, pose, contact points, held objects); only the camera changes.\\n\\nPREVIOUS STILL USAGE (follow exactly — what to take from the attached still and what to exclude): Take the spotless bedroom layout, fixed furnishings, worn surfaces, and nighttime lighting from the reference. Keep the room free of dark stains, a body, and the red wall mark. Exclude the wide empty-room composition from the close-up, showing only as much background as supports the woman's stunned gaze.\\n\\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\\ntext may describe characters metaphorically, figuratively or with\\nexaggeration. Photograph what a real movie camera would actually\\nrecord on a physical set — exaggerated or figurative impressions\\nbecome realistic staging choices (lighting, distance, angle,\\nwardrobe), not literal fantasy imagery.\\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\\nfeatures non-human or virtual beings (as in science fiction or\\nfantasy), every character — however indirectly, vaguely or\\nfiguratively the text describes them — IS a real human. When the\\ntext gives no direct visual description of a person, IMAGINE one\\nand still show them as a concrete, fully-formed human being:\\nalways render the human form to the maximum extent — build,\\nposture, face, hands, clothing — never reduce a person to a shape,\\nblob, solid silhouette or abstract mass.\\n\\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\\nperson's eyes, face or presence emotionally or figuratively (vacant,\\nhollow, dazed, burning, lifeless gaze and the like), it describes an\\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\\nthrough gaze direction, focus, eyelids, facial muscles, stillness\\nand posture. Every living person's eyes remain anatomically normal\\nhuman eyes with a natural iris and pupil, natural sclera and normal\\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\\notherwise alter eyeballs, skin or anatomy — unless the story\\nexplicitly declares that being non-human or supernatural in form.\\n\\nPROPS FACE THE RIGHT WAY: every handheld or used object must be\\noriented exactly as its real-world use requires. A person reading,\\nwatching or operating something (a phone, a photograph, a paper,\\nany device) has its functional side — screen, front, page — facing\\nTHEIR OWN eyes; the camera then sees whatever side the staging\\ngeometry implies (often its back). Show the functional side to the\\ncamera ONLY when the shot text itself stages it toward the viewer.\\nNever flip, mirror or reverse an object's front and back.\\n\\nMOVEMENT (follow exactly): static: pale-faced Su-ri-young holds her body rigid and stares blankly into the empty bedroom where she expected to find her mother's body.\\n\\nFIGURES — size & depth (follow exactly): Su-ri-young's face fills about 2/3 of the frame height and is the NEAREST figure. The empty room she watches is FARTHER beyond her eyeline, with no other person visible.\\n\\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The empty room remains excessively clean, with the motionless figure, dark stains, and red wall mark still absent. The backpack and doll remain in their altered positions.\\n\\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 수리영 (Korean young woman, early 20s face, oval face, natural black long hair) — never anyone else, and never add a person the shot text does not show. IF only part of a person is in frame (a hand, arm, foot, back, silhouette), that body part belongs to the specific person the shot text names — its sex, age, build, skin and grooming must unmistakably match that person's profile above.\\n\\nNo text, captions, watermarks or annotations anywhere.\"}, {\"type\": \"text\", \"text\": \"REFERENCE — PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing. If this photo shows a character who cannot move (dead or unconscious), that character's exact pose, position and orientation are ALSO LOCKED — treat their body as a fixed prop of the set that only the camera moves around.\"}, {\"type\": \"text\", \"text\": \"Candidate A:\"}, {\"type\": \"text\", \"text\": \"Candidate B:\"}, {\"type\": \"text\", \"text\": \"Candidate C:\"}]"}
{"ts": "2026-07-13 18:00:58", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s39_S18sh15_a", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/plate_living_dining_day_root.png"], "ref_labels": ["LOCATION PHOTOGRAPH — the exact place of this shot: its architecture, materials, fixed features and lighting mood are spatial truth; stage the moment inside this place. Never copy its camera framing."], "attempt": 1, "dur_s": 23.2, "bytes": 2179417, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s39/stills/S18sh15_a.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): daytime.\n\nSHOT TEXT (authoritative, Korean): 액자 속 민숙의 얼굴 부분 이미지가 아래로 일그러지며 흘러내리는 찰나\n\nLOCATION (lock): A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nPROPS FACE THE RIGHT WAY: every handheld or used object must be\noriented exactly as its real-world use requires. A person reading,\nwatching or operating something (a phone, a photograph, a paper,\nany device) has its functional side — screen, front, page — facing\nTHEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nMOVEMENT (follow exactly): The image of Min-sook's smiling face inside the framed photograph distorts and flows downward before Su-ri-young's eyes.\n\nFIGURES — size & depth (follow exactly): The framed photograph fills most of the close frame, and Min-sook's pictured face occupies roughly 1/2 of its height. The photograph's glass and frame are NEARER to the camera, while the collapsing facial image is visually FARTHER beneath the surface.\n\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The bathroom’s red circle has vanished, and Suri-young still has the doll-adorned backpack. The framed photograph remains on the table as Minsuk’s face in it distorts and runs downward.\n\nNo people appear unless the shot text itself says so.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-13 18:01:17", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s39_S18sh15_b", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/plate_living_dining_day_root.png"], "ref_labels": ["LOCATION PHOTOGRAPH — the exact place of this shot: its architecture, materials, fixed features and lighting mood are spatial truth; stage the moment inside this place. Never copy its camera framing."], "attempt": 1, "dur_s": 19.2, "bytes": 2099048, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s39/stills/S18sh15_b.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): daytime.\n\nSHOT TEXT (authoritative, Korean): 액자 속 민숙의 얼굴 부분 이미지가 아래로 일그러지며 흘러내리는 찰나\n\nLOCATION (lock): A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nPROPS FACE THE RIGHT WAY: every handheld or used object must be\noriented exactly as its real-world use requires. A person reading,\nwatching or operating something (a phone, a photograph, a paper,\nany device) has its functional side — screen, front, page — facing\nTHEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nMOVEMENT (follow exactly): The image of Min-sook's smiling face inside the framed photograph distorts and flows downward before Su-ri-young's eyes.\n\nFIGURES — size & depth (follow exactly): The framed photograph fills most of the close frame, and Min-sook's pictured face occupies roughly 1/2 of its height. The photograph's glass and frame are NEARER to the camera, while the collapsing facial image is visually FARTHER beneath the surface.\n\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The bathroom’s red circle has vanished, and Suri-young still has the doll-adorned backpack. The framed photograph remains on the table as Minsuk’s face in it distorts and runs downward.\n\nNo people appear unless the shot text itself says so.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-13 18:01:40", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s39_S18sh15_c", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/plate_living_dining_day_root.png"], "ref_labels": ["LOCATION PHOTOGRAPH — the exact place of this shot: its architecture, materials, fixed features and lighting mood are spatial truth; stage the moment inside this place. Never copy its camera framing."], "attempt": 1, "dur_s": 22.5, "bytes": 2433789, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s39/stills/S18sh15_c.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): daytime.\n\nSHOT TEXT (authoritative, Korean): 액자 속 민숙의 얼굴 부분 이미지가 아래로 일그러지며 흘러내리는 찰나\n\nLOCATION (lock): A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nPROPS FACE THE RIGHT WAY: every handheld or used object must be\noriented exactly as its real-world use requires. A person reading,\nwatching or operating something (a phone, a photograph, a paper,\nany device) has its functional side — screen, front, page — facing\nTHEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nMOVEMENT (follow exactly): The image of Min-sook's smiling face inside the framed photograph distorts and flows downward before Su-ri-young's eyes.\n\nFIGURES — size & depth (follow exactly): The framed photograph fills most of the close frame, and Min-sook's pictured face occupies roughly 1/2 of its height. The photograph's glass and frame are NEARER to the camera, while the collapsing facial image is visually FARTHER beneath the surface.\n\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The bathroom’s red circle has vanished, and Suri-young still has the doll-adorned backpack. The framed photograph remains on the table as Minsuk’s face in it distorts and runs downward.\n\nNo people appear unless the shot text itself says so.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-13 18:02:10", "kind": "llm", "step": "s39_judge_gemini_S18sh15", "model": "gemini-pro", "dur_s": 30.2, "system_prompt": "You are given ONE image-generation prompt, the REFERENCE image(s)\nthat were attached to it (labelled), and THREE candidate images,\nlabelled A, B, C in the order attached, all generated from that\nexact prompt with those exact references.\nPick the ONE candidate that most faithfully realises the prompt.\nJudge ONLY fidelity to the prompt and its reference instructions:\nthe shot text's moment and action, who is and is NOT in frame,\ncamera framing, time of day, the LOCATION lock (the place must be\nthe one the reference shows — same architecture, materials,\nfixtures), pose/immobility and carried-state clauses, and every\nexclusion (no text, no invented people or objects). Consistency\nwith the attached reference image counts as prompt fidelity.\nIgnore generic aesthetic appeal.\nCheck every candidate point by point before deciding; base every\nverdict only on what is visible.\nAlso give every candidate an integer score 0-10 for that same\nfidelity.\nOutput: winner, ranking best-to-worst, and per candidate a score\nplus a one-line Korean verdict citing the decisive prompt points.", "user_prompt": "[{\"type\": \"text\", \"text\": \"THE PROMPT (all three candidates were generated from this):\\nCreate ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): daytime.\\n\\nSHOT TEXT (authoritative, Korean): 액자 속 민숙의 얼굴 부분 이미지가 아래로 일그러지며 흘러내리는 찰나\\n\\nLOCATION (lock): A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.\\n\\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\\ntext may describe characters metaphorically, figuratively or with\\nexaggeration. Photograph what a real movie camera would actually\\nrecord on a physical set — exaggerated or figurative impressions\\nbecome realistic staging choices (lighting, distance, angle,\\nwardrobe), not literal fantasy imagery.\\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\\nfeatures non-human or virtual beings (as in science fiction or\\nfantasy), every character — however indirectly, vaguely or\\nfiguratively the text describes them — IS a real human. When the\\ntext gives no direct visual description of a person, IMAGINE one\\nand still show them as a concrete, fully-formed human being:\\nalways render the human form to the maximum extent — build,\\nposture, face, hands, clothing — never reduce a person to a shape,\\nblob, solid silhouette or abstract mass.\\n\\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\\nperson's eyes, face or presence emotionally or figuratively (vacant,\\nhollow, dazed, burning, lifeless gaze and the like), it describes an\\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\\nthrough gaze direction, focus, eyelids, facial muscles, stillness\\nand posture. Every living person's eyes remain anatomically normal\\nhuman eyes with a natural iris and pupil, natural sclera and normal\\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\\notherwise alter eyeballs, skin or anatomy — unless the story\\nexplicitly declares that being non-human or supernatural in form.\\n\\nPROPS FACE THE RIGHT WAY: every handheld or used object must be\\noriented exactly as its real-world use requires. A person reading,\\nwatching or operating something (a phone, a photograph, a paper,\\nany device) has its functional side — screen, front, page — facing\\nTHEIR OWN eyes; the camera then sees whatever side the staging\\ngeometry implies (often its back). Show the functional side to the\\ncamera ONLY when the shot text itself stages it toward the viewer.\\nNever flip, mirror or reverse an object's front and back.\\n\\nMOVEMENT (follow exactly): The image of Min-sook's smiling face inside the framed photograph distorts and flows downward before Su-ri-young's eyes.\\n\\nFIGURES — size & depth (follow exactly): The framed photograph fills most of the close frame, and Min-sook's pictured face occupies roughly 1/2 of its height. The photograph's glass and frame are NEARER to the camera, while the collapsing facial image is visually FARTHER beneath the surface.\\n\\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The bathroom’s red circle has vanished, and Suri-young still has the doll-adorned backpack. The framed photograph remains on the table as Minsuk’s face in it distorts and runs downward.\\n\\nNo people appear unless the shot text itself says so.\\n\\nNo text, captions, watermarks or annotations anywhere.\"}, {\"type\": \"text\", \"text\": \"REFERENCE — LOCATION PHOTOGRAPH — the exact place of this shot: its architecture, materials, fixed features and lighting mood are spatial truth; stage the moment inside this place. Never copy its camera framing.\"}, {\"type\": \"text\", \"text\": \"Candidate A:\"}, {\"type\": \"text\", \"text\": \"Candidate B:\"}, {\"type\": \"text\", \"text\": \"Candidate C:\"}]"}
{"ts": "2026-07-13 18:05:07", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s39_S12sh21_a", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/plate_daughter_bedroom_night_doorway_wide.png"], "ref_labels": ["LOCATION PHOTOGRAPH — the exact place of this shot: its architecture, materials, fixed features and lighting mood are spatial truth; stage the moment inside this place. Never copy its camera framing."], "attempt": 1, "dur_s": 24.0, "bytes": 2389456, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s39/stills/S12sh21_a.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\n\nSHOT TEXT (authoritative, Korean): 침대 위쪽 벽면에 붉은색 원형 표식이 절반쯤 나타난 상태\n\nLOCATION (lock): A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nPROPS FACE THE RIGHT WAY: every handheld or used object must be\noriented exactly as its real-world use requires. A person reading,\nwatching or operating something (a phone, a photograph, a paper,\nany device) has its functional side — screen, front, page — facing\nTHEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nMOVEMENT (follow exactly): A red circular mark spreads around the wall above the bed, progressing along a ring-like path as though an unseen brush is drawing it, with about half the circle formed.\n\nFIGURES — size & depth (follow exactly): The half-formed red circle fills roughly 1/2 of the frame height on the wall and is the principal visible object. The wall surface and mark are FARTHER than the nearer edge of the bed, with the red pigment visually sitting closest on that wall plane.\n\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Minsuk’s motionless figure, wounds, and the room’s dark stains traces remain unchanged; her hand is now without the photograph, which Suri-young has taken, and the wrist mark is red. A red circle is partially formed on the wall above the bed.\n\nNO PEOPLE IN THIS SHOT: the shot text shows only the place and its state — no living person or any body part appears in frame, unless the shot text itself explicitly says so.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-13 18:05:25", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s39_S12sh21_b", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/plate_daughter_bedroom_night_doorway_wide.png"], "ref_labels": ["LOCATION PHOTOGRAPH — the exact place of this shot: its architecture, materials, fixed features and lighting mood are spatial truth; stage the moment inside this place. Never copy its camera framing."], "attempt": 1, "dur_s": 18.0, "bytes": 2290124, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s39/stills/S12sh21_b.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\n\nSHOT TEXT (authoritative, Korean): 침대 위쪽 벽면에 붉은색 원형 표식이 절반쯤 나타난 상태\n\nLOCATION (lock): A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nPROPS FACE THE RIGHT WAY: every handheld or used object must be\noriented exactly as its real-world use requires. A person reading,\nwatching or operating something (a phone, a photograph, a paper,\nany device) has its functional side — screen, front, page — facing\nTHEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nMOVEMENT (follow exactly): A red circular mark spreads around the wall above the bed, progressing along a ring-like path as though an unseen brush is drawing it, with about half the circle formed.\n\nFIGURES — size & depth (follow exactly): The half-formed red circle fills roughly 1/2 of the frame height on the wall and is the principal visible object. The wall surface and mark are FARTHER than the nearer edge of the bed, with the red pigment visually sitting closest on that wall plane.\n\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Minsuk’s motionless figure, wounds, and the room’s dark stains traces remain unchanged; her hand is now without the photograph, which Suri-young has taken, and the wrist mark is red. A red circle is partially formed on the wall above the bed.\n\nNO PEOPLE IN THIS SHOT: the shot text shows only the place and its state — no living person or any body part appears in frame, unless the shot text itself explicitly says so.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-13 18:05:45", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s39_S12sh21_c", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/plate_daughter_bedroom_night_doorway_wide.png"], "ref_labels": ["LOCATION PHOTOGRAPH — the exact place of this shot: its architecture, materials, fixed features and lighting mood are spatial truth; stage the moment inside this place. Never copy its camera framing."], "attempt": 1, "dur_s": 20.6, "bytes": 2548529, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s39/stills/S12sh21_c.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\n\nSHOT TEXT (authoritative, Korean): 침대 위쪽 벽면에 붉은색 원형 표식이 절반쯤 나타난 상태\n\nLOCATION (lock): A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nPROPS FACE THE RIGHT WAY: every handheld or used object must be\noriented exactly as its real-world use requires. A person reading,\nwatching or operating something (a phone, a photograph, a paper,\nany device) has its functional side — screen, front, page — facing\nTHEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nMOVEMENT (follow exactly): A red circular mark spreads around the wall above the bed, progressing along a ring-like path as though an unseen brush is drawing it, with about half the circle formed.\n\nFIGURES — size & depth (follow exactly): The half-formed red circle fills roughly 1/2 of the frame height on the wall and is the principal visible object. The wall surface and mark are FARTHER than the nearer edge of the bed, with the red pigment visually sitting closest on that wall plane.\n\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Minsuk’s motionless figure, wounds, and the room’s dark stains traces remain unchanged; her hand is now without the photograph, which Suri-young has taken, and the wrist mark is red. A red circle is partially formed on the wall above the bed.\n\nNO PEOPLE IN THIS SHOT: the shot text shows only the place and its state — no living person or any body part appears in frame, unless the shot text itself explicitly says so.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-13 18:06:18", "kind": "llm", "step": "s39_judge_gemini_S12sh21", "model": "gemini-pro", "dur_s": 32.6, "system_prompt": "You are given ONE image-generation prompt, the REFERENCE image(s)\nthat were attached to it (labelled), and THREE candidate images,\nlabelled A, B, C in the order attached, all generated from that\nexact prompt with those exact references.\nPick the ONE candidate that most faithfully realises the prompt.\nJudge ONLY fidelity to the prompt and its reference instructions:\nthe shot text's moment and action, who is and is NOT in frame,\ncamera framing, time of day, the LOCATION lock (the place must be\nthe one the reference shows — same architecture, materials,\nfixtures), pose/immobility and carried-state clauses, and every\nexclusion (no text, no invented people or objects). Consistency\nwith the attached reference image counts as prompt fidelity.\nIgnore generic aesthetic appeal.\nCheck every candidate point by point before deciding; base every\nverdict only on what is visible.\nAlso give every candidate an integer score 0-10 for that same\nfidelity.\nOutput: winner, ranking best-to-worst, and per candidate a score\nplus a one-line Korean verdict citing the decisive prompt points.", "user_prompt": "[{\"type\": \"text\", \"text\": \"THE PROMPT (all three candidates were generated from this):\\nCreate ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\\n\\nSHOT TEXT (authoritative, Korean): 침대 위쪽 벽면에 붉은색 원형 표식이 절반쯤 나타난 상태\\n\\nLOCATION (lock): A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.\\n\\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\\ntext may describe characters metaphorically, figuratively or with\\nexaggeration. Photograph what a real movie camera would actually\\nrecord on a physical set — exaggerated or figurative impressions\\nbecome realistic staging choices (lighting, distance, angle,\\nwardrobe), not literal fantasy imagery.\\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\\nfeatures non-human or virtual beings (as in science fiction or\\nfantasy), every character — however indirectly, vaguely or\\nfiguratively the text describes them — IS a real human. When the\\ntext gives no direct visual description of a person, IMAGINE one\\nand still show them as a concrete, fully-formed human being:\\nalways render the human form to the maximum extent — build,\\nposture, face, hands, clothing — never reduce a person to a shape,\\nblob, solid silhouette or abstract mass.\\n\\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\\nperson's eyes, face or presence emotionally or figuratively (vacant,\\nhollow, dazed, burning, lifeless gaze and the like), it describes an\\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\\nthrough gaze direction, focus, eyelids, facial muscles, stillness\\nand posture. Every living person's eyes remain anatomically normal\\nhuman eyes with a natural iris and pupil, natural sclera and normal\\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\\notherwise alter eyeballs, skin or anatomy — unless the story\\nexplicitly declares that being non-human or supernatural in form.\\n\\nPROPS FACE THE RIGHT WAY: every handheld or used object must be\\noriented exactly as its real-world use requires. A person reading,\\nwatching or operating something (a phone, a photograph, a paper,\\nany device) has its functional side — screen, front, page — facing\\nTHEIR OWN eyes; the camera then sees whatever side the staging\\ngeometry implies (often its back). Show the functional side to the\\ncamera ONLY when the shot text itself stages it toward the viewer.\\nNever flip, mirror or reverse an object's front and back.\\n\\nMOVEMENT (follow exactly): A red circular mark spreads around the wall above the bed, progressing along a ring-like path as though an unseen brush is drawing it, with about half the circle formed.\\n\\nFIGURES — size & depth (follow exactly): The half-formed red circle fills roughly 1/2 of the frame height on the wall and is the principal visible object. The wall surface and mark are FARTHER than the nearer edge of the bed, with the red pigment visually sitting closest on that wall plane.\\n\\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Minsuk’s motionless figure, wounds, and the room’s dark stains traces remain unchanged; her hand is now without the photograph, which Suri-young has taken, and the wrist mark is red. A red circle is partially formed on the wall above the bed.\\n\\nNO PEOPLE IN THIS SHOT: the shot text shows only the place and its state — no living person or any body part appears in frame, unless the shot text itself explicitly says so.\\n\\nNo text, captions, watermarks or annotations anywhere.\"}, {\"type\": \"text\", \"text\": \"REFERENCE — LOCATION PHOTOGRAPH — the exact place of this shot: its architecture, materials, fixed features and lighting mood are spatial truth; stage the moment inside this place. Never copy its camera framing.\"}, {\"type\": \"text\", \"text\": \"Candidate A:\"}, {\"type\": \"text\", \"text\": \"Candidate B:\"}, {\"type\": \"text\", \"text\": \"Candidate C:\"}]"}
{"ts": "2026-07-13 18:22:03", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s40_extbg_S4sh1_a", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/master2.png"], "ref_labels": ["LOCATION MASTER PHOTOGRAPH — the exact building and grounds where this background takes place: its architecture, massing, materials and fixed features are spatial truth; render the requested view OF THIS PLACE. Never copy this photo's camera or crop."], "attempt": 1, "dur_s": 23.7, "bytes": 3783634, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s40/plates/bg_S4sh1_a.png", "prompt": "Using the attached master photo as the exact architectural and location reference, create a photorealistic live-action empty background plate of the same old low-rise Korean multifamily villa and its rooftop dwelling in the outskirts of contemporary Incheon. High-angle bird’s-eye view looking down toward the rooftop: clearly show the flat roof terrace, low parapet, separate rectangular rooftop home, plain closed metal entrance door, small living-room window, water tank, clothesline, and low wooden herb-drying platform in their established master-image arrangement. Include only the restrained surrounding fabric visible from this elevated direction—narrow paved alleys, nearby aging villas, utility poles and cables, and a subdued urban horizon. Clear ordinary daytime with soft natural sunlight and realistic colors, matching the scene. Deep focus, believable scale, documentary architectural photography, wide establishing composition. Empty set: no people, animals, moving vehicles, readable text, incident evidence, police activity, dramatic shadows, or event-specific props."}
{"ts": "2026-07-13 18:22:30", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s40_extbg_S4sh1_b", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/master2.png"], "ref_labels": ["LOCATION MASTER PHOTOGRAPH — the exact building and grounds where this background takes place: its architecture, massing, materials and fixed features are spatial truth; render the requested view OF THIS PLACE. Never copy this photo's camera or crop."], "attempt": 1, "dur_s": 26.8, "bytes": 3845086, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s40/plates/bg_S4sh1_b.png", "prompt": "Using the attached master photo as the exact architectural and location reference, create a photorealistic live-action empty background plate of the same old low-rise Korean multifamily villa and its rooftop dwelling in the outskirts of contemporary Incheon. High-angle bird’s-eye view looking down toward the rooftop: clearly show the flat roof terrace, low parapet, separate rectangular rooftop home, plain closed metal entrance door, small living-room window, water tank, clothesline, and low wooden herb-drying platform in their established master-image arrangement. Include only the restrained surrounding fabric visible from this elevated direction—narrow paved alleys, nearby aging villas, utility poles and cables, and a subdued urban horizon. Clear ordinary daytime with soft natural sunlight and realistic colors, matching the scene. Deep focus, believable scale, documentary architectural photography, wide establishing composition. Empty set: no people, animals, moving vehicles, readable text, incident evidence, police activity, dramatic shadows, or event-specific props."}
{"ts": "2026-07-13 18:22:55", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s40_extbg_S4sh1_c", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/master2.png"], "ref_labels": ["LOCATION MASTER PHOTOGRAPH — the exact building and grounds where this background takes place: its architecture, massing, materials and fixed features are spatial truth; render the requested view OF THIS PLACE. Never copy this photo's camera or crop."], "attempt": 1, "dur_s": 25.0, "bytes": 3705467, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s40/plates/bg_S4sh1_c.png", "prompt": "Using the attached master photo as the exact architectural and location reference, create a photorealistic live-action empty background plate of the same old low-rise Korean multifamily villa and its rooftop dwelling in the outskirts of contemporary Incheon. High-angle bird’s-eye view looking down toward the rooftop: clearly show the flat roof terrace, low parapet, separate rectangular rooftop home, plain closed metal entrance door, small living-room window, water tank, clothesline, and low wooden herb-drying platform in their established master-image arrangement. Include only the restrained surrounding fabric visible from this elevated direction—narrow paved alleys, nearby aging villas, utility poles and cables, and a subdued urban horizon. Clear ordinary daytime with soft natural sunlight and realistic colors, matching the scene. Deep focus, believable scale, documentary architectural photography, wide establishing composition. Empty set: no people, animals, moving vehicles, readable text, incident evidence, police activity, dramatic shadows, or event-specific props."}
{"ts": "2026-07-13 18:23:41", "kind": "llm", "step": "s40_judge_extbg_S4sh1", "model": "gemini-pro", "dur_s": 46.1, "system_prompt": "You are given ONE image-generation prompt, ONE MASTER location\nphotograph (the ground truth of this property), and THREE candidate\nphotographs labelled A, B, C in the order attached, all generated\nfrom that prompt with the master attached as reference.\nPick the ONE candidate that best satisfies ALL of:\n- fidelity to the prompt (structure, camera, materials, state,\n  exclusions such as no people and no readable text),\n- physical coherence (no floating/split volumes, stairs reach\n  their destination, possible geometry),\n- MASTER consistency (storey count, massing, the external stair's\n  full run, rooftop structure placement, walls, gate and yard must\n  match the master photograph),\n- regional authenticity (the prompt declares a real region and\n  era; everything must look like that region's real, ordinary\n  built environment — nothing foreign or genericized).\nCheck every candidate point by point; base verdicts only on what\nis visible. Also give every candidate an integer score 0-10.\nOutput: winner, ranking best-to-worst, and per candidate a score\nplus a one-line Korean verdict citing the decisive points.", "user_prompt": "[{\"type\": \"text\", \"text\": \"THE PROMPT (all three candidates were generated from this):\\nUsing the attached master photo as the exact architectural and location reference, create a photorealistic live-action empty background plate of the same old low-rise Korean multifamily villa and its rooftop dwelling in the outskirts of contemporary Incheon. High-angle bird’s-eye view looking down toward the rooftop: clearly show the flat roof terrace, low parapet, separate rectangular rooftop home, plain closed metal entrance door, small living-room window, water tank, clothesline, and low wooden herb-drying platform in their established master-image arrangement. Include only the restrained surrounding fabric visible from this elevated direction—narrow paved alleys, nearby aging villas, utility poles and cables, and a subdued urban horizon. Clear ordinary daytime with soft natural sunlight and realistic colors, matching the scene. Deep focus, believable scale, documentary architectural photography, wide establishing composition. Empty set: no people, animals, moving vehicles, readable text, incident evidence, police activity, dramatic shadows, or event-specific props.\"}, {\"type\": \"text\", \"text\": \"REFERENCE — LOCATION MASTER PHOTOGRAPH — the exact building and grounds where this background takes place: its architecture, massing, materials and fixed features are spatial truth; render the requested view OF THIS PLACE. Never copy this photo's camera or crop.\"}, {\"type\": \"text\", \"text\": \"Candidate A:\"}, {\"type\": \"text\", \"text\": \"Candidate B:\"}, {\"type\": \"text\", \"text\": \"Candidate C:\"}]"}
{"ts": "2026-07-13 18:24:04", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s40_extbg_S10sh6_a", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/master2.png"], "ref_labels": ["LOCATION MASTER PHOTOGRAPH — the exact building and grounds where this background takes place: its architecture, massing, materials and fixed features are spatial truth; render the requested view OF THIS PLACE. Never copy this photo's camera or crop."], "attempt": 1, "dur_s": 22.4, "bytes": 2025658, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s40/plates/bg_S10sh6_a.png", "prompt": "Using the attached master photo as the exact reference for the same rooftop dwelling, create a photorealistic live-action empty background plate at night from an extremely low, tight camera position directly outside the rooftop home’s metal entrance, aimed toward the threshold and entry area. Frame the established plain metal door, doorframe, and the narrow floor area at the threshold in close-up. The interior beyond the entrance should read as unlit and dark, without inventing additional rooms or architectural details. For the clean empty plate, keep the metal door closed in its ordinary undisturbed state; no visible person, shoe, hand, flyer, forced lock, damage, or incident-specific condition. Restrained natural night ambience on the rooftop, realistic weathered surfaces, shallow-to-moderate depth of field, no readable text, no ominous stylization."}
{"ts": "2026-07-13 18:24:26", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s40_extbg_S10sh6_b", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/master2.png"], "ref_labels": ["LOCATION MASTER PHOTOGRAPH — the exact building and grounds where this background takes place: its architecture, massing, materials and fixed features are spatial truth; render the requested view OF THIS PLACE. Never copy this photo's camera or crop."], "attempt": 1, "dur_s": 22.7, "bytes": 2507035, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s40/plates/bg_S10sh6_b.png", "prompt": "Using the attached master photo as the exact reference for the same rooftop dwelling, create a photorealistic live-action empty background plate at night from an extremely low, tight camera position directly outside the rooftop home’s metal entrance, aimed toward the threshold and entry area. Frame the established plain metal door, doorframe, and the narrow floor area at the threshold in close-up. The interior beyond the entrance should read as unlit and dark, without inventing additional rooms or architectural details. For the clean empty plate, keep the metal door closed in its ordinary undisturbed state; no visible person, shoe, hand, flyer, forced lock, damage, or incident-specific condition. Restrained natural night ambience on the rooftop, realistic weathered surfaces, shallow-to-moderate depth of field, no readable text, no ominous stylization."}
{"ts": "2026-07-13 18:24:48", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s40_extbg_S10sh6_c", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/master2.png"], "ref_labels": ["LOCATION MASTER PHOTOGRAPH — the exact building and grounds where this background takes place: its architecture, massing, materials and fixed features are spatial truth; render the requested view OF THIS PLACE. Never copy this photo's camera or crop."], "attempt": 1, "dur_s": 21.4, "bytes": 2551549, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s40/plates/bg_S10sh6_c.png", "prompt": "Using the attached master photo as the exact reference for the same rooftop dwelling, create a photorealistic live-action empty background plate at night from an extremely low, tight camera position directly outside the rooftop home’s metal entrance, aimed toward the threshold and entry area. Frame the established plain metal door, doorframe, and the narrow floor area at the threshold in close-up. The interior beyond the entrance should read as unlit and dark, without inventing additional rooms or architectural details. For the clean empty plate, keep the metal door closed in its ordinary undisturbed state; no visible person, shoe, hand, flyer, forced lock, damage, or incident-specific condition. Restrained natural night ambience on the rooftop, realistic weathered surfaces, shallow-to-moderate depth of field, no readable text, no ominous stylization."}
{"ts": "2026-07-13 18:25:08", "kind": "llm", "step": "s40_judge_extbg_S10sh6", "model": "gemini-pro", "dur_s": 20.7, "system_prompt": "You are given ONE image-generation prompt, ONE MASTER location\nphotograph (the ground truth of this property), and THREE candidate\nphotographs labelled A, B, C in the order attached, all generated\nfrom that prompt with the master attached as reference.\nPick the ONE candidate that best satisfies ALL of:\n- fidelity to the prompt (structure, camera, materials, state,\n  exclusions such as no people and no readable text),\n- physical coherence (no floating/split volumes, stairs reach\n  their destination, possible geometry),\n- MASTER consistency (storey count, massing, the external stair's\n  full run, rooftop structure placement, walls, gate and yard must\n  match the master photograph),\n- regional authenticity (the prompt declares a real region and\n  era; everything must look like that region's real, ordinary\n  built environment — nothing foreign or genericized).\nCheck every candidate point by point; base verdicts only on what\nis visible. Also give every candidate an integer score 0-10.\nOutput: winner, ranking best-to-worst, and per candidate a score\nplus a one-line Korean verdict citing the decisive points.", "user_prompt": "[{\"type\": \"text\", \"text\": \"THE PROMPT (all three candidates were generated from this):\\nUsing the attached master photo as the exact reference for the same rooftop dwelling, create a photorealistic live-action empty background plate at night from an extremely low, tight camera position directly outside the rooftop home’s metal entrance, aimed toward the threshold and entry area. Frame the established plain metal door, doorframe, and the narrow floor area at the threshold in close-up. The interior beyond the entrance should read as unlit and dark, without inventing additional rooms or architectural details. For the clean empty plate, keep the metal door closed in its ordinary undisturbed state; no visible person, shoe, hand, flyer, forced lock, damage, or incident-specific condition. Restrained natural night ambience on the rooftop, realistic weathered surfaces, shallow-to-moderate depth of field, no readable text, no ominous stylization.\"}, {\"type\": \"text\", \"text\": \"REFERENCE — LOCATION MASTER PHOTOGRAPH — the exact building and grounds where this background takes place: its architecture, massing, materials and fixed features are spatial truth; render the requested view OF THIS PLACE. Never copy this photo's camera or crop.\"}, {\"type\": \"text\", \"text\": \"Candidate A:\"}, {\"type\": \"text\", \"text\": \"Candidate B:\"}, {\"type\": \"text\", \"text\": \"Candidate C:\"}]"}
{"ts": "2026-07-13 18:25:33", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s40_extbg_S10sh7_a", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/master2.png"], "ref_labels": ["LOCATION MASTER PHOTOGRAPH — the exact building and grounds where this background takes place: its architecture, massing, materials and fixed features are spatial truth; render the requested view OF THIS PLACE. Never copy this photo's camera or crop."], "attempt": 1, "dur_s": 24.5, "bytes": 2804201, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s40/plates/bg_S10sh7_a.png", "prompt": "Using the attached master photo as the exact reference for the same rooftop dwelling, create a locked-off photorealistic live-action empty background plate at night, facing the established small living-room window from across the open roof terrace. The rooftop room is illuminated from inside, so the window glows naturally against the weathered exterior wall, but the glass and curtain surface must contain no human figures, silhouettes, reflections of people, violent action, or event-specific shadows. Preserve the master location’s flat roof, low parapet, and only those nearby rooftop fixtures that naturally fall within this camera angle. Static composition, realistic low-light exposure, subdued contemporary Incheon residential surroundings, no people, animals, readable text, police activity, or incident evidence."}
{"ts": "2026-07-13 18:25:54", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s40_extbg_S10sh7_b", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/master2.png"], "ref_labels": ["LOCATION MASTER PHOTOGRAPH — the exact building and grounds where this background takes place: its architecture, massing, materials and fixed features are spatial truth; render the requested view OF THIS PLACE. Never copy this photo's camera or crop."], "attempt": 1, "dur_s": 21.5, "bytes": 2804521, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s40/plates/bg_S10sh7_b.png", "prompt": "Using the attached master photo as the exact reference for the same rooftop dwelling, create a locked-off photorealistic live-action empty background plate at night, facing the established small living-room window from across the open roof terrace. The rooftop room is illuminated from inside, so the window glows naturally against the weathered exterior wall, but the glass and curtain surface must contain no human figures, silhouettes, reflections of people, violent action, or event-specific shadows. Preserve the master location’s flat roof, low parapet, and only those nearby rooftop fixtures that naturally fall within this camera angle. Static composition, realistic low-light exposure, subdued contemporary Incheon residential surroundings, no people, animals, readable text, police activity, or incident evidence."}
{"ts": "2026-07-13 18:26:16", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s40_extbg_S10sh7_c", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/master2.png"], "ref_labels": ["LOCATION MASTER PHOTOGRAPH — the exact building and grounds where this background takes place: its architecture, massing, materials and fixed features are spatial truth; render the requested view OF THIS PLACE. Never copy this photo's camera or crop."], "attempt": 1, "dur_s": 21.9, "bytes": 2842668, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s40/plates/bg_S10sh7_c.png", "prompt": "Using the attached master photo as the exact reference for the same rooftop dwelling, create a locked-off photorealistic live-action empty background plate at night, facing the established small living-room window from across the open roof terrace. The rooftop room is illuminated from inside, so the window glows naturally against the weathered exterior wall, but the glass and curtain surface must contain no human figures, silhouettes, reflections of people, violent action, or event-specific shadows. Preserve the master location’s flat roof, low parapet, and only those nearby rooftop fixtures that naturally fall within this camera angle. Static composition, realistic low-light exposure, subdued contemporary Incheon residential surroundings, no people, animals, readable text, police activity, or incident evidence."}
{"ts": "2026-07-13 18:27:00", "kind": "llm", "step": "s40_judge_extbg_S10sh7", "model": "gemini-pro", "dur_s": 43.3, "system_prompt": "You are given ONE image-generation prompt, ONE MASTER location\nphotograph (the ground truth of this property), and THREE candidate\nphotographs labelled A, B, C in the order attached, all generated\nfrom that prompt with the master attached as reference.\nPick the ONE candidate that best satisfies ALL of:\n- fidelity to the prompt (structure, camera, materials, state,\n  exclusions such as no people and no readable text),\n- physical coherence (no floating/split volumes, stairs reach\n  their destination, possible geometry),\n- MASTER consistency (storey count, massing, the external stair's\n  full run, rooftop structure placement, walls, gate and yard must\n  match the master photograph),\n- regional authenticity (the prompt declares a real region and\n  era; everything must look like that region's real, ordinary\n  built environment — nothing foreign or genericized).\nCheck every candidate point by point; base verdicts only on what\nis visible. Also give every candidate an integer score 0-10.\nOutput: winner, ranking best-to-worst, and per candidate a score\nplus a one-line Korean verdict citing the decisive points.", "user_prompt": "[{\"type\": \"text\", \"text\": \"THE PROMPT (all three candidates were generated from this):\\nUsing the attached master photo as the exact reference for the same rooftop dwelling, create a locked-off photorealistic live-action empty background plate at night, facing the established small living-room window from across the open roof terrace. The rooftop room is illuminated from inside, so the window glows naturally against the weathered exterior wall, but the glass and curtain surface must contain no human figures, silhouettes, reflections of people, violent action, or event-specific shadows. Preserve the master location’s flat roof, low parapet, and only those nearby rooftop fixtures that naturally fall within this camera angle. Static composition, realistic low-light exposure, subdued contemporary Incheon residential surroundings, no people, animals, readable text, police activity, or incident evidence.\"}, {\"type\": \"text\", \"text\": \"REFERENCE — LOCATION MASTER PHOTOGRAPH — the exact building and grounds where this background takes place: its architecture, massing, materials and fixed features are spatial truth; render the requested view OF THIS PLACE. Never copy this photo's camera or crop.\"}, {\"type\": \"text\", \"text\": \"Candidate A:\"}, {\"type\": \"text\", \"text\": \"Candidate B:\"}, {\"type\": \"text\", \"text\": \"Candidate C:\"}]"}
{"ts": "2026-07-13 18:27:20", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s40_extbg_S11sh5_a", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/master2.png"], "ref_labels": ["LOCATION MASTER PHOTOGRAPH — the exact building and grounds where this background takes place: its architecture, massing, materials and fixed features are spatial truth; render the requested view OF THIS PLACE. Never copy this photo's camera or crop."], "attempt": 1, "dur_s": 20.4, "bytes": 2554233, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s40/plates/bg_S11sh5_a.png", "prompt": "Using the attached master photo as the exact architectural reference, create a photorealistic live-action empty background plate at night from eye level on the rooftop landing, looking straight toward the same rooftop dwelling’s plain metal entrance door. Show the open roof terrace leading to the doorway, the weathered exterior wall, doorframe, and any fixed rooftop elements visible in their established master-image positions. As a clean undisturbed plate, the metal door is fully closed and intact, with no flyer in the seam, no forced entry, no interior figure, and no incident-specific condition. Natural dim night ambience, realistic scale and weathering, frontal composition, no people, animals, readable text, police lights, vehicles, blood, or dramatic horror lighting."}
{"ts": "2026-07-13 18:27:45", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s40_extbg_S11sh5_b", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/master2.png"], "ref_labels": ["LOCATION MASTER PHOTOGRAPH — the exact building and grounds where this background takes place: its architecture, massing, materials and fixed features are spatial truth; render the requested view OF THIS PLACE. Never copy this photo's camera or crop."], "attempt": 1, "dur_s": 25.3, "bytes": 3077177, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s40/plates/bg_S11sh5_b.png", "prompt": "Using the attached master photo as the exact architectural reference, create a photorealistic live-action empty background plate at night from eye level on the rooftop landing, looking straight toward the same rooftop dwelling’s plain metal entrance door. Show the open roof terrace leading to the doorway, the weathered exterior wall, doorframe, and any fixed rooftop elements visible in their established master-image positions. As a clean undisturbed plate, the metal door is fully closed and intact, with no flyer in the seam, no forced entry, no interior figure, and no incident-specific condition. Natural dim night ambience, realistic scale and weathering, frontal composition, no people, animals, readable text, police lights, vehicles, blood, or dramatic horror lighting."}
{"ts": "2026-07-13 18:28:07", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s40_extbg_S11sh5_c", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/master2.png"], "ref_labels": ["LOCATION MASTER PHOTOGRAPH — the exact building and grounds where this background takes place: its architecture, massing, materials and fixed features are spatial truth; render the requested view OF THIS PLACE. Never copy this photo's camera or crop."], "attempt": 1, "dur_s": 21.6, "bytes": 2904280, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s40/plates/bg_S11sh5_c.png", "prompt": "Using the attached master photo as the exact architectural reference, create a photorealistic live-action empty background plate at night from eye level on the rooftop landing, looking straight toward the same rooftop dwelling’s plain metal entrance door. Show the open roof terrace leading to the doorway, the weathered exterior wall, doorframe, and any fixed rooftop elements visible in their established master-image positions. As a clean undisturbed plate, the metal door is fully closed and intact, with no flyer in the seam, no forced entry, no interior figure, and no incident-specific condition. Natural dim night ambience, realistic scale and weathering, frontal composition, no people, animals, readable text, police lights, vehicles, blood, or dramatic horror lighting."}
{"ts": "2026-07-13 18:28:32", "kind": "llm", "step": "s40_judge_extbg_S11sh5", "model": "gemini-pro", "dur_s": 24.6, "system_prompt": "You are given ONE image-generation prompt, ONE MASTER location\nphotograph (the ground truth of this property), and THREE candidate\nphotographs labelled A, B, C in the order attached, all generated\nfrom that prompt with the master attached as reference.\nPick the ONE candidate that best satisfies ALL of:\n- fidelity to the prompt (structure, camera, materials, state,\n  exclusions such as no people and no readable text),\n- physical coherence (no floating/split volumes, stairs reach\n  their destination, possible geometry),\n- MASTER consistency (storey count, massing, the external stair's\n  full run, rooftop structure placement, walls, gate and yard must\n  match the master photograph),\n- regional authenticity (the prompt declares a real region and\n  era; everything must look like that region's real, ordinary\n  built environment — nothing foreign or genericized).\nCheck every candidate point by point; base verdicts only on what\nis visible. Also give every candidate an integer score 0-10.\nOutput: winner, ranking best-to-worst, and per candidate a score\nplus a one-line Korean verdict citing the decisive points.", "user_prompt": "[{\"type\": \"text\", \"text\": \"THE PROMPT (all three candidates were generated from this):\\nUsing the attached master photo as the exact architectural reference, create a photorealistic live-action empty background plate at night from eye level on the rooftop landing, looking straight toward the same rooftop dwelling’s plain metal entrance door. Show the open roof terrace leading to the doorway, the weathered exterior wall, doorframe, and any fixed rooftop elements visible in their established master-image positions. As a clean undisturbed plate, the metal door is fully closed and intact, with no flyer in the seam, no forced entry, no interior figure, and no incident-specific condition. Natural dim night ambience, realistic scale and weathering, frontal composition, no people, animals, readable text, police lights, vehicles, blood, or dramatic horror lighting.\"}, {\"type\": \"text\", \"text\": \"REFERENCE — LOCATION MASTER PHOTOGRAPH — the exact building and grounds where this background takes place: its architecture, massing, materials and fixed features are spatial truth; render the requested view OF THIS PLACE. Never copy this photo's camera or crop.\"}, {\"type\": \"text\", \"text\": \"Candidate A:\"}, {\"type\": \"text\", \"text\": \"Candidate B:\"}, {\"type\": \"text\", \"text\": \"Candidate C:\"}]"}
{"ts": "2026-07-13 18:28:51", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s40_extbg_S17sh2_a", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/master2.png"], "ref_labels": ["LOCATION MASTER PHOTOGRAPH — the exact building and grounds where this background takes place: its architecture, massing, materials and fixed features are spatial truth; render the requested view OF THIS PLACE. Never copy this photo's camera or crop."], "attempt": 1, "dur_s": 18.9, "bytes": 2287967, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s40/plates/bg_S17sh2_a.png", "prompt": "Using the attached master photo as the exact location reference, create a photorealistic live-action empty background plate at dawn from parapet height on the same rooftop, composed in side profile along the top edge of the low rooftop wall. Keep the parapet edge prominent in the foreground as the surface where an animal would be composited, with the rooftop dwelling and its established small window visible in the background from the appropriate lateral direction. The room window may retain a subdued warm interior glow against the cool first light of dawn. Quiet outskirts-of-Incheon atmosphere, soft blue-gray dawn sky, realistic weathered masonry, shallow-to-moderate depth of field. No cat, no people, no animals, no readable text, no incident evidence, and no invented rooftop structures."}
{"ts": "2026-07-13 18:29:18", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s40_extbg_S17sh2_b", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/master2.png"], "ref_labels": ["LOCATION MASTER PHOTOGRAPH — the exact building and grounds where this background takes place: its architecture, massing, materials and fixed features are spatial truth; render the requested view OF THIS PLACE. Never copy this photo's camera or crop."], "attempt": 1, "dur_s": 27.2, "bytes": 2278646, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s40/plates/bg_S17sh2_b.png", "prompt": "Using the attached master photo as the exact location reference, create a photorealistic live-action empty background plate at dawn from parapet height on the same rooftop, composed in side profile along the top edge of the low rooftop wall. Keep the parapet edge prominent in the foreground as the surface where an animal would be composited, with the rooftop dwelling and its established small window visible in the background from the appropriate lateral direction. The room window may retain a subdued warm interior glow against the cool first light of dawn. Quiet outskirts-of-Incheon atmosphere, soft blue-gray dawn sky, realistic weathered masonry, shallow-to-moderate depth of field. No cat, no people, no animals, no readable text, no incident evidence, and no invented rooftop structures."}
{"ts": "2026-07-13 18:29:43", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s40_extbg_S17sh2_c", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/master2.png"], "ref_labels": ["LOCATION MASTER PHOTOGRAPH — the exact building and grounds where this background takes place: its architecture, massing, materials and fixed features are spatial truth; render the requested view OF THIS PLACE. Never copy this photo's camera or crop."], "attempt": 1, "dur_s": 25.2, "bytes": 2297074, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s40/plates/bg_S17sh2_c.png", "prompt": "Using the attached master photo as the exact location reference, create a photorealistic live-action empty background plate at dawn from parapet height on the same rooftop, composed in side profile along the top edge of the low rooftop wall. Keep the parapet edge prominent in the foreground as the surface where an animal would be composited, with the rooftop dwelling and its established small window visible in the background from the appropriate lateral direction. The room window may retain a subdued warm interior glow against the cool first light of dawn. Quiet outskirts-of-Incheon atmosphere, soft blue-gray dawn sky, realistic weathered masonry, shallow-to-moderate depth of field. No cat, no people, no animals, no readable text, no incident evidence, and no invented rooftop structures."}
{"ts": "2026-07-13 18:30:17", "kind": "llm", "step": "s40_judge_extbg_S17sh2", "model": "gemini-pro", "dur_s": 34.5, "system_prompt": "You are given ONE image-generation prompt, ONE MASTER location\nphotograph (the ground truth of this property), and THREE candidate\nphotographs labelled A, B, C in the order attached, all generated\nfrom that prompt with the master attached as reference.\nPick the ONE candidate that best satisfies ALL of:\n- fidelity to the prompt (structure, camera, materials, state,\n  exclusions such as no people and no readable text),\n- physical coherence (no floating/split volumes, stairs reach\n  their destination, possible geometry),\n- MASTER consistency (storey count, massing, the external stair's\n  full run, rooftop structure placement, walls, gate and yard must\n  match the master photograph),\n- regional authenticity (the prompt declares a real region and\n  era; everything must look like that region's real, ordinary\n  built environment — nothing foreign or genericized).\nCheck every candidate point by point; base verdicts only on what\nis visible. Also give every candidate an integer score 0-10.\nOutput: winner, ranking best-to-worst, and per candidate a score\nplus a one-line Korean verdict citing the decisive points.", "user_prompt": "[{\"type\": \"text\", \"text\": \"THE PROMPT (all three candidates were generated from this):\\nUsing the attached master photo as the exact location reference, create a photorealistic live-action empty background plate at dawn from parapet height on the same rooftop, composed in side profile along the top edge of the low rooftop wall. Keep the parapet edge prominent in the foreground as the surface where an animal would be composited, with the rooftop dwelling and its established small window visible in the background from the appropriate lateral direction. The room window may retain a subdued warm interior glow against the cool first light of dawn. Quiet outskirts-of-Incheon atmosphere, soft blue-gray dawn sky, realistic weathered masonry, shallow-to-moderate depth of field. No cat, no people, no animals, no readable text, no incident evidence, and no invented rooftop structures.\"}, {\"type\": \"text\", \"text\": \"REFERENCE — LOCATION MASTER PHOTOGRAPH — the exact building and grounds where this background takes place: its architecture, massing, materials and fixed features are spatial truth; render the requested view OF THIS PLACE. Never copy this photo's camera or crop.\"}, {\"type\": \"text\", \"text\": \"Candidate A:\"}, {\"type\": \"text\", \"text\": \"Candidate B:\"}, {\"type\": \"text\", \"text\": \"Candidate C:\"}]"}
{"ts": "2026-07-13 18:30:37", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s40_extbg_S11sh4_a", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/master2.png"], "ref_labels": ["LOCATION MASTER PHOTOGRAPH — the exact building and grounds where this background takes place: its architecture, massing, materials and fixed features are spatial truth; render the requested view OF THIS PLACE. Never copy this photo's camera or crop."], "attempt": 1, "dur_s": 19.9, "bytes": 1927252, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s40/plates/bg_S11sh4_a.png", "prompt": "Using the attached master photo as the exact architectural and spatial reference, create a photorealistic live-action empty background plate at night from close face height on the continuous side/rear staircase connecting the enclosed courtyard to the rooftop. The camera is positioned at a middle stair landing beside the established simple metal pipe handrail, with the handrail and adjacent weathered villa wall forming the near background and the stair route receding naturally behind. Compose it as a close-up background suitable for placing a person paused midway on the stairs, but show no person or hand. Preserve only the stair geometry and fixed surfaces supported by the master image. Realistic dim residential night lighting, natural colors, shallow depth of field, no animals, readable text, police lights, damage, or event-specific props."}
{"ts": "2026-07-13 18:31:03", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s40_extbg_S11sh4_b", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/master2.png"], "ref_labels": ["LOCATION MASTER PHOTOGRAPH — the exact building and grounds where this background takes place: its architecture, massing, materials and fixed features are spatial truth; render the requested view OF THIS PLACE. Never copy this photo's camera or crop."], "attempt": 1, "dur_s": 25.4, "bytes": 2277265, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s40/plates/bg_S11sh4_b.png", "prompt": "Using the attached master photo as the exact architectural and spatial reference, create a photorealistic live-action empty background plate at night from close face height on the continuous side/rear staircase connecting the enclosed courtyard to the rooftop. The camera is positioned at a middle stair landing beside the established simple metal pipe handrail, with the handrail and adjacent weathered villa wall forming the near background and the stair route receding naturally behind. Compose it as a close-up background suitable for placing a person paused midway on the stairs, but show no person or hand. Preserve only the stair geometry and fixed surfaces supported by the master image. Realistic dim residential night lighting, natural colors, shallow depth of field, no animals, readable text, police lights, damage, or event-specific props."}
{"ts": "2026-07-13 18:31:26", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s40_extbg_S11sh4_c", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/master2.png"], "ref_labels": ["LOCATION MASTER PHOTOGRAPH — the exact building and grounds where this background takes place: its architecture, massing, materials and fixed features are spatial truth; render the requested view OF THIS PLACE. Never copy this photo's camera or crop."], "attempt": 1, "dur_s": 23.4, "bytes": 2339401, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s40/plates/bg_S11sh4_c.png", "prompt": "Using the attached master photo as the exact architectural and spatial reference, create a photorealistic live-action empty background plate at night from close face height on the continuous side/rear staircase connecting the enclosed courtyard to the rooftop. The camera is positioned at a middle stair landing beside the established simple metal pipe handrail, with the handrail and adjacent weathered villa wall forming the near background and the stair route receding naturally behind. Compose it as a close-up background suitable for placing a person paused midway on the stairs, but show no person or hand. Preserve only the stair geometry and fixed surfaces supported by the master image. Realistic dim residential night lighting, natural colors, shallow depth of field, no animals, readable text, police lights, damage, or event-specific props."}
{"ts": "2026-07-13 18:32:33", "kind": "llm", "step": "s40_judge_extbg_S11sh4", "model": "gemini-pro", "dur_s": 67.1, "system_prompt": "You are given ONE image-generation prompt, ONE MASTER location\nphotograph (the ground truth of this property), and THREE candidate\nphotographs labelled A, B, C in the order attached, all generated\nfrom that prompt with the master attached as reference.\nPick the ONE candidate that best satisfies ALL of:\n- fidelity to the prompt (structure, camera, materials, state,\n  exclusions such as no people and no readable text),\n- physical coherence (no floating/split volumes, stairs reach\n  their destination, possible geometry),\n- MASTER consistency (storey count, massing, the external stair's\n  full run, rooftop structure placement, walls, gate and yard must\n  match the master photograph),\n- regional authenticity (the prompt declares a real region and\n  era; everything must look like that region's real, ordinary\n  built environment — nothing foreign or genericized).\nCheck every candidate point by point; base verdicts only on what\nis visible. Also give every candidate an integer score 0-10.\nOutput: winner, ranking best-to-worst, and per candidate a score\nplus a one-line Korean verdict citing the decisive points.", "user_prompt": "[{\"type\": \"text\", \"text\": \"THE PROMPT (all three candidates were generated from this):\\nUsing the attached master photo as the exact architectural and spatial reference, create a photorealistic live-action empty background plate at night from close face height on the continuous side/rear staircase connecting the enclosed courtyard to the rooftop. The camera is positioned at a middle stair landing beside the established simple metal pipe handrail, with the handrail and adjacent weathered villa wall forming the near background and the stair route receding naturally behind. Compose it as a close-up background suitable for placing a person paused midway on the stairs, but show no person or hand. Preserve only the stair geometry and fixed surfaces supported by the master image. Realistic dim residential night lighting, natural colors, shallow depth of field, no animals, readable text, police lights, damage, or event-specific props.\"}, {\"type\": \"text\", \"text\": \"REFERENCE — LOCATION MASTER PHOTOGRAPH — the exact building and grounds where this background takes place: its architecture, massing, materials and fixed features are spatial truth; render the requested view OF THIS PLACE. Never copy this photo's camera or crop.\"}, {\"type\": \"text\", \"text\": \"Candidate A:\"}, {\"type\": \"text\", \"text\": \"Candidate B:\"}, {\"type\": \"text\", \"text\": \"Candidate C:\"}]"}
{"ts": "2026-07-13 18:32:58", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s40_extbg_S13sh4_a", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/master2.png"], "ref_labels": ["LOCATION MASTER PHOTOGRAPH — the exact building and grounds where this background takes place: its architecture, massing, materials and fixed features are spatial truth; render the requested view OF THIS PLACE. Never copy this photo's camera or crop."], "attempt": 1, "dur_s": 25.4, "bytes": 3402972, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s40/plates/bg_S13sh4_a.png", "prompt": "Using the attached master photo as the exact reference for the same old multifamily villa and its ground-level surroundings, create a photorealistic live-action empty background plate at night from standing eye level near the villa’s ground entrance, facing the small enclosed courtyard and the base of the continuous side/rear stair. Compose a neutral medium close-up background with sufficient clear foreground space for a standing person, while keeping the weathered entrance area, courtyard surfaces, and lower stair architecture spatially consistent with the master. Do not add a police car or any unestablished object. Restrained natural neighborhood night ambience, realistic exposure and weathering, no people, animals, vehicles in action, siren light, readable text, blood, evidence, or event-specific disturbance."}
{"ts": "2026-07-13 18:33:21", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s40_extbg_S13sh4_b", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/master2.png"], "ref_labels": ["LOCATION MASTER PHOTOGRAPH — the exact building and grounds where this background takes place: its architecture, massing, materials and fixed features are spatial truth; render the requested view OF THIS PLACE. Never copy this photo's camera or crop."], "attempt": 1, "dur_s": 22.8, "bytes": 3271956, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s40/plates/bg_S13sh4_b.png", "prompt": "Using the attached master photo as the exact reference for the same old multifamily villa and its ground-level surroundings, create a photorealistic live-action empty background plate at night from standing eye level near the villa’s ground entrance, facing the small enclosed courtyard and the base of the continuous side/rear stair. Compose a neutral medium close-up background with sufficient clear foreground space for a standing person, while keeping the weathered entrance area, courtyard surfaces, and lower stair architecture spatially consistent with the master. Do not add a police car or any unestablished object. Restrained natural neighborhood night ambience, realistic exposure and weathering, no people, animals, vehicles in action, siren light, readable text, blood, evidence, or event-specific disturbance."}
{"ts": "2026-07-13 18:33:42", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s40_extbg_S13sh4_c", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/master2.png"], "ref_labels": ["LOCATION MASTER PHOTOGRAPH — the exact building and grounds where this background takes place: its architecture, massing, materials and fixed features are spatial truth; render the requested view OF THIS PLACE. Never copy this photo's camera or crop."], "attempt": 1, "dur_s": 21.0, "bytes": 3123156, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s40/plates/bg_S13sh4_c.png", "prompt": "Using the attached master photo as the exact reference for the same old multifamily villa and its ground-level surroundings, create a photorealistic live-action empty background plate at night from standing eye level near the villa’s ground entrance, facing the small enclosed courtyard and the base of the continuous side/rear stair. Compose a neutral medium close-up background with sufficient clear foreground space for a standing person, while keeping the weathered entrance area, courtyard surfaces, and lower stair architecture spatially consistent with the master. Do not add a police car or any unestablished object. Restrained natural neighborhood night ambience, realistic exposure and weathering, no people, animals, vehicles in action, siren light, readable text, blood, evidence, or event-specific disturbance."}
{"ts": "2026-07-13 18:34:22", "kind": "llm", "step": "s40_judge_extbg_S13sh4", "model": "gemini-pro", "dur_s": 39.8, "system_prompt": "You are given ONE image-generation prompt, ONE MASTER location\nphotograph (the ground truth of this property), and THREE candidate\nphotographs labelled A, B, C in the order attached, all generated\nfrom that prompt with the master attached as reference.\nPick the ONE candidate that best satisfies ALL of:\n- fidelity to the prompt (structure, camera, materials, state,\n  exclusions such as no people and no readable text),\n- physical coherence (no floating/split volumes, stairs reach\n  their destination, possible geometry),\n- MASTER consistency (storey count, massing, the external stair's\n  full run, rooftop structure placement, walls, gate and yard must\n  match the master photograph),\n- regional authenticity (the prompt declares a real region and\n  era; everything must look like that region's real, ordinary\n  built environment — nothing foreign or genericized).\nCheck every candidate point by point; base verdicts only on what\nis visible. Also give every candidate an integer score 0-10.\nOutput: winner, ranking best-to-worst, and per candidate a score\nplus a one-line Korean verdict citing the decisive points.", "user_prompt": "[{\"type\": \"text\", \"text\": \"THE PROMPT (all three candidates were generated from this):\\nUsing the attached master photo as the exact reference for the same old multifamily villa and its ground-level surroundings, create a photorealistic live-action empty background plate at night from standing eye level near the villa’s ground entrance, facing the small enclosed courtyard and the base of the continuous side/rear stair. Compose a neutral medium close-up background with sufficient clear foreground space for a standing person, while keeping the weathered entrance area, courtyard surfaces, and lower stair architecture spatially consistent with the master. Do not add a police car or any unestablished object. Restrained natural neighborhood night ambience, realistic exposure and weathering, no people, animals, vehicles in action, siren light, readable text, blood, evidence, or event-specific disturbance.\"}, {\"type\": \"text\", \"text\": \"REFERENCE — LOCATION MASTER PHOTOGRAPH — the exact building and grounds where this background takes place: its architecture, massing, materials and fixed features are spatial truth; render the requested view OF THIS PLACE. Never copy this photo's camera or crop.\"}, {\"type\": \"text\", \"text\": \"Candidate A:\"}, {\"type\": \"text\", \"text\": \"Candidate B:\"}, {\"type\": \"text\", \"text\": \"Candidate C:\"}]"}
{"ts": "2026-07-13 18:34:45", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s40_extbg_S13sh6_a", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/master2.png"], "ref_labels": ["LOCATION MASTER PHOTOGRAPH — the exact building and grounds where this background takes place: its architecture, massing, materials and fixed features are spatial truth; render the requested view OF THIS PLACE. Never copy this photo's camera or crop."], "attempt": 1, "dur_s": 23.3, "bytes": 2912860, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s40/plates/bg_S13sh6_a.png", "prompt": "Using the attached master photo as the exact reference for the same villa location, create a photorealistic live-action empty background plate at night from shoulder height beside the ground-level entrance and enclosed courtyard, oriented laterally across the approach between the narrow alley and the base of the rooftop stair. Frame the weathered villa wall, courtyard edge, entrance architecture, and lower portion of the established metal-railed stair as a side-profile dialogue background, leaving uncluttered midground space where two performers would be composited facing each other. Keep all architecture consistent with the master and do not invent signage or additional structures. Natural subdued residential night lighting, realistic depth of field, no people, police personnel, vehicles, flashing lights, readable text, blood, or incident-specific props."}
{"ts": "2026-07-13 18:38:03", "kind": "llm", "step": "s40_crit_extbg_S4sh1", "model": "gemini-pro", "dur_s": 16.6, "system_prompt": "You are given an image-generation prompt, the labelled REFERENCE\nimage(s) that were attached to it, and ONE photograph generated\nfrom them (the current best pick of three).\nList what is WRONG with it — ONLY violations of the prompt or of\nits reference instructions: the shot's stated moment and action,\nwho/what must or must NOT be in frame, camera, time of day,\nlocation consistency with the reference, pose/immobility and\ncarried-state clauses, object orientation, anatomy, and every\nexclusion (no text, no invented people or objects).\nBase every finding only on what is visible; ignore taste and\ngeneric aesthetics. For each issue give: issue_ko (short Korean\nline) + fix_en (ONE imperative English edit that fixes exactly\nthat while changing nothing else). Empty array if nothing wrong.", "user_prompt": "[{\"type\": \"text\", \"text\": \"THE PROMPT:\\nUsing the attached master photo as the exact architectural and location reference, create a photorealistic live-action empty background plate of the same old low-rise Korean multifamily villa and its rooftop dwelling in the outskirts of contemporary Incheon. High-angle bird’s-eye view looking down toward the rooftop: clearly show the flat roof terrace, low parapet, separate rectangular rooftop home, plain closed metal entrance door, small living-room window, water tank, clothesline, and low wooden herb-drying platform in their established master-image arrangement. Include only the restrained surrounding fabric visible from this elevated direction—narrow paved alleys, nearby aging villas, utility poles and cables, and a subdued urban horizon. Clear ordinary daytime with soft natural sunlight and realistic colors, matching the scene. Deep focus, believable scale, documentary architectural photography, wide establishing composition. Empty set: no people, animals, moving vehicles, readable text, incident evidence, police activity, dramatic shadows, or event-specific props.\"}, {\"type\": \"text\", \"text\": \"REFERENCE — LOCATION MASTER PHOTOGRAPH — the exact building and grounds where this background takes place: its architecture, massing, materials and fixed features are spatial truth; render the requested view OF THIS PLACE. Never copy this photo's camera or crop.\"}, {\"type\": \"text\", \"text\": \"Photograph to examine:\"}]"}
{"ts": "2026-07-13 18:38:25", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s40_fix_extbg_S4sh1", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s40/plates/bg_S4sh1_a.png"], "ref_labels": ["PHOTOGRAPH TO EDIT — fix ONLY the issues the prompt lists; preserve everything else exactly."], "attempt": 1, "dur_s": 21.4, "bytes": 3804554, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s40/plates/bg_S4sh1_fix.png", "prompt": "Edit this photograph. Apply ONLY the corrections listed below,\neach in place, changing nothing else:\n\nCORRECTIONS:\n- Add the clothesline with hanging laundry to the left side of the upper green roof terrace, matching the reference.\n\nPRESERVE EVERYTHING ELSE EXACTLY as in the original photograph —\nevery person, pose, face, garment, object, set feature, lighting,\ncamera and framing stay identical. No text, captions or\nwatermarks anywhere."}
{"ts": "2026-07-13 18:38:51", "kind": "llm", "step": "s40_crit_extbg_S10sh6", "model": "gemini-pro", "dur_s": 26.3, "system_prompt": "You are given an image-generation prompt, the labelled REFERENCE\nimage(s) that were attached to it, and ONE photograph generated\nfrom them (the current best pick of three).\nList what is WRONG with it — ONLY violations of the prompt or of\nits reference instructions: the shot's stated moment and action,\nwho/what must or must NOT be in frame, camera, time of day,\nlocation consistency with the reference, pose/immobility and\ncarried-state clauses, object orientation, anatomy, and every\nexclusion (no text, no invented people or objects).\nBase every finding only on what is visible; ignore taste and\ngeneric aesthetics. For each issue give: issue_ko (short Korean\nline) + fix_en (ONE imperative English edit that fixes exactly\nthat while changing nothing else). Empty array if nothing wrong.", "user_prompt": "[{\"type\": \"text\", \"text\": \"THE PROMPT:\\nUsing the attached master photo as the exact reference for the same rooftop dwelling, create a photorealistic live-action empty background plate at night from an extremely low, tight camera position directly outside the rooftop home’s metal entrance, aimed toward the threshold and entry area. Frame the established plain metal door, doorframe, and the narrow floor area at the threshold in close-up. The interior beyond the entrance should read as unlit and dark, without inventing additional rooms or architectural details. For the clean empty plate, keep the metal door closed in its ordinary undisturbed state; no visible person, shoe, hand, flyer, forced lock, damage, or incident-specific condition. Restrained natural night ambience on the rooftop, realistic weathered surfaces, shallow-to-moderate depth of field, no readable text, no ominous stylization.\"}, {\"type\": \"text\", \"text\": \"REFERENCE — LOCATION MASTER PHOTOGRAPH — the exact building and grounds where this background takes place: its architecture, massing, materials and fixed features are spatial truth; render the requested view OF THIS PLACE. Never copy this photo's camera or crop.\"}, {\"type\": \"text\", \"text\": \"Photograph to examine:\"}]"}
{"ts": "2026-07-13 18:39:19", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s40_fix_extbg_S10sh6", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s40/plates/bg_S10sh6_a.png"], "ref_labels": ["PHOTOGRAPH TO EDIT — fix ONLY the issues the prompt lists; preserve everything else exactly."], "attempt": 1, "dur_s": 28.1, "bytes": 2041281, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s40/plates/bg_S10sh6_fix.png", "prompt": "Edit this photograph. Apply ONLY the corrections listed below,\neach in place, changing nothing else:\n\nCORRECTIONS:\n- Change the foreground grey concrete floor to a green painted surface to match the reference.\n- Move the door handle and lock to the left side of the door.\n- Remove the flanking pillar structures and the wall lamp next to the door.\n\nPRESERVE EVERYTHING ELSE EXACTLY as in the original photograph —\nevery person, pose, face, garment, object, set feature, lighting,\ncamera and framing stay identical. No text, captions or\nwatermarks anywhere."}
{"ts": "2026-07-13 18:39:50", "kind": "llm", "step": "s40_crit_extbg_S10sh7", "model": "gemini-pro", "dur_s": 30.9, "system_prompt": "You are given an image-generation prompt, the labelled REFERENCE\nimage(s) that were attached to it, and ONE photograph generated\nfrom them (the current best pick of three).\nList what is WRONG with it — ONLY violations of the prompt or of\nits reference instructions: the shot's stated moment and action,\nwho/what must or must NOT be in frame, camera, time of day,\nlocation consistency with the reference, pose/immobility and\ncarried-state clauses, object orientation, anatomy, and every\nexclusion (no text, no invented people or objects).\nBase every finding only on what is visible; ignore taste and\ngeneric aesthetics. For each issue give: issue_ko (short Korean\nline) + fix_en (ONE imperative English edit that fixes exactly\nthat while changing nothing else). Empty array if nothing wrong.", "user_prompt": "[{\"type\": \"text\", \"text\": \"THE PROMPT:\\nUsing the attached master photo as the exact reference for the same rooftop dwelling, create a locked-off photorealistic live-action empty background plate at night, facing the established small living-room window from across the open roof terrace. The rooftop room is illuminated from inside, so the window glows naturally against the weathered exterior wall, but the glass and curtain surface must contain no human figures, silhouettes, reflections of people, violent action, or event-specific shadows. Preserve the master location’s flat roof, low parapet, and only those nearby rooftop fixtures that naturally fall within this camera angle. Static composition, realistic low-light exposure, subdued contemporary Incheon residential surroundings, no people, animals, readable text, police activity, or incident evidence.\"}, {\"type\": \"text\", \"text\": \"REFERENCE — LOCATION MASTER PHOTOGRAPH — the exact building and grounds where this background takes place: its architecture, massing, materials and fixed features are spatial truth; render the requested view OF THIS PLACE. Never copy this photo's camera or crop.\"}, {\"type\": \"text\", \"text\": \"Photograph to examine:\"}]"}
{"ts": "2026-07-13 18:40:13", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s40_fix_extbg_S10sh7", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s40/plates/bg_S10sh7_a.png"], "ref_labels": ["PHOTOGRAPH TO EDIT — fix ONLY the issues the prompt lists; preserve everything else exactly."], "attempt": 1, "dur_s": 22.4, "bytes": 2773642, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s40/plates/bg_S10sh7_fix.png", "prompt": "Edit this photograph. Apply ONLY the corrections listed below,\neach in place, changing nothing else:\n\nCORRECTIONS:\n- Remove the dark human silhouette from behind the left curtain so the illuminated window is completely empty.\n- Move the beige water tank further to the right so it sits next to the window without overlapping or blocking the glass.\n\nPRESERVE EVERYTHING ELSE EXACTLY as in the original photograph —\nevery person, pose, face, garment, object, set feature, lighting,\ncamera and framing stay identical. No text, captions or\nwatermarks anywhere."}
{"ts": "2026-07-13 18:40:48", "kind": "llm", "step": "s40_crit_extbg_S11sh5", "model": "gemini-pro", "dur_s": 35.1, "system_prompt": "You are given an image-generation prompt, the labelled REFERENCE\nimage(s) that were attached to it, and ONE photograph generated\nfrom them (the current best pick of three).\nList what is WRONG with it — ONLY violations of the prompt or of\nits reference instructions: the shot's stated moment and action,\nwho/what must or must NOT be in frame, camera, time of day,\nlocation consistency with the reference, pose/immobility and\ncarried-state clauses, object orientation, anatomy, and every\nexclusion (no text, no invented people or objects).\nBase every finding only on what is visible; ignore taste and\ngeneric aesthetics. For each issue give: issue_ko (short Korean\nline) + fix_en (ONE imperative English edit that fixes exactly\nthat while changing nothing else). Empty array if nothing wrong.", "user_prompt": "[{\"type\": \"text\", \"text\": \"THE PROMPT:\\nUsing the attached master photo as the exact architectural reference, create a photorealistic live-action empty background plate at night from eye level on the rooftop landing, looking straight toward the same rooftop dwelling’s plain metal entrance door. Show the open roof terrace leading to the doorway, the weathered exterior wall, doorframe, and any fixed rooftop elements visible in their established master-image positions. As a clean undisturbed plate, the metal door is fully closed and intact, with no flyer in the seam, no forced entry, no interior figure, and no incident-specific condition. Natural dim night ambience, realistic scale and weathering, frontal composition, no people, animals, readable text, police lights, vehicles, blood, or dramatic horror lighting.\"}, {\"type\": \"text\", \"text\": \"REFERENCE — LOCATION MASTER PHOTOGRAPH — the exact building and grounds where this background takes place: its architecture, massing, materials and fixed features are spatial truth; render the requested view OF THIS PLACE. Never copy this photo's camera or crop.\"}, {\"type\": \"text\", \"text\": \"Photograph to examine:\"}]"}
{"ts": "2026-07-13 18:41:09", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s40_fix_extbg_S11sh5", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s40/plates/bg_S11sh5_b.png"], "ref_labels": ["PHOTOGRAPH TO EDIT — fix ONLY the issues the prompt lists; preserve everything else exactly."], "attempt": 1, "dur_s": 21.3, "bytes": 3078042, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s40/plates/bg_S11sh5_fix.png", "prompt": "Edit this photograph. Apply ONLY the corrections listed below,\neach in place, changing nothing else:\n\nCORRECTIONS:\n- Remove the diamond-plate metal platform and short stairs in the left foreground, replacing them with the continuous flat green rooftop.\n- Add the rectangular window panel to the upper half of the entrance door to match the reference architecture.\n- Change the dark window frames to the right of the door to white.\n\nPRESERVE EVERYTHING ELSE EXACTLY as in the original photograph —\nevery person, pose, face, garment, object, set feature, lighting,\ncamera and framing stay identical. No text, captions or\nwatermarks anywhere."}
{"ts": "2026-07-13 18:41:40", "kind": "llm", "step": "s40_crit_extbg_S17sh2", "model": "gemini-pro", "dur_s": 30.8, "system_prompt": "You are given an image-generation prompt, the labelled REFERENCE\nimage(s) that were attached to it, and ONE photograph generated\nfrom them (the current best pick of three).\nList what is WRONG with it — ONLY violations of the prompt or of\nits reference instructions: the shot's stated moment and action,\nwho/what must or must NOT be in frame, camera, time of day,\nlocation consistency with the reference, pose/immobility and\ncarried-state clauses, object orientation, anatomy, and every\nexclusion (no text, no invented people or objects).\nBase every finding only on what is visible; ignore taste and\ngeneric aesthetics. For each issue give: issue_ko (short Korean\nline) + fix_en (ONE imperative English edit that fixes exactly\nthat while changing nothing else). Empty array if nothing wrong.", "user_prompt": "[{\"type\": \"text\", \"text\": \"THE PROMPT:\\nUsing the attached master photo as the exact location reference, create a photorealistic live-action empty background plate at dawn from parapet height on the same rooftop, composed in side profile along the top edge of the low rooftop wall. Keep the parapet edge prominent in the foreground as the surface where an animal would be composited, with the rooftop dwelling and its established small window visible in the background from the appropriate lateral direction. The room window may retain a subdued warm interior glow against the cool first light of dawn. Quiet outskirts-of-Incheon atmosphere, soft blue-gray dawn sky, realistic weathered masonry, shallow-to-moderate depth of field. No cat, no people, no animals, no readable text, no incident evidence, and no invented rooftop structures.\"}, {\"type\": \"text\", \"text\": \"REFERENCE — LOCATION MASTER PHOTOGRAPH — the exact building and grounds where this background takes place: its architecture, massing, materials and fixed features are spatial truth; render the requested view OF THIS PLACE. Never copy this photo's camera or crop.\"}, {\"type\": \"text\", \"text\": \"Photograph to examine:\"}]"}
{"ts": "2026-07-13 18:42:01", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s40_fix_extbg_S17sh2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s40/plates/bg_S17sh2_b.png"], "ref_labels": ["PHOTOGRAPH TO EDIT — fix ONLY the issues the prompt lists; preserve everything else exactly."], "attempt": 1, "dur_s": 21.6, "bytes": 2451767, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s40/plates/bg_S17sh2_fix.png", "prompt": "Edit this photograph. Apply ONLY the corrections listed below,\neach in place, changing nothing else:\n\nCORRECTIONS:\n- Restore the rooftop dwelling's exact facade from the reference, including the missing door and correctly proportioned window.\n- Add the large water tank and wooden platform to the roof next to the dwelling as shown in the location reference.\n\nPRESERVE EVERYTHING ELSE EXACTLY as in the original photograph —\nevery person, pose, face, garment, object, set feature, lighting,\ncamera and framing stay identical. No text, captions or\nwatermarks anywhere."}
{"ts": "2026-07-13 18:42:21", "kind": "llm", "step": "s40_crit_extbg_S11sh4", "model": "gemini-pro", "dur_s": 19.4, "system_prompt": "You are given an image-generation prompt, the labelled REFERENCE\nimage(s) that were attached to it, and ONE photograph generated\nfrom them (the current best pick of three).\nList what is WRONG with it — ONLY violations of the prompt or of\nits reference instructions: the shot's stated moment and action,\nwho/what must or must NOT be in frame, camera, time of day,\nlocation consistency with the reference, pose/immobility and\ncarried-state clauses, object orientation, anatomy, and every\nexclusion (no text, no invented people or objects).\nBase every finding only on what is visible; ignore taste and\ngeneric aesthetics. For each issue give: issue_ko (short Korean\nline) + fix_en (ONE imperative English edit that fixes exactly\nthat while changing nothing else). Empty array if nothing wrong.", "user_prompt": "[{\"type\": \"text\", \"text\": \"THE PROMPT:\\nUsing the attached master photo as the exact architectural and spatial reference, create a photorealistic live-action empty background plate at night from close face height on the continuous side/rear staircase connecting the enclosed courtyard to the rooftop. The camera is positioned at a middle stair landing beside the established simple metal pipe handrail, with the handrail and adjacent weathered villa wall forming the near background and the stair route receding naturally behind. Compose it as a close-up background suitable for placing a person paused midway on the stairs, but show no person or hand. Preserve only the stair geometry and fixed surfaces supported by the master image. Realistic dim residential night lighting, natural colors, shallow depth of field, no animals, readable text, police lights, damage, or event-specific props.\"}, {\"type\": \"text\", \"text\": \"REFERENCE — LOCATION MASTER PHOTOGRAPH — the exact building and grounds where this background takes place: its architecture, massing, materials and fixed features are spatial truth; render the requested view OF THIS PLACE. Never copy this photo's camera or crop.\"}, {\"type\": \"text\", \"text\": \"Photograph to examine:\"}]"}
{"ts": "2026-07-13 18:42:43", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s40_fix_extbg_S11sh4", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s40/plates/bg_S11sh4_c.png"], "ref_labels": ["PHOTOGRAPH TO EDIT — fix ONLY the issues the prompt lists; preserve everything else exactly."], "attempt": 1, "dur_s": 22.5, "bytes": 2316003, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s40/plates/bg_S11sh4_fix.png", "prompt": "Edit this photograph. Apply ONLY the corrections listed below,\neach in place, changing nothing else:\n\nCORRECTIONS:\n- Position the camera directly on the landing of the reference building's actual exterior staircase instead of placing it on an invented foreground structure looking at a duplicated background building.\n\nPRESERVE EVERYTHING ELSE EXACTLY as in the original photograph —\nevery person, pose, face, garment, object, set feature, lighting,\ncamera and framing stay identical. No text, captions or\nwatermarks anywhere."}
{"ts": "2026-07-13 18:43:09", "kind": "llm", "step": "s40_crit_extbg_S13sh4", "model": "gemini-pro", "dur_s": 26.2, "system_prompt": "You are given an image-generation prompt, the labelled REFERENCE\nimage(s) that were attached to it, and ONE photograph generated\nfrom them (the current best pick of three).\nList what is WRONG with it — ONLY violations of the prompt or of\nits reference instructions: the shot's stated moment and action,\nwho/what must or must NOT be in frame, camera, time of day,\nlocation consistency with the reference, pose/immobility and\ncarried-state clauses, object orientation, anatomy, and every\nexclusion (no text, no invented people or objects).\nBase every finding only on what is visible; ignore taste and\ngeneric aesthetics. For each issue give: issue_ko (short Korean\nline) + fix_en (ONE imperative English edit that fixes exactly\nthat while changing nothing else). Empty array if nothing wrong.", "user_prompt": "[{\"type\": \"text\", \"text\": \"THE PROMPT:\\nUsing the attached master photo as the exact reference for the same old multifamily villa and its ground-level surroundings, create a photorealistic live-action empty background plate at night from standing eye level near the villa’s ground entrance, facing the small enclosed courtyard and the base of the continuous side/rear stair. Compose a neutral medium close-up background with sufficient clear foreground space for a standing person, while keeping the weathered entrance area, courtyard surfaces, and lower stair architecture spatially consistent with the master. Do not add a police car or any unestablished object. Restrained natural neighborhood night ambience, realistic exposure and weathering, no people, animals, vehicles in action, siren light, readable text, blood, evidence, or event-specific disturbance.\"}, {\"type\": \"text\", \"text\": \"REFERENCE — LOCATION MASTER PHOTOGRAPH — the exact building and grounds where this background takes place: its architecture, massing, materials and fixed features are spatial truth; render the requested view OF THIS PLACE. Never copy this photo's camera or crop.\"}, {\"type\": \"text\", \"text\": \"Photograph to examine:\"}]"}
{"ts": "2026-07-13 18:43:32", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s40_fix_extbg_S13sh4", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s40/plates/bg_S13sh4_c.png"], "ref_labels": ["PHOTOGRAPH TO EDIT — fix ONLY the issues the prompt lists; preserve everything else exactly."], "attempt": 1, "dur_s": 22.5, "bytes": 3138917, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s40/plates/bg_S13sh4_fix.png", "prompt": "Edit this photograph. Apply ONLY the corrections listed below,\neach in place, changing nothing else:\n\nCORRECTIONS:\n- Reconstruct the bottom flight of the stairs so they start on the left side of the courtyard and go up towards the right, exactly matching the reference architecture.\n- Remove the rusty door with the blue panel on the right side, as it belongs to the rooftop, and restore the correct ground-floor walls from the reference.\n\nPRESERVE EVERYTHING ELSE EXACTLY as in the original photograph —\nevery person, pose, face, garment, object, set feature, lighting,\ncamera and framing stay identical. No text, captions or\nwatermarks anywhere."}
{"ts": "2026-07-13 18:43:32", "kind": "img", "tag": "s40_extbg_S13sh6_a", "skip": "exists", "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s40/plates/bg_S13sh6_a.png"}
{"ts": "2026-07-13 18:43:52", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s40_extbg_S13sh6_b", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/master2.png"], "ref_labels": ["LOCATION MASTER PHOTOGRAPH — the exact building and grounds where this background takes place: its architecture, massing, materials and fixed features are spatial truth; render the requested view OF THIS PLACE. Never copy this photo's camera or crop."], "attempt": 1, "dur_s": 19.8, "bytes": 2450277, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s40/plates/bg_S13sh6_b.png", "prompt": "Using the attached master photo as the exact reference for the same villa location, create a photorealistic live-action empty background plate at night from shoulder height beside the ground-level entrance and enclosed courtyard, oriented laterally across the approach between the narrow alley and the base of the rooftop stair. Frame the weathered villa wall, courtyard edge, entrance architecture, and lower portion of the established metal-railed stair as a side-profile dialogue background, leaving uncluttered midground space where two performers would be composited facing each other. Keep all architecture consistent with the master and do not invent signage or additional structures. Natural subdued residential night lighting, realistic depth of field, no people, police personnel, vehicles, flashing lights, readable text, blood, or incident-specific props."}
{"ts": "2026-07-13 18:44:17", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s40_extbg_S13sh6_c", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s38/master2.png"], "ref_labels": ["LOCATION MASTER PHOTOGRAPH — the exact building and grounds where this background takes place: its architecture, massing, materials and fixed features are spatial truth; render the requested view OF THIS PLACE. Never copy this photo's camera or crop."], "attempt": 1, "dur_s": 22.9, "bytes": 2329005, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s40/plates/bg_S13sh6_c.png", "prompt": "Using the attached master photo as the exact reference for the same villa location, create a photorealistic live-action empty background plate at night from shoulder height beside the ground-level entrance and enclosed courtyard, oriented laterally across the approach between the narrow alley and the base of the rooftop stair. Frame the weathered villa wall, courtyard edge, entrance architecture, and lower portion of the established metal-railed stair as a side-profile dialogue background, leaving uncluttered midground space where two performers would be composited facing each other. Keep all architecture consistent with the master and do not invent signage or additional structures. Natural subdued residential night lighting, realistic depth of field, no people, police personnel, vehicles, flashing lights, readable text, blood, or incident-specific props."}
{"ts": "2026-07-13 18:44:49", "kind": "llm", "step": "s40_judge_extbg_S13sh6", "model": "gemini-pro", "dur_s": 31.9, "system_prompt": "You are given ONE image-generation prompt, ONE MASTER location\nphotograph (the ground truth of this property), and THREE candidate\nphotographs labelled A, B, C in the order attached, all generated\nfrom that prompt with the master attached as reference.\nPick the ONE candidate that best satisfies ALL of:\n- fidelity to the prompt (structure, camera, materials, state,\n  exclusions such as no people and no readable text),\n- physical coherence (no floating/split volumes, stairs reach\n  their destination, possible geometry),\n- MASTER consistency (storey count, massing, the external stair's\n  full run, rooftop structure placement, walls, gate and yard must\n  match the master photograph),\n- regional authenticity (the prompt declares a real region and\n  era; everything must look like that region's real, ordinary\n  built environment — nothing foreign or genericized).\nCheck every candidate point by point; base verdicts only on what\nis visible. Also give every candidate an integer score 0-10.\nOutput: winner, ranking best-to-worst, and per candidate a score\nplus a one-line Korean verdict citing the decisive points.", "user_prompt": "[{\"type\": \"text\", \"text\": \"THE PROMPT (all three candidates were generated from this):\\nUsing the attached master photo as the exact reference for the same villa location, create a photorealistic live-action empty background plate at night from shoulder height beside the ground-level entrance and enclosed courtyard, oriented laterally across the approach between the narrow alley and the base of the rooftop stair. Frame the weathered villa wall, courtyard edge, entrance architecture, and lower portion of the established metal-railed stair as a side-profile dialogue background, leaving uncluttered midground space where two performers would be composited facing each other. Keep all architecture consistent with the master and do not invent signage or additional structures. Natural subdued residential night lighting, realistic depth of field, no people, police personnel, vehicles, flashing lights, readable text, blood, or incident-specific props.\"}, {\"type\": \"text\", \"text\": \"REFERENCE — LOCATION MASTER PHOTOGRAPH — the exact building and grounds where this background takes place: its architecture, massing, materials and fixed features are spatial truth; render the requested view OF THIS PLACE. Never copy this photo's camera or crop.\"}, {\"type\": \"text\", \"text\": \"Candidate A:\"}, {\"type\": \"text\", \"text\": \"Candidate B:\"}, {\"type\": \"text\", \"text\": \"Candidate C:\"}]"}
{"ts": "2026-07-13 18:45:28", "kind": "llm", "step": "s40_crit_extbg_S13sh6", "model": "gemini-pro", "dur_s": 39.4, "system_prompt": "You are given an image-generation prompt, the labelled REFERENCE\nimage(s) that were attached to it, and ONE photograph generated\nfrom them (the current best pick of three).\nList what is WRONG with it — ONLY violations of the prompt or of\nits reference instructions: the shot's stated moment and action,\nwho/what must or must NOT be in frame, camera, time of day,\nlocation consistency with the reference, pose/immobility and\ncarried-state clauses, object orientation, anatomy, and every\nexclusion (no text, no invented people or objects).\nBase every finding only on what is visible; ignore taste and\ngeneric aesthetics. For each issue give: issue_ko (short Korean\nline) + fix_en (ONE imperative English edit that fixes exactly\nthat while changing nothing else). Empty array if nothing wrong.", "user_prompt": "[{\"type\": \"text\", \"text\": \"THE PROMPT:\\nUsing the attached master photo as the exact reference for the same villa location, create a photorealistic live-action empty background plate at night from shoulder height beside the ground-level entrance and enclosed courtyard, oriented laterally across the approach between the narrow alley and the base of the rooftop stair. Frame the weathered villa wall, courtyard edge, entrance architecture, and lower portion of the established metal-railed stair as a side-profile dialogue background, leaving uncluttered midground space where two performers would be composited facing each other. Keep all architecture consistent with the master and do not invent signage or additional structures. Natural subdued residential night lighting, realistic depth of field, no people, police personnel, vehicles, flashing lights, readable text, blood, or incident-specific props.\"}, {\"type\": \"text\", \"text\": \"REFERENCE — LOCATION MASTER PHOTOGRAPH — the exact building and grounds where this background takes place: its architecture, massing, materials and fixed features are spatial truth; render the requested view OF THIS PLACE. Never copy this photo's camera or crop.\"}, {\"type\": \"text\", \"text\": \"Photograph to examine:\"}]"}
{"ts": "2026-07-13 18:45:51", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s40_fix_extbg_S13sh6", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s40/plates/bg_S13sh6_c.png"], "ref_labels": ["PHOTOGRAPH TO EDIT — fix ONLY the issues the prompt lists; preserve everything else exactly."], "attempt": 1, "dur_s": 22.5, "bytes": 2373827, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s40/plates/bg_S13sh6_fix.png", "prompt": "Edit this photograph. Apply ONLY the corrections listed below,\neach in place, changing nothing else:\n\nCORRECTIONS:\n- Replace the tall gate and wall on the left with the low metal sliding gate and low boundary wall from the reference.\n- Remove the invented door, concrete awning, and light fixture from the left wall inside the courtyard.\n- Delete the solid concrete wall running horizontally behind the potted plants to restore the correct layout.\n\nPRESERVE EVERYTHING ELSE EXACTLY as in the original photograph —\nevery person, pose, face, garment, object, set feature, lighting,\ncamera and framing stay identical. No text, captions or\nwatermarks anywhere."}
{"ts": "2026-07-13 18:46:13", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s40_intpl_living_dining_day_root_a", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/int_fp.png"], "ref_labels": ["FLOOR PLAN — the spatial truth of this interior: room layout, openings and fixture positions; never draw the plan itself, render the real interior it describes."], "attempt": 1, "dur_s": 20.2, "bytes": 2575317, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s40/plates/plate_living_dining_day_root_a.png", "prompt": "ROOT PLATE. Use the attached floor-plan specification as the authoritative layout for the same small 38–45 square meter Korean rooftop apartment. Daytime interior, with narrow natural sunlight entering through the small exterior living-room window. Place the camera at standing eye level near the entry-side corner, looking diagonally across the central combined living and dining area so the maximum number of fixed spatial identifiers are visible: the compact dining table and several upright chairs, the linear kitchenette with sink, faucet, short worktop, base cabinets and compact cooktop, the television, floor lamp, small exterior window, and the direct interior doors leading to the two bedrooms and bathroom. Include the ordinary framed family photograph near the dining area, with tiny indistinct photographic details and no text. Keep the TV off, the faucet off, the cooktop off, and any pot clean and inactive. Modest, compact, lived-in rooftop housing, realistic Korean residential interior, photorealistic live-action background plate, natural perspective and restrained production design. Empty set: no people, no readable text, no blood, no footprints, no overturned furniture, no boiling water, no spilled cups, no supernatural circles, no damaged or melting photograph, and no other incident-moment state."}
{"ts": "2026-07-13 18:46:29", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s40_intpl_living_dining_day_root_b", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/int_fp.png"], "ref_labels": ["FLOOR PLAN — the spatial truth of this interior: room layout, openings and fixture positions; never draw the plan itself, render the real interior it describes."], "attempt": 1, "dur_s": 16.3, "bytes": 2336049, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s40/plates/plate_living_dining_day_root_b.png", "prompt": "ROOT PLATE. Use the attached floor-plan specification as the authoritative layout for the same small 38–45 square meter Korean rooftop apartment. Daytime interior, with narrow natural sunlight entering through the small exterior living-room window. Place the camera at standing eye level near the entry-side corner, looking diagonally across the central combined living and dining area so the maximum number of fixed spatial identifiers are visible: the compact dining table and several upright chairs, the linear kitchenette with sink, faucet, short worktop, base cabinets and compact cooktop, the television, floor lamp, small exterior window, and the direct interior doors leading to the two bedrooms and bathroom. Include the ordinary framed family photograph near the dining area, with tiny indistinct photographic details and no text. Keep the TV off, the faucet off, the cooktop off, and any pot clean and inactive. Modest, compact, lived-in rooftop housing, realistic Korean residential interior, photorealistic live-action background plate, natural perspective and restrained production design. Empty set: no people, no readable text, no blood, no footprints, no overturned furniture, no boiling water, no spilled cups, no supernatural circles, no damaged or melting photograph, and no other incident-moment state."}
{"ts": "2026-07-13 18:46:48", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s40_intpl_living_dining_day_root_c", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/int_fp.png"], "ref_labels": ["FLOOR PLAN — the spatial truth of this interior: room layout, openings and fixture positions; never draw the plan itself, render the real interior it describes."], "attempt": 1, "dur_s": 18.3, "bytes": 2664673, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s40/plates/plate_living_dining_day_root_c.png", "prompt": "ROOT PLATE. Use the attached floor-plan specification as the authoritative layout for the same small 38–45 square meter Korean rooftop apartment. Daytime interior, with narrow natural sunlight entering through the small exterior living-room window. Place the camera at standing eye level near the entry-side corner, looking diagonally across the central combined living and dining area so the maximum number of fixed spatial identifiers are visible: the compact dining table and several upright chairs, the linear kitchenette with sink, faucet, short worktop, base cabinets and compact cooktop, the television, floor lamp, small exterior window, and the direct interior doors leading to the two bedrooms and bathroom. Include the ordinary framed family photograph near the dining area, with tiny indistinct photographic details and no text. Keep the TV off, the faucet off, the cooktop off, and any pot clean and inactive. Modest, compact, lived-in rooftop housing, realistic Korean residential interior, photorealistic live-action background plate, natural perspective and restrained production design. Empty set: no people, no readable text, no blood, no footprints, no overturned furniture, no boiling water, no spilled cups, no supernatural circles, no damaged or melting photograph, and no other incident-moment state."}
{"ts": "2026-07-13 18:47:58", "kind": "llm", "step": "s40_judge_intpl_living_dining_day_root", "model": "gemini-pro", "dur_s": 70.2, "system_prompt": "You are given ONE image-generation prompt, the REFERENCE image(s)\nthat were attached to it (labelled), and THREE candidate images,\nlabelled A, B, C in the order attached, all generated from that\nexact prompt with those exact references.\nPick the ONE candidate that most faithfully realises the prompt.\nJudge ONLY fidelity to the prompt and its reference instructions:\nthe shot text's moment and action, who is and is NOT in frame,\ncamera framing, time of day, the LOCATION lock (the place must be\nthe one the reference shows — same architecture, materials,\nfixtures), pose/immobility and carried-state clauses, and every\nexclusion (no text, no invented people or objects). Consistency\nwith the attached reference image counts as prompt fidelity.\nIgnore generic aesthetic appeal.\nCheck every candidate point by point before deciding; base every\nverdict only on what is visible.\nAlso give every candidate an integer score 0-10 for that same\nfidelity.\nOutput: winner, ranking best-to-worst, and per candidate a score\nplus a one-line Korean verdict citing the decisive prompt points.", "user_prompt": "[{\"type\": \"text\", \"text\": \"THE PROMPT (all three candidates were generated from this):\\nROOT PLATE. Use the attached floor-plan specification as the authoritative layout for the same small 38–45 square meter Korean rooftop apartment. Daytime interior, with narrow natural sunlight entering through the small exterior living-room window. Place the camera at standing eye level near the entry-side corner, looking diagonally across the central combined living and dining area so the maximum number of fixed spatial identifiers are visible: the compact dining table and several upright chairs, the linear kitchenette with sink, faucet, short worktop, base cabinets and compact cooktop, the television, floor lamp, small exterior window, and the direct interior doors leading to the two bedrooms and bathroom. Include the ordinary framed family photograph near the dining area, with tiny indistinct photographic details and no text. Keep the TV off, the faucet off, the cooktop off, and any pot clean and inactive. Modest, compact, lived-in rooftop housing, realistic Korean residential interior, photorealistic live-action background plate, natural perspective and restrained production design. Empty set: no people, no readable text, no blood, no footprints, no overturned furniture, no boiling water, no spilled cups, no supernatural circles, no damaged or melting photograph, and no other incident-moment state.\"}, {\"type\": \"text\", \"text\": \"REFERENCE — FLOOR PLAN — the spatial truth of this interior: room layout, openings and fixture positions; never draw the plan itself, render the real interior it describes.\"}, {\"type\": \"text\", \"text\": \"Candidate A:\"}, {\"type\": \"text\", \"text\": \"Candidate B:\"}, {\"type\": \"text\", \"text\": \"Candidate C:\"}]"}
{"ts": "2026-07-13 18:48:52", "kind": "llm", "step": "s40_crit_intpl_living_dining_day_root", "model": "gemini-pro", "dur_s": 54.3, "system_prompt": "You are given an image-generation prompt, the labelled REFERENCE\nimage(s) that were attached to it, and ONE photograph generated\nfrom them (the current best pick of three).\nList what is WRONG with it — ONLY violations of the prompt or of\nits reference instructions: the shot's stated moment and action,\nwho/what must or must NOT be in frame, camera, time of day,\nlocation consistency with the reference, pose/immobility and\ncarried-state clauses, object orientation, anatomy, and every\nexclusion (no text, no invented people or objects).\nBase every finding only on what is visible; ignore taste and\ngeneric aesthetics. For each issue give: issue_ko (short Korean\nline) + fix_en (ONE imperative English edit that fixes exactly\nthat while changing nothing else). Empty array if nothing wrong.", "user_prompt": "[{\"type\": \"text\", \"text\": \"THE PROMPT:\\nROOT PLATE. Use the attached floor-plan specification as the authoritative layout for the same small 38–45 square meter Korean rooftop apartment. Daytime interior, with narrow natural sunlight entering through the small exterior living-room window. Place the camera at standing eye level near the entry-side corner, looking diagonally across the central combined living and dining area so the maximum number of fixed spatial identifiers are visible: the compact dining table and several upright chairs, the linear kitchenette with sink, faucet, short worktop, base cabinets and compact cooktop, the television, floor lamp, small exterior window, and the direct interior doors leading to the two bedrooms and bathroom. Include the ordinary framed family photograph near the dining area, with tiny indistinct photographic details and no text. Keep the TV off, the faucet off, the cooktop off, and any pot clean and inactive. Modest, compact, lived-in rooftop housing, realistic Korean residential interior, photorealistic live-action background plate, natural perspective and restrained production design. Empty set: no people, no readable text, no blood, no footprints, no overturned furniture, no boiling water, no spilled cups, no supernatural circles, no damaged or melting photograph, and no other incident-moment state.\"}, {\"type\": \"text\", \"text\": \"REFERENCE — FLOOR PLAN — the spatial truth of this interior: room layout, openings and fixture positions; never draw the plan itself, render the real interior it describes.\"}, {\"type\": \"text\", \"text\": \"Photograph to examine:\"}]"}
{"ts": "2026-07-13 18:49:15", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s40_fix_intpl_living_dining_day_root", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s40/plates/plate_living_dining_day_root_c.png"], "ref_labels": ["PHOTOGRAPH TO EDIT — fix ONLY the issues the prompt lists; preserve everything else exactly."], "attempt": 1, "dur_s": 23.3, "bytes": 2616203, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s40/plates/plate_living_dining_day_root_fix.png", "prompt": "Edit this photograph. Apply ONLY the corrections listed below,\neach in place, changing nothing else:\n\nCORRECTIONS:\n- Move the television to the left wall to share the same continuous wall as the kitchenette, according to the floor plan.\n- Relocate the exterior window onto the same straight wall as the kitchen cabinets and stove.\n- Remove one of the background doorways so there are exactly three interior doors matching the floor plan.\n\nPRESERVE EVERYTHING ELSE EXACTLY as in the original photograph —\nevery person, pose, face, garment, object, set feature, lighting,\ncamera and framing stay identical. No text, captions or\nwatermarks anywhere."}
{"ts": "2026-07-13 18:49:37", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s40_intpl_living_dining_sunset_floor_view_a", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/int_fp.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s40/plates/plate_living_dining_day_root_sel.png"], "ref_labels": ["FLOOR PLAN — the spatial truth of this interior: room layout, openings and fixture positions; never draw the plan itself, render the real interior it describes.", "ROOT INTERIOR PHOTOGRAPH — the same interior: its materials, finishes, furniture, lighting and wear are LOCKED to this photo."], "attempt": 1, "dur_s": 21.7, "bytes": 2561680, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s40/plates/plate_living_dining_sunset_floor_view_a.png", "prompt": "Use the attached floor plan and the supplied root plate, which depict this exact same small Korean rooftop apartment; also use the immediately previous plate as the continuity reference. Sunset interior. Position the camera near the entry threshold at a slightly lower standing height than the root view, looking inward and gently downward across the living-room floor and compact dining zone toward the small exterior window. Preserve exactly the same spatial relationships, architecture, television, floor lamp, linear kitchenette, dining table, chairs, framed family photograph, and direct bedroom and bathroom doors established by the root. Warm fading sunset light enters through the small window while the interior remains naturally dim. All dining chairs must be upright in their normal positions and the exterior window closed in a neutral condition. Leave clear floor area and believable close-up background depth for a person standing in the common room. Photorealistic live-action empty background plate, no people, no readable text, no muddy footprints, no overturned chairs, no searched-through belongings, no open window, no blood, no supernatural marks, no phone, and no other incident-specific state."}
{"ts": "2026-07-13 18:50:00", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s40_intpl_living_dining_sunset_floor_view_b", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/int_fp.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s40/plates/plate_living_dining_day_root_sel.png"], "ref_labels": ["FLOOR PLAN — the spatial truth of this interior: room layout, openings and fixture positions; never draw the plan itself, render the real interior it describes.", "ROOT INTERIOR PHOTOGRAPH — the same interior: its materials, finishes, furniture, lighting and wear are LOCKED to this photo."], "attempt": 1, "dur_s": 23.1, "bytes": 2612478, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s40/plates/plate_living_dining_sunset_floor_view_b.png", "prompt": "Use the attached floor plan and the supplied root plate, which depict this exact same small Korean rooftop apartment; also use the immediately previous plate as the continuity reference. Sunset interior. Position the camera near the entry threshold at a slightly lower standing height than the root view, looking inward and gently downward across the living-room floor and compact dining zone toward the small exterior window. Preserve exactly the same spatial relationships, architecture, television, floor lamp, linear kitchenette, dining table, chairs, framed family photograph, and direct bedroom and bathroom doors established by the root. Warm fading sunset light enters through the small window while the interior remains naturally dim. All dining chairs must be upright in their normal positions and the exterior window closed in a neutral condition. Leave clear floor area and believable close-up background depth for a person standing in the common room. Photorealistic live-action empty background plate, no people, no readable text, no muddy footprints, no overturned chairs, no searched-through belongings, no open window, no blood, no supernatural marks, no phone, and no other incident-specific state."}
{"ts": "2026-07-13 18:50:20", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s40_intpl_living_dining_sunset_floor_view_c", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/int_fp.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s40/plates/plate_living_dining_day_root_sel.png"], "ref_labels": ["FLOOR PLAN — the spatial truth of this interior: room layout, openings and fixture positions; never draw the plan itself, render the real interior it describes.", "ROOT INTERIOR PHOTOGRAPH — the same interior: its materials, finishes, furniture, lighting and wear are LOCKED to this photo."], "attempt": 1, "dur_s": 19.8, "bytes": 2450928, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s40/plates/plate_living_dining_sunset_floor_view_c.png", "prompt": "Use the attached floor plan and the supplied root plate, which depict this exact same small Korean rooftop apartment; also use the immediately previous plate as the continuity reference. Sunset interior. Position the camera near the entry threshold at a slightly lower standing height than the root view, looking inward and gently downward across the living-room floor and compact dining zone toward the small exterior window. Preserve exactly the same spatial relationships, architecture, television, floor lamp, linear kitchenette, dining table, chairs, framed family photograph, and direct bedroom and bathroom doors established by the root. Warm fading sunset light enters through the small window while the interior remains naturally dim. All dining chairs must be upright in their normal positions and the exterior window closed in a neutral condition. Leave clear floor area and believable close-up background depth for a person standing in the common room. Photorealistic live-action empty background plate, no people, no readable text, no muddy footprints, no overturned chairs, no searched-through belongings, no open window, no blood, no supernatural marks, no phone, and no other incident-specific state."}
{"ts": "2026-07-13 18:50:56", "kind": "llm", "step": "s40_judge_intpl_living_dining_sunset_floor_view", "model": "gemini-pro", "dur_s": 36.2, "system_prompt": "You are given ONE image-generation prompt, the REFERENCE image(s)\nthat were attached to it (labelled), and THREE candidate images,\nlabelled A, B, C in the order attached, all generated from that\nexact prompt with those exact references.\nPick the ONE candidate that most faithfully realises the prompt.\nJudge ONLY fidelity to the prompt and its reference instructions:\nthe shot text's moment and action, who is and is NOT in frame,\ncamera framing, time of day, the LOCATION lock (the place must be\nthe one the reference shows — same architecture, materials,\nfixtures), pose/immobility and carried-state clauses, and every\nexclusion (no text, no invented people or objects). Consistency\nwith the attached reference image counts as prompt fidelity.\nIgnore generic aesthetic appeal.\nCheck every candidate point by point before deciding; base every\nverdict only on what is visible.\nAlso give every candidate an integer score 0-10 for that same\nfidelity.\nOutput: winner, ranking best-to-worst, and per candidate a score\nplus a one-line Korean verdict citing the decisive prompt points.", "user_prompt": "[{\"type\": \"text\", \"text\": \"THE PROMPT (all three candidates were generated from this):\\nUse the attached floor plan and the supplied root plate, which depict this exact same small Korean rooftop apartment; also use the immediately previous plate as the continuity reference. Sunset interior. Position the camera near the entry threshold at a slightly lower standing height than the root view, looking inward and gently downward across the living-room floor and compact dining zone toward the small exterior window. Preserve exactly the same spatial relationships, architecture, television, floor lamp, linear kitchenette, dining table, chairs, framed family photograph, and direct bedroom and bathroom doors established by the root. Warm fading sunset light enters through the small window while the interior remains naturally dim. All dining chairs must be upright in their normal positions and the exterior window closed in a neutral condition. Leave clear floor area and believable close-up background depth for a person standing in the common room. Photorealistic live-action empty background plate, no people, no readable text, no muddy footprints, no overturned chairs, no searched-through belongings, no open window, no blood, no supernatural marks, no phone, and no other incident-specific state.\"}, {\"type\": \"text\", \"text\": \"REFERENCE — FLOOR PLAN — the spatial truth of this interior: room layout, openings and fixture positions; never draw the plan itself, render the real interior it describes.\"}, {\"type\": \"text\", \"text\": \"REFERENCE — ROOT INTERIOR PHOTOGRAPH — the same interior: its materials, finishes, furniture, lighting and wear are LOCKED to this photo.\"}, {\"type\": \"text\", \"text\": \"Candidate A:\"}, {\"type\": \"text\", \"text\": \"Candidate B:\"}, {\"type\": \"text\", \"text\": \"Candidate C:\"}]"}
{"ts": "2026-07-13 18:51:20", "kind": "llm", "step": "s40_crit_intpl_living_dining_sunset_floor_view", "model": "gemini-pro", "dur_s": 23.4, "system_prompt": "You are given an image-generation prompt, the labelled REFERENCE\nimage(s) that were attached to it, and ONE photograph generated\nfrom them (the current best pick of three).\nList what is WRONG with it — ONLY violations of the prompt or of\nits reference instructions: the shot's stated moment and action,\nwho/what must or must NOT be in frame, camera, time of day,\nlocation consistency with the reference, pose/immobility and\ncarried-state clauses, object orientation, anatomy, and every\nexclusion (no text, no invented people or objects).\nBase every finding only on what is visible; ignore taste and\ngeneric aesthetics. For each issue give: issue_ko (short Korean\nline) + fix_en (ONE imperative English edit that fixes exactly\nthat while changing nothing else). Empty array if nothing wrong.", "user_prompt": "[{\"type\": \"text\", \"text\": \"THE PROMPT:\\nUse the attached floor plan and the supplied root plate, which depict this exact same small Korean rooftop apartment; also use the immediately previous plate as the continuity reference. Sunset interior. Position the camera near the entry threshold at a slightly lower standing height than the root view, looking inward and gently downward across the living-room floor and compact dining zone toward the small exterior window. Preserve exactly the same spatial relationships, architecture, television, floor lamp, linear kitchenette, dining table, chairs, framed family photograph, and direct bedroom and bathroom doors established by the root. Warm fading sunset light enters through the small window while the interior remains naturally dim. All dining chairs must be upright in their normal positions and the exterior window closed in a neutral condition. Leave clear floor area and believable close-up background depth for a person standing in the common room. Photorealistic live-action empty background plate, no people, no readable text, no muddy footprints, no overturned chairs, no searched-through belongings, no open window, no blood, no supernatural marks, no phone, and no other incident-specific state.\"}, {\"type\": \"text\", \"text\": \"REFERENCE — FLOOR PLAN — the spatial truth of this interior: room layout, openings and fixture positions; never draw the plan itself, render the real interior it describes.\"}, {\"type\": \"text\", \"text\": \"REFERENCE — ROOT INTERIOR PHOTOGRAPH — the same interior: its materials, finishes, furniture, lighting and wear are LOCKED to this photo.\"}, {\"type\": \"text\", \"text\": \"Photograph to examine:\"}]"}
{"ts": "2026-07-13 18:51:44", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s40_fix_intpl_living_dining_sunset_floor_view", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s40/plates/plate_living_dining_sunset_floor_view_b.png"], "ref_labels": ["PHOTOGRAPH TO EDIT — fix ONLY the issues the prompt lists; preserve everything else exactly."], "attempt": 1, "dur_s": 24.2, "bytes": 2563657, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s40/plates/plate_living_dining_sunset_floor_view_fix.png", "prompt": "Edit this photograph. Apply ONLY the corrections listed below,\neach in place, changing nothing else:\n\nCORRECTIONS:\n- Lower the camera height slightly and tilt the lens gently downward to look across the living-room floor.\n- Remove the warm sunlight projections from the kitchen cabinets and back walls, ensuring sunset light enters only through the small exterior window.\n\nPRESERVE EVERYTHING ELSE EXACTLY as in the original photograph —\nevery person, pose, face, garment, object, set feature, lighting,\ncamera and framing stay identical. No text, captions or\nwatermarks anywhere."}
{"ts": "2026-07-13 18:52:15", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s40_intpl_daughter_bedroom_sunset_bed_wall_a", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/int_fp.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s40/plates/plate_living_dining_day_root_sel.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s40/plates/plate_living_dining_sunset_floor_view_sel.png"], "ref_labels": ["FLOOR PLAN — the spatial truth of this interior: room layout, openings and fixture positions; never draw the plan itself, render the real interior it describes.", "ROOT INTERIOR PHOTOGRAPH — the same interior: its materials, finishes, furniture, lighting and wear are LOCKED to this photo.", "PREVIOUS ADJACENT VIEW — the immediately preceding plate of this same interior: keep every shared fixed feature identical where the views overlap."], "attempt": 1, "dur_s": 31.5, "bytes": 2644141, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s40/plates/plate_daughter_bedroom_sunset_bed_wall_a.png", "prompt": "Use the attached floor plan, the supplied root plate, and the immediately previous sunset living-room plate as references for this exact same rooftop apartment. Sunset interior in the daughter's bedroom. Place the camera just inside the daughter's open interior doorway, facing into the compact room toward the single bed and the wall above the bed, while also retaining part of the exterior window with full-length curtains and the usable recess behind the curtains in the composition. Through the doorway edge, preserve a small visual connection to the sunset common area established in the previous plate. The single bed rests against a wall; include the backpack and doll only as ordinary, neatly placed loose belongings consistent with the floor-plan specification. Warm, fading sunset light, realistic compact-room proportions, photorealistic live-action background plate. Keep the wall above the bed completely plain and undamaged. Empty set: no people, no readable text, no red circle, no pinned or bloodstained photograph, no blood, no corpse, no disturbed furniture, no clenched hand, and no other incident-moment state."}
{"ts": "2026-07-13 18:52:45", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s40_intpl_daughter_bedroom_sunset_bed_wall_b", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/int_fp.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s40/plates/plate_living_dining_day_root_sel.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s40/plates/plate_living_dining_sunset_floor_view_sel.png"], "ref_labels": ["FLOOR PLAN — the spatial truth of this interior: room layout, openings and fixture positions; never draw the plan itself, render the real interior it describes.", "ROOT INTERIOR PHOTOGRAPH — the same interior: its materials, finishes, furniture, lighting and wear are LOCKED to this photo.", "PREVIOUS ADJACENT VIEW — the immediately preceding plate of this same interior: keep every shared fixed feature identical where the views overlap."], "attempt": 1, "dur_s": 29.4, "bytes": 2899688, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s40/plates/plate_daughter_bedroom_sunset_bed_wall_b.png", "prompt": "Use the attached floor plan, the supplied root plate, and the immediately previous sunset living-room plate as references for this exact same rooftop apartment. Sunset interior in the daughter's bedroom. Place the camera just inside the daughter's open interior doorway, facing into the compact room toward the single bed and the wall above the bed, while also retaining part of the exterior window with full-length curtains and the usable recess behind the curtains in the composition. Through the doorway edge, preserve a small visual connection to the sunset common area established in the previous plate. The single bed rests against a wall; include the backpack and doll only as ordinary, neatly placed loose belongings consistent with the floor-plan specification. Warm, fading sunset light, realistic compact-room proportions, photorealistic live-action background plate. Keep the wall above the bed completely plain and undamaged. Empty set: no people, no readable text, no red circle, no pinned or bloodstained photograph, no blood, no corpse, no disturbed furniture, no clenched hand, and no other incident-moment state."}
{"ts": "2026-07-13 18:53:22", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s40_intpl_daughter_bedroom_sunset_bed_wall_c", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/int_fp.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s40/plates/plate_living_dining_day_root_sel.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s40/plates/plate_living_dining_sunset_floor_view_sel.png"], "ref_labels": ["FLOOR PLAN — the spatial truth of this interior: room layout, openings and fixture positions; never draw the plan itself, render the real interior it describes.", "ROOT INTERIOR PHOTOGRAPH — the same interior: its materials, finishes, furniture, lighting and wear are LOCKED to this photo.", "PREVIOUS ADJACENT VIEW — the immediately preceding plate of this same interior: keep every shared fixed feature identical where the views overlap."], "attempt": 1, "dur_s": 37.1, "bytes": 2663668, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s40/plates/plate_daughter_bedroom_sunset_bed_wall_c.png", "prompt": "Use the attached floor plan, the supplied root plate, and the immediately previous sunset living-room plate as references for this exact same rooftop apartment. Sunset interior in the daughter's bedroom. Place the camera just inside the daughter's open interior doorway, facing into the compact room toward the single bed and the wall above the bed, while also retaining part of the exterior window with full-length curtains and the usable recess behind the curtains in the composition. Through the doorway edge, preserve a small visual connection to the sunset common area established in the previous plate. The single bed rests against a wall; include the backpack and doll only as ordinary, neatly placed loose belongings consistent with the floor-plan specification. Warm, fading sunset light, realistic compact-room proportions, photorealistic live-action background plate. Keep the wall above the bed completely plain and undamaged. Empty set: no people, no readable text, no red circle, no pinned or bloodstained photograph, no blood, no corpse, no disturbed furniture, no clenched hand, and no other incident-moment state."}
{"ts": "2026-07-13 18:54:18", "kind": "llm", "step": "s40_judge_intpl_daughter_bedroom_sunset_bed_wall", "model": "gemini-pro", "dur_s": 56.2, "system_prompt": "You are given ONE image-generation prompt, the REFERENCE image(s)\nthat were attached to it (labelled), and THREE candidate images,\nlabelled A, B, C in the order attached, all generated from that\nexact prompt with those exact references.\nPick the ONE candidate that most faithfully realises the prompt.\nJudge ONLY fidelity to the prompt and its reference instructions:\nthe shot text's moment and action, who is and is NOT in frame,\ncamera framing, time of day, the LOCATION lock (the place must be\nthe one the reference shows — same architecture, materials,\nfixtures), pose/immobility and carried-state clauses, and every\nexclusion (no text, no invented people or objects). Consistency\nwith the attached reference image counts as prompt fidelity.\nIgnore generic aesthetic appeal.\nCheck every candidate point by point before deciding; base every\nverdict only on what is visible.\nAlso give every candidate an integer score 0-10 for that same\nfidelity.\nOutput: winner, ranking best-to-worst, and per candidate a score\nplus a one-line Korean verdict citing the decisive prompt points.", "user_prompt": "[{\"type\": \"text\", \"text\": \"THE PROMPT (all three candidates were generated from this):\\nUse the attached floor plan, the supplied root plate, and the immediately previous sunset living-room plate as references for this exact same rooftop apartment. Sunset interior in the daughter's bedroom. Place the camera just inside the daughter's open interior doorway, facing into the compact room toward the single bed and the wall above the bed, while also retaining part of the exterior window with full-length curtains and the usable recess behind the curtains in the composition. Through the doorway edge, preserve a small visual connection to the sunset common area established in the previous plate. The single bed rests against a wall; include the backpack and doll only as ordinary, neatly placed loose belongings consistent with the floor-plan specification. Warm, fading sunset light, realistic compact-room proportions, photorealistic live-action background plate. Keep the wall above the bed completely plain and undamaged. Empty set: no people, no readable text, no red circle, no pinned or bloodstained photograph, no blood, no corpse, no disturbed furniture, no clenched hand, and no other incident-moment state.\"}, {\"type\": \"text\", \"text\": \"REFERENCE — FLOOR PLAN — the spatial truth of this interior: room layout, openings and fixture positions; never draw the plan itself, render the real interior it describes.\"}, {\"type\": \"text\", \"text\": \"REFERENCE — ROOT INTERIOR PHOTOGRAPH — the same interior: its materials, finishes, furniture, lighting and wear are LOCKED to this photo.\"}, {\"type\": \"text\", \"text\": \"REFERENCE — PREVIOUS ADJACENT VIEW — the immediately preceding plate of this same interior: keep every shared fixed feature identical where the views overlap.\"}, {\"type\": \"text\", \"text\": \"Candidate A:\"}, {\"type\": \"text\", \"text\": \"Candidate B:\"}, {\"type\": \"text\", \"text\": \"Candidate C:\"}]"}
{"ts": "2026-07-13 18:55:51", "kind": "llm", "step": "s40_crit_intpl_daughter_bedroom_sunset_bed_wall", "model": "gemini-pro", "dur_s": 92.9, "system_prompt": "You are given an image-generation prompt, the labelled REFERENCE\nimage(s) that were attached to it, and ONE photograph generated\nfrom them (the current best pick of three).\nList what is WRONG with it — ONLY violations of the prompt or of\nits reference instructions: the shot's stated moment and action,\nwho/what must or must NOT be in frame, camera, time of day,\nlocation consistency with the reference, pose/immobility and\ncarried-state clauses, object orientation, anatomy, and every\nexclusion (no text, no invented people or objects).\nBase every finding only on what is visible; ignore taste and\ngeneric aesthetics. For each issue give: issue_ko (short Korean\nline) + fix_en (ONE imperative English edit that fixes exactly\nthat while changing nothing else). Empty array if nothing wrong.", "user_prompt": "[{\"type\": \"text\", \"text\": \"THE PROMPT:\\nUse the attached floor plan, the supplied root plate, and the immediately previous sunset living-room plate as references for this exact same rooftop apartment. Sunset interior in the daughter's bedroom. Place the camera just inside the daughter's open interior doorway, facing into the compact room toward the single bed and the wall above the bed, while also retaining part of the exterior window with full-length curtains and the usable recess behind the curtains in the composition. Through the doorway edge, preserve a small visual connection to the sunset common area established in the previous plate. The single bed rests against a wall; include the backpack and doll only as ordinary, neatly placed loose belongings consistent with the floor-plan specification. Warm, fading sunset light, realistic compact-room proportions, photorealistic live-action background plate. Keep the wall above the bed completely plain and undamaged. Empty set: no people, no readable text, no red circle, no pinned or bloodstained photograph, no blood, no corpse, no disturbed furniture, no clenched hand, and no other incident-moment state.\"}, {\"type\": \"text\", \"text\": \"REFERENCE — FLOOR PLAN — the spatial truth of this interior: room layout, openings and fixture positions; never draw the plan itself, render the real interior it describes.\"}, {\"type\": \"text\", \"text\": \"REFERENCE — ROOT INTERIOR PHOTOGRAPH — the same interior: its materials, finishes, furniture, lighting and wear are LOCKED to this photo.\"}, {\"type\": \"text\", \"text\": \"REFERENCE — PREVIOUS ADJACENT VIEW — the immediately preceding plate of this same interior: keep every shared fixed feature identical where the views overlap.\"}, {\"type\": \"text\", \"text\": \"Photograph to examine:\"}]"}
{"ts": "2026-07-13 18:56:12", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s40_fix_intpl_daughter_bedroom_sunset_bed_wall", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s40/plates/plate_daughter_bedroom_sunset_bed_wall_c.png"], "ref_labels": ["PHOTOGRAPH TO EDIT — fix ONLY the issues the prompt lists; preserve everything else exactly."], "attempt": 1, "dur_s": 21.6, "bytes": 2733657, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s40/plates/plate_daughter_bedroom_sunset_bed_wall_fix.png", "prompt": "Edit this photograph. Apply ONLY the corrections listed below,\neach in place, changing nothing else:\n\nCORRECTIONS:\n- Move the backpack and doll onto the round rug to match the floor plan.\n- Enclose the outdoor balcony area with an exterior wall and a window to create an indoor recess as per the floor plan.\n- Update the space visible through the doorway to match the bright sunset lighting and light-colored materials of the reference common area.\n\nPRESERVE EVERYTHING ELSE EXACTLY as in the original photograph —\nevery person, pose, face, garment, object, set feature, lighting,\ncamera and framing stay identical. No text, captions or\nwatermarks anywhere."}
{"ts": "2026-07-13 18:56:43", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s40_intpl_daughter_bedroom_night_doorway_wide_a", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/int_fp.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s40/plates/plate_living_dining_day_root_sel.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s40/plates/plate_daughter_bedroom_sunset_bed_wall_sel.png"], "ref_labels": ["FLOOR PLAN — the spatial truth of this interior: room layout, openings and fixture positions; never draw the plan itself, render the real interior it describes.", "ROOT INTERIOR PHOTOGRAPH — the same interior: its materials, finishes, furniture, lighting and wear are LOCKED to this photo.", "PREVIOUS ADJACENT VIEW — the immediately preceding plate of this same interior: keep every shared fixed feature identical where the views overlap."], "attempt": 1, "dur_s": 30.4, "bytes": 2612998, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s40/plates/plate_daughter_bedroom_night_doorway_wide_a.png", "prompt": "Use the attached floor plan, the supplied root plate, and the immediately previous daughter's-bedroom sunset plate as references for the exact same room and geometry. Night interior. Re-create the daughter's bedroom from nearly the same camera axis, with the camera at the interior doorway looking toward the single bed, the wall above the bed, and the exterior window with full-length curtains and sufficient recess space behind them. Preserve the bed, window, curtain, door, backpack and doll positions as normal residential set dressing, but present the room exceptionally neat and clean. The common area beyond the doorway should be dim, with only plausible low spill from the living-room floor lamp; no invented fixtures. Photorealistic live-action empty background plate, realistic night exposure and compact rooftop-apartment scale. No people, no readable text, no corpse, no blood, no bloody footprints, no wound, no old photograph, no red circle on the wall, no shifted belongings, and no other incident-specific or supernatural state."}
{"ts": "2026-07-13 18:57:14", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s40_intpl_daughter_bedroom_night_doorway_wide_b", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/int_fp.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s40/plates/plate_living_dining_day_root_sel.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s40/plates/plate_daughter_bedroom_sunset_bed_wall_sel.png"], "ref_labels": ["FLOOR PLAN — the spatial truth of this interior: room layout, openings and fixture positions; never draw the plan itself, render the real interior it describes.", "ROOT INTERIOR PHOTOGRAPH — the same interior: its materials, finishes, furniture, lighting and wear are LOCKED to this photo.", "PREVIOUS ADJACENT VIEW — the immediately preceding plate of this same interior: keep every shared fixed feature identical where the views overlap."], "attempt": 1, "dur_s": 30.9, "bytes": 2572137, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s40/plates/plate_daughter_bedroom_night_doorway_wide_b.png", "prompt": "Use the attached floor plan, the supplied root plate, and the immediately previous daughter's-bedroom sunset plate as references for the exact same room and geometry. Night interior. Re-create the daughter's bedroom from nearly the same camera axis, with the camera at the interior doorway looking toward the single bed, the wall above the bed, and the exterior window with full-length curtains and sufficient recess space behind them. Preserve the bed, window, curtain, door, backpack and doll positions as normal residential set dressing, but present the room exceptionally neat and clean. The common area beyond the doorway should be dim, with only plausible low spill from the living-room floor lamp; no invented fixtures. Photorealistic live-action empty background plate, realistic night exposure and compact rooftop-apartment scale. No people, no readable text, no corpse, no blood, no bloody footprints, no wound, no old photograph, no red circle on the wall, no shifted belongings, and no other incident-specific or supernatural state."}
{"ts": "2026-07-13 18:57:41", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s40_intpl_daughter_bedroom_night_doorway_wide_c", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/int_fp.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s40/plates/plate_living_dining_day_root_sel.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s40/plates/plate_daughter_bedroom_sunset_bed_wall_sel.png"], "ref_labels": ["FLOOR PLAN — the spatial truth of this interior: room layout, openings and fixture positions; never draw the plan itself, render the real interior it describes.", "ROOT INTERIOR PHOTOGRAPH — the same interior: its materials, finishes, furniture, lighting and wear are LOCKED to this photo.", "PREVIOUS ADJACENT VIEW — the immediately preceding plate of this same interior: keep every shared fixed feature identical where the views overlap."], "attempt": 1, "dur_s": 27.7, "bytes": 2554976, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s40/plates/plate_daughter_bedroom_night_doorway_wide_c.png", "prompt": "Use the attached floor plan, the supplied root plate, and the immediately previous daughter's-bedroom sunset plate as references for the exact same room and geometry. Night interior. Re-create the daughter's bedroom from nearly the same camera axis, with the camera at the interior doorway looking toward the single bed, the wall above the bed, and the exterior window with full-length curtains and sufficient recess space behind them. Preserve the bed, window, curtain, door, backpack and doll positions as normal residential set dressing, but present the room exceptionally neat and clean. The common area beyond the doorway should be dim, with only plausible low spill from the living-room floor lamp; no invented fixtures. Photorealistic live-action empty background plate, realistic night exposure and compact rooftop-apartment scale. No people, no readable text, no corpse, no blood, no bloody footprints, no wound, no old photograph, no red circle on the wall, no shifted belongings, and no other incident-specific or supernatural state."}
{"ts": "2026-07-13 18:58:08", "kind": "llm", "step": "s40_judge_intpl_daughter_bedroom_night_doorway_wide", "model": "gemini-pro", "dur_s": 26.4, "system_prompt": "You are given ONE image-generation prompt, the REFERENCE image(s)\nthat were attached to it (labelled), and THREE candidate images,\nlabelled A, B, C in the order attached, all generated from that\nexact prompt with those exact references.\nPick the ONE candidate that most faithfully realises the prompt.\nJudge ONLY fidelity to the prompt and its reference instructions:\nthe shot text's moment and action, who is and is NOT in frame,\ncamera framing, time of day, the LOCATION lock (the place must be\nthe one the reference shows — same architecture, materials,\nfixtures), pose/immobility and carried-state clauses, and every\nexclusion (no text, no invented people or objects). Consistency\nwith the attached reference image counts as prompt fidelity.\nIgnore generic aesthetic appeal.\nCheck every candidate point by point before deciding; base every\nverdict only on what is visible.\nAlso give every candidate an integer score 0-10 for that same\nfidelity.\nOutput: winner, ranking best-to-worst, and per candidate a score\nplus a one-line Korean verdict citing the decisive prompt points.", "user_prompt": "[{\"type\": \"text\", \"text\": \"THE PROMPT (all three candidates were generated from this):\\nUse the attached floor plan, the supplied root plate, and the immediately previous daughter's-bedroom sunset plate as references for the exact same room and geometry. Night interior. Re-create the daughter's bedroom from nearly the same camera axis, with the camera at the interior doorway looking toward the single bed, the wall above the bed, and the exterior window with full-length curtains and sufficient recess space behind them. Preserve the bed, window, curtain, door, backpack and doll positions as normal residential set dressing, but present the room exceptionally neat and clean. The common area beyond the doorway should be dim, with only plausible low spill from the living-room floor lamp; no invented fixtures. Photorealistic live-action empty background plate, realistic night exposure and compact rooftop-apartment scale. No people, no readable text, no corpse, no blood, no bloody footprints, no wound, no old photograph, no red circle on the wall, no shifted belongings, and no other incident-specific or supernatural state.\"}, {\"type\": \"text\", \"text\": \"REFERENCE — FLOOR PLAN — the spatial truth of this interior: room layout, openings and fixture positions; never draw the plan itself, render the real interior it describes.\"}, {\"type\": \"text\", \"text\": \"REFERENCE — ROOT INTERIOR PHOTOGRAPH — the same interior: its materials, finishes, furniture, lighting and wear are LOCKED to this photo.\"}, {\"type\": \"text\", \"text\": \"REFERENCE — PREVIOUS ADJACENT VIEW — the immediately preceding plate of this same interior: keep every shared fixed feature identical where the views overlap.\"}, {\"type\": \"text\", \"text\": \"Candidate A:\"}, {\"type\": \"text\", \"text\": \"Candidate B:\"}, {\"type\": \"text\", \"text\": \"Candidate C:\"}]"}
{"ts": "2026-07-13 18:58:47", "kind": "llm", "step": "s40_crit_intpl_daughter_bedroom_night_doorway_wide", "model": "gemini-pro", "dur_s": 39.1, "system_prompt": "You are given an image-generation prompt, the labelled REFERENCE\nimage(s) that were attached to it, and ONE photograph generated\nfrom them (the current best pick of three).\nList what is WRONG with it — ONLY violations of the prompt or of\nits reference instructions: the shot's stated moment and action,\nwho/what must or must NOT be in frame, camera, time of day,\nlocation consistency with the reference, pose/immobility and\ncarried-state clauses, object orientation, anatomy, and every\nexclusion (no text, no invented people or objects).\nBase every finding only on what is visible; ignore taste and\ngeneric aesthetics. For each issue give: issue_ko (short Korean\nline) + fix_en (ONE imperative English edit that fixes exactly\nthat while changing nothing else). Empty array if nothing wrong.", "user_prompt": "[{\"type\": \"text\", \"text\": \"THE PROMPT:\\nUse the attached floor plan, the supplied root plate, and the immediately previous daughter's-bedroom sunset plate as references for the exact same room and geometry. Night interior. Re-create the daughter's bedroom from nearly the same camera axis, with the camera at the interior doorway looking toward the single bed, the wall above the bed, and the exterior window with full-length curtains and sufficient recess space behind them. Preserve the bed, window, curtain, door, backpack and doll positions as normal residential set dressing, but present the room exceptionally neat and clean. The common area beyond the doorway should be dim, with only plausible low spill from the living-room floor lamp; no invented fixtures. Photorealistic live-action empty background plate, realistic night exposure and compact rooftop-apartment scale. No people, no readable text, no corpse, no blood, no bloody footprints, no wound, no old photograph, no red circle on the wall, no shifted belongings, and no other incident-specific or supernatural state.\"}, {\"type\": \"text\", \"text\": \"REFERENCE — FLOOR PLAN — the spatial truth of this interior: room layout, openings and fixture positions; never draw the plan itself, render the real interior it describes.\"}, {\"type\": \"text\", \"text\": \"REFERENCE — ROOT INTERIOR PHOTOGRAPH — the same interior: its materials, finishes, furniture, lighting and wear are LOCKED to this photo.\"}, {\"type\": \"text\", \"text\": \"REFERENCE — PREVIOUS ADJACENT VIEW — the immediately preceding plate of this same interior: keep every shared fixed feature identical where the views overlap.\"}, {\"type\": \"text\", \"text\": \"Photograph to examine:\"}]"}
{"ts": "2026-07-13 18:59:14", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s40_fix_intpl_daughter_bedroom_night_doorway_wide", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s40/plates/plate_daughter_bedroom_night_doorway_wide_c.png"], "ref_labels": ["PHOTOGRAPH TO EDIT — fix ONLY the issues the prompt lists; preserve everything else exactly."], "attempt": 1, "dur_s": 27.3, "bytes": 2529548, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s40/plates/plate_daughter_bedroom_night_doorway_wide_fix.png", "prompt": "Edit this photograph. Apply ONLY the corrections listed below,\neach in place, changing nothing else:\n\nCORRECTIONS:\n- Change the bright, sharp, warm light patch on the floor, rug, backpack, and bed into a very dim, soft, low-intensity light spill from the doorway.\n- Remove the newly invented floor lamp visible in the background living room.\n\nPRESERVE EVERYTHING ELSE EXACTLY as in the original photograph —\nevery person, pose, face, garment, object, set feature, lighting,\ncamera and framing stay identical. No text, captions or\nwatermarks anywhere."}
{"ts": "2026-07-13 18:59:38", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s40_intpl_entry_night_inward_view_a", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/int_fp.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s40/plates/plate_living_dining_day_root_sel.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s40/plates/plate_daughter_bedroom_night_doorway_wide_sel.png"], "ref_labels": ["FLOOR PLAN — the spatial truth of this interior: room layout, openings and fixture positions; never draw the plan itself, render the real interior it describes.", "ROOT INTERIOR PHOTOGRAPH — the same interior: its materials, finishes, furniture, lighting and wear are LOCKED to this photo.", "PREVIOUS ADJACENT VIEW — the immediately preceding plate of this same interior: keep every shared fixed feature identical where the views overlap."], "attempt": 1, "dur_s": 23.3, "bytes": 2561070, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s40/plates/plate_entry_night_inward_view_a.png", "prompt": "Use the attached floor plan, the supplied root plate, and the immediately previous night daughter's-bedroom plate as continuity references for this exact same rooftop apartment. Night interior at the entry. Place the camera immediately beside the exterior entry door, facing inward across the compact shoe-removal threshold and small shoe area toward the central living and dining room. Show enough of the common room to identify the same dining table, television or floor-lamp zone, and the direct interior doorways established by the root, without adding a corridor. The entry must feel compact and directly connected to the living space. Use dim practical spill from the existing living-room floor lamp and subdued night ambience; do not invent additional lighting fixtures. Leave neutral background depth suitable for a tight facial shot near the entrance. Photorealistic live-action empty set, no people, no readable text, no police equipment, no disturbed belongings, no blood, no footprints, no supernatural marks, and no incident-moment state."}
{"ts": "2026-07-13 19:00:10", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s40_intpl_entry_night_inward_view_b", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/int_fp.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s40/plates/plate_living_dining_day_root_sel.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s40/plates/plate_daughter_bedroom_night_doorway_wide_sel.png"], "ref_labels": ["FLOOR PLAN — the spatial truth of this interior: room layout, openings and fixture positions; never draw the plan itself, render the real interior it describes.", "ROOT INTERIOR PHOTOGRAPH — the same interior: its materials, finishes, furniture, lighting and wear are LOCKED to this photo.", "PREVIOUS ADJACENT VIEW — the immediately preceding plate of this same interior: keep every shared fixed feature identical where the views overlap."], "attempt": 1, "dur_s": 32.9, "bytes": 2284695, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s40/plates/plate_entry_night_inward_view_b.png", "prompt": "Use the attached floor plan, the supplied root plate, and the immediately previous night daughter's-bedroom plate as continuity references for this exact same rooftop apartment. Night interior at the entry. Place the camera immediately beside the exterior entry door, facing inward across the compact shoe-removal threshold and small shoe area toward the central living and dining room. Show enough of the common room to identify the same dining table, television or floor-lamp zone, and the direct interior doorways established by the root, without adding a corridor. The entry must feel compact and directly connected to the living space. Use dim practical spill from the existing living-room floor lamp and subdued night ambience; do not invent additional lighting fixtures. Leave neutral background depth suitable for a tight facial shot near the entrance. Photorealistic live-action empty set, no people, no readable text, no police equipment, no disturbed belongings, no blood, no footprints, no supernatural marks, and no incident-moment state."}
{"ts": "2026-07-13 19:00:41", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s40_intpl_entry_night_inward_view_c", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/int_fp.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s40/plates/plate_living_dining_day_root_sel.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s40/plates/plate_daughter_bedroom_night_doorway_wide_sel.png"], "ref_labels": ["FLOOR PLAN — the spatial truth of this interior: room layout, openings and fixture positions; never draw the plan itself, render the real interior it describes.", "ROOT INTERIOR PHOTOGRAPH — the same interior: its materials, finishes, furniture, lighting and wear are LOCKED to this photo.", "PREVIOUS ADJACENT VIEW — the immediately preceding plate of this same interior: keep every shared fixed feature identical where the views overlap."], "attempt": 1, "dur_s": 30.7, "bytes": 2316956, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s40/plates/plate_entry_night_inward_view_c.png", "prompt": "Use the attached floor plan, the supplied root plate, and the immediately previous night daughter's-bedroom plate as continuity references for this exact same rooftop apartment. Night interior at the entry. Place the camera immediately beside the exterior entry door, facing inward across the compact shoe-removal threshold and small shoe area toward the central living and dining room. Show enough of the common room to identify the same dining table, television or floor-lamp zone, and the direct interior doorways established by the root, without adding a corridor. The entry must feel compact and directly connected to the living space. Use dim practical spill from the existing living-room floor lamp and subdued night ambience; do not invent additional lighting fixtures. Leave neutral background depth suitable for a tight facial shot near the entrance. Photorealistic live-action empty set, no people, no readable text, no police equipment, no disturbed belongings, no blood, no footprints, no supernatural marks, and no incident-moment state."}
{"ts": "2026-07-13 19:01:39", "kind": "llm", "step": "s40_judge_intpl_entry_night_inward_view", "model": "gemini-pro", "dur_s": 57.4, "system_prompt": "You are given ONE image-generation prompt, the REFERENCE image(s)\nthat were attached to it (labelled), and THREE candidate images,\nlabelled A, B, C in the order attached, all generated from that\nexact prompt with those exact references.\nPick the ONE candidate that most faithfully realises the prompt.\nJudge ONLY fidelity to the prompt and its reference instructions:\nthe shot text's moment and action, who is and is NOT in frame,\ncamera framing, time of day, the LOCATION lock (the place must be\nthe one the reference shows — same architecture, materials,\nfixtures), pose/immobility and carried-state clauses, and every\nexclusion (no text, no invented people or objects). Consistency\nwith the attached reference image counts as prompt fidelity.\nIgnore generic aesthetic appeal.\nCheck every candidate point by point before deciding; base every\nverdict only on what is visible.\nAlso give every candidate an integer score 0-10 for that same\nfidelity.\nOutput: winner, ranking best-to-worst, and per candidate a score\nplus a one-line Korean verdict citing the decisive prompt points.", "user_prompt": "[{\"type\": \"text\", \"text\": \"THE PROMPT (all three candidates were generated from this):\\nUse the attached floor plan, the supplied root plate, and the immediately previous night daughter's-bedroom plate as continuity references for this exact same rooftop apartment. Night interior at the entry. Place the camera immediately beside the exterior entry door, facing inward across the compact shoe-removal threshold and small shoe area toward the central living and dining room. Show enough of the common room to identify the same dining table, television or floor-lamp zone, and the direct interior doorways established by the root, without adding a corridor. The entry must feel compact and directly connected to the living space. Use dim practical spill from the existing living-room floor lamp and subdued night ambience; do not invent additional lighting fixtures. Leave neutral background depth suitable for a tight facial shot near the entrance. Photorealistic live-action empty set, no people, no readable text, no police equipment, no disturbed belongings, no blood, no footprints, no supernatural marks, and no incident-moment state.\"}, {\"type\": \"text\", \"text\": \"REFERENCE — FLOOR PLAN — the spatial truth of this interior: room layout, openings and fixture positions; never draw the plan itself, render the real interior it describes.\"}, {\"type\": \"text\", \"text\": \"REFERENCE — ROOT INTERIOR PHOTOGRAPH — the same interior: its materials, finishes, furniture, lighting and wear are LOCKED to this photo.\"}, {\"type\": \"text\", \"text\": \"REFERENCE — PREVIOUS ADJACENT VIEW — the immediately preceding plate of this same interior: keep every shared fixed feature identical where the views overlap.\"}, {\"type\": \"text\", \"text\": \"Candidate A:\"}, {\"type\": \"text\", \"text\": \"Candidate B:\"}, {\"type\": \"text\", \"text\": \"Candidate C:\"}]"}
{"ts": "2026-07-13 19:02:11", "kind": "llm", "step": "s40_crit_intpl_entry_night_inward_view", "model": "gemini-pro", "dur_s": 32.6, "system_prompt": "You are given an image-generation prompt, the labelled REFERENCE\nimage(s) that were attached to it, and ONE photograph generated\nfrom them (the current best pick of three).\nList what is WRONG with it — ONLY violations of the prompt or of\nits reference instructions: the shot's stated moment and action,\nwho/what must or must NOT be in frame, camera, time of day,\nlocation consistency with the reference, pose/immobility and\ncarried-state clauses, object orientation, anatomy, and every\nexclusion (no text, no invented people or objects).\nBase every finding only on what is visible; ignore taste and\ngeneric aesthetics. For each issue give: issue_ko (short Korean\nline) + fix_en (ONE imperative English edit that fixes exactly\nthat while changing nothing else). Empty array if nothing wrong.", "user_prompt": "[{\"type\": \"text\", \"text\": \"THE PROMPT:\\nUse the attached floor plan, the supplied root plate, and the immediately previous night daughter's-bedroom plate as continuity references for this exact same rooftop apartment. Night interior at the entry. Place the camera immediately beside the exterior entry door, facing inward across the compact shoe-removal threshold and small shoe area toward the central living and dining room. Show enough of the common room to identify the same dining table, television or floor-lamp zone, and the direct interior doorways established by the root, without adding a corridor. The entry must feel compact and directly connected to the living space. Use dim practical spill from the existing living-room floor lamp and subdued night ambience; do not invent additional lighting fixtures. Leave neutral background depth suitable for a tight facial shot near the entrance. Photorealistic live-action empty set, no people, no readable text, no police equipment, no disturbed belongings, no blood, no footprints, no supernatural marks, and no incident-moment state.\"}, {\"type\": \"text\", \"text\": \"REFERENCE — FLOOR PLAN — the spatial truth of this interior: room layout, openings and fixture positions; never draw the plan itself, render the real interior it describes.\"}, {\"type\": \"text\", \"text\": \"REFERENCE — ROOT INTERIOR PHOTOGRAPH — the same interior: its materials, finishes, furniture, lighting and wear are LOCKED to this photo.\"}, {\"type\": \"text\", \"text\": \"REFERENCE — PREVIOUS ADJACENT VIEW — the immediately preceding plate of this same interior: keep every shared fixed feature identical where the views overlap.\"}, {\"type\": \"text\", \"text\": \"Photograph to examine:\"}]"}
{"ts": "2026-07-13 19:02:34", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s40_fix_intpl_entry_night_inward_view", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s40/plates/plate_entry_night_inward_view_c.png"], "ref_labels": ["PHOTOGRAPH TO EDIT — fix ONLY the issues the prompt lists; preserve everything else exactly."], "attempt": 1, "dur_s": 22.5, "bytes": 2433013, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s40/plates/plate_entry_night_inward_view_fix.png", "prompt": "Edit this photograph. Apply ONLY the corrections listed below,\neach in place, changing nothing else:\n\nCORRECTIONS:\n- Remove the glowing table lamp from the kitchen counter on the left.\n- Remove the corridor structure, the foreground kitchen, and the left-side doorway, replacing the left wall with the TV area as established in the references.\n\nPRESERVE EVERYTHING ELSE EXACTLY as in the original photograph —\nevery person, pose, face, garment, object, set feature, lighting,\ncamera and framing stay identical. No text, captions or\nwatermarks anywhere."}
{"ts": "2026-07-13 19:03:01", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s40_intpl_bathroom_day_mirror_tile_view_a", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/int_fp.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s40/plates/plate_living_dining_day_root_sel.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s40/plates/plate_entry_night_inward_view_sel.png"], "ref_labels": ["FLOOR PLAN — the spatial truth of this interior: room layout, openings and fixture positions; never draw the plan itself, render the real interior it describes.", "ROOT INTERIOR PHOTOGRAPH — the same interior: its materials, finishes, furniture, lighting and wear are LOCKED to this photo.", "PREVIOUS ADJACENT VIEW — the immediately preceding plate of this same interior: keep every shared fixed feature identical where the views overlap."], "attempt": 1, "dur_s": 27.5, "bytes": 2551197, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s40/plates/plate_bathroom_day_mirror_tile_view_a.png", "prompt": "Use the attached floor plan, the supplied root plate, and the immediately previous entry-at-night plate as references for the same compact rooftop apartment; preserve the bathroom door's direct relationship to the central common area established by the root. Daytime interior in the small bathroom. Place the camera inside the bathroom, near the interior door and at standing eye level, facing the washbasin and wall mirror so that a substantial section of the opposite tiled bathroom wall is clearly visible in the mirror reflection. Include only the specified compact residential fixtures: washbasin with faucet, wall mirror, tiled walls, compact toilet, and minimal shower fittings. Maintain realistic 2.5–3.5 square meter proportions and modest Korean rooftop-apartment materials. Soft neutral daytime light, photorealistic live-action empty background plate. The mirror and reflected tile wall must be clean and ordinary. No people or human reflection, no readable text, no water running, no red circle, no blood, no supernatural effect, and no other incident-moment state."}
{"ts": "2026-07-13 19:03:26", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s40_intpl_bathroom_day_mirror_tile_view_b", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/int_fp.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s40/plates/plate_living_dining_day_root_sel.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s40/plates/plate_entry_night_inward_view_sel.png"], "ref_labels": ["FLOOR PLAN — the spatial truth of this interior: room layout, openings and fixture positions; never draw the plan itself, render the real interior it describes.", "ROOT INTERIOR PHOTOGRAPH — the same interior: its materials, finishes, furniture, lighting and wear are LOCKED to this photo.", "PREVIOUS ADJACENT VIEW — the immediately preceding plate of this same interior: keep every shared fixed feature identical where the views overlap."], "attempt": 1, "dur_s": 24.8, "bytes": 2442779, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s40/plates/plate_bathroom_day_mirror_tile_view_b.png", "prompt": "Use the attached floor plan, the supplied root plate, and the immediately previous entry-at-night plate as references for the same compact rooftop apartment; preserve the bathroom door's direct relationship to the central common area established by the root. Daytime interior in the small bathroom. Place the camera inside the bathroom, near the interior door and at standing eye level, facing the washbasin and wall mirror so that a substantial section of the opposite tiled bathroom wall is clearly visible in the mirror reflection. Include only the specified compact residential fixtures: washbasin with faucet, wall mirror, tiled walls, compact toilet, and minimal shower fittings. Maintain realistic 2.5–3.5 square meter proportions and modest Korean rooftop-apartment materials. Soft neutral daytime light, photorealistic live-action empty background plate. The mirror and reflected tile wall must be clean and ordinary. No people or human reflection, no readable text, no water running, no red circle, no blood, no supernatural effect, and no other incident-moment state."}
{"ts": "2026-07-13 19:04:01", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s40_intpl_bathroom_day_mirror_tile_view_c", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s37/int_fp.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s40/plates/plate_living_dining_day_root_sel.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s40/plates/plate_entry_night_inward_view_sel.png"], "ref_labels": ["FLOOR PLAN — the spatial truth of this interior: room layout, openings and fixture positions; never draw the plan itself, render the real interior it describes.", "ROOT INTERIOR PHOTOGRAPH — the same interior: its materials, finishes, furniture, lighting and wear are LOCKED to this photo.", "PREVIOUS ADJACENT VIEW — the immediately preceding plate of this same interior: keep every shared fixed feature identical where the views overlap."], "attempt": 1, "dur_s": 34.7, "bytes": 2413120, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s40/plates/plate_bathroom_day_mirror_tile_view_c.png", "prompt": "Use the attached floor plan, the supplied root plate, and the immediately previous entry-at-night plate as references for the same compact rooftop apartment; preserve the bathroom door's direct relationship to the central common area established by the root. Daytime interior in the small bathroom. Place the camera inside the bathroom, near the interior door and at standing eye level, facing the washbasin and wall mirror so that a substantial section of the opposite tiled bathroom wall is clearly visible in the mirror reflection. Include only the specified compact residential fixtures: washbasin with faucet, wall mirror, tiled walls, compact toilet, and minimal shower fittings. Maintain realistic 2.5–3.5 square meter proportions and modest Korean rooftop-apartment materials. Soft neutral daytime light, photorealistic live-action empty background plate. The mirror and reflected tile wall must be clean and ordinary. No people or human reflection, no readable text, no water running, no red circle, no blood, no supernatural effect, and no other incident-moment state."}
{"ts": "2026-07-13 19:05:09", "kind": "llm", "step": "s40_judge_intpl_bathroom_day_mirror_tile_view", "model": "gemini-pro", "dur_s": 68.3, "system_prompt": "You are given ONE image-generation prompt, the REFERENCE image(s)\nthat were attached to it (labelled), and THREE candidate images,\nlabelled A, B, C in the order attached, all generated from that\nexact prompt with those exact references.\nPick the ONE candidate that most faithfully realises the prompt.\nJudge ONLY fidelity to the prompt and its reference instructions:\nthe shot text's moment and action, who is and is NOT in frame,\ncamera framing, time of day, the LOCATION lock (the place must be\nthe one the reference shows — same architecture, materials,\nfixtures), pose/immobility and carried-state clauses, and every\nexclusion (no text, no invented people or objects). Consistency\nwith the attached reference image counts as prompt fidelity.\nIgnore generic aesthetic appeal.\nCheck every candidate point by point before deciding; base every\nverdict only on what is visible.\nAlso give every candidate an integer score 0-10 for that same\nfidelity.\nOutput: winner, ranking best-to-worst, and per candidate a score\nplus a one-line Korean verdict citing the decisive prompt points.", "user_prompt": "[{\"type\": \"text\", \"text\": \"THE PROMPT (all three candidates were generated from this):\\nUse the attached floor plan, the supplied root plate, and the immediately previous entry-at-night plate as references for the same compact rooftop apartment; preserve the bathroom door's direct relationship to the central common area established by the root. Daytime interior in the small bathroom. Place the camera inside the bathroom, near the interior door and at standing eye level, facing the washbasin and wall mirror so that a substantial section of the opposite tiled bathroom wall is clearly visible in the mirror reflection. Include only the specified compact residential fixtures: washbasin with faucet, wall mirror, tiled walls, compact toilet, and minimal shower fittings. Maintain realistic 2.5–3.5 square meter proportions and modest Korean rooftop-apartment materials. Soft neutral daytime light, photorealistic live-action empty background plate. The mirror and reflected tile wall must be clean and ordinary. No people or human reflection, no readable text, no water running, no red circle, no blood, no supernatural effect, and no other incident-moment state.\"}, {\"type\": \"text\", \"text\": \"REFERENCE — FLOOR PLAN — the spatial truth of this interior: room layout, openings and fixture positions; never draw the plan itself, render the real interior it describes.\"}, {\"type\": \"text\", \"text\": \"REFERENCE — ROOT INTERIOR PHOTOGRAPH — the same interior: its materials, finishes, furniture, lighting and wear are LOCKED to this photo.\"}, {\"type\": \"text\", \"text\": \"REFERENCE — PREVIOUS ADJACENT VIEW — the immediately preceding plate of this same interior: keep every shared fixed feature identical where the views overlap.\"}, {\"type\": \"text\", \"text\": \"Candidate A:\"}, {\"type\": \"text\", \"text\": \"Candidate B:\"}, {\"type\": \"text\", \"text\": \"Candidate C:\"}]"}
{"ts": "2026-07-13 19:05:42", "kind": "llm", "step": "s40_crit_intpl_bathroom_day_mirror_tile_view", "model": "gemini-pro", "dur_s": 32.6, "system_prompt": "You are given an image-generation prompt, the labelled REFERENCE\nimage(s) that were attached to it, and ONE photograph generated\nfrom them (the current best pick of three).\nList what is WRONG with it — ONLY violations of the prompt or of\nits reference instructions: the shot's stated moment and action,\nwho/what must or must NOT be in frame, camera, time of day,\nlocation consistency with the reference, pose/immobility and\ncarried-state clauses, object orientation, anatomy, and every\nexclusion (no text, no invented people or objects).\nBase every finding only on what is visible; ignore taste and\ngeneric aesthetics. For each issue give: issue_ko (short Korean\nline) + fix_en (ONE imperative English edit that fixes exactly\nthat while changing nothing else). Empty array if nothing wrong.", "user_prompt": "[{\"type\": \"text\", \"text\": \"THE PROMPT:\\nUse the attached floor plan, the supplied root plate, and the immediately previous entry-at-night plate as references for the same compact rooftop apartment; preserve the bathroom door's direct relationship to the central common area established by the root. Daytime interior in the small bathroom. Place the camera inside the bathroom, near the interior door and at standing eye level, facing the washbasin and wall mirror so that a substantial section of the opposite tiled bathroom wall is clearly visible in the mirror reflection. Include only the specified compact residential fixtures: washbasin with faucet, wall mirror, tiled walls, compact toilet, and minimal shower fittings. Maintain realistic 2.5–3.5 square meter proportions and modest Korean rooftop-apartment materials. Soft neutral daytime light, photorealistic live-action empty background plate. The mirror and reflected tile wall must be clean and ordinary. No people or human reflection, no readable text, no water running, no red circle, no blood, no supernatural effect, and no other incident-moment state.\"}, {\"type\": \"text\", \"text\": \"REFERENCE — FLOOR PLAN — the spatial truth of this interior: room layout, openings and fixture positions; never draw the plan itself, render the real interior it describes.\"}, {\"type\": \"text\", \"text\": \"REFERENCE — ROOT INTERIOR PHOTOGRAPH — the same interior: its materials, finishes, furniture, lighting and wear are LOCKED to this photo.\"}, {\"type\": \"text\", \"text\": \"REFERENCE — PREVIOUS ADJACENT VIEW — the immediately preceding plate of this same interior: keep every shared fixed feature identical where the views overlap.\"}, {\"type\": \"text\", \"text\": \"Photograph to examine:\"}]"}
{"ts": "2026-07-13 19:06:04", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s40_fix_intpl_bathroom_day_mirror_tile_view", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s40/plates/plate_bathroom_day_mirror_tile_view_b.png"], "ref_labels": ["PHOTOGRAPH TO EDIT — fix ONLY the issues the prompt lists; preserve everything else exactly."], "attempt": 1, "dur_s": 22.4, "bytes": 2485910, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s40/plates/plate_bathroom_day_mirror_tile_view_fix.png", "prompt": "Edit this photograph. Apply ONLY the corrections listed below,\neach in place, changing nothing else:\n\nCORRECTIONS:\n- Change the mirror reflection to clearly show a clean, ordinary section of the opposite tiled bathroom wall.\n- Remove the window above the mirror and replace it with continuous matching wall tiles.\n\nPRESERVE EVERYTHING ELSE EXACTLY as in the original photograph —\nevery person, pose, face, garment, object, set feature, lighting,\ncamera and framing stay identical. No text, captions or\nwatermarks anywhere."}
{"ts": "2026-07-13 19:06:27", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s40_still_S4sh1_a", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s40/plates/bg_S4sh1_sel.png"], "ref_labels": ["LOCATION PHOTOGRAPH — the exact place of this shot: its architecture, materials, fixed features and lighting mood are spatial truth; stage the moment inside this place. Never copy its camera framing."], "attempt": 1, "dur_s": 20.7, "bytes": 3761310, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s40/stills/S4sh1_a.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): daytime.\n\nSHOT TEXT (authoritative, Korean): 맑은 낮, 오래된 다세대 빌라 옥상 위에 자리 잡은 옥탑방을 높은 곳에서 내려다본 부감 구도\n\nLOCATION (lock): The flat rooftop of an aging low-rise apartment building, enclosed by a waist-high parapet. A small rooftop dwelling has a metal entrance door and a window visible from the open roof. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nPROPS FACE THE RIGHT WAY: every handheld or used object must be\noriented exactly as its real-world use requires. A person reading,\nwatching or operating something (a phone, a photograph, a paper,\nany device) has its functional side — screen, front, page — facing\nTHEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nMOVEMENT (follow exactly): static: No person is visible; the rooftop room remains fixed on top of the old multi-family villa beneath the high, downward-looking camera.\n\nFIGURES — size & depth (follow exactly): The rooftop room appears small, about ~1/6 of the frame height, and is FARTHER from the camera than the surrounding upper roof surfaces in the foreground.\n\nNO PEOPLE IN THIS SHOT: the shot text shows only the place and its state — no living person or any body part appears in frame, unless the shot text itself explicitly says so.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-13 19:06:54", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s40_still_S4sh1_b", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s40/plates/bg_S4sh1_sel.png"], "ref_labels": ["LOCATION PHOTOGRAPH — the exact place of this shot: its architecture, materials, fixed features and lighting mood are spatial truth; stage the moment inside this place. Never copy its camera framing."], "attempt": 1, "dur_s": 27.4, "bytes": 3700822, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s40/stills/S4sh1_b.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): daytime.\n\nSHOT TEXT (authoritative, Korean): 맑은 낮, 오래된 다세대 빌라 옥상 위에 자리 잡은 옥탑방을 높은 곳에서 내려다본 부감 구도\n\nLOCATION (lock): The flat rooftop of an aging low-rise apartment building, enclosed by a waist-high parapet. A small rooftop dwelling has a metal entrance door and a window visible from the open roof. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nPROPS FACE THE RIGHT WAY: every handheld or used object must be\noriented exactly as its real-world use requires. A person reading,\nwatching or operating something (a phone, a photograph, a paper,\nany device) has its functional side — screen, front, page — facing\nTHEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nMOVEMENT (follow exactly): static: No person is visible; the rooftop room remains fixed on top of the old multi-family villa beneath the high, downward-looking camera.\n\nFIGURES — size & depth (follow exactly): The rooftop room appears small, about ~1/6 of the frame height, and is FARTHER from the camera than the surrounding upper roof surfaces in the foreground.\n\nNO PEOPLE IN THIS SHOT: the shot text shows only the place and its state — no living person or any body part appears in frame, unless the shot text itself explicitly says so.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-13 19:07:16", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s40_still_S4sh1_c", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s40/plates/bg_S4sh1_sel.png"], "ref_labels": ["LOCATION PHOTOGRAPH — the exact place of this shot: its architecture, materials, fixed features and lighting mood are spatial truth; stage the moment inside this place. Never copy its camera framing."], "attempt": 1, "dur_s": 21.4, "bytes": 3780578, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s40/stills/S4sh1_c.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): daytime.\n\nSHOT TEXT (authoritative, Korean): 맑은 낮, 오래된 다세대 빌라 옥상 위에 자리 잡은 옥탑방을 높은 곳에서 내려다본 부감 구도\n\nLOCATION (lock): The flat rooftop of an aging low-rise apartment building, enclosed by a waist-high parapet. A small rooftop dwelling has a metal entrance door and a window visible from the open roof. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nPROPS FACE THE RIGHT WAY: every handheld or used object must be\noriented exactly as its real-world use requires. A person reading,\nwatching or operating something (a phone, a photograph, a paper,\nany device) has its functional side — screen, front, page — facing\nTHEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nMOVEMENT (follow exactly): static: No person is visible; the rooftop room remains fixed on top of the old multi-family villa beneath the high, downward-looking camera.\n\nFIGURES — size & depth (follow exactly): The rooftop room appears small, about ~1/6 of the frame height, and is FARTHER from the camera than the surrounding upper roof surfaces in the foreground.\n\nNO PEOPLE IN THIS SHOT: the shot text shows only the place and its state — no living person or any body part appears in frame, unless the shot text itself explicitly says so.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-13 19:07:43", "kind": "llm", "step": "s40_judge_still_S4sh1", "model": "gemini-pro", "dur_s": 27.1, "system_prompt": "You are given ONE image-generation prompt, the REFERENCE image(s)\nthat were attached to it (labelled), and THREE candidate images,\nlabelled A, B, C in the order attached, all generated from that\nexact prompt with those exact references.\nPick the ONE candidate that most faithfully realises the prompt.\nJudge ONLY fidelity to the prompt and its reference instructions:\nthe shot text's moment and action, who is and is NOT in frame,\ncamera framing, time of day, the LOCATION lock (the place must be\nthe one the reference shows — same architecture, materials,\nfixtures), pose/immobility and carried-state clauses, and every\nexclusion (no text, no invented people or objects). Consistency\nwith the attached reference image counts as prompt fidelity.\nIgnore generic aesthetic appeal.\nCheck every candidate point by point before deciding; base every\nverdict only on what is visible.\nAlso give every candidate an integer score 0-10 for that same\nfidelity.\nOutput: winner, ranking best-to-worst, and per candidate a score\nplus a one-line Korean verdict citing the decisive prompt points.", "user_prompt": "[{\"type\": \"text\", \"text\": \"THE PROMPT (all three candidates were generated from this):\\nCreate ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): daytime.\\n\\nSHOT TEXT (authoritative, Korean): 맑은 낮, 오래된 다세대 빌라 옥상 위에 자리 잡은 옥탑방을 높은 곳에서 내려다본 부감 구도\\n\\nLOCATION (lock): The flat rooftop of an aging low-rise apartment building, enclosed by a waist-high parapet. A small rooftop dwelling has a metal entrance door and a window visible from the open roof. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.\\n\\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\\ntext may describe characters metaphorically, figuratively or with\\nexaggeration. Photograph what a real movie camera would actually\\nrecord on a physical set — exaggerated or figurative impressions\\nbecome realistic staging choices (lighting, distance, angle,\\nwardrobe), not literal fantasy imagery.\\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\\nfeatures non-human or virtual beings (as in science fiction or\\nfantasy), every character — however indirectly, vaguely or\\nfiguratively the text describes them — IS a real human. When the\\ntext gives no direct visual description of a person, IMAGINE one\\nand still show them as a concrete, fully-formed human being:\\nalways render the human form to the maximum extent — build,\\nposture, face, hands, clothing — never reduce a person to a shape,\\nblob, solid silhouette or abstract mass.\\n\\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\\nperson's eyes, face or presence emotionally or figuratively (vacant,\\nhollow, dazed, burning, lifeless gaze and the like), it describes an\\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\\nthrough gaze direction, focus, eyelids, facial muscles, stillness\\nand posture. Every living person's eyes remain anatomically normal\\nhuman eyes with a natural iris and pupil, natural sclera and normal\\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\\notherwise alter eyeballs, skin or anatomy — unless the story\\nexplicitly declares that being non-human or supernatural in form.\\n\\nPROPS FACE THE RIGHT WAY: every handheld or used object must be\\noriented exactly as its real-world use requires. A person reading,\\nwatching or operating something (a phone, a photograph, a paper,\\nany device) has its functional side — screen, front, page — facing\\nTHEIR OWN eyes; the camera then sees whatever side the staging\\ngeometry implies (often its back). Show the functional side to the\\ncamera ONLY when the shot text itself stages it toward the viewer.\\nNever flip, mirror or reverse an object's front and back.\\n\\nMOVEMENT (follow exactly): static: No person is visible; the rooftop room remains fixed on top of the old multi-family villa beneath the high, downward-looking camera.\\n\\nFIGURES — size & depth (follow exactly): The rooftop room appears small, about ~1/6 of the frame height, and is FARTHER from the camera than the surrounding upper roof surfaces in the foreground.\\n\\nNO PEOPLE IN THIS SHOT: the shot text shows only the place and its state — no living person or any body part appears in frame, unless the shot text itself explicitly says so.\\n\\nNo text, captions, watermarks or annotations anywhere.\"}, {\"type\": \"text\", \"text\": \"REFERENCE — LOCATION PHOTOGRAPH — the exact place of this shot: its architecture, materials, fixed features and lighting mood are spatial truth; stage the moment inside this place. Never copy its camera framing.\"}, {\"type\": \"text\", \"text\": \"Candidate A:\"}, {\"type\": \"text\", \"text\": \"Candidate B:\"}, {\"type\": \"text\", \"text\": \"Candidate C:\"}]"}
{"ts": "2026-07-13 19:08:02", "kind": "llm", "step": "s40_crit_still_S4sh1", "model": "gemini-pro", "dur_s": 19.3, "system_prompt": "You are given an image-generation prompt, the labelled REFERENCE\nimage(s) that were attached to it, and ONE photograph generated\nfrom them (the current best pick of three).\nList what is WRONG with it — ONLY violations of the prompt or of\nits reference instructions: the shot's stated moment and action,\nwho/what must or must NOT be in frame, camera, time of day,\nlocation consistency with the reference, pose/immobility and\ncarried-state clauses, object orientation, anatomy, and every\nexclusion (no text, no invented people or objects).\nBase every finding only on what is visible; ignore taste and\ngeneric aesthetics. For each issue give: issue_ko (short Korean\nline) + fix_en (ONE imperative English edit that fixes exactly\nthat while changing nothing else). Empty array if nothing wrong.", "user_prompt": "[{\"type\": \"text\", \"text\": \"THE PROMPT:\\nCreate ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): daytime.\\n\\nSHOT TEXT (authoritative, Korean): 맑은 낮, 오래된 다세대 빌라 옥상 위에 자리 잡은 옥탑방을 높은 곳에서 내려다본 부감 구도\\n\\nLOCATION (lock): The flat rooftop of an aging low-rise apartment building, enclosed by a waist-high parapet. A small rooftop dwelling has a metal entrance door and a window visible from the open roof. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.\\n\\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\\ntext may describe characters metaphorically, figuratively or with\\nexaggeration. Photograph what a real movie camera would actually\\nrecord on a physical set — exaggerated or figurative impressions\\nbecome realistic staging choices (lighting, distance, angle,\\nwardrobe), not literal fantasy imagery.\\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\\nfeatures non-human or virtual beings (as in science fiction or\\nfantasy), every character — however indirectly, vaguely or\\nfiguratively the text describes them — IS a real human. When the\\ntext gives no direct visual description of a person, IMAGINE one\\nand still show them as a concrete, fully-formed human being:\\nalways render the human form to the maximum extent — build,\\nposture, face, hands, clothing — never reduce a person to a shape,\\nblob, solid silhouette or abstract mass.\\n\\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\\nperson's eyes, face or presence emotionally or figuratively (vacant,\\nhollow, dazed, burning, lifeless gaze and the like), it describes an\\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\\nthrough gaze direction, focus, eyelids, facial muscles, stillness\\nand posture. Every living person's eyes remain anatomically normal\\nhuman eyes with a natural iris and pupil, natural sclera and normal\\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\\notherwise alter eyeballs, skin or anatomy — unless the story\\nexplicitly declares that being non-human or supernatural in form.\\n\\nPROPS FACE THE RIGHT WAY: every handheld or used object must be\\noriented exactly as its real-world use requires. A person reading,\\nwatching or operating something (a phone, a photograph, a paper,\\nany device) has its functional side — screen, front, page — facing\\nTHEIR OWN eyes; the camera then sees whatever side the staging\\ngeometry implies (often its back). Show the functional side to the\\ncamera ONLY when the shot text itself stages it toward the viewer.\\nNever flip, mirror or reverse an object's front and back.\\n\\nMOVEMENT (follow exactly): static: No person is visible; the rooftop room remains fixed on top of the old multi-family villa beneath the high, downward-looking camera.\\n\\nFIGURES — size & depth (follow exactly): The rooftop room appears small, about ~1/6 of the frame height, and is FARTHER from the camera than the surrounding upper roof surfaces in the foreground.\\n\\nNO PEOPLE IN THIS SHOT: the shot text shows only the place and its state — no living person or any body part appears in frame, unless the shot text itself explicitly says so.\\n\\nNo text, captions, watermarks or annotations anywhere.\"}, {\"type\": \"text\", \"text\": \"REFERENCE — LOCATION PHOTOGRAPH — the exact place of this shot: its architecture, materials, fixed features and lighting mood are spatial truth; stage the moment inside this place. Never copy its camera framing.\"}, {\"type\": \"text\", \"text\": \"Photograph to examine:\"}]"}
{"ts": "2026-07-13 19:08:26", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s40_fix_still_S4sh1", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s40/stills/S4sh1_a.png"], "ref_labels": ["PHOTOGRAPH TO EDIT — fix ONLY the issues the prompt lists; preserve everything else exactly."], "attempt": 1, "dur_s": 23.9, "bytes": 3770662, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s40/stills/S4sh1_fix.png", "prompt": "Edit this photograph. Apply ONLY the corrections listed below,\neach in place, changing nothing else:\n\nCORRECTIONS:\n- Change the camera framing to a steeper downward angle, placing surrounding roofs in the immediate foreground and pushing the rooftop room further back until it occupies only 1/6 of the frame height.\n\nPRESERVE EVERYTHING ELSE EXACTLY as in the original photograph —\nevery person, pose, face, garment, object, set feature, lighting,\ncamera and framing stay identical. No text, captions or\nwatermarks anywhere."}
{"ts": "2026-07-13 19:08:45", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s40_still_S5sh5_a", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s40/plates/plate_living_dining_day_root_sel.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/899945af-f9bf-4880-bdd7-c9d1f45a5327.png"], "ref_labels": ["LOCATION PHOTOGRAPH — the exact place of this shot: its architecture, materials, fixed features and lighting mood are spatial truth; stage the moment inside this place. Never copy its camera framing.", "CHARACTER REFERENCE — 민숙: the exact person appearing in this shot; match face, hair and build exactly."], "attempt": 1, "dur_s": 19.0, "bytes": 2301275, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s40/stills/S5sh5_a.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): interior ambient light.\n\nSHOT TEXT (authoritative, Korean): 다급하게 상체를 기울이며 손가락 끝으로 TV 전원 버튼을 세게 누르고 있는 민숙의 측면 구도\n\nLOCATION (lock): A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nPROPS FACE THE RIGHT WAY: every handheld or used object must be\noriented exactly as its real-world use requires. A person reading,\nwatching or operating something (a phone, a photograph, a paper,\nany device) has its functional side — screen, front, page — facing\nTHEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nMOVEMENT (follow exactly): Min-sook urgently pitches her upper body forward toward the TV and forcefully drives a fingertip into its power button to turn it off as Su-ri-young emerges from her room.\n\nFIGURES — size & depth (follow exactly): Min-sook's side-view upper body fills roughly 2/3 of the frame height, with her reaching hand and the TV button NEARER to the camera than her face and torso. The TV is FARTHER along her forward reach, and her body closes the short distance toward it.\n\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Minsuk remains in her apron, with the same small circular mark on her wrist; the mark must already be present here because she has had it since childhood.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 민숙 (Korean middle-aged woman, early-40s face, soft mature features, natural dark hair) — never anyone else, and never add a person the shot text does not show. IF only part of a person is in frame (a hand, arm, foot, back, silhouette), that body part belongs to the specific person the shot text names — its sex, age, build, skin and grooming must unmistakably match that person's profile above.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-13 19:09:08", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s40_still_S5sh5_b", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s40/plates/plate_living_dining_day_root_sel.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/899945af-f9bf-4880-bdd7-c9d1f45a5327.png"], "ref_labels": ["LOCATION PHOTOGRAPH — the exact place of this shot: its architecture, materials, fixed features and lighting mood are spatial truth; stage the moment inside this place. Never copy its camera framing.", "CHARACTER REFERENCE — 민숙: the exact person appearing in this shot; match face, hair and build exactly."], "attempt": 1, "dur_s": 23.0, "bytes": 2721045, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s40/stills/S5sh5_b.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): interior ambient light.\n\nSHOT TEXT (authoritative, Korean): 다급하게 상체를 기울이며 손가락 끝으로 TV 전원 버튼을 세게 누르고 있는 민숙의 측면 구도\n\nLOCATION (lock): A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nPROPS FACE THE RIGHT WAY: every handheld or used object must be\noriented exactly as its real-world use requires. A person reading,\nwatching or operating something (a phone, a photograph, a paper,\nany device) has its functional side — screen, front, page — facing\nTHEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nMOVEMENT (follow exactly): Min-sook urgently pitches her upper body forward toward the TV and forcefully drives a fingertip into its power button to turn it off as Su-ri-young emerges from her room.\n\nFIGURES — size & depth (follow exactly): Min-sook's side-view upper body fills roughly 2/3 of the frame height, with her reaching hand and the TV button NEARER to the camera than her face and torso. The TV is FARTHER along her forward reach, and her body closes the short distance toward it.\n\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Minsuk remains in her apron, with the same small circular mark on her wrist; the mark must already be present here because she has had it since childhood.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 민숙 (Korean middle-aged woman, early-40s face, soft mature features, natural dark hair) — never anyone else, and never add a person the shot text does not show. IF only part of a person is in frame (a hand, arm, foot, back, silhouette), that body part belongs to the specific person the shot text names — its sex, age, build, skin and grooming must unmistakably match that person's profile above.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-13 19:09:34", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s40_still_S5sh5_c", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s40/plates/plate_living_dining_day_root_sel.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/899945af-f9bf-4880-bdd7-c9d1f45a5327.png"], "ref_labels": ["LOCATION PHOTOGRAPH — the exact place of this shot: its architecture, materials, fixed features and lighting mood are spatial truth; stage the moment inside this place. Never copy its camera framing.", "CHARACTER REFERENCE — 민숙: the exact person appearing in this shot; match face, hair and build exactly."], "attempt": 1, "dur_s": 26.3, "bytes": 2732714, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s40/stills/S5sh5_c.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): interior ambient light.\n\nSHOT TEXT (authoritative, Korean): 다급하게 상체를 기울이며 손가락 끝으로 TV 전원 버튼을 세게 누르고 있는 민숙의 측면 구도\n\nLOCATION (lock): A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nPROPS FACE THE RIGHT WAY: every handheld or used object must be\noriented exactly as its real-world use requires. A person reading,\nwatching or operating something (a phone, a photograph, a paper,\nany device) has its functional side — screen, front, page — facing\nTHEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nMOVEMENT (follow exactly): Min-sook urgently pitches her upper body forward toward the TV and forcefully drives a fingertip into its power button to turn it off as Su-ri-young emerges from her room.\n\nFIGURES — size & depth (follow exactly): Min-sook's side-view upper body fills roughly 2/3 of the frame height, with her reaching hand and the TV button NEARER to the camera than her face and torso. The TV is FARTHER along her forward reach, and her body closes the short distance toward it.\n\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Minsuk remains in her apron, with the same small circular mark on her wrist; the mark must already be present here because she has had it since childhood.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 민숙 (Korean middle-aged woman, early-40s face, soft mature features, natural dark hair) — never anyone else, and never add a person the shot text does not show. IF only part of a person is in frame (a hand, arm, foot, back, silhouette), that body part belongs to the specific person the shot text names — its sex, age, build, skin and grooming must unmistakably match that person's profile above.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-13 19:10:19", "kind": "llm", "step": "s40_judge_still_S5sh5", "model": "gemini-pro", "dur_s": 44.6, "system_prompt": "You are given ONE image-generation prompt, the REFERENCE image(s)\nthat were attached to it (labelled), and THREE candidate images,\nlabelled A, B, C in the order attached, all generated from that\nexact prompt with those exact references.\nPick the ONE candidate that most faithfully realises the prompt.\nJudge ONLY fidelity to the prompt and its reference instructions:\nthe shot text's moment and action, who is and is NOT in frame,\ncamera framing, time of day, the LOCATION lock (the place must be\nthe one the reference shows — same architecture, materials,\nfixtures), pose/immobility and carried-state clauses, and every\nexclusion (no text, no invented people or objects). Consistency\nwith the attached reference image counts as prompt fidelity.\nIgnore generic aesthetic appeal.\nCheck every candidate point by point before deciding; base every\nverdict only on what is visible.\nAlso give every candidate an integer score 0-10 for that same\nfidelity.\nOutput: winner, ranking best-to-worst, and per candidate a score\nplus a one-line Korean verdict citing the decisive prompt points.", "user_prompt": "[{\"type\": \"text\", \"text\": \"THE PROMPT (all three candidates were generated from this):\\nCreate ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): interior ambient light.\\n\\nSHOT TEXT (authoritative, Korean): 다급하게 상체를 기울이며 손가락 끝으로 TV 전원 버튼을 세게 누르고 있는 민숙의 측면 구도\\n\\nLOCATION (lock): A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.\\n\\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\\ntext may describe characters metaphorically, figuratively or with\\nexaggeration. Photograph what a real movie camera would actually\\nrecord on a physical set — exaggerated or figurative impressions\\nbecome realistic staging choices (lighting, distance, angle,\\nwardrobe), not literal fantasy imagery.\\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\\nfeatures non-human or virtual beings (as in science fiction or\\nfantasy), every character — however indirectly, vaguely or\\nfiguratively the text describes them — IS a real human. When the\\ntext gives no direct visual description of a person, IMAGINE one\\nand still show them as a concrete, fully-formed human being:\\nalways render the human form to the maximum extent — build,\\nposture, face, hands, clothing — never reduce a person to a shape,\\nblob, solid silhouette or abstract mass.\\n\\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\\nperson's eyes, face or presence emotionally or figuratively (vacant,\\nhollow, dazed, burning, lifeless gaze and the like), it describes an\\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\\nthrough gaze direction, focus, eyelids, facial muscles, stillness\\nand posture. Every living person's eyes remain anatomically normal\\nhuman eyes with a natural iris and pupil, natural sclera and normal\\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\\notherwise alter eyeballs, skin or anatomy — unless the story\\nexplicitly declares that being non-human or supernatural in form.\\n\\nPROPS FACE THE RIGHT WAY: every handheld or used object must be\\noriented exactly as its real-world use requires. A person reading,\\nwatching or operating something (a phone, a photograph, a paper,\\nany device) has its functional side — screen, front, page — facing\\nTHEIR OWN eyes; the camera then sees whatever side the staging\\ngeometry implies (often its back). Show the functional side to the\\ncamera ONLY when the shot text itself stages it toward the viewer.\\nNever flip, mirror or reverse an object's front and back.\\n\\nMOVEMENT (follow exactly): Min-sook urgently pitches her upper body forward toward the TV and forcefully drives a fingertip into its power button to turn it off as Su-ri-young emerges from her room.\\n\\nFIGURES — size & depth (follow exactly): Min-sook's side-view upper body fills roughly 2/3 of the frame height, with her reaching hand and the TV button NEARER to the camera than her face and torso. The TV is FARTHER along her forward reach, and her body closes the short distance toward it.\\n\\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Minsuk remains in her apron, with the same small circular mark on her wrist; the mark must already be present here because she has had it since childhood.\\n\\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 민숙 (Korean middle-aged woman, early-40s face, soft mature features, natural dark hair) — never anyone else, and never add a person the shot text does not show. IF only part of a person is in frame (a hand, arm, foot, back, silhouette), that body part belongs to the specific person the shot text names — its sex, age, build, skin and grooming must unmistakably match that person's profile above.\\n\\nNo text, captions, watermarks or annotations anywhere.\"}, {\"type\": \"text\", \"text\": \"REFERENCE — LOCATION PHOTOGRAPH — the exact place of this shot: its architecture, materials, fixed features and lighting mood are spatial truth; stage the moment inside this place. Never copy its camera framing.\"}, {\"type\": \"text\", \"text\": \"REFERENCE — CHARACTER REFERENCE — 민숙: the exact person appearing in this shot; match face, hair and build exactly.\"}, {\"type\": \"text\", \"text\": \"Candidate A:\"}, {\"type\": \"text\", \"text\": \"Candidate B:\"}, {\"type\": \"text\", \"text\": \"Candidate C:\"}]"}
{"ts": "2026-07-13 19:10:39", "kind": "llm", "step": "s40_crit_still_S5sh5", "model": "gemini-pro", "dur_s": 19.8, "system_prompt": "You are given an image-generation prompt, the labelled REFERENCE\nimage(s) that were attached to it, and ONE photograph generated\nfrom them (the current best pick of three).\nList what is WRONG with it — ONLY violations of the prompt or of\nits reference instructions: the shot's stated moment and action,\nwho/what must or must NOT be in frame, camera, time of day,\nlocation consistency with the reference, pose/immobility and\ncarried-state clauses, object orientation, anatomy, and every\nexclusion (no text, no invented people or objects).\nBase every finding only on what is visible; ignore taste and\ngeneric aesthetics. For each issue give: issue_ko (short Korean\nline) + fix_en (ONE imperative English edit that fixes exactly\nthat while changing nothing else). Empty array if nothing wrong.", "user_prompt": "[{\"type\": \"text\", \"text\": \"THE PROMPT:\\nCreate ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): interior ambient light.\\n\\nSHOT TEXT (authoritative, Korean): 다급하게 상체를 기울이며 손가락 끝으로 TV 전원 버튼을 세게 누르고 있는 민숙의 측면 구도\\n\\nLOCATION (lock): A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.\\n\\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\\ntext may describe characters metaphorically, figuratively or with\\nexaggeration. Photograph what a real movie camera would actually\\nrecord on a physical set — exaggerated or figurative impressions\\nbecome realistic staging choices (lighting, distance, angle,\\nwardrobe), not literal fantasy imagery.\\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\\nfeatures non-human or virtual beings (as in science fiction or\\nfantasy), every character — however indirectly, vaguely or\\nfiguratively the text describes them — IS a real human. When the\\ntext gives no direct visual description of a person, IMAGINE one\\nand still show them as a concrete, fully-formed human being:\\nalways render the human form to the maximum extent — build,\\nposture, face, hands, clothing — never reduce a person to a shape,\\nblob, solid silhouette or abstract mass.\\n\\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\\nperson's eyes, face or presence emotionally or figuratively (vacant,\\nhollow, dazed, burning, lifeless gaze and the like), it describes an\\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\\nthrough gaze direction, focus, eyelids, facial muscles, stillness\\nand posture. Every living person's eyes remain anatomically normal\\nhuman eyes with a natural iris and pupil, natural sclera and normal\\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\\notherwise alter eyeballs, skin or anatomy — unless the story\\nexplicitly declares that being non-human or supernatural in form.\\n\\nPROPS FACE THE RIGHT WAY: every handheld or used object must be\\noriented exactly as its real-world use requires. A person reading,\\nwatching or operating something (a phone, a photograph, a paper,\\nany device) has its functional side — screen, front, page — facing\\nTHEIR OWN eyes; the camera then sees whatever side the staging\\ngeometry implies (often its back). Show the functional side to the\\ncamera ONLY when the shot text itself stages it toward the viewer.\\nNever flip, mirror or reverse an object's front and back.\\n\\nMOVEMENT (follow exactly): Min-sook urgently pitches her upper body forward toward the TV and forcefully drives a fingertip into its power button to turn it off as Su-ri-young emerges from her room.\\n\\nFIGURES — size & depth (follow exactly): Min-sook's side-view upper body fills roughly 2/3 of the frame height, with her reaching hand and the TV button NEARER to the camera than her face and torso. The TV is FARTHER along her forward reach, and her body closes the short distance toward it.\\n\\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Minsuk remains in her apron, with the same small circular mark on her wrist; the mark must already be present here because she has had it since childhood.\\n\\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 민숙 (Korean middle-aged woman, early-40s face, soft mature features, natural dark hair) — never anyone else, and never add a person the shot text does not show. IF only part of a person is in frame (a hand, arm, foot, back, silhouette), that body part belongs to the specific person the shot text names — its sex, age, build, skin and grooming must unmistakably match that person's profile above.\\n\\nNo text, captions, watermarks or annotations anywhere.\"}, {\"type\": \"text\", \"text\": \"REFERENCE — LOCATION PHOTOGRAPH — the exact place of this shot: its architecture, materials, fixed features and lighting mood are spatial truth; stage the moment inside this place. Never copy its camera framing.\"}, {\"type\": \"text\", \"text\": \"REFERENCE — CHARACTER REFERENCE — 민숙: the exact person appearing in this shot; match face, hair and build exactly.\"}, {\"type\": \"text\", \"text\": \"Photograph to examine:\"}]"}
{"ts": "2026-07-13 19:11:01", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s40_fix_still_S5sh5", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s40/stills/S5sh5_c.png"], "ref_labels": ["PHOTOGRAPH TO EDIT — fix ONLY the issues the prompt lists; preserve everything else exactly."], "attempt": 1, "dur_s": 22.5, "bytes": 2705286, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s40/stills/S5sh5_fix.png", "prompt": "Edit this photograph. Apply ONLY the corrections listed below,\neach in place, changing nothing else:\n\nCORRECTIONS:\n- Change Min-sook's t-shirt to the exact dark pink/magenta color shown in her character reference.\n- Reposition the camera angle so that Min-sook's reaching hand and the TV button are nearer to the lens than her face and torso.\n\nPRESERVE EVERYTHING ELSE EXACTLY as in the original photograph —\nevery person, pose, face, garment, object, set feature, lighting,\ncamera and framing stay identical. No text, captions or\nwatermarks anywhere."}
{"ts": "2026-07-13 19:11:31", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s40_still_S5sh9_a", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s40/plates/plate_living_dining_day_root_sel.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s40/stills/S5sh5_sel.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/899945af-f9bf-4880-bdd7-c9d1f45a5327.png"], "ref_labels": ["LOCATION PHOTOGRAPH — the exact place of this shot: its architecture, materials, fixed features and lighting mood are spatial truth; stage the moment inside this place. Never copy its camera framing.", "PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing. If this photo shows a character who cannot move (dead or unconscious), that character's exact pose, position and orientation are ALSO LOCKED — treat their body as a fixed prop of the set that only the camera moves around.", "CHARACTER REFERENCE — 민숙: the exact person appearing in this shot; match face, hair and build exactly."], "attempt": 1, "dur_s": 29.9, "bytes": 2571910, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s40/stills/S5sh9_a.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): interior ambient light.\n\nSHOT TEXT (authoritative, Korean): 민숙의 손목에 선명하게 드러난 작은 원형 표식의 타이트 샷\n\nLOCATION (lock): A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.\n\nTHIS SHOT CONTINUES THE PREVIOUS SHOT: everything the attached still established — the place, its fixed features and wear, each person's clothing and state — persists. Any person in it who cannot move stays PRECISELY as photographed (body, pose, contact points, held objects); only the camera changes.\n\nPREVIOUS STILL USAGE (follow exactly — what to take from the attached still and what to exclude): Take the cramped living area's worn materials, daylight, and the woman's apron and position from the reference. Preserve the continuity of her wrist and its small circular mark. Exclude the TV-button-pressing action and any wider room elements that fall outside this tight wrist framing.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nPROPS FACE THE RIGHT WAY: every handheld or used object must be\noriented exactly as its real-world use requires. A person reading,\nwatching or operating something (a phone, a photograph, a paper,\nany device) has its functional side — screen, front, page — facing\nTHEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nMOVEMENT (follow exactly): static: Min-sook's wrist is held in view, with the sharply visible small circular mark facing the camera.\n\nFIGURES — size & depth (follow exactly): The wrist fills most of the tight frame, while the circular mark occupies a small area at its center. The skin and mark are the NEAREST and only principal subject, with any body or room detail FARTHER and out of focus.\n\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The TV remains switched off, and Minsuk still wears the apron. The small, unusually distinct circular mark remains on her wrist.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 민숙 (Korean middle-aged woman, early-40s face, soft mature features, natural dark hair) — never anyone else, and never add a person the shot text does not show. IF only part of a person is in frame (a hand, arm, foot, back, silhouette), that body part belongs to the specific person the shot text names — its sex, age, build, skin and grooming must unmistakably match that person's profile above.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-13 19:12:07", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s40_still_S5sh9_b", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s40/plates/plate_living_dining_day_root_sel.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s40/stills/S5sh5_sel.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/899945af-f9bf-4880-bdd7-c9d1f45a5327.png"], "ref_labels": ["LOCATION PHOTOGRAPH — the exact place of this shot: its architecture, materials, fixed features and lighting mood are spatial truth; stage the moment inside this place. Never copy its camera framing.", "PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing. If this photo shows a character who cannot move (dead or unconscious), that character's exact pose, position and orientation are ALSO LOCKED — treat their body as a fixed prop of the set that only the camera moves around.", "CHARACTER REFERENCE — 민숙: the exact person appearing in this shot; match face, hair and build exactly."], "attempt": 1, "dur_s": 35.7, "bytes": 2626569, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s40/stills/S5sh9_b.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): interior ambient light.\n\nSHOT TEXT (authoritative, Korean): 민숙의 손목에 선명하게 드러난 작은 원형 표식의 타이트 샷\n\nLOCATION (lock): A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.\n\nTHIS SHOT CONTINUES THE PREVIOUS SHOT: everything the attached still established — the place, its fixed features and wear, each person's clothing and state — persists. Any person in it who cannot move stays PRECISELY as photographed (body, pose, contact points, held objects); only the camera changes.\n\nPREVIOUS STILL USAGE (follow exactly — what to take from the attached still and what to exclude): Take the cramped living area's worn materials, daylight, and the woman's apron and position from the reference. Preserve the continuity of her wrist and its small circular mark. Exclude the TV-button-pressing action and any wider room elements that fall outside this tight wrist framing.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nPROPS FACE THE RIGHT WAY: every handheld or used object must be\noriented exactly as its real-world use requires. A person reading,\nwatching or operating something (a phone, a photograph, a paper,\nany device) has its functional side — screen, front, page — facing\nTHEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nMOVEMENT (follow exactly): static: Min-sook's wrist is held in view, with the sharply visible small circular mark facing the camera.\n\nFIGURES — size & depth (follow exactly): The wrist fills most of the tight frame, while the circular mark occupies a small area at its center. The skin and mark are the NEAREST and only principal subject, with any body or room detail FARTHER and out of focus.\n\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The TV remains switched off, and Minsuk still wears the apron. The small, unusually distinct circular mark remains on her wrist.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 민숙 (Korean middle-aged woman, early-40s face, soft mature features, natural dark hair) — never anyone else, and never add a person the shot text does not show. IF only part of a person is in frame (a hand, arm, foot, back, silhouette), that body part belongs to the specific person the shot text names — its sex, age, build, skin and grooming must unmistakably match that person's profile above.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-13 19:12:32", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s40_still_S5sh9_c", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s40/plates/plate_living_dining_day_root_sel.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s40/stills/S5sh5_sel.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/899945af-f9bf-4880-bdd7-c9d1f45a5327.png"], "ref_labels": ["LOCATION PHOTOGRAPH — the exact place of this shot: its architecture, materials, fixed features and lighting mood are spatial truth; stage the moment inside this place. Never copy its camera framing.", "PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing. If this photo shows a character who cannot move (dead or unconscious), that character's exact pose, position and orientation are ALSO LOCKED — treat their body as a fixed prop of the set that only the camera moves around.", "CHARACTER REFERENCE — 민숙: the exact person appearing in this shot; match face, hair and build exactly."], "attempt": 1, "dur_s": 24.8, "bytes": 2610118, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s40/stills/S5sh9_c.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): interior ambient light.\n\nSHOT TEXT (authoritative, Korean): 민숙의 손목에 선명하게 드러난 작은 원형 표식의 타이트 샷\n\nLOCATION (lock): A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.\n\nTHIS SHOT CONTINUES THE PREVIOUS SHOT: everything the attached still established — the place, its fixed features and wear, each person's clothing and state — persists. Any person in it who cannot move stays PRECISELY as photographed (body, pose, contact points, held objects); only the camera changes.\n\nPREVIOUS STILL USAGE (follow exactly — what to take from the attached still and what to exclude): Take the cramped living area's worn materials, daylight, and the woman's apron and position from the reference. Preserve the continuity of her wrist and its small circular mark. Exclude the TV-button-pressing action and any wider room elements that fall outside this tight wrist framing.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nPROPS FACE THE RIGHT WAY: every handheld or used object must be\noriented exactly as its real-world use requires. A person reading,\nwatching or operating something (a phone, a photograph, a paper,\nany device) has its functional side — screen, front, page — facing\nTHEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nMOVEMENT (follow exactly): static: Min-sook's wrist is held in view, with the sharply visible small circular mark facing the camera.\n\nFIGURES — size & depth (follow exactly): The wrist fills most of the tight frame, while the circular mark occupies a small area at its center. The skin and mark are the NEAREST and only principal subject, with any body or room detail FARTHER and out of focus.\n\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The TV remains switched off, and Minsuk still wears the apron. The small, unusually distinct circular mark remains on her wrist.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 민숙 (Korean middle-aged woman, early-40s face, soft mature features, natural dark hair) — never anyone else, and never add a person the shot text does not show. IF only part of a person is in frame (a hand, arm, foot, back, silhouette), that body part belongs to the specific person the shot text names — its sex, age, build, skin and grooming must unmistakably match that person's profile above.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-13 19:13:39", "kind": "llm", "step": "s40_judge_still_S5sh9", "model": "gemini-pro", "dur_s": 66.9, "system_prompt": "You are given ONE image-generation prompt, the REFERENCE image(s)\nthat were attached to it (labelled), and THREE candidate images,\nlabelled A, B, C in the order attached, all generated from that\nexact prompt with those exact references.\nPick the ONE candidate that most faithfully realises the prompt.\nJudge ONLY fidelity to the prompt and its reference instructions:\nthe shot text's moment and action, who is and is NOT in frame,\ncamera framing, time of day, the LOCATION lock (the place must be\nthe one the reference shows — same architecture, materials,\nfixtures), pose/immobility and carried-state clauses, and every\nexclusion (no text, no invented people or objects). Consistency\nwith the attached reference image counts as prompt fidelity.\nIgnore generic aesthetic appeal.\nCheck every candidate point by point before deciding; base every\nverdict only on what is visible.\nAlso give every candidate an integer score 0-10 for that same\nfidelity.\nOutput: winner, ranking best-to-worst, and per candidate a score\nplus a one-line Korean verdict citing the decisive prompt points.", "user_prompt": "[{\"type\": \"text\", \"text\": \"THE PROMPT (all three candidates were generated from this):\\nCreate ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): interior ambient light.\\n\\nSHOT TEXT (authoritative, Korean): 민숙의 손목에 선명하게 드러난 작은 원형 표식의 타이트 샷\\n\\nLOCATION (lock): A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.\\n\\nTHIS SHOT CONTINUES THE PREVIOUS SHOT: everything the attached still established — the place, its fixed features and wear, each person's clothing and state — persists. Any person in it who cannot move stays PRECISELY as photographed (body, pose, contact points, held objects); only the camera changes.\\n\\nPREVIOUS STILL USAGE (follow exactly — what to take from the attached still and what to exclude): Take the cramped living area's worn materials, daylight, and the woman's apron and position from the reference. Preserve the continuity of her wrist and its small circular mark. Exclude the TV-button-pressing action and any wider room elements that fall outside this tight wrist framing.\\n\\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\\ntext may describe characters metaphorically, figuratively or with\\nexaggeration. Photograph what a real movie camera would actually\\nrecord on a physical set — exaggerated or figurative impressions\\nbecome realistic staging choices (lighting, distance, angle,\\nwardrobe), not literal fantasy imagery.\\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\\nfeatures non-human or virtual beings (as in science fiction or\\nfantasy), every character — however indirectly, vaguely or\\nfiguratively the text describes them — IS a real human. When the\\ntext gives no direct visual description of a person, IMAGINE one\\nand still show them as a concrete, fully-formed human being:\\nalways render the human form to the maximum extent — build,\\nposture, face, hands, clothing — never reduce a person to a shape,\\nblob, solid silhouette or abstract mass.\\n\\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\\nperson's eyes, face or presence emotionally or figuratively (vacant,\\nhollow, dazed, burning, lifeless gaze and the like), it describes an\\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\\nthrough gaze direction, focus, eyelids, facial muscles, stillness\\nand posture. Every living person's eyes remain anatomically normal\\nhuman eyes with a natural iris and pupil, natural sclera and normal\\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\\notherwise alter eyeballs, skin or anatomy — unless the story\\nexplicitly declares that being non-human or supernatural in form.\\n\\nPROPS FACE THE RIGHT WAY: every handheld or used object must be\\noriented exactly as its real-world use requires. A person reading,\\nwatching or operating something (a phone, a photograph, a paper,\\nany device) has its functional side — screen, front, page — facing\\nTHEIR OWN eyes; the camera then sees whatever side the staging\\ngeometry implies (often its back). Show the functional side to the\\ncamera ONLY when the shot text itself stages it toward the viewer.\\nNever flip, mirror or reverse an object's front and back.\\n\\nMOVEMENT (follow exactly): static: Min-sook's wrist is held in view, with the sharply visible small circular mark facing the camera.\\n\\nFIGURES — size & depth (follow exactly): The wrist fills most of the tight frame, while the circular mark occupies a small area at its center. The skin and mark are the NEAREST and only principal subject, with any body or room detail FARTHER and out of focus.\\n\\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The TV remains switched off, and Minsuk still wears the apron. The small, unusually distinct circular mark remains on her wrist.\\n\\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 민숙 (Korean middle-aged woman, early-40s face, soft mature features, natural dark hair) — never anyone else, and never add a person the shot text does not show. IF only part of a person is in frame (a hand, arm, foot, back, silhouette), that body part belongs to the specific person the shot text names — its sex, age, build, skin and grooming must unmistakably match that person's profile above.\\n\\nNo text, captions, watermarks or annotations anywhere.\"}, {\"type\": \"text\", \"text\": \"REFERENCE — LOCATION PHOTOGRAPH — the exact place of this shot: its architecture, materials, fixed features and lighting mood are spatial truth; stage the moment inside this place. Never copy its camera framing.\"}, {\"type\": \"text\", \"text\": \"REFERENCE — PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing. If this photo shows a character who cannot move (dead or unconscious), that character's exact pose, position and orientation are ALSO LOCKED — treat their body as a fixed prop of the set that only the camera moves around.\"}, {\"type\": \"text\", \"text\": \"REFERENCE — CHARACTER REFERENCE — 민숙: the exact person appearing in this shot; match face, hair and build exactly.\"}, {\"type\": \"text\", \"text\": \"Candidate A:\"}, {\"type\": \"text\", \"text\": \"Candidate B:\"}, {\"type\": \"text\", \"text\": \"Candidate C:\"}]"}
{"ts": "2026-07-13 19:14:11", "kind": "llm", "step": "s40_crit_still_S5sh9", "model": "gemini-pro", "dur_s": 31.8, "system_prompt": "You are given an image-generation prompt, the labelled REFERENCE\nimage(s) that were attached to it, and ONE photograph generated\nfrom them (the current best pick of three).\nList what is WRONG with it — ONLY violations of the prompt or of\nits reference instructions: the shot's stated moment and action,\nwho/what must or must NOT be in frame, camera, time of day,\nlocation consistency with the reference, pose/immobility and\ncarried-state clauses, object orientation, anatomy, and every\nexclusion (no text, no invented people or objects).\nBase every finding only on what is visible; ignore taste and\ngeneric aesthetics. For each issue give: issue_ko (short Korean\nline) + fix_en (ONE imperative English edit that fixes exactly\nthat while changing nothing else). Empty array if nothing wrong.", "user_prompt": "[{\"type\": \"text\", \"text\": \"THE PROMPT:\\nCreate ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): interior ambient light.\\n\\nSHOT TEXT (authoritative, Korean): 민숙의 손목에 선명하게 드러난 작은 원형 표식의 타이트 샷\\n\\nLOCATION (lock): A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.\\n\\nTHIS SHOT CONTINUES THE PREVIOUS SHOT: everything the attached still established — the place, its fixed features and wear, each person's clothing and state — persists. Any person in it who cannot move stays PRECISELY as photographed (body, pose, contact points, held objects); only the camera changes.\\n\\nPREVIOUS STILL USAGE (follow exactly — what to take from the attached still and what to exclude): Take the cramped living area's worn materials, daylight, and the woman's apron and position from the reference. Preserve the continuity of her wrist and its small circular mark. Exclude the TV-button-pressing action and any wider room elements that fall outside this tight wrist framing.\\n\\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\\ntext may describe characters metaphorically, figuratively or with\\nexaggeration. Photograph what a real movie camera would actually\\nrecord on a physical set — exaggerated or figurative impressions\\nbecome realistic staging choices (lighting, distance, angle,\\nwardrobe), not literal fantasy imagery.\\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\\nfeatures non-human or virtual beings (as in science fiction or\\nfantasy), every character — however indirectly, vaguely or\\nfiguratively the text describes them — IS a real human. When the\\ntext gives no direct visual description of a person, IMAGINE one\\nand still show them as a concrete, fully-formed human being:\\nalways render the human form to the maximum extent — build,\\nposture, face, hands, clothing — never reduce a person to a shape,\\nblob, solid silhouette or abstract mass.\\n\\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\\nperson's eyes, face or presence emotionally or figuratively (vacant,\\nhollow, dazed, burning, lifeless gaze and the like), it describes an\\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\\nthrough gaze direction, focus, eyelids, facial muscles, stillness\\nand posture. Every living person's eyes remain anatomically normal\\nhuman eyes with a natural iris and pupil, natural sclera and normal\\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\\notherwise alter eyeballs, skin or anatomy — unless the story\\nexplicitly declares that being non-human or supernatural in form.\\n\\nPROPS FACE THE RIGHT WAY: every handheld or used object must be\\noriented exactly as its real-world use requires. A person reading,\\nwatching or operating something (a phone, a photograph, a paper,\\nany device) has its functional side — screen, front, page — facing\\nTHEIR OWN eyes; the camera then sees whatever side the staging\\ngeometry implies (often its back). Show the functional side to the\\ncamera ONLY when the shot text itself stages it toward the viewer.\\nNever flip, mirror or reverse an object's front and back.\\n\\nMOVEMENT (follow exactly): static: Min-sook's wrist is held in view, with the sharply visible small circular mark facing the camera.\\n\\nFIGURES — size & depth (follow exactly): The wrist fills most of the tight frame, while the circular mark occupies a small area at its center. The skin and mark are the NEAREST and only principal subject, with any body or room detail FARTHER and out of focus.\\n\\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The TV remains switched off, and Minsuk still wears the apron. The small, unusually distinct circular mark remains on her wrist.\\n\\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 민숙 (Korean middle-aged woman, early-40s face, soft mature features, natural dark hair) — never anyone else, and never add a person the shot text does not show. IF only part of a person is in frame (a hand, arm, foot, back, silhouette), that body part belongs to the specific person the shot text names — its sex, age, build, skin and grooming must unmistakably match that person's profile above.\\n\\nNo text, captions, watermarks or annotations anywhere.\"}, {\"type\": \"text\", \"text\": \"REFERENCE — LOCATION PHOTOGRAPH — the exact place of this shot: its architecture, materials, fixed features and lighting mood are spatial truth; stage the moment inside this place. Never copy its camera framing.\"}, {\"type\": \"text\", \"text\": \"REFERENCE — PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing. If this photo shows a character who cannot move (dead or unconscious), that character's exact pose, position and orientation are ALSO LOCKED — treat their body as a fixed prop of the set that only the camera moves around.\"}, {\"type\": \"text\", \"text\": \"REFERENCE — CHARACTER REFERENCE — 민숙: the exact person appearing in this shot; match face, hair and build exactly.\"}, {\"type\": \"text\", \"text\": \"Photograph to examine:\"}]"}
{"ts": "2026-07-13 19:14:32", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s40_fix_still_S5sh9", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s40/stills/S5sh9_a.png"], "ref_labels": ["PHOTOGRAPH TO EDIT — fix ONLY the issues the prompt lists; preserve everything else exactly."], "attempt": 1, "dur_s": 21.8, "bytes": 2569646, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s40/stills/S5sh9_fix.png", "prompt": "Edit this photograph. Apply ONLY the corrections listed below,\neach in place, changing nothing else:\n\nCORRECTIONS:\n- Remove the upper bib and shoulder straps of the apron so the character is wearing only a waist-tied half-apron over her pink t-shirt.\n- Adjust the out-of-focus torso and shoulders in the background to lean significantly forward, matching the stooped posture from the previous shot.\n\nPRESERVE EVERYTHING ELSE EXACTLY as in the original photograph —\nevery person, pose, face, garment, object, set feature, lighting,\ncamera and framing stay identical. No text, captions or\nwatermarks anywhere."}
{"ts": "2026-07-13 19:14:55", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s40_still_S10sh6_a", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s40/plates/bg_S10sh6_sel.png"], "ref_labels": ["LOCATION PHOTOGRAPH — the exact place of this shot: its architecture, materials, fixed features and lighting mood are spatial truth; stage the moment inside this place. Never copy its camera framing."], "attempt": 1, "dur_s": 22.1, "bytes": 2057727, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s40/stills/S10sh6_a.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\n\nSHOT TEXT (authoritative, Korean): 현관 철문이 아주 살짝 열린 틈새로 보이는 어두운 실내와 신발 앞코\n\nLOCATION (lock): The flat rooftop of an aging low-rise apartment building, enclosed by a waist-high parapet. A small rooftop dwelling has a metal entrance door and a window visible from the open roof. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nPROPS FACE THE RIGHT WAY: every handheld or used object must be\noriented exactly as its real-world use requires. A person reading,\nwatching or operating something (a phone, a photograph, a paper,\nany device) has its functional side — screen, front, page — facing\nTHEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nMOVEMENT (follow exactly): The unknown man's shoe toe advances from the rooftop exterior through the narrowly opened iron doorway into the dark room, leading his unseen body inward.\n\nFIGURES — size & depth (follow exactly): The shoe toe is small, about ~1/10 of the frame height, and lies FARTHER from the camera than the NEARER iron door edges; the dark interior recedes farthest beyond it.\n\nNO PEOPLE IN THIS SHOT: the shot text shows only the place and its state — no living person or any body part appears in frame, unless the shot text itself explicitly says so.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-13 19:15:16", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s40_still_S10sh6_b", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s40/plates/bg_S10sh6_sel.png"], "ref_labels": ["LOCATION PHOTOGRAPH — the exact place of this shot: its architecture, materials, fixed features and lighting mood are spatial truth; stage the moment inside this place. Never copy its camera framing."], "attempt": 1, "dur_s": 21.3, "bytes": 1854656, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s40/stills/S10sh6_b.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\n\nSHOT TEXT (authoritative, Korean): 현관 철문이 아주 살짝 열린 틈새로 보이는 어두운 실내와 신발 앞코\n\nLOCATION (lock): The flat rooftop of an aging low-rise apartment building, enclosed by a waist-high parapet. A small rooftop dwelling has a metal entrance door and a window visible from the open roof. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nPROPS FACE THE RIGHT WAY: every handheld or used object must be\noriented exactly as its real-world use requires. A person reading,\nwatching or operating something (a phone, a photograph, a paper,\nany device) has its functional side — screen, front, page — facing\nTHEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nMOVEMENT (follow exactly): The unknown man's shoe toe advances from the rooftop exterior through the narrowly opened iron doorway into the dark room, leading his unseen body inward.\n\nFIGURES — size & depth (follow exactly): The shoe toe is small, about ~1/10 of the frame height, and lies FARTHER from the camera than the NEARER iron door edges; the dark interior recedes farthest beyond it.\n\nNO PEOPLE IN THIS SHOT: the shot text shows only the place and its state — no living person or any body part appears in frame, unless the shot text itself explicitly says so.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-13 19:15:42", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s40_still_S10sh6_c", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s40/plates/bg_S10sh6_sel.png"], "ref_labels": ["LOCATION PHOTOGRAPH — the exact place of this shot: its architecture, materials, fixed features and lighting mood are spatial truth; stage the moment inside this place. Never copy its camera framing."], "attempt": 1, "dur_s": 26.3, "bytes": 2392026, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s40/stills/S10sh6_c.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\n\nSHOT TEXT (authoritative, Korean): 현관 철문이 아주 살짝 열린 틈새로 보이는 어두운 실내와 신발 앞코\n\nLOCATION (lock): The flat rooftop of an aging low-rise apartment building, enclosed by a waist-high parapet. A small rooftop dwelling has a metal entrance door and a window visible from the open roof. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nPROPS FACE THE RIGHT WAY: every handheld or used object must be\noriented exactly as its real-world use requires. A person reading,\nwatching or operating something (a phone, a photograph, a paper,\nany device) has its functional side — screen, front, page — facing\nTHEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nMOVEMENT (follow exactly): The unknown man's shoe toe advances from the rooftop exterior through the narrowly opened iron doorway into the dark room, leading his unseen body inward.\n\nFIGURES — size & depth (follow exactly): The shoe toe is small, about ~1/10 of the frame height, and lies FARTHER from the camera than the NEARER iron door edges; the dark interior recedes farthest beyond it.\n\nNO PEOPLE IN THIS SHOT: the shot text shows only the place and its state — no living person or any body part appears in frame, unless the shot text itself explicitly says so.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-13 19:16:26", "kind": "llm", "step": "s40_judge_still_S10sh6", "model": "gemini-pro", "dur_s": 44.1, "system_prompt": "You are given ONE image-generation prompt, the REFERENCE image(s)\nthat were attached to it (labelled), and THREE candidate images,\nlabelled A, B, C in the order attached, all generated from that\nexact prompt with those exact references.\nPick the ONE candidate that most faithfully realises the prompt.\nJudge ONLY fidelity to the prompt and its reference instructions:\nthe shot text's moment and action, who is and is NOT in frame,\ncamera framing, time of day, the LOCATION lock (the place must be\nthe one the reference shows — same architecture, materials,\nfixtures), pose/immobility and carried-state clauses, and every\nexclusion (no text, no invented people or objects). Consistency\nwith the attached reference image counts as prompt fidelity.\nIgnore generic aesthetic appeal.\nCheck every candidate point by point before deciding; base every\nverdict only on what is visible.\nAlso give every candidate an integer score 0-10 for that same\nfidelity.\nOutput: winner, ranking best-to-worst, and per candidate a score\nplus a one-line Korean verdict citing the decisive prompt points.", "user_prompt": "[{\"type\": \"text\", \"text\": \"THE PROMPT (all three candidates were generated from this):\\nCreate ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\\n\\nSHOT TEXT (authoritative, Korean): 현관 철문이 아주 살짝 열린 틈새로 보이는 어두운 실내와 신발 앞코\\n\\nLOCATION (lock): The flat rooftop of an aging low-rise apartment building, enclosed by a waist-high parapet. A small rooftop dwelling has a metal entrance door and a window visible from the open roof. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.\\n\\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\\ntext may describe characters metaphorically, figuratively or with\\nexaggeration. Photograph what a real movie camera would actually\\nrecord on a physical set — exaggerated or figurative impressions\\nbecome realistic staging choices (lighting, distance, angle,\\nwardrobe), not literal fantasy imagery.\\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\\nfeatures non-human or virtual beings (as in science fiction or\\nfantasy), every character — however indirectly, vaguely or\\nfiguratively the text describes them — IS a real human. When the\\ntext gives no direct visual description of a person, IMAGINE one\\nand still show them as a concrete, fully-formed human being:\\nalways render the human form to the maximum extent — build,\\nposture, face, hands, clothing — never reduce a person to a shape,\\nblob, solid silhouette or abstract mass.\\n\\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\\nperson's eyes, face or presence emotionally or figuratively (vacant,\\nhollow, dazed, burning, lifeless gaze and the like), it describes an\\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\\nthrough gaze direction, focus, eyelids, facial muscles, stillness\\nand posture. Every living person's eyes remain anatomically normal\\nhuman eyes with a natural iris and pupil, natural sclera and normal\\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\\notherwise alter eyeballs, skin or anatomy — unless the story\\nexplicitly declares that being non-human or supernatural in form.\\n\\nPROPS FACE THE RIGHT WAY: every handheld or used object must be\\noriented exactly as its real-world use requires. A person reading,\\nwatching or operating something (a phone, a photograph, a paper,\\nany device) has its functional side — screen, front, page — facing\\nTHEIR OWN eyes; the camera then sees whatever side the staging\\ngeometry implies (often its back). Show the functional side to the\\ncamera ONLY when the shot text itself stages it toward the viewer.\\nNever flip, mirror or reverse an object's front and back.\\n\\nMOVEMENT (follow exactly): The unknown man's shoe toe advances from the rooftop exterior through the narrowly opened iron doorway into the dark room, leading his unseen body inward.\\n\\nFIGURES — size & depth (follow exactly): The shoe toe is small, about ~1/10 of the frame height, and lies FARTHER from the camera than the NEARER iron door edges; the dark interior recedes farthest beyond it.\\n\\nNO PEOPLE IN THIS SHOT: the shot text shows only the place and its state — no living person or any body part appears in frame, unless the shot text itself explicitly says so.\\n\\nNo text, captions, watermarks or annotations anywhere.\"}, {\"type\": \"text\", \"text\": \"REFERENCE — LOCATION PHOTOGRAPH — the exact place of this shot: its architecture, materials, fixed features and lighting mood are spatial truth; stage the moment inside this place. Never copy its camera framing.\"}, {\"type\": \"text\", \"text\": \"Candidate A:\"}, {\"type\": \"text\", \"text\": \"Candidate B:\"}, {\"type\": \"text\", \"text\": \"Candidate C:\"}]"}
{"ts": "2026-07-13 19:16:45", "kind": "llm", "step": "s40_crit_still_S10sh6", "model": "gemini-pro", "dur_s": 18.5, "system_prompt": "You are given an image-generation prompt, the labelled REFERENCE\nimage(s) that were attached to it, and ONE photograph generated\nfrom them (the current best pick of three).\nList what is WRONG with it — ONLY violations of the prompt or of\nits reference instructions: the shot's stated moment and action,\nwho/what must or must NOT be in frame, camera, time of day,\nlocation consistency with the reference, pose/immobility and\ncarried-state clauses, object orientation, anatomy, and every\nexclusion (no text, no invented people or objects).\nBase every finding only on what is visible; ignore taste and\ngeneric aesthetics. For each issue give: issue_ko (short Korean\nline) + fix_en (ONE imperative English edit that fixes exactly\nthat while changing nothing else). Empty array if nothing wrong.", "user_prompt": "[{\"type\": \"text\", \"text\": \"THE PROMPT:\\nCreate ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\\n\\nSHOT TEXT (authoritative, Korean): 현관 철문이 아주 살짝 열린 틈새로 보이는 어두운 실내와 신발 앞코\\n\\nLOCATION (lock): The flat rooftop of an aging low-rise apartment building, enclosed by a waist-high parapet. A small rooftop dwelling has a metal entrance door and a window visible from the open roof. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.\\n\\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\\ntext may describe characters metaphorically, figuratively or with\\nexaggeration. Photograph what a real movie camera would actually\\nrecord on a physical set — exaggerated or figurative impressions\\nbecome realistic staging choices (lighting, distance, angle,\\nwardrobe), not literal fantasy imagery.\\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\\nfeatures non-human or virtual beings (as in science fiction or\\nfantasy), every character — however indirectly, vaguely or\\nfiguratively the text describes them — IS a real human. When the\\ntext gives no direct visual description of a person, IMAGINE one\\nand still show them as a concrete, fully-formed human being:\\nalways render the human form to the maximum extent — build,\\nposture, face, hands, clothing — never reduce a person to a shape,\\nblob, solid silhouette or abstract mass.\\n\\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\\nperson's eyes, face or presence emotionally or figuratively (vacant,\\nhollow, dazed, burning, lifeless gaze and the like), it describes an\\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\\nthrough gaze direction, focus, eyelids, facial muscles, stillness\\nand posture. Every living person's eyes remain anatomically normal\\nhuman eyes with a natural iris and pupil, natural sclera and normal\\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\\notherwise alter eyeballs, skin or anatomy — unless the story\\nexplicitly declares that being non-human or supernatural in form.\\n\\nPROPS FACE THE RIGHT WAY: every handheld or used object must be\\noriented exactly as its real-world use requires. A person reading,\\nwatching or operating something (a phone, a photograph, a paper,\\nany device) has its functional side — screen, front, page — facing\\nTHEIR OWN eyes; the camera then sees whatever side the staging\\ngeometry implies (often its back). Show the functional side to the\\ncamera ONLY when the shot text itself stages it toward the viewer.\\nNever flip, mirror or reverse an object's front and back.\\n\\nMOVEMENT (follow exactly): The unknown man's shoe toe advances from the rooftop exterior through the narrowly opened iron doorway into the dark room, leading his unseen body inward.\\n\\nFIGURES — size & depth (follow exactly): The shoe toe is small, about ~1/10 of the frame height, and lies FARTHER from the camera than the NEARER iron door edges; the dark interior recedes farthest beyond it.\\n\\nNO PEOPLE IN THIS SHOT: the shot text shows only the place and its state — no living person or any body part appears in frame, unless the shot text itself explicitly says so.\\n\\nNo text, captions, watermarks or annotations anywhere.\"}, {\"type\": \"text\", \"text\": \"REFERENCE — LOCATION PHOTOGRAPH — the exact place of this shot: its architecture, materials, fixed features and lighting mood are spatial truth; stage the moment inside this place. Never copy its camera framing.\"}, {\"type\": \"text\", \"text\": \"Photograph to examine:\"}]"}
{"ts": "2026-07-13 19:17:06", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s40_fix_still_S10sh6", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s40/stills/S10sh6_c.png"], "ref_labels": ["PHOTOGRAPH TO EDIT — fix ONLY the issues the prompt lists; preserve everything else exactly."], "attempt": 1, "dur_s": 20.7, "bytes": 2349249, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s40/stills/S10sh6_fix.png", "prompt": "Edit this photograph. Apply ONLY the corrections listed below,\neach in place, changing nothing else:\n\nCORRECTIONS:\n- Close the iron door so it leaves only a very narrow crack.\n- Rotate the shoe so its toe points inward toward the dark room, away from the camera.\n\nPRESERVE EVERYTHING ELSE EXACTLY as in the original photograph —\nevery person, pose, face, garment, object, set feature, lighting,\ncamera and framing stay identical. No text, captions or\nwatermarks anywhere."}
{"ts": "2026-07-13 19:17:25", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s40_still_S10sh7_a", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s40/plates/bg_S10sh7_sel.png"], "ref_labels": ["LOCATION PHOTOGRAPH — the exact place of this shot: its architecture, materials, fixed features and lighting mood are spatial truth; stage the moment inside this place. Never copy its camera framing."], "attempt": 1, "dur_s": 19.7, "bytes": 2679292, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s40/stills/S10sh7_a.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\n\nSHOT TEXT (authoritative, Korean): 불이 켜진 옥탑방 창문에 거대한 그림자가 작은 그림자의 어깨 쪽으로 고개를 꺾은 형태가 맺혀 있는 정지 구도\n\nLOCATION (lock): The flat rooftop of an aging low-rise apartment building, enclosed by a waist-high parapet. A small rooftop dwelling has a metal entrance door and a window visible from the open roof. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nPROPS FACE THE RIGHT WAY: every handheld or used object must be\noriented exactly as its real-world use requires. A person reading,\nwatching or operating something (a phone, a photograph, a paper,\nany device) has its functional side — screen, front, page — facing\nTHEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nMOVEMENT (follow exactly): static: A real man appearing as a large dark silhouette, with normal human build, leans into Minsook and angles his head down toward her shoulder as she is caught beneath him.\n\nFIGURES — size & depth (follow exactly): The man's shadow fills roughly ~2/3 of the frame height, larger than Minsook's smaller shadow at about ~1/3; both people are FARTHER than the NEARER window surface, while their mutual camera-depth order is not established. Their silhouettes overlap at Minsook's shoulder, leaving almost no distance between their paths.\n\nNO PEOPLE IN THIS SHOT: the shot text shows only the place and its state — no living person or any body part appears in frame, unless the shot text itself explicitly says so.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-13 19:17:48", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s40_still_S10sh7_b", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s40/plates/bg_S10sh7_sel.png"], "ref_labels": ["LOCATION PHOTOGRAPH — the exact place of this shot: its architecture, materials, fixed features and lighting mood are spatial truth; stage the moment inside this place. Never copy its camera framing."], "attempt": 1, "dur_s": 23.0, "bytes": 2702938, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s40/stills/S10sh7_b.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\n\nSHOT TEXT (authoritative, Korean): 불이 켜진 옥탑방 창문에 거대한 그림자가 작은 그림자의 어깨 쪽으로 고개를 꺾은 형태가 맺혀 있는 정지 구도\n\nLOCATION (lock): The flat rooftop of an aging low-rise apartment building, enclosed by a waist-high parapet. A small rooftop dwelling has a metal entrance door and a window visible from the open roof. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nPROPS FACE THE RIGHT WAY: every handheld or used object must be\noriented exactly as its real-world use requires. A person reading,\nwatching or operating something (a phone, a photograph, a paper,\nany device) has its functional side — screen, front, page — facing\nTHEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nMOVEMENT (follow exactly): static: A real man appearing as a large dark silhouette, with normal human build, leans into Minsook and angles his head down toward her shoulder as she is caught beneath him.\n\nFIGURES — size & depth (follow exactly): The man's shadow fills roughly ~2/3 of the frame height, larger than Minsook's smaller shadow at about ~1/3; both people are FARTHER than the NEARER window surface, while their mutual camera-depth order is not established. Their silhouettes overlap at Minsook's shoulder, leaving almost no distance between their paths.\n\nNO PEOPLE IN THIS SHOT: the shot text shows only the place and its state — no living person or any body part appears in frame, unless the shot text itself explicitly says so.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-13 19:18:09", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s40_still_S10sh7_c", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s40/plates/bg_S10sh7_sel.png"], "ref_labels": ["LOCATION PHOTOGRAPH — the exact place of this shot: its architecture, materials, fixed features and lighting mood are spatial truth; stage the moment inside this place. Never copy its camera framing."], "attempt": 1, "dur_s": 20.9, "bytes": 2841044, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s40/stills/S10sh7_c.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\n\nSHOT TEXT (authoritative, Korean): 불이 켜진 옥탑방 창문에 거대한 그림자가 작은 그림자의 어깨 쪽으로 고개를 꺾은 형태가 맺혀 있는 정지 구도\n\nLOCATION (lock): The flat rooftop of an aging low-rise apartment building, enclosed by a waist-high parapet. A small rooftop dwelling has a metal entrance door and a window visible from the open roof. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nPROPS FACE THE RIGHT WAY: every handheld or used object must be\noriented exactly as its real-world use requires. A person reading,\nwatching or operating something (a phone, a photograph, a paper,\nany device) has its functional side — screen, front, page — facing\nTHEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nMOVEMENT (follow exactly): static: A real man appearing as a large dark silhouette, with normal human build, leans into Minsook and angles his head down toward her shoulder as she is caught beneath him.\n\nFIGURES — size & depth (follow exactly): The man's shadow fills roughly ~2/3 of the frame height, larger than Minsook's smaller shadow at about ~1/3; both people are FARTHER than the NEARER window surface, while their mutual camera-depth order is not established. Their silhouettes overlap at Minsook's shoulder, leaving almost no distance between their paths.\n\nNO PEOPLE IN THIS SHOT: the shot text shows only the place and its state — no living person or any body part appears in frame, unless the shot text itself explicitly says so.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-13 19:18:36", "kind": "llm", "step": "s40_judge_still_S10sh7", "model": "gemini-pro", "dur_s": 26.7, "system_prompt": "You are given ONE image-generation prompt, the REFERENCE image(s)\nthat were attached to it (labelled), and THREE candidate images,\nlabelled A, B, C in the order attached, all generated from that\nexact prompt with those exact references.\nPick the ONE candidate that most faithfully realises the prompt.\nJudge ONLY fidelity to the prompt and its reference instructions:\nthe shot text's moment and action, who is and is NOT in frame,\ncamera framing, time of day, the LOCATION lock (the place must be\nthe one the reference shows — same architecture, materials,\nfixtures), pose/immobility and carried-state clauses, and every\nexclusion (no text, no invented people or objects). Consistency\nwith the attached reference image counts as prompt fidelity.\nIgnore generic aesthetic appeal.\nCheck every candidate point by point before deciding; base every\nverdict only on what is visible.\nAlso give every candidate an integer score 0-10 for that same\nfidelity.\nOutput: winner, ranking best-to-worst, and per candidate a score\nplus a one-line Korean verdict citing the decisive prompt points.", "user_prompt": "[{\"type\": \"text\", \"text\": \"THE PROMPT (all three candidates were generated from this):\\nCreate ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\\n\\nSHOT TEXT (authoritative, Korean): 불이 켜진 옥탑방 창문에 거대한 그림자가 작은 그림자의 어깨 쪽으로 고개를 꺾은 형태가 맺혀 있는 정지 구도\\n\\nLOCATION (lock): The flat rooftop of an aging low-rise apartment building, enclosed by a waist-high parapet. A small rooftop dwelling has a metal entrance door and a window visible from the open roof. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.\\n\\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\\ntext may describe characters metaphorically, figuratively or with\\nexaggeration. Photograph what a real movie camera would actually\\nrecord on a physical set — exaggerated or figurative impressions\\nbecome realistic staging choices (lighting, distance, angle,\\nwardrobe), not literal fantasy imagery.\\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\\nfeatures non-human or virtual beings (as in science fiction or\\nfantasy), every character — however indirectly, vaguely or\\nfiguratively the text describes them — IS a real human. When the\\ntext gives no direct visual description of a person, IMAGINE one\\nand still show them as a concrete, fully-formed human being:\\nalways render the human form to the maximum extent — build,\\nposture, face, hands, clothing — never reduce a person to a shape,\\nblob, solid silhouette or abstract mass.\\n\\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\\nperson's eyes, face or presence emotionally or figuratively (vacant,\\nhollow, dazed, burning, lifeless gaze and the like), it describes an\\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\\nthrough gaze direction, focus, eyelids, facial muscles, stillness\\nand posture. Every living person's eyes remain anatomically normal\\nhuman eyes with a natural iris and pupil, natural sclera and normal\\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\\notherwise alter eyeballs, skin or anatomy — unless the story\\nexplicitly declares that being non-human or supernatural in form.\\n\\nPROPS FACE THE RIGHT WAY: every handheld or used object must be\\noriented exactly as its real-world use requires. A person reading,\\nwatching or operating something (a phone, a photograph, a paper,\\nany device) has its functional side — screen, front, page — facing\\nTHEIR OWN eyes; the camera then sees whatever side the staging\\ngeometry implies (often its back). Show the functional side to the\\ncamera ONLY when the shot text itself stages it toward the viewer.\\nNever flip, mirror or reverse an object's front and back.\\n\\nMOVEMENT (follow exactly): static: A real man appearing as a large dark silhouette, with normal human build, leans into Minsook and angles his head down toward her shoulder as she is caught beneath him.\\n\\nFIGURES — size & depth (follow exactly): The man's shadow fills roughly ~2/3 of the frame height, larger than Minsook's smaller shadow at about ~1/3; both people are FARTHER than the NEARER window surface, while their mutual camera-depth order is not established. Their silhouettes overlap at Minsook's shoulder, leaving almost no distance between their paths.\\n\\nNO PEOPLE IN THIS SHOT: the shot text shows only the place and its state — no living person or any body part appears in frame, unless the shot text itself explicitly says so.\\n\\nNo text, captions, watermarks or annotations anywhere.\"}, {\"type\": \"text\", \"text\": \"REFERENCE — LOCATION PHOTOGRAPH — the exact place of this shot: its architecture, materials, fixed features and lighting mood are spatial truth; stage the moment inside this place. Never copy its camera framing.\"}, {\"type\": \"text\", \"text\": \"Candidate A:\"}, {\"type\": \"text\", \"text\": \"Candidate B:\"}, {\"type\": \"text\", \"text\": \"Candidate C:\"}]"}
{"ts": "2026-07-13 19:19:11", "kind": "llm", "step": "s40_crit_still_S10sh7", "model": "gemini-pro", "dur_s": 35.5, "system_prompt": "You are given an image-generation prompt, the labelled REFERENCE\nimage(s) that were attached to it, and ONE photograph generated\nfrom them (the current best pick of three).\nList what is WRONG with it — ONLY violations of the prompt or of\nits reference instructions: the shot's stated moment and action,\nwho/what must or must NOT be in frame, camera, time of day,\nlocation consistency with the reference, pose/immobility and\ncarried-state clauses, object orientation, anatomy, and every\nexclusion (no text, no invented people or objects).\nBase every finding only on what is visible; ignore taste and\ngeneric aesthetics. For each issue give: issue_ko (short Korean\nline) + fix_en (ONE imperative English edit that fixes exactly\nthat while changing nothing else). Empty array if nothing wrong.", "user_prompt": "[{\"type\": \"text\", \"text\": \"THE PROMPT:\\nCreate ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\\n\\nSHOT TEXT (authoritative, Korean): 불이 켜진 옥탑방 창문에 거대한 그림자가 작은 그림자의 어깨 쪽으로 고개를 꺾은 형태가 맺혀 있는 정지 구도\\n\\nLOCATION (lock): The flat rooftop of an aging low-rise apartment building, enclosed by a waist-high parapet. A small rooftop dwelling has a metal entrance door and a window visible from the open roof. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.\\n\\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\\ntext may describe characters metaphorically, figuratively or with\\nexaggeration. Photograph what a real movie camera would actually\\nrecord on a physical set — exaggerated or figurative impressions\\nbecome realistic staging choices (lighting, distance, angle,\\nwardrobe), not literal fantasy imagery.\\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\\nfeatures non-human or virtual beings (as in science fiction or\\nfantasy), every character — however indirectly, vaguely or\\nfiguratively the text describes them — IS a real human. When the\\ntext gives no direct visual description of a person, IMAGINE one\\nand still show them as a concrete, fully-formed human being:\\nalways render the human form to the maximum extent — build,\\nposture, face, hands, clothing — never reduce a person to a shape,\\nblob, solid silhouette or abstract mass.\\n\\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\\nperson's eyes, face or presence emotionally or figuratively (vacant,\\nhollow, dazed, burning, lifeless gaze and the like), it describes an\\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\\nthrough gaze direction, focus, eyelids, facial muscles, stillness\\nand posture. Every living person's eyes remain anatomically normal\\nhuman eyes with a natural iris and pupil, natural sclera and normal\\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\\notherwise alter eyeballs, skin or anatomy — unless the story\\nexplicitly declares that being non-human or supernatural in form.\\n\\nPROPS FACE THE RIGHT WAY: every handheld or used object must be\\noriented exactly as its real-world use requires. A person reading,\\nwatching or operating something (a phone, a photograph, a paper,\\nany device) has its functional side — screen, front, page — facing\\nTHEIR OWN eyes; the camera then sees whatever side the staging\\ngeometry implies (often its back). Show the functional side to the\\ncamera ONLY when the shot text itself stages it toward the viewer.\\nNever flip, mirror or reverse an object's front and back.\\n\\nMOVEMENT (follow exactly): static: A real man appearing as a large dark silhouette, with normal human build, leans into Minsook and angles his head down toward her shoulder as she is caught beneath him.\\n\\nFIGURES — size & depth (follow exactly): The man's shadow fills roughly ~2/3 of the frame height, larger than Minsook's smaller shadow at about ~1/3; both people are FARTHER than the NEARER window surface, while their mutual camera-depth order is not established. Their silhouettes overlap at Minsook's shoulder, leaving almost no distance between their paths.\\n\\nNO PEOPLE IN THIS SHOT: the shot text shows only the place and its state — no living person or any body part appears in frame, unless the shot text itself explicitly says so.\\n\\nNo text, captions, watermarks or annotations anywhere.\"}, {\"type\": \"text\", \"text\": \"REFERENCE — LOCATION PHOTOGRAPH — the exact place of this shot: its architecture, materials, fixed features and lighting mood are spatial truth; stage the moment inside this place. Never copy its camera framing.\"}, {\"type\": \"text\", \"text\": \"Photograph to examine:\"}]"}
{"ts": "2026-07-13 19:19:33", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s40_fix_still_S10sh7", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s40/stills/S10sh7_a.png"], "ref_labels": ["PHOTOGRAPH TO EDIT — fix ONLY the issues the prompt lists; preserve everything else exactly."], "attempt": 1, "dur_s": 22.1, "bytes": 2833130, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s40/stills/S10sh7_fix.png", "prompt": "Edit this photograph. Apply ONLY the corrections listed below,\neach in place, changing nothing else:\n\nCORRECTIONS:\n- Shoot the location from a noticeably different camera angle and composition than the reference photograph.\n\nPRESERVE EVERYTHING ELSE EXACTLY as in the original photograph —\nevery person, pose, face, garment, object, set feature, lighting,\ncamera and framing stay identical. No text, captions or\nwatermarks anywhere."}
{"ts": "2026-07-13 19:19:54", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s40_still_S11sh4_a", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s40/plates/bg_S11sh4_sel.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/39864973-d3d5-4886-bfb2-f8db608a005b.png"], "ref_labels": ["LOCATION PHOTOGRAPH — the exact place of this shot: its architecture, materials, fixed features and lighting mood are spatial truth; stage the moment inside this place. Never copy its camera framing.", "CHARACTER REFERENCE — 수리영: the exact person appearing in this shot; match face, hair and build exactly."], "attempt": 1, "dur_s": 20.9, "bytes": 2597943, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s40/stills/S11sh4_a.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\n\nSHOT TEXT (authoritative, Korean): 철제 파이프 난간을 손으로 잡은 수리영이 코끝을 찡그린 채 계단 중간에 서 있는 얼굴 클로즈업\n\nLOCATION (lock): A narrow exterior metal staircase attached to an old low-rise residential building. It has exposed steel steps and tubular pipe railings leading upward toward the roof. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nPROPS FACE THE RIGHT WAY: every handheld or used object must be\noriented exactly as its real-world use requires. A person reading,\nwatching or operating something (a phone, a photograph, a paper,\nany device) has its functional side — screen, front, page — facing\nTHEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nMOVEMENT (follow exactly): static: Suri-young pauses midway up the staircase while ascending toward the rooftop, gripping the metal-pipe railing with a tense posture and wrinkling her nose at the sudden foul smell, her body oriented uphill.\n\nFIGURES — size & depth (follow exactly): Suri-young’s face fills ~2/3 of the frame height in close-up and is the nearest figure; her hand and the metal-pipe railing sit slightly farther from the camera as she remains midway on the stairs.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 수리영 (Korean young woman, early 20s face, oval face, natural black long hair) — never anyone else, and never add a person the shot text does not show. IF only part of a person is in frame (a hand, arm, foot, back, silhouette), that body part belongs to the specific person the shot text names — its sex, age, build, skin and grooming must unmistakably match that person's profile above.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-13 19:20:14", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s40_still_S11sh4_b", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s40/plates/bg_S11sh4_sel.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/39864973-d3d5-4886-bfb2-f8db608a005b.png"], "ref_labels": ["LOCATION PHOTOGRAPH — the exact place of this shot: its architecture, materials, fixed features and lighting mood are spatial truth; stage the moment inside this place. Never copy its camera framing.", "CHARACTER REFERENCE — 수리영: the exact person appearing in this shot; match face, hair and build exactly."], "attempt": 1, "dur_s": 19.6, "bytes": 2531706, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s40/stills/S11sh4_b.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\n\nSHOT TEXT (authoritative, Korean): 철제 파이프 난간을 손으로 잡은 수리영이 코끝을 찡그린 채 계단 중간에 서 있는 얼굴 클로즈업\n\nLOCATION (lock): A narrow exterior metal staircase attached to an old low-rise residential building. It has exposed steel steps and tubular pipe railings leading upward toward the roof. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nPROPS FACE THE RIGHT WAY: every handheld or used object must be\noriented exactly as its real-world use requires. A person reading,\nwatching or operating something (a phone, a photograph, a paper,\nany device) has its functional side — screen, front, page — facing\nTHEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nMOVEMENT (follow exactly): static: Suri-young pauses midway up the staircase while ascending toward the rooftop, gripping the metal-pipe railing with a tense posture and wrinkling her nose at the sudden foul smell, her body oriented uphill.\n\nFIGURES — size & depth (follow exactly): Suri-young’s face fills ~2/3 of the frame height in close-up and is the nearest figure; her hand and the metal-pipe railing sit slightly farther from the camera as she remains midway on the stairs.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 수리영 (Korean young woman, early 20s face, oval face, natural black long hair) — never anyone else, and never add a person the shot text does not show. IF only part of a person is in frame (a hand, arm, foot, back, silhouette), that body part belongs to the specific person the shot text names — its sex, age, build, skin and grooming must unmistakably match that person's profile above.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-13 19:20:33", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s40_still_S11sh4_c", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s40/plates/bg_S11sh4_sel.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/39864973-d3d5-4886-bfb2-f8db608a005b.png"], "ref_labels": ["LOCATION PHOTOGRAPH — the exact place of this shot: its architecture, materials, fixed features and lighting mood are spatial truth; stage the moment inside this place. Never copy its camera framing.", "CHARACTER REFERENCE — 수리영: the exact person appearing in this shot; match face, hair and build exactly."], "attempt": 1, "dur_s": 18.8, "bytes": 2427074, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s40/stills/S11sh4_c.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\n\nSHOT TEXT (authoritative, Korean): 철제 파이프 난간을 손으로 잡은 수리영이 코끝을 찡그린 채 계단 중간에 서 있는 얼굴 클로즈업\n\nLOCATION (lock): A narrow exterior metal staircase attached to an old low-rise residential building. It has exposed steel steps and tubular pipe railings leading upward toward the roof. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nPROPS FACE THE RIGHT WAY: every handheld or used object must be\noriented exactly as its real-world use requires. A person reading,\nwatching or operating something (a phone, a photograph, a paper,\nany device) has its functional side — screen, front, page — facing\nTHEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nMOVEMENT (follow exactly): static: Suri-young pauses midway up the staircase while ascending toward the rooftop, gripping the metal-pipe railing with a tense posture and wrinkling her nose at the sudden foul smell, her body oriented uphill.\n\nFIGURES — size & depth (follow exactly): Suri-young’s face fills ~2/3 of the frame height in close-up and is the nearest figure; her hand and the metal-pipe railing sit slightly farther from the camera as she remains midway on the stairs.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 수리영 (Korean young woman, early 20s face, oval face, natural black long hair) — never anyone else, and never add a person the shot text does not show. IF only part of a person is in frame (a hand, arm, foot, back, silhouette), that body part belongs to the specific person the shot text names — its sex, age, build, skin and grooming must unmistakably match that person's profile above.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-13 19:20:58", "kind": "llm", "step": "s40_judge_still_S11sh4", "model": "gemini-pro", "dur_s": 24.6, "system_prompt": "You are given ONE image-generation prompt, the REFERENCE image(s)\nthat were attached to it (labelled), and THREE candidate images,\nlabelled A, B, C in the order attached, all generated from that\nexact prompt with those exact references.\nPick the ONE candidate that most faithfully realises the prompt.\nJudge ONLY fidelity to the prompt and its reference instructions:\nthe shot text's moment and action, who is and is NOT in frame,\ncamera framing, time of day, the LOCATION lock (the place must be\nthe one the reference shows — same architecture, materials,\nfixtures), pose/immobility and carried-state clauses, and every\nexclusion (no text, no invented people or objects). Consistency\nwith the attached reference image counts as prompt fidelity.\nIgnore generic aesthetic appeal.\nCheck every candidate point by point before deciding; base every\nverdict only on what is visible.\nAlso give every candidate an integer score 0-10 for that same\nfidelity.\nOutput: winner, ranking best-to-worst, and per candidate a score\nplus a one-line Korean verdict citing the decisive prompt points.", "user_prompt": "[{\"type\": \"text\", \"text\": \"THE PROMPT (all three candidates were generated from this):\\nCreate ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\\n\\nSHOT TEXT (authoritative, Korean): 철제 파이프 난간을 손으로 잡은 수리영이 코끝을 찡그린 채 계단 중간에 서 있는 얼굴 클로즈업\\n\\nLOCATION (lock): A narrow exterior metal staircase attached to an old low-rise residential building. It has exposed steel steps and tubular pipe railings leading upward toward the roof. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.\\n\\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\\ntext may describe characters metaphorically, figuratively or with\\nexaggeration. Photograph what a real movie camera would actually\\nrecord on a physical set — exaggerated or figurative impressions\\nbecome realistic staging choices (lighting, distance, angle,\\nwardrobe), not literal fantasy imagery.\\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\\nfeatures non-human or virtual beings (as in science fiction or\\nfantasy), every character — however indirectly, vaguely or\\nfiguratively the text describes them — IS a real human. When the\\ntext gives no direct visual description of a person, IMAGINE one\\nand still show them as a concrete, fully-formed human being:\\nalways render the human form to the maximum extent — build,\\nposture, face, hands, clothing — never reduce a person to a shape,\\nblob, solid silhouette or abstract mass.\\n\\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\\nperson's eyes, face or presence emotionally or figuratively (vacant,\\nhollow, dazed, burning, lifeless gaze and the like), it describes an\\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\\nthrough gaze direction, focus, eyelids, facial muscles, stillness\\nand posture. Every living person's eyes remain anatomically normal\\nhuman eyes with a natural iris and pupil, natural sclera and normal\\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\\notherwise alter eyeballs, skin or anatomy — unless the story\\nexplicitly declares that being non-human or supernatural in form.\\n\\nPROPS FACE THE RIGHT WAY: every handheld or used object must be\\noriented exactly as its real-world use requires. A person reading,\\nwatching or operating something (a phone, a photograph, a paper,\\nany device) has its functional side — screen, front, page — facing\\nTHEIR OWN eyes; the camera then sees whatever side the staging\\ngeometry implies (often its back). Show the functional side to the\\ncamera ONLY when the shot text itself stages it toward the viewer.\\nNever flip, mirror or reverse an object's front and back.\\n\\nMOVEMENT (follow exactly): static: Suri-young pauses midway up the staircase while ascending toward the rooftop, gripping the metal-pipe railing with a tense posture and wrinkling her nose at the sudden foul smell, her body oriented uphill.\\n\\nFIGURES — size & depth (follow exactly): Suri-young’s face fills ~2/3 of the frame height in close-up and is the nearest figure; her hand and the metal-pipe railing sit slightly farther from the camera as she remains midway on the stairs.\\n\\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 수리영 (Korean young woman, early 20s face, oval face, natural black long hair) — never anyone else, and never add a person the shot text does not show. IF only part of a person is in frame (a hand, arm, foot, back, silhouette), that body part belongs to the specific person the shot text names — its sex, age, build, skin and grooming must unmistakably match that person's profile above.\\n\\nNo text, captions, watermarks or annotations anywhere.\"}, {\"type\": \"text\", \"text\": \"REFERENCE — LOCATION PHOTOGRAPH — the exact place of this shot: its architecture, materials, fixed features and lighting mood are spatial truth; stage the moment inside this place. Never copy its camera framing.\"}, {\"type\": \"text\", \"text\": \"REFERENCE — CHARACTER REFERENCE — 수리영: the exact person appearing in this shot; match face, hair and build exactly.\"}, {\"type\": \"text\", \"text\": \"Candidate A:\"}, {\"type\": \"text\", \"text\": \"Candidate B:\"}, {\"type\": \"text\", \"text\": \"Candidate C:\"}]"}
{"ts": "2026-07-13 19:21:22", "kind": "llm", "step": "s40_crit_still_S11sh4", "model": "gemini-pro", "dur_s": 24.6, "system_prompt": "You are given an image-generation prompt, the labelled REFERENCE\nimage(s) that were attached to it, and ONE photograph generated\nfrom them (the current best pick of three).\nList what is WRONG with it — ONLY violations of the prompt or of\nits reference instructions: the shot's stated moment and action,\nwho/what must or must NOT be in frame, camera, time of day,\nlocation consistency with the reference, pose/immobility and\ncarried-state clauses, object orientation, anatomy, and every\nexclusion (no text, no invented people or objects).\nBase every finding only on what is visible; ignore taste and\ngeneric aesthetics. For each issue give: issue_ko (short Korean\nline) + fix_en (ONE imperative English edit that fixes exactly\nthat while changing nothing else). Empty array if nothing wrong.", "user_prompt": "[{\"type\": \"text\", \"text\": \"THE PROMPT:\\nCreate ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\\n\\nSHOT TEXT (authoritative, Korean): 철제 파이프 난간을 손으로 잡은 수리영이 코끝을 찡그린 채 계단 중간에 서 있는 얼굴 클로즈업\\n\\nLOCATION (lock): A narrow exterior metal staircase attached to an old low-rise residential building. It has exposed steel steps and tubular pipe railings leading upward toward the roof. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.\\n\\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\\ntext may describe characters metaphorically, figuratively or with\\nexaggeration. Photograph what a real movie camera would actually\\nrecord on a physical set — exaggerated or figurative impressions\\nbecome realistic staging choices (lighting, distance, angle,\\nwardrobe), not literal fantasy imagery.\\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\\nfeatures non-human or virtual beings (as in science fiction or\\nfantasy), every character — however indirectly, vaguely or\\nfiguratively the text describes them — IS a real human. When the\\ntext gives no direct visual description of a person, IMAGINE one\\nand still show them as a concrete, fully-formed human being:\\nalways render the human form to the maximum extent — build,\\nposture, face, hands, clothing — never reduce a person to a shape,\\nblob, solid silhouette or abstract mass.\\n\\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\\nperson's eyes, face or presence emotionally or figuratively (vacant,\\nhollow, dazed, burning, lifeless gaze and the like), it describes an\\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\\nthrough gaze direction, focus, eyelids, facial muscles, stillness\\nand posture. Every living person's eyes remain anatomically normal\\nhuman eyes with a natural iris and pupil, natural sclera and normal\\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\\notherwise alter eyeballs, skin or anatomy — unless the story\\nexplicitly declares that being non-human or supernatural in form.\\n\\nPROPS FACE THE RIGHT WAY: every handheld or used object must be\\noriented exactly as its real-world use requires. A person reading,\\nwatching or operating something (a phone, a photograph, a paper,\\nany device) has its functional side — screen, front, page — facing\\nTHEIR OWN eyes; the camera then sees whatever side the staging\\ngeometry implies (often its back). Show the functional side to the\\ncamera ONLY when the shot text itself stages it toward the viewer.\\nNever flip, mirror or reverse an object's front and back.\\n\\nMOVEMENT (follow exactly): static: Suri-young pauses midway up the staircase while ascending toward the rooftop, gripping the metal-pipe railing with a tense posture and wrinkling her nose at the sudden foul smell, her body oriented uphill.\\n\\nFIGURES — size & depth (follow exactly): Suri-young’s face fills ~2/3 of the frame height in close-up and is the nearest figure; her hand and the metal-pipe railing sit slightly farther from the camera as she remains midway on the stairs.\\n\\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 수리영 (Korean young woman, early 20s face, oval face, natural black long hair) — never anyone else, and never add a person the shot text does not show. IF only part of a person is in frame (a hand, arm, foot, back, silhouette), that body part belongs to the specific person the shot text names — its sex, age, build, skin and grooming must unmistakably match that person's profile above.\\n\\nNo text, captions, watermarks or annotations anywhere.\"}, {\"type\": \"text\", \"text\": \"REFERENCE — LOCATION PHOTOGRAPH — the exact place of this shot: its architecture, materials, fixed features and lighting mood are spatial truth; stage the moment inside this place. Never copy its camera framing.\"}, {\"type\": \"text\", \"text\": \"REFERENCE — CHARACTER REFERENCE — 수리영: the exact person appearing in this shot; match face, hair and build exactly.\"}, {\"type\": \"text\", \"text\": \"Photograph to examine:\"}]"}
{"ts": "2026-07-13 19:21:44", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s40_fix_still_S11sh4", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s40/stills/S11sh4_c.png"], "ref_labels": ["PHOTOGRAPH TO EDIT — fix ONLY the issues the prompt lists; preserve everything else exactly."], "attempt": 1, "dur_s": 21.8, "bytes": 2519665, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s40/stills/S11sh4_fix.png", "prompt": "Edit this photograph. Apply ONLY the corrections listed below,\neach in place, changing nothing else:\n\nCORRECTIONS:\n- Zoom in significantly so that Suri-young's face fills approximately 2/3 of the frame height, matching the requested close-up.\n- Straighten the metal railing the character is gripping to accurately match the straight tubular pipe design shown in the location reference.\n\nPRESERVE EVERYTHING ELSE EXACTLY as in the original photograph —\nevery person, pose, face, garment, object, set feature, lighting,\ncamera and framing stay identical. No text, captions or\nwatermarks anywhere."}
{"ts": "2026-07-13 19:22:13", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s40_still_S11sh5_a", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s40/plates/bg_S11sh5_sel.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s40/stills/S10sh6_sel.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/39864973-d3d5-4886-bfb2-f8db608a005b.png"], "ref_labels": ["LOCATION PHOTOGRAPH — the exact place of this shot: its architecture, materials, fixed features and lighting mood are spatial truth; stage the moment inside this place. Never copy its camera framing.", "PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing. If this photo shows a character who cannot move (dead or unconscious), that character's exact pose, position and orientation are ALSO LOCKED — treat their body as a fixed prop of the set that only the camera moves around.", "CHARACTER REFERENCE — 수리영: the exact person appearing in this shot; match face, hair and build exactly."], "attempt": 1, "dur_s": 29.0, "bytes": 2903550, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s40/stills/S11sh5_a.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\n\nSHOT TEXT (authoritative, Korean): 옥상에 선 수리영의 시선 끝에 반쯤 열려 있는 어두운 현관 철문이 보이는 정면 구도\n\nLOCATION (lock): The flat rooftop of an aging low-rise apartment building, enclosed by a waist-high parapet. A small rooftop dwelling has a metal entrance door and a window visible from the open roof. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.\n\nTHIS SHOT CONTINUES THE PREVIOUS SHOT: everything the attached still established — the place, its fixed features and wear, each person's clothing and state — persists. Any person in it who cannot move stays PRECISELY as photographed (body, pose, contact points, held objects); only the camera changes.\n\nPREVIOUS STILL USAGE (follow exactly — what to take from the attached still and what to exclude): Take the aged rooftop surface, metal entrance door, surrounding exterior materials, and nighttime illumination from the reference. Keep the entrance door visibly open to the degree required by the current scene. Exclude the stranger's shoe and any suggestion that the stranger is still standing at the doorway.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nPROPS FACE THE RIGHT WAY: every handheld or used object must be\noriented exactly as its real-world use requires. A person reading,\nwatching or operating something (a phone, a photograph, a paper,\nany device) has its functional side — screen, front, page — facing\nTHEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nMOVEMENT (follow exactly): static: Suriyoung stands tensely on the rooftop with her body and gaze directed straight toward the half-open iron entrance door and its dark interior.\n\nFIGURES — size & depth (follow exactly): Suriyoung appears about ~1/2 of the frame height in the NEARER rooftop area, while the half-open door appears about ~1/3 and is FARTHER ahead along her line of sight.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 수리영 (Korean young woman, early 20s face, oval face, natural black long hair) — never anyone else, and never add a person the shot text does not show. IF only part of a person is in frame (a hand, arm, foot, back, silhouette), that body part belongs to the specific person the shot text names — its sex, age, build, skin and grooming must unmistakably match that person's profile above.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-13 19:22:45", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s40_still_S11sh5_b", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s40/plates/bg_S11sh5_sel.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s40/stills/S10sh6_sel.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/39864973-d3d5-4886-bfb2-f8db608a005b.png"], "ref_labels": ["LOCATION PHOTOGRAPH — the exact place of this shot: its architecture, materials, fixed features and lighting mood are spatial truth; stage the moment inside this place. Never copy its camera framing.", "PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing. If this photo shows a character who cannot move (dead or unconscious), that character's exact pose, position and orientation are ALSO LOCKED — treat their body as a fixed prop of the set that only the camera moves around.", "CHARACTER REFERENCE — 수리영: the exact person appearing in this shot; match face, hair and build exactly."], "attempt": 1, "dur_s": 32.4, "bytes": 2912799, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s40/stills/S11sh5_b.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\n\nSHOT TEXT (authoritative, Korean): 옥상에 선 수리영의 시선 끝에 반쯤 열려 있는 어두운 현관 철문이 보이는 정면 구도\n\nLOCATION (lock): The flat rooftop of an aging low-rise apartment building, enclosed by a waist-high parapet. A small rooftop dwelling has a metal entrance door and a window visible from the open roof. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.\n\nTHIS SHOT CONTINUES THE PREVIOUS SHOT: everything the attached still established — the place, its fixed features and wear, each person's clothing and state — persists. Any person in it who cannot move stays PRECISELY as photographed (body, pose, contact points, held objects); only the camera changes.\n\nPREVIOUS STILL USAGE (follow exactly — what to take from the attached still and what to exclude): Take the aged rooftop surface, metal entrance door, surrounding exterior materials, and nighttime illumination from the reference. Keep the entrance door visibly open to the degree required by the current scene. Exclude the stranger's shoe and any suggestion that the stranger is still standing at the doorway.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nPROPS FACE THE RIGHT WAY: every handheld or used object must be\noriented exactly as its real-world use requires. A person reading,\nwatching or operating something (a phone, a photograph, a paper,\nany device) has its functional side — screen, front, page — facing\nTHEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nMOVEMENT (follow exactly): static: Suriyoung stands tensely on the rooftop with her body and gaze directed straight toward the half-open iron entrance door and its dark interior.\n\nFIGURES — size & depth (follow exactly): Suriyoung appears about ~1/2 of the frame height in the NEARER rooftop area, while the half-open door appears about ~1/3 and is FARTHER ahead along her line of sight.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 수리영 (Korean young woman, early 20s face, oval face, natural black long hair) — never anyone else, and never add a person the shot text does not show. IF only part of a person is in frame (a hand, arm, foot, back, silhouette), that body part belongs to the specific person the shot text names — its sex, age, build, skin and grooming must unmistakably match that person's profile above.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-13 19:23:16", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s40_still_S11sh5_c", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s40/plates/bg_S11sh5_sel.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s40/stills/S10sh6_sel.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/39864973-d3d5-4886-bfb2-f8db608a005b.png"], "ref_labels": ["LOCATION PHOTOGRAPH — the exact place of this shot: its architecture, materials, fixed features and lighting mood are spatial truth; stage the moment inside this place. Never copy its camera framing.", "PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing. If this photo shows a character who cannot move (dead or unconscious), that character's exact pose, position and orientation are ALSO LOCKED — treat their body as a fixed prop of the set that only the camera moves around.", "CHARACTER REFERENCE — 수리영: the exact person appearing in this shot; match face, hair and build exactly."], "attempt": 1, "dur_s": 31.0, "bytes": 2939161, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s40/stills/S11sh5_c.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\n\nSHOT TEXT (authoritative, Korean): 옥상에 선 수리영의 시선 끝에 반쯤 열려 있는 어두운 현관 철문이 보이는 정면 구도\n\nLOCATION (lock): The flat rooftop of an aging low-rise apartment building, enclosed by a waist-high parapet. A small rooftop dwelling has a metal entrance door and a window visible from the open roof. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.\n\nTHIS SHOT CONTINUES THE PREVIOUS SHOT: everything the attached still established — the place, its fixed features and wear, each person's clothing and state — persists. Any person in it who cannot move stays PRECISELY as photographed (body, pose, contact points, held objects); only the camera changes.\n\nPREVIOUS STILL USAGE (follow exactly — what to take from the attached still and what to exclude): Take the aged rooftop surface, metal entrance door, surrounding exterior materials, and nighttime illumination from the reference. Keep the entrance door visibly open to the degree required by the current scene. Exclude the stranger's shoe and any suggestion that the stranger is still standing at the doorway.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nPROPS FACE THE RIGHT WAY: every handheld or used object must be\noriented exactly as its real-world use requires. A person reading,\nwatching or operating something (a phone, a photograph, a paper,\nany device) has its functional side — screen, front, page — facing\nTHEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nMOVEMENT (follow exactly): static: Suriyoung stands tensely on the rooftop with her body and gaze directed straight toward the half-open iron entrance door and its dark interior.\n\nFIGURES — size & depth (follow exactly): Suriyoung appears about ~1/2 of the frame height in the NEARER rooftop area, while the half-open door appears about ~1/3 and is FARTHER ahead along her line of sight.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 수리영 (Korean young woman, early 20s face, oval face, natural black long hair) — never anyone else, and never add a person the shot text does not show. IF only part of a person is in frame (a hand, arm, foot, back, silhouette), that body part belongs to the specific person the shot text names — its sex, age, build, skin and grooming must unmistakably match that person's profile above.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-13 19:23:45", "kind": "llm", "step": "s40_judge_still_S11sh5", "model": "gemini-pro", "dur_s": 28.5, "system_prompt": "You are given ONE image-generation prompt, the REFERENCE image(s)\nthat were attached to it (labelled), and THREE candidate images,\nlabelled A, B, C in the order attached, all generated from that\nexact prompt with those exact references.\nPick the ONE candidate that most faithfully realises the prompt.\nJudge ONLY fidelity to the prompt and its reference instructions:\nthe shot text's moment and action, who is and is NOT in frame,\ncamera framing, time of day, the LOCATION lock (the place must be\nthe one the reference shows — same architecture, materials,\nfixtures), pose/immobility and carried-state clauses, and every\nexclusion (no text, no invented people or objects). Consistency\nwith the attached reference image counts as prompt fidelity.\nIgnore generic aesthetic appeal.\nCheck every candidate point by point before deciding; base every\nverdict only on what is visible.\nAlso give every candidate an integer score 0-10 for that same\nfidelity.\nOutput: winner, ranking best-to-worst, and per candidate a score\nplus a one-line Korean verdict citing the decisive prompt points.", "user_prompt": "[{\"type\": \"text\", \"text\": \"THE PROMPT (all three candidates were generated from this):\\nCreate ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\\n\\nSHOT TEXT (authoritative, Korean): 옥상에 선 수리영의 시선 끝에 반쯤 열려 있는 어두운 현관 철문이 보이는 정면 구도\\n\\nLOCATION (lock): The flat rooftop of an aging low-rise apartment building, enclosed by a waist-high parapet. A small rooftop dwelling has a metal entrance door and a window visible from the open roof. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.\\n\\nTHIS SHOT CONTINUES THE PREVIOUS SHOT: everything the attached still established — the place, its fixed features and wear, each person's clothing and state — persists. Any person in it who cannot move stays PRECISELY as photographed (body, pose, contact points, held objects); only the camera changes.\\n\\nPREVIOUS STILL USAGE (follow exactly — what to take from the attached still and what to exclude): Take the aged rooftop surface, metal entrance door, surrounding exterior materials, and nighttime illumination from the reference. Keep the entrance door visibly open to the degree required by the current scene. Exclude the stranger's shoe and any suggestion that the stranger is still standing at the doorway.\\n\\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\\ntext may describe characters metaphorically, figuratively or with\\nexaggeration. Photograph what a real movie camera would actually\\nrecord on a physical set — exaggerated or figurative impressions\\nbecome realistic staging choices (lighting, distance, angle,\\nwardrobe), not literal fantasy imagery.\\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\\nfeatures non-human or virtual beings (as in science fiction or\\nfantasy), every character — however indirectly, vaguely or\\nfiguratively the text describes them — IS a real human. When the\\ntext gives no direct visual description of a person, IMAGINE one\\nand still show them as a concrete, fully-formed human being:\\nalways render the human form to the maximum extent — build,\\nposture, face, hands, clothing — never reduce a person to a shape,\\nblob, solid silhouette or abstract mass.\\n\\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\\nperson's eyes, face or presence emotionally or figuratively (vacant,\\nhollow, dazed, burning, lifeless gaze and the like), it describes an\\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\\nthrough gaze direction, focus, eyelids, facial muscles, stillness\\nand posture. Every living person's eyes remain anatomically normal\\nhuman eyes with a natural iris and pupil, natural sclera and normal\\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\\notherwise alter eyeballs, skin or anatomy — unless the story\\nexplicitly declares that being non-human or supernatural in form.\\n\\nPROPS FACE THE RIGHT WAY: every handheld or used object must be\\noriented exactly as its real-world use requires. A person reading,\\nwatching or operating something (a phone, a photograph, a paper,\\nany device) has its functional side — screen, front, page — facing\\nTHEIR OWN eyes; the camera then sees whatever side the staging\\ngeometry implies (often its back). Show the functional side to the\\ncamera ONLY when the shot text itself stages it toward the viewer.\\nNever flip, mirror or reverse an object's front and back.\\n\\nMOVEMENT (follow exactly): static: Suriyoung stands tensely on the rooftop with her body and gaze directed straight toward the half-open iron entrance door and its dark interior.\\n\\nFIGURES — size & depth (follow exactly): Suriyoung appears about ~1/2 of the frame height in the NEARER rooftop area, while the half-open door appears about ~1/3 and is FARTHER ahead along her line of sight.\\n\\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 수리영 (Korean young woman, early 20s face, oval face, natural black long hair) — never anyone else, and never add a person the shot text does not show. IF only part of a person is in frame (a hand, arm, foot, back, silhouette), that body part belongs to the specific person the shot text names — its sex, age, build, skin and grooming must unmistakably match that person's profile above.\\n\\nNo text, captions, watermarks or annotations anywhere.\"}, {\"type\": \"text\", \"text\": \"REFERENCE — LOCATION PHOTOGRAPH — the exact place of this shot: its architecture, materials, fixed features and lighting mood are spatial truth; stage the moment inside this place. Never copy its camera framing.\"}, {\"type\": \"text\", \"text\": \"REFERENCE — PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing. If this photo shows a character who cannot move (dead or unconscious), that character's exact pose, position and orientation are ALSO LOCKED — treat their body as a fixed prop of the set that only the camera moves around.\"}, {\"type\": \"text\", \"text\": \"REFERENCE — CHARACTER REFERENCE — 수리영: the exact person appearing in this shot; match face, hair and build exactly.\"}, {\"type\": \"text\", \"text\": \"Candidate A:\"}, {\"type\": \"text\", \"text\": \"Candidate B:\"}, {\"type\": \"text\", \"text\": \"Candidate C:\"}]"}
{"ts": "2026-07-13 19:24:21", "kind": "llm", "step": "s40_crit_still_S11sh5", "model": "gemini-pro", "dur_s": 36.0, "system_prompt": "You are given an image-generation prompt, the labelled REFERENCE\nimage(s) that were attached to it, and ONE photograph generated\nfrom them (the current best pick of three).\nList what is WRONG with it — ONLY violations of the prompt or of\nits reference instructions: the shot's stated moment and action,\nwho/what must or must NOT be in frame, camera, time of day,\nlocation consistency with the reference, pose/immobility and\ncarried-state clauses, object orientation, anatomy, and every\nexclusion (no text, no invented people or objects).\nBase every finding only on what is visible; ignore taste and\ngeneric aesthetics. For each issue give: issue_ko (short Korean\nline) + fix_en (ONE imperative English edit that fixes exactly\nthat while changing nothing else). Empty array if nothing wrong.", "user_prompt": "[{\"type\": \"text\", \"text\": \"THE PROMPT:\\nCreate ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\\n\\nSHOT TEXT (authoritative, Korean): 옥상에 선 수리영의 시선 끝에 반쯤 열려 있는 어두운 현관 철문이 보이는 정면 구도\\n\\nLOCATION (lock): The flat rooftop of an aging low-rise apartment building, enclosed by a waist-high parapet. A small rooftop dwelling has a metal entrance door and a window visible from the open roof. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.\\n\\nTHIS SHOT CONTINUES THE PREVIOUS SHOT: everything the attached still established — the place, its fixed features and wear, each person's clothing and state — persists. Any person in it who cannot move stays PRECISELY as photographed (body, pose, contact points, held objects); only the camera changes.\\n\\nPREVIOUS STILL USAGE (follow exactly — what to take from the attached still and what to exclude): Take the aged rooftop surface, metal entrance door, surrounding exterior materials, and nighttime illumination from the reference. Keep the entrance door visibly open to the degree required by the current scene. Exclude the stranger's shoe and any suggestion that the stranger is still standing at the doorway.\\n\\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\\ntext may describe characters metaphorically, figuratively or with\\nexaggeration. Photograph what a real movie camera would actually\\nrecord on a physical set — exaggerated or figurative impressions\\nbecome realistic staging choices (lighting, distance, angle,\\nwardrobe), not literal fantasy imagery.\\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\\nfeatures non-human or virtual beings (as in science fiction or\\nfantasy), every character — however indirectly, vaguely or\\nfiguratively the text describes them — IS a real human. When the\\ntext gives no direct visual description of a person, IMAGINE one\\nand still show them as a concrete, fully-formed human being:\\nalways render the human form to the maximum extent — build,\\nposture, face, hands, clothing — never reduce a person to a shape,\\nblob, solid silhouette or abstract mass.\\n\\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\\nperson's eyes, face or presence emotionally or figuratively (vacant,\\nhollow, dazed, burning, lifeless gaze and the like), it describes an\\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\\nthrough gaze direction, focus, eyelids, facial muscles, stillness\\nand posture. Every living person's eyes remain anatomically normal\\nhuman eyes with a natural iris and pupil, natural sclera and normal\\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\\notherwise alter eyeballs, skin or anatomy — unless the story\\nexplicitly declares that being non-human or supernatural in form.\\n\\nPROPS FACE THE RIGHT WAY: every handheld or used object must be\\noriented exactly as its real-world use requires. A person reading,\\nwatching or operating something (a phone, a photograph, a paper,\\nany device) has its functional side — screen, front, page — facing\\nTHEIR OWN eyes; the camera then sees whatever side the staging\\ngeometry implies (often its back). Show the functional side to the\\ncamera ONLY when the shot text itself stages it toward the viewer.\\nNever flip, mirror or reverse an object's front and back.\\n\\nMOVEMENT (follow exactly): static: Suriyoung stands tensely on the rooftop with her body and gaze directed straight toward the half-open iron entrance door and its dark interior.\\n\\nFIGURES — size & depth (follow exactly): Suriyoung appears about ~1/2 of the frame height in the NEARER rooftop area, while the half-open door appears about ~1/3 and is FARTHER ahead along her line of sight.\\n\\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 수리영 (Korean young woman, early 20s face, oval face, natural black long hair) — never anyone else, and never add a person the shot text does not show. IF only part of a person is in frame (a hand, arm, foot, back, silhouette), that body part belongs to the specific person the shot text names — its sex, age, build, skin and grooming must unmistakably match that person's profile above.\\n\\nNo text, captions, watermarks or annotations anywhere.\"}, {\"type\": \"text\", \"text\": \"REFERENCE — LOCATION PHOTOGRAPH — the exact place of this shot: its architecture, materials, fixed features and lighting mood are spatial truth; stage the moment inside this place. Never copy its camera framing.\"}, {\"type\": \"text\", \"text\": \"REFERENCE — PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing. If this photo shows a character who cannot move (dead or unconscious), that character's exact pose, position and orientation are ALSO LOCKED — treat their body as a fixed prop of the set that only the camera moves around.\"}, {\"type\": \"text\", \"text\": \"REFERENCE — CHARACTER REFERENCE — 수리영: the exact person appearing in this shot; match face, hair and build exactly.\"}, {\"type\": \"text\", \"text\": \"Photograph to examine:\"}]"}
{"ts": "2026-07-13 19:24:43", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s40_fix_still_S11sh5", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s40/stills/S11sh5_c.png"], "ref_labels": ["PHOTOGRAPH TO EDIT — fix ONLY the issues the prompt lists; preserve everything else exactly."], "attempt": 1, "dur_s": 21.9, "bytes": 2980464, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s40/stills/S11sh5_fix.png", "prompt": "Edit this photograph. Apply ONLY the corrections listed below,\neach in place, changing nothing else:\n\nCORRECTIONS:\n- Mirror the entrance door so its hinges are on the right side and it opens toward the right, matching the reference.\n\nPRESERVE EVERYTHING ELSE EXACTLY as in the original photograph —\nevery person, pose, face, garment, object, set feature, lighting,\ncamera and framing stay identical. No text, captions or\nwatermarks anywhere."}
{"ts": "2026-07-13 19:25:01", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s40_still_S12sh11_a", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s40/plates/plate_daughter_bedroom_night_doorway_wide_sel.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/1d7902d5-8b31-4ab6-9e6a-5da6ab5d842f.png"], "ref_labels": ["LOCATION PHOTOGRAPH — the exact place of this shot: its architecture, materials, fixed features and lighting mood are spatial truth; stage the moment inside this place. Never copy its camera framing.", "CHARACTER REFERENCE — 민숙 (환시): the exact person appearing in this shot; match face, hair and build exactly."], "attempt": 1, "dur_s": 18.4, "bytes": 2385712, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s40/stills/S12sh11_a.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\n\nSHOT TEXT (authoritative, Korean): 옷과 피부가 힘없이 무너져 미동이 없는 민숙이 바닥에 주저앉아 고개를 푹 숙인 정지 상태\n\nLOCATION (lock): A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.\n\nIMMOBILE CHARACTER POSE — CANONICAL (identical wherever this character appears in ANY panel; on any conflict THIS POSE WINS): Min-sook is seated collapsed on the floor behind the curtain with her head dropped forward. One hand is clenched around a crumpled photograph.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nPROPS FACE THE RIGHT WAY: every handheld or used object must be\noriented exactly as its real-world use requires. A person reading,\nwatching or operating something (a phone, a photograph, a paper,\nany device) has its functional side — screen, front, page — facing\nTHEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nMOVEMENT (follow exactly): static: utterly motionless, collapsed Min-sook is seated collapsed on the floor behind the curtain with her head dropped forward, shoulders fallen, limbs limp, and body weight fully given way.\n\nFIGURES — size & depth (follow exactly): Min-sook's dark stains-covered body fills about 2/3 of the frame height and is the NEAREST principal figure. The floor directly beneath her is nearer than the surrounding bedroom and curtain area, which recede FARTHER behind her.\n\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Min-sook remains dead behind the curtain, seated collapsed on the floor with her head dropped forward, her torn shoulder and collarbone exposed amid the dark stains and dark-stained footprints. One hand is clenched around a crumpled photograph, and the small circular mark remains on her wrist.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 민숙 (환시) — never anyone else, and never add a person the shot text does not show. IF only part of a person is in frame (a hand, arm, foot, back, silhouette), that body part belongs to the specific person the shot text names — its sex, age, build, skin and grooming must unmistakably match that person's profile above.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-13 19:25:22", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s40_still_S12sh11_b", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s40/plates/plate_daughter_bedroom_night_doorway_wide_sel.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/1d7902d5-8b31-4ab6-9e6a-5da6ab5d842f.png"], "ref_labels": ["LOCATION PHOTOGRAPH — the exact place of this shot: its architecture, materials, fixed features and lighting mood are spatial truth; stage the moment inside this place. Never copy its camera framing.", "CHARACTER REFERENCE — 민숙 (환시): the exact person appearing in this shot; match face, hair and build exactly."], "attempt": 1, "dur_s": 20.2, "bytes": 3018796, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s40/stills/S12sh11_b.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\n\nSHOT TEXT (authoritative, Korean): 옷과 피부가 힘없이 무너져 미동이 없는 민숙이 바닥에 주저앉아 고개를 푹 숙인 정지 상태\n\nLOCATION (lock): A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.\n\nIMMOBILE CHARACTER POSE — CANONICAL (identical wherever this character appears in ANY panel; on any conflict THIS POSE WINS): Min-sook is seated collapsed on the floor behind the curtain with her head dropped forward. One hand is clenched around a crumpled photograph.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nPROPS FACE THE RIGHT WAY: every handheld or used object must be\noriented exactly as its real-world use requires. A person reading,\nwatching or operating something (a phone, a photograph, a paper,\nany device) has its functional side — screen, front, page — facing\nTHEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nMOVEMENT (follow exactly): static: utterly motionless, collapsed Min-sook is seated collapsed on the floor behind the curtain with her head dropped forward, shoulders fallen, limbs limp, and body weight fully given way.\n\nFIGURES — size & depth (follow exactly): Min-sook's dark stains-covered body fills about 2/3 of the frame height and is the NEAREST principal figure. The floor directly beneath her is nearer than the surrounding bedroom and curtain area, which recede FARTHER behind her.\n\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Min-sook remains dead behind the curtain, seated collapsed on the floor with her head dropped forward, her torn shoulder and collarbone exposed amid the dark stains and dark-stained footprints. One hand is clenched around a crumpled photograph, and the small circular mark remains on her wrist.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 민숙 (환시) — never anyone else, and never add a person the shot text does not show. IF only part of a person is in frame (a hand, arm, foot, back, silhouette), that body part belongs to the specific person the shot text names — its sex, age, build, skin and grooming must unmistakably match that person's profile above.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-13 19:25:43", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s40_still_S12sh11_c", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s40/plates/plate_daughter_bedroom_night_doorway_wide_sel.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/1d7902d5-8b31-4ab6-9e6a-5da6ab5d842f.png"], "ref_labels": ["LOCATION PHOTOGRAPH — the exact place of this shot: its architecture, materials, fixed features and lighting mood are spatial truth; stage the moment inside this place. Never copy its camera framing.", "CHARACTER REFERENCE — 민숙 (환시): the exact person appearing in this shot; match face, hair and build exactly."], "attempt": 1, "dur_s": 21.6, "bytes": 2375511, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s40/stills/S12sh11_c.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\n\nSHOT TEXT (authoritative, Korean): 옷과 피부가 힘없이 무너져 미동이 없는 민숙이 바닥에 주저앉아 고개를 푹 숙인 정지 상태\n\nLOCATION (lock): A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.\n\nIMMOBILE CHARACTER POSE — CANONICAL (identical wherever this character appears in ANY panel; on any conflict THIS POSE WINS): Min-sook is seated collapsed on the floor behind the curtain with her head dropped forward. One hand is clenched around a crumpled photograph.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nPROPS FACE THE RIGHT WAY: every handheld or used object must be\noriented exactly as its real-world use requires. A person reading,\nwatching or operating something (a phone, a photograph, a paper,\nany device) has its functional side — screen, front, page — facing\nTHEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nMOVEMENT (follow exactly): static: utterly motionless, collapsed Min-sook is seated collapsed on the floor behind the curtain with her head dropped forward, shoulders fallen, limbs limp, and body weight fully given way.\n\nFIGURES — size & depth (follow exactly): Min-sook's dark stains-covered body fills about 2/3 of the frame height and is the NEAREST principal figure. The floor directly beneath her is nearer than the surrounding bedroom and curtain area, which recede FARTHER behind her.\n\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Min-sook remains dead behind the curtain, seated collapsed on the floor with her head dropped forward, her torn shoulder and collarbone exposed amid the dark stains and dark-stained footprints. One hand is clenched around a crumpled photograph, and the small circular mark remains on her wrist.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 민숙 (환시) — never anyone else, and never add a person the shot text does not show. IF only part of a person is in frame (a hand, arm, foot, back, silhouette), that body part belongs to the specific person the shot text names — its sex, age, build, skin and grooming must unmistakably match that person's profile above.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-13 19:26:27", "kind": "llm", "step": "s40_judge_still_S12sh11", "model": "gemini-pro", "dur_s": 43.5, "system_prompt": "You are given ONE image-generation prompt, the REFERENCE image(s)\nthat were attached to it (labelled), and THREE candidate images,\nlabelled A, B, C in the order attached, all generated from that\nexact prompt with those exact references.\nPick the ONE candidate that most faithfully realises the prompt.\nJudge ONLY fidelity to the prompt and its reference instructions:\nthe shot text's moment and action, who is and is NOT in frame,\ncamera framing, time of day, the LOCATION lock (the place must be\nthe one the reference shows — same architecture, materials,\nfixtures), pose/immobility and carried-state clauses, and every\nexclusion (no text, no invented people or objects). Consistency\nwith the attached reference image counts as prompt fidelity.\nIgnore generic aesthetic appeal.\nCheck every candidate point by point before deciding; base every\nverdict only on what is visible.\nAlso give every candidate an integer score 0-10 for that same\nfidelity.\nOutput: winner, ranking best-to-worst, and per candidate a score\nplus a one-line Korean verdict citing the decisive prompt points.", "user_prompt": "[{\"type\": \"text\", \"text\": \"THE PROMPT (all three candidates were generated from this):\\nCreate ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\\n\\nSHOT TEXT (authoritative, Korean): 옷과 피부가 힘없이 무너져 미동이 없는 민숙이 바닥에 주저앉아 고개를 푹 숙인 정지 상태\\n\\nLOCATION (lock): A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.\\n\\nIMMOBILE CHARACTER POSE — CANONICAL (identical wherever this character appears in ANY panel; on any conflict THIS POSE WINS): Min-sook is seated collapsed on the floor behind the curtain with her head dropped forward. One hand is clenched around a crumpled photograph.\\n\\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\\ntext may describe characters metaphorically, figuratively or with\\nexaggeration. Photograph what a real movie camera would actually\\nrecord on a physical set — exaggerated or figurative impressions\\nbecome realistic staging choices (lighting, distance, angle,\\nwardrobe), not literal fantasy imagery.\\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\\nfeatures non-human or virtual beings (as in science fiction or\\nfantasy), every character — however indirectly, vaguely or\\nfiguratively the text describes them — IS a real human. When the\\ntext gives no direct visual description of a person, IMAGINE one\\nand still show them as a concrete, fully-formed human being:\\nalways render the human form to the maximum extent — build,\\nposture, face, hands, clothing — never reduce a person to a shape,\\nblob, solid silhouette or abstract mass.\\n\\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\\nperson's eyes, face or presence emotionally or figuratively (vacant,\\nhollow, dazed, burning, lifeless gaze and the like), it describes an\\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\\nthrough gaze direction, focus, eyelids, facial muscles, stillness\\nand posture. Every living person's eyes remain anatomically normal\\nhuman eyes with a natural iris and pupil, natural sclera and normal\\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\\notherwise alter eyeballs, skin or anatomy — unless the story\\nexplicitly declares that being non-human or supernatural in form.\\n\\nPROPS FACE THE RIGHT WAY: every handheld or used object must be\\noriented exactly as its real-world use requires. A person reading,\\nwatching or operating something (a phone, a photograph, a paper,\\nany device) has its functional side — screen, front, page — facing\\nTHEIR OWN eyes; the camera then sees whatever side the staging\\ngeometry implies (often its back). Show the functional side to the\\ncamera ONLY when the shot text itself stages it toward the viewer.\\nNever flip, mirror or reverse an object's front and back.\\n\\nMOVEMENT (follow exactly): static: utterly motionless, collapsed Min-sook is seated collapsed on the floor behind the curtain with her head dropped forward, shoulders fallen, limbs limp, and body weight fully given way.\\n\\nFIGURES — size & depth (follow exactly): Min-sook's dark stains-covered body fills about 2/3 of the frame height and is the NEAREST principal figure. The floor directly beneath her is nearer than the surrounding bedroom and curtain area, which recede FARTHER behind her.\\n\\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Min-sook remains dead behind the curtain, seated collapsed on the floor with her head dropped forward, her torn shoulder and collarbone exposed amid the dark stains and dark-stained footprints. One hand is clenched around a crumpled photograph, and the small circular mark remains on her wrist.\\n\\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 민숙 (환시) — never anyone else, and never add a person the shot text does not show. IF only part of a person is in frame (a hand, arm, foot, back, silhouette), that body part belongs to the specific person the shot text names — its sex, age, build, skin and grooming must unmistakably match that person's profile above.\\n\\nNo text, captions, watermarks or annotations anywhere.\"}, {\"type\": \"text\", \"text\": \"REFERENCE — LOCATION PHOTOGRAPH — the exact place of this shot: its architecture, materials, fixed features and lighting mood are spatial truth; stage the moment inside this place. Never copy its camera framing.\"}, {\"type\": \"text\", \"text\": \"REFERENCE — CHARACTER REFERENCE — 민숙 (환시): the exact person appearing in this shot; match face, hair and build exactly.\"}, {\"type\": \"text\", \"text\": \"Candidate A:\"}, {\"type\": \"text\", \"text\": \"Candidate B:\"}, {\"type\": \"text\", \"text\": \"Candidate C:\"}]"}
{"ts": "2026-07-13 19:27:10", "kind": "llm", "step": "s40_crit_still_S12sh11", "model": "gemini-pro", "dur_s": 43.0, "system_prompt": "You are given an image-generation prompt, the labelled REFERENCE\nimage(s) that were attached to it, and ONE photograph generated\nfrom them (the current best pick of three).\nList what is WRONG with it — ONLY violations of the prompt or of\nits reference instructions: the shot's stated moment and action,\nwho/what must or must NOT be in frame, camera, time of day,\nlocation consistency with the reference, pose/immobility and\ncarried-state clauses, object orientation, anatomy, and every\nexclusion (no text, no invented people or objects).\nBase every finding only on what is visible; ignore taste and\ngeneric aesthetics. For each issue give: issue_ko (short Korean\nline) + fix_en (ONE imperative English edit that fixes exactly\nthat while changing nothing else). Empty array if nothing wrong.", "user_prompt": "[{\"type\": \"text\", \"text\": \"THE PROMPT:\\nCreate ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\\n\\nSHOT TEXT (authoritative, Korean): 옷과 피부가 힘없이 무너져 미동이 없는 민숙이 바닥에 주저앉아 고개를 푹 숙인 정지 상태\\n\\nLOCATION (lock): A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.\\n\\nIMMOBILE CHARACTER POSE — CANONICAL (identical wherever this character appears in ANY panel; on any conflict THIS POSE WINS): Min-sook is seated collapsed on the floor behind the curtain with her head dropped forward. One hand is clenched around a crumpled photograph.\\n\\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\\ntext may describe characters metaphorically, figuratively or with\\nexaggeration. Photograph what a real movie camera would actually\\nrecord on a physical set — exaggerated or figurative impressions\\nbecome realistic staging choices (lighting, distance, angle,\\nwardrobe), not literal fantasy imagery.\\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\\nfeatures non-human or virtual beings (as in science fiction or\\nfantasy), every character — however indirectly, vaguely or\\nfiguratively the text describes them — IS a real human. When the\\ntext gives no direct visual description of a person, IMAGINE one\\nand still show them as a concrete, fully-formed human being:\\nalways render the human form to the maximum extent — build,\\nposture, face, hands, clothing — never reduce a person to a shape,\\nblob, solid silhouette or abstract mass.\\n\\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\\nperson's eyes, face or presence emotionally or figuratively (vacant,\\nhollow, dazed, burning, lifeless gaze and the like), it describes an\\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\\nthrough gaze direction, focus, eyelids, facial muscles, stillness\\nand posture. Every living person's eyes remain anatomically normal\\nhuman eyes with a natural iris and pupil, natural sclera and normal\\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\\notherwise alter eyeballs, skin or anatomy — unless the story\\nexplicitly declares that being non-human or supernatural in form.\\n\\nPROPS FACE THE RIGHT WAY: every handheld or used object must be\\noriented exactly as its real-world use requires. A person reading,\\nwatching or operating something (a phone, a photograph, a paper,\\nany device) has its functional side — screen, front, page — facing\\nTHEIR OWN eyes; the camera then sees whatever side the staging\\ngeometry implies (often its back). Show the functional side to the\\ncamera ONLY when the shot text itself stages it toward the viewer.\\nNever flip, mirror or reverse an object's front and back.\\n\\nMOVEMENT (follow exactly): static: utterly motionless, collapsed Min-sook is seated collapsed on the floor behind the curtain with her head dropped forward, shoulders fallen, limbs limp, and body weight fully given way.\\n\\nFIGURES — size & depth (follow exactly): Min-sook's dark stains-covered body fills about 2/3 of the frame height and is the NEAREST principal figure. The floor directly beneath her is nearer than the surrounding bedroom and curtain area, which recede FARTHER behind her.\\n\\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Min-sook remains dead behind the curtain, seated collapsed on the floor with her head dropped forward, her torn shoulder and collarbone exposed amid the dark stains and dark-stained footprints. One hand is clenched around a crumpled photograph, and the small circular mark remains on her wrist.\\n\\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 민숙 (환시) — never anyone else, and never add a person the shot text does not show. IF only part of a person is in frame (a hand, arm, foot, back, silhouette), that body part belongs to the specific person the shot text names — its sex, age, build, skin and grooming must unmistakably match that person's profile above.\\n\\nNo text, captions, watermarks or annotations anywhere.\"}, {\"type\": \"text\", \"text\": \"REFERENCE — LOCATION PHOTOGRAPH — the exact place of this shot: its architecture, materials, fixed features and lighting mood are spatial truth; stage the moment inside this place. Never copy its camera framing.\"}, {\"type\": \"text\", \"text\": \"REFERENCE — CHARACTER REFERENCE — 민숙 (환시): the exact person appearing in this shot; match face, hair and build exactly.\"}, {\"type\": \"text\", \"text\": \"Photograph to examine:\"}]"}
{"ts": "2026-07-13 19:27:29", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s40_fix_still_S12sh11", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s40/stills/S12sh11_b.png"], "ref_labels": ["PHOTOGRAPH TO EDIT — fix ONLY the issues the prompt lists; preserve everything else exactly."], "attempt": 1, "dur_s": 19.8, "bytes": 3126383, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s40/stills/S12sh11_fix.png", "prompt": "Edit this photograph. Apply ONLY the corrections listed below,\neach in place, changing nothing else:\n\nCORRECTIONS:\n- Move the curtain to the right wall so it hangs over the balcony doors, matching the location reference.\n- Redraw the right hand resting on the lap to have five distinct, anatomically correct fingers.\n- Correct the visible left foot in the foreground to have exactly five anatomically normal toes.\n\nPRESERVE EVERYTHING ELSE EXACTLY as in the original photograph —\nevery person, pose, face, garment, object, set feature, lighting,\ncamera and framing stay identical. No text, captions or\nwatermarks anywhere."}
{"ts": "2026-07-13 19:27:57", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s40_still_S12sh18_a", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s40/plates/plate_daughter_bedroom_night_doorway_wide_sel.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s40/stills/S12sh11_sel.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/1d7902d5-8b31-4ab6-9e6a-5da6ab5d842f.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/fc23070d-a644-45e4-a5d8-ecb98fe8d2d3.png"], "ref_labels": ["LOCATION PHOTOGRAPH — the exact place of this shot: its architecture, materials, fixed features and lighting mood are spatial truth; stage the moment inside this place. Never copy its camera framing.", "PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing. If this photo shows a character who cannot move (dead or unconscious), that character's exact pose, position and orientation are ALSO LOCKED — treat their body as a fixed prop of the set that only the camera moves around.", "CHARACTER REFERENCE — 민숙 (환시): the exact person appearing in this shot; match face, hair and build exactly.", "PROP REFERENCE — 구겨진 피 묻은 낡은 흑백 사진: the exact object appearing in this shot; match its look, material and wear exactly."], "attempt": 1, "dur_s": 27.7, "bytes": 3056902, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s40/stills/S12sh18_a.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\n\nSHOT TEXT (authoritative, Korean): 민숙의 손에 꽉 쥐어진 구겨진 사진의 타이트 샷\n\nLOCATION (lock): A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.\n\nTHIS SHOT CONTINUES THE PREVIOUS SHOT: everything the attached still established — the place, its fixed features and wear, each person's clothing and state — persists. Any person in it who cannot move stays PRECISELY as photographed (body, pose, contact points, held objects); only the camera changes.\n\nPREVIOUS STILL USAGE (follow exactly — what to take from the attached still and what to exclude): Take the bedroom's dim nighttime look and the seated woman's fixed body, clothing, and hand position from the reference. Preserve the dark-stained condition and the crumpled photograph held in her hand. Exclude the wider view of her body, wounds, bed, and curtain from this tight photograph insert.\n\nIMMOBILE CHARACTER POSE — CANONICAL (identical wherever this character appears in ANY panel; on any conflict THIS POSE WINS): Min-sook is seated collapsed on the floor behind the curtain with her head dropped forward. One hand is clenched around a crumpled photograph.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nPROPS FACE THE RIGHT WAY: every handheld or used object must be\noriented exactly as its real-world use requires. A person reading,\nwatching or operating something (a phone, a photograph, a paper,\nany device) has its functional side — screen, front, page — facing\nTHEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nMOVEMENT (follow exactly): static: utterly motionless, collapsed Min-sook's hand remains clenched around a crumpled photograph, with the photograph exposed toward the camera.\n\nFIGURES — size & depth (follow exactly): The dead woman's hand fills roughly 2/3 of the tight frame, and the crumpled photograph fills about 1/3. The photograph is NEARER where it protrudes from her grasp, while her palm, wrist, and collapsed body are progressively FARTHER behind it.\n\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Minsuk remains seated collapsed on the floor behind the curtain with her head dropped forward, with the wounds and dark stains undisturbed. The crumpled photograph stays clenched in her hand until Suri-young pulls it free, as the circular wrist mark turns red.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 민숙 (환시) — never anyone else, and never add a person the shot text does not show. IF only part of a person is in frame (a hand, arm, foot, back, silhouette), that body part belongs to the specific person the shot text names — its sex, age, build, skin and grooming must unmistakably match that person's profile above.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-13 19:28:31", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s40_still_S12sh18_b", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s40/plates/plate_daughter_bedroom_night_doorway_wide_sel.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s40/stills/S12sh11_sel.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/1d7902d5-8b31-4ab6-9e6a-5da6ab5d842f.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/fc23070d-a644-45e4-a5d8-ecb98fe8d2d3.png"], "ref_labels": ["LOCATION PHOTOGRAPH — the exact place of this shot: its architecture, materials, fixed features and lighting mood are spatial truth; stage the moment inside this place. Never copy its camera framing.", "PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing. If this photo shows a character who cannot move (dead or unconscious), that character's exact pose, position and orientation are ALSO LOCKED — treat their body as a fixed prop of the set that only the camera moves around.", "CHARACTER REFERENCE — 민숙 (환시): the exact person appearing in this shot; match face, hair and build exactly.", "PROP REFERENCE — 구겨진 피 묻은 낡은 흑백 사진: the exact object appearing in this shot; match its look, material and wear exactly."], "attempt": 1, "dur_s": 33.7, "bytes": 2940757, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s40/stills/S12sh18_b.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\n\nSHOT TEXT (authoritative, Korean): 민숙의 손에 꽉 쥐어진 구겨진 사진의 타이트 샷\n\nLOCATION (lock): A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.\n\nTHIS SHOT CONTINUES THE PREVIOUS SHOT: everything the attached still established — the place, its fixed features and wear, each person's clothing and state — persists. Any person in it who cannot move stays PRECISELY as photographed (body, pose, contact points, held objects); only the camera changes.\n\nPREVIOUS STILL USAGE (follow exactly — what to take from the attached still and what to exclude): Take the bedroom's dim nighttime look and the seated woman's fixed body, clothing, and hand position from the reference. Preserve the dark-stained condition and the crumpled photograph held in her hand. Exclude the wider view of her body, wounds, bed, and curtain from this tight photograph insert.\n\nIMMOBILE CHARACTER POSE — CANONICAL (identical wherever this character appears in ANY panel; on any conflict THIS POSE WINS): Min-sook is seated collapsed on the floor behind the curtain with her head dropped forward. One hand is clenched around a crumpled photograph.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nPROPS FACE THE RIGHT WAY: every handheld or used object must be\noriented exactly as its real-world use requires. A person reading,\nwatching or operating something (a phone, a photograph, a paper,\nany device) has its functional side — screen, front, page — facing\nTHEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nMOVEMENT (follow exactly): static: utterly motionless, collapsed Min-sook's hand remains clenched around a crumpled photograph, with the photograph exposed toward the camera.\n\nFIGURES — size & depth (follow exactly): The dead woman's hand fills roughly 2/3 of the tight frame, and the crumpled photograph fills about 1/3. The photograph is NEARER where it protrudes from her grasp, while her palm, wrist, and collapsed body are progressively FARTHER behind it.\n\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Minsuk remains seated collapsed on the floor behind the curtain with her head dropped forward, with the wounds and dark stains undisturbed. The crumpled photograph stays clenched in her hand until Suri-young pulls it free, as the circular wrist mark turns red.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 민숙 (환시) — never anyone else, and never add a person the shot text does not show. IF only part of a person is in frame (a hand, arm, foot, back, silhouette), that body part belongs to the specific person the shot text names — its sex, age, build, skin and grooming must unmistakably match that person's profile above.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-13 19:28:55", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s40_still_S12sh18_c", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s40/plates/plate_daughter_bedroom_night_doorway_wide_sel.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s40/stills/S12sh11_sel.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/1d7902d5-8b31-4ab6-9e6a-5da6ab5d842f.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/fc23070d-a644-45e4-a5d8-ecb98fe8d2d3.png"], "ref_labels": ["LOCATION PHOTOGRAPH — the exact place of this shot: its architecture, materials, fixed features and lighting mood are spatial truth; stage the moment inside this place. Never copy its camera framing.", "PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing. If this photo shows a character who cannot move (dead or unconscious), that character's exact pose, position and orientation are ALSO LOCKED — treat their body as a fixed prop of the set that only the camera moves around.", "CHARACTER REFERENCE — 민숙 (환시): the exact person appearing in this shot; match face, hair and build exactly.", "PROP REFERENCE — 구겨진 피 묻은 낡은 흑백 사진: the exact object appearing in this shot; match its look, material and wear exactly."], "attempt": 1, "dur_s": 24.1, "bytes": 2730061, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s40/stills/S12sh18_c.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\n\nSHOT TEXT (authoritative, Korean): 민숙의 손에 꽉 쥐어진 구겨진 사진의 타이트 샷\n\nLOCATION (lock): A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.\n\nTHIS SHOT CONTINUES THE PREVIOUS SHOT: everything the attached still established — the place, its fixed features and wear, each person's clothing and state — persists. Any person in it who cannot move stays PRECISELY as photographed (body, pose, contact points, held objects); only the camera changes.\n\nPREVIOUS STILL USAGE (follow exactly — what to take from the attached still and what to exclude): Take the bedroom's dim nighttime look and the seated woman's fixed body, clothing, and hand position from the reference. Preserve the dark-stained condition and the crumpled photograph held in her hand. Exclude the wider view of her body, wounds, bed, and curtain from this tight photograph insert.\n\nIMMOBILE CHARACTER POSE — CANONICAL (identical wherever this character appears in ANY panel; on any conflict THIS POSE WINS): Min-sook is seated collapsed on the floor behind the curtain with her head dropped forward. One hand is clenched around a crumpled photograph.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nPROPS FACE THE RIGHT WAY: every handheld or used object must be\noriented exactly as its real-world use requires. A person reading,\nwatching or operating something (a phone, a photograph, a paper,\nany device) has its functional side — screen, front, page — facing\nTHEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nMOVEMENT (follow exactly): static: utterly motionless, collapsed Min-sook's hand remains clenched around a crumpled photograph, with the photograph exposed toward the camera.\n\nFIGURES — size & depth (follow exactly): The dead woman's hand fills roughly 2/3 of the tight frame, and the crumpled photograph fills about 1/3. The photograph is NEARER where it protrudes from her grasp, while her palm, wrist, and collapsed body are progressively FARTHER behind it.\n\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Minsuk remains seated collapsed on the floor behind the curtain with her head dropped forward, with the wounds and dark stains undisturbed. The crumpled photograph stays clenched in her hand until Suri-young pulls it free, as the circular wrist mark turns red.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 민숙 (환시) — never anyone else, and never add a person the shot text does not show. IF only part of a person is in frame (a hand, arm, foot, back, silhouette), that body part belongs to the specific person the shot text names — its sex, age, build, skin and grooming must unmistakably match that person's profile above.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-13 19:29:27", "kind": "llm", "step": "s40_judge_still_S12sh18", "model": "gemini-pro", "dur_s": 31.5, "system_prompt": "You are given ONE image-generation prompt, the REFERENCE image(s)\nthat were attached to it (labelled), and THREE candidate images,\nlabelled A, B, C in the order attached, all generated from that\nexact prompt with those exact references.\nPick the ONE candidate that most faithfully realises the prompt.\nJudge ONLY fidelity to the prompt and its reference instructions:\nthe shot text's moment and action, who is and is NOT in frame,\ncamera framing, time of day, the LOCATION lock (the place must be\nthe one the reference shows — same architecture, materials,\nfixtures), pose/immobility and carried-state clauses, and every\nexclusion (no text, no invented people or objects). Consistency\nwith the attached reference image counts as prompt fidelity.\nIgnore generic aesthetic appeal.\nCheck every candidate point by point before deciding; base every\nverdict only on what is visible.\nAlso give every candidate an integer score 0-10 for that same\nfidelity.\nOutput: winner, ranking best-to-worst, and per candidate a score\nplus a one-line Korean verdict citing the decisive prompt points.", "user_prompt": "[{\"type\": \"text\", \"text\": \"THE PROMPT (all three candidates were generated from this):\\nCreate ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\\n\\nSHOT TEXT (authoritative, Korean): 민숙의 손에 꽉 쥐어진 구겨진 사진의 타이트 샷\\n\\nLOCATION (lock): A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.\\n\\nTHIS SHOT CONTINUES THE PREVIOUS SHOT: everything the attached still established — the place, its fixed features and wear, each person's clothing and state — persists. Any person in it who cannot move stays PRECISELY as photographed (body, pose, contact points, held objects); only the camera changes.\\n\\nPREVIOUS STILL USAGE (follow exactly — what to take from the attached still and what to exclude): Take the bedroom's dim nighttime look and the seated woman's fixed body, clothing, and hand position from the reference. Preserve the dark-stained condition and the crumpled photograph held in her hand. Exclude the wider view of her body, wounds, bed, and curtain from this tight photograph insert.\\n\\nIMMOBILE CHARACTER POSE — CANONICAL (identical wherever this character appears in ANY panel; on any conflict THIS POSE WINS): Min-sook is seated collapsed on the floor behind the curtain with her head dropped forward. One hand is clenched around a crumpled photograph.\\n\\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\\ntext may describe characters metaphorically, figuratively or with\\nexaggeration. Photograph what a real movie camera would actually\\nrecord on a physical set — exaggerated or figurative impressions\\nbecome realistic staging choices (lighting, distance, angle,\\nwardrobe), not literal fantasy imagery.\\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\\nfeatures non-human or virtual beings (as in science fiction or\\nfantasy), every character — however indirectly, vaguely or\\nfiguratively the text describes them — IS a real human. When the\\ntext gives no direct visual description of a person, IMAGINE one\\nand still show them as a concrete, fully-formed human being:\\nalways render the human form to the maximum extent — build,\\nposture, face, hands, clothing — never reduce a person to a shape,\\nblob, solid silhouette or abstract mass.\\n\\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\\nperson's eyes, face or presence emotionally or figuratively (vacant,\\nhollow, dazed, burning, lifeless gaze and the like), it describes an\\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\\nthrough gaze direction, focus, eyelids, facial muscles, stillness\\nand posture. Every living person's eyes remain anatomically normal\\nhuman eyes with a natural iris and pupil, natural sclera and normal\\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\\notherwise alter eyeballs, skin or anatomy — unless the story\\nexplicitly declares that being non-human or supernatural in form.\\n\\nPROPS FACE THE RIGHT WAY: every handheld or used object must be\\noriented exactly as its real-world use requires. A person reading,\\nwatching or operating something (a phone, a photograph, a paper,\\nany device) has its functional side — screen, front, page — facing\\nTHEIR OWN eyes; the camera then sees whatever side the staging\\ngeometry implies (often its back). Show the functional side to the\\ncamera ONLY when the shot text itself stages it toward the viewer.\\nNever flip, mirror or reverse an object's front and back.\\n\\nMOVEMENT (follow exactly): static: utterly motionless, collapsed Min-sook's hand remains clenched around a crumpled photograph, with the photograph exposed toward the camera.\\n\\nFIGURES — size & depth (follow exactly): The dead woman's hand fills roughly 2/3 of the tight frame, and the crumpled photograph fills about 1/3. The photograph is NEARER where it protrudes from her grasp, while her palm, wrist, and collapsed body are progressively FARTHER behind it.\\n\\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Minsuk remains seated collapsed on the floor behind the curtain with her head dropped forward, with the wounds and dark stains undisturbed. The crumpled photograph stays clenched in her hand until Suri-young pulls it free, as the circular wrist mark turns red.\\n\\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 민숙 (환시) — never anyone else, and never add a person the shot text does not show. IF only part of a person is in frame (a hand, arm, foot, back, silhouette), that body part belongs to the specific person the shot text names — its sex, age, build, skin and grooming must unmistakably match that person's profile above.\\n\\nNo text, captions, watermarks or annotations anywhere.\"}, {\"type\": \"text\", \"text\": \"REFERENCE — LOCATION PHOTOGRAPH — the exact place of this shot: its architecture, materials, fixed features and lighting mood are spatial truth; stage the moment inside this place. Never copy its camera framing.\"}, {\"type\": \"text\", \"text\": \"REFERENCE — PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing. If this photo shows a character who cannot move (dead or unconscious), that character's exact pose, position and orientation are ALSO LOCKED — treat their body as a fixed prop of the set that only the camera moves around.\"}, {\"type\": \"text\", \"text\": \"REFERENCE — CHARACTER REFERENCE — 민숙 (환시): the exact person appearing in this shot; match face, hair and build exactly.\"}, {\"type\": \"text\", \"text\": \"REFERENCE — PROP REFERENCE — 구겨진 피 묻은 낡은 흑백 사진: the exact object appearing in this shot; match its look, material and wear exactly.\"}, {\"type\": \"text\", \"text\": \"Candidate A:\"}, {\"type\": \"text\", \"text\": \"Candidate B:\"}, {\"type\": \"text\", \"text\": \"Candidate C:\"}]"}
{"ts": "2026-07-13 19:30:12", "kind": "llm", "step": "s40_crit_still_S12sh18", "model": "gemini-pro", "dur_s": 45.3, "system_prompt": "You are given an image-generation prompt, the labelled REFERENCE\nimage(s) that were attached to it, and ONE photograph generated\nfrom them (the current best pick of three).\nList what is WRONG with it — ONLY violations of the prompt or of\nits reference instructions: the shot's stated moment and action,\nwho/what must or must NOT be in frame, camera, time of day,\nlocation consistency with the reference, pose/immobility and\ncarried-state clauses, object orientation, anatomy, and every\nexclusion (no text, no invented people or objects).\nBase every finding only on what is visible; ignore taste and\ngeneric aesthetics. For each issue give: issue_ko (short Korean\nline) + fix_en (ONE imperative English edit that fixes exactly\nthat while changing nothing else). Empty array if nothing wrong.", "user_prompt": "[{\"type\": \"text\", \"text\": \"THE PROMPT:\\nCreate ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\\n\\nSHOT TEXT (authoritative, Korean): 민숙의 손에 꽉 쥐어진 구겨진 사진의 타이트 샷\\n\\nLOCATION (lock): A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.\\n\\nTHIS SHOT CONTINUES THE PREVIOUS SHOT: everything the attached still established — the place, its fixed features and wear, each person's clothing and state — persists. Any person in it who cannot move stays PRECISELY as photographed (body, pose, contact points, held objects); only the camera changes.\\n\\nPREVIOUS STILL USAGE (follow exactly — what to take from the attached still and what to exclude): Take the bedroom's dim nighttime look and the seated woman's fixed body, clothing, and hand position from the reference. Preserve the dark-stained condition and the crumpled photograph held in her hand. Exclude the wider view of her body, wounds, bed, and curtain from this tight photograph insert.\\n\\nIMMOBILE CHARACTER POSE — CANONICAL (identical wherever this character appears in ANY panel; on any conflict THIS POSE WINS): Min-sook is seated collapsed on the floor behind the curtain with her head dropped forward. One hand is clenched around a crumpled photograph.\\n\\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\\ntext may describe characters metaphorically, figuratively or with\\nexaggeration. Photograph what a real movie camera would actually\\nrecord on a physical set — exaggerated or figurative impressions\\nbecome realistic staging choices (lighting, distance, angle,\\nwardrobe), not literal fantasy imagery.\\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\\nfeatures non-human or virtual beings (as in science fiction or\\nfantasy), every character — however indirectly, vaguely or\\nfiguratively the text describes them — IS a real human. When the\\ntext gives no direct visual description of a person, IMAGINE one\\nand still show them as a concrete, fully-formed human being:\\nalways render the human form to the maximum extent — build,\\nposture, face, hands, clothing — never reduce a person to a shape,\\nblob, solid silhouette or abstract mass.\\n\\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\\nperson's eyes, face or presence emotionally or figuratively (vacant,\\nhollow, dazed, burning, lifeless gaze and the like), it describes an\\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\\nthrough gaze direction, focus, eyelids, facial muscles, stillness\\nand posture. Every living person's eyes remain anatomically normal\\nhuman eyes with a natural iris and pupil, natural sclera and normal\\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\\notherwise alter eyeballs, skin or anatomy — unless the story\\nexplicitly declares that being non-human or supernatural in form.\\n\\nPROPS FACE THE RIGHT WAY: every handheld or used object must be\\noriented exactly as its real-world use requires. A person reading,\\nwatching or operating something (a phone, a photograph, a paper,\\nany device) has its functional side — screen, front, page — facing\\nTHEIR OWN eyes; the camera then sees whatever side the staging\\ngeometry implies (often its back). Show the functional side to the\\ncamera ONLY when the shot text itself stages it toward the viewer.\\nNever flip, mirror or reverse an object's front and back.\\n\\nMOVEMENT (follow exactly): static: utterly motionless, collapsed Min-sook's hand remains clenched around a crumpled photograph, with the photograph exposed toward the camera.\\n\\nFIGURES — size & depth (follow exactly): The dead woman's hand fills roughly 2/3 of the tight frame, and the crumpled photograph fills about 1/3. The photograph is NEARER where it protrudes from her grasp, while her palm, wrist, and collapsed body are progressively FARTHER behind it.\\n\\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Minsuk remains seated collapsed on the floor behind the curtain with her head dropped forward, with the wounds and dark stains undisturbed. The crumpled photograph stays clenched in her hand until Suri-young pulls it free, as the circular wrist mark turns red.\\n\\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 민숙 (환시) — never anyone else, and never add a person the shot text does not show. IF only part of a person is in frame (a hand, arm, foot, back, silhouette), that body part belongs to the specific person the shot text names — its sex, age, build, skin and grooming must unmistakably match that person's profile above.\\n\\nNo text, captions, watermarks or annotations anywhere.\"}, {\"type\": \"text\", \"text\": \"REFERENCE — LOCATION PHOTOGRAPH — the exact place of this shot: its architecture, materials, fixed features and lighting mood are spatial truth; stage the moment inside this place. Never copy its camera framing.\"}, {\"type\": \"text\", \"text\": \"REFERENCE — PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing. If this photo shows a character who cannot move (dead or unconscious), that character's exact pose, position and orientation are ALSO LOCKED — treat their body as a fixed prop of the set that only the camera moves around.\"}, {\"type\": \"text\", \"text\": \"REFERENCE — CHARACTER REFERENCE — 민숙 (환시): the exact person appearing in this shot; match face, hair and build exactly.\"}, {\"type\": \"text\", \"text\": \"REFERENCE — PROP REFERENCE — 구겨진 피 묻은 낡은 흑백 사진: the exact object appearing in this shot; match its look, material and wear exactly.\"}, {\"type\": \"text\", \"text\": \"Photograph to examine:\"}]"}
{"ts": "2026-07-13 19:30:39", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s40_fix_still_S12sh18", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s40/stills/S12sh18_c.png"], "ref_labels": ["PHOTOGRAPH TO EDIT — fix ONLY the issues the prompt lists; preserve everything else exactly."], "attempt": 1, "dur_s": 26.9, "bytes": 3176764, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s40/stills/S12sh18_fix.png", "prompt": "Edit this photograph. Apply ONLY the corrections listed below,\neach in place, changing nothing else:\n\nCORRECTIONS:\n- Zoom in much closer so the hand fills roughly 2/3 of the frame and the photograph fills the remaining 1/3, eliminating the excess floor space.\n- Correct the hand anatomy to cleanly depict exactly one thumb and four distinct, naturally jointed fingers.\n- Restore the exact visual details of the reference photograph, clearly rendering the two seated girls and the specific lines on the circular roof sign.\n\nPRESERVE EVERYTHING ELSE EXACTLY as in the original photograph —\nevery person, pose, face, garment, object, set feature, lighting,\ncamera and framing stay identical. No text, captions or\nwatermarks anywhere."}
{"ts": "2026-07-13 19:30:59", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s40_still_S12sh21_a", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s40/plates/plate_daughter_bedroom_night_doorway_wide_sel.png"], "ref_labels": ["LOCATION PHOTOGRAPH — the exact place of this shot: its architecture, materials, fixed features and lighting mood are spatial truth; stage the moment inside this place. Never copy its camera framing."], "attempt": 1, "dur_s": 19.9, "bytes": 2241783, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s40/stills/S12sh21_a.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\n\nSHOT TEXT (authoritative, Korean): 침대 위쪽 벽면에 붉은색 원형 표식이 절반쯤 나타난 상태\n\nLOCATION (lock): A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nPROPS FACE THE RIGHT WAY: every handheld or used object must be\noriented exactly as its real-world use requires. A person reading,\nwatching or operating something (a phone, a photograph, a paper,\nany device) has its functional side — screen, front, page — facing\nTHEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nMOVEMENT (follow exactly): A red circular mark spreads around the wall above the bed, progressing along a ring-like path as though an unseen brush is drawing it, with about half the circle formed.\n\nFIGURES — size & depth (follow exactly): The half-formed red circle fills roughly 1/2 of the frame height on the wall and is the principal visible object. The wall surface and mark are FARTHER than the nearer edge of the bed, with the red pigment visually sitting closest on that wall plane.\n\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Minsuk’s motionless figure, wounds, and the room’s dark stains traces remain unchanged; her hand is now without the photograph, which Suri-young has taken, and the wrist mark is red. A red circle is partially formed on the wall above the bed.\n\nNO PEOPLE IN THIS SHOT: the shot text shows only the place and its state — no living person or any body part appears in frame, unless the shot text itself explicitly says so.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-13 19:31:19", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s40_still_S12sh21_b", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s40/plates/plate_daughter_bedroom_night_doorway_wide_sel.png"], "ref_labels": ["LOCATION PHOTOGRAPH — the exact place of this shot: its architecture, materials, fixed features and lighting mood are spatial truth; stage the moment inside this place. Never copy its camera framing."], "attempt": 1, "dur_s": 20.6, "bytes": 2177835, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s40/stills/S12sh21_b.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\n\nSHOT TEXT (authoritative, Korean): 침대 위쪽 벽면에 붉은색 원형 표식이 절반쯤 나타난 상태\n\nLOCATION (lock): A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nPROPS FACE THE RIGHT WAY: every handheld or used object must be\noriented exactly as its real-world use requires. A person reading,\nwatching or operating something (a phone, a photograph, a paper,\nany device) has its functional side — screen, front, page — facing\nTHEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nMOVEMENT (follow exactly): A red circular mark spreads around the wall above the bed, progressing along a ring-like path as though an unseen brush is drawing it, with about half the circle formed.\n\nFIGURES — size & depth (follow exactly): The half-formed red circle fills roughly 1/2 of the frame height on the wall and is the principal visible object. The wall surface and mark are FARTHER than the nearer edge of the bed, with the red pigment visually sitting closest on that wall plane.\n\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Minsuk’s motionless figure, wounds, and the room’s dark stains traces remain unchanged; her hand is now without the photograph, which Suri-young has taken, and the wrist mark is red. A red circle is partially formed on the wall above the bed.\n\nNO PEOPLE IN THIS SHOT: the shot text shows only the place and its state — no living person or any body part appears in frame, unless the shot text itself explicitly says so.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-13 19:31:39", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s40_still_S12sh21_c", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s40/plates/plate_daughter_bedroom_night_doorway_wide_sel.png"], "ref_labels": ["LOCATION PHOTOGRAPH — the exact place of this shot: its architecture, materials, fixed features and lighting mood are spatial truth; stage the moment inside this place. Never copy its camera framing."], "attempt": 1, "dur_s": 19.9, "bytes": 2278923, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s40/stills/S12sh21_c.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\n\nSHOT TEXT (authoritative, Korean): 침대 위쪽 벽면에 붉은색 원형 표식이 절반쯤 나타난 상태\n\nLOCATION (lock): A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nPROPS FACE THE RIGHT WAY: every handheld or used object must be\noriented exactly as its real-world use requires. A person reading,\nwatching or operating something (a phone, a photograph, a paper,\nany device) has its functional side — screen, front, page — facing\nTHEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nMOVEMENT (follow exactly): A red circular mark spreads around the wall above the bed, progressing along a ring-like path as though an unseen brush is drawing it, with about half the circle formed.\n\nFIGURES — size & depth (follow exactly): The half-formed red circle fills roughly 1/2 of the frame height on the wall and is the principal visible object. The wall surface and mark are FARTHER than the nearer edge of the bed, with the red pigment visually sitting closest on that wall plane.\n\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Minsuk’s motionless figure, wounds, and the room’s dark stains traces remain unchanged; her hand is now without the photograph, which Suri-young has taken, and the wrist mark is red. A red circle is partially formed on the wall above the bed.\n\nNO PEOPLE IN THIS SHOT: the shot text shows only the place and its state — no living person or any body part appears in frame, unless the shot text itself explicitly says so.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-13 19:32:01", "kind": "llm", "step": "s40_judge_still_S12sh21", "model": "gemini-pro", "dur_s": 22.0, "system_prompt": "You are given ONE image-generation prompt, the REFERENCE image(s)\nthat were attached to it (labelled), and THREE candidate images,\nlabelled A, B, C in the order attached, all generated from that\nexact prompt with those exact references.\nPick the ONE candidate that most faithfully realises the prompt.\nJudge ONLY fidelity to the prompt and its reference instructions:\nthe shot text's moment and action, who is and is NOT in frame,\ncamera framing, time of day, the LOCATION lock (the place must be\nthe one the reference shows — same architecture, materials,\nfixtures), pose/immobility and carried-state clauses, and every\nexclusion (no text, no invented people or objects). Consistency\nwith the attached reference image counts as prompt fidelity.\nIgnore generic aesthetic appeal.\nCheck every candidate point by point before deciding; base every\nverdict only on what is visible.\nAlso give every candidate an integer score 0-10 for that same\nfidelity.\nOutput: winner, ranking best-to-worst, and per candidate a score\nplus a one-line Korean verdict citing the decisive prompt points.", "user_prompt": "[{\"type\": \"text\", \"text\": \"THE PROMPT (all three candidates were generated from this):\\nCreate ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\\n\\nSHOT TEXT (authoritative, Korean): 침대 위쪽 벽면에 붉은색 원형 표식이 절반쯤 나타난 상태\\n\\nLOCATION (lock): A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.\\n\\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\\ntext may describe characters metaphorically, figuratively or with\\nexaggeration. Photograph what a real movie camera would actually\\nrecord on a physical set — exaggerated or figurative impressions\\nbecome realistic staging choices (lighting, distance, angle,\\nwardrobe), not literal fantasy imagery.\\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\\nfeatures non-human or virtual beings (as in science fiction or\\nfantasy), every character — however indirectly, vaguely or\\nfiguratively the text describes them — IS a real human. When the\\ntext gives no direct visual description of a person, IMAGINE one\\nand still show them as a concrete, fully-formed human being:\\nalways render the human form to the maximum extent — build,\\nposture, face, hands, clothing — never reduce a person to a shape,\\nblob, solid silhouette or abstract mass.\\n\\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\\nperson's eyes, face or presence emotionally or figuratively (vacant,\\nhollow, dazed, burning, lifeless gaze and the like), it describes an\\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\\nthrough gaze direction, focus, eyelids, facial muscles, stillness\\nand posture. Every living person's eyes remain anatomically normal\\nhuman eyes with a natural iris and pupil, natural sclera and normal\\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\\notherwise alter eyeballs, skin or anatomy — unless the story\\nexplicitly declares that being non-human or supernatural in form.\\n\\nPROPS FACE THE RIGHT WAY: every handheld or used object must be\\noriented exactly as its real-world use requires. A person reading,\\nwatching or operating something (a phone, a photograph, a paper,\\nany device) has its functional side — screen, front, page — facing\\nTHEIR OWN eyes; the camera then sees whatever side the staging\\ngeometry implies (often its back). Show the functional side to the\\ncamera ONLY when the shot text itself stages it toward the viewer.\\nNever flip, mirror or reverse an object's front and back.\\n\\nMOVEMENT (follow exactly): A red circular mark spreads around the wall above the bed, progressing along a ring-like path as though an unseen brush is drawing it, with about half the circle formed.\\n\\nFIGURES — size & depth (follow exactly): The half-formed red circle fills roughly 1/2 of the frame height on the wall and is the principal visible object. The wall surface and mark are FARTHER than the nearer edge of the bed, with the red pigment visually sitting closest on that wall plane.\\n\\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Minsuk’s motionless figure, wounds, and the room’s dark stains traces remain unchanged; her hand is now without the photograph, which Suri-young has taken, and the wrist mark is red. A red circle is partially formed on the wall above the bed.\\n\\nNO PEOPLE IN THIS SHOT: the shot text shows only the place and its state — no living person or any body part appears in frame, unless the shot text itself explicitly says so.\\n\\nNo text, captions, watermarks or annotations anywhere.\"}, {\"type\": \"text\", \"text\": \"REFERENCE — LOCATION PHOTOGRAPH — the exact place of this shot: its architecture, materials, fixed features and lighting mood are spatial truth; stage the moment inside this place. Never copy its camera framing.\"}, {\"type\": \"text\", \"text\": \"Candidate A:\"}, {\"type\": \"text\", \"text\": \"Candidate B:\"}, {\"type\": \"text\", \"text\": \"Candidate C:\"}]"}
{"ts": "2026-07-13 19:32:21", "kind": "llm", "step": "s40_crit_still_S12sh21", "model": "gemini-pro", "dur_s": 19.7, "system_prompt": "You are given an image-generation prompt, the labelled REFERENCE\nimage(s) that were attached to it, and ONE photograph generated\nfrom them (the current best pick of three).\nList what is WRONG with it — ONLY violations of the prompt or of\nits reference instructions: the shot's stated moment and action,\nwho/what must or must NOT be in frame, camera, time of day,\nlocation consistency with the reference, pose/immobility and\ncarried-state clauses, object orientation, anatomy, and every\nexclusion (no text, no invented people or objects).\nBase every finding only on what is visible; ignore taste and\ngeneric aesthetics. For each issue give: issue_ko (short Korean\nline) + fix_en (ONE imperative English edit that fixes exactly\nthat while changing nothing else). Empty array if nothing wrong.", "user_prompt": "[{\"type\": \"text\", \"text\": \"THE PROMPT:\\nCreate ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\\n\\nSHOT TEXT (authoritative, Korean): 침대 위쪽 벽면에 붉은색 원형 표식이 절반쯤 나타난 상태\\n\\nLOCATION (lock): A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.\\n\\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\\ntext may describe characters metaphorically, figuratively or with\\nexaggeration. Photograph what a real movie camera would actually\\nrecord on a physical set — exaggerated or figurative impressions\\nbecome realistic staging choices (lighting, distance, angle,\\nwardrobe), not literal fantasy imagery.\\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\\nfeatures non-human or virtual beings (as in science fiction or\\nfantasy), every character — however indirectly, vaguely or\\nfiguratively the text describes them — IS a real human. When the\\ntext gives no direct visual description of a person, IMAGINE one\\nand still show them as a concrete, fully-formed human being:\\nalways render the human form to the maximum extent — build,\\nposture, face, hands, clothing — never reduce a person to a shape,\\nblob, solid silhouette or abstract mass.\\n\\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\\nperson's eyes, face or presence emotionally or figuratively (vacant,\\nhollow, dazed, burning, lifeless gaze and the like), it describes an\\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\\nthrough gaze direction, focus, eyelids, facial muscles, stillness\\nand posture. Every living person's eyes remain anatomically normal\\nhuman eyes with a natural iris and pupil, natural sclera and normal\\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\\notherwise alter eyeballs, skin or anatomy — unless the story\\nexplicitly declares that being non-human or supernatural in form.\\n\\nPROPS FACE THE RIGHT WAY: every handheld or used object must be\\noriented exactly as its real-world use requires. A person reading,\\nwatching or operating something (a phone, a photograph, a paper,\\nany device) has its functional side — screen, front, page — facing\\nTHEIR OWN eyes; the camera then sees whatever side the staging\\ngeometry implies (often its back). Show the functional side to the\\ncamera ONLY when the shot text itself stages it toward the viewer.\\nNever flip, mirror or reverse an object's front and back.\\n\\nMOVEMENT (follow exactly): A red circular mark spreads around the wall above the bed, progressing along a ring-like path as though an unseen brush is drawing it, with about half the circle formed.\\n\\nFIGURES — size & depth (follow exactly): The half-formed red circle fills roughly 1/2 of the frame height on the wall and is the principal visible object. The wall surface and mark are FARTHER than the nearer edge of the bed, with the red pigment visually sitting closest on that wall plane.\\n\\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Minsuk’s motionless figure, wounds, and the room’s dark stains traces remain unchanged; her hand is now without the photograph, which Suri-young has taken, and the wrist mark is red. A red circle is partially formed on the wall above the bed.\\n\\nNO PEOPLE IN THIS SHOT: the shot text shows only the place and its state — no living person or any body part appears in frame, unless the shot text itself explicitly says so.\\n\\nNo text, captions, watermarks or annotations anywhere.\"}, {\"type\": \"text\", \"text\": \"REFERENCE — LOCATION PHOTOGRAPH — the exact place of this shot: its architecture, materials, fixed features and lighting mood are spatial truth; stage the moment inside this place. Never copy its camera framing.\"}, {\"type\": \"text\", \"text\": \"Photograph to examine:\"}]"}
{"ts": "2026-07-13 19:32:41", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s40_still_S13sh4_a", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s40/plates/bg_S13sh4_sel.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/39864973-d3d5-4886-bfb2-f8db608a005b.png"], "ref_labels": ["LOCATION PHOTOGRAPH — the exact place of this shot: its architecture, materials, fixed features and lighting mood are spatial truth; stage the moment inside this place. Never copy its camera framing.", "CHARACTER REFERENCE — 수리영: the exact person appearing in this shot; match face, hair and build exactly."], "attempt": 1, "dur_s": 20.0, "bytes": 3073328, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s40/stills/S13sh4_a.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\n\nSHOT TEXT (authoritative, Korean): 수리영이 초점을 잃은 눈으로 허공을 응시하며 서 있는 모습\n\nLOCATION (lock): A confined ground-level alley and small courtyard beside an aging multi-unit residential building. Concrete walls, building entrances, and the base of the exterior access structure frame the space. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nPROPS FACE THE RIGHT WAY: every handheld or used object must be\noriented exactly as its real-world use requires. A person reading,\nwatching or operating something (a phone, a photograph, a paper,\nany device) has its functional side — screen, front, page — facing\nTHEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nMOVEMENT (follow exactly): static: Su-ri-young stands motionless and dazed after coming down from the rooftop room, her unfocused eyes staring into empty space and her body lacking purposeful direction.\n\nFIGURES — size & depth (follow exactly): Su-ri-young is the only visible figure, so she is both the nearest and farthest person; her apparent fraction of frame height is unspecified in the source.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 수리영 (Korean young woman, early 20s face, oval face, natural black long hair) — never anyone else, and never add a person the shot text does not show. IF only part of a person is in frame (a hand, arm, foot, back, silhouette), that body part belongs to the specific person the shot text names — its sex, age, build, skin and grooming must unmistakably match that person's profile above.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-13 19:33:01", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s40_still_S13sh4_b", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s40/plates/bg_S13sh4_sel.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/39864973-d3d5-4886-bfb2-f8db608a005b.png"], "ref_labels": ["LOCATION PHOTOGRAPH — the exact place of this shot: its architecture, materials, fixed features and lighting mood are spatial truth; stage the moment inside this place. Never copy its camera framing.", "CHARACTER REFERENCE — 수리영: the exact person appearing in this shot; match face, hair and build exactly."], "attempt": 1, "dur_s": 20.3, "bytes": 3065810, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s40/stills/S13sh4_b.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\n\nSHOT TEXT (authoritative, Korean): 수리영이 초점을 잃은 눈으로 허공을 응시하며 서 있는 모습\n\nLOCATION (lock): A confined ground-level alley and small courtyard beside an aging multi-unit residential building. Concrete walls, building entrances, and the base of the exterior access structure frame the space. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nPROPS FACE THE RIGHT WAY: every handheld or used object must be\noriented exactly as its real-world use requires. A person reading,\nwatching or operating something (a phone, a photograph, a paper,\nany device) has its functional side — screen, front, page — facing\nTHEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nMOVEMENT (follow exactly): static: Su-ri-young stands motionless and dazed after coming down from the rooftop room, her unfocused eyes staring into empty space and her body lacking purposeful direction.\n\nFIGURES — size & depth (follow exactly): Su-ri-young is the only visible figure, so she is both the nearest and farthest person; her apparent fraction of frame height is unspecified in the source.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 수리영 (Korean young woman, early 20s face, oval face, natural black long hair) — never anyone else, and never add a person the shot text does not show. IF only part of a person is in frame (a hand, arm, foot, back, silhouette), that body part belongs to the specific person the shot text names — its sex, age, build, skin and grooming must unmistakably match that person's profile above.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-13 19:33:23", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s40_still_S13sh4_c", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s40/plates/bg_S13sh4_sel.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/39864973-d3d5-4886-bfb2-f8db608a005b.png"], "ref_labels": ["LOCATION PHOTOGRAPH — the exact place of this shot: its architecture, materials, fixed features and lighting mood are spatial truth; stage the moment inside this place. Never copy its camera framing.", "CHARACTER REFERENCE — 수리영: the exact person appearing in this shot; match face, hair and build exactly."], "attempt": 1, "dur_s": 21.6, "bytes": 3087843, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s40/stills/S13sh4_c.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\n\nSHOT TEXT (authoritative, Korean): 수리영이 초점을 잃은 눈으로 허공을 응시하며 서 있는 모습\n\nLOCATION (lock): A confined ground-level alley and small courtyard beside an aging multi-unit residential building. Concrete walls, building entrances, and the base of the exterior access structure frame the space. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nPROPS FACE THE RIGHT WAY: every handheld or used object must be\noriented exactly as its real-world use requires. A person reading,\nwatching or operating something (a phone, a photograph, a paper,\nany device) has its functional side — screen, front, page — facing\nTHEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nMOVEMENT (follow exactly): static: Su-ri-young stands motionless and dazed after coming down from the rooftop room, her unfocused eyes staring into empty space and her body lacking purposeful direction.\n\nFIGURES — size & depth (follow exactly): Su-ri-young is the only visible figure, so she is both the nearest and farthest person; her apparent fraction of frame height is unspecified in the source.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 수리영 (Korean young woman, early 20s face, oval face, natural black long hair) — never anyone else, and never add a person the shot text does not show. IF only part of a person is in frame (a hand, arm, foot, back, silhouette), that body part belongs to the specific person the shot text names — its sex, age, build, skin and grooming must unmistakably match that person's profile above.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-13 19:33:51", "kind": "llm", "step": "s40_judge_still_S13sh4", "model": "gemini-pro", "dur_s": 27.5, "system_prompt": "You are given ONE image-generation prompt, the REFERENCE image(s)\nthat were attached to it (labelled), and THREE candidate images,\nlabelled A, B, C in the order attached, all generated from that\nexact prompt with those exact references.\nPick the ONE candidate that most faithfully realises the prompt.\nJudge ONLY fidelity to the prompt and its reference instructions:\nthe shot text's moment and action, who is and is NOT in frame,\ncamera framing, time of day, the LOCATION lock (the place must be\nthe one the reference shows — same architecture, materials,\nfixtures), pose/immobility and carried-state clauses, and every\nexclusion (no text, no invented people or objects). Consistency\nwith the attached reference image counts as prompt fidelity.\nIgnore generic aesthetic appeal.\nCheck every candidate point by point before deciding; base every\nverdict only on what is visible.\nAlso give every candidate an integer score 0-10 for that same\nfidelity.\nOutput: winner, ranking best-to-worst, and per candidate a score\nplus a one-line Korean verdict citing the decisive prompt points.", "user_prompt": "[{\"type\": \"text\", \"text\": \"THE PROMPT (all three candidates were generated from this):\\nCreate ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\\n\\nSHOT TEXT (authoritative, Korean): 수리영이 초점을 잃은 눈으로 허공을 응시하며 서 있는 모습\\n\\nLOCATION (lock): A confined ground-level alley and small courtyard beside an aging multi-unit residential building. Concrete walls, building entrances, and the base of the exterior access structure frame the space. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.\\n\\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\\ntext may describe characters metaphorically, figuratively or with\\nexaggeration. Photograph what a real movie camera would actually\\nrecord on a physical set — exaggerated or figurative impressions\\nbecome realistic staging choices (lighting, distance, angle,\\nwardrobe), not literal fantasy imagery.\\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\\nfeatures non-human or virtual beings (as in science fiction or\\nfantasy), every character — however indirectly, vaguely or\\nfiguratively the text describes them — IS a real human. When the\\ntext gives no direct visual description of a person, IMAGINE one\\nand still show them as a concrete, fully-formed human being:\\nalways render the human form to the maximum extent — build,\\nposture, face, hands, clothing — never reduce a person to a shape,\\nblob, solid silhouette or abstract mass.\\n\\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\\nperson's eyes, face or presence emotionally or figuratively (vacant,\\nhollow, dazed, burning, lifeless gaze and the like), it describes an\\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\\nthrough gaze direction, focus, eyelids, facial muscles, stillness\\nand posture. Every living person's eyes remain anatomically normal\\nhuman eyes with a natural iris and pupil, natural sclera and normal\\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\\notherwise alter eyeballs, skin or anatomy — unless the story\\nexplicitly declares that being non-human or supernatural in form.\\n\\nPROPS FACE THE RIGHT WAY: every handheld or used object must be\\noriented exactly as its real-world use requires. A person reading,\\nwatching or operating something (a phone, a photograph, a paper,\\nany device) has its functional side — screen, front, page — facing\\nTHEIR OWN eyes; the camera then sees whatever side the staging\\ngeometry implies (often its back). Show the functional side to the\\ncamera ONLY when the shot text itself stages it toward the viewer.\\nNever flip, mirror or reverse an object's front and back.\\n\\nMOVEMENT (follow exactly): static: Su-ri-young stands motionless and dazed after coming down from the rooftop room, her unfocused eyes staring into empty space and her body lacking purposeful direction.\\n\\nFIGURES — size & depth (follow exactly): Su-ri-young is the only visible figure, so she is both the nearest and farthest person; her apparent fraction of frame height is unspecified in the source.\\n\\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 수리영 (Korean young woman, early 20s face, oval face, natural black long hair) — never anyone else, and never add a person the shot text does not show. IF only part of a person is in frame (a hand, arm, foot, back, silhouette), that body part belongs to the specific person the shot text names — its sex, age, build, skin and grooming must unmistakably match that person's profile above.\\n\\nNo text, captions, watermarks or annotations anywhere.\"}, {\"type\": \"text\", \"text\": \"REFERENCE — LOCATION PHOTOGRAPH — the exact place of this shot: its architecture, materials, fixed features and lighting mood are spatial truth; stage the moment inside this place. Never copy its camera framing.\"}, {\"type\": \"text\", \"text\": \"REFERENCE — CHARACTER REFERENCE — 수리영: the exact person appearing in this shot; match face, hair and build exactly.\"}, {\"type\": \"text\", \"text\": \"Candidate A:\"}, {\"type\": \"text\", \"text\": \"Candidate B:\"}, {\"type\": \"text\", \"text\": \"Candidate C:\"}]"}
{"ts": "2026-07-13 19:34:11", "kind": "llm", "step": "s40_crit_still_S13sh4", "model": "gemini-pro", "dur_s": 20.0, "system_prompt": "You are given an image-generation prompt, the labelled REFERENCE\nimage(s) that were attached to it, and ONE photograph generated\nfrom them (the current best pick of three).\nList what is WRONG with it — ONLY violations of the prompt or of\nits reference instructions: the shot's stated moment and action,\nwho/what must or must NOT be in frame, camera, time of day,\nlocation consistency with the reference, pose/immobility and\ncarried-state clauses, object orientation, anatomy, and every\nexclusion (no text, no invented people or objects).\nBase every finding only on what is visible; ignore taste and\ngeneric aesthetics. For each issue give: issue_ko (short Korean\nline) + fix_en (ONE imperative English edit that fixes exactly\nthat while changing nothing else). Empty array if nothing wrong.", "user_prompt": "[{\"type\": \"text\", \"text\": \"THE PROMPT:\\nCreate ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\\n\\nSHOT TEXT (authoritative, Korean): 수리영이 초점을 잃은 눈으로 허공을 응시하며 서 있는 모습\\n\\nLOCATION (lock): A confined ground-level alley and small courtyard beside an aging multi-unit residential building. Concrete walls, building entrances, and the base of the exterior access structure frame the space. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.\\n\\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\\ntext may describe characters metaphorically, figuratively or with\\nexaggeration. Photograph what a real movie camera would actually\\nrecord on a physical set — exaggerated or figurative impressions\\nbecome realistic staging choices (lighting, distance, angle,\\nwardrobe), not literal fantasy imagery.\\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\\nfeatures non-human or virtual beings (as in science fiction or\\nfantasy), every character — however indirectly, vaguely or\\nfiguratively the text describes them — IS a real human. When the\\ntext gives no direct visual description of a person, IMAGINE one\\nand still show them as a concrete, fully-formed human being:\\nalways render the human form to the maximum extent — build,\\nposture, face, hands, clothing — never reduce a person to a shape,\\nblob, solid silhouette or abstract mass.\\n\\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\\nperson's eyes, face or presence emotionally or figuratively (vacant,\\nhollow, dazed, burning, lifeless gaze and the like), it describes an\\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\\nthrough gaze direction, focus, eyelids, facial muscles, stillness\\nand posture. Every living person's eyes remain anatomically normal\\nhuman eyes with a natural iris and pupil, natural sclera and normal\\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\\notherwise alter eyeballs, skin or anatomy — unless the story\\nexplicitly declares that being non-human or supernatural in form.\\n\\nPROPS FACE THE RIGHT WAY: every handheld or used object must be\\noriented exactly as its real-world use requires. A person reading,\\nwatching or operating something (a phone, a photograph, a paper,\\nany device) has its functional side — screen, front, page — facing\\nTHEIR OWN eyes; the camera then sees whatever side the staging\\ngeometry implies (often its back). Show the functional side to the\\ncamera ONLY when the shot text itself stages it toward the viewer.\\nNever flip, mirror or reverse an object's front and back.\\n\\nMOVEMENT (follow exactly): static: Su-ri-young stands motionless and dazed after coming down from the rooftop room, her unfocused eyes staring into empty space and her body lacking purposeful direction.\\n\\nFIGURES — size & depth (follow exactly): Su-ri-young is the only visible figure, so she is both the nearest and farthest person; her apparent fraction of frame height is unspecified in the source.\\n\\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 수리영 (Korean young woman, early 20s face, oval face, natural black long hair) — never anyone else, and never add a person the shot text does not show. IF only part of a person is in frame (a hand, arm, foot, back, silhouette), that body part belongs to the specific person the shot text names — its sex, age, build, skin and grooming must unmistakably match that person's profile above.\\n\\nNo text, captions, watermarks or annotations anywhere.\"}, {\"type\": \"text\", \"text\": \"REFERENCE — LOCATION PHOTOGRAPH — the exact place of this shot: its architecture, materials, fixed features and lighting mood are spatial truth; stage the moment inside this place. Never copy its camera framing.\"}, {\"type\": \"text\", \"text\": \"REFERENCE — CHARACTER REFERENCE — 수리영: the exact person appearing in this shot; match face, hair and build exactly.\"}, {\"type\": \"text\", \"text\": \"Photograph to examine:\"}]"}
{"ts": "2026-07-13 19:34:33", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s40_fix_still_S13sh4", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s40/stills/S13sh4_a.png"], "ref_labels": ["PHOTOGRAPH TO EDIT — fix ONLY the issues the prompt lists; preserve everything else exactly."], "attempt": 1, "dur_s": 21.9, "bytes": 3178048, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s40/stills/S13sh4_fix.png", "prompt": "Edit this photograph. Apply ONLY the corrections listed below,\neach in place, changing nothing else:\n\nCORRECTIONS:\n- Change the camera angle, distance, or framing to create a new composition instead of duplicating the location reference photograph.\n\nPRESERVE EVERYTHING ELSE EXACTLY as in the original photograph —\nevery person, pose, face, garment, object, set feature, lighting,\ncamera and framing stay identical. No text, captions or\nwatermarks anywhere."}
{"ts": "2026-07-13 19:35:01", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s40_still_S13sh6_a", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s40/plates/bg_S13sh6_sel.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s40/stills/S13sh4_sel.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/39864973-d3d5-4886-bfb2-f8db608a005b.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/bddad176-aa6a-4a71-b5d3-d02e36e19657.png"], "ref_labels": ["LOCATION PHOTOGRAPH — the exact place of this shot: its architecture, materials, fixed features and lighting mood are spatial truth; stage the moment inside this place. Never copy its camera framing.", "PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing. If this photo shows a character who cannot move (dead or unconscious), that character's exact pose, position and orientation are ALSO LOCKED — treat their body as a fixed prop of the set that only the camera moves around.", "CHARACTER REFERENCE — 수리영: the exact person appearing in this shot; match face, hair and build exactly.", "CHARACTER REFERENCE — 혜수: the exact person appearing in this shot; match face, hair and build exactly."], "attempt": 1, "dur_s": 27.9, "bytes": 2981592, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s40/stills/S13sh6_a.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\n\nSHOT TEXT (authoritative, Korean): 고개를 든 채 혜수의 얼굴을 마주보고 있는 수리영의 측면 구도\n\nLOCATION (lock): A confined ground-level alley and small courtyard beside an aging multi-unit residential building. Concrete walls, building entrances, and the base of the exterior access structure frame the space. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.\n\nTHIS SHOT CONTINUES THE PREVIOUS SHOT: everything the attached still established — the place, its fixed features and wear, each person's clothing and state — persists. Any person in it who cannot move stays PRECISELY as photographed (body, pose, contact points, held objects); only the camera changes.\n\nPREVIOUS STILL USAGE (follow exactly — what to take from the attached still and what to exclude): Take the confined courtyard's concrete surfaces, building entrances, access structure, and nighttime emergency ambience from the reference. Preserve the young woman's standing position in the same ground-level area. Exclude her earlier vacant stare and empty-air eyeline; frame her now looking up at the approaching woman.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nPROPS FACE THE RIGHT WAY: every handheld or used object must be\noriented exactly as its real-world use requires. A person reading,\nwatching or operating something (a phone, a photograph, a paper,\nany device) has its functional side — screen, front, page — facing\nTHEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nMOVEMENT (follow exactly): static: Su-ri-young holds her head raised and faces Hye-su directly in side profile, looking up at her while remaining dazed and stationary.\n\nFIGURES — size & depth (follow exactly): Su-ri-young and Hye-su's face are visible facing each other, but their respective frame-height fractions and which is nearer to the camera are unspecified; their paths have converged at conversational distance, with neither moving past the other.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 수리영 (Korean young woman, early 20s face, oval face, natural black long hair); 혜수 (Korean middle-aged woman, mid-40s face, mature facial features, dark natural hair) — never anyone else, and never add a person the shot text does not show. IF only part of a person is in frame (a hand, arm, foot, back, silhouette), that body part belongs to the specific person the shot text names — its sex, age, build, skin and grooming must unmistakably match that person's profile above.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-13 19:35:33", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s40_still_S13sh6_b", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s40/plates/bg_S13sh6_sel.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s40/stills/S13sh4_sel.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/39864973-d3d5-4886-bfb2-f8db608a005b.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/bddad176-aa6a-4a71-b5d3-d02e36e19657.png"], "ref_labels": ["LOCATION PHOTOGRAPH — the exact place of this shot: its architecture, materials, fixed features and lighting mood are spatial truth; stage the moment inside this place. Never copy its camera framing.", "PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing. If this photo shows a character who cannot move (dead or unconscious), that character's exact pose, position and orientation are ALSO LOCKED — treat their body as a fixed prop of the set that only the camera moves around.", "CHARACTER REFERENCE — 수리영: the exact person appearing in this shot; match face, hair and build exactly.", "CHARACTER REFERENCE — 혜수: the exact person appearing in this shot; match face, hair and build exactly."], "attempt": 1, "dur_s": 32.7, "bytes": 2783291, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s40/stills/S13sh6_b.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\n\nSHOT TEXT (authoritative, Korean): 고개를 든 채 혜수의 얼굴을 마주보고 있는 수리영의 측면 구도\n\nLOCATION (lock): A confined ground-level alley and small courtyard beside an aging multi-unit residential building. Concrete walls, building entrances, and the base of the exterior access structure frame the space. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.\n\nTHIS SHOT CONTINUES THE PREVIOUS SHOT: everything the attached still established — the place, its fixed features and wear, each person's clothing and state — persists. Any person in it who cannot move stays PRECISELY as photographed (body, pose, contact points, held objects); only the camera changes.\n\nPREVIOUS STILL USAGE (follow exactly — what to take from the attached still and what to exclude): Take the confined courtyard's concrete surfaces, building entrances, access structure, and nighttime emergency ambience from the reference. Preserve the young woman's standing position in the same ground-level area. Exclude her earlier vacant stare and empty-air eyeline; frame her now looking up at the approaching woman.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nPROPS FACE THE RIGHT WAY: every handheld or used object must be\noriented exactly as its real-world use requires. A person reading,\nwatching or operating something (a phone, a photograph, a paper,\nany device) has its functional side — screen, front, page — facing\nTHEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nMOVEMENT (follow exactly): static: Su-ri-young holds her head raised and faces Hye-su directly in side profile, looking up at her while remaining dazed and stationary.\n\nFIGURES — size & depth (follow exactly): Su-ri-young and Hye-su's face are visible facing each other, but their respective frame-height fractions and which is nearer to the camera are unspecified; their paths have converged at conversational distance, with neither moving past the other.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 수리영 (Korean young woman, early 20s face, oval face, natural black long hair); 혜수 (Korean middle-aged woman, mid-40s face, mature facial features, dark natural hair) — never anyone else, and never add a person the shot text does not show. IF only part of a person is in frame (a hand, arm, foot, back, silhouette), that body part belongs to the specific person the shot text names — its sex, age, build, skin and grooming must unmistakably match that person's profile above.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-13 19:36:06", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s40_still_S13sh6_c", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s40/plates/bg_S13sh6_sel.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s40/stills/S13sh4_sel.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/39864973-d3d5-4886-bfb2-f8db608a005b.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/bddad176-aa6a-4a71-b5d3-d02e36e19657.png"], "ref_labels": ["LOCATION PHOTOGRAPH — the exact place of this shot: its architecture, materials, fixed features and lighting mood are spatial truth; stage the moment inside this place. Never copy its camera framing.", "PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing. If this photo shows a character who cannot move (dead or unconscious), that character's exact pose, position and orientation are ALSO LOCKED — treat their body as a fixed prop of the set that only the camera moves around.", "CHARACTER REFERENCE — 수리영: the exact person appearing in this shot; match face, hair and build exactly.", "CHARACTER REFERENCE — 혜수: the exact person appearing in this shot; match face, hair and build exactly."], "attempt": 1, "dur_s": 32.7, "bytes": 2644609, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s40/stills/S13sh6_c.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\n\nSHOT TEXT (authoritative, Korean): 고개를 든 채 혜수의 얼굴을 마주보고 있는 수리영의 측면 구도\n\nLOCATION (lock): A confined ground-level alley and small courtyard beside an aging multi-unit residential building. Concrete walls, building entrances, and the base of the exterior access structure frame the space. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.\n\nTHIS SHOT CONTINUES THE PREVIOUS SHOT: everything the attached still established — the place, its fixed features and wear, each person's clothing and state — persists. Any person in it who cannot move stays PRECISELY as photographed (body, pose, contact points, held objects); only the camera changes.\n\nPREVIOUS STILL USAGE (follow exactly — what to take from the attached still and what to exclude): Take the confined courtyard's concrete surfaces, building entrances, access structure, and nighttime emergency ambience from the reference. Preserve the young woman's standing position in the same ground-level area. Exclude her earlier vacant stare and empty-air eyeline; frame her now looking up at the approaching woman.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nPROPS FACE THE RIGHT WAY: every handheld or used object must be\noriented exactly as its real-world use requires. A person reading,\nwatching or operating something (a phone, a photograph, a paper,\nany device) has its functional side — screen, front, page — facing\nTHEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nMOVEMENT (follow exactly): static: Su-ri-young holds her head raised and faces Hye-su directly in side profile, looking up at her while remaining dazed and stationary.\n\nFIGURES — size & depth (follow exactly): Su-ri-young and Hye-su's face are visible facing each other, but their respective frame-height fractions and which is nearer to the camera are unspecified; their paths have converged at conversational distance, with neither moving past the other.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 수리영 (Korean young woman, early 20s face, oval face, natural black long hair); 혜수 (Korean middle-aged woman, mid-40s face, mature facial features, dark natural hair) — never anyone else, and never add a person the shot text does not show. IF only part of a person is in frame (a hand, arm, foot, back, silhouette), that body part belongs to the specific person the shot text names — its sex, age, build, skin and grooming must unmistakably match that person's profile above.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-13 19:37:32", "kind": "llm", "step": "s40_judge_still_S13sh6", "model": "gemini-pro", "dur_s": 86.0, "system_prompt": "You are given ONE image-generation prompt, the REFERENCE image(s)\nthat were attached to it (labelled), and THREE candidate images,\nlabelled A, B, C in the order attached, all generated from that\nexact prompt with those exact references.\nPick the ONE candidate that most faithfully realises the prompt.\nJudge ONLY fidelity to the prompt and its reference instructions:\nthe shot text's moment and action, who is and is NOT in frame,\ncamera framing, time of day, the LOCATION lock (the place must be\nthe one the reference shows — same architecture, materials,\nfixtures), pose/immobility and carried-state clauses, and every\nexclusion (no text, no invented people or objects). Consistency\nwith the attached reference image counts as prompt fidelity.\nIgnore generic aesthetic appeal.\nCheck every candidate point by point before deciding; base every\nverdict only on what is visible.\nAlso give every candidate an integer score 0-10 for that same\nfidelity.\nOutput: winner, ranking best-to-worst, and per candidate a score\nplus a one-line Korean verdict citing the decisive prompt points.", "user_prompt": "[{\"type\": \"text\", \"text\": \"THE PROMPT (all three candidates were generated from this):\\nCreate ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\\n\\nSHOT TEXT (authoritative, Korean): 고개를 든 채 혜수의 얼굴을 마주보고 있는 수리영의 측면 구도\\n\\nLOCATION (lock): A confined ground-level alley and small courtyard beside an aging multi-unit residential building. Concrete walls, building entrances, and the base of the exterior access structure frame the space. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.\\n\\nTHIS SHOT CONTINUES THE PREVIOUS SHOT: everything the attached still established — the place, its fixed features and wear, each person's clothing and state — persists. Any person in it who cannot move stays PRECISELY as photographed (body, pose, contact points, held objects); only the camera changes.\\n\\nPREVIOUS STILL USAGE (follow exactly — what to take from the attached still and what to exclude): Take the confined courtyard's concrete surfaces, building entrances, access structure, and nighttime emergency ambience from the reference. Preserve the young woman's standing position in the same ground-level area. Exclude her earlier vacant stare and empty-air eyeline; frame her now looking up at the approaching woman.\\n\\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\\ntext may describe characters metaphorically, figuratively or with\\nexaggeration. Photograph what a real movie camera would actually\\nrecord on a physical set — exaggerated or figurative impressions\\nbecome realistic staging choices (lighting, distance, angle,\\nwardrobe), not literal fantasy imagery.\\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\\nfeatures non-human or virtual beings (as in science fiction or\\nfantasy), every character — however indirectly, vaguely or\\nfiguratively the text describes them — IS a real human. When the\\ntext gives no direct visual description of a person, IMAGINE one\\nand still show them as a concrete, fully-formed human being:\\nalways render the human form to the maximum extent — build,\\nposture, face, hands, clothing — never reduce a person to a shape,\\nblob, solid silhouette or abstract mass.\\n\\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\\nperson's eyes, face or presence emotionally or figuratively (vacant,\\nhollow, dazed, burning, lifeless gaze and the like), it describes an\\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\\nthrough gaze direction, focus, eyelids, facial muscles, stillness\\nand posture. Every living person's eyes remain anatomically normal\\nhuman eyes with a natural iris and pupil, natural sclera and normal\\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\\notherwise alter eyeballs, skin or anatomy — unless the story\\nexplicitly declares that being non-human or supernatural in form.\\n\\nPROPS FACE THE RIGHT WAY: every handheld or used object must be\\noriented exactly as its real-world use requires. A person reading,\\nwatching or operating something (a phone, a photograph, a paper,\\nany device) has its functional side — screen, front, page — facing\\nTHEIR OWN eyes; the camera then sees whatever side the staging\\ngeometry implies (often its back). Show the functional side to the\\ncamera ONLY when the shot text itself stages it toward the viewer.\\nNever flip, mirror or reverse an object's front and back.\\n\\nMOVEMENT (follow exactly): static: Su-ri-young holds her head raised and faces Hye-su directly in side profile, looking up at her while remaining dazed and stationary.\\n\\nFIGURES — size & depth (follow exactly): Su-ri-young and Hye-su's face are visible facing each other, but their respective frame-height fractions and which is nearer to the camera are unspecified; their paths have converged at conversational distance, with neither moving past the other.\\n\\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 수리영 (Korean young woman, early 20s face, oval face, natural black long hair); 혜수 (Korean middle-aged woman, mid-40s face, mature facial features, dark natural hair) — never anyone else, and never add a person the shot text does not show. IF only part of a person is in frame (a hand, arm, foot, back, silhouette), that body part belongs to the specific person the shot text names — its sex, age, build, skin and grooming must unmistakably match that person's profile above.\\n\\nNo text, captions, watermarks or annotations anywhere.\"}, {\"type\": \"text\", \"text\": \"REFERENCE — LOCATION PHOTOGRAPH — the exact place of this shot: its architecture, materials, fixed features and lighting mood are spatial truth; stage the moment inside this place. Never copy its camera framing.\"}, {\"type\": \"text\", \"text\": \"REFERENCE — PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing. If this photo shows a character who cannot move (dead or unconscious), that character's exact pose, position and orientation are ALSO LOCKED — treat their body as a fixed prop of the set that only the camera moves around.\"}, {\"type\": \"text\", \"text\": \"REFERENCE — CHARACTER REFERENCE — 수리영: the exact person appearing in this shot; match face, hair and build exactly.\"}, {\"type\": \"text\", \"text\": \"REFERENCE — CHARACTER REFERENCE — 혜수: the exact person appearing in this shot; match face, hair and build exactly.\"}, {\"type\": \"text\", \"text\": \"Candidate A:\"}, {\"type\": \"text\", \"text\": \"Candidate B:\"}, {\"type\": \"text\", \"text\": \"Candidate C:\"}]"}
{"ts": "2026-07-13 19:38:07", "kind": "llm", "step": "s40_crit_still_S13sh6", "model": "gemini-pro", "dur_s": 34.7, "system_prompt": "You are given an image-generation prompt, the labelled REFERENCE\nimage(s) that were attached to it, and ONE photograph generated\nfrom them (the current best pick of three).\nList what is WRONG with it — ONLY violations of the prompt or of\nits reference instructions: the shot's stated moment and action,\nwho/what must or must NOT be in frame, camera, time of day,\nlocation consistency with the reference, pose/immobility and\ncarried-state clauses, object orientation, anatomy, and every\nexclusion (no text, no invented people or objects).\nBase every finding only on what is visible; ignore taste and\ngeneric aesthetics. For each issue give: issue_ko (short Korean\nline) + fix_en (ONE imperative English edit that fixes exactly\nthat while changing nothing else). Empty array if nothing wrong.", "user_prompt": "[{\"type\": \"text\", \"text\": \"THE PROMPT:\\nCreate ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\\n\\nSHOT TEXT (authoritative, Korean): 고개를 든 채 혜수의 얼굴을 마주보고 있는 수리영의 측면 구도\\n\\nLOCATION (lock): A confined ground-level alley and small courtyard beside an aging multi-unit residential building. Concrete walls, building entrances, and the base of the exterior access structure frame the space. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.\\n\\nTHIS SHOT CONTINUES THE PREVIOUS SHOT: everything the attached still established — the place, its fixed features and wear, each person's clothing and state — persists. Any person in it who cannot move stays PRECISELY as photographed (body, pose, contact points, held objects); only the camera changes.\\n\\nPREVIOUS STILL USAGE (follow exactly — what to take from the attached still and what to exclude): Take the confined courtyard's concrete surfaces, building entrances, access structure, and nighttime emergency ambience from the reference. Preserve the young woman's standing position in the same ground-level area. Exclude her earlier vacant stare and empty-air eyeline; frame her now looking up at the approaching woman.\\n\\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\\ntext may describe characters metaphorically, figuratively or with\\nexaggeration. Photograph what a real movie camera would actually\\nrecord on a physical set — exaggerated or figurative impressions\\nbecome realistic staging choices (lighting, distance, angle,\\nwardrobe), not literal fantasy imagery.\\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\\nfeatures non-human or virtual beings (as in science fiction or\\nfantasy), every character — however indirectly, vaguely or\\nfiguratively the text describes them — IS a real human. When the\\ntext gives no direct visual description of a person, IMAGINE one\\nand still show them as a concrete, fully-formed human being:\\nalways render the human form to the maximum extent — build,\\nposture, face, hands, clothing — never reduce a person to a shape,\\nblob, solid silhouette or abstract mass.\\n\\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\\nperson's eyes, face or presence emotionally or figuratively (vacant,\\nhollow, dazed, burning, lifeless gaze and the like), it describes an\\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\\nthrough gaze direction, focus, eyelids, facial muscles, stillness\\nand posture. Every living person's eyes remain anatomically normal\\nhuman eyes with a natural iris and pupil, natural sclera and normal\\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\\notherwise alter eyeballs, skin or anatomy — unless the story\\nexplicitly declares that being non-human or supernatural in form.\\n\\nPROPS FACE THE RIGHT WAY: every handheld or used object must be\\noriented exactly as its real-world use requires. A person reading,\\nwatching or operating something (a phone, a photograph, a paper,\\nany device) has its functional side — screen, front, page — facing\\nTHEIR OWN eyes; the camera then sees whatever side the staging\\ngeometry implies (often its back). Show the functional side to the\\ncamera ONLY when the shot text itself stages it toward the viewer.\\nNever flip, mirror or reverse an object's front and back.\\n\\nMOVEMENT (follow exactly): static: Su-ri-young holds her head raised and faces Hye-su directly in side profile, looking up at her while remaining dazed and stationary.\\n\\nFIGURES — size & depth (follow exactly): Su-ri-young and Hye-su's face are visible facing each other, but their respective frame-height fractions and which is nearer to the camera are unspecified; their paths have converged at conversational distance, with neither moving past the other.\\n\\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 수리영 (Korean young woman, early 20s face, oval face, natural black long hair); 혜수 (Korean middle-aged woman, mid-40s face, mature facial features, dark natural hair) — never anyone else, and never add a person the shot text does not show. IF only part of a person is in frame (a hand, arm, foot, back, silhouette), that body part belongs to the specific person the shot text names — its sex, age, build, skin and grooming must unmistakably match that person's profile above.\\n\\nNo text, captions, watermarks or annotations anywhere.\"}, {\"type\": \"text\", \"text\": \"REFERENCE — LOCATION PHOTOGRAPH — the exact place of this shot: its architecture, materials, fixed features and lighting mood are spatial truth; stage the moment inside this place. Never copy its camera framing.\"}, {\"type\": \"text\", \"text\": \"REFERENCE — PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing. If this photo shows a character who cannot move (dead or unconscious), that character's exact pose, position and orientation are ALSO LOCKED — treat their body as a fixed prop of the set that only the camera moves around.\"}, {\"type\": \"text\", \"text\": \"REFERENCE — CHARACTER REFERENCE — 수리영: the exact person appearing in this shot; match face, hair and build exactly.\"}, {\"type\": \"text\", \"text\": \"REFERENCE — CHARACTER REFERENCE — 혜수: the exact person appearing in this shot; match face, hair and build exactly.\"}, {\"type\": \"text\", \"text\": \"Photograph to examine:\"}]"}
{"ts": "2026-07-13 19:38:29", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s40_fix_still_S13sh6", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s40/stills/S13sh6_b.png"], "ref_labels": ["PHOTOGRAPH TO EDIT — fix ONLY the issues the prompt lists; preserve everything else exactly."], "attempt": 1, "dur_s": 21.8, "bytes": 2804836, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s40/stills/S13sh6_fix.png", "prompt": "Edit this photograph. Apply ONLY the corrections listed below,\neach in place, changing nothing else:\n\nCORRECTIONS:\n- Render Su-ri-young standing upright so her height relative to the background objects matches her position in the previous still.\n\nPRESERVE EVERYTHING ELSE EXACTLY as in the original photograph —\nevery person, pose, face, garment, object, set feature, lighting,\ncamera and framing stay identical. No text, captions or\nwatermarks anywhere."}
{"ts": "2026-07-13 19:38:51", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s40_still_S14sh5_a", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s40/plates/plate_daughter_bedroom_night_doorway_wide_sel.png"], "ref_labels": ["LOCATION PHOTOGRAPH — the exact place of this shot: its architecture, materials, fixed features and lighting mood are spatial truth; stage the moment inside this place. Never copy its camera framing."], "attempt": 1, "dur_s": 21.9, "bytes": 2892889, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s40/stills/S14sh5_a.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\n\nSHOT TEXT (authoritative, Korean): 어두운 얼룩 없이 깨끗한 방 내부 전경\n\nLOCATION (lock): A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nPROPS FACE THE RIGHT WAY: every handheld or used object must be\noriented exactly as its real-world use requires. A person reading,\nwatching or operating something (a phone, a photograph, a paper,\nany device) has its functional side — screen, front, page — facing\nTHEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nMOVEMENT (follow exactly): static: the excessively tidy bedroom stands empty, with no dark stainsstains, red wall mark, or collapsed body remaining anywhere in the room.\n\nFIGURES — size & depth (follow exactly): The empty room fills the full frame; nearer floor and furniture edges occupy the foreground, while the bed, curtain, and clean back wall are FARTHER away. No person is visible, and the formerly occupied curtain area is now empty.\n\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The room is unnaturally spotless, with no dark stains, wall circle, or motionless figure behind the curtain. The backpack and doll are present in positions slightly different from when the body was discovered.\n\nNO PEOPLE IN THIS SHOT: the shot text shows only the place and its state — no living person or any body part appears in frame, unless the shot text itself explicitly says so.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-13 19:39:13", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s40_still_S14sh5_b", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s40/plates/plate_daughter_bedroom_night_doorway_wide_sel.png"], "ref_labels": ["LOCATION PHOTOGRAPH — the exact place of this shot: its architecture, materials, fixed features and lighting mood are spatial truth; stage the moment inside this place. Never copy its camera framing."], "attempt": 1, "dur_s": 22.5, "bytes": 2519731, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s40/stills/S14sh5_b.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\n\nSHOT TEXT (authoritative, Korean): 어두운 얼룩 없이 깨끗한 방 내부 전경\n\nLOCATION (lock): A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nPROPS FACE THE RIGHT WAY: every handheld or used object must be\noriented exactly as its real-world use requires. A person reading,\nwatching or operating something (a phone, a photograph, a paper,\nany device) has its functional side — screen, front, page — facing\nTHEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nMOVEMENT (follow exactly): static: the excessively tidy bedroom stands empty, with no dark stainsstains, red wall mark, or collapsed body remaining anywhere in the room.\n\nFIGURES — size & depth (follow exactly): The empty room fills the full frame; nearer floor and furniture edges occupy the foreground, while the bed, curtain, and clean back wall are FARTHER away. No person is visible, and the formerly occupied curtain area is now empty.\n\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The room is unnaturally spotless, with no dark stains, wall circle, or motionless figure behind the curtain. The backpack and doll are present in positions slightly different from when the body was discovered.\n\nNO PEOPLE IN THIS SHOT: the shot text shows only the place and its state — no living person or any body part appears in frame, unless the shot text itself explicitly says so.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-13 19:39:34", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s40_still_S14sh5_c", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s40/plates/plate_daughter_bedroom_night_doorway_wide_sel.png"], "ref_labels": ["LOCATION PHOTOGRAPH — the exact place of this shot: its architecture, materials, fixed features and lighting mood are spatial truth; stage the moment inside this place. Never copy its camera framing."], "attempt": 1, "dur_s": 20.6, "bytes": 2579208, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s40/stills/S14sh5_c.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\n\nSHOT TEXT (authoritative, Korean): 어두운 얼룩 없이 깨끗한 방 내부 전경\n\nLOCATION (lock): A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nPROPS FACE THE RIGHT WAY: every handheld or used object must be\noriented exactly as its real-world use requires. A person reading,\nwatching or operating something (a phone, a photograph, a paper,\nany device) has its functional side — screen, front, page — facing\nTHEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nMOVEMENT (follow exactly): static: the excessively tidy bedroom stands empty, with no dark stainsstains, red wall mark, or collapsed body remaining anywhere in the room.\n\nFIGURES — size & depth (follow exactly): The empty room fills the full frame; nearer floor and furniture edges occupy the foreground, while the bed, curtain, and clean back wall are FARTHER away. No person is visible, and the formerly occupied curtain area is now empty.\n\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The room is unnaturally spotless, with no dark stains, wall circle, or motionless figure behind the curtain. The backpack and doll are present in positions slightly different from when the body was discovered.\n\nNO PEOPLE IN THIS SHOT: the shot text shows only the place and its state — no living person or any body part appears in frame, unless the shot text itself explicitly says so.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-13 19:40:11", "kind": "llm", "step": "s40_judge_still_S14sh5", "model": "gemini-pro", "dur_s": 37.5, "system_prompt": "You are given ONE image-generation prompt, the REFERENCE image(s)\nthat were attached to it (labelled), and THREE candidate images,\nlabelled A, B, C in the order attached, all generated from that\nexact prompt with those exact references.\nPick the ONE candidate that most faithfully realises the prompt.\nJudge ONLY fidelity to the prompt and its reference instructions:\nthe shot text's moment and action, who is and is NOT in frame,\ncamera framing, time of day, the LOCATION lock (the place must be\nthe one the reference shows — same architecture, materials,\nfixtures), pose/immobility and carried-state clauses, and every\nexclusion (no text, no invented people or objects). Consistency\nwith the attached reference image counts as prompt fidelity.\nIgnore generic aesthetic appeal.\nCheck every candidate point by point before deciding; base every\nverdict only on what is visible.\nAlso give every candidate an integer score 0-10 for that same\nfidelity.\nOutput: winner, ranking best-to-worst, and per candidate a score\nplus a one-line Korean verdict citing the decisive prompt points.", "user_prompt": "[{\"type\": \"text\", \"text\": \"THE PROMPT (all three candidates were generated from this):\\nCreate ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\\n\\nSHOT TEXT (authoritative, Korean): 어두운 얼룩 없이 깨끗한 방 내부 전경\\n\\nLOCATION (lock): A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.\\n\\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\\ntext may describe characters metaphorically, figuratively or with\\nexaggeration. Photograph what a real movie camera would actually\\nrecord on a physical set — exaggerated or figurative impressions\\nbecome realistic staging choices (lighting, distance, angle,\\nwardrobe), not literal fantasy imagery.\\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\\nfeatures non-human or virtual beings (as in science fiction or\\nfantasy), every character — however indirectly, vaguely or\\nfiguratively the text describes them — IS a real human. When the\\ntext gives no direct visual description of a person, IMAGINE one\\nand still show them as a concrete, fully-formed human being:\\nalways render the human form to the maximum extent — build,\\nposture, face, hands, clothing — never reduce a person to a shape,\\nblob, solid silhouette or abstract mass.\\n\\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\\nperson's eyes, face or presence emotionally or figuratively (vacant,\\nhollow, dazed, burning, lifeless gaze and the like), it describes an\\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\\nthrough gaze direction, focus, eyelids, facial muscles, stillness\\nand posture. Every living person's eyes remain anatomically normal\\nhuman eyes with a natural iris and pupil, natural sclera and normal\\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\\notherwise alter eyeballs, skin or anatomy — unless the story\\nexplicitly declares that being non-human or supernatural in form.\\n\\nPROPS FACE THE RIGHT WAY: every handheld or used object must be\\noriented exactly as its real-world use requires. A person reading,\\nwatching or operating something (a phone, a photograph, a paper,\\nany device) has its functional side — screen, front, page — facing\\nTHEIR OWN eyes; the camera then sees whatever side the staging\\ngeometry implies (often its back). Show the functional side to the\\ncamera ONLY when the shot text itself stages it toward the viewer.\\nNever flip, mirror or reverse an object's front and back.\\n\\nMOVEMENT (follow exactly): static: the excessively tidy bedroom stands empty, with no dark stainsstains, red wall mark, or collapsed body remaining anywhere in the room.\\n\\nFIGURES — size & depth (follow exactly): The empty room fills the full frame; nearer floor and furniture edges occupy the foreground, while the bed, curtain, and clean back wall are FARTHER away. No person is visible, and the formerly occupied curtain area is now empty.\\n\\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The room is unnaturally spotless, with no dark stains, wall circle, or motionless figure behind the curtain. The backpack and doll are present in positions slightly different from when the body was discovered.\\n\\nNO PEOPLE IN THIS SHOT: the shot text shows only the place and its state — no living person or any body part appears in frame, unless the shot text itself explicitly says so.\\n\\nNo text, captions, watermarks or annotations anywhere.\"}, {\"type\": \"text\", \"text\": \"REFERENCE — LOCATION PHOTOGRAPH — the exact place of this shot: its architecture, materials, fixed features and lighting mood are spatial truth; stage the moment inside this place. Never copy its camera framing.\"}, {\"type\": \"text\", \"text\": \"Candidate A:\"}, {\"type\": \"text\", \"text\": \"Candidate B:\"}, {\"type\": \"text\", \"text\": \"Candidate C:\"}]"}
{"ts": "2026-07-13 19:40:38", "kind": "llm", "step": "s40_crit_still_S14sh5", "model": "gemini-pro", "dur_s": 26.2, "system_prompt": "You are given an image-generation prompt, the labelled REFERENCE\nimage(s) that were attached to it, and ONE photograph generated\nfrom them (the current best pick of three).\nList what is WRONG with it — ONLY violations of the prompt or of\nits reference instructions: the shot's stated moment and action,\nwho/what must or must NOT be in frame, camera, time of day,\nlocation consistency with the reference, pose/immobility and\ncarried-state clauses, object orientation, anatomy, and every\nexclusion (no text, no invented people or objects).\nBase every finding only on what is visible; ignore taste and\ngeneric aesthetics. For each issue give: issue_ko (short Korean\nline) + fix_en (ONE imperative English edit that fixes exactly\nthat while changing nothing else). Empty array if nothing wrong.", "user_prompt": "[{\"type\": \"text\", \"text\": \"THE PROMPT:\\nCreate ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\\n\\nSHOT TEXT (authoritative, Korean): 어두운 얼룩 없이 깨끗한 방 내부 전경\\n\\nLOCATION (lock): A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.\\n\\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\\ntext may describe characters metaphorically, figuratively or with\\nexaggeration. Photograph what a real movie camera would actually\\nrecord on a physical set — exaggerated or figurative impressions\\nbecome realistic staging choices (lighting, distance, angle,\\nwardrobe), not literal fantasy imagery.\\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\\nfeatures non-human or virtual beings (as in science fiction or\\nfantasy), every character — however indirectly, vaguely or\\nfiguratively the text describes them — IS a real human. When the\\ntext gives no direct visual description of a person, IMAGINE one\\nand still show them as a concrete, fully-formed human being:\\nalways render the human form to the maximum extent — build,\\nposture, face, hands, clothing — never reduce a person to a shape,\\nblob, solid silhouette or abstract mass.\\n\\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\\nperson's eyes, face or presence emotionally or figuratively (vacant,\\nhollow, dazed, burning, lifeless gaze and the like), it describes an\\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\\nthrough gaze direction, focus, eyelids, facial muscles, stillness\\nand posture. Every living person's eyes remain anatomically normal\\nhuman eyes with a natural iris and pupil, natural sclera and normal\\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\\notherwise alter eyeballs, skin or anatomy — unless the story\\nexplicitly declares that being non-human or supernatural in form.\\n\\nPROPS FACE THE RIGHT WAY: every handheld or used object must be\\noriented exactly as its real-world use requires. A person reading,\\nwatching or operating something (a phone, a photograph, a paper,\\nany device) has its functional side — screen, front, page — facing\\nTHEIR OWN eyes; the camera then sees whatever side the staging\\ngeometry implies (often its back). Show the functional side to the\\ncamera ONLY when the shot text itself stages it toward the viewer.\\nNever flip, mirror or reverse an object's front and back.\\n\\nMOVEMENT (follow exactly): static: the excessively tidy bedroom stands empty, with no dark stainsstains, red wall mark, or collapsed body remaining anywhere in the room.\\n\\nFIGURES — size & depth (follow exactly): The empty room fills the full frame; nearer floor and furniture edges occupy the foreground, while the bed, curtain, and clean back wall are FARTHER away. No person is visible, and the formerly occupied curtain area is now empty.\\n\\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The room is unnaturally spotless, with no dark stains, wall circle, or motionless figure behind the curtain. The backpack and doll are present in positions slightly different from when the body was discovered.\\n\\nNO PEOPLE IN THIS SHOT: the shot text shows only the place and its state — no living person or any body part appears in frame, unless the shot text itself explicitly says so.\\n\\nNo text, captions, watermarks or annotations anywhere.\"}, {\"type\": \"text\", \"text\": \"REFERENCE — LOCATION PHOTOGRAPH — the exact place of this shot: its architecture, materials, fixed features and lighting mood are spatial truth; stage the moment inside this place. Never copy its camera framing.\"}, {\"type\": \"text\", \"text\": \"Photograph to examine:\"}]"}
{"ts": "2026-07-13 19:40:58", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s40_fix_still_S14sh5", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s40/stills/S14sh5_c.png"], "ref_labels": ["PHOTOGRAPH TO EDIT — fix ONLY the issues the prompt lists; preserve everything else exactly."], "attempt": 1, "dur_s": 20.7, "bytes": 2554459, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s40/stills/S14sh5_fix.png", "prompt": "Edit this photograph. Apply ONLY the corrections listed below,\neach in place, changing nothing else:\n\nCORRECTIONS:\n- Change the camera angle, distance, or perspective so the framing does not exactly copy the reference photograph.\n\nPRESERVE EVERYTHING ELSE EXACTLY as in the original photograph —\nevery person, pose, face, garment, object, set feature, lighting,\ncamera and framing stay identical. No text, captions or\nwatermarks anywhere."}
{"ts": "2026-07-13 19:41:31", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s40_still_S14sh7_a", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s40/plates/plate_daughter_bedroom_night_doorway_wide_sel.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s40/stills/S14sh5_sel.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/39864973-d3d5-4886-bfb2-f8db608a005b.png"], "ref_labels": ["LOCATION PHOTOGRAPH — the exact place of this shot: its architecture, materials, fixed features and lighting mood are spatial truth; stage the moment inside this place. Never copy its camera framing.", "PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing. If this photo shows a character who cannot move (dead or unconscious), that character's exact pose, position and orientation are ALSO LOCKED — treat their body as a fixed prop of the set that only the camera moves around.", "CHARACTER REFERENCE — 수리영: the exact person appearing in this shot; match face, hair and build exactly."], "attempt": 1, "dur_s": 33.0, "bytes": 2329251, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s40/stills/S14sh7_a.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\n\nSHOT TEXT (authoritative, Korean): 수리영이 멍한 눈으로 텅 빈 방 안을 응시하는 얼굴 클로즈업\n\nLOCATION (lock): A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.\n\nTHIS SHOT CONTINUES THE PREVIOUS SHOT: everything the attached still established — the place, its fixed features and wear, each person's clothing and state — persists. Any person in it who cannot move stays PRECISELY as photographed (body, pose, contact points, held objects); only the camera changes.\n\nPREVIOUS STILL USAGE (follow exactly — what to take from the attached still and what to exclude): Take the spotless bedroom layout, fixed furnishings, worn surfaces, and nighttime lighting from the reference. Keep the room free of dark stains, a body, and the red wall mark. Exclude the wide empty-room composition from the close-up, showing only as much background as supports the woman's stunned gaze.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nPROPS FACE THE RIGHT WAY: every handheld or used object must be\noriented exactly as its real-world use requires. A person reading,\nwatching or operating something (a phone, a photograph, a paper,\nany device) has its functional side — screen, front, page — facing\nTHEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nMOVEMENT (follow exactly): static: pale-faced Su-ri-young holds her body rigid and stares blankly into the empty bedroom where she expected to find her mother's body.\n\nFIGURES — size & depth (follow exactly): Su-ri-young's face fills about 2/3 of the frame height and is the NEAREST figure. The empty room she watches is FARTHER beyond her eyeline, with no other person visible.\n\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The empty room remains excessively clean, with the motionless figure, dark stains, and red wall mark still absent. The backpack and doll remain in their altered positions.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 수리영 (Korean young woman, early 20s face, oval face, natural black long hair) — never anyone else, and never add a person the shot text does not show. IF only part of a person is in frame (a hand, arm, foot, back, silhouette), that body part belongs to the specific person the shot text names — its sex, age, build, skin and grooming must unmistakably match that person's profile above.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-13 19:42:06", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s40_still_S14sh7_b", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s40/plates/plate_daughter_bedroom_night_doorway_wide_sel.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s40/stills/S14sh5_sel.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/39864973-d3d5-4886-bfb2-f8db608a005b.png"], "ref_labels": ["LOCATION PHOTOGRAPH — the exact place of this shot: its architecture, materials, fixed features and lighting mood are spatial truth; stage the moment inside this place. Never copy its camera framing.", "PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing. If this photo shows a character who cannot move (dead or unconscious), that character's exact pose, position and orientation are ALSO LOCKED — treat their body as a fixed prop of the set that only the camera moves around.", "CHARACTER REFERENCE — 수리영: the exact person appearing in this shot; match face, hair and build exactly."], "attempt": 1, "dur_s": 34.9, "bytes": 2581204, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s40/stills/S14sh7_b.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\n\nSHOT TEXT (authoritative, Korean): 수리영이 멍한 눈으로 텅 빈 방 안을 응시하는 얼굴 클로즈업\n\nLOCATION (lock): A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.\n\nTHIS SHOT CONTINUES THE PREVIOUS SHOT: everything the attached still established — the place, its fixed features and wear, each person's clothing and state — persists. Any person in it who cannot move stays PRECISELY as photographed (body, pose, contact points, held objects); only the camera changes.\n\nPREVIOUS STILL USAGE (follow exactly — what to take from the attached still and what to exclude): Take the spotless bedroom layout, fixed furnishings, worn surfaces, and nighttime lighting from the reference. Keep the room free of dark stains, a body, and the red wall mark. Exclude the wide empty-room composition from the close-up, showing only as much background as supports the woman's stunned gaze.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nPROPS FACE THE RIGHT WAY: every handheld or used object must be\noriented exactly as its real-world use requires. A person reading,\nwatching or operating something (a phone, a photograph, a paper,\nany device) has its functional side — screen, front, page — facing\nTHEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nMOVEMENT (follow exactly): static: pale-faced Su-ri-young holds her body rigid and stares blankly into the empty bedroom where she expected to find her mother's body.\n\nFIGURES — size & depth (follow exactly): Su-ri-young's face fills about 2/3 of the frame height and is the NEAREST figure. The empty room she watches is FARTHER beyond her eyeline, with no other person visible.\n\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The empty room remains excessively clean, with the motionless figure, dark stains, and red wall mark still absent. The backpack and doll remain in their altered positions.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 수리영 (Korean young woman, early 20s face, oval face, natural black long hair) — never anyone else, and never add a person the shot text does not show. IF only part of a person is in frame (a hand, arm, foot, back, silhouette), that body part belongs to the specific person the shot text names — its sex, age, build, skin and grooming must unmistakably match that person's profile above.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-13 19:42:31", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s40_still_S14sh7_c", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s40/plates/plate_daughter_bedroom_night_doorway_wide_sel.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s40/stills/S14sh5_sel.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/39864973-d3d5-4886-bfb2-f8db608a005b.png"], "ref_labels": ["LOCATION PHOTOGRAPH — the exact place of this shot: its architecture, materials, fixed features and lighting mood are spatial truth; stage the moment inside this place. Never copy its camera framing.", "PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing. If this photo shows a character who cannot move (dead or unconscious), that character's exact pose, position and orientation are ALSO LOCKED — treat their body as a fixed prop of the set that only the camera moves around.", "CHARACTER REFERENCE — 수리영: the exact person appearing in this shot; match face, hair and build exactly."], "attempt": 1, "dur_s": 24.6, "bytes": 2246079, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s40/stills/S14sh7_c.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\n\nSHOT TEXT (authoritative, Korean): 수리영이 멍한 눈으로 텅 빈 방 안을 응시하는 얼굴 클로즈업\n\nLOCATION (lock): A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.\n\nTHIS SHOT CONTINUES THE PREVIOUS SHOT: everything the attached still established — the place, its fixed features and wear, each person's clothing and state — persists. Any person in it who cannot move stays PRECISELY as photographed (body, pose, contact points, held objects); only the camera changes.\n\nPREVIOUS STILL USAGE (follow exactly — what to take from the attached still and what to exclude): Take the spotless bedroom layout, fixed furnishings, worn surfaces, and nighttime lighting from the reference. Keep the room free of dark stains, a body, and the red wall mark. Exclude the wide empty-room composition from the close-up, showing only as much background as supports the woman's stunned gaze.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nPROPS FACE THE RIGHT WAY: every handheld or used object must be\noriented exactly as its real-world use requires. A person reading,\nwatching or operating something (a phone, a photograph, a paper,\nany device) has its functional side — screen, front, page — facing\nTHEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nMOVEMENT (follow exactly): static: pale-faced Su-ri-young holds her body rigid and stares blankly into the empty bedroom where she expected to find her mother's body.\n\nFIGURES — size & depth (follow exactly): Su-ri-young's face fills about 2/3 of the frame height and is the NEAREST figure. The empty room she watches is FARTHER beyond her eyeline, with no other person visible.\n\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The empty room remains excessively clean, with the motionless figure, dark stains, and red wall mark still absent. The backpack and doll remain in their altered positions.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 수리영 (Korean young woman, early 20s face, oval face, natural black long hair) — never anyone else, and never add a person the shot text does not show. IF only part of a person is in frame (a hand, arm, foot, back, silhouette), that body part belongs to the specific person the shot text names — its sex, age, build, skin and grooming must unmistakably match that person's profile above.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-13 19:43:05", "kind": "llm", "step": "s40_judge_still_S14sh7", "model": "gemini-pro", "dur_s": 34.1, "system_prompt": "You are given ONE image-generation prompt, the REFERENCE image(s)\nthat were attached to it (labelled), and THREE candidate images,\nlabelled A, B, C in the order attached, all generated from that\nexact prompt with those exact references.\nPick the ONE candidate that most faithfully realises the prompt.\nJudge ONLY fidelity to the prompt and its reference instructions:\nthe shot text's moment and action, who is and is NOT in frame,\ncamera framing, time of day, the LOCATION lock (the place must be\nthe one the reference shows — same architecture, materials,\nfixtures), pose/immobility and carried-state clauses, and every\nexclusion (no text, no invented people or objects). Consistency\nwith the attached reference image counts as prompt fidelity.\nIgnore generic aesthetic appeal.\nCheck every candidate point by point before deciding; base every\nverdict only on what is visible.\nAlso give every candidate an integer score 0-10 for that same\nfidelity.\nOutput: winner, ranking best-to-worst, and per candidate a score\nplus a one-line Korean verdict citing the decisive prompt points.", "user_prompt": "[{\"type\": \"text\", \"text\": \"THE PROMPT (all three candidates were generated from this):\\nCreate ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\\n\\nSHOT TEXT (authoritative, Korean): 수리영이 멍한 눈으로 텅 빈 방 안을 응시하는 얼굴 클로즈업\\n\\nLOCATION (lock): A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.\\n\\nTHIS SHOT CONTINUES THE PREVIOUS SHOT: everything the attached still established — the place, its fixed features and wear, each person's clothing and state — persists. Any person in it who cannot move stays PRECISELY as photographed (body, pose, contact points, held objects); only the camera changes.\\n\\nPREVIOUS STILL USAGE (follow exactly — what to take from the attached still and what to exclude): Take the spotless bedroom layout, fixed furnishings, worn surfaces, and nighttime lighting from the reference. Keep the room free of dark stains, a body, and the red wall mark. Exclude the wide empty-room composition from the close-up, showing only as much background as supports the woman's stunned gaze.\\n\\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\\ntext may describe characters metaphorically, figuratively or with\\nexaggeration. Photograph what a real movie camera would actually\\nrecord on a physical set — exaggerated or figurative impressions\\nbecome realistic staging choices (lighting, distance, angle,\\nwardrobe), not literal fantasy imagery.\\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\\nfeatures non-human or virtual beings (as in science fiction or\\nfantasy), every character — however indirectly, vaguely or\\nfiguratively the text describes them — IS a real human. When the\\ntext gives no direct visual description of a person, IMAGINE one\\nand still show them as a concrete, fully-formed human being:\\nalways render the human form to the maximum extent — build,\\nposture, face, hands, clothing — never reduce a person to a shape,\\nblob, solid silhouette or abstract mass.\\n\\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\\nperson's eyes, face or presence emotionally or figuratively (vacant,\\nhollow, dazed, burning, lifeless gaze and the like), it describes an\\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\\nthrough gaze direction, focus, eyelids, facial muscles, stillness\\nand posture. Every living person's eyes remain anatomically normal\\nhuman eyes with a natural iris and pupil, natural sclera and normal\\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\\notherwise alter eyeballs, skin or anatomy — unless the story\\nexplicitly declares that being non-human or supernatural in form.\\n\\nPROPS FACE THE RIGHT WAY: every handheld or used object must be\\noriented exactly as its real-world use requires. A person reading,\\nwatching or operating something (a phone, a photograph, a paper,\\nany device) has its functional side — screen, front, page — facing\\nTHEIR OWN eyes; the camera then sees whatever side the staging\\ngeometry implies (often its back). Show the functional side to the\\ncamera ONLY when the shot text itself stages it toward the viewer.\\nNever flip, mirror or reverse an object's front and back.\\n\\nMOVEMENT (follow exactly): static: pale-faced Su-ri-young holds her body rigid and stares blankly into the empty bedroom where she expected to find her mother's body.\\n\\nFIGURES — size & depth (follow exactly): Su-ri-young's face fills about 2/3 of the frame height and is the NEAREST figure. The empty room she watches is FARTHER beyond her eyeline, with no other person visible.\\n\\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The empty room remains excessively clean, with the motionless figure, dark stains, and red wall mark still absent. The backpack and doll remain in their altered positions.\\n\\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 수리영 (Korean young woman, early 20s face, oval face, natural black long hair) — never anyone else, and never add a person the shot text does not show. IF only part of a person is in frame (a hand, arm, foot, back, silhouette), that body part belongs to the specific person the shot text names — its sex, age, build, skin and grooming must unmistakably match that person's profile above.\\n\\nNo text, captions, watermarks or annotations anywhere.\"}, {\"type\": \"text\", \"text\": \"REFERENCE — LOCATION PHOTOGRAPH — the exact place of this shot: its architecture, materials, fixed features and lighting mood are spatial truth; stage the moment inside this place. Never copy its camera framing.\"}, {\"type\": \"text\", \"text\": \"REFERENCE — PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing. If this photo shows a character who cannot move (dead or unconscious), that character's exact pose, position and orientation are ALSO LOCKED — treat their body as a fixed prop of the set that only the camera moves around.\"}, {\"type\": \"text\", \"text\": \"REFERENCE — CHARACTER REFERENCE — 수리영: the exact person appearing in this shot; match face, hair and build exactly.\"}, {\"type\": \"text\", \"text\": \"Candidate A:\"}, {\"type\": \"text\", \"text\": \"Candidate B:\"}, {\"type\": \"text\", \"text\": \"Candidate C:\"}]"}
{"ts": "2026-07-13 19:43:34", "kind": "llm", "step": "s40_crit_still_S14sh7", "model": "gemini-pro", "dur_s": 29.1, "system_prompt": "You are given an image-generation prompt, the labelled REFERENCE\nimage(s) that were attached to it, and ONE photograph generated\nfrom them (the current best pick of three).\nList what is WRONG with it — ONLY violations of the prompt or of\nits reference instructions: the shot's stated moment and action,\nwho/what must or must NOT be in frame, camera, time of day,\nlocation consistency with the reference, pose/immobility and\ncarried-state clauses, object orientation, anatomy, and every\nexclusion (no text, no invented people or objects).\nBase every finding only on what is visible; ignore taste and\ngeneric aesthetics. For each issue give: issue_ko (short Korean\nline) + fix_en (ONE imperative English edit that fixes exactly\nthat while changing nothing else). Empty array if nothing wrong.", "user_prompt": "[{\"type\": \"text\", \"text\": \"THE PROMPT:\\nCreate ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\\n\\nSHOT TEXT (authoritative, Korean): 수리영이 멍한 눈으로 텅 빈 방 안을 응시하는 얼굴 클로즈업\\n\\nLOCATION (lock): A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.\\n\\nTHIS SHOT CONTINUES THE PREVIOUS SHOT: everything the attached still established — the place, its fixed features and wear, each person's clothing and state — persists. Any person in it who cannot move stays PRECISELY as photographed (body, pose, contact points, held objects); only the camera changes.\\n\\nPREVIOUS STILL USAGE (follow exactly — what to take from the attached still and what to exclude): Take the spotless bedroom layout, fixed furnishings, worn surfaces, and nighttime lighting from the reference. Keep the room free of dark stains, a body, and the red wall mark. Exclude the wide empty-room composition from the close-up, showing only as much background as supports the woman's stunned gaze.\\n\\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\\ntext may describe characters metaphorically, figuratively or with\\nexaggeration. Photograph what a real movie camera would actually\\nrecord on a physical set — exaggerated or figurative impressions\\nbecome realistic staging choices (lighting, distance, angle,\\nwardrobe), not literal fantasy imagery.\\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\\nfeatures non-human or virtual beings (as in science fiction or\\nfantasy), every character — however indirectly, vaguely or\\nfiguratively the text describes them — IS a real human. When the\\ntext gives no direct visual description of a person, IMAGINE one\\nand still show them as a concrete, fully-formed human being:\\nalways render the human form to the maximum extent — build,\\nposture, face, hands, clothing — never reduce a person to a shape,\\nblob, solid silhouette or abstract mass.\\n\\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\\nperson's eyes, face or presence emotionally or figuratively (vacant,\\nhollow, dazed, burning, lifeless gaze and the like), it describes an\\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\\nthrough gaze direction, focus, eyelids, facial muscles, stillness\\nand posture. Every living person's eyes remain anatomically normal\\nhuman eyes with a natural iris and pupil, natural sclera and normal\\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\\notherwise alter eyeballs, skin or anatomy — unless the story\\nexplicitly declares that being non-human or supernatural in form.\\n\\nPROPS FACE THE RIGHT WAY: every handheld or used object must be\\noriented exactly as its real-world use requires. A person reading,\\nwatching or operating something (a phone, a photograph, a paper,\\nany device) has its functional side — screen, front, page — facing\\nTHEIR OWN eyes; the camera then sees whatever side the staging\\ngeometry implies (often its back). Show the functional side to the\\ncamera ONLY when the shot text itself stages it toward the viewer.\\nNever flip, mirror or reverse an object's front and back.\\n\\nMOVEMENT (follow exactly): static: pale-faced Su-ri-young holds her body rigid and stares blankly into the empty bedroom where she expected to find her mother's body.\\n\\nFIGURES — size & depth (follow exactly): Su-ri-young's face fills about 2/3 of the frame height and is the NEAREST figure. The empty room she watches is FARTHER beyond her eyeline, with no other person visible.\\n\\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The empty room remains excessively clean, with the motionless figure, dark stains, and red wall mark still absent. The backpack and doll remain in their altered positions.\\n\\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 수리영 (Korean young woman, early 20s face, oval face, natural black long hair) — never anyone else, and never add a person the shot text does not show. IF only part of a person is in frame (a hand, arm, foot, back, silhouette), that body part belongs to the specific person the shot text names — its sex, age, build, skin and grooming must unmistakably match that person's profile above.\\n\\nNo text, captions, watermarks or annotations anywhere.\"}, {\"type\": \"text\", \"text\": \"REFERENCE — LOCATION PHOTOGRAPH — the exact place of this shot: its architecture, materials, fixed features and lighting mood are spatial truth; stage the moment inside this place. Never copy its camera framing.\"}, {\"type\": \"text\", \"text\": \"REFERENCE — PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing. If this photo shows a character who cannot move (dead or unconscious), that character's exact pose, position and orientation are ALSO LOCKED — treat their body as a fixed prop of the set that only the camera moves around.\"}, {\"type\": \"text\", \"text\": \"REFERENCE — CHARACTER REFERENCE — 수리영: the exact person appearing in this shot; match face, hair and build exactly.\"}, {\"type\": \"text\", \"text\": \"Photograph to examine:\"}]"}
{"ts": "2026-07-13 19:43:57", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s40_fix_still_S14sh7", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s40/stills/S14sh7_b.png"], "ref_labels": ["PHOTOGRAPH TO EDIT — fix ONLY the issues the prompt lists; preserve everything else exactly."], "attempt": 1, "dur_s": 22.6, "bytes": 2652966, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s40/stills/S14sh7_fix.png", "prompt": "Edit this photograph. Apply ONLY the corrections listed below,\neach in place, changing nothing else:\n\nCORRECTIONS:\n- Remove the window on the wall behind the bed, making it a solid, plain wall to match the reference architecture.\n\nPRESERVE EVERYTHING ELSE EXACTLY as in the original photograph —\nevery person, pose, face, garment, object, set feature, lighting,\ncamera and framing stay identical. No text, captions or\nwatermarks anywhere."}
{"ts": "2026-07-13 19:44:20", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s40_still_S14sh11_a", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s40/plates/plate_entry_night_inward_view_sel.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/bddad176-aa6a-4a71-b5d3-d02e36e19657.png"], "ref_labels": ["LOCATION PHOTOGRAPH — the exact place of this shot: its architecture, materials, fixed features and lighting mood are spatial truth; stage the moment inside this place. Never copy its camera framing.", "CHARACTER REFERENCE — 혜수: the exact person appearing in this shot; match face, hair and build exactly."], "attempt": 1, "dur_s": 23.1, "bytes": 2734966, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s40/stills/S14sh11_a.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\n\nSHOT TEXT (authoritative, Korean): 혜수가 날카로운 눈빛으로 김형사를 노려보는 모습\n\nLOCATION (lock): A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nPROPS FACE THE RIGHT WAY: every handheld or used object must be\noriented exactly as its real-world use requires. A person reading,\nwatching or operating something (a phone, a photograph, a paper,\nany device) has its functional side — screen, front, page — facing\nTHEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nMOVEMENT (follow exactly): static: Hye-su fixes a sharp, hostile stare toward Detective Kim, her face and body oriented directly at him.\n\nFIGURES — size & depth (follow exactly): Hye-su fills roughly 2/3 of the frame height and is the NEAREST visible figure. Detective Kim is the FARTHER target of her gaze, whether at the edge of the frame or just off-screen, with no crossing movement between them.\n\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The apartment remains cleared of the earlier evidence: the table is clean, and Suri-young’s room has no motionless figure, dark stains, or red circle. The backpack and doll remain slightly displaced from their earlier positions.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 혜수 (Korean middle-aged woman, mid-40s face, mature facial features, dark natural hair) — never anyone else, and never add a person the shot text does not show. IF only part of a person is in frame (a hand, arm, foot, back, silhouette), that body part belongs to the specific person the shot text names — its sex, age, build, skin and grooming must unmistakably match that person's profile above.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-13 19:44:45", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s40_still_S14sh11_b", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s40/plates/plate_entry_night_inward_view_sel.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/bddad176-aa6a-4a71-b5d3-d02e36e19657.png"], "ref_labels": ["LOCATION PHOTOGRAPH — the exact place of this shot: its architecture, materials, fixed features and lighting mood are spatial truth; stage the moment inside this place. Never copy its camera framing.", "CHARACTER REFERENCE — 혜수: the exact person appearing in this shot; match face, hair and build exactly."], "attempt": 1, "dur_s": 24.6, "bytes": 2241790, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s40/stills/S14sh11_b.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\n\nSHOT TEXT (authoritative, Korean): 혜수가 날카로운 눈빛으로 김형사를 노려보는 모습\n\nLOCATION (lock): A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nPROPS FACE THE RIGHT WAY: every handheld or used object must be\noriented exactly as its real-world use requires. A person reading,\nwatching or operating something (a phone, a photograph, a paper,\nany device) has its functional side — screen, front, page — facing\nTHEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nMOVEMENT (follow exactly): static: Hye-su fixes a sharp, hostile stare toward Detective Kim, her face and body oriented directly at him.\n\nFIGURES — size & depth (follow exactly): Hye-su fills roughly 2/3 of the frame height and is the NEAREST visible figure. Detective Kim is the FARTHER target of her gaze, whether at the edge of the frame or just off-screen, with no crossing movement between them.\n\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The apartment remains cleared of the earlier evidence: the table is clean, and Suri-young’s room has no motionless figure, dark stains, or red circle. The backpack and doll remain slightly displaced from their earlier positions.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 혜수 (Korean middle-aged woman, mid-40s face, mature facial features, dark natural hair) — never anyone else, and never add a person the shot text does not show. IF only part of a person is in frame (a hand, arm, foot, back, silhouette), that body part belongs to the specific person the shot text names — its sex, age, build, skin and grooming must unmistakably match that person's profile above.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-13 19:45:06", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s40_still_S14sh11_c", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s40/plates/plate_entry_night_inward_view_sel.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/bddad176-aa6a-4a71-b5d3-d02e36e19657.png"], "ref_labels": ["LOCATION PHOTOGRAPH — the exact place of this shot: its architecture, materials, fixed features and lighting mood are spatial truth; stage the moment inside this place. Never copy its camera framing.", "CHARACTER REFERENCE — 혜수: the exact person appearing in this shot; match face, hair and build exactly."], "attempt": 1, "dur_s": 21.5, "bytes": 2313475, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s40/stills/S14sh11_c.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\n\nSHOT TEXT (authoritative, Korean): 혜수가 날카로운 눈빛으로 김형사를 노려보는 모습\n\nLOCATION (lock): A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nPROPS FACE THE RIGHT WAY: every handheld or used object must be\noriented exactly as its real-world use requires. A person reading,\nwatching or operating something (a phone, a photograph, a paper,\nany device) has its functional side — screen, front, page — facing\nTHEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nMOVEMENT (follow exactly): static: Hye-su fixes a sharp, hostile stare toward Detective Kim, her face and body oriented directly at him.\n\nFIGURES — size & depth (follow exactly): Hye-su fills roughly 2/3 of the frame height and is the NEAREST visible figure. Detective Kim is the FARTHER target of her gaze, whether at the edge of the frame or just off-screen, with no crossing movement between them.\n\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The apartment remains cleared of the earlier evidence: the table is clean, and Suri-young’s room has no motionless figure, dark stains, or red circle. The backpack and doll remain slightly displaced from their earlier positions.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 혜수 (Korean middle-aged woman, mid-40s face, mature facial features, dark natural hair) — never anyone else, and never add a person the shot text does not show. IF only part of a person is in frame (a hand, arm, foot, back, silhouette), that body part belongs to the specific person the shot text names — its sex, age, build, skin and grooming must unmistakably match that person's profile above.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-13 19:45:36", "kind": "llm", "step": "s40_judge_still_S14sh11", "model": "gemini-pro", "dur_s": 30.4, "system_prompt": "You are given ONE image-generation prompt, the REFERENCE image(s)\nthat were attached to it (labelled), and THREE candidate images,\nlabelled A, B, C in the order attached, all generated from that\nexact prompt with those exact references.\nPick the ONE candidate that most faithfully realises the prompt.\nJudge ONLY fidelity to the prompt and its reference instructions:\nthe shot text's moment and action, who is and is NOT in frame,\ncamera framing, time of day, the LOCATION lock (the place must be\nthe one the reference shows — same architecture, materials,\nfixtures), pose/immobility and carried-state clauses, and every\nexclusion (no text, no invented people or objects). Consistency\nwith the attached reference image counts as prompt fidelity.\nIgnore generic aesthetic appeal.\nCheck every candidate point by point before deciding; base every\nverdict only on what is visible.\nAlso give every candidate an integer score 0-10 for that same\nfidelity.\nOutput: winner, ranking best-to-worst, and per candidate a score\nplus a one-line Korean verdict citing the decisive prompt points.", "user_prompt": "[{\"type\": \"text\", \"text\": \"THE PROMPT (all three candidates were generated from this):\\nCreate ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\\n\\nSHOT TEXT (authoritative, Korean): 혜수가 날카로운 눈빛으로 김형사를 노려보는 모습\\n\\nLOCATION (lock): A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.\\n\\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\\ntext may describe characters metaphorically, figuratively or with\\nexaggeration. Photograph what a real movie camera would actually\\nrecord on a physical set — exaggerated or figurative impressions\\nbecome realistic staging choices (lighting, distance, angle,\\nwardrobe), not literal fantasy imagery.\\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\\nfeatures non-human or virtual beings (as in science fiction or\\nfantasy), every character — however indirectly, vaguely or\\nfiguratively the text describes them — IS a real human. When the\\ntext gives no direct visual description of a person, IMAGINE one\\nand still show them as a concrete, fully-formed human being:\\nalways render the human form to the maximum extent — build,\\nposture, face, hands, clothing — never reduce a person to a shape,\\nblob, solid silhouette or abstract mass.\\n\\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\\nperson's eyes, face or presence emotionally or figuratively (vacant,\\nhollow, dazed, burning, lifeless gaze and the like), it describes an\\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\\nthrough gaze direction, focus, eyelids, facial muscles, stillness\\nand posture. Every living person's eyes remain anatomically normal\\nhuman eyes with a natural iris and pupil, natural sclera and normal\\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\\notherwise alter eyeballs, skin or anatomy — unless the story\\nexplicitly declares that being non-human or supernatural in form.\\n\\nPROPS FACE THE RIGHT WAY: every handheld or used object must be\\noriented exactly as its real-world use requires. A person reading,\\nwatching or operating something (a phone, a photograph, a paper,\\nany device) has its functional side — screen, front, page — facing\\nTHEIR OWN eyes; the camera then sees whatever side the staging\\ngeometry implies (often its back). Show the functional side to the\\ncamera ONLY when the shot text itself stages it toward the viewer.\\nNever flip, mirror or reverse an object's front and back.\\n\\nMOVEMENT (follow exactly): static: Hye-su fixes a sharp, hostile stare toward Detective Kim, her face and body oriented directly at him.\\n\\nFIGURES — size & depth (follow exactly): Hye-su fills roughly 2/3 of the frame height and is the NEAREST visible figure. Detective Kim is the FARTHER target of her gaze, whether at the edge of the frame or just off-screen, with no crossing movement between them.\\n\\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The apartment remains cleared of the earlier evidence: the table is clean, and Suri-young’s room has no motionless figure, dark stains, or red circle. The backpack and doll remain slightly displaced from their earlier positions.\\n\\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 혜수 (Korean middle-aged woman, mid-40s face, mature facial features, dark natural hair) — never anyone else, and never add a person the shot text does not show. IF only part of a person is in frame (a hand, arm, foot, back, silhouette), that body part belongs to the specific person the shot text names — its sex, age, build, skin and grooming must unmistakably match that person's profile above.\\n\\nNo text, captions, watermarks or annotations anywhere.\"}, {\"type\": \"text\", \"text\": \"REFERENCE — LOCATION PHOTOGRAPH — the exact place of this shot: its architecture, materials, fixed features and lighting mood are spatial truth; stage the moment inside this place. Never copy its camera framing.\"}, {\"type\": \"text\", \"text\": \"REFERENCE — CHARACTER REFERENCE — 혜수: the exact person appearing in this shot; match face, hair and build exactly.\"}, {\"type\": \"text\", \"text\": \"Candidate A:\"}, {\"type\": \"text\", \"text\": \"Candidate B:\"}, {\"type\": \"text\", \"text\": \"Candidate C:\"}]"}
{"ts": "2026-07-13 19:46:04", "kind": "llm", "step": "s40_crit_still_S14sh11", "model": "gemini-pro", "dur_s": 27.1, "system_prompt": "You are given an image-generation prompt, the labelled REFERENCE\nimage(s) that were attached to it, and ONE photograph generated\nfrom them (the current best pick of three).\nList what is WRONG with it — ONLY violations of the prompt or of\nits reference instructions: the shot's stated moment and action,\nwho/what must or must NOT be in frame, camera, time of day,\nlocation consistency with the reference, pose/immobility and\ncarried-state clauses, object orientation, anatomy, and every\nexclusion (no text, no invented people or objects).\nBase every finding only on what is visible; ignore taste and\ngeneric aesthetics. For each issue give: issue_ko (short Korean\nline) + fix_en (ONE imperative English edit that fixes exactly\nthat while changing nothing else). Empty array if nothing wrong.", "user_prompt": "[{\"type\": \"text\", \"text\": \"THE PROMPT:\\nCreate ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\\n\\nSHOT TEXT (authoritative, Korean): 혜수가 날카로운 눈빛으로 김형사를 노려보는 모습\\n\\nLOCATION (lock): A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.\\n\\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\\ntext may describe characters metaphorically, figuratively or with\\nexaggeration. Photograph what a real movie camera would actually\\nrecord on a physical set — exaggerated or figurative impressions\\nbecome realistic staging choices (lighting, distance, angle,\\nwardrobe), not literal fantasy imagery.\\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\\nfeatures non-human or virtual beings (as in science fiction or\\nfantasy), every character — however indirectly, vaguely or\\nfiguratively the text describes them — IS a real human. When the\\ntext gives no direct visual description of a person, IMAGINE one\\nand still show them as a concrete, fully-formed human being:\\nalways render the human form to the maximum extent — build,\\nposture, face, hands, clothing — never reduce a person to a shape,\\nblob, solid silhouette or abstract mass.\\n\\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\\nperson's eyes, face or presence emotionally or figuratively (vacant,\\nhollow, dazed, burning, lifeless gaze and the like), it describes an\\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\\nthrough gaze direction, focus, eyelids, facial muscles, stillness\\nand posture. Every living person's eyes remain anatomically normal\\nhuman eyes with a natural iris and pupil, natural sclera and normal\\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\\notherwise alter eyeballs, skin or anatomy — unless the story\\nexplicitly declares that being non-human or supernatural in form.\\n\\nPROPS FACE THE RIGHT WAY: every handheld or used object must be\\noriented exactly as its real-world use requires. A person reading,\\nwatching or operating something (a phone, a photograph, a paper,\\nany device) has its functional side — screen, front, page — facing\\nTHEIR OWN eyes; the camera then sees whatever side the staging\\ngeometry implies (often its back). Show the functional side to the\\ncamera ONLY when the shot text itself stages it toward the viewer.\\nNever flip, mirror or reverse an object's front and back.\\n\\nMOVEMENT (follow exactly): static: Hye-su fixes a sharp, hostile stare toward Detective Kim, her face and body oriented directly at him.\\n\\nFIGURES — size & depth (follow exactly): Hye-su fills roughly 2/3 of the frame height and is the NEAREST visible figure. Detective Kim is the FARTHER target of her gaze, whether at the edge of the frame or just off-screen, with no crossing movement between them.\\n\\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The apartment remains cleared of the earlier evidence: the table is clean, and Suri-young’s room has no motionless figure, dark stains, or red circle. The backpack and doll remain slightly displaced from their earlier positions.\\n\\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 혜수 (Korean middle-aged woman, mid-40s face, mature facial features, dark natural hair) — never anyone else, and never add a person the shot text does not show. IF only part of a person is in frame (a hand, arm, foot, back, silhouette), that body part belongs to the specific person the shot text names — its sex, age, build, skin and grooming must unmistakably match that person's profile above.\\n\\nNo text, captions, watermarks or annotations anywhere.\"}, {\"type\": \"text\", \"text\": \"REFERENCE — LOCATION PHOTOGRAPH — the exact place of this shot: its architecture, materials, fixed features and lighting mood are spatial truth; stage the moment inside this place. Never copy its camera framing.\"}, {\"type\": \"text\", \"text\": \"REFERENCE — CHARACTER REFERENCE — 혜수: the exact person appearing in this shot; match face, hair and build exactly.\"}, {\"type\": \"text\", \"text\": \"Photograph to examine:\"}]"}
{"ts": "2026-07-13 19:46:25", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s40_fix_still_S14sh11", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s40/stills/S14sh11_c.png"], "ref_labels": ["PHOTOGRAPH TO EDIT — fix ONLY the issues the prompt lists; preserve everything else exactly."], "attempt": 1, "dur_s": 21.9, "bytes": 2299102, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s40/stills/S14sh11_fix.png", "prompt": "Edit this photograph. Apply ONLY the corrections listed below,\neach in place, changing nothing else:\n\nCORRECTIONS:\n- Remove the picture frame containing faces of unprompted people from the dining table.\n- Turn her head and body to face exactly the same direction her eyes are looking.\n\nPRESERVE EVERYTHING ELSE EXACTLY as in the original photograph —\nevery person, pose, face, garment, object, set feature, lighting,\ncamera and framing stay identical. No text, captions or\nwatermarks anywhere."}
{"ts": "2026-07-13 19:46:50", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s40_still_S17sh2_a", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s40/plates/bg_S17sh2_sel.png"], "ref_labels": ["LOCATION PHOTOGRAPH — the exact place of this shot: its architecture, materials, fixed features and lighting mood are spatial truth; stage the moment inside this place. Never copy its camera framing."], "attempt": 1, "dur_s": 24.8, "bytes": 2587236, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s40/stills/S17sh2_a.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): dawn.\n\nSHOT TEXT (authoritative, Korean): 옥상 담벼락 위에서 한쪽 앞발을 허공으로 뻗은 검은 고양이의 측면\n\nLOCATION (lock): The flat rooftop of an aging low-rise apartment building, enclosed by a waist-high parapet. A small rooftop dwelling has a metal entrance door and a window visible from the open roof. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nPROPS FACE THE RIGHT WAY: every handheld or used object must be\noriented exactly as its real-world use requires. A person reading,\nwatching or operating something (a phone, a photograph, a paper,\nany device) has its functional side — screen, front, page — facing\nTHEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nMOVEMENT (follow exactly): The black cat moves side-on across and over the rooftop wall toward the opposite side, extending one forepaw into the air as its body follows.\n\nFIGURES — size & depth (follow exactly): The cat appears medium-sized, about ~1/3 of the frame height, and is NEARER to the camera than the FARTHER side beyond the wall; the wall runs beneath its crossing path.\n\nNO PEOPLE IN THIS SHOT: the shot text shows only the place and its state — no living person or any body part appears in frame, unless the shot text itself explicitly says so.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-13 19:47:16", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s40_still_S17sh2_b", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s40/plates/bg_S17sh2_sel.png"], "ref_labels": ["LOCATION PHOTOGRAPH — the exact place of this shot: its architecture, materials, fixed features and lighting mood are spatial truth; stage the moment inside this place. Never copy its camera framing."], "attempt": 1, "dur_s": 25.2, "bytes": 2585451, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s40/stills/S17sh2_b.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): dawn.\n\nSHOT TEXT (authoritative, Korean): 옥상 담벼락 위에서 한쪽 앞발을 허공으로 뻗은 검은 고양이의 측면\n\nLOCATION (lock): The flat rooftop of an aging low-rise apartment building, enclosed by a waist-high parapet. A small rooftop dwelling has a metal entrance door and a window visible from the open roof. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nPROPS FACE THE RIGHT WAY: every handheld or used object must be\noriented exactly as its real-world use requires. A person reading,\nwatching or operating something (a phone, a photograph, a paper,\nany device) has its functional side — screen, front, page — facing\nTHEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nMOVEMENT (follow exactly): The black cat moves side-on across and over the rooftop wall toward the opposite side, extending one forepaw into the air as its body follows.\n\nFIGURES — size & depth (follow exactly): The cat appears medium-sized, about ~1/3 of the frame height, and is NEARER to the camera than the FARTHER side beyond the wall; the wall runs beneath its crossing path.\n\nNO PEOPLE IN THIS SHOT: the shot text shows only the place and its state — no living person or any body part appears in frame, unless the shot text itself explicitly says so.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-13 19:47:38", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s40_still_S17sh2_c", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s40/plates/bg_S17sh2_sel.png"], "ref_labels": ["LOCATION PHOTOGRAPH — the exact place of this shot: its architecture, materials, fixed features and lighting mood are spatial truth; stage the moment inside this place. Never copy its camera framing."], "attempt": 1, "dur_s": 22.0, "bytes": 2576233, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s40/stills/S17sh2_c.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): dawn.\n\nSHOT TEXT (authoritative, Korean): 옥상 담벼락 위에서 한쪽 앞발을 허공으로 뻗은 검은 고양이의 측면\n\nLOCATION (lock): The flat rooftop of an aging low-rise apartment building, enclosed by a waist-high parapet. A small rooftop dwelling has a metal entrance door and a window visible from the open roof. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nPROPS FACE THE RIGHT WAY: every handheld or used object must be\noriented exactly as its real-world use requires. A person reading,\nwatching or operating something (a phone, a photograph, a paper,\nany device) has its functional side — screen, front, page — facing\nTHEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nMOVEMENT (follow exactly): The black cat moves side-on across and over the rooftop wall toward the opposite side, extending one forepaw into the air as its body follows.\n\nFIGURES — size & depth (follow exactly): The cat appears medium-sized, about ~1/3 of the frame height, and is NEARER to the camera than the FARTHER side beyond the wall; the wall runs beneath its crossing path.\n\nNO PEOPLE IN THIS SHOT: the shot text shows only the place and its state — no living person or any body part appears in frame, unless the shot text itself explicitly says so.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-13 19:48:04", "kind": "llm", "step": "s40_judge_still_S17sh2", "model": "gemini-pro", "dur_s": 26.5, "system_prompt": "You are given ONE image-generation prompt, the REFERENCE image(s)\nthat were attached to it (labelled), and THREE candidate images,\nlabelled A, B, C in the order attached, all generated from that\nexact prompt with those exact references.\nPick the ONE candidate that most faithfully realises the prompt.\nJudge ONLY fidelity to the prompt and its reference instructions:\nthe shot text's moment and action, who is and is NOT in frame,\ncamera framing, time of day, the LOCATION lock (the place must be\nthe one the reference shows — same architecture, materials,\nfixtures), pose/immobility and carried-state clauses, and every\nexclusion (no text, no invented people or objects). Consistency\nwith the attached reference image counts as prompt fidelity.\nIgnore generic aesthetic appeal.\nCheck every candidate point by point before deciding; base every\nverdict only on what is visible.\nAlso give every candidate an integer score 0-10 for that same\nfidelity.\nOutput: winner, ranking best-to-worst, and per candidate a score\nplus a one-line Korean verdict citing the decisive prompt points.", "user_prompt": "[{\"type\": \"text\", \"text\": \"THE PROMPT (all three candidates were generated from this):\\nCreate ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): dawn.\\n\\nSHOT TEXT (authoritative, Korean): 옥상 담벼락 위에서 한쪽 앞발을 허공으로 뻗은 검은 고양이의 측면\\n\\nLOCATION (lock): The flat rooftop of an aging low-rise apartment building, enclosed by a waist-high parapet. A small rooftop dwelling has a metal entrance door and a window visible from the open roof. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.\\n\\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\\ntext may describe characters metaphorically, figuratively or with\\nexaggeration. Photograph what a real movie camera would actually\\nrecord on a physical set — exaggerated or figurative impressions\\nbecome realistic staging choices (lighting, distance, angle,\\nwardrobe), not literal fantasy imagery.\\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\\nfeatures non-human or virtual beings (as in science fiction or\\nfantasy), every character — however indirectly, vaguely or\\nfiguratively the text describes them — IS a real human. When the\\ntext gives no direct visual description of a person, IMAGINE one\\nand still show them as a concrete, fully-formed human being:\\nalways render the human form to the maximum extent — build,\\nposture, face, hands, clothing — never reduce a person to a shape,\\nblob, solid silhouette or abstract mass.\\n\\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\\nperson's eyes, face or presence emotionally or figuratively (vacant,\\nhollow, dazed, burning, lifeless gaze and the like), it describes an\\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\\nthrough gaze direction, focus, eyelids, facial muscles, stillness\\nand posture. Every living person's eyes remain anatomically normal\\nhuman eyes with a natural iris and pupil, natural sclera and normal\\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\\notherwise alter eyeballs, skin or anatomy — unless the story\\nexplicitly declares that being non-human or supernatural in form.\\n\\nPROPS FACE THE RIGHT WAY: every handheld or used object must be\\noriented exactly as its real-world use requires. A person reading,\\nwatching or operating something (a phone, a photograph, a paper,\\nany device) has its functional side — screen, front, page — facing\\nTHEIR OWN eyes; the camera then sees whatever side the staging\\ngeometry implies (often its back). Show the functional side to the\\ncamera ONLY when the shot text itself stages it toward the viewer.\\nNever flip, mirror or reverse an object's front and back.\\n\\nMOVEMENT (follow exactly): The black cat moves side-on across and over the rooftop wall toward the opposite side, extending one forepaw into the air as its body follows.\\n\\nFIGURES — size & depth (follow exactly): The cat appears medium-sized, about ~1/3 of the frame height, and is NEARER to the camera than the FARTHER side beyond the wall; the wall runs beneath its crossing path.\\n\\nNO PEOPLE IN THIS SHOT: the shot text shows only the place and its state — no living person or any body part appears in frame, unless the shot text itself explicitly says so.\\n\\nNo text, captions, watermarks or annotations anywhere.\"}, {\"type\": \"text\", \"text\": \"REFERENCE — LOCATION PHOTOGRAPH — the exact place of this shot: its architecture, materials, fixed features and lighting mood are spatial truth; stage the moment inside this place. Never copy its camera framing.\"}, {\"type\": \"text\", \"text\": \"Candidate A:\"}, {\"type\": \"text\", \"text\": \"Candidate B:\"}, {\"type\": \"text\", \"text\": \"Candidate C:\"}]"}
{"ts": "2026-07-13 19:48:54", "kind": "llm", "step": "s40_crit_still_S17sh2", "model": "gemini-pro", "dur_s": 50.1, "system_prompt": "You are given an image-generation prompt, the labelled REFERENCE\nimage(s) that were attached to it, and ONE photograph generated\nfrom them (the current best pick of three).\nList what is WRONG with it — ONLY violations of the prompt or of\nits reference instructions: the shot's stated moment and action,\nwho/what must or must NOT be in frame, camera, time of day,\nlocation consistency with the reference, pose/immobility and\ncarried-state clauses, object orientation, anatomy, and every\nexclusion (no text, no invented people or objects).\nBase every finding only on what is visible; ignore taste and\ngeneric aesthetics. For each issue give: issue_ko (short Korean\nline) + fix_en (ONE imperative English edit that fixes exactly\nthat while changing nothing else). Empty array if nothing wrong.", "user_prompt": "[{\"type\": \"text\", \"text\": \"THE PROMPT:\\nCreate ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): dawn.\\n\\nSHOT TEXT (authoritative, Korean): 옥상 담벼락 위에서 한쪽 앞발을 허공으로 뻗은 검은 고양이의 측면\\n\\nLOCATION (lock): The flat rooftop of an aging low-rise apartment building, enclosed by a waist-high parapet. A small rooftop dwelling has a metal entrance door and a window visible from the open roof. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.\\n\\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\\ntext may describe characters metaphorically, figuratively or with\\nexaggeration. Photograph what a real movie camera would actually\\nrecord on a physical set — exaggerated or figurative impressions\\nbecome realistic staging choices (lighting, distance, angle,\\nwardrobe), not literal fantasy imagery.\\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\\nfeatures non-human or virtual beings (as in science fiction or\\nfantasy), every character — however indirectly, vaguely or\\nfiguratively the text describes them — IS a real human. When the\\ntext gives no direct visual description of a person, IMAGINE one\\nand still show them as a concrete, fully-formed human being:\\nalways render the human form to the maximum extent — build,\\nposture, face, hands, clothing — never reduce a person to a shape,\\nblob, solid silhouette or abstract mass.\\n\\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\\nperson's eyes, face or presence emotionally or figuratively (vacant,\\nhollow, dazed, burning, lifeless gaze and the like), it describes an\\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\\nthrough gaze direction, focus, eyelids, facial muscles, stillness\\nand posture. Every living person's eyes remain anatomically normal\\nhuman eyes with a natural iris and pupil, natural sclera and normal\\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\\notherwise alter eyeballs, skin or anatomy — unless the story\\nexplicitly declares that being non-human or supernatural in form.\\n\\nPROPS FACE THE RIGHT WAY: every handheld or used object must be\\noriented exactly as its real-world use requires. A person reading,\\nwatching or operating something (a phone, a photograph, a paper,\\nany device) has its functional side — screen, front, page — facing\\nTHEIR OWN eyes; the camera then sees whatever side the staging\\ngeometry implies (often its back). Show the functional side to the\\ncamera ONLY when the shot text itself stages it toward the viewer.\\nNever flip, mirror or reverse an object's front and back.\\n\\nMOVEMENT (follow exactly): The black cat moves side-on across and over the rooftop wall toward the opposite side, extending one forepaw into the air as its body follows.\\n\\nFIGURES — size & depth (follow exactly): The cat appears medium-sized, about ~1/3 of the frame height, and is NEARER to the camera than the FARTHER side beyond the wall; the wall runs beneath its crossing path.\\n\\nNO PEOPLE IN THIS SHOT: the shot text shows only the place and its state — no living person or any body part appears in frame, unless the shot text itself explicitly says so.\\n\\nNo text, captions, watermarks or annotations anywhere.\"}, {\"type\": \"text\", \"text\": \"REFERENCE — LOCATION PHOTOGRAPH — the exact place of this shot: its architecture, materials, fixed features and lighting mood are spatial truth; stage the moment inside this place. Never copy its camera framing.\"}, {\"type\": \"text\", \"text\": \"Photograph to examine:\"}]"}
{"ts": "2026-07-13 19:49:17", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s40_fix_still_S17sh2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s40/stills/S17sh2_b.png"], "ref_labels": ["PHOTOGRAPH TO EDIT — fix ONLY the issues the prompt lists; preserve everything else exactly."], "attempt": 1, "dur_s": 22.4, "bytes": 2720174, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s40/stills/S17sh2_fix.png", "prompt": "Edit this photograph. Apply ONLY the corrections listed below,\neach in place, changing nothing else:\n\nCORRECTIONS:\n- Enlarge the black cat so its overall height occupies approximately one-third of the frame.\n- Change the wooden entrance door on the rooftop dwelling to a metal door.\n- Add a visible black tail to the back of the cat.\n\nPRESERVE EVERYTHING ELSE EXACTLY as in the original photograph —\nevery person, pose, face, garment, object, set feature, lighting,\ncamera and framing stay identical. No text, captions or\nwatermarks anywhere."}
{"ts": "2026-07-13 19:49:36", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s40_still_S18sh11_a", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s40/plates/plate_bathroom_day_mirror_tile_view_sel.png"], "ref_labels": ["LOCATION PHOTOGRAPH — the exact place of this shot: its architecture, materials, fixed features and lighting mood are spatial truth; stage the moment inside this place. Never copy its camera framing."], "attempt": 1, "dur_s": 19.2, "bytes": 2256369, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s40/stills/S18sh11_a.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): daytime.\n\nSHOT TEXT (authoritative, Korean): 거울 속 반사된 욕실 타일 벽면에 붉은색 원형 표식이 절반쯤 나타난 상태\n\nLOCATION (lock): A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nPROPS FACE THE RIGHT WAY: every handheld or used object must be\noriented exactly as its real-world use requires. A person reading,\nwatching or operating something (a phone, a photograph, a paper,\nany device) has its functional side — screen, front, page — facing\nTHEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nMOVEMENT (follow exactly): A red circular mark suddenly develops across the bathroom tile wall seen in the mirror, extending around a ring-like path until roughly half is visible.\n\nFIGURES — size & depth (follow exactly): The mirror and reflected tiled wall fill most of the frame, while the half-formed red circle occupies about 1/2 of the reflected frame height. The mirror surface is physically NEARER to the camera, while the marked bathroom wall appears FARTHER within the reflection.\n\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Suri-young continues to have her doll-adorned backpack with her, while her bedroom remains clean and without a motionless figure. A red circle is partially visible on the bathroom wall only in the mirror reflection.\n\nNO PEOPLE IN THIS SHOT: the shot text shows only the place and its state — no living person or any body part appears in frame, unless the shot text itself explicitly says so.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-13 19:49:59", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s40_still_S18sh11_b", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s40/plates/plate_bathroom_day_mirror_tile_view_sel.png"], "ref_labels": ["LOCATION PHOTOGRAPH — the exact place of this shot: its architecture, materials, fixed features and lighting mood are spatial truth; stage the moment inside this place. Never copy its camera framing."], "attempt": 1, "dur_s": 22.8, "bytes": 2280441, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s40/stills/S18sh11_b.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): daytime.\n\nSHOT TEXT (authoritative, Korean): 거울 속 반사된 욕실 타일 벽면에 붉은색 원형 표식이 절반쯤 나타난 상태\n\nLOCATION (lock): A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nPROPS FACE THE RIGHT WAY: every handheld or used object must be\noriented exactly as its real-world use requires. A person reading,\nwatching or operating something (a phone, a photograph, a paper,\nany device) has its functional side — screen, front, page — facing\nTHEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nMOVEMENT (follow exactly): A red circular mark suddenly develops across the bathroom tile wall seen in the mirror, extending around a ring-like path until roughly half is visible.\n\nFIGURES — size & depth (follow exactly): The mirror and reflected tiled wall fill most of the frame, while the half-formed red circle occupies about 1/2 of the reflected frame height. The mirror surface is physically NEARER to the camera, while the marked bathroom wall appears FARTHER within the reflection.\n\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Suri-young continues to have her doll-adorned backpack with her, while her bedroom remains clean and without a motionless figure. A red circle is partially visible on the bathroom wall only in the mirror reflection.\n\nNO PEOPLE IN THIS SHOT: the shot text shows only the place and its state — no living person or any body part appears in frame, unless the shot text itself explicitly says so.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-13 19:50:23", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s40_still_S18sh11_c", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s40/plates/plate_bathroom_day_mirror_tile_view_sel.png"], "ref_labels": ["LOCATION PHOTOGRAPH — the exact place of this shot: its architecture, materials, fixed features and lighting mood are spatial truth; stage the moment inside this place. Never copy its camera framing."], "attempt": 1, "dur_s": 24.7, "bytes": 2210933, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s40/stills/S18sh11_c.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): daytime.\n\nSHOT TEXT (authoritative, Korean): 거울 속 반사된 욕실 타일 벽면에 붉은색 원형 표식이 절반쯤 나타난 상태\n\nLOCATION (lock): A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nPROPS FACE THE RIGHT WAY: every handheld or used object must be\noriented exactly as its real-world use requires. A person reading,\nwatching or operating something (a phone, a photograph, a paper,\nany device) has its functional side — screen, front, page — facing\nTHEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nMOVEMENT (follow exactly): A red circular mark suddenly develops across the bathroom tile wall seen in the mirror, extending around a ring-like path until roughly half is visible.\n\nFIGURES — size & depth (follow exactly): The mirror and reflected tiled wall fill most of the frame, while the half-formed red circle occupies about 1/2 of the reflected frame height. The mirror surface is physically NEARER to the camera, while the marked bathroom wall appears FARTHER within the reflection.\n\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Suri-young continues to have her doll-adorned backpack with her, while her bedroom remains clean and without a motionless figure. A red circle is partially visible on the bathroom wall only in the mirror reflection.\n\nNO PEOPLE IN THIS SHOT: the shot text shows only the place and its state — no living person or any body part appears in frame, unless the shot text itself explicitly says so.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-13 19:50:58", "kind": "llm", "step": "s40_judge_still_S18sh11", "model": "gemini-pro", "dur_s": 34.0, "system_prompt": "You are given ONE image-generation prompt, the REFERENCE image(s)\nthat were attached to it (labelled), and THREE candidate images,\nlabelled A, B, C in the order attached, all generated from that\nexact prompt with those exact references.\nPick the ONE candidate that most faithfully realises the prompt.\nJudge ONLY fidelity to the prompt and its reference instructions:\nthe shot text's moment and action, who is and is NOT in frame,\ncamera framing, time of day, the LOCATION lock (the place must be\nthe one the reference shows — same architecture, materials,\nfixtures), pose/immobility and carried-state clauses, and every\nexclusion (no text, no invented people or objects). Consistency\nwith the attached reference image counts as prompt fidelity.\nIgnore generic aesthetic appeal.\nCheck every candidate point by point before deciding; base every\nverdict only on what is visible.\nAlso give every candidate an integer score 0-10 for that same\nfidelity.\nOutput: winner, ranking best-to-worst, and per candidate a score\nplus a one-line Korean verdict citing the decisive prompt points.", "user_prompt": "[{\"type\": \"text\", \"text\": \"THE PROMPT (all three candidates were generated from this):\\nCreate ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): daytime.\\n\\nSHOT TEXT (authoritative, Korean): 거울 속 반사된 욕실 타일 벽면에 붉은색 원형 표식이 절반쯤 나타난 상태\\n\\nLOCATION (lock): A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.\\n\\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\\ntext may describe characters metaphorically, figuratively or with\\nexaggeration. Photograph what a real movie camera would actually\\nrecord on a physical set — exaggerated or figurative impressions\\nbecome realistic staging choices (lighting, distance, angle,\\nwardrobe), not literal fantasy imagery.\\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\\nfeatures non-human or virtual beings (as in science fiction or\\nfantasy), every character — however indirectly, vaguely or\\nfiguratively the text describes them — IS a real human. When the\\ntext gives no direct visual description of a person, IMAGINE one\\nand still show them as a concrete, fully-formed human being:\\nalways render the human form to the maximum extent — build,\\nposture, face, hands, clothing — never reduce a person to a shape,\\nblob, solid silhouette or abstract mass.\\n\\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\\nperson's eyes, face or presence emotionally or figuratively (vacant,\\nhollow, dazed, burning, lifeless gaze and the like), it describes an\\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\\nthrough gaze direction, focus, eyelids, facial muscles, stillness\\nand posture. Every living person's eyes remain anatomically normal\\nhuman eyes with a natural iris and pupil, natural sclera and normal\\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\\notherwise alter eyeballs, skin or anatomy — unless the story\\nexplicitly declares that being non-human or supernatural in form.\\n\\nPROPS FACE THE RIGHT WAY: every handheld or used object must be\\noriented exactly as its real-world use requires. A person reading,\\nwatching or operating something (a phone, a photograph, a paper,\\nany device) has its functional side — screen, front, page — facing\\nTHEIR OWN eyes; the camera then sees whatever side the staging\\ngeometry implies (often its back). Show the functional side to the\\ncamera ONLY when the shot text itself stages it toward the viewer.\\nNever flip, mirror or reverse an object's front and back.\\n\\nMOVEMENT (follow exactly): A red circular mark suddenly develops across the bathroom tile wall seen in the mirror, extending around a ring-like path until roughly half is visible.\\n\\nFIGURES — size & depth (follow exactly): The mirror and reflected tiled wall fill most of the frame, while the half-formed red circle occupies about 1/2 of the reflected frame height. The mirror surface is physically NEARER to the camera, while the marked bathroom wall appears FARTHER within the reflection.\\n\\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Suri-young continues to have her doll-adorned backpack with her, while her bedroom remains clean and without a motionless figure. A red circle is partially visible on the bathroom wall only in the mirror reflection.\\n\\nNO PEOPLE IN THIS SHOT: the shot text shows only the place and its state — no living person or any body part appears in frame, unless the shot text itself explicitly says so.\\n\\nNo text, captions, watermarks or annotations anywhere.\"}, {\"type\": \"text\", \"text\": \"REFERENCE — LOCATION PHOTOGRAPH — the exact place of this shot: its architecture, materials, fixed features and lighting mood are spatial truth; stage the moment inside this place. Never copy its camera framing.\"}, {\"type\": \"text\", \"text\": \"Candidate A:\"}, {\"type\": \"text\", \"text\": \"Candidate B:\"}, {\"type\": \"text\", \"text\": \"Candidate C:\"}]"}
{"ts": "2026-07-13 19:51:16", "kind": "llm", "step": "s40_crit_still_S18sh11", "model": "gemini-pro", "dur_s": 18.9, "system_prompt": "You are given an image-generation prompt, the labelled REFERENCE\nimage(s) that were attached to it, and ONE photograph generated\nfrom them (the current best pick of three).\nList what is WRONG with it — ONLY violations of the prompt or of\nits reference instructions: the shot's stated moment and action,\nwho/what must or must NOT be in frame, camera, time of day,\nlocation consistency with the reference, pose/immobility and\ncarried-state clauses, object orientation, anatomy, and every\nexclusion (no text, no invented people or objects).\nBase every finding only on what is visible; ignore taste and\ngeneric aesthetics. For each issue give: issue_ko (short Korean\nline) + fix_en (ONE imperative English edit that fixes exactly\nthat while changing nothing else). Empty array if nothing wrong.", "user_prompt": "[{\"type\": \"text\", \"text\": \"THE PROMPT:\\nCreate ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): daytime.\\n\\nSHOT TEXT (authoritative, Korean): 거울 속 반사된 욕실 타일 벽면에 붉은색 원형 표식이 절반쯤 나타난 상태\\n\\nLOCATION (lock): A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.\\n\\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\\ntext may describe characters metaphorically, figuratively or with\\nexaggeration. Photograph what a real movie camera would actually\\nrecord on a physical set — exaggerated or figurative impressions\\nbecome realistic staging choices (lighting, distance, angle,\\nwardrobe), not literal fantasy imagery.\\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\\nfeatures non-human or virtual beings (as in science fiction or\\nfantasy), every character — however indirectly, vaguely or\\nfiguratively the text describes them — IS a real human. When the\\ntext gives no direct visual description of a person, IMAGINE one\\nand still show them as a concrete, fully-formed human being:\\nalways render the human form to the maximum extent — build,\\nposture, face, hands, clothing — never reduce a person to a shape,\\nblob, solid silhouette or abstract mass.\\n\\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\\nperson's eyes, face or presence emotionally or figuratively (vacant,\\nhollow, dazed, burning, lifeless gaze and the like), it describes an\\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\\nthrough gaze direction, focus, eyelids, facial muscles, stillness\\nand posture. Every living person's eyes remain anatomically normal\\nhuman eyes with a natural iris and pupil, natural sclera and normal\\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\\notherwise alter eyeballs, skin or anatomy — unless the story\\nexplicitly declares that being non-human or supernatural in form.\\n\\nPROPS FACE THE RIGHT WAY: every handheld or used object must be\\noriented exactly as its real-world use requires. A person reading,\\nwatching or operating something (a phone, a photograph, a paper,\\nany device) has its functional side — screen, front, page — facing\\nTHEIR OWN eyes; the camera then sees whatever side the staging\\ngeometry implies (often its back). Show the functional side to the\\ncamera ONLY when the shot text itself stages it toward the viewer.\\nNever flip, mirror or reverse an object's front and back.\\n\\nMOVEMENT (follow exactly): A red circular mark suddenly develops across the bathroom tile wall seen in the mirror, extending around a ring-like path until roughly half is visible.\\n\\nFIGURES — size & depth (follow exactly): The mirror and reflected tiled wall fill most of the frame, while the half-formed red circle occupies about 1/2 of the reflected frame height. The mirror surface is physically NEARER to the camera, while the marked bathroom wall appears FARTHER within the reflection.\\n\\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Suri-young continues to have her doll-adorned backpack with her, while her bedroom remains clean and without a motionless figure. A red circle is partially visible on the bathroom wall only in the mirror reflection.\\n\\nNO PEOPLE IN THIS SHOT: the shot text shows only the place and its state — no living person or any body part appears in frame, unless the shot text itself explicitly says so.\\n\\nNo text, captions, watermarks or annotations anywhere.\"}, {\"type\": \"text\", \"text\": \"REFERENCE — LOCATION PHOTOGRAPH — the exact place of this shot: its architecture, materials, fixed features and lighting mood are spatial truth; stage the moment inside this place. Never copy its camera framing.\"}, {\"type\": \"text\", \"text\": \"Photograph to examine:\"}]"}
{"ts": "2026-07-13 19:51:39", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s40_fix_still_S18sh11", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s40/stills/S18sh11_a.png"], "ref_labels": ["PHOTOGRAPH TO EDIT — fix ONLY the issues the prompt lists; preserve everything else exactly."], "attempt": 1, "dur_s": 22.6, "bytes": 2303032, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s40/stills/S18sh11_fix.png", "prompt": "Edit this photograph. Apply ONLY the corrections listed below,\neach in place, changing nothing else:\n\nCORRECTIONS:\n- Reduce the red circular mark so that only roughly half of the ring shape is visible.\n- Move the red mark off the physical surface of the mirror glass and place it onto the distant tiled wall seen deep within the reflection.\n\nPRESERVE EVERYTHING ELSE EXACTLY as in the original photograph —\nevery person, pose, face, garment, object, set feature, lighting,\ncamera and framing stay identical. No text, captions or\nwatermarks anywhere."}
{"ts": "2026-07-13 19:52:09", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s40_still_S18sh15_a", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s40/plates/plate_living_dining_day_root_sel.png"], "ref_labels": ["LOCATION PHOTOGRAPH — the exact place of this shot: its architecture, materials, fixed features and lighting mood are spatial truth; stage the moment inside this place. Never copy its camera framing."], "attempt": 1, "dur_s": 29.8, "bytes": 2003180, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s40/stills/S18sh15_a.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): daytime.\n\nSHOT TEXT (authoritative, Korean): 액자 속 민숙의 얼굴 부분 이미지가 아래로 일그러지며 흘러내리는 찰나\n\nLOCATION (lock): A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nPROPS FACE THE RIGHT WAY: every handheld or used object must be\noriented exactly as its real-world use requires. A person reading,\nwatching or operating something (a phone, a photograph, a paper,\nany device) has its functional side — screen, front, page — facing\nTHEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nMOVEMENT (follow exactly): The image of Min-sook's smiling face inside the framed photograph distorts and flows downward before Su-ri-young's eyes.\n\nFIGURES — size & depth (follow exactly): The framed photograph fills most of the close frame, and Min-sook's pictured face occupies roughly 1/2 of its height. The photograph's glass and frame are NEARER to the camera, while the collapsing facial image is visually FARTHER beneath the surface.\n\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The bathroom’s red circle has vanished, and Suri-young still has the doll-adorned backpack. The framed photograph remains on the table as Minsuk’s face in it distorts and runs downward.\n\nNO PEOPLE IN THIS SHOT: the shot text shows only the place and its state — no living person or any body part appears in frame, unless the shot text itself explicitly says so.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-13 19:52:30", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s40_still_S18sh15_b", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s40/plates/plate_living_dining_day_root_sel.png"], "ref_labels": ["LOCATION PHOTOGRAPH — the exact place of this shot: its architecture, materials, fixed features and lighting mood are spatial truth; stage the moment inside this place. Never copy its camera framing."], "attempt": 1, "dur_s": 21.0, "bytes": 2421016, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s40/stills/S18sh15_b.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): daytime.\n\nSHOT TEXT (authoritative, Korean): 액자 속 민숙의 얼굴 부분 이미지가 아래로 일그러지며 흘러내리는 찰나\n\nLOCATION (lock): A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nPROPS FACE THE RIGHT WAY: every handheld or used object must be\noriented exactly as its real-world use requires. A person reading,\nwatching or operating something (a phone, a photograph, a paper,\nany device) has its functional side — screen, front, page — facing\nTHEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nMOVEMENT (follow exactly): The image of Min-sook's smiling face inside the framed photograph distorts and flows downward before Su-ri-young's eyes.\n\nFIGURES — size & depth (follow exactly): The framed photograph fills most of the close frame, and Min-sook's pictured face occupies roughly 1/2 of its height. The photograph's glass and frame are NEARER to the camera, while the collapsing facial image is visually FARTHER beneath the surface.\n\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The bathroom’s red circle has vanished, and Suri-young still has the doll-adorned backpack. The framed photograph remains on the table as Minsuk’s face in it distorts and runs downward.\n\nNO PEOPLE IN THIS SHOT: the shot text shows only the place and its state — no living person or any body part appears in frame, unless the shot text itself explicitly says so.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-13 19:52:54", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s40_still_S18sh15_c", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s40/plates/plate_living_dining_day_root_sel.png"], "ref_labels": ["LOCATION PHOTOGRAPH — the exact place of this shot: its architecture, materials, fixed features and lighting mood are spatial truth; stage the moment inside this place. Never copy its camera framing."], "attempt": 1, "dur_s": 23.8, "bytes": 1976759, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s40/stills/S18sh15_c.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): daytime.\n\nSHOT TEXT (authoritative, Korean): 액자 속 민숙의 얼굴 부분 이미지가 아래로 일그러지며 흘러내리는 찰나\n\nLOCATION (lock): A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nPROPS FACE THE RIGHT WAY: every handheld or used object must be\noriented exactly as its real-world use requires. A person reading,\nwatching or operating something (a phone, a photograph, a paper,\nany device) has its functional side — screen, front, page — facing\nTHEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nMOVEMENT (follow exactly): The image of Min-sook's smiling face inside the framed photograph distorts and flows downward before Su-ri-young's eyes.\n\nFIGURES — size & depth (follow exactly): The framed photograph fills most of the close frame, and Min-sook's pictured face occupies roughly 1/2 of its height. The photograph's glass and frame are NEARER to the camera, while the collapsing facial image is visually FARTHER beneath the surface.\n\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The bathroom’s red circle has vanished, and Suri-young still has the doll-adorned backpack. The framed photograph remains on the table as Minsuk’s face in it distorts and runs downward.\n\nNO PEOPLE IN THIS SHOT: the shot text shows only the place and its state — no living person or any body part appears in frame, unless the shot text itself explicitly says so.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-13 19:53:14", "kind": "llm", "step": "s40_judge_still_S18sh15", "model": "gemini-pro", "dur_s": 20.3, "system_prompt": "You are given ONE image-generation prompt, the REFERENCE image(s)\nthat were attached to it (labelled), and THREE candidate images,\nlabelled A, B, C in the order attached, all generated from that\nexact prompt with those exact references.\nPick the ONE candidate that most faithfully realises the prompt.\nJudge ONLY fidelity to the prompt and its reference instructions:\nthe shot text's moment and action, who is and is NOT in frame,\ncamera framing, time of day, the LOCATION lock (the place must be\nthe one the reference shows — same architecture, materials,\nfixtures), pose/immobility and carried-state clauses, and every\nexclusion (no text, no invented people or objects). Consistency\nwith the attached reference image counts as prompt fidelity.\nIgnore generic aesthetic appeal.\nCheck every candidate point by point before deciding; base every\nverdict only on what is visible.\nAlso give every candidate an integer score 0-10 for that same\nfidelity.\nOutput: winner, ranking best-to-worst, and per candidate a score\nplus a one-line Korean verdict citing the decisive prompt points.", "user_prompt": "[{\"type\": \"text\", \"text\": \"THE PROMPT (all three candidates were generated from this):\\nCreate ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): daytime.\\n\\nSHOT TEXT (authoritative, Korean): 액자 속 민숙의 얼굴 부분 이미지가 아래로 일그러지며 흘러내리는 찰나\\n\\nLOCATION (lock): A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.\\n\\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\\ntext may describe characters metaphorically, figuratively or with\\nexaggeration. Photograph what a real movie camera would actually\\nrecord on a physical set — exaggerated or figurative impressions\\nbecome realistic staging choices (lighting, distance, angle,\\nwardrobe), not literal fantasy imagery.\\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\\nfeatures non-human or virtual beings (as in science fiction or\\nfantasy), every character — however indirectly, vaguely or\\nfiguratively the text describes them — IS a real human. When the\\ntext gives no direct visual description of a person, IMAGINE one\\nand still show them as a concrete, fully-formed human being:\\nalways render the human form to the maximum extent — build,\\nposture, face, hands, clothing — never reduce a person to a shape,\\nblob, solid silhouette or abstract mass.\\n\\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\\nperson's eyes, face or presence emotionally or figuratively (vacant,\\nhollow, dazed, burning, lifeless gaze and the like), it describes an\\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\\nthrough gaze direction, focus, eyelids, facial muscles, stillness\\nand posture. Every living person's eyes remain anatomically normal\\nhuman eyes with a natural iris and pupil, natural sclera and normal\\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\\notherwise alter eyeballs, skin or anatomy — unless the story\\nexplicitly declares that being non-human or supernatural in form.\\n\\nPROPS FACE THE RIGHT WAY: every handheld or used object must be\\noriented exactly as its real-world use requires. A person reading,\\nwatching or operating something (a phone, a photograph, a paper,\\nany device) has its functional side — screen, front, page — facing\\nTHEIR OWN eyes; the camera then sees whatever side the staging\\ngeometry implies (often its back). Show the functional side to the\\ncamera ONLY when the shot text itself stages it toward the viewer.\\nNever flip, mirror or reverse an object's front and back.\\n\\nMOVEMENT (follow exactly): The image of Min-sook's smiling face inside the framed photograph distorts and flows downward before Su-ri-young's eyes.\\n\\nFIGURES — size & depth (follow exactly): The framed photograph fills most of the close frame, and Min-sook's pictured face occupies roughly 1/2 of its height. The photograph's glass and frame are NEARER to the camera, while the collapsing facial image is visually FARTHER beneath the surface.\\n\\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The bathroom’s red circle has vanished, and Suri-young still has the doll-adorned backpack. The framed photograph remains on the table as Minsuk’s face in it distorts and runs downward.\\n\\nNO PEOPLE IN THIS SHOT: the shot text shows only the place and its state — no living person or any body part appears in frame, unless the shot text itself explicitly says so.\\n\\nNo text, captions, watermarks or annotations anywhere.\"}, {\"type\": \"text\", \"text\": \"REFERENCE — LOCATION PHOTOGRAPH — the exact place of this shot: its architecture, materials, fixed features and lighting mood are spatial truth; stage the moment inside this place. Never copy its camera framing.\"}, {\"type\": \"text\", \"text\": \"Candidate A:\"}, {\"type\": \"text\", \"text\": \"Candidate B:\"}, {\"type\": \"text\", \"text\": \"Candidate C:\"}]"}
{"ts": "2026-07-13 19:54:01", "kind": "llm", "step": "s40_crit_still_S18sh15", "model": "gemini-pro", "dur_s": 46.5, "system_prompt": "You are given an image-generation prompt, the labelled REFERENCE\nimage(s) that were attached to it, and ONE photograph generated\nfrom them (the current best pick of three).\nList what is WRONG with it — ONLY violations of the prompt or of\nits reference instructions: the shot's stated moment and action,\nwho/what must or must NOT be in frame, camera, time of day,\nlocation consistency with the reference, pose/immobility and\ncarried-state clauses, object orientation, anatomy, and every\nexclusion (no text, no invented people or objects).\nBase every finding only on what is visible; ignore taste and\ngeneric aesthetics. For each issue give: issue_ko (short Korean\nline) + fix_en (ONE imperative English edit that fixes exactly\nthat while changing nothing else). Empty array if nothing wrong.", "user_prompt": "[{\"type\": \"text\", \"text\": \"THE PROMPT:\\nCreate ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): daytime.\\n\\nSHOT TEXT (authoritative, Korean): 액자 속 민숙의 얼굴 부분 이미지가 아래로 일그러지며 흘러내리는 찰나\\n\\nLOCATION (lock): A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.\\n\\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\\ntext may describe characters metaphorically, figuratively or with\\nexaggeration. Photograph what a real movie camera would actually\\nrecord on a physical set — exaggerated or figurative impressions\\nbecome realistic staging choices (lighting, distance, angle,\\nwardrobe), not literal fantasy imagery.\\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\\nfeatures non-human or virtual beings (as in science fiction or\\nfantasy), every character — however indirectly, vaguely or\\nfiguratively the text describes them — IS a real human. When the\\ntext gives no direct visual description of a person, IMAGINE one\\nand still show them as a concrete, fully-formed human being:\\nalways render the human form to the maximum extent — build,\\nposture, face, hands, clothing — never reduce a person to a shape,\\nblob, solid silhouette or abstract mass.\\n\\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\\nperson's eyes, face or presence emotionally or figuratively (vacant,\\nhollow, dazed, burning, lifeless gaze and the like), it describes an\\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\\nthrough gaze direction, focus, eyelids, facial muscles, stillness\\nand posture. Every living person's eyes remain anatomically normal\\nhuman eyes with a natural iris and pupil, natural sclera and normal\\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\\notherwise alter eyeballs, skin or anatomy — unless the story\\nexplicitly declares that being non-human or supernatural in form.\\n\\nPROPS FACE THE RIGHT WAY: every handheld or used object must be\\noriented exactly as its real-world use requires. A person reading,\\nwatching or operating something (a phone, a photograph, a paper,\\nany device) has its functional side — screen, front, page — facing\\nTHEIR OWN eyes; the camera then sees whatever side the staging\\ngeometry implies (often its back). Show the functional side to the\\ncamera ONLY when the shot text itself stages it toward the viewer.\\nNever flip, mirror or reverse an object's front and back.\\n\\nMOVEMENT (follow exactly): The image of Min-sook's smiling face inside the framed photograph distorts and flows downward before Su-ri-young's eyes.\\n\\nFIGURES — size & depth (follow exactly): The framed photograph fills most of the close frame, and Min-sook's pictured face occupies roughly 1/2 of its height. The photograph's glass and frame are NEARER to the camera, while the collapsing facial image is visually FARTHER beneath the surface.\\n\\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The bathroom’s red circle has vanished, and Suri-young still has the doll-adorned backpack. The framed photograph remains on the table as Minsuk’s face in it distorts and runs downward.\\n\\nNO PEOPLE IN THIS SHOT: the shot text shows only the place and its state — no living person or any body part appears in frame, unless the shot text itself explicitly says so.\\n\\nNo text, captions, watermarks or annotations anywhere.\"}, {\"type\": \"text\", \"text\": \"REFERENCE — LOCATION PHOTOGRAPH — the exact place of this shot: its architecture, materials, fixed features and lighting mood are spatial truth; stage the moment inside this place. Never copy its camera framing.\"}, {\"type\": \"text\", \"text\": \"Photograph to examine:\"}]"}
{"ts": "2026-07-13 19:54:24", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s40_still_S18sh16_a", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s40/plates/plate_living_dining_day_root_sel.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s40/stills/S5sh5_sel.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/39864973-d3d5-4886-bfb2-f8db608a005b.png"], "ref_labels": ["LOCATION PHOTOGRAPH — the exact place of this shot: its architecture, materials, fixed features and lighting mood are spatial truth; stage the moment inside this place. Never copy its camera framing.", "PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing. If this photo shows a character who cannot move (dead or unconscious), that character's exact pose, position and orientation are ALSO LOCKED — treat their body as a fixed prop of the set that only the camera moves around.", "CHARACTER REFERENCE — 수리영: the exact person appearing in this shot; match face, hair and build exactly."], "attempt": 1, "dur_s": 23.1, "bytes": 2721992, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s40/stills/S18sh16_a.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): daytime.\n\nSHOT TEXT (authoritative, Korean): 수리영이 두 손으로 머리를 감싸 쥐고 입을 크게 벌린 얼굴\n\nLOCATION (lock): A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.\n\nTHIS SHOT CONTINUES THE PREVIOUS SHOT: everything the attached still established — the place, its fixed features and wear, each person's clothing and state — persists. Any person in it who cannot move stays PRECISELY as photographed (body, pose, contact points, held objects); only the camera changes.\n\nPREVIOUS STILL USAGE (follow exactly — what to take from the attached still and what to exclude): Take the same worn living-room materials, small-window daylight, sparse furnishings, and established room layout from the reference. Use only the background continuity and place the distressed young woman within that space. Exclude the apron-wearing woman and the earlier TV-button-pressing action, and do not reproduce the distorted photograph as the main subject.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nPROPS FACE THE RIGHT WAY: every handheld or used object must be\noriented exactly as its real-world use requires. A person reading,\nwatching or operating something (a phone, a photograph, a paper,\nany device) has its functional side — screen, front, page — facing\nTHEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nMOVEMENT (follow exactly): static: terrified and overwhelmed, Su-ri-young clamps both hands around her head and holds her mouth wide open in a scream, her posture rigid with panic.\n\nFIGURES — size & depth (follow exactly): Su-ri-young's face and hands fill about 3/4 of the frame height and form the NEAREST subject. Her hands sit slightly NEARER than her face on either side, while the room behind her is FARTHER and secondary.\n\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The framed photograph remains on the table but has returned to normal, and the bathroom wall remains without the red circle. Suri-young still has the doll-adorned backpack with her.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 수리영 (Korean young woman, early 20s face, oval face, natural black long hair) — never anyone else, and never add a person the shot text does not show. IF only part of a person is in frame (a hand, arm, foot, back, silhouette), that body part belongs to the specific person the shot text names — its sex, age, build, skin and grooming must unmistakably match that person's profile above.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-13 19:55:15", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s40_still_S18sh16_b", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s40/plates/plate_living_dining_day_root_sel.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s40/stills/S5sh5_sel.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/39864973-d3d5-4886-bfb2-f8db608a005b.png"], "ref_labels": ["LOCATION PHOTOGRAPH — the exact place of this shot: its architecture, materials, fixed features and lighting mood are spatial truth; stage the moment inside this place. Never copy its camera framing.", "PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing. If this photo shows a character who cannot move (dead or unconscious), that character's exact pose, position and orientation are ALSO LOCKED — treat their body as a fixed prop of the set that only the camera moves around.", "CHARACTER REFERENCE — 수리영: the exact person appearing in this shot; match face, hair and build exactly."], "attempt": 1, "dur_s": 51.2, "bytes": 2772505, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s40/stills/S18sh16_b.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): daytime.\n\nSHOT TEXT (authoritative, Korean): 수리영이 두 손으로 머리를 감싸 쥐고 입을 크게 벌린 얼굴\n\nLOCATION (lock): A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.\n\nTHIS SHOT CONTINUES THE PREVIOUS SHOT: everything the attached still established — the place, its fixed features and wear, each person's clothing and state — persists. Any person in it who cannot move stays PRECISELY as photographed (body, pose, contact points, held objects); only the camera changes.\n\nPREVIOUS STILL USAGE (follow exactly — what to take from the attached still and what to exclude): Take the same worn living-room materials, small-window daylight, sparse furnishings, and established room layout from the reference. Use only the background continuity and place the distressed young woman within that space. Exclude the apron-wearing woman and the earlier TV-button-pressing action, and do not reproduce the distorted photograph as the main subject.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nPROPS FACE THE RIGHT WAY: every handheld or used object must be\noriented exactly as its real-world use requires. A person reading,\nwatching or operating something (a phone, a photograph, a paper,\nany device) has its functional side — screen, front, page — facing\nTHEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nMOVEMENT (follow exactly): static: terrified and overwhelmed, Su-ri-young clamps both hands around her head and holds her mouth wide open in a scream, her posture rigid with panic.\n\nFIGURES — size & depth (follow exactly): Su-ri-young's face and hands fill about 3/4 of the frame height and form the NEAREST subject. Her hands sit slightly NEARER than her face on either side, while the room behind her is FARTHER and secondary.\n\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The framed photograph remains on the table but has returned to normal, and the bathroom wall remains without the red circle. Suri-young still has the doll-adorned backpack with her.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 수리영 (Korean young woman, early 20s face, oval face, natural black long hair) — never anyone else, and never add a person the shot text does not show. IF only part of a person is in frame (a hand, arm, foot, back, silhouette), that body part belongs to the specific person the shot text names — its sex, age, build, skin and grooming must unmistakably match that person's profile above.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-13 19:55:46", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s40_still_S18sh16_c", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s40/plates/plate_living_dining_day_root_sel.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s40/stills/S5sh5_sel.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/39864973-d3d5-4886-bfb2-f8db608a005b.png"], "ref_labels": ["LOCATION PHOTOGRAPH — the exact place of this shot: its architecture, materials, fixed features and lighting mood are spatial truth; stage the moment inside this place. Never copy its camera framing.", "PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing. If this photo shows a character who cannot move (dead or unconscious), that character's exact pose, position and orientation are ALSO LOCKED — treat their body as a fixed prop of the set that only the camera moves around.", "CHARACTER REFERENCE — 수리영: the exact person appearing in this shot; match face, hair and build exactly."], "attempt": 1, "dur_s": 31.4, "bytes": 2649430, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s40/stills/S18sh16_c.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): daytime.\n\nSHOT TEXT (authoritative, Korean): 수리영이 두 손으로 머리를 감싸 쥐고 입을 크게 벌린 얼굴\n\nLOCATION (lock): A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.\n\nTHIS SHOT CONTINUES THE PREVIOUS SHOT: everything the attached still established — the place, its fixed features and wear, each person's clothing and state — persists. Any person in it who cannot move stays PRECISELY as photographed (body, pose, contact points, held objects); only the camera changes.\n\nPREVIOUS STILL USAGE (follow exactly — what to take from the attached still and what to exclude): Take the same worn living-room materials, small-window daylight, sparse furnishings, and established room layout from the reference. Use only the background continuity and place the distressed young woman within that space. Exclude the apron-wearing woman and the earlier TV-button-pressing action, and do not reproduce the distorted photograph as the main subject.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nPROPS FACE THE RIGHT WAY: every handheld or used object must be\noriented exactly as its real-world use requires. A person reading,\nwatching or operating something (a phone, a photograph, a paper,\nany device) has its functional side — screen, front, page — facing\nTHEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nMOVEMENT (follow exactly): static: terrified and overwhelmed, Su-ri-young clamps both hands around her head and holds her mouth wide open in a scream, her posture rigid with panic.\n\nFIGURES — size & depth (follow exactly): Su-ri-young's face and hands fill about 3/4 of the frame height and form the NEAREST subject. Her hands sit slightly NEARER than her face on either side, while the room behind her is FARTHER and secondary.\n\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The framed photograph remains on the table but has returned to normal, and the bathroom wall remains without the red circle. Suri-young still has the doll-adorned backpack with her.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 수리영 (Korean young woman, early 20s face, oval face, natural black long hair) — never anyone else, and never add a person the shot text does not show. IF only part of a person is in frame (a hand, arm, foot, back, silhouette), that body part belongs to the specific person the shot text names — its sex, age, build, skin and grooming must unmistakably match that person's profile above.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-13 19:56:25", "kind": "llm", "step": "s40_judge_still_S18sh16", "model": "gemini-pro", "dur_s": 38.7, "system_prompt": "You are given ONE image-generation prompt, the REFERENCE image(s)\nthat were attached to it (labelled), and THREE candidate images,\nlabelled A, B, C in the order attached, all generated from that\nexact prompt with those exact references.\nPick the ONE candidate that most faithfully realises the prompt.\nJudge ONLY fidelity to the prompt and its reference instructions:\nthe shot text's moment and action, who is and is NOT in frame,\ncamera framing, time of day, the LOCATION lock (the place must be\nthe one the reference shows — same architecture, materials,\nfixtures), pose/immobility and carried-state clauses, and every\nexclusion (no text, no invented people or objects). Consistency\nwith the attached reference image counts as prompt fidelity.\nIgnore generic aesthetic appeal.\nCheck every candidate point by point before deciding; base every\nverdict only on what is visible.\nAlso give every candidate an integer score 0-10 for that same\nfidelity.\nOutput: winner, ranking best-to-worst, and per candidate a score\nplus a one-line Korean verdict citing the decisive prompt points.", "user_prompt": "[{\"type\": \"text\", \"text\": \"THE PROMPT (all three candidates were generated from this):\\nCreate ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): daytime.\\n\\nSHOT TEXT (authoritative, Korean): 수리영이 두 손으로 머리를 감싸 쥐고 입을 크게 벌린 얼굴\\n\\nLOCATION (lock): A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.\\n\\nTHIS SHOT CONTINUES THE PREVIOUS SHOT: everything the attached still established — the place, its fixed features and wear, each person's clothing and state — persists. Any person in it who cannot move stays PRECISELY as photographed (body, pose, contact points, held objects); only the camera changes.\\n\\nPREVIOUS STILL USAGE (follow exactly — what to take from the attached still and what to exclude): Take the same worn living-room materials, small-window daylight, sparse furnishings, and established room layout from the reference. Use only the background continuity and place the distressed young woman within that space. Exclude the apron-wearing woman and the earlier TV-button-pressing action, and do not reproduce the distorted photograph as the main subject.\\n\\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\\ntext may describe characters metaphorically, figuratively or with\\nexaggeration. Photograph what a real movie camera would actually\\nrecord on a physical set — exaggerated or figurative impressions\\nbecome realistic staging choices (lighting, distance, angle,\\nwardrobe), not literal fantasy imagery.\\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\\nfeatures non-human or virtual beings (as in science fiction or\\nfantasy), every character — however indirectly, vaguely or\\nfiguratively the text describes them — IS a real human. When the\\ntext gives no direct visual description of a person, IMAGINE one\\nand still show them as a concrete, fully-formed human being:\\nalways render the human form to the maximum extent — build,\\nposture, face, hands, clothing — never reduce a person to a shape,\\nblob, solid silhouette or abstract mass.\\n\\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\\nperson's eyes, face or presence emotionally or figuratively (vacant,\\nhollow, dazed, burning, lifeless gaze and the like), it describes an\\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\\nthrough gaze direction, focus, eyelids, facial muscles, stillness\\nand posture. Every living person's eyes remain anatomically normal\\nhuman eyes with a natural iris and pupil, natural sclera and normal\\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\\notherwise alter eyeballs, skin or anatomy — unless the story\\nexplicitly declares that being non-human or supernatural in form.\\n\\nPROPS FACE THE RIGHT WAY: every handheld or used object must be\\noriented exactly as its real-world use requires. A person reading,\\nwatching or operating something (a phone, a photograph, a paper,\\nany device) has its functional side — screen, front, page — facing\\nTHEIR OWN eyes; the camera then sees whatever side the staging\\ngeometry implies (often its back). Show the functional side to the\\ncamera ONLY when the shot text itself stages it toward the viewer.\\nNever flip, mirror or reverse an object's front and back.\\n\\nMOVEMENT (follow exactly): static: terrified and overwhelmed, Su-ri-young clamps both hands around her head and holds her mouth wide open in a scream, her posture rigid with panic.\\n\\nFIGURES — size & depth (follow exactly): Su-ri-young's face and hands fill about 3/4 of the frame height and form the NEAREST subject. Her hands sit slightly NEARER than her face on either side, while the room behind her is FARTHER and secondary.\\n\\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The framed photograph remains on the table but has returned to normal, and the bathroom wall remains without the red circle. Suri-young still has the doll-adorned backpack with her.\\n\\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 수리영 (Korean young woman, early 20s face, oval face, natural black long hair) — never anyone else, and never add a person the shot text does not show. IF only part of a person is in frame (a hand, arm, foot, back, silhouette), that body part belongs to the specific person the shot text names — its sex, age, build, skin and grooming must unmistakably match that person's profile above.\\n\\nNo text, captions, watermarks or annotations anywhere.\"}, {\"type\": \"text\", \"text\": \"REFERENCE — LOCATION PHOTOGRAPH — the exact place of this shot: its architecture, materials, fixed features and lighting mood are spatial truth; stage the moment inside this place. Never copy its camera framing.\"}, {\"type\": \"text\", \"text\": \"REFERENCE — PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing. If this photo shows a character who cannot move (dead or unconscious), that character's exact pose, position and orientation are ALSO LOCKED — treat their body as a fixed prop of the set that only the camera moves around.\"}, {\"type\": \"text\", \"text\": \"REFERENCE — CHARACTER REFERENCE — 수리영: the exact person appearing in this shot; match face, hair and build exactly.\"}, {\"type\": \"text\", \"text\": \"Candidate A:\"}, {\"type\": \"text\", \"text\": \"Candidate B:\"}, {\"type\": \"text\", \"text\": \"Candidate C:\"}]"}
{"ts": "2026-07-13 19:57:05", "kind": "llm", "step": "s40_crit_still_S18sh16", "model": "gemini-pro", "dur_s": 39.4, "system_prompt": "You are given an image-generation prompt, the labelled REFERENCE\nimage(s) that were attached to it, and ONE photograph generated\nfrom them (the current best pick of three).\nList what is WRONG with it — ONLY violations of the prompt or of\nits reference instructions: the shot's stated moment and action,\nwho/what must or must NOT be in frame, camera, time of day,\nlocation consistency with the reference, pose/immobility and\ncarried-state clauses, object orientation, anatomy, and every\nexclusion (no text, no invented people or objects).\nBase every finding only on what is visible; ignore taste and\ngeneric aesthetics. For each issue give: issue_ko (short Korean\nline) + fix_en (ONE imperative English edit that fixes exactly\nthat while changing nothing else). Empty array if nothing wrong.", "user_prompt": "[{\"type\": \"text\", \"text\": \"THE PROMPT:\\nCreate ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): daytime.\\n\\nSHOT TEXT (authoritative, Korean): 수리영이 두 손으로 머리를 감싸 쥐고 입을 크게 벌린 얼굴\\n\\nLOCATION (lock): A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.\\n\\nTHIS SHOT CONTINUES THE PREVIOUS SHOT: everything the attached still established — the place, its fixed features and wear, each person's clothing and state — persists. Any person in it who cannot move stays PRECISELY as photographed (body, pose, contact points, held objects); only the camera changes.\\n\\nPREVIOUS STILL USAGE (follow exactly — what to take from the attached still and what to exclude): Take the same worn living-room materials, small-window daylight, sparse furnishings, and established room layout from the reference. Use only the background continuity and place the distressed young woman within that space. Exclude the apron-wearing woman and the earlier TV-button-pressing action, and do not reproduce the distorted photograph as the main subject.\\n\\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\\ntext may describe characters metaphorically, figuratively or with\\nexaggeration. Photograph what a real movie camera would actually\\nrecord on a physical set — exaggerated or figurative impressions\\nbecome realistic staging choices (lighting, distance, angle,\\nwardrobe), not literal fantasy imagery.\\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\\nfeatures non-human or virtual beings (as in science fiction or\\nfantasy), every character — however indirectly, vaguely or\\nfiguratively the text describes them — IS a real human. When the\\ntext gives no direct visual description of a person, IMAGINE one\\nand still show them as a concrete, fully-formed human being:\\nalways render the human form to the maximum extent — build,\\nposture, face, hands, clothing — never reduce a person to a shape,\\nblob, solid silhouette or abstract mass.\\n\\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\\nperson's eyes, face or presence emotionally or figuratively (vacant,\\nhollow, dazed, burning, lifeless gaze and the like), it describes an\\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\\nthrough gaze direction, focus, eyelids, facial muscles, stillness\\nand posture. Every living person's eyes remain anatomically normal\\nhuman eyes with a natural iris and pupil, natural sclera and normal\\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\\notherwise alter eyeballs, skin or anatomy — unless the story\\nexplicitly declares that being non-human or supernatural in form.\\n\\nPROPS FACE THE RIGHT WAY: every handheld or used object must be\\noriented exactly as its real-world use requires. A person reading,\\nwatching or operating something (a phone, a photograph, a paper,\\nany device) has its functional side — screen, front, page — facing\\nTHEIR OWN eyes; the camera then sees whatever side the staging\\ngeometry implies (often its back). Show the functional side to the\\ncamera ONLY when the shot text itself stages it toward the viewer.\\nNever flip, mirror or reverse an object's front and back.\\n\\nMOVEMENT (follow exactly): static: terrified and overwhelmed, Su-ri-young clamps both hands around her head and holds her mouth wide open in a scream, her posture rigid with panic.\\n\\nFIGURES — size & depth (follow exactly): Su-ri-young's face and hands fill about 3/4 of the frame height and form the NEAREST subject. Her hands sit slightly NEARER than her face on either side, while the room behind her is FARTHER and secondary.\\n\\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The framed photograph remains on the table but has returned to normal, and the bathroom wall remains without the red circle. Suri-young still has the doll-adorned backpack with her.\\n\\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 수리영 (Korean young woman, early 20s face, oval face, natural black long hair) — never anyone else, and never add a person the shot text does not show. IF only part of a person is in frame (a hand, arm, foot, back, silhouette), that body part belongs to the specific person the shot text names — its sex, age, build, skin and grooming must unmistakably match that person's profile above.\\n\\nNo text, captions, watermarks or annotations anywhere.\"}, {\"type\": \"text\", \"text\": \"REFERENCE — LOCATION PHOTOGRAPH — the exact place of this shot: its architecture, materials, fixed features and lighting mood are spatial truth; stage the moment inside this place. Never copy its camera framing.\"}, {\"type\": \"text\", \"text\": \"REFERENCE — PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing. If this photo shows a character who cannot move (dead or unconscious), that character's exact pose, position and orientation are ALSO LOCKED — treat their body as a fixed prop of the set that only the camera moves around.\"}, {\"type\": \"text\", \"text\": \"REFERENCE — CHARACTER REFERENCE — 수리영: the exact person appearing in this shot; match face, hair and build exactly.\"}, {\"type\": \"text\", \"text\": \"Photograph to examine:\"}]"}
{"ts": "2026-07-13 19:57:22", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s40_fix_still_S18sh16", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s40/stills/S18sh16_a.png"], "ref_labels": ["PHOTOGRAPH TO EDIT — fix ONLY the issues the prompt lists; preserve everything else exactly."], "attempt": 1, "dur_s": 17.7, "bytes": 2374077, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s40/stills/S18sh16_fix.png", "prompt": "Edit this photograph. Apply ONLY the corrections listed below,\neach in place, changing nothing else:\n\nCORRECTIONS:\n- Change the kitchen cabinets in the background to white to match the reference location.\n- Zoom in significantly so that the character's face and hands fill approximately 3/4 of the frame height.\n- Smooth the facial wrinkles and adjust the features to exactly match the early 20s young woman from the character reference.\n\nPRESERVE EVERYTHING ELSE EXACTLY as in the original photograph —\nevery person, pose, face, garment, object, set feature, lighting,\ncamera and framing stay identical. No text, captions or\nwatermarks anywhere."}
{"ts": "2026-07-13 19:57:41", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s40_still_S25sh1_a", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s40/plates/plate_living_dining_sunset_floor_view_sel.png"], "ref_labels": ["LOCATION PHOTOGRAPH — the exact place of this shot: its architecture, materials, fixed features and lighting mood are spatial truth; stage the moment inside this place. Never copy its camera framing."], "attempt": 1, "dur_s": 19.1, "bytes": 2352589, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s40/stills/S25sh1_a.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): dusk, just after sunset.\n\nSHOT TEXT (authoritative, Korean): 해질 무렵 옥탑방 거실, 흙 묻은 발자국들이 찍힌 바닥과 쓰러진 식탁 의자들이 보이는 전경\n\nLOCATION (lock): A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nPROPS FACE THE RIGHT WAY: every handheld or used object must be\noriented exactly as its real-world use requires. A person reading,\nwatching or operating something (a phone, a photograph, a paper,\nany device) has its functional side — screen, front, page — facing\nTHEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nMOVEMENT (follow exactly): static: muddy footprints remain across the ransacked living-room floor among overturned dining chairs, indicating a prior path through the room but no current movement.\n\nFIGURES — size & depth (follow exactly): The footprint-marked floor fills the lower half of the wide frame, with the NEAREST prints and fallen chair parts in the foreground appearing larger. Additional prints, the dining area, and the open living-room window recede FARTHER into the room.\n\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The apartment remains ransacked, with dirty footprints on the floor, the living-room window open, and the dining chairs overturned. The red circle and the stained old photograph pinned at its center are already present in Suri-young’s room.\n\nNO PEOPLE IN THIS SHOT: the shot text shows only the place and its state — no living person or any body part appears in frame, unless the shot text itself explicitly says so.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-13 19:58:06", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s40_still_S25sh1_b", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s40/plates/plate_living_dining_sunset_floor_view_sel.png"], "ref_labels": ["LOCATION PHOTOGRAPH — the exact place of this shot: its architecture, materials, fixed features and lighting mood are spatial truth; stage the moment inside this place. Never copy its camera framing."], "attempt": 1, "dur_s": 24.7, "bytes": 2623199, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s40/stills/S25sh1_b.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): dusk, just after sunset.\n\nSHOT TEXT (authoritative, Korean): 해질 무렵 옥탑방 거실, 흙 묻은 발자국들이 찍힌 바닥과 쓰러진 식탁 의자들이 보이는 전경\n\nLOCATION (lock): A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nPROPS FACE THE RIGHT WAY: every handheld or used object must be\noriented exactly as its real-world use requires. A person reading,\nwatching or operating something (a phone, a photograph, a paper,\nany device) has its functional side — screen, front, page — facing\nTHEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nMOVEMENT (follow exactly): static: muddy footprints remain across the ransacked living-room floor among overturned dining chairs, indicating a prior path through the room but no current movement.\n\nFIGURES — size & depth (follow exactly): The footprint-marked floor fills the lower half of the wide frame, with the NEAREST prints and fallen chair parts in the foreground appearing larger. Additional prints, the dining area, and the open living-room window recede FARTHER into the room.\n\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The apartment remains ransacked, with dirty footprints on the floor, the living-room window open, and the dining chairs overturned. The red circle and the stained old photograph pinned at its center are already present in Suri-young’s room.\n\nNO PEOPLE IN THIS SHOT: the shot text shows only the place and its state — no living person or any body part appears in frame, unless the shot text itself explicitly says so.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-13 19:58:25", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s40_still_S25sh1_c", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s40/plates/plate_living_dining_sunset_floor_view_sel.png"], "ref_labels": ["LOCATION PHOTOGRAPH — the exact place of this shot: its architecture, materials, fixed features and lighting mood are spatial truth; stage the moment inside this place. Never copy its camera framing."], "attempt": 1, "dur_s": 18.6, "bytes": 2486249, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s40/stills/S25sh1_c.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): dusk, just after sunset.\n\nSHOT TEXT (authoritative, Korean): 해질 무렵 옥탑방 거실, 흙 묻은 발자국들이 찍힌 바닥과 쓰러진 식탁 의자들이 보이는 전경\n\nLOCATION (lock): A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nPROPS FACE THE RIGHT WAY: every handheld or used object must be\noriented exactly as its real-world use requires. A person reading,\nwatching or operating something (a phone, a photograph, a paper,\nany device) has its functional side — screen, front, page — facing\nTHEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nMOVEMENT (follow exactly): static: muddy footprints remain across the ransacked living-room floor among overturned dining chairs, indicating a prior path through the room but no current movement.\n\nFIGURES — size & depth (follow exactly): The footprint-marked floor fills the lower half of the wide frame, with the NEAREST prints and fallen chair parts in the foreground appearing larger. Additional prints, the dining area, and the open living-room window recede FARTHER into the room.\n\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The apartment remains ransacked, with dirty footprints on the floor, the living-room window open, and the dining chairs overturned. The red circle and the stained old photograph pinned at its center are already present in Suri-young’s room.\n\nNO PEOPLE IN THIS SHOT: the shot text shows only the place and its state — no living person or any body part appears in frame, unless the shot text itself explicitly says so.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-13 19:59:05", "kind": "llm", "step": "s40_judge_still_S25sh1", "model": "gemini-pro", "dur_s": 40.3, "system_prompt": "You are given ONE image-generation prompt, the REFERENCE image(s)\nthat were attached to it (labelled), and THREE candidate images,\nlabelled A, B, C in the order attached, all generated from that\nexact prompt with those exact references.\nPick the ONE candidate that most faithfully realises the prompt.\nJudge ONLY fidelity to the prompt and its reference instructions:\nthe shot text's moment and action, who is and is NOT in frame,\ncamera framing, time of day, the LOCATION lock (the place must be\nthe one the reference shows — same architecture, materials,\nfixtures), pose/immobility and carried-state clauses, and every\nexclusion (no text, no invented people or objects). Consistency\nwith the attached reference image counts as prompt fidelity.\nIgnore generic aesthetic appeal.\nCheck every candidate point by point before deciding; base every\nverdict only on what is visible.\nAlso give every candidate an integer score 0-10 for that same\nfidelity.\nOutput: winner, ranking best-to-worst, and per candidate a score\nplus a one-line Korean verdict citing the decisive prompt points.", "user_prompt": "[{\"type\": \"text\", \"text\": \"THE PROMPT (all three candidates were generated from this):\\nCreate ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): dusk, just after sunset.\\n\\nSHOT TEXT (authoritative, Korean): 해질 무렵 옥탑방 거실, 흙 묻은 발자국들이 찍힌 바닥과 쓰러진 식탁 의자들이 보이는 전경\\n\\nLOCATION (lock): A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.\\n\\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\\ntext may describe characters metaphorically, figuratively or with\\nexaggeration. Photograph what a real movie camera would actually\\nrecord on a physical set — exaggerated or figurative impressions\\nbecome realistic staging choices (lighting, distance, angle,\\nwardrobe), not literal fantasy imagery.\\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\\nfeatures non-human or virtual beings (as in science fiction or\\nfantasy), every character — however indirectly, vaguely or\\nfiguratively the text describes them — IS a real human. When the\\ntext gives no direct visual description of a person, IMAGINE one\\nand still show them as a concrete, fully-formed human being:\\nalways render the human form to the maximum extent — build,\\nposture, face, hands, clothing — never reduce a person to a shape,\\nblob, solid silhouette or abstract mass.\\n\\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\\nperson's eyes, face or presence emotionally or figuratively (vacant,\\nhollow, dazed, burning, lifeless gaze and the like), it describes an\\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\\nthrough gaze direction, focus, eyelids, facial muscles, stillness\\nand posture. Every living person's eyes remain anatomically normal\\nhuman eyes with a natural iris and pupil, natural sclera and normal\\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\\notherwise alter eyeballs, skin or anatomy — unless the story\\nexplicitly declares that being non-human or supernatural in form.\\n\\nPROPS FACE THE RIGHT WAY: every handheld or used object must be\\noriented exactly as its real-world use requires. A person reading,\\nwatching or operating something (a phone, a photograph, a paper,\\nany device) has its functional side — screen, front, page — facing\\nTHEIR OWN eyes; the camera then sees whatever side the staging\\ngeometry implies (often its back). Show the functional side to the\\ncamera ONLY when the shot text itself stages it toward the viewer.\\nNever flip, mirror or reverse an object's front and back.\\n\\nMOVEMENT (follow exactly): static: muddy footprints remain across the ransacked living-room floor among overturned dining chairs, indicating a prior path through the room but no current movement.\\n\\nFIGURES — size & depth (follow exactly): The footprint-marked floor fills the lower half of the wide frame, with the NEAREST prints and fallen chair parts in the foreground appearing larger. Additional prints, the dining area, and the open living-room window recede FARTHER into the room.\\n\\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The apartment remains ransacked, with dirty footprints on the floor, the living-room window open, and the dining chairs overturned. The red circle and the stained old photograph pinned at its center are already present in Suri-young’s room.\\n\\nNO PEOPLE IN THIS SHOT: the shot text shows only the place and its state — no living person or any body part appears in frame, unless the shot text itself explicitly says so.\\n\\nNo text, captions, watermarks or annotations anywhere.\"}, {\"type\": \"text\", \"text\": \"REFERENCE — LOCATION PHOTOGRAPH — the exact place of this shot: its architecture, materials, fixed features and lighting mood are spatial truth; stage the moment inside this place. Never copy its camera framing.\"}, {\"type\": \"text\", \"text\": \"Candidate A:\"}, {\"type\": \"text\", \"text\": \"Candidate B:\"}, {\"type\": \"text\", \"text\": \"Candidate C:\"}]"}
{"ts": "2026-07-13 19:59:29", "kind": "llm", "step": "s40_crit_still_S25sh1", "model": "gemini-pro", "dur_s": 23.7, "system_prompt": "You are given an image-generation prompt, the labelled REFERENCE\nimage(s) that were attached to it, and ONE photograph generated\nfrom them (the current best pick of three).\nList what is WRONG with it — ONLY violations of the prompt or of\nits reference instructions: the shot's stated moment and action,\nwho/what must or must NOT be in frame, camera, time of day,\nlocation consistency with the reference, pose/immobility and\ncarried-state clauses, object orientation, anatomy, and every\nexclusion (no text, no invented people or objects).\nBase every finding only on what is visible; ignore taste and\ngeneric aesthetics. For each issue give: issue_ko (short Korean\nline) + fix_en (ONE imperative English edit that fixes exactly\nthat while changing nothing else). Empty array if nothing wrong.", "user_prompt": "[{\"type\": \"text\", \"text\": \"THE PROMPT:\\nCreate ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): dusk, just after sunset.\\n\\nSHOT TEXT (authoritative, Korean): 해질 무렵 옥탑방 거실, 흙 묻은 발자국들이 찍힌 바닥과 쓰러진 식탁 의자들이 보이는 전경\\n\\nLOCATION (lock): A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.\\n\\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\\ntext may describe characters metaphorically, figuratively or with\\nexaggeration. Photograph what a real movie camera would actually\\nrecord on a physical set — exaggerated or figurative impressions\\nbecome realistic staging choices (lighting, distance, angle,\\nwardrobe), not literal fantasy imagery.\\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\\nfeatures non-human or virtual beings (as in science fiction or\\nfantasy), every character — however indirectly, vaguely or\\nfiguratively the text describes them — IS a real human. When the\\ntext gives no direct visual description of a person, IMAGINE one\\nand still show them as a concrete, fully-formed human being:\\nalways render the human form to the maximum extent — build,\\nposture, face, hands, clothing — never reduce a person to a shape,\\nblob, solid silhouette or abstract mass.\\n\\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\\nperson's eyes, face or presence emotionally or figuratively (vacant,\\nhollow, dazed, burning, lifeless gaze and the like), it describes an\\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\\nthrough gaze direction, focus, eyelids, facial muscles, stillness\\nand posture. Every living person's eyes remain anatomically normal\\nhuman eyes with a natural iris and pupil, natural sclera and normal\\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\\notherwise alter eyeballs, skin or anatomy — unless the story\\nexplicitly declares that being non-human or supernatural in form.\\n\\nPROPS FACE THE RIGHT WAY: every handheld or used object must be\\noriented exactly as its real-world use requires. A person reading,\\nwatching or operating something (a phone, a photograph, a paper,\\nany device) has its functional side — screen, front, page — facing\\nTHEIR OWN eyes; the camera then sees whatever side the staging\\ngeometry implies (often its back). Show the functional side to the\\ncamera ONLY when the shot text itself stages it toward the viewer.\\nNever flip, mirror or reverse an object's front and back.\\n\\nMOVEMENT (follow exactly): static: muddy footprints remain across the ransacked living-room floor among overturned dining chairs, indicating a prior path through the room but no current movement.\\n\\nFIGURES — size & depth (follow exactly): The footprint-marked floor fills the lower half of the wide frame, with the NEAREST prints and fallen chair parts in the foreground appearing larger. Additional prints, the dining area, and the open living-room window recede FARTHER into the room.\\n\\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The apartment remains ransacked, with dirty footprints on the floor, the living-room window open, and the dining chairs overturned. The red circle and the stained old photograph pinned at its center are already present in Suri-young’s room.\\n\\nNO PEOPLE IN THIS SHOT: the shot text shows only the place and its state — no living person or any body part appears in frame, unless the shot text itself explicitly says so.\\n\\nNo text, captions, watermarks or annotations anywhere.\"}, {\"type\": \"text\", \"text\": \"REFERENCE — LOCATION PHOTOGRAPH — the exact place of this shot: its architecture, materials, fixed features and lighting mood are spatial truth; stage the moment inside this place. Never copy its camera framing.\"}, {\"type\": \"text\", \"text\": \"Photograph to examine:\"}]"}
{"ts": "2026-07-13 19:59:48", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s40_fix_still_S25sh1", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s40/stills/S25sh1_c.png"], "ref_labels": ["PHOTOGRAPH TO EDIT — fix ONLY the issues the prompt lists; preserve everything else exactly."], "attempt": 1, "dur_s": 19.6, "bytes": 2423427, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s40/stills/S25sh1_fix.png", "prompt": "Edit this photograph. Apply ONLY the corrections listed below,\neach in place, changing nothing else:\n\nCORRECTIONS:\n- Open the living-room window.\n- Replace the metal door to the right of the window with the wooden doorway leading to a bedroom, matching the reference's spatial layout.\n\nPRESERVE EVERYTHING ELSE EXACTLY as in the original photograph —\nevery person, pose, face, garment, object, set feature, lighting,\ncamera and framing stay identical. No text, captions or\nwatermarks anywhere."}
{"ts": "2026-07-13 20:00:08", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s40_still_S25sh5_a", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s40/plates/plate_daughter_bedroom_sunset_bed_wall_sel.png"], "ref_labels": ["LOCATION PHOTOGRAPH — the exact place of this shot: its architecture, materials, fixed features and lighting mood are spatial truth; stage the moment inside this place. Never copy its camera framing."], "attempt": 1, "dur_s": 19.8, "bytes": 2786118, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s40/stills/S25sh5_a.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): dusk, just after sunset.\n\nSHOT TEXT (authoritative, Korean): 붉은 원 한가운데 얼룩진 낡은 흑백 사진이 벽에 꽂혀 있는 타이트 샷\n\nLOCATION (lock): A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nPROPS FACE THE RIGHT WAY: every handheld or used object must be\noriented exactly as its real-world use requires. A person reading,\nwatching or operating something (a phone, a photograph, a paper,\nany device) has its functional side — screen, front, page — facing\nTHEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nMOVEMENT (follow exactly): static: a stained old photograph remains pinned at the center of the red circle on Su-ri-young's bedroom wall, facing outward toward the camera.\n\nFIGURES — size & depth (follow exactly): The photograph fills roughly 1/3 of the tight frame height, while the surrounding red circle occupies most of the frame. The photograph projects NEARER from the wall, and the red mark lies FARTHER against the flat wall surface behind it.\n\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The dirty footprints, ransacked furnishings, open window, and overturned chairs remain undisturbed. In the bedroom, the stained old photograph is still pinned at the center of the red wall circle.\n\nNO PEOPLE IN THIS SHOT: the shot text shows only the place and its state — no living person or any body part appears in frame, unless the shot text itself explicitly says so.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-13 20:00:29", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s40_still_S25sh5_b", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s40/plates/plate_daughter_bedroom_sunset_bed_wall_sel.png"], "ref_labels": ["LOCATION PHOTOGRAPH — the exact place of this shot: its architecture, materials, fixed features and lighting mood are spatial truth; stage the moment inside this place. Never copy its camera framing."], "attempt": 1, "dur_s": 20.4, "bytes": 2766447, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s40/stills/S25sh5_b.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): dusk, just after sunset.\n\nSHOT TEXT (authoritative, Korean): 붉은 원 한가운데 얼룩진 낡은 흑백 사진이 벽에 꽂혀 있는 타이트 샷\n\nLOCATION (lock): A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nPROPS FACE THE RIGHT WAY: every handheld or used object must be\noriented exactly as its real-world use requires. A person reading,\nwatching or operating something (a phone, a photograph, a paper,\nany device) has its functional side — screen, front, page — facing\nTHEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nMOVEMENT (follow exactly): static: a stained old photograph remains pinned at the center of the red circle on Su-ri-young's bedroom wall, facing outward toward the camera.\n\nFIGURES — size & depth (follow exactly): The photograph fills roughly 1/3 of the tight frame height, while the surrounding red circle occupies most of the frame. The photograph projects NEARER from the wall, and the red mark lies FARTHER against the flat wall surface behind it.\n\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The dirty footprints, ransacked furnishings, open window, and overturned chairs remain undisturbed. In the bedroom, the stained old photograph is still pinned at the center of the red wall circle.\n\nNO PEOPLE IN THIS SHOT: the shot text shows only the place and its state — no living person or any body part appears in frame, unless the shot text itself explicitly says so.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-13 20:00:50", "kind": "img_error", "tag": "s40_still_S25sh5_c", "attempt": 1, "error": "Gemini i2i returned no image: {\"candidates\": [{\"content\": {}, \"finishReason\": \"IMAGE_SAFETY\", \"index\": 0, \"finishMessage\": \"Unable to show the generated image. The image was filtered out because it violated Google's [Generative AI Prohibited Use policy](https://policies.google.com/terms/generative-ai/use-policy). You will not be charged for blocked images. Try rephrasing the prompt. If you think this was an error, [send feedback](https://ai.google.dev/gemini-api/docs/troubleshooting).\"}], \"usage"}
{"ts": "2026-07-13 20:01:12", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s40_still_S25sh5_c", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s40/plates/plate_daughter_bedroom_sunset_bed_wall_sel.png"], "ref_labels": ["LOCATION PHOTOGRAPH — the exact place of this shot: its architecture, materials, fixed features and lighting mood are spatial truth; stage the moment inside this place. Never copy its camera framing."], "attempt": 2, "dur_s": 43.6, "bytes": 2561870, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s40/stills/S25sh5_c.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): dusk, just after sunset.\n\nSHOT TEXT (authoritative, Korean): 붉은 원 한가운데 얼룩진 낡은 흑백 사진이 벽에 꽂혀 있는 타이트 샷\n\nLOCATION (lock): A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nPROPS FACE THE RIGHT WAY: every handheld or used object must be\noriented exactly as its real-world use requires. A person reading,\nwatching or operating something (a phone, a photograph, a paper,\nany device) has its functional side — screen, front, page — facing\nTHEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nMOVEMENT (follow exactly): static: a stained old photograph remains pinned at the center of the red circle on Su-ri-young's bedroom wall, facing outward toward the camera.\n\nFIGURES — size & depth (follow exactly): The photograph fills roughly 1/3 of the tight frame height, while the surrounding red circle occupies most of the frame. The photograph projects NEARER from the wall, and the red mark lies FARTHER against the flat wall surface behind it.\n\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The dirty footprints, ransacked furnishings, open window, and overturned chairs remain undisturbed. In the bedroom, the stained old photograph is still pinned at the center of the red wall circle.\n\nNO PEOPLE IN THIS SHOT: the shot text shows only the place and its state — no living person or any body part appears in frame, unless the shot text itself explicitly says so.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-13 20:01:47", "kind": "llm", "step": "s40_judge_still_S25sh5", "model": "gemini-pro", "dur_s": 35.1, "system_prompt": "You are given ONE image-generation prompt, the REFERENCE image(s)\nthat were attached to it (labelled), and THREE candidate images,\nlabelled A, B, C in the order attached, all generated from that\nexact prompt with those exact references.\nPick the ONE candidate that most faithfully realises the prompt.\nJudge ONLY fidelity to the prompt and its reference instructions:\nthe shot text's moment and action, who is and is NOT in frame,\ncamera framing, time of day, the LOCATION lock (the place must be\nthe one the reference shows — same architecture, materials,\nfixtures), pose/immobility and carried-state clauses, and every\nexclusion (no text, no invented people or objects). Consistency\nwith the attached reference image counts as prompt fidelity.\nIgnore generic aesthetic appeal.\nCheck every candidate point by point before deciding; base every\nverdict only on what is visible.\nAlso give every candidate an integer score 0-10 for that same\nfidelity.\nOutput: winner, ranking best-to-worst, and per candidate a score\nplus a one-line Korean verdict citing the decisive prompt points.", "user_prompt": "[{\"type\": \"text\", \"text\": \"THE PROMPT (all three candidates were generated from this):\\nCreate ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): dusk, just after sunset.\\n\\nSHOT TEXT (authoritative, Korean): 붉은 원 한가운데 얼룩진 낡은 흑백 사진이 벽에 꽂혀 있는 타이트 샷\\n\\nLOCATION (lock): A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.\\n\\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\\ntext may describe characters metaphorically, figuratively or with\\nexaggeration. Photograph what a real movie camera would actually\\nrecord on a physical set — exaggerated or figurative impressions\\nbecome realistic staging choices (lighting, distance, angle,\\nwardrobe), not literal fantasy imagery.\\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\\nfeatures non-human or virtual beings (as in science fiction or\\nfantasy), every character — however indirectly, vaguely or\\nfiguratively the text describes them — IS a real human. When the\\ntext gives no direct visual description of a person, IMAGINE one\\nand still show them as a concrete, fully-formed human being:\\nalways render the human form to the maximum extent — build,\\nposture, face, hands, clothing — never reduce a person to a shape,\\nblob, solid silhouette or abstract mass.\\n\\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\\nperson's eyes, face or presence emotionally or figuratively (vacant,\\nhollow, dazed, burning, lifeless gaze and the like), it describes an\\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\\nthrough gaze direction, focus, eyelids, facial muscles, stillness\\nand posture. Every living person's eyes remain anatomically normal\\nhuman eyes with a natural iris and pupil, natural sclera and normal\\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\\notherwise alter eyeballs, skin or anatomy — unless the story\\nexplicitly declares that being non-human or supernatural in form.\\n\\nPROPS FACE THE RIGHT WAY: every handheld or used object must be\\noriented exactly as its real-world use requires. A person reading,\\nwatching or operating something (a phone, a photograph, a paper,\\nany device) has its functional side — screen, front, page — facing\\nTHEIR OWN eyes; the camera then sees whatever side the staging\\ngeometry implies (often its back). Show the functional side to the\\ncamera ONLY when the shot text itself stages it toward the viewer.\\nNever flip, mirror or reverse an object's front and back.\\n\\nMOVEMENT (follow exactly): static: a stained old photograph remains pinned at the center of the red circle on Su-ri-young's bedroom wall, facing outward toward the camera.\\n\\nFIGURES — size & depth (follow exactly): The photograph fills roughly 1/3 of the tight frame height, while the surrounding red circle occupies most of the frame. The photograph projects NEARER from the wall, and the red mark lies FARTHER against the flat wall surface behind it.\\n\\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The dirty footprints, ransacked furnishings, open window, and overturned chairs remain undisturbed. In the bedroom, the stained old photograph is still pinned at the center of the red wall circle.\\n\\nNO PEOPLE IN THIS SHOT: the shot text shows only the place and its state — no living person or any body part appears in frame, unless the shot text itself explicitly says so.\\n\\nNo text, captions, watermarks or annotations anywhere.\"}, {\"type\": \"text\", \"text\": \"REFERENCE — LOCATION PHOTOGRAPH — the exact place of this shot: its architecture, materials, fixed features and lighting mood are spatial truth; stage the moment inside this place. Never copy its camera framing.\"}, {\"type\": \"text\", \"text\": \"Candidate A:\"}, {\"type\": \"text\", \"text\": \"Candidate B:\"}, {\"type\": \"text\", \"text\": \"Candidate C:\"}]"}
{"ts": "2026-07-13 20:02:12", "kind": "llm", "step": "s40_crit_still_S25sh5", "model": "gemini-pro", "dur_s": 24.4, "system_prompt": "You are given an image-generation prompt, the labelled REFERENCE\nimage(s) that were attached to it, and ONE photograph generated\nfrom them (the current best pick of three).\nList what is WRONG with it — ONLY violations of the prompt or of\nits reference instructions: the shot's stated moment and action,\nwho/what must or must NOT be in frame, camera, time of day,\nlocation consistency with the reference, pose/immobility and\ncarried-state clauses, object orientation, anatomy, and every\nexclusion (no text, no invented people or objects).\nBase every finding only on what is visible; ignore taste and\ngeneric aesthetics. For each issue give: issue_ko (short Korean\nline) + fix_en (ONE imperative English edit that fixes exactly\nthat while changing nothing else). Empty array if nothing wrong.", "user_prompt": "[{\"type\": \"text\", \"text\": \"THE PROMPT:\\nCreate ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): dusk, just after sunset.\\n\\nSHOT TEXT (authoritative, Korean): 붉은 원 한가운데 얼룩진 낡은 흑백 사진이 벽에 꽂혀 있는 타이트 샷\\n\\nLOCATION (lock): A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.\\n\\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\\ntext may describe characters metaphorically, figuratively or with\\nexaggeration. Photograph what a real movie camera would actually\\nrecord on a physical set — exaggerated or figurative impressions\\nbecome realistic staging choices (lighting, distance, angle,\\nwardrobe), not literal fantasy imagery.\\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\\nfeatures non-human or virtual beings (as in science fiction or\\nfantasy), every character — however indirectly, vaguely or\\nfiguratively the text describes them — IS a real human. When the\\ntext gives no direct visual description of a person, IMAGINE one\\nand still show them as a concrete, fully-formed human being:\\nalways render the human form to the maximum extent — build,\\nposture, face, hands, clothing — never reduce a person to a shape,\\nblob, solid silhouette or abstract mass.\\n\\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\\nperson's eyes, face or presence emotionally or figuratively (vacant,\\nhollow, dazed, burning, lifeless gaze and the like), it describes an\\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\\nthrough gaze direction, focus, eyelids, facial muscles, stillness\\nand posture. Every living person's eyes remain anatomically normal\\nhuman eyes with a natural iris and pupil, natural sclera and normal\\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\\notherwise alter eyeballs, skin or anatomy — unless the story\\nexplicitly declares that being non-human or supernatural in form.\\n\\nPROPS FACE THE RIGHT WAY: every handheld or used object must be\\noriented exactly as its real-world use requires. A person reading,\\nwatching or operating something (a phone, a photograph, a paper,\\nany device) has its functional side — screen, front, page — facing\\nTHEIR OWN eyes; the camera then sees whatever side the staging\\ngeometry implies (often its back). Show the functional side to the\\ncamera ONLY when the shot text itself stages it toward the viewer.\\nNever flip, mirror or reverse an object's front and back.\\n\\nMOVEMENT (follow exactly): static: a stained old photograph remains pinned at the center of the red circle on Su-ri-young's bedroom wall, facing outward toward the camera.\\n\\nFIGURES — size & depth (follow exactly): The photograph fills roughly 1/3 of the tight frame height, while the surrounding red circle occupies most of the frame. The photograph projects NEARER from the wall, and the red mark lies FARTHER against the flat wall surface behind it.\\n\\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The dirty footprints, ransacked furnishings, open window, and overturned chairs remain undisturbed. In the bedroom, the stained old photograph is still pinned at the center of the red wall circle.\\n\\nNO PEOPLE IN THIS SHOT: the shot text shows only the place and its state — no living person or any body part appears in frame, unless the shot text itself explicitly says so.\\n\\nNo text, captions, watermarks or annotations anywhere.\"}, {\"type\": \"text\", \"text\": \"REFERENCE — LOCATION PHOTOGRAPH — the exact place of this shot: its architecture, materials, fixed features and lighting mood are spatial truth; stage the moment inside this place. Never copy its camera framing.\"}, {\"type\": \"text\", \"text\": \"Photograph to examine:\"}]"}
{"ts": "2026-07-13 20:02:56", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s40_still_S25sh9_a", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s40/plates/plate_daughter_bedroom_sunset_bed_wall_sel.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s40/stills/S25sh5_sel.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/39864973-d3d5-4886-bfb2-f8db608a005b.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/fc23070d-a644-45e4-a5d8-ecb98fe8d2d3.png"], "ref_labels": ["LOCATION PHOTOGRAPH — the exact place of this shot: its architecture, materials, fixed features and lighting mood are spatial truth; stage the moment inside this place. Never copy its camera framing.", "PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing. If this photo shows a character who cannot move (dead or unconscious), that character's exact pose, position and orientation are ALSO LOCKED — treat their body as a fixed prop of the set that only the camera moves around.", "CHARACTER REFERENCE — 수리영: the exact person appearing in this shot; match face, hair and build exactly.", "PROP REFERENCE — 구겨진 피 묻은 낡은 흑백 사진: the exact object appearing in this shot; match its look, material and wear exactly."], "attempt": 1, "dur_s": 44.5, "bytes": 2795350, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s40/stills/S25sh9_a.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): dusk, just after sunset.\n\nSHOT TEXT (authoritative, Korean): 수리영의 손이 구겨진 사진을 꽉 움켜쥔 타이트 샷\n\nLOCATION (lock): A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.\n\nTHIS SHOT CONTINUES THE PREVIOUS SHOT: everything the attached still established — the place, its fixed features and wear, each person's clothing and state — persists. Any person in it who cannot move stays PRECISELY as photographed (body, pose, contact points, held objects); only the camera changes.\n\nPREVIOUS STILL USAGE (follow exactly — what to take from the attached still and what to exclude): Take the worn bedroom wall texture, sunset illumination, and the continuing red circle from the reference. Preserve the same stained old photograph after it has been pulled from the wall. Exclude the pinning position and empty the center of the wall mark; focus instead on the hand tightly gripping the photograph.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nPROPS FACE THE RIGHT WAY: every handheld or used object must be\noriented exactly as its real-world use requires. A person reading,\nwatching or operating something (a phone, a photograph, a paper,\nany device) has its functional side — screen, front, page — facing\nTHEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nMOVEMENT (follow exactly): static: Su-ri-young's tense hand crushes the crumpled photograph in a tight grip as she holds it close.\n\nFIGURES — size & depth (follow exactly): Su-ri-young's hand fills roughly 2/3 of the tight frame, and the exposed portion of the photograph fills about 1/3. Her knuckles are NEARER to the camera, while the photograph is partly FARTHER inside her closed fingers.\n\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The apartment remains ransacked, and the red wall circle remains after the photograph has been removed from its center. Suri-young tightly grips the same crumpled, stained photograph.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 수리영 (Korean young woman, early 20s face, oval face, natural black long hair) — never anyone else, and never add a person the shot text does not show. IF only part of a person is in frame (a hand, arm, foot, back, silhouette), that body part belongs to the specific person the shot text names — its sex, age, build, skin and grooming must unmistakably match that person's profile above.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-13 20:03:26", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s40_still_S25sh9_b", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s40/plates/plate_daughter_bedroom_sunset_bed_wall_sel.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s40/stills/S25sh5_sel.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/39864973-d3d5-4886-bfb2-f8db608a005b.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/fc23070d-a644-45e4-a5d8-ecb98fe8d2d3.png"], "ref_labels": ["LOCATION PHOTOGRAPH — the exact place of this shot: its architecture, materials, fixed features and lighting mood are spatial truth; stage the moment inside this place. Never copy its camera framing.", "PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing. If this photo shows a character who cannot move (dead or unconscious), that character's exact pose, position and orientation are ALSO LOCKED — treat their body as a fixed prop of the set that only the camera moves around.", "CHARACTER REFERENCE — 수리영: the exact person appearing in this shot; match face, hair and build exactly.", "PROP REFERENCE — 구겨진 피 묻은 낡은 흑백 사진: the exact object appearing in this shot; match its look, material and wear exactly."], "attempt": 1, "dur_s": 29.5, "bytes": 2788633, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s40/stills/S25sh9_b.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): dusk, just after sunset.\n\nSHOT TEXT (authoritative, Korean): 수리영의 손이 구겨진 사진을 꽉 움켜쥔 타이트 샷\n\nLOCATION (lock): A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.\n\nTHIS SHOT CONTINUES THE PREVIOUS SHOT: everything the attached still established — the place, its fixed features and wear, each person's clothing and state — persists. Any person in it who cannot move stays PRECISELY as photographed (body, pose, contact points, held objects); only the camera changes.\n\nPREVIOUS STILL USAGE (follow exactly — what to take from the attached still and what to exclude): Take the worn bedroom wall texture, sunset illumination, and the continuing red circle from the reference. Preserve the same stained old photograph after it has been pulled from the wall. Exclude the pinning position and empty the center of the wall mark; focus instead on the hand tightly gripping the photograph.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nPROPS FACE THE RIGHT WAY: every handheld or used object must be\noriented exactly as its real-world use requires. A person reading,\nwatching or operating something (a phone, a photograph, a paper,\nany device) has its functional side — screen, front, page — facing\nTHEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nMOVEMENT (follow exactly): static: Su-ri-young's tense hand crushes the crumpled photograph in a tight grip as she holds it close.\n\nFIGURES — size & depth (follow exactly): Su-ri-young's hand fills roughly 2/3 of the tight frame, and the exposed portion of the photograph fills about 1/3. Her knuckles are NEARER to the camera, while the photograph is partly FARTHER inside her closed fingers.\n\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The apartment remains ransacked, and the red wall circle remains after the photograph has been removed from its center. Suri-young tightly grips the same crumpled, stained photograph.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 수리영 (Korean young woman, early 20s face, oval face, natural black long hair) — never anyone else, and never add a person the shot text does not show. IF only part of a person is in frame (a hand, arm, foot, back, silhouette), that body part belongs to the specific person the shot text names — its sex, age, build, skin and grooming must unmistakably match that person's profile above.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-13 20:03:53", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s40_still_S25sh9_c", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s40/plates/plate_daughter_bedroom_sunset_bed_wall_sel.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s40/stills/S25sh5_sel.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/39864973-d3d5-4886-bfb2-f8db608a005b.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/fc23070d-a644-45e4-a5d8-ecb98fe8d2d3.png"], "ref_labels": ["LOCATION PHOTOGRAPH — the exact place of this shot: its architecture, materials, fixed features and lighting mood are spatial truth; stage the moment inside this place. Never copy its camera framing.", "PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing. If this photo shows a character who cannot move (dead or unconscious), that character's exact pose, position and orientation are ALSO LOCKED — treat their body as a fixed prop of the set that only the camera moves around.", "CHARACTER REFERENCE — 수리영: the exact person appearing in this shot; match face, hair and build exactly.", "PROP REFERENCE — 구겨진 피 묻은 낡은 흑백 사진: the exact object appearing in this shot; match its look, material and wear exactly."], "attempt": 1, "dur_s": 27.8, "bytes": 2430285, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s40/stills/S25sh9_c.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): dusk, just after sunset.\n\nSHOT TEXT (authoritative, Korean): 수리영의 손이 구겨진 사진을 꽉 움켜쥔 타이트 샷\n\nLOCATION (lock): A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.\n\nTHIS SHOT CONTINUES THE PREVIOUS SHOT: everything the attached still established — the place, its fixed features and wear, each person's clothing and state — persists. Any person in it who cannot move stays PRECISELY as photographed (body, pose, contact points, held objects); only the camera changes.\n\nPREVIOUS STILL USAGE (follow exactly — what to take from the attached still and what to exclude): Take the worn bedroom wall texture, sunset illumination, and the continuing red circle from the reference. Preserve the same stained old photograph after it has been pulled from the wall. Exclude the pinning position and empty the center of the wall mark; focus instead on the hand tightly gripping the photograph.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nPROPS FACE THE RIGHT WAY: every handheld or used object must be\noriented exactly as its real-world use requires. A person reading,\nwatching or operating something (a phone, a photograph, a paper,\nany device) has its functional side — screen, front, page — facing\nTHEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nMOVEMENT (follow exactly): static: Su-ri-young's tense hand crushes the crumpled photograph in a tight grip as she holds it close.\n\nFIGURES — size & depth (follow exactly): Su-ri-young's hand fills roughly 2/3 of the tight frame, and the exposed portion of the photograph fills about 1/3. Her knuckles are NEARER to the camera, while the photograph is partly FARTHER inside her closed fingers.\n\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The apartment remains ransacked, and the red wall circle remains after the photograph has been removed from its center. Suri-young tightly grips the same crumpled, stained photograph.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 수리영 (Korean young woman, early 20s face, oval face, natural black long hair) — never anyone else, and never add a person the shot text does not show. IF only part of a person is in frame (a hand, arm, foot, back, silhouette), that body part belongs to the specific person the shot text names — its sex, age, build, skin and grooming must unmistakably match that person's profile above.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-13 20:04:26", "kind": "llm", "step": "s40_judge_still_S25sh9", "model": "gemini-pro", "dur_s": 32.8, "system_prompt": "You are given ONE image-generation prompt, the REFERENCE image(s)\nthat were attached to it (labelled), and THREE candidate images,\nlabelled A, B, C in the order attached, all generated from that\nexact prompt with those exact references.\nPick the ONE candidate that most faithfully realises the prompt.\nJudge ONLY fidelity to the prompt and its reference instructions:\nthe shot text's moment and action, who is and is NOT in frame,\ncamera framing, time of day, the LOCATION lock (the place must be\nthe one the reference shows — same architecture, materials,\nfixtures), pose/immobility and carried-state clauses, and every\nexclusion (no text, no invented people or objects). Consistency\nwith the attached reference image counts as prompt fidelity.\nIgnore generic aesthetic appeal.\nCheck every candidate point by point before deciding; base every\nverdict only on what is visible.\nAlso give every candidate an integer score 0-10 for that same\nfidelity.\nOutput: winner, ranking best-to-worst, and per candidate a score\nplus a one-line Korean verdict citing the decisive prompt points.", "user_prompt": "[{\"type\": \"text\", \"text\": \"THE PROMPT (all three candidates were generated from this):\\nCreate ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): dusk, just after sunset.\\n\\nSHOT TEXT (authoritative, Korean): 수리영의 손이 구겨진 사진을 꽉 움켜쥔 타이트 샷\\n\\nLOCATION (lock): A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.\\n\\nTHIS SHOT CONTINUES THE PREVIOUS SHOT: everything the attached still established — the place, its fixed features and wear, each person's clothing and state — persists. Any person in it who cannot move stays PRECISELY as photographed (body, pose, contact points, held objects); only the camera changes.\\n\\nPREVIOUS STILL USAGE (follow exactly — what to take from the attached still and what to exclude): Take the worn bedroom wall texture, sunset illumination, and the continuing red circle from the reference. Preserve the same stained old photograph after it has been pulled from the wall. Exclude the pinning position and empty the center of the wall mark; focus instead on the hand tightly gripping the photograph.\\n\\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\\ntext may describe characters metaphorically, figuratively or with\\nexaggeration. Photograph what a real movie camera would actually\\nrecord on a physical set — exaggerated or figurative impressions\\nbecome realistic staging choices (lighting, distance, angle,\\nwardrobe), not literal fantasy imagery.\\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\\nfeatures non-human or virtual beings (as in science fiction or\\nfantasy), every character — however indirectly, vaguely or\\nfiguratively the text describes them — IS a real human. When the\\ntext gives no direct visual description of a person, IMAGINE one\\nand still show them as a concrete, fully-formed human being:\\nalways render the human form to the maximum extent — build,\\nposture, face, hands, clothing — never reduce a person to a shape,\\nblob, solid silhouette or abstract mass.\\n\\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\\nperson's eyes, face or presence emotionally or figuratively (vacant,\\nhollow, dazed, burning, lifeless gaze and the like), it describes an\\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\\nthrough gaze direction, focus, eyelids, facial muscles, stillness\\nand posture. Every living person's eyes remain anatomically normal\\nhuman eyes with a natural iris and pupil, natural sclera and normal\\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\\notherwise alter eyeballs, skin or anatomy — unless the story\\nexplicitly declares that being non-human or supernatural in form.\\n\\nPROPS FACE THE RIGHT WAY: every handheld or used object must be\\noriented exactly as its real-world use requires. A person reading,\\nwatching or operating something (a phone, a photograph, a paper,\\nany device) has its functional side — screen, front, page — facing\\nTHEIR OWN eyes; the camera then sees whatever side the staging\\ngeometry implies (often its back). Show the functional side to the\\ncamera ONLY when the shot text itself stages it toward the viewer.\\nNever flip, mirror or reverse an object's front and back.\\n\\nMOVEMENT (follow exactly): static: Su-ri-young's tense hand crushes the crumpled photograph in a tight grip as she holds it close.\\n\\nFIGURES — size & depth (follow exactly): Su-ri-young's hand fills roughly 2/3 of the tight frame, and the exposed portion of the photograph fills about 1/3. Her knuckles are NEARER to the camera, while the photograph is partly FARTHER inside her closed fingers.\\n\\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The apartment remains ransacked, and the red wall circle remains after the photograph has been removed from its center. Suri-young tightly grips the same crumpled, stained photograph.\\n\\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 수리영 (Korean young woman, early 20s face, oval face, natural black long hair) — never anyone else, and never add a person the shot text does not show. IF only part of a person is in frame (a hand, arm, foot, back, silhouette), that body part belongs to the specific person the shot text names — its sex, age, build, skin and grooming must unmistakably match that person's profile above.\\n\\nNo text, captions, watermarks or annotations anywhere.\"}, {\"type\": \"text\", \"text\": \"REFERENCE — LOCATION PHOTOGRAPH — the exact place of this shot: its architecture, materials, fixed features and lighting mood are spatial truth; stage the moment inside this place. Never copy its camera framing.\"}, {\"type\": \"text\", \"text\": \"REFERENCE — PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing. If this photo shows a character who cannot move (dead or unconscious), that character's exact pose, position and orientation are ALSO LOCKED — treat their body as a fixed prop of the set that only the camera moves around.\"}, {\"type\": \"text\", \"text\": \"REFERENCE — CHARACTER REFERENCE — 수리영: the exact person appearing in this shot; match face, hair and build exactly.\"}, {\"type\": \"text\", \"text\": \"REFERENCE — PROP REFERENCE — 구겨진 피 묻은 낡은 흑백 사진: the exact object appearing in this shot; match its look, material and wear exactly.\"}, {\"type\": \"text\", \"text\": \"Candidate A:\"}, {\"type\": \"text\", \"text\": \"Candidate B:\"}, {\"type\": \"text\", \"text\": \"Candidate C:\"}]"}
{"ts": "2026-07-13 20:05:04", "kind": "llm", "step": "s40_crit_still_S25sh9", "model": "gemini-pro", "dur_s": 38.0, "system_prompt": "You are given an image-generation prompt, the labelled REFERENCE\nimage(s) that were attached to it, and ONE photograph generated\nfrom them (the current best pick of three).\nList what is WRONG with it — ONLY violations of the prompt or of\nits reference instructions: the shot's stated moment and action,\nwho/what must or must NOT be in frame, camera, time of day,\nlocation consistency with the reference, pose/immobility and\ncarried-state clauses, object orientation, anatomy, and every\nexclusion (no text, no invented people or objects).\nBase every finding only on what is visible; ignore taste and\ngeneric aesthetics. For each issue give: issue_ko (short Korean\nline) + fix_en (ONE imperative English edit that fixes exactly\nthat while changing nothing else). Empty array if nothing wrong.", "user_prompt": "[{\"type\": \"text\", \"text\": \"THE PROMPT:\\nCreate ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): dusk, just after sunset.\\n\\nSHOT TEXT (authoritative, Korean): 수리영의 손이 구겨진 사진을 꽉 움켜쥔 타이트 샷\\n\\nLOCATION (lock): A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.\\n\\nTHIS SHOT CONTINUES THE PREVIOUS SHOT: everything the attached still established — the place, its fixed features and wear, each person's clothing and state — persists. Any person in it who cannot move stays PRECISELY as photographed (body, pose, contact points, held objects); only the camera changes.\\n\\nPREVIOUS STILL USAGE (follow exactly — what to take from the attached still and what to exclude): Take the worn bedroom wall texture, sunset illumination, and the continuing red circle from the reference. Preserve the same stained old photograph after it has been pulled from the wall. Exclude the pinning position and empty the center of the wall mark; focus instead on the hand tightly gripping the photograph.\\n\\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\\ntext may describe characters metaphorically, figuratively or with\\nexaggeration. Photograph what a real movie camera would actually\\nrecord on a physical set — exaggerated or figurative impressions\\nbecome realistic staging choices (lighting, distance, angle,\\nwardrobe), not literal fantasy imagery.\\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\\nfeatures non-human or virtual beings (as in science fiction or\\nfantasy), every character — however indirectly, vaguely or\\nfiguratively the text describes them — IS a real human. When the\\ntext gives no direct visual description of a person, IMAGINE one\\nand still show them as a concrete, fully-formed human being:\\nalways render the human form to the maximum extent — build,\\nposture, face, hands, clothing — never reduce a person to a shape,\\nblob, solid silhouette or abstract mass.\\n\\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\\nperson's eyes, face or presence emotionally or figuratively (vacant,\\nhollow, dazed, burning, lifeless gaze and the like), it describes an\\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\\nthrough gaze direction, focus, eyelids, facial muscles, stillness\\nand posture. Every living person's eyes remain anatomically normal\\nhuman eyes with a natural iris and pupil, natural sclera and normal\\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\\notherwise alter eyeballs, skin or anatomy — unless the story\\nexplicitly declares that being non-human or supernatural in form.\\n\\nPROPS FACE THE RIGHT WAY: every handheld or used object must be\\noriented exactly as its real-world use requires. A person reading,\\nwatching or operating something (a phone, a photograph, a paper,\\nany device) has its functional side — screen, front, page — facing\\nTHEIR OWN eyes; the camera then sees whatever side the staging\\ngeometry implies (often its back). Show the functional side to the\\ncamera ONLY when the shot text itself stages it toward the viewer.\\nNever flip, mirror or reverse an object's front and back.\\n\\nMOVEMENT (follow exactly): static: Su-ri-young's tense hand crushes the crumpled photograph in a tight grip as she holds it close.\\n\\nFIGURES — size & depth (follow exactly): Su-ri-young's hand fills roughly 2/3 of the tight frame, and the exposed portion of the photograph fills about 1/3. Her knuckles are NEARER to the camera, while the photograph is partly FARTHER inside her closed fingers.\\n\\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The apartment remains ransacked, and the red wall circle remains after the photograph has been removed from its center. Suri-young tightly grips the same crumpled, stained photograph.\\n\\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 수리영 (Korean young woman, early 20s face, oval face, natural black long hair) — never anyone else, and never add a person the shot text does not show. IF only part of a person is in frame (a hand, arm, foot, back, silhouette), that body part belongs to the specific person the shot text names — its sex, age, build, skin and grooming must unmistakably match that person's profile above.\\n\\nNo text, captions, watermarks or annotations anywhere.\"}, {\"type\": \"text\", \"text\": \"REFERENCE — LOCATION PHOTOGRAPH — the exact place of this shot: its architecture, materials, fixed features and lighting mood are spatial truth; stage the moment inside this place. Never copy its camera framing.\"}, {\"type\": \"text\", \"text\": \"REFERENCE — PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing. If this photo shows a character who cannot move (dead or unconscious), that character's exact pose, position and orientation are ALSO LOCKED — treat their body as a fixed prop of the set that only the camera moves around.\"}, {\"type\": \"text\", \"text\": \"REFERENCE — CHARACTER REFERENCE — 수리영: the exact person appearing in this shot; match face, hair and build exactly.\"}, {\"type\": \"text\", \"text\": \"REFERENCE — PROP REFERENCE — 구겨진 피 묻은 낡은 흑백 사진: the exact object appearing in this shot; match its look, material and wear exactly.\"}, {\"type\": \"text\", \"text\": \"Photograph to examine:\"}]"}
{"ts": "2026-07-13 20:05:27", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s40_fix_still_S25sh9", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s40/stills/S25sh9_a.png"], "ref_labels": ["PHOTOGRAPH TO EDIT — fix ONLY the issues the prompt lists; preserve everything else exactly."], "attempt": 1, "dur_s": 22.6, "bytes": 2876939, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s40/stills/S25sh9_fix.png", "prompt": "Edit this photograph. Apply ONLY the corrections listed below,\neach in place, changing nothing else:\n\nCORRECTIONS:\n- Zoom in significantly so the hand fills roughly two-thirds of the tight frame.\n- Rotate the hand so the back-of-hand knuckles are nearest to the camera, with the fingers curling away.\n- Flip the photograph so its non-functional back side faces the camera.\n\nPRESERVE EVERYTHING ELSE EXACTLY as in the original photograph —\nevery person, pose, face, garment, object, set feature, lighting,\ncamera and framing stay identical. No text, captions or\nwatermarks anywhere."}
{"ts": "2026-07-13 20:05:50", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s40_still_S27sh3_a", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s40/plates/plate_living_dining_sunset_floor_view_sel.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s40/stills/S25sh1_sel.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/bddad176-aa6a-4a71-b5d3-d02e36e19657.png"], "ref_labels": ["LOCATION PHOTOGRAPH — the exact place of this shot: its architecture, materials, fixed features and lighting mood are spatial truth; stage the moment inside this place. Never copy its camera framing.", "PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing. If this photo shows a character who cannot move (dead or unconscious), that character's exact pose, position and orientation are ALSO LOCKED — treat their body as a fixed prop of the set that only the camera moves around.", "CHARACTER REFERENCE — 혜수: the exact person appearing in this shot; match face, hair and build exactly."], "attempt": 1, "dur_s": 22.6, "bytes": 2697076, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s40/stills/S27sh3_a.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): dusk, just after sunset.\n\nSHOT TEXT (authoritative, Korean): 혜수가 미간을 깊게 찌푸린 채 스마트폰을 내려다보는 얼굴 클로즈업\n\nLOCATION (lock): A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.\n\nTHIS SHOT CONTINUES THE PREVIOUS SHOT: everything the attached still established — the place, its fixed features and wear, each person's clothing and state — persists. Any person in it who cannot move stays PRECISELY as photographed (body, pose, contact points, held objects); only the camera changes.\n\nPREVIOUS STILL USAGE (follow exactly — what to take from the attached still and what to exclude): Take the ransacked living area's worn materials, sunset light, open-window condition, muddy footprints, and overturned chairs from the reference as continuing environmental state. Place the middle-aged woman with her smartphone within that same room. Exclude the earlier empty wide-floor emphasis, and do not add the young woman, her backpack, or the stained photograph to this close-up.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nPROPS FACE THE RIGHT WAY: every handheld or used object must be\noriented exactly as its real-world use requires. A person reading,\nwatching or operating something (a phone, a photograph, a paper,\nany device) has its functional side — screen, front, page — facing\nTHEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nMOVEMENT (follow exactly): static: Hye-su lowers her gaze toward the smartphone and listens to Su-ri-young's recorded message with her brow deeply furrowed.\n\nFIGURES — size & depth (follow exactly): Hye-su's face fills about 2/3 of the close-up frame, while the smartphone occupies a smaller area below her face. The phone is NEARER to the camera, Hye-su's face is slightly FARTHER, and the room behind her is farthest.\n\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The apartment remains ransacked, with the footprints, open window, overturned chairs, and the now-empty red wall circle left in place; Suri-young has departed with the photograph and backpack. Hyesu holds the smartphone on which she is checking Suri-young’s recorded message.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 혜수 (Korean middle-aged woman, mid-40s face, mature facial features, dark natural hair) — never anyone else, and never add a person the shot text does not show. IF only part of a person is in frame (a hand, arm, foot, back, silhouette), that body part belongs to the specific person the shot text names — its sex, age, build, skin and grooming must unmistakably match that person's profile above.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-13 20:06:20", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s40_still_S27sh3_b", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s40/plates/plate_living_dining_sunset_floor_view_sel.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s40/stills/S25sh1_sel.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/bddad176-aa6a-4a71-b5d3-d02e36e19657.png"], "ref_labels": ["LOCATION PHOTOGRAPH — the exact place of this shot: its architecture, materials, fixed features and lighting mood are spatial truth; stage the moment inside this place. Never copy its camera framing.", "PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing. If this photo shows a character who cannot move (dead or unconscious), that character's exact pose, position and orientation are ALSO LOCKED — treat their body as a fixed prop of the set that only the camera moves around.", "CHARACTER REFERENCE — 혜수: the exact person appearing in this shot; match face, hair and build exactly."], "attempt": 1, "dur_s": 30.2, "bytes": 2292196, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s40/stills/S27sh3_b.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): dusk, just after sunset.\n\nSHOT TEXT (authoritative, Korean): 혜수가 미간을 깊게 찌푸린 채 스마트폰을 내려다보는 얼굴 클로즈업\n\nLOCATION (lock): A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.\n\nTHIS SHOT CONTINUES THE PREVIOUS SHOT: everything the attached still established — the place, its fixed features and wear, each person's clothing and state — persists. Any person in it who cannot move stays PRECISELY as photographed (body, pose, contact points, held objects); only the camera changes.\n\nPREVIOUS STILL USAGE (follow exactly — what to take from the attached still and what to exclude): Take the ransacked living area's worn materials, sunset light, open-window condition, muddy footprints, and overturned chairs from the reference as continuing environmental state. Place the middle-aged woman with her smartphone within that same room. Exclude the earlier empty wide-floor emphasis, and do not add the young woman, her backpack, or the stained photograph to this close-up.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nPROPS FACE THE RIGHT WAY: every handheld or used object must be\noriented exactly as its real-world use requires. A person reading,\nwatching or operating something (a phone, a photograph, a paper,\nany device) has its functional side — screen, front, page — facing\nTHEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nMOVEMENT (follow exactly): static: Hye-su lowers her gaze toward the smartphone and listens to Su-ri-young's recorded message with her brow deeply furrowed.\n\nFIGURES — size & depth (follow exactly): Hye-su's face fills about 2/3 of the close-up frame, while the smartphone occupies a smaller area below her face. The phone is NEARER to the camera, Hye-su's face is slightly FARTHER, and the room behind her is farthest.\n\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The apartment remains ransacked, with the footprints, open window, overturned chairs, and the now-empty red wall circle left in place; Suri-young has departed with the photograph and backpack. Hyesu holds the smartphone on which she is checking Suri-young’s recorded message.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 혜수 (Korean middle-aged woman, mid-40s face, mature facial features, dark natural hair) — never anyone else, and never add a person the shot text does not show. IF only part of a person is in frame (a hand, arm, foot, back, silhouette), that body part belongs to the specific person the shot text names — its sex, age, build, skin and grooming must unmistakably match that person's profile above.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-13 20:06:45", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s40_still_S27sh3_c", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s40/plates/plate_living_dining_sunset_floor_view_sel.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s40/stills/S25sh1_sel.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/bddad176-aa6a-4a71-b5d3-d02e36e19657.png"], "ref_labels": ["LOCATION PHOTOGRAPH — the exact place of this shot: its architecture, materials, fixed features and lighting mood are spatial truth; stage the moment inside this place. Never copy its camera framing.", "PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing. If this photo shows a character who cannot move (dead or unconscious), that character's exact pose, position and orientation are ALSO LOCKED — treat their body as a fixed prop of the set that only the camera moves around.", "CHARACTER REFERENCE — 혜수: the exact person appearing in this shot; match face, hair and build exactly."], "attempt": 1, "dur_s": 25.5, "bytes": 2530912, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s40/stills/S27sh3_c.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): dusk, just after sunset.\n\nSHOT TEXT (authoritative, Korean): 혜수가 미간을 깊게 찌푸린 채 스마트폰을 내려다보는 얼굴 클로즈업\n\nLOCATION (lock): A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.\n\nTHIS SHOT CONTINUES THE PREVIOUS SHOT: everything the attached still established — the place, its fixed features and wear, each person's clothing and state — persists. Any person in it who cannot move stays PRECISELY as photographed (body, pose, contact points, held objects); only the camera changes.\n\nPREVIOUS STILL USAGE (follow exactly — what to take from the attached still and what to exclude): Take the ransacked living area's worn materials, sunset light, open-window condition, muddy footprints, and overturned chairs from the reference as continuing environmental state. Place the middle-aged woman with her smartphone within that same room. Exclude the earlier empty wide-floor emphasis, and do not add the young woman, her backpack, or the stained photograph to this close-up.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nPROPS FACE THE RIGHT WAY: every handheld or used object must be\noriented exactly as its real-world use requires. A person reading,\nwatching or operating something (a phone, a photograph, a paper,\nany device) has its functional side — screen, front, page — facing\nTHEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nMOVEMENT (follow exactly): static: Hye-su lowers her gaze toward the smartphone and listens to Su-ri-young's recorded message with her brow deeply furrowed.\n\nFIGURES — size & depth (follow exactly): Hye-su's face fills about 2/3 of the close-up frame, while the smartphone occupies a smaller area below her face. The phone is NEARER to the camera, Hye-su's face is slightly FARTHER, and the room behind her is farthest.\n\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The apartment remains ransacked, with the footprints, open window, overturned chairs, and the now-empty red wall circle left in place; Suri-young has departed with the photograph and backpack. Hyesu holds the smartphone on which she is checking Suri-young’s recorded message.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 혜수 (Korean middle-aged woman, mid-40s face, mature facial features, dark natural hair) — never anyone else, and never add a person the shot text does not show. IF only part of a person is in frame (a hand, arm, foot, back, silhouette), that body part belongs to the specific person the shot text names — its sex, age, build, skin and grooming must unmistakably match that person's profile above.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-13 20:07:15", "kind": "llm", "step": "s40_judge_still_S27sh3", "model": "gemini-pro", "dur_s": 29.9, "system_prompt": "You are given ONE image-generation prompt, the REFERENCE image(s)\nthat were attached to it (labelled), and THREE candidate images,\nlabelled A, B, C in the order attached, all generated from that\nexact prompt with those exact references.\nPick the ONE candidate that most faithfully realises the prompt.\nJudge ONLY fidelity to the prompt and its reference instructions:\nthe shot text's moment and action, who is and is NOT in frame,\ncamera framing, time of day, the LOCATION lock (the place must be\nthe one the reference shows — same architecture, materials,\nfixtures), pose/immobility and carried-state clauses, and every\nexclusion (no text, no invented people or objects). Consistency\nwith the attached reference image counts as prompt fidelity.\nIgnore generic aesthetic appeal.\nCheck every candidate point by point before deciding; base every\nverdict only on what is visible.\nAlso give every candidate an integer score 0-10 for that same\nfidelity.\nOutput: winner, ranking best-to-worst, and per candidate a score\nplus a one-line Korean verdict citing the decisive prompt points.", "user_prompt": "[{\"type\": \"text\", \"text\": \"THE PROMPT (all three candidates were generated from this):\\nCreate ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): dusk, just after sunset.\\n\\nSHOT TEXT (authoritative, Korean): 혜수가 미간을 깊게 찌푸린 채 스마트폰을 내려다보는 얼굴 클로즈업\\n\\nLOCATION (lock): A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.\\n\\nTHIS SHOT CONTINUES THE PREVIOUS SHOT: everything the attached still established — the place, its fixed features and wear, each person's clothing and state — persists. Any person in it who cannot move stays PRECISELY as photographed (body, pose, contact points, held objects); only the camera changes.\\n\\nPREVIOUS STILL USAGE (follow exactly — what to take from the attached still and what to exclude): Take the ransacked living area's worn materials, sunset light, open-window condition, muddy footprints, and overturned chairs from the reference as continuing environmental state. Place the middle-aged woman with her smartphone within that same room. Exclude the earlier empty wide-floor emphasis, and do not add the young woman, her backpack, or the stained photograph to this close-up.\\n\\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\\ntext may describe characters metaphorically, figuratively or with\\nexaggeration. Photograph what a real movie camera would actually\\nrecord on a physical set — exaggerated or figurative impressions\\nbecome realistic staging choices (lighting, distance, angle,\\nwardrobe), not literal fantasy imagery.\\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\\nfeatures non-human or virtual beings (as in science fiction or\\nfantasy), every character — however indirectly, vaguely or\\nfiguratively the text describes them — IS a real human. When the\\ntext gives no direct visual description of a person, IMAGINE one\\nand still show them as a concrete, fully-formed human being:\\nalways render the human form to the maximum extent — build,\\nposture, face, hands, clothing — never reduce a person to a shape,\\nblob, solid silhouette or abstract mass.\\n\\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\\nperson's eyes, face or presence emotionally or figuratively (vacant,\\nhollow, dazed, burning, lifeless gaze and the like), it describes an\\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\\nthrough gaze direction, focus, eyelids, facial muscles, stillness\\nand posture. Every living person's eyes remain anatomically normal\\nhuman eyes with a natural iris and pupil, natural sclera and normal\\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\\notherwise alter eyeballs, skin or anatomy — unless the story\\nexplicitly declares that being non-human or supernatural in form.\\n\\nPROPS FACE THE RIGHT WAY: every handheld or used object must be\\noriented exactly as its real-world use requires. A person reading,\\nwatching or operating something (a phone, a photograph, a paper,\\nany device) has its functional side — screen, front, page — facing\\nTHEIR OWN eyes; the camera then sees whatever side the staging\\ngeometry implies (often its back). Show the functional side to the\\ncamera ONLY when the shot text itself stages it toward the viewer.\\nNever flip, mirror or reverse an object's front and back.\\n\\nMOVEMENT (follow exactly): static: Hye-su lowers her gaze toward the smartphone and listens to Su-ri-young's recorded message with her brow deeply furrowed.\\n\\nFIGURES — size & depth (follow exactly): Hye-su's face fills about 2/3 of the close-up frame, while the smartphone occupies a smaller area below her face. The phone is NEARER to the camera, Hye-su's face is slightly FARTHER, and the room behind her is farthest.\\n\\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The apartment remains ransacked, with the footprints, open window, overturned chairs, and the now-empty red wall circle left in place; Suri-young has departed with the photograph and backpack. Hyesu holds the smartphone on which she is checking Suri-young’s recorded message.\\n\\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 혜수 (Korean middle-aged woman, mid-40s face, mature facial features, dark natural hair) — never anyone else, and never add a person the shot text does not show. IF only part of a person is in frame (a hand, arm, foot, back, silhouette), that body part belongs to the specific person the shot text names — its sex, age, build, skin and grooming must unmistakably match that person's profile above.\\n\\nNo text, captions, watermarks or annotations anywhere.\"}, {\"type\": \"text\", \"text\": \"REFERENCE — LOCATION PHOTOGRAPH — the exact place of this shot: its architecture, materials, fixed features and lighting mood are spatial truth; stage the moment inside this place. Never copy its camera framing.\"}, {\"type\": \"text\", \"text\": \"REFERENCE — PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing. If this photo shows a character who cannot move (dead or unconscious), that character's exact pose, position and orientation are ALSO LOCKED — treat their body as a fixed prop of the set that only the camera moves around.\"}, {\"type\": \"text\", \"text\": \"REFERENCE — CHARACTER REFERENCE — 혜수: the exact person appearing in this shot; match face, hair and build exactly.\"}, {\"type\": \"text\", \"text\": \"Candidate A:\"}, {\"type\": \"text\", \"text\": \"Candidate B:\"}, {\"type\": \"text\", \"text\": \"Candidate C:\"}]"}
{"ts": "2026-07-13 20:07:41", "kind": "llm", "step": "s40_crit_still_S27sh3", "model": "gemini-pro", "dur_s": 25.7, "system_prompt": "You are given an image-generation prompt, the labelled REFERENCE\nimage(s) that were attached to it, and ONE photograph generated\nfrom them (the current best pick of three).\nList what is WRONG with it — ONLY violations of the prompt or of\nits reference instructions: the shot's stated moment and action,\nwho/what must or must NOT be in frame, camera, time of day,\nlocation consistency with the reference, pose/immobility and\ncarried-state clauses, object orientation, anatomy, and every\nexclusion (no text, no invented people or objects).\nBase every finding only on what is visible; ignore taste and\ngeneric aesthetics. For each issue give: issue_ko (short Korean\nline) + fix_en (ONE imperative English edit that fixes exactly\nthat while changing nothing else). Empty array if nothing wrong.", "user_prompt": "[{\"type\": \"text\", \"text\": \"THE PROMPT:\\nCreate ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): dusk, just after sunset.\\n\\nSHOT TEXT (authoritative, Korean): 혜수가 미간을 깊게 찌푸린 채 스마트폰을 내려다보는 얼굴 클로즈업\\n\\nLOCATION (lock): A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.\\n\\nTHIS SHOT CONTINUES THE PREVIOUS SHOT: everything the attached still established — the place, its fixed features and wear, each person's clothing and state — persists. Any person in it who cannot move stays PRECISELY as photographed (body, pose, contact points, held objects); only the camera changes.\\n\\nPREVIOUS STILL USAGE (follow exactly — what to take from the attached still and what to exclude): Take the ransacked living area's worn materials, sunset light, open-window condition, muddy footprints, and overturned chairs from the reference as continuing environmental state. Place the middle-aged woman with her smartphone within that same room. Exclude the earlier empty wide-floor emphasis, and do not add the young woman, her backpack, or the stained photograph to this close-up.\\n\\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\\ntext may describe characters metaphorically, figuratively or with\\nexaggeration. Photograph what a real movie camera would actually\\nrecord on a physical set — exaggerated or figurative impressions\\nbecome realistic staging choices (lighting, distance, angle,\\nwardrobe), not literal fantasy imagery.\\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\\nfeatures non-human or virtual beings (as in science fiction or\\nfantasy), every character — however indirectly, vaguely or\\nfiguratively the text describes them — IS a real human. When the\\ntext gives no direct visual description of a person, IMAGINE one\\nand still show them as a concrete, fully-formed human being:\\nalways render the human form to the maximum extent — build,\\nposture, face, hands, clothing — never reduce a person to a shape,\\nblob, solid silhouette or abstract mass.\\n\\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\\nperson's eyes, face or presence emotionally or figuratively (vacant,\\nhollow, dazed, burning, lifeless gaze and the like), it describes an\\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\\nthrough gaze direction, focus, eyelids, facial muscles, stillness\\nand posture. Every living person's eyes remain anatomically normal\\nhuman eyes with a natural iris and pupil, natural sclera and normal\\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\\notherwise alter eyeballs, skin or anatomy — unless the story\\nexplicitly declares that being non-human or supernatural in form.\\n\\nPROPS FACE THE RIGHT WAY: every handheld or used object must be\\noriented exactly as its real-world use requires. A person reading,\\nwatching or operating something (a phone, a photograph, a paper,\\nany device) has its functional side — screen, front, page — facing\\nTHEIR OWN eyes; the camera then sees whatever side the staging\\ngeometry implies (often its back). Show the functional side to the\\ncamera ONLY when the shot text itself stages it toward the viewer.\\nNever flip, mirror or reverse an object's front and back.\\n\\nMOVEMENT (follow exactly): static: Hye-su lowers her gaze toward the smartphone and listens to Su-ri-young's recorded message with her brow deeply furrowed.\\n\\nFIGURES — size & depth (follow exactly): Hye-su's face fills about 2/3 of the close-up frame, while the smartphone occupies a smaller area below her face. The phone is NEARER to the camera, Hye-su's face is slightly FARTHER, and the room behind her is farthest.\\n\\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The apartment remains ransacked, with the footprints, open window, overturned chairs, and the now-empty red wall circle left in place; Suri-young has departed with the photograph and backpack. Hyesu holds the smartphone on which she is checking Suri-young’s recorded message.\\n\\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 혜수 (Korean middle-aged woman, mid-40s face, mature facial features, dark natural hair) — never anyone else, and never add a person the shot text does not show. IF only part of a person is in frame (a hand, arm, foot, back, silhouette), that body part belongs to the specific person the shot text names — its sex, age, build, skin and grooming must unmistakably match that person's profile above.\\n\\nNo text, captions, watermarks or annotations anywhere.\"}, {\"type\": \"text\", \"text\": \"REFERENCE — LOCATION PHOTOGRAPH — the exact place of this shot: its architecture, materials, fixed features and lighting mood are spatial truth; stage the moment inside this place. Never copy its camera framing.\"}, {\"type\": \"text\", \"text\": \"REFERENCE — PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing. If this photo shows a character who cannot move (dead or unconscious), that character's exact pose, position and orientation are ALSO LOCKED — treat their body as a fixed prop of the set that only the camera moves around.\"}, {\"type\": \"text\", \"text\": \"REFERENCE — CHARACTER REFERENCE — 혜수: the exact person appearing in this shot; match face, hair and build exactly.\"}, {\"type\": \"text\", \"text\": \"Photograph to examine:\"}]"}
{"ts": "2026-07-13 20:08:03", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s40_fix_still_S27sh3", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s40/stills/S27sh3_b.png"], "ref_labels": ["PHOTOGRAPH TO EDIT — fix ONLY the issues the prompt lists; preserve everything else exactly."], "attempt": 1, "dur_s": 21.8, "bytes": 2250244, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s40/stills/S27sh3_fix.png", "prompt": "Edit this photograph. Apply ONLY the corrections listed below,\neach in place, changing nothing else:\n\nCORRECTIONS:\n- Flip the smartphone so that the screen faces Hye-su's eyes and the camera lenses are on the back.\n\nPRESERVE EVERYTHING ELSE EXACTLY as in the original photograph —\nevery person, pose, face, garment, object, set feature, lighting,\ncamera and framing stay identical. No text, captions or\nwatermarks anywhere."}
{"ts": "2026-07-13 21:07:12", "kind": "img", "engine": "gpt-image-2", "mode": "edit", "tag": "s41_conti_S5sh5", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s40/plates/plate_living_dining_day_root_sel.png"], "size": "1536x864", "attempt": 1, "dur_s": 107.9, "bytes": 1061197, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s41/conti_S5sh5.png", "prompt": "Draw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls.\n\nSHOT TEXT (authoritative, Korean): 다급하게 상체를 기울이며 손가락 끝으로 TV 전원 버튼을 세게 누르고 있는 민숙의 측면 구도\n\nMOVEMENT (follow exactly): Min-sook urgently pitches her upper body forward toward the TV and forcefully drives a fingertip into its power button to turn it off as Su-ri-young emerges from her room.\n\nFIGURES — apparent size & depth (follow exactly): Min-sook's side-view upper body fills roughly 2/3 of the frame height, with her reaching hand and the TV button NEARER to the camera than her face and torso. The TV is FARTHER along her forward reach, and her body closes the short distance toward it.\n\nCARRIED STATE (persist exactly): Minsuk remains in her apron, with the same small circular mark on her wrist; the mark must already be present here because she has had it since childhood.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind."}
{"ts": "2026-07-13 21:08:52", "kind": "img", "engine": "gpt-image-2", "mode": "edit", "tag": "s41_conti_S5sh9", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s40/plates/plate_living_dining_day_root_sel.png"], "size": "1536x864", "attempt": 1, "dur_s": 100.6, "bytes": 1029243, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s41/conti_S5sh9.png", "prompt": "Draw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls.\n\nSHOT TEXT (authoritative, Korean): 민숙의 손목에 선명하게 드러난 작은 원형 표식의 타이트 샷\n\nMOVEMENT (follow exactly): static: Min-sook's wrist is held in view, with the sharply visible small circular mark facing the camera.\n\nFIGURES — apparent size & depth (follow exactly): The wrist fills most of the tight frame, while the circular mark occupies a small area at its center. The skin and mark are the NEAREST and only principal subject, with any body or room detail FARTHER and out of focus.\n\nCARRIED STATE (persist exactly): The TV remains switched off, and Minsuk still wears the apron. The small, unusually distinct circular mark remains on her wrist.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind."}
{"ts": "2026-07-13 21:10:41", "kind": "img", "engine": "gpt-image-2", "mode": "edit", "tag": "s41_conti_S11sh4", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s40/plates/bg_S11sh4_sel.png"], "size": "1536x864", "attempt": 1, "dur_s": 108.8, "bytes": 1120080, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s41/conti_S11sh4.png", "prompt": "Draw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: A narrow exterior metal staircase attached to an old low-rise residential building. It has exposed steel steps and tubular pipe railings leading upward toward the roof.\n\nSHOT TEXT (authoritative, Korean): 철제 파이프 난간을 손으로 잡은 수리영이 코끝을 찡그린 채 계단 중간에 서 있는 얼굴 클로즈업\n\nMOVEMENT (follow exactly): static: Suri-young pauses midway up the staircase while ascending toward the rooftop, gripping the metal-pipe railing with a tense posture and wrinkling her nose at the sudden foul smell, her body oriented uphill.\n\nFIGURES — apparent size & depth (follow exactly): Suri-young’s face fills ~2/3 of the frame height in close-up and is the nearest figure; her hand and the metal-pipe railing sit slightly farther from the camera as she remains midway on the stairs.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind."}
{"ts": "2026-07-13 21:12:22", "kind": "img", "engine": "gpt-image-2", "mode": "edit", "tag": "s41_conti_S11sh5", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s40/plates/bg_S11sh5_sel.png"], "size": "1536x864", "attempt": 1, "dur_s": 101.1, "bytes": 1019216, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s41/conti_S11sh5.png", "prompt": "Draw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: The flat rooftop of an aging low-rise apartment building, enclosed by a waist-high parapet. A small rooftop dwelling has a metal entrance door and a window visible from the open roof.\n\nSHOT TEXT (authoritative, Korean): 옥상에 선 수리영의 시선 끝에 반쯤 열려 있는 어두운 현관 철문이 보이는 정면 구도\n\nMOVEMENT (follow exactly): static: Suriyoung stands tensely on the rooftop with her body and gaze directed straight toward the half-open iron entrance door and its dark interior.\n\nFIGURES — apparent size & depth (follow exactly): Suriyoung appears about ~1/2 of the frame height in the NEARER rooftop area, while the half-open door appears about ~1/3 and is FARTHER ahead along her line of sight.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind."}
{"ts": "2026-07-13 21:14:10", "kind": "img", "engine": "gpt-image-2", "mode": "edit", "tag": "s41_conti_S12sh11", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s40/plates/plate_daughter_bedroom_night_doorway_wide_sel.png"], "size": "1536x864", "attempt": 1, "dur_s": 107.2, "bytes": 1090801, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s41/conti_S12sh11.png", "prompt": "Draw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls.\n\nSHOT TEXT (authoritative, Korean): 옷과 피부가 힘없이 무너져 미동이 없는 민숙이 바닥에 주저앉아 고개를 푹 숙인 정지 상태\n\nMOVEMENT (follow exactly): static: utterly motionless, collapsed Min-sook is seated collapsed on the floor behind the curtain with her head dropped forward, shoulders fallen, limbs limp, and body weight fully given way.\n\nFIGURES — apparent size & depth (follow exactly): Min-sook's dark stains-covered body fills about 2/3 of the frame height and is the NEAREST principal figure. The floor directly beneath her is nearer than the surrounding bedroom and curtain area, which recede FARTHER behind her.\n\nIMMOBILE CHARACTER POSE — CANONICAL (identical wherever this character appears in ANY panel; on any conflict THIS POSE WINS): Min-sook is seated collapsed on the floor behind the curtain with her head dropped forward. One hand is clenched around a crumpled photograph.\n\nCARRIED STATE (persist exactly): Min-sook remains dead behind the curtain, seated collapsed on the floor with her head dropped forward, her torn shoulder and collarbone exposed amid the dark stains and dark-stained footprints. One hand is clenched around a crumpled photograph, and the small circular mark remains on her wrist.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind."}
{"ts": "2026-07-13 21:16:23", "kind": "img", "engine": "gpt-image-2", "mode": "edit", "tag": "s41_conti_S12sh18", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s40/plates/plate_daughter_bedroom_night_doorway_wide_sel.png"], "size": "1536x864", "attempt": 1, "dur_s": 133.1, "bytes": 1174427, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s41/conti_S12sh18.png", "prompt": "Draw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls.\n\nSHOT TEXT (authoritative, Korean): 민숙의 손에 꽉 쥐어진 구겨진 사진의 타이트 샷\n\nMOVEMENT (follow exactly): static: utterly motionless, collapsed Min-sook's hand remains clenched around a crumpled photograph, with the photograph exposed toward the camera.\n\nFIGURES — apparent size & depth (follow exactly): The dead woman's hand fills roughly 2/3 of the tight frame, and the crumpled photograph fills about 1/3. The photograph is NEARER where it protrudes from her grasp, while her palm, wrist, and collapsed body are progressively FARTHER behind it.\n\nIMMOBILE CHARACTER POSE — CANONICAL (identical wherever this character appears in ANY panel; on any conflict THIS POSE WINS): Min-sook is seated collapsed on the floor behind the curtain with her head dropped forward. One hand is clenched around a crumpled photograph.\n\nCARRIED STATE (persist exactly): Minsuk remains seated collapsed on the floor behind the curtain with her head dropped forward, with the wounds and dark stains undisturbed. The crumpled photograph stays clenched in her hand until Suri-young pulls it free, as the circular wrist mark turns red.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind."}
{"ts": "2026-07-13 21:18:28", "kind": "img", "engine": "gpt-image-2", "mode": "edit", "tag": "s41_conti_S13sh4", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s40/plates/bg_S13sh4_sel.png"], "size": "1536x864", "attempt": 1, "dur_s": 125.0, "bytes": 1088892, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s41/conti_S13sh4.png", "prompt": "Draw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: A confined ground-level alley and small courtyard beside an aging multi-unit residential building. Concrete walls, building entrances, and the base of the exterior access structure frame the space.\n\nSHOT TEXT (authoritative, Korean): 수리영이 초점을 잃은 눈으로 허공을 응시하며 서 있는 모습\n\nMOVEMENT (follow exactly): static: Su-ri-young stands motionless and dazed after coming down from the rooftop room, her unfocused eyes staring into empty space and her body lacking purposeful direction.\n\nFIGURES — apparent size & depth (follow exactly): Su-ri-young is the only visible figure, so she is both the nearest and farthest person; her apparent fraction of frame height is unspecified in the source.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind."}
{"ts": "2026-07-13 21:20:34", "kind": "img", "engine": "gpt-image-2", "mode": "edit", "tag": "s41_conti_S13sh6", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s40/plates/bg_S13sh6_sel.png"], "size": "1536x864", "attempt": 1, "dur_s": 126.2, "bytes": 1019167, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s41/conti_S13sh6.png", "prompt": "Draw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: A confined ground-level alley and small courtyard beside an aging multi-unit residential building. Concrete walls, building entrances, and the base of the exterior access structure frame the space.\n\nSHOT TEXT (authoritative, Korean): 고개를 든 채 혜수의 얼굴을 마주보고 있는 수리영의 측면 구도\n\nMOVEMENT (follow exactly): static: Su-ri-young holds her head raised and faces Hye-su directly in side profile, looking up at her while remaining dazed and stationary.\n\nFIGURES — apparent size & depth (follow exactly): Su-ri-young and Hye-su's face are visible facing each other, but their respective frame-height fractions and which is nearer to the camera are unspecified; their paths have converged at conversational distance, with neither moving past the other.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind."}
{"ts": "2026-07-13 21:22:15", "kind": "img", "engine": "gpt-image-2", "mode": "edit", "tag": "s41_conti_S14sh7", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s40/plates/plate_daughter_bedroom_night_doorway_wide_sel.png"], "size": "1536x864", "attempt": 1, "dur_s": 101.1, "bytes": 1010519, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s41/conti_S14sh7.png", "prompt": "Draw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls.\n\nSHOT TEXT (authoritative, Korean): 수리영이 멍한 눈으로 텅 빈 방 안을 응시하는 얼굴 클로즈업\n\nMOVEMENT (follow exactly): static: pale-faced Su-ri-young holds her body rigid and stares blankly into the empty bedroom where she expected to find her mother's body.\n\nFIGURES — apparent size & depth (follow exactly): Su-ri-young's face fills about 2/3 of the frame height and is the NEAREST figure. The empty room she watches is FARTHER beyond her eyeline, with no other person visible.\n\nCARRIED STATE (persist exactly): The empty room remains excessively clean, with the motionless figure, dark stains, and red wall mark still absent. The backpack and doll remain in their altered positions.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind."}
{"ts": "2026-07-13 21:24:03", "kind": "img", "engine": "gpt-image-2", "mode": "edit", "tag": "s41_conti_S14sh11", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s40/plates/plate_entry_night_inward_view_sel.png"], "size": "1536x864", "attempt": 1, "dur_s": 107.9, "bytes": 1018731, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s41/conti_S14sh11.png", "prompt": "Draw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls.\n\nSHOT TEXT (authoritative, Korean): 혜수가 날카로운 눈빛으로 김형사를 노려보는 모습\n\nMOVEMENT (follow exactly): static: Hye-su fixes a sharp, hostile stare toward Detective Kim, her face and body oriented directly at him.\n\nFIGURES — apparent size & depth (follow exactly): Hye-su fills roughly 2/3 of the frame height and is the NEAREST visible figure. Detective Kim is the FARTHER target of her gaze, whether at the edge of the frame or just off-screen, with no crossing movement between them.\n\nCARRIED STATE (persist exactly): The apartment remains cleared of the earlier evidence: the table is clean, and Suri-young’s room has no motionless figure, dark stains, or red circle. The backpack and doll remain slightly displaced from their earlier positions.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind."}
{"ts": "2026-07-13 21:25:53", "kind": "img", "engine": "gpt-image-2", "mode": "edit", "tag": "s41_conti_S18sh16", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s40/plates/plate_living_dining_day_root_sel.png"], "size": "1536x864", "attempt": 1, "dur_s": 110.4, "bytes": 1196751, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s41/conti_S18sh16.png", "prompt": "Draw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls.\n\nSHOT TEXT (authoritative, Korean): 수리영이 두 손으로 머리를 감싸 쥐고 입을 크게 벌린 얼굴\n\nMOVEMENT (follow exactly): static: terrified and overwhelmed, Su-ri-young clamps both hands around her head and holds her mouth wide open in a scream, her posture rigid with panic.\n\nFIGURES — apparent size & depth (follow exactly): Su-ri-young's face and hands fill about 3/4 of the frame height and form the NEAREST subject. Her hands sit slightly NEARER than her face on either side, while the room behind her is FARTHER and secondary.\n\nCARRIED STATE (persist exactly): The framed photograph remains on the table but has returned to normal, and the bathroom wall remains without the red circle. Suri-young still has the doll-adorned backpack with her.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind."}
{"ts": "2026-07-13 21:27:27", "kind": "img", "engine": "gpt-image-2", "mode": "edit", "tag": "s41_conti_S25sh9", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s40/plates/plate_daughter_bedroom_sunset_bed_wall_sel.png"], "size": "1536x864", "attempt": 1, "dur_s": 93.9, "bytes": 992354, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s41/conti_S25sh9.png", "prompt": "Draw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls.\n\nSHOT TEXT (authoritative, Korean): 수리영의 손이 구겨진 사진을 꽉 움켜쥔 타이트 샷\n\nMOVEMENT (follow exactly): static: Su-ri-young's tense hand crushes the crumpled photograph in a tight grip as she holds it close.\n\nFIGURES — apparent size & depth (follow exactly): Su-ri-young's hand fills roughly 2/3 of the tight frame, and the exposed portion of the photograph fills about 1/3. Her knuckles are NEARER to the camera, while the photograph is partly FARTHER inside her closed fingers.\n\nCARRIED STATE (persist exactly): The apartment remains ransacked, and the red wall circle remains after the photograph has been removed from its center. Suri-young tightly grips the same crumpled, stained photograph.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind."}
{"ts": "2026-07-13 21:29:16", "kind": "img", "engine": "gpt-image-2", "mode": "edit", "tag": "s41_conti_S27sh3", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s40/plates/plate_living_dining_sunset_floor_view_sel.png"], "size": "1536x864", "attempt": 1, "dur_s": 108.7, "bytes": 1267636, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s41/conti_S27sh3.png", "prompt": "Draw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls.\n\nSHOT TEXT (authoritative, Korean): 혜수가 미간을 깊게 찌푸린 채 스마트폰을 내려다보는 얼굴 클로즈업\n\nMOVEMENT (follow exactly): static: Hye-su lowers her gaze toward the smartphone and listens to Su-ri-young's recorded message with her brow deeply furrowed.\n\nFIGURES — apparent size & depth (follow exactly): Hye-su's face fills about 2/3 of the close-up frame, while the smartphone occupies a smaller area below her face. The phone is NEARER to the camera, Hye-su's face is slightly FARTHER, and the room behind her is farthest.\n\nCARRIED STATE (persist exactly): The apartment remains ransacked, with the footprints, open window, overturned chairs, and the now-empty red wall circle left in place; Suri-young has departed with the photograph and backpack. Hyesu holds the smartphone on which she is checking Suri-young’s recorded message.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind."}
{"ts": "2026-07-13 21:51:46", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s40_s41st_S5sh5_a", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s40/plates/plate_living_dining_day_root_sel.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s41/conti_S5sh5.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/899945af-f9bf-4880-bdd7-c9d1f45a5327.png"], "ref_labels": ["LOCATION PHOTOGRAPH — the exact place of this shot: its architecture, materials, fixed features and lighting mood are spatial truth; stage the moment inside this place. Never copy its camera framing.", "LAYOUT SKETCH — a bare thin-line layout guide, a REFERENCE ONLY: take from it ONLY the camera framing, figure placement, pose and size/depth order. It carries ZERO visual style — every texture, material, light and all realism come from the text and the photographic reference. Never let any line-drawing quality leak into the output.", "CHARACTER REFERENCE — 민숙: the exact person appearing in this shot; match face, hair and build exactly."], "attempt": 1, "dur_s": 22.7, "bytes": 2366180, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s41/stills/S5sh5_a.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): interior ambient light.\n\nSHOT TEXT (authoritative, Korean): 다급하게 상체를 기울이며 손가락 끝으로 TV 전원 버튼을 세게 누르고 있는 민숙의 측면 구도\n\nLOCATION (lock): A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nPROPS FACE THE RIGHT WAY: every handheld or used object must be\noriented exactly as its real-world use requires. A person reading,\nwatching or operating something (a phone, a photograph, a paper,\nany device) has its functional side — screen, front, page — facing\nTHEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nMOVEMENT (follow exactly): Min-sook urgently pitches her upper body forward toward the TV and forcefully drives a fingertip into its power button to turn it off as Su-ri-young emerges from her room.\n\nFIGURES — size & depth (follow exactly): Min-sook's side-view upper body fills roughly 2/3 of the frame height, with her reaching hand and the TV button NEARER to the camera than her face and torso. The TV is FARTHER along her forward reach, and her body closes the short distance toward it.\n\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Minsuk remains in her apron, with the same small circular mark on her wrist; the mark must already be present here because she has had it since childhood.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 민숙 (Korean middle-aged woman, early-40s face, soft mature features, natural dark hair) — never anyone else, and never add a person the shot text does not show. IF only part of a person is in frame (a hand, arm, foot, back, silhouette), that body part belongs to the specific person the shot text names — its sex, age, build, skin and grooming must unmistakably match that person's profile above.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-13 21:52:13", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s40_s41st_S5sh5_b", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s40/plates/plate_living_dining_day_root_sel.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s41/conti_S5sh5.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/899945af-f9bf-4880-bdd7-c9d1f45a5327.png"], "ref_labels": ["LOCATION PHOTOGRAPH — the exact place of this shot: its architecture, materials, fixed features and lighting mood are spatial truth; stage the moment inside this place. Never copy its camera framing.", "LAYOUT SKETCH — a bare thin-line layout guide, a REFERENCE ONLY: take from it ONLY the camera framing, figure placement, pose and size/depth order. It carries ZERO visual style — every texture, material, light and all realism come from the text and the photographic reference. Never let any line-drawing quality leak into the output.", "CHARACTER REFERENCE — 민숙: the exact person appearing in this shot; match face, hair and build exactly."], "attempt": 1, "dur_s": 26.4, "bytes": 2457160, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s41/stills/S5sh5_b.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): interior ambient light.\n\nSHOT TEXT (authoritative, Korean): 다급하게 상체를 기울이며 손가락 끝으로 TV 전원 버튼을 세게 누르고 있는 민숙의 측면 구도\n\nLOCATION (lock): A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nPROPS FACE THE RIGHT WAY: every handheld or used object must be\noriented exactly as its real-world use requires. A person reading,\nwatching or operating something (a phone, a photograph, a paper,\nany device) has its functional side — screen, front, page — facing\nTHEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nMOVEMENT (follow exactly): Min-sook urgently pitches her upper body forward toward the TV and forcefully drives a fingertip into its power button to turn it off as Su-ri-young emerges from her room.\n\nFIGURES — size & depth (follow exactly): Min-sook's side-view upper body fills roughly 2/3 of the frame height, with her reaching hand and the TV button NEARER to the camera than her face and torso. The TV is FARTHER along her forward reach, and her body closes the short distance toward it.\n\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Minsuk remains in her apron, with the same small circular mark on her wrist; the mark must already be present here because she has had it since childhood.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 민숙 (Korean middle-aged woman, early-40s face, soft mature features, natural dark hair) — never anyone else, and never add a person the shot text does not show. IF only part of a person is in frame (a hand, arm, foot, back, silhouette), that body part belongs to the specific person the shot text names — its sex, age, build, skin and grooming must unmistakably match that person's profile above.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-13 21:52:39", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s40_s41st_S5sh5_c", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s40/plates/plate_living_dining_day_root_sel.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s41/conti_S5sh5.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/899945af-f9bf-4880-bdd7-c9d1f45a5327.png"], "ref_labels": ["LOCATION PHOTOGRAPH — the exact place of this shot: its architecture, materials, fixed features and lighting mood are spatial truth; stage the moment inside this place. Never copy its camera framing.", "LAYOUT SKETCH — a bare thin-line layout guide, a REFERENCE ONLY: take from it ONLY the camera framing, figure placement, pose and size/depth order. It carries ZERO visual style — every texture, material, light and all realism come from the text and the photographic reference. Never let any line-drawing quality leak into the output.", "CHARACTER REFERENCE — 민숙: the exact person appearing in this shot; match face, hair and build exactly."], "attempt": 1, "dur_s": 26.2, "bytes": 2356564, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s41/stills/S5sh5_c.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): interior ambient light.\n\nSHOT TEXT (authoritative, Korean): 다급하게 상체를 기울이며 손가락 끝으로 TV 전원 버튼을 세게 누르고 있는 민숙의 측면 구도\n\nLOCATION (lock): A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nPROPS FACE THE RIGHT WAY: every handheld or used object must be\noriented exactly as its real-world use requires. A person reading,\nwatching or operating something (a phone, a photograph, a paper,\nany device) has its functional side — screen, front, page — facing\nTHEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nMOVEMENT (follow exactly): Min-sook urgently pitches her upper body forward toward the TV and forcefully drives a fingertip into its power button to turn it off as Su-ri-young emerges from her room.\n\nFIGURES — size & depth (follow exactly): Min-sook's side-view upper body fills roughly 2/3 of the frame height, with her reaching hand and the TV button NEARER to the camera than her face and torso. The TV is FARTHER along her forward reach, and her body closes the short distance toward it.\n\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Minsuk remains in her apron, with the same small circular mark on her wrist; the mark must already be present here because she has had it since childhood.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 민숙 (Korean middle-aged woman, early-40s face, soft mature features, natural dark hair) — never anyone else, and never add a person the shot text does not show. IF only part of a person is in frame (a hand, arm, foot, back, silhouette), that body part belongs to the specific person the shot text names — its sex, age, build, skin and grooming must unmistakably match that person's profile above.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-13 21:53:07", "kind": "llm", "step": "s40_judge_s41st_S5sh5", "model": "gemini-pro", "dur_s": 28.3, "system_prompt": "You are given ONE image-generation prompt, the REFERENCE image(s)\nthat were attached to it (labelled), and THREE candidate images,\nlabelled A, B, C in the order attached, all generated from that\nexact prompt with those exact references.\nPick the ONE candidate that most faithfully realises the prompt.\nJudge ONLY fidelity to the prompt and its reference instructions:\nthe shot text's moment and action, who is and is NOT in frame,\ncamera framing, time of day, the LOCATION lock (the place must be\nthe one the reference shows — same architecture, materials,\nfixtures), pose/immobility and carried-state clauses, and every\nexclusion (no text, no invented people or objects). Consistency\nwith the attached reference image counts as prompt fidelity.\nIgnore generic aesthetic appeal.\nCheck every candidate point by point before deciding; base every\nverdict only on what is visible.\nAlso give every candidate an integer score 0-10 for that same\nfidelity.\nOutput: winner, ranking best-to-worst, and per candidate a score\nplus a one-line Korean verdict citing the decisive prompt points.", "user_prompt": "[{\"type\": \"text\", \"text\": \"THE PROMPT (all three candidates were generated from this):\\nCreate ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): interior ambient light.\\n\\nSHOT TEXT (authoritative, Korean): 다급하게 상체를 기울이며 손가락 끝으로 TV 전원 버튼을 세게 누르고 있는 민숙의 측면 구도\\n\\nLOCATION (lock): A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.\\n\\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\\ntext may describe characters metaphorically, figuratively or with\\nexaggeration. Photograph what a real movie camera would actually\\nrecord on a physical set — exaggerated or figurative impressions\\nbecome realistic staging choices (lighting, distance, angle,\\nwardrobe), not literal fantasy imagery.\\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\\nfeatures non-human or virtual beings (as in science fiction or\\nfantasy), every character — however indirectly, vaguely or\\nfiguratively the text describes them — IS a real human. When the\\ntext gives no direct visual description of a person, IMAGINE one\\nand still show them as a concrete, fully-formed human being:\\nalways render the human form to the maximum extent — build,\\nposture, face, hands, clothing — never reduce a person to a shape,\\nblob, solid silhouette or abstract mass.\\n\\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\\nperson's eyes, face or presence emotionally or figuratively (vacant,\\nhollow, dazed, burning, lifeless gaze and the like), it describes an\\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\\nthrough gaze direction, focus, eyelids, facial muscles, stillness\\nand posture. Every living person's eyes remain anatomically normal\\nhuman eyes with a natural iris and pupil, natural sclera and normal\\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\\notherwise alter eyeballs, skin or anatomy — unless the story\\nexplicitly declares that being non-human or supernatural in form.\\n\\nPROPS FACE THE RIGHT WAY: every handheld or used object must be\\noriented exactly as its real-world use requires. A person reading,\\nwatching or operating something (a phone, a photograph, a paper,\\nany device) has its functional side — screen, front, page — facing\\nTHEIR OWN eyes; the camera then sees whatever side the staging\\ngeometry implies (often its back). Show the functional side to the\\ncamera ONLY when the shot text itself stages it toward the viewer.\\nNever flip, mirror or reverse an object's front and back.\\n\\nMOVEMENT (follow exactly): Min-sook urgently pitches her upper body forward toward the TV and forcefully drives a fingertip into its power button to turn it off as Su-ri-young emerges from her room.\\n\\nFIGURES — size & depth (follow exactly): Min-sook's side-view upper body fills roughly 2/3 of the frame height, with her reaching hand and the TV button NEARER to the camera than her face and torso. The TV is FARTHER along her forward reach, and her body closes the short distance toward it.\\n\\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Minsuk remains in her apron, with the same small circular mark on her wrist; the mark must already be present here because she has had it since childhood.\\n\\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 민숙 (Korean middle-aged woman, early-40s face, soft mature features, natural dark hair) — never anyone else, and never add a person the shot text does not show. IF only part of a person is in frame (a hand, arm, foot, back, silhouette), that body part belongs to the specific person the shot text names — its sex, age, build, skin and grooming must unmistakably match that person's profile above.\\n\\nNo text, captions, watermarks or annotations anywhere.\"}, {\"type\": \"text\", \"text\": \"REFERENCE — LOCATION PHOTOGRAPH — the exact place of this shot: its architecture, materials, fixed features and lighting mood are spatial truth; stage the moment inside this place. Never copy its camera framing.\"}, {\"type\": \"text\", \"text\": \"REFERENCE — LAYOUT SKETCH — a bare thin-line layout guide, a REFERENCE ONLY: take from it ONLY the camera framing, figure placement, pose and size/depth order. It carries ZERO visual style — every texture, material, light and all realism come from the text and the photographic reference. Never let any line-drawing quality leak into the output.\"}, {\"type\": \"text\", \"text\": \"REFERENCE — CHARACTER REFERENCE — 민숙: the exact person appearing in this shot; match face, hair and build exactly.\"}, {\"type\": \"text\", \"text\": \"Candidate A:\"}, {\"type\": \"text\", \"text\": \"Candidate B:\"}, {\"type\": \"text\", \"text\": \"Candidate C:\"}]"}
{"ts": "2026-07-13 21:53:29", "kind": "llm", "step": "s40_crit_s41st_S5sh5", "model": "gemini-pro", "dur_s": 21.5, "system_prompt": "You are given an image-generation prompt, the labelled REFERENCE\nimage(s) that were attached to it, and ONE photograph generated\nfrom them (the current best pick of three).\nList what is WRONG with it — ONLY violations of the prompt or of\nits reference instructions: the shot's stated moment and action,\nwho/what must or must NOT be in frame, camera, time of day,\nlocation consistency with the reference, pose/immobility and\ncarried-state clauses, object orientation, anatomy, and every\nexclusion (no text, no invented people or objects).\nBase every finding only on what is visible; ignore taste and\ngeneric aesthetics. For each issue give: issue_ko (short Korean\nline) + fix_en (ONE imperative English edit that fixes exactly\nthat while changing nothing else). Empty array if nothing wrong.", "user_prompt": "[{\"type\": \"text\", \"text\": \"THE PROMPT:\\nCreate ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): interior ambient light.\\n\\nSHOT TEXT (authoritative, Korean): 다급하게 상체를 기울이며 손가락 끝으로 TV 전원 버튼을 세게 누르고 있는 민숙의 측면 구도\\n\\nLOCATION (lock): A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.\\n\\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\\ntext may describe characters metaphorically, figuratively or with\\nexaggeration. Photograph what a real movie camera would actually\\nrecord on a physical set — exaggerated or figurative impressions\\nbecome realistic staging choices (lighting, distance, angle,\\nwardrobe), not literal fantasy imagery.\\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\\nfeatures non-human or virtual beings (as in science fiction or\\nfantasy), every character — however indirectly, vaguely or\\nfiguratively the text describes them — IS a real human. When the\\ntext gives no direct visual description of a person, IMAGINE one\\nand still show them as a concrete, fully-formed human being:\\nalways render the human form to the maximum extent — build,\\nposture, face, hands, clothing — never reduce a person to a shape,\\nblob, solid silhouette or abstract mass.\\n\\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\\nperson's eyes, face or presence emotionally or figuratively (vacant,\\nhollow, dazed, burning, lifeless gaze and the like), it describes an\\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\\nthrough gaze direction, focus, eyelids, facial muscles, stillness\\nand posture. Every living person's eyes remain anatomically normal\\nhuman eyes with a natural iris and pupil, natural sclera and normal\\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\\notherwise alter eyeballs, skin or anatomy — unless the story\\nexplicitly declares that being non-human or supernatural in form.\\n\\nPROPS FACE THE RIGHT WAY: every handheld or used object must be\\noriented exactly as its real-world use requires. A person reading,\\nwatching or operating something (a phone, a photograph, a paper,\\nany device) has its functional side — screen, front, page — facing\\nTHEIR OWN eyes; the camera then sees whatever side the staging\\ngeometry implies (often its back). Show the functional side to the\\ncamera ONLY when the shot text itself stages it toward the viewer.\\nNever flip, mirror or reverse an object's front and back.\\n\\nMOVEMENT (follow exactly): Min-sook urgently pitches her upper body forward toward the TV and forcefully drives a fingertip into its power button to turn it off as Su-ri-young emerges from her room.\\n\\nFIGURES — size & depth (follow exactly): Min-sook's side-view upper body fills roughly 2/3 of the frame height, with her reaching hand and the TV button NEARER to the camera than her face and torso. The TV is FARTHER along her forward reach, and her body closes the short distance toward it.\\n\\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Minsuk remains in her apron, with the same small circular mark on her wrist; the mark must already be present here because she has had it since childhood.\\n\\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 민숙 (Korean middle-aged woman, early-40s face, soft mature features, natural dark hair) — never anyone else, and never add a person the shot text does not show. IF only part of a person is in frame (a hand, arm, foot, back, silhouette), that body part belongs to the specific person the shot text names — its sex, age, build, skin and grooming must unmistakably match that person's profile above.\\n\\nNo text, captions, watermarks or annotations anywhere.\"}, {\"type\": \"text\", \"text\": \"REFERENCE — LOCATION PHOTOGRAPH — the exact place of this shot: its architecture, materials, fixed features and lighting mood are spatial truth; stage the moment inside this place. Never copy its camera framing.\"}, {\"type\": \"text\", \"text\": \"REFERENCE — LAYOUT SKETCH — a bare thin-line layout guide, a REFERENCE ONLY: take from it ONLY the camera framing, figure placement, pose and size/depth order. It carries ZERO visual style — every texture, material, light and all realism come from the text and the photographic reference. Never let any line-drawing quality leak into the output.\"}, {\"type\": \"text\", \"text\": \"REFERENCE — CHARACTER REFERENCE — 민숙: the exact person appearing in this shot; match face, hair and build exactly.\"}, {\"type\": \"text\", \"text\": \"Photograph to examine:\"}]"}
{"ts": "2026-07-13 21:53:52", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s40_fix_s41st_S5sh5", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s41/stills/S5sh5_a.png"], "ref_labels": ["PHOTOGRAPH TO EDIT — fix ONLY the issues the prompt lists; preserve everything else exactly."], "attempt": 1, "dur_s": 23.5, "bytes": 2348364, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s41/stills/S5sh5_fix.png", "prompt": "Edit this photograph. Apply ONLY the corrections listed below,\neach in place, changing nothing else:\n\nCORRECTIONS:\n- Remove the second person standing in the background doorway.\n- Restore the extended right arm to normal human proportions and natural length.\n\nPRESERVE EVERYTHING ELSE EXACTLY as in the original photograph —\nevery person, pose, face, garment, object, set feature, lighting,\ncamera and framing stay identical. No text, captions or\nwatermarks anywhere."}
{"ts": "2026-07-13 21:54:23", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s40_s41st_S11sh4_a", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s40/plates/bg_S11sh4_sel.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s41/conti_S11sh4.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/39864973-d3d5-4886-bfb2-f8db608a005b.png"], "ref_labels": ["LOCATION PHOTOGRAPH — the exact place of this shot: its architecture, materials, fixed features and lighting mood are spatial truth; stage the moment inside this place. Never copy its camera framing.", "LAYOUT SKETCH — a bare thin-line layout guide, a REFERENCE ONLY: take from it ONLY the camera framing, figure placement, pose and size/depth order. It carries ZERO visual style — every texture, material, light and all realism come from the text and the photographic reference. Never let any line-drawing quality leak into the output.", "CHARACTER REFERENCE — 수리영: the exact person appearing in this shot; match face, hair and build exactly."], "attempt": 1, "dur_s": 30.4, "bytes": 2503491, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s41/stills/S11sh4_a.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\n\nSHOT TEXT (authoritative, Korean): 철제 파이프 난간을 손으로 잡은 수리영이 코끝을 찡그린 채 계단 중간에 서 있는 얼굴 클로즈업\n\nLOCATION (lock): A narrow exterior metal staircase attached to an old low-rise residential building. It has exposed steel steps and tubular pipe railings leading upward toward the roof. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nPROPS FACE THE RIGHT WAY: every handheld or used object must be\noriented exactly as its real-world use requires. A person reading,\nwatching or operating something (a phone, a photograph, a paper,\nany device) has its functional side — screen, front, page — facing\nTHEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nMOVEMENT (follow exactly): static: Suri-young pauses midway up the staircase while ascending toward the rooftop, gripping the metal-pipe railing with a tense posture and wrinkling her nose at the sudden foul smell, her body oriented uphill.\n\nFIGURES — size & depth (follow exactly): Suri-young’s face fills ~2/3 of the frame height in close-up and is the nearest figure; her hand and the metal-pipe railing sit slightly farther from the camera as she remains midway on the stairs.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 수리영 (Korean young woman, early 20s face, oval face, natural black long hair) — never anyone else, and never add a person the shot text does not show. IF only part of a person is in frame (a hand, arm, foot, back, silhouette), that body part belongs to the specific person the shot text names — its sex, age, build, skin and grooming must unmistakably match that person's profile above.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-13 21:54:51", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s40_s41st_S11sh4_b", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s40/plates/bg_S11sh4_sel.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s41/conti_S11sh4.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/39864973-d3d5-4886-bfb2-f8db608a005b.png"], "ref_labels": ["LOCATION PHOTOGRAPH — the exact place of this shot: its architecture, materials, fixed features and lighting mood are spatial truth; stage the moment inside this place. Never copy its camera framing.", "LAYOUT SKETCH — a bare thin-line layout guide, a REFERENCE ONLY: take from it ONLY the camera framing, figure placement, pose and size/depth order. It carries ZERO visual style — every texture, material, light and all realism come from the text and the photographic reference. Never let any line-drawing quality leak into the output.", "CHARACTER REFERENCE — 수리영: the exact person appearing in this shot; match face, hair and build exactly."], "attempt": 1, "dur_s": 28.4, "bytes": 2386696, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s41/stills/S11sh4_b.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\n\nSHOT TEXT (authoritative, Korean): 철제 파이프 난간을 손으로 잡은 수리영이 코끝을 찡그린 채 계단 중간에 서 있는 얼굴 클로즈업\n\nLOCATION (lock): A narrow exterior metal staircase attached to an old low-rise residential building. It has exposed steel steps and tubular pipe railings leading upward toward the roof. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nPROPS FACE THE RIGHT WAY: every handheld or used object must be\noriented exactly as its real-world use requires. A person reading,\nwatching or operating something (a phone, a photograph, a paper,\nany device) has its functional side — screen, front, page — facing\nTHEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nMOVEMENT (follow exactly): static: Suri-young pauses midway up the staircase while ascending toward the rooftop, gripping the metal-pipe railing with a tense posture and wrinkling her nose at the sudden foul smell, her body oriented uphill.\n\nFIGURES — size & depth (follow exactly): Suri-young’s face fills ~2/3 of the frame height in close-up and is the nearest figure; her hand and the metal-pipe railing sit slightly farther from the camera as she remains midway on the stairs.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 수리영 (Korean young woman, early 20s face, oval face, natural black long hair) — never anyone else, and never add a person the shot text does not show. IF only part of a person is in frame (a hand, arm, foot, back, silhouette), that body part belongs to the specific person the shot text names — its sex, age, build, skin and grooming must unmistakably match that person's profile above.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-13 21:55:18", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s40_s41st_S11sh4_c", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s40/plates/bg_S11sh4_sel.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s41/conti_S11sh4.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/39864973-d3d5-4886-bfb2-f8db608a005b.png"], "ref_labels": ["LOCATION PHOTOGRAPH — the exact place of this shot: its architecture, materials, fixed features and lighting mood are spatial truth; stage the moment inside this place. Never copy its camera framing.", "LAYOUT SKETCH — a bare thin-line layout guide, a REFERENCE ONLY: take from it ONLY the camera framing, figure placement, pose and size/depth order. It carries ZERO visual style — every texture, material, light and all realism come from the text and the photographic reference. Never let any line-drawing quality leak into the output.", "CHARACTER REFERENCE — 수리영: the exact person appearing in this shot; match face, hair and build exactly."], "attempt": 1, "dur_s": 26.8, "bytes": 2475083, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s41/stills/S11sh4_c.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\n\nSHOT TEXT (authoritative, Korean): 철제 파이프 난간을 손으로 잡은 수리영이 코끝을 찡그린 채 계단 중간에 서 있는 얼굴 클로즈업\n\nLOCATION (lock): A narrow exterior metal staircase attached to an old low-rise residential building. It has exposed steel steps and tubular pipe railings leading upward toward the roof. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nPROPS FACE THE RIGHT WAY: every handheld or used object must be\noriented exactly as its real-world use requires. A person reading,\nwatching or operating something (a phone, a photograph, a paper,\nany device) has its functional side — screen, front, page — facing\nTHEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nMOVEMENT (follow exactly): static: Suri-young pauses midway up the staircase while ascending toward the rooftop, gripping the metal-pipe railing with a tense posture and wrinkling her nose at the sudden foul smell, her body oriented uphill.\n\nFIGURES — size & depth (follow exactly): Suri-young’s face fills ~2/3 of the frame height in close-up and is the nearest figure; her hand and the metal-pipe railing sit slightly farther from the camera as she remains midway on the stairs.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 수리영 (Korean young woman, early 20s face, oval face, natural black long hair) — never anyone else, and never add a person the shot text does not show. IF only part of a person is in frame (a hand, arm, foot, back, silhouette), that body part belongs to the specific person the shot text names — its sex, age, build, skin and grooming must unmistakably match that person's profile above.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-13 21:55:47", "kind": "llm", "step": "s40_judge_s41st_S11sh4", "model": "gemini-pro", "dur_s": 29.0, "system_prompt": "You are given ONE image-generation prompt, the REFERENCE image(s)\nthat were attached to it (labelled), and THREE candidate images,\nlabelled A, B, C in the order attached, all generated from that\nexact prompt with those exact references.\nPick the ONE candidate that most faithfully realises the prompt.\nJudge ONLY fidelity to the prompt and its reference instructions:\nthe shot text's moment and action, who is and is NOT in frame,\ncamera framing, time of day, the LOCATION lock (the place must be\nthe one the reference shows — same architecture, materials,\nfixtures), pose/immobility and carried-state clauses, and every\nexclusion (no text, no invented people or objects). Consistency\nwith the attached reference image counts as prompt fidelity.\nIgnore generic aesthetic appeal.\nCheck every candidate point by point before deciding; base every\nverdict only on what is visible.\nAlso give every candidate an integer score 0-10 for that same\nfidelity.\nOutput: winner, ranking best-to-worst, and per candidate a score\nplus a one-line Korean verdict citing the decisive prompt points.", "user_prompt": "[{\"type\": \"text\", \"text\": \"THE PROMPT (all three candidates were generated from this):\\nCreate ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\\n\\nSHOT TEXT (authoritative, Korean): 철제 파이프 난간을 손으로 잡은 수리영이 코끝을 찡그린 채 계단 중간에 서 있는 얼굴 클로즈업\\n\\nLOCATION (lock): A narrow exterior metal staircase attached to an old low-rise residential building. It has exposed steel steps and tubular pipe railings leading upward toward the roof. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.\\n\\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\\ntext may describe characters metaphorically, figuratively or with\\nexaggeration. Photograph what a real movie camera would actually\\nrecord on a physical set — exaggerated or figurative impressions\\nbecome realistic staging choices (lighting, distance, angle,\\nwardrobe), not literal fantasy imagery.\\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\\nfeatures non-human or virtual beings (as in science fiction or\\nfantasy), every character — however indirectly, vaguely or\\nfiguratively the text describes them — IS a real human. When the\\ntext gives no direct visual description of a person, IMAGINE one\\nand still show them as a concrete, fully-formed human being:\\nalways render the human form to the maximum extent — build,\\nposture, face, hands, clothing — never reduce a person to a shape,\\nblob, solid silhouette or abstract mass.\\n\\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\\nperson's eyes, face or presence emotionally or figuratively (vacant,\\nhollow, dazed, burning, lifeless gaze and the like), it describes an\\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\\nthrough gaze direction, focus, eyelids, facial muscles, stillness\\nand posture. Every living person's eyes remain anatomically normal\\nhuman eyes with a natural iris and pupil, natural sclera and normal\\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\\notherwise alter eyeballs, skin or anatomy — unless the story\\nexplicitly declares that being non-human or supernatural in form.\\n\\nPROPS FACE THE RIGHT WAY: every handheld or used object must be\\noriented exactly as its real-world use requires. A person reading,\\nwatching or operating something (a phone, a photograph, a paper,\\nany device) has its functional side — screen, front, page — facing\\nTHEIR OWN eyes; the camera then sees whatever side the staging\\ngeometry implies (often its back). Show the functional side to the\\ncamera ONLY when the shot text itself stages it toward the viewer.\\nNever flip, mirror or reverse an object's front and back.\\n\\nMOVEMENT (follow exactly): static: Suri-young pauses midway up the staircase while ascending toward the rooftop, gripping the metal-pipe railing with a tense posture and wrinkling her nose at the sudden foul smell, her body oriented uphill.\\n\\nFIGURES — size & depth (follow exactly): Suri-young’s face fills ~2/3 of the frame height in close-up and is the nearest figure; her hand and the metal-pipe railing sit slightly farther from the camera as she remains midway on the stairs.\\n\\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 수리영 (Korean young woman, early 20s face, oval face, natural black long hair) — never anyone else, and never add a person the shot text does not show. IF only part of a person is in frame (a hand, arm, foot, back, silhouette), that body part belongs to the specific person the shot text names — its sex, age, build, skin and grooming must unmistakably match that person's profile above.\\n\\nNo text, captions, watermarks or annotations anywhere.\"}, {\"type\": \"text\", \"text\": \"REFERENCE — LOCATION PHOTOGRAPH — the exact place of this shot: its architecture, materials, fixed features and lighting mood are spatial truth; stage the moment inside this place. Never copy its camera framing.\"}, {\"type\": \"text\", \"text\": \"REFERENCE — LAYOUT SKETCH — a bare thin-line layout guide, a REFERENCE ONLY: take from it ONLY the camera framing, figure placement, pose and size/depth order. It carries ZERO visual style — every texture, material, light and all realism come from the text and the photographic reference. Never let any line-drawing quality leak into the output.\"}, {\"type\": \"text\", \"text\": \"REFERENCE — CHARACTER REFERENCE — 수리영: the exact person appearing in this shot; match face, hair and build exactly.\"}, {\"type\": \"text\", \"text\": \"Candidate A:\"}, {\"type\": \"text\", \"text\": \"Candidate B:\"}, {\"type\": \"text\", \"text\": \"Candidate C:\"}]"}
{"ts": "2026-07-13 21:56:50", "kind": "llm", "step": "s40_crit_s41st_S11sh4", "model": "gemini-pro", "dur_s": 63.3, "system_prompt": "You are given an image-generation prompt, the labelled REFERENCE\nimage(s) that were attached to it, and ONE photograph generated\nfrom them (the current best pick of three).\nList what is WRONG with it — ONLY violations of the prompt or of\nits reference instructions: the shot's stated moment and action,\nwho/what must or must NOT be in frame, camera, time of day,\nlocation consistency with the reference, pose/immobility and\ncarried-state clauses, object orientation, anatomy, and every\nexclusion (no text, no invented people or objects).\nBase every finding only on what is visible; ignore taste and\ngeneric aesthetics. For each issue give: issue_ko (short Korean\nline) + fix_en (ONE imperative English edit that fixes exactly\nthat while changing nothing else). Empty array if nothing wrong.", "user_prompt": "[{\"type\": \"text\", \"text\": \"THE PROMPT:\\nCreate ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\\n\\nSHOT TEXT (authoritative, Korean): 철제 파이프 난간을 손으로 잡은 수리영이 코끝을 찡그린 채 계단 중간에 서 있는 얼굴 클로즈업\\n\\nLOCATION (lock): A narrow exterior metal staircase attached to an old low-rise residential building. It has exposed steel steps and tubular pipe railings leading upward toward the roof. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.\\n\\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\\ntext may describe characters metaphorically, figuratively or with\\nexaggeration. Photograph what a real movie camera would actually\\nrecord on a physical set — exaggerated or figurative impressions\\nbecome realistic staging choices (lighting, distance, angle,\\nwardrobe), not literal fantasy imagery.\\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\\nfeatures non-human or virtual beings (as in science fiction or\\nfantasy), every character — however indirectly, vaguely or\\nfiguratively the text describes them — IS a real human. When the\\ntext gives no direct visual description of a person, IMAGINE one\\nand still show them as a concrete, fully-formed human being:\\nalways render the human form to the maximum extent — build,\\nposture, face, hands, clothing — never reduce a person to a shape,\\nblob, solid silhouette or abstract mass.\\n\\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\\nperson's eyes, face or presence emotionally or figuratively (vacant,\\nhollow, dazed, burning, lifeless gaze and the like), it describes an\\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\\nthrough gaze direction, focus, eyelids, facial muscles, stillness\\nand posture. Every living person's eyes remain anatomically normal\\nhuman eyes with a natural iris and pupil, natural sclera and normal\\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\\notherwise alter eyeballs, skin or anatomy — unless the story\\nexplicitly declares that being non-human or supernatural in form.\\n\\nPROPS FACE THE RIGHT WAY: every handheld or used object must be\\noriented exactly as its real-world use requires. A person reading,\\nwatching or operating something (a phone, a photograph, a paper,\\nany device) has its functional side — screen, front, page — facing\\nTHEIR OWN eyes; the camera then sees whatever side the staging\\ngeometry implies (often its back). Show the functional side to the\\ncamera ONLY when the shot text itself stages it toward the viewer.\\nNever flip, mirror or reverse an object's front and back.\\n\\nMOVEMENT (follow exactly): static: Suri-young pauses midway up the staircase while ascending toward the rooftop, gripping the metal-pipe railing with a tense posture and wrinkling her nose at the sudden foul smell, her body oriented uphill.\\n\\nFIGURES — size & depth (follow exactly): Suri-young’s face fills ~2/3 of the frame height in close-up and is the nearest figure; her hand and the metal-pipe railing sit slightly farther from the camera as she remains midway on the stairs.\\n\\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 수리영 (Korean young woman, early 20s face, oval face, natural black long hair) — never anyone else, and never add a person the shot text does not show. IF only part of a person is in frame (a hand, arm, foot, back, silhouette), that body part belongs to the specific person the shot text names — its sex, age, build, skin and grooming must unmistakably match that person's profile above.\\n\\nNo text, captions, watermarks or annotations anywhere.\"}, {\"type\": \"text\", \"text\": \"REFERENCE — LOCATION PHOTOGRAPH — the exact place of this shot: its architecture, materials, fixed features and lighting mood are spatial truth; stage the moment inside this place. Never copy its camera framing.\"}, {\"type\": \"text\", \"text\": \"REFERENCE — LAYOUT SKETCH — a bare thin-line layout guide, a REFERENCE ONLY: take from it ONLY the camera framing, figure placement, pose and size/depth order. It carries ZERO visual style — every texture, material, light and all realism come from the text and the photographic reference. Never let any line-drawing quality leak into the output.\"}, {\"type\": \"text\", \"text\": \"REFERENCE — CHARACTER REFERENCE — 수리영: the exact person appearing in this shot; match face, hair and build exactly.\"}, {\"type\": \"text\", \"text\": \"Photograph to examine:\"}]"}
{"ts": "2026-07-13 21:57:11", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s40_fix_s41st_S11sh4", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s41/stills/S11sh4_a.png"], "ref_labels": ["PHOTOGRAPH TO EDIT — fix ONLY the issues the prompt lists; preserve everything else exactly."], "attempt": 1, "dur_s": 20.4, "bytes": 2527130, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s41/stills/S11sh4_fix.png", "prompt": "Edit this photograph. Apply ONLY the corrections listed below,\neach in place, changing nothing else:\n\nCORRECTIONS:\n- Push the hand and the metal-pipe railing slightly farther back in depth so that Suri-young's face is unmistakably the nearest figure to the camera.\n- Correct the anatomy of the hand gripping the railing to have proper finger and thumb orientation for a natural grip.\n\nPRESERVE EVERYTHING ELSE EXACTLY as in the original photograph —\nevery person, pose, face, garment, object, set feature, lighting,\ncamera and framing stay identical. No text, captions or\nwatermarks anywhere."}
{"ts": "2026-07-13 21:57:41", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s40_s41st_S12sh11_a", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s40/plates/plate_daughter_bedroom_night_doorway_wide_sel.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s41/conti_S12sh11.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/1d7902d5-8b31-4ab6-9e6a-5da6ab5d842f.png"], "ref_labels": ["LOCATION PHOTOGRAPH — the exact place of this shot: its architecture, materials, fixed features and lighting mood are spatial truth; stage the moment inside this place. Never copy its camera framing.", "LAYOUT SKETCH — a bare thin-line layout guide, a REFERENCE ONLY: take from it ONLY the camera framing, figure placement, pose and size/depth order. It carries ZERO visual style — every texture, material, light and all realism come from the text and the photographic reference. Never let any line-drawing quality leak into the output.", "CHARACTER REFERENCE — 민숙 (환시): the exact person appearing in this shot; match face, hair and build exactly."], "attempt": 1, "dur_s": 30.1, "bytes": 2460200, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s41/stills/S12sh11_a.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\n\nSHOT TEXT (authoritative, Korean): 옷과 피부가 힘없이 무너져 미동이 없는 민숙이 바닥에 주저앉아 고개를 푹 숙인 정지 상태\n\nLOCATION (lock): A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.\n\nIMMOBILE CHARACTER POSE — CANONICAL (identical wherever this character appears in ANY panel; on any conflict THIS POSE WINS): Min-sook is seated collapsed on the floor behind the curtain with her head dropped forward. One hand is clenched around a crumpled photograph.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nPROPS FACE THE RIGHT WAY: every handheld or used object must be\noriented exactly as its real-world use requires. A person reading,\nwatching or operating something (a phone, a photograph, a paper,\nany device) has its functional side — screen, front, page — facing\nTHEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nMOVEMENT (follow exactly): static: utterly motionless, collapsed Min-sook is seated collapsed on the floor behind the curtain with her head dropped forward, shoulders fallen, limbs limp, and body weight fully given way.\n\nFIGURES — size & depth (follow exactly): Min-sook's dark stains-covered body fills about 2/3 of the frame height and is the NEAREST principal figure. The floor directly beneath her is nearer than the surrounding bedroom and curtain area, which recede FARTHER behind her.\n\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Min-sook remains dead behind the curtain, seated collapsed on the floor with her head dropped forward, her torn shoulder and collarbone exposed amid the dark stains and dark-stained footprints. One hand is clenched around a crumpled photograph, and the small circular mark remains on her wrist.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 민숙 (환시) — never anyone else, and never add a person the shot text does not show. IF only part of a person is in frame (a hand, arm, foot, back, silhouette), that body part belongs to the specific person the shot text names — its sex, age, build, skin and grooming must unmistakably match that person's profile above.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-13 21:58:04", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s40_s41st_S12sh11_b", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s40/plates/plate_daughter_bedroom_night_doorway_wide_sel.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s41/conti_S12sh11.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/1d7902d5-8b31-4ab6-9e6a-5da6ab5d842f.png"], "ref_labels": ["LOCATION PHOTOGRAPH — the exact place of this shot: its architecture, materials, fixed features and lighting mood are spatial truth; stage the moment inside this place. Never copy its camera framing.", "LAYOUT SKETCH — a bare thin-line layout guide, a REFERENCE ONLY: take from it ONLY the camera framing, figure placement, pose and size/depth order. It carries ZERO visual style — every texture, material, light and all realism come from the text and the photographic reference. Never let any line-drawing quality leak into the output.", "CHARACTER REFERENCE — 민숙 (환시): the exact person appearing in this shot; match face, hair and build exactly."], "attempt": 1, "dur_s": 23.4, "bytes": 3039703, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s41/stills/S12sh11_b.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\n\nSHOT TEXT (authoritative, Korean): 옷과 피부가 힘없이 무너져 미동이 없는 민숙이 바닥에 주저앉아 고개를 푹 숙인 정지 상태\n\nLOCATION (lock): A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.\n\nIMMOBILE CHARACTER POSE — CANONICAL (identical wherever this character appears in ANY panel; on any conflict THIS POSE WINS): Min-sook is seated collapsed on the floor behind the curtain with her head dropped forward. One hand is clenched around a crumpled photograph.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nPROPS FACE THE RIGHT WAY: every handheld or used object must be\noriented exactly as its real-world use requires. A person reading,\nwatching or operating something (a phone, a photograph, a paper,\nany device) has its functional side — screen, front, page — facing\nTHEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nMOVEMENT (follow exactly): static: utterly motionless, collapsed Min-sook is seated collapsed on the floor behind the curtain with her head dropped forward, shoulders fallen, limbs limp, and body weight fully given way.\n\nFIGURES — size & depth (follow exactly): Min-sook's dark stains-covered body fills about 2/3 of the frame height and is the NEAREST principal figure. The floor directly beneath her is nearer than the surrounding bedroom and curtain area, which recede FARTHER behind her.\n\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Min-sook remains dead behind the curtain, seated collapsed on the floor with her head dropped forward, her torn shoulder and collarbone exposed amid the dark stains and dark-stained footprints. One hand is clenched around a crumpled photograph, and the small circular mark remains on her wrist.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 민숙 (환시) — never anyone else, and never add a person the shot text does not show. IF only part of a person is in frame (a hand, arm, foot, back, silhouette), that body part belongs to the specific person the shot text names — its sex, age, build, skin and grooming must unmistakably match that person's profile above.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-13 21:58:40", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s40_s41st_S12sh11_c", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s40/plates/plate_daughter_bedroom_night_doorway_wide_sel.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s41/conti_S12sh11.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/1d7902d5-8b31-4ab6-9e6a-5da6ab5d842f.png"], "ref_labels": ["LOCATION PHOTOGRAPH — the exact place of this shot: its architecture, materials, fixed features and lighting mood are spatial truth; stage the moment inside this place. Never copy its camera framing.", "LAYOUT SKETCH — a bare thin-line layout guide, a REFERENCE ONLY: take from it ONLY the camera framing, figure placement, pose and size/depth order. It carries ZERO visual style — every texture, material, light and all realism come from the text and the photographic reference. Never let any line-drawing quality leak into the output.", "CHARACTER REFERENCE — 민숙 (환시): the exact person appearing in this shot; match face, hair and build exactly."], "attempt": 1, "dur_s": 35.5, "bytes": 2539587, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s41/stills/S12sh11_c.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\n\nSHOT TEXT (authoritative, Korean): 옷과 피부가 힘없이 무너져 미동이 없는 민숙이 바닥에 주저앉아 고개를 푹 숙인 정지 상태\n\nLOCATION (lock): A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.\n\nIMMOBILE CHARACTER POSE — CANONICAL (identical wherever this character appears in ANY panel; on any conflict THIS POSE WINS): Min-sook is seated collapsed on the floor behind the curtain with her head dropped forward. One hand is clenched around a crumpled photograph.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nPROPS FACE THE RIGHT WAY: every handheld or used object must be\noriented exactly as its real-world use requires. A person reading,\nwatching or operating something (a phone, a photograph, a paper,\nany device) has its functional side — screen, front, page — facing\nTHEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nMOVEMENT (follow exactly): static: utterly motionless, collapsed Min-sook is seated collapsed on the floor behind the curtain with her head dropped forward, shoulders fallen, limbs limp, and body weight fully given way.\n\nFIGURES — size & depth (follow exactly): Min-sook's dark stains-covered body fills about 2/3 of the frame height and is the NEAREST principal figure. The floor directly beneath her is nearer than the surrounding bedroom and curtain area, which recede FARTHER behind her.\n\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Min-sook remains dead behind the curtain, seated collapsed on the floor with her head dropped forward, her torn shoulder and collarbone exposed amid the dark stains and dark-stained footprints. One hand is clenched around a crumpled photograph, and the small circular mark remains on her wrist.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 민숙 (환시) — never anyone else, and never add a person the shot text does not show. IF only part of a person is in frame (a hand, arm, foot, back, silhouette), that body part belongs to the specific person the shot text names — its sex, age, build, skin and grooming must unmistakably match that person's profile above.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-13 21:59:16", "kind": "llm", "step": "s40_judge_s41st_S12sh11", "model": "gemini-pro", "dur_s": 36.2, "system_prompt": "You are given ONE image-generation prompt, the REFERENCE image(s)\nthat were attached to it (labelled), and THREE candidate images,\nlabelled A, B, C in the order attached, all generated from that\nexact prompt with those exact references.\nPick the ONE candidate that most faithfully realises the prompt.\nJudge ONLY fidelity to the prompt and its reference instructions:\nthe shot text's moment and action, who is and is NOT in frame,\ncamera framing, time of day, the LOCATION lock (the place must be\nthe one the reference shows — same architecture, materials,\nfixtures), pose/immobility and carried-state clauses, and every\nexclusion (no text, no invented people or objects). Consistency\nwith the attached reference image counts as prompt fidelity.\nIgnore generic aesthetic appeal.\nCheck every candidate point by point before deciding; base every\nverdict only on what is visible.\nAlso give every candidate an integer score 0-10 for that same\nfidelity.\nOutput: winner, ranking best-to-worst, and per candidate a score\nplus a one-line Korean verdict citing the decisive prompt points.", "user_prompt": "[{\"type\": \"text\", \"text\": \"THE PROMPT (all three candidates were generated from this):\\nCreate ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\\n\\nSHOT TEXT (authoritative, Korean): 옷과 피부가 힘없이 무너져 미동이 없는 민숙이 바닥에 주저앉아 고개를 푹 숙인 정지 상태\\n\\nLOCATION (lock): A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.\\n\\nIMMOBILE CHARACTER POSE — CANONICAL (identical wherever this character appears in ANY panel; on any conflict THIS POSE WINS): Min-sook is seated collapsed on the floor behind the curtain with her head dropped forward. One hand is clenched around a crumpled photograph.\\n\\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\\ntext may describe characters metaphorically, figuratively or with\\nexaggeration. Photograph what a real movie camera would actually\\nrecord on a physical set — exaggerated or figurative impressions\\nbecome realistic staging choices (lighting, distance, angle,\\nwardrobe), not literal fantasy imagery.\\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\\nfeatures non-human or virtual beings (as in science fiction or\\nfantasy), every character — however indirectly, vaguely or\\nfiguratively the text describes them — IS a real human. When the\\ntext gives no direct visual description of a person, IMAGINE one\\nand still show them as a concrete, fully-formed human being:\\nalways render the human form to the maximum extent — build,\\nposture, face, hands, clothing — never reduce a person to a shape,\\nblob, solid silhouette or abstract mass.\\n\\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\\nperson's eyes, face or presence emotionally or figuratively (vacant,\\nhollow, dazed, burning, lifeless gaze and the like), it describes an\\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\\nthrough gaze direction, focus, eyelids, facial muscles, stillness\\nand posture. Every living person's eyes remain anatomically normal\\nhuman eyes with a natural iris and pupil, natural sclera and normal\\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\\notherwise alter eyeballs, skin or anatomy — unless the story\\nexplicitly declares that being non-human or supernatural in form.\\n\\nPROPS FACE THE RIGHT WAY: every handheld or used object must be\\noriented exactly as its real-world use requires. A person reading,\\nwatching or operating something (a phone, a photograph, a paper,\\nany device) has its functional side — screen, front, page — facing\\nTHEIR OWN eyes; the camera then sees whatever side the staging\\ngeometry implies (often its back). Show the functional side to the\\ncamera ONLY when the shot text itself stages it toward the viewer.\\nNever flip, mirror or reverse an object's front and back.\\n\\nMOVEMENT (follow exactly): static: utterly motionless, collapsed Min-sook is seated collapsed on the floor behind the curtain with her head dropped forward, shoulders fallen, limbs limp, and body weight fully given way.\\n\\nFIGURES — size & depth (follow exactly): Min-sook's dark stains-covered body fills about 2/3 of the frame height and is the NEAREST principal figure. The floor directly beneath her is nearer than the surrounding bedroom and curtain area, which recede FARTHER behind her.\\n\\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Min-sook remains dead behind the curtain, seated collapsed on the floor with her head dropped forward, her torn shoulder and collarbone exposed amid the dark stains and dark-stained footprints. One hand is clenched around a crumpled photograph, and the small circular mark remains on her wrist.\\n\\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 민숙 (환시) — never anyone else, and never add a person the shot text does not show. IF only part of a person is in frame (a hand, arm, foot, back, silhouette), that body part belongs to the specific person the shot text names — its sex, age, build, skin and grooming must unmistakably match that person's profile above.\\n\\nNo text, captions, watermarks or annotations anywhere.\"}, {\"type\": \"text\", \"text\": \"REFERENCE — LOCATION PHOTOGRAPH — the exact place of this shot: its architecture, materials, fixed features and lighting mood are spatial truth; stage the moment inside this place. Never copy its camera framing.\"}, {\"type\": \"text\", \"text\": \"REFERENCE — LAYOUT SKETCH — a bare thin-line layout guide, a REFERENCE ONLY: take from it ONLY the camera framing, figure placement, pose and size/depth order. It carries ZERO visual style — every texture, material, light and all realism come from the text and the photographic reference. Never let any line-drawing quality leak into the output.\"}, {\"type\": \"text\", \"text\": \"REFERENCE — CHARACTER REFERENCE — 민숙 (환시): the exact person appearing in this shot; match face, hair and build exactly.\"}, {\"type\": \"text\", \"text\": \"Candidate A:\"}, {\"type\": \"text\", \"text\": \"Candidate B:\"}, {\"type\": \"text\", \"text\": \"Candidate C:\"}]"}
{"ts": "2026-07-13 21:59:46", "kind": "llm", "step": "s40_crit_s41st_S12sh11", "model": "gemini-pro", "dur_s": 29.7, "system_prompt": "You are given an image-generation prompt, the labelled REFERENCE\nimage(s) that were attached to it, and ONE photograph generated\nfrom them (the current best pick of three).\nList what is WRONG with it — ONLY violations of the prompt or of\nits reference instructions: the shot's stated moment and action,\nwho/what must or must NOT be in frame, camera, time of day,\nlocation consistency with the reference, pose/immobility and\ncarried-state clauses, object orientation, anatomy, and every\nexclusion (no text, no invented people or objects).\nBase every finding only on what is visible; ignore taste and\ngeneric aesthetics. For each issue give: issue_ko (short Korean\nline) + fix_en (ONE imperative English edit that fixes exactly\nthat while changing nothing else). Empty array if nothing wrong.", "user_prompt": "[{\"type\": \"text\", \"text\": \"THE PROMPT:\\nCreate ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\\n\\nSHOT TEXT (authoritative, Korean): 옷과 피부가 힘없이 무너져 미동이 없는 민숙이 바닥에 주저앉아 고개를 푹 숙인 정지 상태\\n\\nLOCATION (lock): A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.\\n\\nIMMOBILE CHARACTER POSE — CANONICAL (identical wherever this character appears in ANY panel; on any conflict THIS POSE WINS): Min-sook is seated collapsed on the floor behind the curtain with her head dropped forward. One hand is clenched around a crumpled photograph.\\n\\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\\ntext may describe characters metaphorically, figuratively or with\\nexaggeration. Photograph what a real movie camera would actually\\nrecord on a physical set — exaggerated or figurative impressions\\nbecome realistic staging choices (lighting, distance, angle,\\nwardrobe), not literal fantasy imagery.\\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\\nfeatures non-human or virtual beings (as in science fiction or\\nfantasy), every character — however indirectly, vaguely or\\nfiguratively the text describes them — IS a real human. When the\\ntext gives no direct visual description of a person, IMAGINE one\\nand still show them as a concrete, fully-formed human being:\\nalways render the human form to the maximum extent — build,\\nposture, face, hands, clothing — never reduce a person to a shape,\\nblob, solid silhouette or abstract mass.\\n\\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\\nperson's eyes, face or presence emotionally or figuratively (vacant,\\nhollow, dazed, burning, lifeless gaze and the like), it describes an\\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\\nthrough gaze direction, focus, eyelids, facial muscles, stillness\\nand posture. Every living person's eyes remain anatomically normal\\nhuman eyes with a natural iris and pupil, natural sclera and normal\\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\\notherwise alter eyeballs, skin or anatomy — unless the story\\nexplicitly declares that being non-human or supernatural in form.\\n\\nPROPS FACE THE RIGHT WAY: every handheld or used object must be\\noriented exactly as its real-world use requires. A person reading,\\nwatching or operating something (a phone, a photograph, a paper,\\nany device) has its functional side — screen, front, page — facing\\nTHEIR OWN eyes; the camera then sees whatever side the staging\\ngeometry implies (often its back). Show the functional side to the\\ncamera ONLY when the shot text itself stages it toward the viewer.\\nNever flip, mirror or reverse an object's front and back.\\n\\nMOVEMENT (follow exactly): static: utterly motionless, collapsed Min-sook is seated collapsed on the floor behind the curtain with her head dropped forward, shoulders fallen, limbs limp, and body weight fully given way.\\n\\nFIGURES — size & depth (follow exactly): Min-sook's dark stains-covered body fills about 2/3 of the frame height and is the NEAREST principal figure. The floor directly beneath her is nearer than the surrounding bedroom and curtain area, which recede FARTHER behind her.\\n\\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Min-sook remains dead behind the curtain, seated collapsed on the floor with her head dropped forward, her torn shoulder and collarbone exposed amid the dark stains and dark-stained footprints. One hand is clenched around a crumpled photograph, and the small circular mark remains on her wrist.\\n\\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 민숙 (환시) — never anyone else, and never add a person the shot text does not show. IF only part of a person is in frame (a hand, arm, foot, back, silhouette), that body part belongs to the specific person the shot text names — its sex, age, build, skin and grooming must unmistakably match that person's profile above.\\n\\nNo text, captions, watermarks or annotations anywhere.\"}, {\"type\": \"text\", \"text\": \"REFERENCE — LOCATION PHOTOGRAPH — the exact place of this shot: its architecture, materials, fixed features and lighting mood are spatial truth; stage the moment inside this place. Never copy its camera framing.\"}, {\"type\": \"text\", \"text\": \"REFERENCE — LAYOUT SKETCH — a bare thin-line layout guide, a REFERENCE ONLY: take from it ONLY the camera framing, figure placement, pose and size/depth order. It carries ZERO visual style — every texture, material, light and all realism come from the text and the photographic reference. Never let any line-drawing quality leak into the output.\"}, {\"type\": \"text\", \"text\": \"REFERENCE — CHARACTER REFERENCE — 민숙 (환시): the exact person appearing in this shot; match face, hair and build exactly.\"}, {\"type\": \"text\", \"text\": \"Photograph to examine:\"}]"}
{"ts": "2026-07-13 22:00:09", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s40_fix_s41st_S12sh11", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s41/stills/S12sh11_c.png"], "ref_labels": ["PHOTOGRAPH TO EDIT — fix ONLY the issues the prompt lists; preserve everything else exactly."], "attempt": 1, "dur_s": 23.1, "bytes": 2577061, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s41/stills/S12sh11_fix.png", "prompt": "Edit this photograph. Apply ONLY the corrections listed below,\neach in place, changing nothing else:\n\nCORRECTIONS:\n- Render exactly five toes on the right foot, fixing the anatomical error.\n- Close the fingers into a tight fist clenching the crumpled photograph.\n- Position the character so she is unsupported and not leaning against the curtain, ensuring the curtain recedes entirely behind her.\n\nPRESERVE EVERYTHING ELSE EXACTLY as in the original photograph —\nevery person, pose, face, garment, object, set feature, lighting,\ncamera and framing stay identical. No text, captions or\nwatermarks anywhere."}
{"ts": "2026-07-13 22:00:51", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s40_s41st_S13sh4_a", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s40/plates/bg_S13sh4_sel.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s41/conti_S13sh4.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/39864973-d3d5-4886-bfb2-f8db608a005b.png"], "ref_labels": ["LOCATION PHOTOGRAPH — the exact place of this shot: its architecture, materials, fixed features and lighting mood are spatial truth; stage the moment inside this place. Never copy its camera framing.", "LAYOUT SKETCH — a bare thin-line layout guide, a REFERENCE ONLY: take from it ONLY the camera framing, figure placement, pose and size/depth order. It carries ZERO visual style — every texture, material, light and all realism come from the text and the photographic reference. Never let any line-drawing quality leak into the output.", "CHARACTER REFERENCE — 수리영: the exact person appearing in this shot; match face, hair and build exactly."], "attempt": 1, "dur_s": 41.8, "bytes": 3129894, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s41/stills/S13sh4_a.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\n\nSHOT TEXT (authoritative, Korean): 수리영이 초점을 잃은 눈으로 허공을 응시하며 서 있는 모습\n\nLOCATION (lock): A confined ground-level alley and small courtyard beside an aging multi-unit residential building. Concrete walls, building entrances, and the base of the exterior access structure frame the space. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nPROPS FACE THE RIGHT WAY: every handheld or used object must be\noriented exactly as its real-world use requires. A person reading,\nwatching or operating something (a phone, a photograph, a paper,\nany device) has its functional side — screen, front, page — facing\nTHEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nMOVEMENT (follow exactly): static: Su-ri-young stands motionless and dazed after coming down from the rooftop room, her unfocused eyes staring into empty space and her body lacking purposeful direction.\n\nFIGURES — size & depth (follow exactly): Su-ri-young is the only visible figure, so she is both the nearest and farthest person; her apparent fraction of frame height is unspecified in the source.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 수리영 (Korean young woman, early 20s face, oval face, natural black long hair) — never anyone else, and never add a person the shot text does not show. IF only part of a person is in frame (a hand, arm, foot, back, silhouette), that body part belongs to the specific person the shot text names — its sex, age, build, skin and grooming must unmistakably match that person's profile above.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-13 22:01:22", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s40_s41st_S13sh4_b", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s40/plates/bg_S13sh4_sel.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s41/conti_S13sh4.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/39864973-d3d5-4886-bfb2-f8db608a005b.png"], "ref_labels": ["LOCATION PHOTOGRAPH — the exact place of this shot: its architecture, materials, fixed features and lighting mood are spatial truth; stage the moment inside this place. Never copy its camera framing.", "LAYOUT SKETCH — a bare thin-line layout guide, a REFERENCE ONLY: take from it ONLY the camera framing, figure placement, pose and size/depth order. It carries ZERO visual style — every texture, material, light and all realism come from the text and the photographic reference. Never let any line-drawing quality leak into the output.", "CHARACTER REFERENCE — 수리영: the exact person appearing in this shot; match face, hair and build exactly."], "attempt": 1, "dur_s": 31.7, "bytes": 3151351, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s41/stills/S13sh4_b.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\n\nSHOT TEXT (authoritative, Korean): 수리영이 초점을 잃은 눈으로 허공을 응시하며 서 있는 모습\n\nLOCATION (lock): A confined ground-level alley and small courtyard beside an aging multi-unit residential building. Concrete walls, building entrances, and the base of the exterior access structure frame the space. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nPROPS FACE THE RIGHT WAY: every handheld or used object must be\noriented exactly as its real-world use requires. A person reading,\nwatching or operating something (a phone, a photograph, a paper,\nany device) has its functional side — screen, front, page — facing\nTHEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nMOVEMENT (follow exactly): static: Su-ri-young stands motionless and dazed after coming down from the rooftop room, her unfocused eyes staring into empty space and her body lacking purposeful direction.\n\nFIGURES — size & depth (follow exactly): Su-ri-young is the only visible figure, so she is both the nearest and farthest person; her apparent fraction of frame height is unspecified in the source.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 수리영 (Korean young woman, early 20s face, oval face, natural black long hair) — never anyone else, and never add a person the shot text does not show. IF only part of a person is in frame (a hand, arm, foot, back, silhouette), that body part belongs to the specific person the shot text names — its sex, age, build, skin and grooming must unmistakably match that person's profile above.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-13 22:01:46", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s40_s41st_S13sh4_c", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s40/plates/bg_S13sh4_sel.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s41/conti_S13sh4.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/39864973-d3d5-4886-bfb2-f8db608a005b.png"], "ref_labels": ["LOCATION PHOTOGRAPH — the exact place of this shot: its architecture, materials, fixed features and lighting mood are spatial truth; stage the moment inside this place. Never copy its camera framing.", "LAYOUT SKETCH — a bare thin-line layout guide, a REFERENCE ONLY: take from it ONLY the camera framing, figure placement, pose and size/depth order. It carries ZERO visual style — every texture, material, light and all realism come from the text and the photographic reference. Never let any line-drawing quality leak into the output.", "CHARACTER REFERENCE — 수리영: the exact person appearing in this shot; match face, hair and build exactly."], "attempt": 1, "dur_s": 23.2, "bytes": 3124614, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s41/stills/S13sh4_c.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\n\nSHOT TEXT (authoritative, Korean): 수리영이 초점을 잃은 눈으로 허공을 응시하며 서 있는 모습\n\nLOCATION (lock): A confined ground-level alley and small courtyard beside an aging multi-unit residential building. Concrete walls, building entrances, and the base of the exterior access structure frame the space. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nPROPS FACE THE RIGHT WAY: every handheld or used object must be\noriented exactly as its real-world use requires. A person reading,\nwatching or operating something (a phone, a photograph, a paper,\nany device) has its functional side — screen, front, page — facing\nTHEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nMOVEMENT (follow exactly): static: Su-ri-young stands motionless and dazed after coming down from the rooftop room, her unfocused eyes staring into empty space and her body lacking purposeful direction.\n\nFIGURES — size & depth (follow exactly): Su-ri-young is the only visible figure, so she is both the nearest and farthest person; her apparent fraction of frame height is unspecified in the source.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 수리영 (Korean young woman, early 20s face, oval face, natural black long hair) — never anyone else, and never add a person the shot text does not show. IF only part of a person is in frame (a hand, arm, foot, back, silhouette), that body part belongs to the specific person the shot text names — its sex, age, build, skin and grooming must unmistakably match that person's profile above.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-13 22:02:28", "kind": "llm", "step": "s40_judge_s41st_S13sh4", "model": "gemini-pro", "dur_s": 42.1, "system_prompt": "You are given ONE image-generation prompt, the REFERENCE image(s)\nthat were attached to it (labelled), and THREE candidate images,\nlabelled A, B, C in the order attached, all generated from that\nexact prompt with those exact references.\nPick the ONE candidate that most faithfully realises the prompt.\nJudge ONLY fidelity to the prompt and its reference instructions:\nthe shot text's moment and action, who is and is NOT in frame,\ncamera framing, time of day, the LOCATION lock (the place must be\nthe one the reference shows — same architecture, materials,\nfixtures), pose/immobility and carried-state clauses, and every\nexclusion (no text, no invented people or objects). Consistency\nwith the attached reference image counts as prompt fidelity.\nIgnore generic aesthetic appeal.\nCheck every candidate point by point before deciding; base every\nverdict only on what is visible.\nAlso give every candidate an integer score 0-10 for that same\nfidelity.\nOutput: winner, ranking best-to-worst, and per candidate a score\nplus a one-line Korean verdict citing the decisive prompt points.", "user_prompt": "[{\"type\": \"text\", \"text\": \"THE PROMPT (all three candidates were generated from this):\\nCreate ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\\n\\nSHOT TEXT (authoritative, Korean): 수리영이 초점을 잃은 눈으로 허공을 응시하며 서 있는 모습\\n\\nLOCATION (lock): A confined ground-level alley and small courtyard beside an aging multi-unit residential building. Concrete walls, building entrances, and the base of the exterior access structure frame the space. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.\\n\\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\\ntext may describe characters metaphorically, figuratively or with\\nexaggeration. Photograph what a real movie camera would actually\\nrecord on a physical set — exaggerated or figurative impressions\\nbecome realistic staging choices (lighting, distance, angle,\\nwardrobe), not literal fantasy imagery.\\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\\nfeatures non-human or virtual beings (as in science fiction or\\nfantasy), every character — however indirectly, vaguely or\\nfiguratively the text describes them — IS a real human. When the\\ntext gives no direct visual description of a person, IMAGINE one\\nand still show them as a concrete, fully-formed human being:\\nalways render the human form to the maximum extent — build,\\nposture, face, hands, clothing — never reduce a person to a shape,\\nblob, solid silhouette or abstract mass.\\n\\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\\nperson's eyes, face or presence emotionally or figuratively (vacant,\\nhollow, dazed, burning, lifeless gaze and the like), it describes an\\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\\nthrough gaze direction, focus, eyelids, facial muscles, stillness\\nand posture. Every living person's eyes remain anatomically normal\\nhuman eyes with a natural iris and pupil, natural sclera and normal\\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\\notherwise alter eyeballs, skin or anatomy — unless the story\\nexplicitly declares that being non-human or supernatural in form.\\n\\nPROPS FACE THE RIGHT WAY: every handheld or used object must be\\noriented exactly as its real-world use requires. A person reading,\\nwatching or operating something (a phone, a photograph, a paper,\\nany device) has its functional side — screen, front, page — facing\\nTHEIR OWN eyes; the camera then sees whatever side the staging\\ngeometry implies (often its back). Show the functional side to the\\ncamera ONLY when the shot text itself stages it toward the viewer.\\nNever flip, mirror or reverse an object's front and back.\\n\\nMOVEMENT (follow exactly): static: Su-ri-young stands motionless and dazed after coming down from the rooftop room, her unfocused eyes staring into empty space and her body lacking purposeful direction.\\n\\nFIGURES — size & depth (follow exactly): Su-ri-young is the only visible figure, so she is both the nearest and farthest person; her apparent fraction of frame height is unspecified in the source.\\n\\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 수리영 (Korean young woman, early 20s face, oval face, natural black long hair) — never anyone else, and never add a person the shot text does not show. IF only part of a person is in frame (a hand, arm, foot, back, silhouette), that body part belongs to the specific person the shot text names — its sex, age, build, skin and grooming must unmistakably match that person's profile above.\\n\\nNo text, captions, watermarks or annotations anywhere.\"}, {\"type\": \"text\", \"text\": \"REFERENCE — LOCATION PHOTOGRAPH — the exact place of this shot: its architecture, materials, fixed features and lighting mood are spatial truth; stage the moment inside this place. Never copy its camera framing.\"}, {\"type\": \"text\", \"text\": \"REFERENCE — LAYOUT SKETCH — a bare thin-line layout guide, a REFERENCE ONLY: take from it ONLY the camera framing, figure placement, pose and size/depth order. It carries ZERO visual style — every texture, material, light and all realism come from the text and the photographic reference. Never let any line-drawing quality leak into the output.\"}, {\"type\": \"text\", \"text\": \"REFERENCE — CHARACTER REFERENCE — 수리영: the exact person appearing in this shot; match face, hair and build exactly.\"}, {\"type\": \"text\", \"text\": \"Candidate A:\"}, {\"type\": \"text\", \"text\": \"Candidate B:\"}, {\"type\": \"text\", \"text\": \"Candidate C:\"}]"}
{"ts": "2026-07-13 22:03:03", "kind": "llm", "step": "s40_crit_s41st_S13sh4", "model": "gemini-pro", "dur_s": 35.0, "system_prompt": "You are given an image-generation prompt, the labelled REFERENCE\nimage(s) that were attached to it, and ONE photograph generated\nfrom them (the current best pick of three).\nList what is WRONG with it — ONLY violations of the prompt or of\nits reference instructions: the shot's stated moment and action,\nwho/what must or must NOT be in frame, camera, time of day,\nlocation consistency with the reference, pose/immobility and\ncarried-state clauses, object orientation, anatomy, and every\nexclusion (no text, no invented people or objects).\nBase every finding only on what is visible; ignore taste and\ngeneric aesthetics. For each issue give: issue_ko (short Korean\nline) + fix_en (ONE imperative English edit that fixes exactly\nthat while changing nothing else). Empty array if nothing wrong.", "user_prompt": "[{\"type\": \"text\", \"text\": \"THE PROMPT:\\nCreate ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\\n\\nSHOT TEXT (authoritative, Korean): 수리영이 초점을 잃은 눈으로 허공을 응시하며 서 있는 모습\\n\\nLOCATION (lock): A confined ground-level alley and small courtyard beside an aging multi-unit residential building. Concrete walls, building entrances, and the base of the exterior access structure frame the space. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.\\n\\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\\ntext may describe characters metaphorically, figuratively or with\\nexaggeration. Photograph what a real movie camera would actually\\nrecord on a physical set — exaggerated or figurative impressions\\nbecome realistic staging choices (lighting, distance, angle,\\nwardrobe), not literal fantasy imagery.\\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\\nfeatures non-human or virtual beings (as in science fiction or\\nfantasy), every character — however indirectly, vaguely or\\nfiguratively the text describes them — IS a real human. When the\\ntext gives no direct visual description of a person, IMAGINE one\\nand still show them as a concrete, fully-formed human being:\\nalways render the human form to the maximum extent — build,\\nposture, face, hands, clothing — never reduce a person to a shape,\\nblob, solid silhouette or abstract mass.\\n\\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\\nperson's eyes, face or presence emotionally or figuratively (vacant,\\nhollow, dazed, burning, lifeless gaze and the like), it describes an\\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\\nthrough gaze direction, focus, eyelids, facial muscles, stillness\\nand posture. Every living person's eyes remain anatomically normal\\nhuman eyes with a natural iris and pupil, natural sclera and normal\\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\\notherwise alter eyeballs, skin or anatomy — unless the story\\nexplicitly declares that being non-human or supernatural in form.\\n\\nPROPS FACE THE RIGHT WAY: every handheld or used object must be\\noriented exactly as its real-world use requires. A person reading,\\nwatching or operating something (a phone, a photograph, a paper,\\nany device) has its functional side — screen, front, page — facing\\nTHEIR OWN eyes; the camera then sees whatever side the staging\\ngeometry implies (often its back). Show the functional side to the\\ncamera ONLY when the shot text itself stages it toward the viewer.\\nNever flip, mirror or reverse an object's front and back.\\n\\nMOVEMENT (follow exactly): static: Su-ri-young stands motionless and dazed after coming down from the rooftop room, her unfocused eyes staring into empty space and her body lacking purposeful direction.\\n\\nFIGURES — size & depth (follow exactly): Su-ri-young is the only visible figure, so she is both the nearest and farthest person; her apparent fraction of frame height is unspecified in the source.\\n\\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 수리영 (Korean young woman, early 20s face, oval face, natural black long hair) — never anyone else, and never add a person the shot text does not show. IF only part of a person is in frame (a hand, arm, foot, back, silhouette), that body part belongs to the specific person the shot text names — its sex, age, build, skin and grooming must unmistakably match that person's profile above.\\n\\nNo text, captions, watermarks or annotations anywhere.\"}, {\"type\": \"text\", \"text\": \"REFERENCE — LOCATION PHOTOGRAPH — the exact place of this shot: its architecture, materials, fixed features and lighting mood are spatial truth; stage the moment inside this place. Never copy its camera framing.\"}, {\"type\": \"text\", \"text\": \"REFERENCE — LAYOUT SKETCH — a bare thin-line layout guide, a REFERENCE ONLY: take from it ONLY the camera framing, figure placement, pose and size/depth order. It carries ZERO visual style — every texture, material, light and all realism come from the text and the photographic reference. Never let any line-drawing quality leak into the output.\"}, {\"type\": \"text\", \"text\": \"REFERENCE — CHARACTER REFERENCE — 수리영: the exact person appearing in this shot; match face, hair and build exactly.\"}, {\"type\": \"text\", \"text\": \"Photograph to examine:\"}]"}
{"ts": "2026-07-13 22:03:23", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s40_fix_s41st_S13sh4", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s41/stills/S13sh4_c.png"], "ref_labels": ["PHOTOGRAPH TO EDIT — fix ONLY the issues the prompt lists; preserve everything else exactly."], "attempt": 1, "dur_s": 20.3, "bytes": 3221798, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s41/stills/S13sh4_fix.png", "prompt": "Edit this photograph. Apply ONLY the corrections listed below,\neach in place, changing nothing else:\n\nCORRECTIONS:\n- Scale the character up significantly so her height is realistic relative to the environment and her head reaches the top edge of the left wall, matching the layout sketch.\n\nPRESERVE EVERYTHING ELSE EXACTLY as in the original photograph —\nevery person, pose, face, garment, object, set feature, lighting,\ncamera and framing stay identical. No text, captions or\nwatermarks anywhere."}
{"ts": "2026-07-13 22:03:51", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s40_s41st_S14sh11_a", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s40/plates/plate_entry_night_inward_view_sel.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s41/conti_S14sh11.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/bddad176-aa6a-4a71-b5d3-d02e36e19657.png"], "ref_labels": ["LOCATION PHOTOGRAPH — the exact place of this shot: its architecture, materials, fixed features and lighting mood are spatial truth; stage the moment inside this place. Never copy its camera framing.", "LAYOUT SKETCH — a bare thin-line layout guide, a REFERENCE ONLY: take from it ONLY the camera framing, figure placement, pose and size/depth order. It carries ZERO visual style — every texture, material, light and all realism come from the text and the photographic reference. Never let any line-drawing quality leak into the output.", "CHARACTER REFERENCE — 혜수: the exact person appearing in this shot; match face, hair and build exactly."], "attempt": 1, "dur_s": 27.5, "bytes": 2471710, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s41/stills/S14sh11_a.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\n\nSHOT TEXT (authoritative, Korean): 혜수가 날카로운 눈빛으로 김형사를 노려보는 모습\n\nLOCATION (lock): A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nPROPS FACE THE RIGHT WAY: every handheld or used object must be\noriented exactly as its real-world use requires. A person reading,\nwatching or operating something (a phone, a photograph, a paper,\nany device) has its functional side — screen, front, page — facing\nTHEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nMOVEMENT (follow exactly): static: Hye-su fixes a sharp, hostile stare toward Detective Kim, her face and body oriented directly at him.\n\nFIGURES — size & depth (follow exactly): Hye-su fills roughly 2/3 of the frame height and is the NEAREST visible figure. Detective Kim is the FARTHER target of her gaze, whether at the edge of the frame or just off-screen, with no crossing movement between them.\n\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The apartment remains cleared of the earlier evidence: the table is clean, and Suri-young’s room has no motionless figure, dark stains, or red circle. The backpack and doll remain slightly displaced from their earlier positions.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 혜수 (Korean middle-aged woman, mid-40s face, mature facial features, dark natural hair) — never anyone else, and never add a person the shot text does not show. IF only part of a person is in frame (a hand, arm, foot, back, silhouette), that body part belongs to the specific person the shot text names — its sex, age, build, skin and grooming must unmistakably match that person's profile above.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-13 22:04:18", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s40_s41st_S14sh11_b", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s40/plates/plate_entry_night_inward_view_sel.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s41/conti_S14sh11.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/bddad176-aa6a-4a71-b5d3-d02e36e19657.png"], "ref_labels": ["LOCATION PHOTOGRAPH — the exact place of this shot: its architecture, materials, fixed features and lighting mood are spatial truth; stage the moment inside this place. Never copy its camera framing.", "LAYOUT SKETCH — a bare thin-line layout guide, a REFERENCE ONLY: take from it ONLY the camera framing, figure placement, pose and size/depth order. It carries ZERO visual style — every texture, material, light and all realism come from the text and the photographic reference. Never let any line-drawing quality leak into the output.", "CHARACTER REFERENCE — 혜수: the exact person appearing in this shot; match face, hair and build exactly."], "attempt": 1, "dur_s": 27.5, "bytes": 2437768, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s41/stills/S14sh11_b.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\n\nSHOT TEXT (authoritative, Korean): 혜수가 날카로운 눈빛으로 김형사를 노려보는 모습\n\nLOCATION (lock): A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nPROPS FACE THE RIGHT WAY: every handheld or used object must be\noriented exactly as its real-world use requires. A person reading,\nwatching or operating something (a phone, a photograph, a paper,\nany device) has its functional side — screen, front, page — facing\nTHEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nMOVEMENT (follow exactly): static: Hye-su fixes a sharp, hostile stare toward Detective Kim, her face and body oriented directly at him.\n\nFIGURES — size & depth (follow exactly): Hye-su fills roughly 2/3 of the frame height and is the NEAREST visible figure. Detective Kim is the FARTHER target of her gaze, whether at the edge of the frame or just off-screen, with no crossing movement between them.\n\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The apartment remains cleared of the earlier evidence: the table is clean, and Suri-young’s room has no motionless figure, dark stains, or red circle. The backpack and doll remain slightly displaced from their earlier positions.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 혜수 (Korean middle-aged woman, mid-40s face, mature facial features, dark natural hair) — never anyone else, and never add a person the shot text does not show. IF only part of a person is in frame (a hand, arm, foot, back, silhouette), that body part belongs to the specific person the shot text names — its sex, age, build, skin and grooming must unmistakably match that person's profile above.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-13 22:04:48", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s40_s41st_S14sh11_c", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s40/plates/plate_entry_night_inward_view_sel.png", "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s41/conti_S14sh11.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/8ad94c03-5b33-4d51-83d0-a6e4106e9c02/images/e666c62b-be34-4abd-9c4d-15e4eb753eba/reference/bddad176-aa6a-4a71-b5d3-d02e36e19657.png"], "ref_labels": ["LOCATION PHOTOGRAPH — the exact place of this shot: its architecture, materials, fixed features and lighting mood are spatial truth; stage the moment inside this place. Never copy its camera framing.", "LAYOUT SKETCH — a bare thin-line layout guide, a REFERENCE ONLY: take from it ONLY the camera framing, figure placement, pose and size/depth order. It carries ZERO visual style — every texture, material, light and all realism come from the text and the photographic reference. Never let any line-drawing quality leak into the output.", "CHARACTER REFERENCE — 혜수: the exact person appearing in this shot; match face, hair and build exactly."], "attempt": 1, "dur_s": 30.3, "bytes": 2404419, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s41/stills/S14sh11_c.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\n\nSHOT TEXT (authoritative, Korean): 혜수가 날카로운 눈빛으로 김형사를 노려보는 모습\n\nLOCATION (lock): A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nPROPS FACE THE RIGHT WAY: every handheld or used object must be\noriented exactly as its real-world use requires. A person reading,\nwatching or operating something (a phone, a photograph, a paper,\nany device) has its functional side — screen, front, page — facing\nTHEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nMOVEMENT (follow exactly): static: Hye-su fixes a sharp, hostile stare toward Detective Kim, her face and body oriented directly at him.\n\nFIGURES — size & depth (follow exactly): Hye-su fills roughly 2/3 of the frame height and is the NEAREST visible figure. Detective Kim is the FARTHER target of her gaze, whether at the edge of the frame or just off-screen, with no crossing movement between them.\n\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The apartment remains cleared of the earlier evidence: the table is clean, and Suri-young’s room has no motionless figure, dark stains, or red circle. The backpack and doll remain slightly displaced from their earlier positions.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 혜수 (Korean middle-aged woman, mid-40s face, mature facial features, dark natural hair) — never anyone else, and never add a person the shot text does not show. IF only part of a person is in frame (a hand, arm, foot, back, silhouette), that body part belongs to the specific person the shot text names — its sex, age, build, skin and grooming must unmistakably match that person's profile above.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-13 22:05:19", "kind": "llm", "step": "s40_judge_s41st_S14sh11", "model": "gemini-pro", "dur_s": 30.8, "system_prompt": "You are given ONE image-generation prompt, the REFERENCE image(s)\nthat were attached to it (labelled), and THREE candidate images,\nlabelled A, B, C in the order attached, all generated from that\nexact prompt with those exact references.\nPick the ONE candidate that most faithfully realises the prompt.\nJudge ONLY fidelity to the prompt and its reference instructions:\nthe shot text's moment and action, who is and is NOT in frame,\ncamera framing, time of day, the LOCATION lock (the place must be\nthe one the reference shows — same architecture, materials,\nfixtures), pose/immobility and carried-state clauses, and every\nexclusion (no text, no invented people or objects). Consistency\nwith the attached reference image counts as prompt fidelity.\nIgnore generic aesthetic appeal.\nCheck every candidate point by point before deciding; base every\nverdict only on what is visible.\nAlso give every candidate an integer score 0-10 for that same\nfidelity.\nOutput: winner, ranking best-to-worst, and per candidate a score\nplus a one-line Korean verdict citing the decisive prompt points.", "user_prompt": "[{\"type\": \"text\", \"text\": \"THE PROMPT (all three candidates were generated from this):\\nCreate ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\\n\\nSHOT TEXT (authoritative, Korean): 혜수가 날카로운 눈빛으로 김형사를 노려보는 모습\\n\\nLOCATION (lock): A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.\\n\\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\\ntext may describe characters metaphorically, figuratively or with\\nexaggeration. Photograph what a real movie camera would actually\\nrecord on a physical set — exaggerated or figurative impressions\\nbecome realistic staging choices (lighting, distance, angle,\\nwardrobe), not literal fantasy imagery.\\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\\nfeatures non-human or virtual beings (as in science fiction or\\nfantasy), every character — however indirectly, vaguely or\\nfiguratively the text describes them — IS a real human. When the\\ntext gives no direct visual description of a person, IMAGINE one\\nand still show them as a concrete, fully-formed human being:\\nalways render the human form to the maximum extent — build,\\nposture, face, hands, clothing — never reduce a person to a shape,\\nblob, solid silhouette or abstract mass.\\n\\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\\nperson's eyes, face or presence emotionally or figuratively (vacant,\\nhollow, dazed, burning, lifeless gaze and the like), it describes an\\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\\nthrough gaze direction, focus, eyelids, facial muscles, stillness\\nand posture. Every living person's eyes remain anatomically normal\\nhuman eyes with a natural iris and pupil, natural sclera and normal\\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\\notherwise alter eyeballs, skin or anatomy — unless the story\\nexplicitly declares that being non-human or supernatural in form.\\n\\nPROPS FACE THE RIGHT WAY: every handheld or used object must be\\noriented exactly as its real-world use requires. A person reading,\\nwatching or operating something (a phone, a photograph, a paper,\\nany device) has its functional side — screen, front, page — facing\\nTHEIR OWN eyes; the camera then sees whatever side the staging\\ngeometry implies (often its back). Show the functional side to the\\ncamera ONLY when the shot text itself stages it toward the viewer.\\nNever flip, mirror or reverse an object's front and back.\\n\\nMOVEMENT (follow exactly): static: Hye-su fixes a sharp, hostile stare toward Detective Kim, her face and body oriented directly at him.\\n\\nFIGURES — size & depth (follow exactly): Hye-su fills roughly 2/3 of the frame height and is the NEAREST visible figure. Detective Kim is the FARTHER target of her gaze, whether at the edge of the frame or just off-screen, with no crossing movement between them.\\n\\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The apartment remains cleared of the earlier evidence: the table is clean, and Suri-young’s room has no motionless figure, dark stains, or red circle. The backpack and doll remain slightly displaced from their earlier positions.\\n\\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 혜수 (Korean middle-aged woman, mid-40s face, mature facial features, dark natural hair) — never anyone else, and never add a person the shot text does not show. IF only part of a person is in frame (a hand, arm, foot, back, silhouette), that body part belongs to the specific person the shot text names — its sex, age, build, skin and grooming must unmistakably match that person's profile above.\\n\\nNo text, captions, watermarks or annotations anywhere.\"}, {\"type\": \"text\", \"text\": \"REFERENCE — LOCATION PHOTOGRAPH — the exact place of this shot: its architecture, materials, fixed features and lighting mood are spatial truth; stage the moment inside this place. Never copy its camera framing.\"}, {\"type\": \"text\", \"text\": \"REFERENCE — LAYOUT SKETCH — a bare thin-line layout guide, a REFERENCE ONLY: take from it ONLY the camera framing, figure placement, pose and size/depth order. It carries ZERO visual style — every texture, material, light and all realism come from the text and the photographic reference. Never let any line-drawing quality leak into the output.\"}, {\"type\": \"text\", \"text\": \"REFERENCE — CHARACTER REFERENCE — 혜수: the exact person appearing in this shot; match face, hair and build exactly.\"}, {\"type\": \"text\", \"text\": \"Candidate A:\"}, {\"type\": \"text\", \"text\": \"Candidate B:\"}, {\"type\": \"text\", \"text\": \"Candidate C:\"}]"}
{"ts": "2026-07-13 22:05:42", "kind": "llm", "step": "s40_crit_s41st_S14sh11", "model": "gemini-pro", "dur_s": 22.3, "system_prompt": "You are given an image-generation prompt, the labelled REFERENCE\nimage(s) that were attached to it, and ONE photograph generated\nfrom them (the current best pick of three).\nList what is WRONG with it — ONLY violations of the prompt or of\nits reference instructions: the shot's stated moment and action,\nwho/what must or must NOT be in frame, camera, time of day,\nlocation consistency with the reference, pose/immobility and\ncarried-state clauses, object orientation, anatomy, and every\nexclusion (no text, no invented people or objects).\nBase every finding only on what is visible; ignore taste and\ngeneric aesthetics. For each issue give: issue_ko (short Korean\nline) + fix_en (ONE imperative English edit that fixes exactly\nthat while changing nothing else). Empty array if nothing wrong.", "user_prompt": "[{\"type\": \"text\", \"text\": \"THE PROMPT:\\nCreate ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\\n\\nSHOT TEXT (authoritative, Korean): 혜수가 날카로운 눈빛으로 김형사를 노려보는 모습\\n\\nLOCATION (lock): A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.\\n\\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\\ntext may describe characters metaphorically, figuratively or with\\nexaggeration. Photograph what a real movie camera would actually\\nrecord on a physical set — exaggerated or figurative impressions\\nbecome realistic staging choices (lighting, distance, angle,\\nwardrobe), not literal fantasy imagery.\\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\\nfeatures non-human or virtual beings (as in science fiction or\\nfantasy), every character — however indirectly, vaguely or\\nfiguratively the text describes them — IS a real human. When the\\ntext gives no direct visual description of a person, IMAGINE one\\nand still show them as a concrete, fully-formed human being:\\nalways render the human form to the maximum extent — build,\\nposture, face, hands, clothing — never reduce a person to a shape,\\nblob, solid silhouette or abstract mass.\\n\\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\\nperson's eyes, face or presence emotionally or figuratively (vacant,\\nhollow, dazed, burning, lifeless gaze and the like), it describes an\\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\\nthrough gaze direction, focus, eyelids, facial muscles, stillness\\nand posture. Every living person's eyes remain anatomically normal\\nhuman eyes with a natural iris and pupil, natural sclera and normal\\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\\notherwise alter eyeballs, skin or anatomy — unless the story\\nexplicitly declares that being non-human or supernatural in form.\\n\\nPROPS FACE THE RIGHT WAY: every handheld or used object must be\\noriented exactly as its real-world use requires. A person reading,\\nwatching or operating something (a phone, a photograph, a paper,\\nany device) has its functional side — screen, front, page — facing\\nTHEIR OWN eyes; the camera then sees whatever side the staging\\ngeometry implies (often its back). Show the functional side to the\\ncamera ONLY when the shot text itself stages it toward the viewer.\\nNever flip, mirror or reverse an object's front and back.\\n\\nMOVEMENT (follow exactly): static: Hye-su fixes a sharp, hostile stare toward Detective Kim, her face and body oriented directly at him.\\n\\nFIGURES — size & depth (follow exactly): Hye-su fills roughly 2/3 of the frame height and is the NEAREST visible figure. Detective Kim is the FARTHER target of her gaze, whether at the edge of the frame or just off-screen, with no crossing movement between them.\\n\\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The apartment remains cleared of the earlier evidence: the table is clean, and Suri-young’s room has no motionless figure, dark stains, or red circle. The backpack and doll remain slightly displaced from their earlier positions.\\n\\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 혜수 (Korean middle-aged woman, mid-40s face, mature facial features, dark natural hair) — never anyone else, and never add a person the shot text does not show. IF only part of a person is in frame (a hand, arm, foot, back, silhouette), that body part belongs to the specific person the shot text names — its sex, age, build, skin and grooming must unmistakably match that person's profile above.\\n\\nNo text, captions, watermarks or annotations anywhere.\"}, {\"type\": \"text\", \"text\": \"REFERENCE — LOCATION PHOTOGRAPH — the exact place of this shot: its architecture, materials, fixed features and lighting mood are spatial truth; stage the moment inside this place. Never copy its camera framing.\"}, {\"type\": \"text\", \"text\": \"REFERENCE — LAYOUT SKETCH — a bare thin-line layout guide, a REFERENCE ONLY: take from it ONLY the camera framing, figure placement, pose and size/depth order. It carries ZERO visual style — every texture, material, light and all realism come from the text and the photographic reference. Never let any line-drawing quality leak into the output.\"}, {\"type\": \"text\", \"text\": \"REFERENCE — CHARACTER REFERENCE — 혜수: the exact person appearing in this shot; match face, hair and build exactly.\"}, {\"type\": \"text\", \"text\": \"Photograph to examine:\"}]"}
{"ts": "2026-07-13 22:06:05", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "s40_fix_s41st_S14sh11", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s41/stills/S14sh11_c.png"], "ref_labels": ["PHOTOGRAPH TO EDIT — fix ONLY the issues the prompt lists; preserve everything else exactly."], "attempt": 1, "dur_s": 23.1, "bytes": 2412947, "out": "/Users/manta/Documents/Projects/TheRoad-I1/scratchpad/forest_exp/out/s41/stills/S14sh11_fix.png", "prompt": "Edit this photograph. Apply ONLY the corrections listed below,\neach in place, changing nothing else:\n\nCORRECTIONS:\n- Add the grey beanie to Hye-su's head to exactly match the character reference.\n- Swap the depth order of the characters so that Hye-su is the nearest visible figure in the foreground and Detective Kim is further away.\n\nPRESERVE EVERYTHING ELSE EXACTLY as in the original photograph —\nevery person, pose, face, garment, object, set feature, lighting,\ncamera and framing stay identical. No text, captions or\nwatermarks anywhere."}
{"ts": "2026-07-19 14:12:12", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "exp_s19sh4_stage1", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/projects/358f9d88-79ad-4cec-b320-dd5565e68fd6/images/a38f2479-d6d8-4f31-b4bd-5e2136d3e501/conti/conti_S19sh4.png"], "ref_labels": ["LAYOUT SKETCH — rough storyboard sketch of this shot: use it only for the placement of people and the camera framing; every visual detail comes from the text and the other reference photographs."], "attempt": 1, "dur_s": 21.2, "bytes": 2564540, "out": "/Users/manta/Documents/Projects/TheRoad-I1/projects/358f9d88-79ad-4cec-b320-dd5565e68fd6/exp_s19sh4/stage1_conti_entities_only.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — Incheon, South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): early morning, interior lighting unspecified.\n\nSHOT TEXT (authoritative, Korean): 마트 외부 건물 벽에 달린 CCTV 카메라를 올려다보는 수리영의 옆얼굴.\n\nLOCATION (lock): A large supermarket in the quiet early hours, with merchandise aisles and employee areas, plus an exterior bicycle parking area and a facade covered by security cameras. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nPROPS FACE THE RIGHT WAY: every handheld or used object must be\noriented exactly as its real-world use requires. A person reading,\nwatching or operating something (a phone, a photograph, a paper,\nany device) has its functional side — screen, front, page — facing\nTHEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Su-ri-yeong’s bicycle remains parked outside the mart, and she continues carrying her doll-adorned backpack and mobile phone. The exterior CCTV camera stays fixed in the identified position.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 수리영 (한국인 여성, 20대 초반, 앳된 타원형 얼굴, 자연스러운 검은 머리) — never anyone else, and never add a person the shot text does not show. IF only part of a person is in frame (a hand, arm, foot, back, silhouette), that body part belongs to the specific person the shot text names — its sex, age, build, skin and grooming must unmistakably match that person's profile above.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-19 14:12:40", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "exp_s19sh4_stage2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/projects/358f9d88-79ad-4cec-b320-dd5565e68fd6/exp_s19sh4/stage1_conti_entities_only.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/358f9d88-79ad-4cec-b320-dd5565e68fd6/episodes/a38f2479-d6d8-4f31-b4bd-5e2136d3e501/images/background_chain/L09B03.png"], "ref_labels": ["CURRENT FILM STILL", "LOCATION PHOTOGRAPH"], "attempt": 1, "dur_s": 28.0, "bytes": 3304587, "out": "/Users/manta/Documents/Projects/TheRoad-I1/projects/358f9d88-79ad-4cec-b320-dd5565e68fd6/exp_s19sh4/stage2_bg_injected.png", "prompt": "Photorealistic i2i edit. The FIRST attached image is the current film still — keep its people, their poses, wardrobe, framing and camera angle EXACTLY as they are. The SECOND attached image (LOCATION PHOTOGRAPH) is the confirmed real place of this shot — repaint ONLY the environment/background so the setting, architecture, materials, lighting mood and time of day match that location photograph. Do not move or restyle the people. Do not copy the location photograph's camera angle."}
{"ts": "2026-07-19 14:13:46", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "exp_s19sh4_stage1", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/projects/358f9d88-79ad-4cec-b320-dd5565e68fd6/images/a38f2479-d6d8-4f31-b4bd-5e2136d3e501/conti/conti_S19sh4.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/358f9d88-79ad-4cec-b320-dd5565e68fd6/images/a38f2479-d6d8-4f31-b4bd-5e2136d3e501/reference/412a0ebe-c263-40fd-9b57-9c235341b96a.png"], "ref_labels": ["LAYOUT SKETCH — rough storyboard sketch of this shot: use it only for the placement of people and the camera framing; every visual detail comes from the text and the other reference photographs.", "CHARACTER REFERENCE — 수리영: the exact person appearing in this shot; match face, hair and build exactly."], "attempt": 1, "dur_s": 19.1, "bytes": 2865647, "out": "/Users/manta/Documents/Projects/TheRoad-I1/projects/358f9d88-79ad-4cec-b320-dd5565e68fd6/exp_s19sh4/stage1_conti_entities_only.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — Incheon, South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): early morning, interior lighting unspecified.\n\nSHOT TEXT (authoritative, Korean): 마트 외부 건물 벽에 달린 CCTV 카메라를 올려다보는 수리영의 옆얼굴.\n\nLOCATION (lock): A large supermarket in the quiet early hours, with merchandise aisles and employee areas, plus an exterior bicycle parking area and a facade covered by security cameras. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nPROPS FACE THE RIGHT WAY: every handheld or used object must be\noriented exactly as its real-world use requires. A person reading,\nwatching or operating something (a phone, a photograph, a paper,\nany device) has its functional side — screen, front, page — facing\nTHEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Su-ri-yeong’s bicycle remains parked outside the mart, and she continues carrying her doll-adorned backpack and mobile phone. The exterior CCTV camera stays fixed in the identified position.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 수리영 (한국인 여성, 20대 초반, 앳된 타원형 얼굴, 자연스러운 검은 머리) — never anyone else, and never add a person the shot text does not show. IF only part of a person is in frame (a hand, arm, foot, back, silhouette), that body part belongs to the specific person the shot text names — its sex, age, build, skin and grooming must unmistakably match that person's profile above.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-19 14:14:09", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "exp_s19sh4_stage2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/projects/358f9d88-79ad-4cec-b320-dd5565e68fd6/exp_s19sh4/stage1_conti_entities_only.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/358f9d88-79ad-4cec-b320-dd5565e68fd6/episodes/a38f2479-d6d8-4f31-b4bd-5e2136d3e501/images/background_chain/L09B03.png"], "ref_labels": ["CURRENT FILM STILL", "LOCATION PHOTOGRAPH"], "attempt": 1, "dur_s": 22.8, "bytes": 3105823, "out": "/Users/manta/Documents/Projects/TheRoad-I1/projects/358f9d88-79ad-4cec-b320-dd5565e68fd6/exp_s19sh4/stage2_bg_injected.png", "prompt": "Photorealistic i2i edit. The FIRST attached image is the current film still — keep its people, their poses, wardrobe, framing and camera angle EXACTLY as they are. The SECOND attached image (LOCATION PHOTOGRAPH) is the confirmed real place of this shot — repaint ONLY the environment/background so the setting, architecture, materials, lighting mood and time of day match that location photograph. Do not move or restyle the people. Do not copy the location photograph's camera angle."}
{"ts": "2026-07-19 17:49:05", "kind": "img_error", "tag": "exp2_s19sh4_stageA", "attempt": 1, "error": "Gemini i2i API error 404: {\n  \"error\": {\n    \"code\": 404,\n    \"message\": \"Requested entity was not found.\",\n    \"status\": \"NOT_FOUND\"\n  }\n}\n"}
{"ts": "2026-07-19 17:49:23", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "exp2_s19sh4_stageA", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/projects/358f9d88-79ad-4cec-b320-dd5565e68fd6/episodes/a38f2479-d6d8-4f31-b4bd-5e2136d3e501/images/background_chain/L09B03.png"], "ref_labels": ["plate"], "attempt": 2, "dur_s": 51.7, "bytes": 2474371, "out": "/Users/manta/Documents/Projects/TheRoad-I1/projects/358f9d88-79ad-4cec-b320-dd5565e68fd6/exp_s19sh4/v2_stageA_conti_from_bg.png", "prompt": "Draw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: 대형 마트 매장 내부\n\nSHOT TEXT (authoritative, Korean): 마트 외부 건물 벽에 달린 CCTV 카메라를 올려다보는 수리영의 옆얼굴.\n\nCARRIED STATE (persist exactly): Su-ri-yeong’s bicycle remains parked outside the mart, and she continues carrying her doll-adorned backpack and mobile phone. The exterior CCTV camera stays fixed in the identified position.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind."}
{"ts": "2026-07-19 17:49:42", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "exp2_s19sh4_stageB", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/projects/358f9d88-79ad-4cec-b320-dd5565e68fd6/exp_s19sh4/v2_stageA_conti_from_bg.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/358f9d88-79ad-4cec-b320-dd5565e68fd6/images/a38f2479-d6d8-4f31-b4bd-5e2136d3e501/reference/412a0ebe-c263-40fd-9b57-9c235341b96a.png"], "ref_labels": ["LAYOUT SKETCH — a bare thin-line layout guide, a REFERENCE ONLY for the placement of people and the camera framing; every visual detail comes from the text and the other reference photographs.", "CHARACTER REFERENCE — 수리영: the exact person appearing in this shot; match face, hair and build exactly."], "attempt": 1, "dur_s": 18.8, "bytes": 2854840, "out": "/Users/manta/Documents/Projects/TheRoad-I1/projects/358f9d88-79ad-4cec-b320-dd5565e68fd6/exp_s19sh4/v2_stageB_still_no_bg.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — Incheon, South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): early morning, interior lighting unspecified.\n\nSHOT TEXT (authoritative, Korean): 마트 외부 건물 벽에 달린 CCTV 카메라를 올려다보는 수리영의 옆얼굴.\n\nLOCATION (lock): A large supermarket in the quiet early hours, with merchandise aisles and employee areas, plus an exterior bicycle parking area and a facade covered by security cameras. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nPROPS FACE THE RIGHT WAY: every handheld or used object must be\noriented exactly as its real-world use requires. A person reading,\nwatching or operating something (a phone, a photograph, a paper,\nany device) has its functional side — screen, front, page — facing\nTHEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Su-ri-yeong’s bicycle remains parked outside the mart, and she continues carrying her doll-adorned backpack and mobile phone. The exterior CCTV camera stays fixed in the identified position.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 수리영 (한국인 여성, 20대 초반, 앳된 타원형 얼굴, 자연스러운 검은 머리) — never anyone else, and never add a person the shot text does not show. IF only part of a person is in frame (a hand, arm, foot, back, silhouette), that body part belongs to the specific person the shot text names — its sex, age, build, skin and grooming must unmistakably match that person's profile above.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-19 17:50:05", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "exp2_s19sh4_stageC", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/projects/358f9d88-79ad-4cec-b320-dd5565e68fd6/exp_s19sh4/v2_stageB_still_no_bg.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/358f9d88-79ad-4cec-b320-dd5565e68fd6/episodes/a38f2479-d6d8-4f31-b4bd-5e2136d3e501/images/background_chain/L09B03.png"], "ref_labels": ["CURRENT FILM STILL", "LOCATION PHOTOGRAPH"], "attempt": 1, "dur_s": 22.7, "bytes": 3103448, "out": "/Users/manta/Documents/Projects/TheRoad-I1/projects/358f9d88-79ad-4cec-b320-dd5565e68fd6/exp_s19sh4/v2_stageC_bg_fixed.png", "prompt": "Photorealistic i2i edit. The FIRST attached image is the current film still — keep its people, their poses, wardrobe, framing and camera angle EXACTLY as they are. The SECOND attached image (LOCATION PHOTOGRAPH) is the confirmed real place of this shot — repaint ONLY the environment/background so the setting, architecture, materials, lighting mood and time of day match that location photograph. Do not move or restyle the people. Do not copy the location photograph's camera angle."}
{"ts": "2026-07-19 17:55:49", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "exp3_s19sh4_stageA", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/projects/358f9d88-79ad-4cec-b320-dd5565e68fd6/episodes/a38f2479-d6d8-4f31-b4bd-5e2136d3e501/images/background_chain/L09B03.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/358f9d88-79ad-4cec-b320-dd5565e68fd6/images/a38f2479-d6d8-4f31-b4bd-5e2136d3e501/reference/412a0ebe-c263-40fd-9b57-9c235341b96a.png"], "ref_labels": ["plate", "CHARACTER REFERENCE — 수리영: the exact person appearing in this shot; match face, hair and build exactly."], "attempt": 1, "dur_s": 17.6, "bytes": 1573035, "out": "/Users/manta/Documents/Projects/TheRoad-I1/projects/358f9d88-79ad-4cec-b320-dd5565e68fd6/exp_s19sh4/v3_stageA_conti_bg_entities.png", "prompt": "Draw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: 대형 마트 매장 내부\n\nSHOT TEXT (authoritative, Korean): 마트 외부 건물 벽에 달린 CCTV 카메라를 올려다보는 수리영의 옆얼굴.\n\nCARRIED STATE (persist exactly): Su-ri-yeong’s bicycle remains parked outside the mart, and she continues carrying her doll-adorned backpack and mobile phone. The exterior CCTV camera stays fixed in the identified position.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind."}
{"ts": "2026-07-19 17:56:14", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "exp3_s19sh4_stageB", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/projects/358f9d88-79ad-4cec-b320-dd5565e68fd6/episodes/a38f2479-d6d8-4f31-b4bd-5e2136d3e501/images/background_chain/L09B03.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/358f9d88-79ad-4cec-b320-dd5565e68fd6/exp_s19sh4/v3_stageA_conti_bg_entities.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/358f9d88-79ad-4cec-b320-dd5565e68fd6/images/a38f2479-d6d8-4f31-b4bd-5e2136d3e501/reference/412a0ebe-c263-40fd-9b57-9c235341b96a.png"], "ref_labels": ["LOCATION PHOTOGRAPH — the exact place of this shot: its architecture, materials, fixed features and lighting mood are spatial truth; stage the moment inside this place. Never copy its camera framing.", "LAYOUT SKETCH — a bare thin-line layout guide, a REFERENCE ONLY for the placement of people and the camera framing; every visual detail comes from the text and the other reference photographs.", "CHARACTER REFERENCE — 수리영: the exact person appearing in this shot; match face, hair and build exactly."], "attempt": 1, "dur_s": 24.3, "bytes": 2979720, "out": "/Users/manta/Documents/Projects/TheRoad-I1/projects/358f9d88-79ad-4cec-b320-dd5565e68fd6/exp_s19sh4/v3_stageB_still_full_refs.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — Incheon, South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): early morning, interior lighting unspecified.\n\nSHOT TEXT (authoritative, Korean): 마트 외부 건물 벽에 달린 CCTV 카메라를 올려다보는 수리영의 옆얼굴.\n\nLOCATION (lock): A large supermarket in the quiet early hours, with merchandise aisles and employee areas, plus an exterior bicycle parking area and a facade covered by security cameras. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nPROPS FACE THE RIGHT WAY: every handheld or used object must be\noriented exactly as its real-world use requires. A person reading,\nwatching or operating something (a phone, a photograph, a paper,\nany device) has its functional side — screen, front, page — facing\nTHEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Su-ri-yeong’s bicycle remains parked outside the mart, and she continues carrying her doll-adorned backpack and mobile phone. The exterior CCTV camera stays fixed in the identified position.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 수리영 (한국인 여성, 20대 초반, 앳된 타원형 얼굴, 자연스러운 검은 머리) — never anyone else, and never add a person the shot text does not show. IF only part of a person is in frame (a hand, arm, foot, back, silhouette), that body part belongs to the specific person the shot text names — its sex, age, build, skin and grooming must unmistakably match that person's profile above.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-19 18:07:16", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "exp4_s19sh4_stageA", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/projects/358f9d88-79ad-4cec-b320-dd5565e68fd6/episodes/a38f2479-d6d8-4f31-b4bd-5e2136d3e501/images/background_chain/L09B03.png"], "ref_labels": ["plate"], "attempt": 1, "dur_s": 17.2, "bytes": 1684145, "out": "/Users/manta/Documents/Projects/TheRoad-I1/projects/358f9d88-79ad-4cec-b320-dd5565e68fd6/exp_s19sh4/v4_stageA_conti_guides.png", "prompt": "Draw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: 대형 마트 매장 내부\n\nSHOT TEXT (authoritative, Korean): 마트 외부 건물 벽에 달린 CCTV 카메라를 올려다보는 수리영의 옆얼굴.\n\nCARRIED STATE (persist exactly): Su-ri-yeong’s bicycle remains parked outside the mart, and she continues carrying her doll-adorned backpack and mobile phone. The exterior CCTV camera stays fixed in the identified position.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nGUIDE MARKS (draw these as part of the sketch): for EVERY person, draw one clear thin EYELINE ARROW starting at the eyes and pointing exactly at what they are looking at. Also draw a few light thin COMPOSITION GUIDE LINES (frame thirds / leading lines) showing how the shot is composed. Keep all guide marks as simple thin pencil lines — they are direction guides, not objects in the scene."}
{"ts": "2026-07-19 18:07:35", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "exp4_s19sh4_stageB", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/projects/358f9d88-79ad-4cec-b320-dd5565e68fd6/exp_s19sh4/v4_stageA_conti_guides.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/358f9d88-79ad-4cec-b320-dd5565e68fd6/episodes/a38f2479-d6d8-4f31-b4bd-5e2136d3e501/images/background_chain/L09B03.png"], "ref_labels": ["STORYBOARD SKETCH", "LOCATION PHOTOGRAPH"], "attempt": 1, "dur_s": 19.0, "bytes": 3064107, "out": "/Users/manta/Documents/Projects/TheRoad-I1/projects/358f9d88-79ad-4cec-b320-dd5565e68fd6/exp_s19sh4/v4_stageB_bg_inserted.png", "prompt": "Composite edit. The FIRST attached image is a thin-line storyboard sketch: keep EVERY sketched line — the people outlines, the eyeline arrow(s) and the composition guide lines — exactly where they are, unchanged. The SECOND attached image (LOCATION PHOTOGRAPH) is the real place of this shot: fill the empty white space of the sketch with this location rendered photorealistically, matching the sketch's camera angle and perspective so the sketched people stand naturally inside the photographic background. Do not repaint or erase the sketch lines."}
{"ts": "2026-07-19 18:07:53", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "exp4_s19sh4_stageC", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/projects/358f9d88-79ad-4cec-b320-dd5565e68fd6/exp_s19sh4/v4_stageB_bg_inserted.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/358f9d88-79ad-4cec-b320-dd5565e68fd6/images/a38f2479-d6d8-4f31-b4bd-5e2136d3e501/reference/412a0ebe-c263-40fd-9b57-9c235341b96a.png"], "ref_labels": ["LAYOUT COMPOSITE", "CHARACTER REFERENCE — 수리영: the exact person appearing in this shot; match face, hair and build exactly."], "attempt": 1, "dur_s": 18.1, "bytes": 3215763, "out": "/Users/manta/Documents/Projects/TheRoad-I1/projects/358f9d88-79ad-4cec-b320-dd5565e68fd6/exp_s19sh4/v4_stageC_final.png", "prompt": "The attached FIRST image is a layout composite: a photographic background with thin-line sketched people and guide marks (eyeline arrows, composition lines). Turn it into the FINAL photorealistic film still: keep the background, the camera angle, the people's placement, poses and the exact gaze directions shown by the eyeline arrows — then REMOVE every sketch line, arrow and guide mark. Realize each sketched person as the real person in the CHARACTER REFERENCE.\n\nCreate ONE FINAL photorealistic live-action film still of the moment below — Incheon, South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): early morning, interior lighting unspecified.\n\nSHOT TEXT (authoritative, Korean): 마트 외부 건물 벽에 달린 CCTV 카메라를 올려다보는 수리영의 옆얼굴.\n\nLOCATION (lock): A large supermarket in the quiet early hours, with merchandise aisles and employee areas, plus an exterior bicycle parking area and a facade covered by security cameras. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nPROPS FACE THE RIGHT WAY: every handheld or used object must be\noriented exactly as its real-world use requires. A person reading,\nwatching or operating something (a phone, a photograph, a paper,\nany device) has its functional side — screen, front, page — facing\nTHEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Su-ri-yeong’s bicycle remains parked outside the mart, and she continues carrying her doll-adorned backpack and mobile phone. The exterior CCTV camera stays fixed in the identified position.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 수리영 (한국인 여성, 20대 초반, 앳된 타원형 얼굴, 자연스러운 검은 머리) — never anyone else, and never add a person the shot text does not show. IF only part of a person is in frame (a hand, arm, foot, back, silhouette), that body part belongs to the specific person the shot text names — its sex, age, build, skin and grooming must unmistakably match that person's profile above.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-19 19:06:54", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "exp5_s19sh4_textonly", "refs": [], "ref_labels": [], "attempt": 1, "dur_s": 15.7, "bytes": 2729699, "out": "/Users/manta/Documents/Projects/TheRoad-I1/projects/358f9d88-79ad-4cec-b320-dd5565e68fd6/exp_s19sh4/v5_text_only.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — Incheon, South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): early morning, interior lighting unspecified.\n\nSHOT TEXT (authoritative, Korean): 마트 외부 건물 벽에 달린 CCTV 카메라를 올려다보는 수리영의 옆얼굴.\n\nLOCATION (lock): A large supermarket in the quiet early hours, with merchandise aisles and employee areas, plus an exterior bicycle parking area and a facade covered by security cameras. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nPROPS FACE THE RIGHT WAY: every handheld or used object must be\noriented exactly as its real-world use requires. A person reading,\nwatching or operating something (a phone, a photograph, a paper,\nany device) has its functional side — screen, front, page — facing\nTHEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Su-ri-yeong’s bicycle remains parked outside the mart, and she continues carrying her doll-adorned backpack and mobile phone. The exterior CCTV camera stays fixed in the identified position.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 수리영 (한국인 여성, 20대 초반, 앳된 타원형 얼굴, 자연스러운 검은 머리) — never anyone else, and never add a person the shot text does not show. IF only part of a person is in frame (a hand, arm, foot, back, silhouette), that body part belongs to the specific person the shot text names — its sex, age, build, skin and grooming must unmistakably match that person's profile above.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-19 20:14:31", "kind": "img", "engine": "gpt-image-2", "mode": "generate", "tag": "g5_textonly", "refs": [], "size": "1536x864", "attempt": 1, "dur_s": 97.4, "bytes": 1872969, "out": "/Users/manta/Documents/Projects/TheRoad-I1/projects/358f9d88-79ad-4cec-b320-dd5565e68fd6/exp_s19sh4/g_v5_text_only.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — Incheon, South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): early morning, interior lighting unspecified.\n\nSHOT TEXT (authoritative, Korean): 마트 외부 건물 벽에 달린 CCTV 카메라를 올려다보는 수리영의 옆얼굴.\n\nLOCATION (lock): A large supermarket in the quiet early hours, with merchandise aisles and employee areas, plus an exterior bicycle parking area and a facade covered by security cameras. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nPROPS FACE THE RIGHT WAY: every handheld or used object must be\noriented exactly as its real-world use requires. A person reading,\nwatching or operating something (a phone, a photograph, a paper,\nany device) has its functional side — screen, front, page — facing\nTHEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Su-ri-yeong’s bicycle remains parked outside the mart, and she continues carrying her doll-adorned backpack and mobile phone. The exterior CCTV camera stays fixed in the identified position.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 수리영 (한국인 여성, 20대 초반, 앳된 타원형 얼굴, 자연스러운 검은 머리) — never anyone else, and never add a person the shot text does not show. IF only part of a person is in frame (a hand, arm, foot, back, silhouette), that body part belongs to the specific person the shot text names — its sex, age, build, skin and grooming must unmistakably match that person's profile above.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-19 20:16:10", "kind": "img", "engine": "gpt-image-2", "mode": "edit", "tag": "g3_stageA", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/projects/358f9d88-79ad-4cec-b320-dd5565e68fd6/episodes/a38f2479-d6d8-4f31-b4bd-5e2136d3e501/images/background_chain/L09B03.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/358f9d88-79ad-4cec-b320-dd5565e68fd6/images/a38f2479-d6d8-4f31-b4bd-5e2136d3e501/reference/412a0ebe-c263-40fd-9b57-9c235341b96a.png"], "size": "1536x864", "attempt": 1, "dur_s": 99.4, "bytes": 1150188, "out": "/Users/manta/Documents/Projects/TheRoad-I1/projects/358f9d88-79ad-4cec-b320-dd5565e68fd6/exp_s19sh4/g_v3_stageA_conti.png", "prompt": "Draw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: 대형 마트 매장 내부\n\nSHOT TEXT (authoritative, Korean): 마트 외부 건물 벽에 달린 CCTV 카메라를 올려다보는 수리영의 옆얼굴.\n\nCARRIED STATE (persist exactly): Su-ri-yeong’s bicycle remains parked outside the mart, and she continues carrying her doll-adorned backpack and mobile phone. The exterior CCTV camera stays fixed in the identified position.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nATTACHED IMAGES (in order):\n1) plate — background reference\n2) CHARACTER REFERENCE — 수리영: the exact person appearing in this shot; match face, hair and build exactly."}
{"ts": "2026-07-19 20:17:47", "kind": "img", "engine": "gpt-image-2", "mode": "edit", "tag": "g3_stageB", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/projects/358f9d88-79ad-4cec-b320-dd5565e68fd6/episodes/a38f2479-d6d8-4f31-b4bd-5e2136d3e501/images/background_chain/L09B03.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/358f9d88-79ad-4cec-b320-dd5565e68fd6/exp_s19sh4/g_v3_stageA_conti.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/358f9d88-79ad-4cec-b320-dd5565e68fd6/images/a38f2479-d6d8-4f31-b4bd-5e2136d3e501/reference/412a0ebe-c263-40fd-9b57-9c235341b96a.png"], "size": "1536x864", "attempt": 1, "dur_s": 96.9, "bytes": 1880355, "out": "/Users/manta/Documents/Projects/TheRoad-I1/projects/358f9d88-79ad-4cec-b320-dd5565e68fd6/exp_s19sh4/g_v3_stageB_still.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — Incheon, South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): early morning, interior lighting unspecified.\n\nSHOT TEXT (authoritative, Korean): 마트 외부 건물 벽에 달린 CCTV 카메라를 올려다보는 수리영의 옆얼굴.\n\nLOCATION (lock): A large supermarket in the quiet early hours, with merchandise aisles and employee areas, plus an exterior bicycle parking area and a facade covered by security cameras. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nPROPS FACE THE RIGHT WAY: every handheld or used object must be\noriented exactly as its real-world use requires. A person reading,\nwatching or operating something (a phone, a photograph, a paper,\nany device) has its functional side — screen, front, page — facing\nTHEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Su-ri-yeong’s bicycle remains parked outside the mart, and she continues carrying her doll-adorned backpack and mobile phone. The exterior CCTV camera stays fixed in the identified position.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 수리영 (한국인 여성, 20대 초반, 앳된 타원형 얼굴, 자연스러운 검은 머리) — never anyone else, and never add a person the shot text does not show. IF only part of a person is in frame (a hand, arm, foot, back, silhouette), that body part belongs to the specific person the shot text names — its sex, age, build, skin and grooming must unmistakably match that person's profile above.\n\nNo text, captions, watermarks or annotations anywhere.\n\nATTACHED IMAGES (in order):\n1) LOCATION PHOTOGRAPH — the exact place of this shot: its architecture, materials, fixed features and lighting mood are spatial truth; stage the moment inside this place. Never copy its camera framing.\n2) LAYOUT SKETCH — a bare thin-line layout guide, a REFERENCE ONLY for the placement of people and the camera framing; every visual detail comes from the text and the other reference photographs.\n3) CHARACTER REFERENCE — 수리영: the exact person appearing in this shot; match face, hair and build exactly."}
{"ts": "2026-07-19 20:19:28", "kind": "img", "engine": "gpt-image-2", "mode": "edit", "tag": "g1_stage1", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/projects/358f9d88-79ad-4cec-b320-dd5565e68fd6/images/a38f2479-d6d8-4f31-b4bd-5e2136d3e501/conti/conti_S19sh4.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/358f9d88-79ad-4cec-b320-dd5565e68fd6/images/a38f2479-d6d8-4f31-b4bd-5e2136d3e501/reference/412a0ebe-c263-40fd-9b57-9c235341b96a.png"], "size": "1536x864", "attempt": 1, "dur_s": 101.2, "bytes": 1688704, "out": "/Users/manta/Documents/Projects/TheRoad-I1/projects/358f9d88-79ad-4cec-b320-dd5565e68fd6/exp_s19sh4/g_v1_stage1.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — Incheon, South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): early morning, interior lighting unspecified.\n\nSHOT TEXT (authoritative, Korean): 마트 외부 건물 벽에 달린 CCTV 카메라를 올려다보는 수리영의 옆얼굴.\n\nLOCATION (lock): A large supermarket in the quiet early hours, with merchandise aisles and employee areas, plus an exterior bicycle parking area and a facade covered by security cameras. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nPROPS FACE THE RIGHT WAY: every handheld or used object must be\noriented exactly as its real-world use requires. A person reading,\nwatching or operating something (a phone, a photograph, a paper,\nany device) has its functional side — screen, front, page — facing\nTHEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Su-ri-yeong’s bicycle remains parked outside the mart, and she continues carrying her doll-adorned backpack and mobile phone. The exterior CCTV camera stays fixed in the identified position.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 수리영 (한국인 여성, 20대 초반, 앳된 타원형 얼굴, 자연스러운 검은 머리) — never anyone else, and never add a person the shot text does not show. IF only part of a person is in frame (a hand, arm, foot, back, silhouette), that body part belongs to the specific person the shot text names — its sex, age, build, skin and grooming must unmistakably match that person's profile above.\n\nNo text, captions, watermarks or annotations anywhere.\n\nATTACHED IMAGES (in order):\n1) LAYOUT SKETCH — a bare thin-line layout guide, a REFERENCE ONLY for the placement of people and the camera framing; every visual detail comes from the text and the other reference photographs.\n2) CHARACTER REFERENCE — 수리영: the exact person appearing in this shot; match face, hair and build exactly."}
{"ts": "2026-07-19 20:21:14", "kind": "img", "engine": "gpt-image-2", "mode": "edit", "tag": "g1_stage2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/projects/358f9d88-79ad-4cec-b320-dd5565e68fd6/exp_s19sh4/g_v1_stage1.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/358f9d88-79ad-4cec-b320-dd5565e68fd6/episodes/a38f2479-d6d8-4f31-b4bd-5e2136d3e501/images/background_chain/L09B03.png"], "size": "1536x864", "attempt": 1, "dur_s": 106.1, "bytes": 2089164, "out": "/Users/manta/Documents/Projects/TheRoad-I1/projects/358f9d88-79ad-4cec-b320-dd5565e68fd6/exp_s19sh4/g_v1_stage2.png", "prompt": "Photorealistic i2i edit. The FIRST attached image is the current film still — keep its people, their poses, wardrobe, framing and camera angle EXACTLY as they are. The SECOND attached image (LOCATION PHOTOGRAPH) is the confirmed real place of this shot — repaint ONLY the environment/background so the setting, architecture, materials, lighting mood and time of day match that location photograph. Do not move or restyle the people. Do not copy the location photograph's camera angle.\n\nATTACHED IMAGES (in order):\n1) CURRENT FILM STILL\n2) LOCATION PHOTOGRAPH"}
{"ts": "2026-07-19 20:23:01", "kind": "img", "engine": "gpt-image-2", "mode": "edit", "tag": "g4_stageA", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/projects/358f9d88-79ad-4cec-b320-dd5565e68fd6/episodes/a38f2479-d6d8-4f31-b4bd-5e2136d3e501/images/background_chain/L09B03.png"], "size": "1536x864", "attempt": 1, "dur_s": 106.9, "bytes": 1182002, "out": "/Users/manta/Documents/Projects/TheRoad-I1/projects/358f9d88-79ad-4cec-b320-dd5565e68fd6/exp_s19sh4/g_v4_stageA_conti_guides.png", "prompt": "Draw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: 대형 마트 매장 내부\n\nSHOT TEXT (authoritative, Korean): 마트 외부 건물 벽에 달린 CCTV 카메라를 올려다보는 수리영의 옆얼굴.\n\nCARRIED STATE (persist exactly): Su-ri-yeong’s bicycle remains parked outside the mart, and she continues carrying her doll-adorned backpack and mobile phone. The exterior CCTV camera stays fixed in the identified position.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nGUIDE MARKS (draw these as part of the sketch): for EVERY person, draw one clear thin EYELINE ARROW starting at the eyes and pointing exactly at what they are looking at. Also draw a few light thin COMPOSITION GUIDE LINES (frame thirds / leading lines) showing how the shot is composed. Keep all guide marks as simple thin pencil lines — they are direction guides, not objects in the scene.\n\nATTACHED IMAGES (in order):\n1) plate — background reference"}
{"ts": "2026-07-19 20:24:47", "kind": "img", "engine": "gpt-image-2", "mode": "edit", "tag": "g4_stageB", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/projects/358f9d88-79ad-4cec-b320-dd5565e68fd6/exp_s19sh4/g_v4_stageA_conti_guides.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/358f9d88-79ad-4cec-b320-dd5565e68fd6/episodes/a38f2479-d6d8-4f31-b4bd-5e2136d3e501/images/background_chain/L09B03.png"], "size": "1536x864", "attempt": 1, "dur_s": 105.7, "bytes": 2422917, "out": "/Users/manta/Documents/Projects/TheRoad-I1/projects/358f9d88-79ad-4cec-b320-dd5565e68fd6/exp_s19sh4/g_v4_stageB_bg_inserted.png", "prompt": "Composite edit. The FIRST attached image is a thin-line storyboard sketch: keep EVERY sketched line — the people outlines, the eyeline arrow(s) and the composition guide lines — exactly where they are, unchanged. The SECOND attached image (LOCATION PHOTOGRAPH) is the real place of this shot: fill the empty white space of the sketch with this location rendered photorealistically, matching the sketch's camera angle and perspective so the sketched people stand naturally inside the photographic background. Do not repaint or erase the sketch lines.\n\nATTACHED IMAGES (in order):\n1) STORYBOARD SKETCH\n2) LOCATION PHOTOGRAPH"}
{"ts": "2026-07-19 20:26:33", "kind": "img", "engine": "gpt-image-2", "mode": "edit", "tag": "g4_stageC", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/projects/358f9d88-79ad-4cec-b320-dd5565e68fd6/exp_s19sh4/g_v4_stageB_bg_inserted.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/358f9d88-79ad-4cec-b320-dd5565e68fd6/images/a38f2479-d6d8-4f31-b4bd-5e2136d3e501/reference/412a0ebe-c263-40fd-9b57-9c235341b96a.png"], "size": "1536x864", "attempt": 1, "dur_s": 106.3, "bytes": 1996523, "out": "/Users/manta/Documents/Projects/TheRoad-I1/projects/358f9d88-79ad-4cec-b320-dd5565e68fd6/exp_s19sh4/g_v4_stageC_final.png", "prompt": "The attached FIRST image is a layout composite: a photographic background with thin-line sketched people and guide marks. Turn it into the FINAL photorealistic film still: keep the background, camera angle, people's placement, poses and the exact gaze directions shown by the eyeline arrows — then REMOVE every sketch line, arrow and guide mark. Realize each sketched person as the real person in the CHARACTER REFERENCE.\n\nCreate ONE FINAL photorealistic live-action film still of the moment below — Incheon, South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): early morning, interior lighting unspecified.\n\nSHOT TEXT (authoritative, Korean): 마트 외부 건물 벽에 달린 CCTV 카메라를 올려다보는 수리영의 옆얼굴.\n\nLOCATION (lock): A large supermarket in the quiet early hours, with merchandise aisles and employee areas, plus an exterior bicycle parking area and a facade covered by security cameras. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nPROPS FACE THE RIGHT WAY: every handheld or used object must be\noriented exactly as its real-world use requires. A person reading,\nwatching or operating something (a phone, a photograph, a paper,\nany device) has its functional side — screen, front, page — facing\nTHEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Su-ri-yeong’s bicycle remains parked outside the mart, and she continues carrying her doll-adorned backpack and mobile phone. The exterior CCTV camera stays fixed in the identified position.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 수리영 (한국인 여성, 20대 초반, 앳된 타원형 얼굴, 자연스러운 검은 머리) — never anyone else, and never add a person the shot text does not show. IF only part of a person is in frame (a hand, arm, foot, back, silhouette), that body part belongs to the specific person the shot text names — its sex, age, build, skin and grooming must unmistakably match that person's profile above.\n\nNo text, captions, watermarks or annotations anywhere.\n\nATTACHED IMAGES (in order):\n1) LAYOUT COMPOSITE\n2) CHARACTER REFERENCE — 수리영: the exact person appearing in this shot; match face, hair and build exactly."}
{"ts": "2026-07-19 21:55:51", "kind": "llm", "step": "exp_fix2_time_of_day", "model": "gpt", "dur_s": 10.5, "system_prompt": "당신은 촬영 연속성 편집자다. 씬 목록(각 씬의 헤딩과 원문 전문)을\n받는다. 각 씬마다 두 가지를 저작하라.\n(a) time_of_day_en: 그 씬의 스틸 촬영에 잠글 시간대 — 영어 한 구절.\n예: \"night\", \"dawn\", \"late afternoon\", \"day, overcast\".\n규칙:\n1) 오직 씬 헤딩과 씬 원문 근거로만 판단하라. 헤딩·원문에 근거가\n   없으면 원문에 명시된 인접 씬과의 시간 경과로 최소 추론하고,\n   그것도 없으면 \"day\"로 두되 basis_ko 에 근거 부족을 명시하라.\n2) 장소 중립으로 저작하라 — 시간대와 하늘·자연광 상태만 담고,\n   실내/실외 여부·조명 기구·실내 광원 유무는 절대 언급하지 마라.\n   같은 씬 안에서도 샷마다 실내/실외 서브공간이 다를 수 있어, 장소에\n   묶인 광원 서술은 다른 서브공간의 샷을 오염시킨다. 실내 광원 사실은\n   샷별 장소 저작(별도 판정)이 담당한다.\n(b) place_en: 그 씬의 장소를 스틸 프롬프트의 장소 잠금(LOCATION\nlock)에 쓸 영어 1~2문장으로 시각 서술하라 — 공간의 종류·규모·핵심\n고정 요소·재질감 등 원문이 뒷받침하는 사실만. 근거 없는 부분은 그\n유형 장소의 전형으로 최소 보충하되 원문과 모순 금지.\n공통: 작품 고유명사 없이 일반 서술로만, 날씨·광질은 원문에 명시된\n것만(발명 금지).\n각 씬: scene_index(정수), time_of_day_en, place_en, basis_ko(근거\n한 구절).", "user_prompt": "씬 목록:\n\n[씬 2] S#2. 도시 뒷골목 / N\n도심 희미한 가\nS#2. 도시 뒷골목 / N\n도심 희미한 가로등 불빛.\n전봇대에 뒤엉켜있는 두 사람. 남녀로 보인다.\n가쁜 숨소리 점점 커지더니… 격렬하게 흡입하는 소리로 바뀌고\n남자의 붉은 눈동자, 목의 살점을 뜯는 이빨… 푹 힘없이 쓰러지는 여자.\n\n기자(E)\n어젯밤에 금월산 등산로와 효장동에서 변사체가 발견됐습니다.\n\n\n\n[씬 19] S#19. 마트 / D\n이른 아침\nS#19. 마트 / D\n이른 아침, 아직은 한산한 마트 안.\n자전거를 주차하고 안으로 들어가는 수리영.\n마트 여기저기를 돌아다니며 어제 만났던 남자 직원을 찾는다\n\n수리영\n아저씨, 저 어제 봤죠? 강민숙씨 딸.\n\n남자직원\n어? 그래. 엄마 오늘도 결근했는데... 무슨 일 있어?\n\n수리영\n(답하지 않고 대신) 어제 저한테, 우리 엄마가 누군가와 얘길\n나누는 걸 봤다고 하셨죠?\n\n남자직원\n응. 남자였던 거 같은데.\n\n수리영\n남자요? 혹시 CCTV 같은 거 볼 수 있을까요?\n\n남자직원\n그게 CCTV에 찍혔을까.\n\n/ 마트 밖\n엄마와 남자 직원CCTV 위치를 확인하다. 찍혔을 만한 위치다.\n수리영, 혜수에게 전화 걸어 상황을 설명한다.\n\n"}
{"ts": "2026-07-19 21:55:57", "kind": "llm", "step": "exp_fix2_shot_place", "model": "gpt", "dur_s": 5.5, "system_prompt": "당신은 촬영 로케이션 스크립터다. 씬 원문 전문과 샷 목록(각 샷에\n[LOCATION: 씬 장소 서술] 병기)을 받는다. 각 샷마다, 그 샷이 실제로\n벌어지는 **정확한 서브공간**을 스틸 프롬프트의 장소 잠금(LOCATION\nlock)에 쓸 영어 1~2문장으로 저작하라.\n규칙:\n1) 씬 장소 전체 서술을 복사하지 마라 — 샷 텍스트와 씬 원문이\n   가리키는 이 샷의 서브공간(예: 건물의 외벽 앞 / 출입구 / 안쪽\n   통로 / 옥상 위 등 유형 서술)을 특정하라. 상위 장소가 무엇인지\n   식별할 수 있는 한 구절은 유지하라.\n2) 실내인지 실외인지 문장에 자연히 드러나게 서술하고, environment\n   필드에도 interior/exterior/ambiguous 로 판정하라. 실외 서브공간이면\n   실내 요소(천장·실내 조명·진열대 등)를 언급하지 마라. 실내\n   서브공간이면 원문이 뒷받침하는 광원 사실(창밖 광량·켜진 조명 등)을\n   담아라.\n3) 원문이 뒷받침하는 사실만. 근거 없는 부분은 그 유형 장소의 전형으로\n   최소 보충하되 원문과 모순 금지. 작품 고유명사 없이 일반 서술로만.\n각 샷: shot(입력에 적힌 태그 문자열 그대로), place_en,\nenvironment(interior|exterior|ambiguous), basis_ko(근거 한 구절).", "user_prompt": "씬 원문 전문:\n[씬 2] S#2. 도시 뒷골목 / N\n도심 희미한 가\nS#2. 도시 뒷골목 / N\n도심 희미한 가로등 불빛.\n전봇대에 뒤엉켜있는 두 사람. 남녀로 보인다.\n가쁜 숨소리 점점 커지더니… 격렬하게 흡입하는 소리로 바뀌고\n남자의 붉은 눈동자, 목의 살점을 뜯는 이빨… 푹 힘없이 쓰러지는 여자.\n\n기자(E)\n어젯밤에 금월산 등산로와 효장동에서 변사체가 발견됐습니다.\n\n\n\n[씬 19] S#19. 마트 / D\n이른 아침\nS#19. 마트 / D\n이른 아침, 아직은 한산한 마트 안.\n자전거를 주차하고 안으로 들어가는 수리영.\n마트 여기저기를 돌아다니며 어제 만났던 남자 직원을 찾는다\n\n수리영\n아저씨, 저 어제 봤죠? 강민숙씨 딸.\n\n남자직원\n어? 그래. 엄마 오늘도 결근했는데... 무슨 일 있어?\n\n수리영\n(답하지 않고 대신) 어제 저한테, 우리 엄마가 누군가와 얘길\n나누는 걸 봤다고 하셨죠?\n\n남자직원\n응. 남자였던 거 같은데.\n\n수리영\n남자요? 혹시 CCTV 같은 거 볼 수 있을까요?\n\n남자직원\n그게 CCTV에 찍혔을까.\n\n/ 마트 밖\n엄마와 남자 직원CCTV 위치를 확인하다. 찍혔을 만한 위치다.\n수리영, 혜수에게 전화 걸어 상황을 설명한다.\n\n\n\n샷 목록(시간순):\nS19sh4 [LOCATION: S#19. 마트 / D\n이른 아침]\n  마트 외부 건물 벽에 달린 CCTV 카메라를 올려다보는 수리영의 옆얼굴.\nS2sh3 [LOCATION: S#2. 도시 뒷골목 / N\n도심 희미한 가]\n  정체불명의 습격자의 이빨이 뒷골목 사건의 여자 피해자의 목에 깊이 박혀 살점을 강하게 물어뜯는 찰나의 측면"}
{"ts": "2026-07-19 21:56:26", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "fixcmp_S19sh4_base", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/projects/358f9d88-79ad-4cec-b320-dd5565e68fd6/episodes/a38f2479-d6d8-4f31-b4bd-5e2136d3e501/images/background_chain/L09B03.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/358f9d88-79ad-4cec-b320-dd5565e68fd6/images/a38f2479-d6d8-4f31-b4bd-5e2136d3e501/conti/conti_S19sh4.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/358f9d88-79ad-4cec-b320-dd5565e68fd6/images/a38f2479-d6d8-4f31-b4bd-5e2136d3e501/reference/412a0ebe-c263-40fd-9b57-9c235341b96a.png"], "ref_labels": ["LOCATION PHOTOGRAPH — the exact place of this shot: its architecture, materials, fixed features and lighting mood are spatial truth; stage the moment inside this place. Never copy its camera framing.", "LAYOUT SKETCH — a bare thin-line layout guide, a REFERENCE ONLY: take from it ONLY the camera framing, figure placement, pose and size/depth order. It carries ZERO visual style — every texture, material, light and all realism come from the text and the photographic reference. Never let any line-drawing quality leak into the output.", "CHARACTER REFERENCE — 수리영: the exact person appearing in this shot; match face, hair and build exactly."], "attempt": 1, "dur_s": 29.2, "bytes": 3083672, "out": "/Users/manta/Documents/Projects/TheRoad-I1/projects/358f9d88-79ad-4cec-b320-dd5565e68fd6/exp_s19sh4/fixcmp_S19sh4_base.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — Incheon, South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): early morning, interior lighting unspecified.\n\nSHOT TEXT (authoritative, Korean): 마트 외부 건물 벽에 달린 CCTV 카메라를 올려다보는 수리영의 옆얼굴.\n\nLOCATION (lock): A large supermarket in the quiet early hours, with merchandise aisles and employee areas, plus an exterior bicycle parking area and a facade covered by security cameras. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nPROPS FACE THE RIGHT WAY: every handheld or used object must be\noriented exactly as its real-world use requires. A person reading,\nwatching or operating something (a phone, a photograph, a paper,\nany device) has its functional side — screen, front, page — facing\nTHEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Su-ri-yeong’s bicycle remains parked outside the mart, and she continues carrying her doll-adorned backpack and mobile phone. The exterior CCTV camera stays fixed in the identified position.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 수리영 (한국인 여성, 20대 초반, 앳된 타원형 얼굴, 자연스러운 검은 머리) — never anyone else, and never add a person the shot text does not show. IF only part of a person is in frame (a hand, arm, foot, back, silhouette), that body part belongs to the specific person the shot text names — its sex, age, build, skin and grooming must unmistakably match that person's profile above.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-19 21:56:57", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "fixcmp_S19sh4_fix1", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/projects/358f9d88-79ad-4cec-b320-dd5565e68fd6/episodes/a38f2479-d6d8-4f31-b4bd-5e2136d3e501/images/background_chain/L09B03.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/358f9d88-79ad-4cec-b320-dd5565e68fd6/images/a38f2479-d6d8-4f31-b4bd-5e2136d3e501/conti/conti_S19sh4.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/358f9d88-79ad-4cec-b320-dd5565e68fd6/images/a38f2479-d6d8-4f31-b4bd-5e2136d3e501/reference/412a0ebe-c263-40fd-9b57-9c235341b96a.png"], "ref_labels": ["LOCATION PHOTOGRAPH — the exact place of this shot: its architecture, materials, fixed features and lighting mood are spatial truth; stage the moment inside this place. Never copy its camera framing.", "LAYOUT SKETCH — a bare thin-line layout guide, a REFERENCE ONLY: take from it ONLY the camera framing, figure placement, pose and size/depth order. It carries ZERO visual style — every texture, material, light and all realism come from the text and the photographic reference. Never let any line-drawing quality leak into the output.", "CHARACTER REFERENCE — 수리영: the exact person appearing in this shot; match face, hair and build exactly."], "attempt": 1, "dur_s": 30.5, "bytes": 2929380, "out": "/Users/manta/Documents/Projects/TheRoad-I1/projects/358f9d88-79ad-4cec-b320-dd5565e68fd6/exp_s19sh4/fixcmp_S19sh4_fix1.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — Incheon, South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): early morning, interior lighting unspecified.\n\nSHOT TEXT (authoritative, Korean): 마트 외부 건물 벽에 달린 CCTV 카메라를 올려다보는 수리영의 옆얼굴.\n\nLOCATION (lock): A large supermarket in the quiet early hours, with merchandise aisles and employee areas, plus an exterior bicycle parking area and a facade covered by security cameras. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: Outside the market, frame 수리영 from near eye level at her side and complete the upward tilt so her lifted profile holds the lower-left while the wall-mounted CCTV camera lands in the upper-right. Keep the distance at a medium side view, allowing her eyeline to connect the two anchors without converting the shot into device footage.\n- FRAMING SCALE: medium shot\n- FRAME LAYOUT: 수리영 in the middle-left of the frame, midground, looks toward exterior CCTV camera; exterior CCTV camera in the upper-right of the frame, background.\n- KEY BACKGROUND ELEMENTS: 마트 외부 CCTV 카메라 (Mounted on the market exterior wall) — The lens side of the mounted camera faces the area 수리영 is checking; used as Upper-frame eyeline destination establishing that the relevant area may have been recorded; 마트 외부 건물 벽 (Supporting the mounted CCTV camera); used as Spatial support for the high CCTV position.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nPROPS FACE THE RIGHT WAY: every handheld or used object must be\noriented exactly as its real-world use requires. A person reading,\nwatching or operating something (a phone, a photograph, a paper,\nany device) has its functional side — screen, front, page — facing\nTHEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Su-ri-yeong’s bicycle remains parked outside the mart, and she continues carrying her doll-adorned backpack and mobile phone. The exterior CCTV camera stays fixed in the identified position.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 수리영 (한국인 여성, 20대 초반, 앳된 타원형 얼굴, 자연스러운 검은 머리) — never anyone else, and never add a person the shot text does not show. IF only part of a person is in frame (a hand, arm, foot, back, silhouette), that body part belongs to the specific person the shot text names — its sex, age, build, skin and grooming must unmistakably match that person's profile above.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-19 21:57:28", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "fixcmp_S19sh4_fix2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/projects/358f9d88-79ad-4cec-b320-dd5565e68fd6/episodes/a38f2479-d6d8-4f31-b4bd-5e2136d3e501/images/background_chain/L09B03.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/358f9d88-79ad-4cec-b320-dd5565e68fd6/images/a38f2479-d6d8-4f31-b4bd-5e2136d3e501/conti/conti_S19sh4.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/358f9d88-79ad-4cec-b320-dd5565e68fd6/images/a38f2479-d6d8-4f31-b4bd-5e2136d3e501/reference/412a0ebe-c263-40fd-9b57-9c235341b96a.png"], "ref_labels": ["LOCATION PHOTOGRAPH — the exact place of this shot: its architecture, materials, fixed features and lighting mood are spatial truth; stage the moment inside this place. Never copy its camera framing.", "LAYOUT SKETCH — a bare thin-line layout guide, a REFERENCE ONLY: take from it ONLY the camera framing, figure placement, pose and size/depth order. It carries ZERO visual style — every texture, material, light and all realism come from the text and the photographic reference. Never let any line-drawing quality leak into the output.", "CHARACTER REFERENCE — 수리영: the exact person appearing in this shot; match face, hair and build exactly."], "attempt": 1, "dur_s": 31.0, "bytes": 3242255, "out": "/Users/manta/Documents/Projects/TheRoad-I1/projects/358f9d88-79ad-4cec-b320-dd5565e68fd6/exp_s19sh4/fixcmp_S19sh4_fix2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — Incheon, South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): early morning.\n\nSHOT TEXT (authoritative, Korean): 마트 외부 건물 벽에 달린 CCTV 카메라를 올려다보는 수리영의 옆얼굴.\n\nLOCATION (lock): Outside beside the supermarket’s exterior wall, directly beneath the wall-mounted CCTV camera in the early morning. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nPROPS FACE THE RIGHT WAY: every handheld or used object must be\noriented exactly as its real-world use requires. A person reading,\nwatching or operating something (a phone, a photograph, a paper,\nany device) has its functional side — screen, front, page — facing\nTHEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Su-ri-yeong’s bicycle remains parked outside the mart, and she continues carrying her doll-adorned backpack and mobile phone. The exterior CCTV camera stays fixed in the identified position.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 수리영 (한국인 여성, 20대 초반, 앳된 타원형 얼굴, 자연스러운 검은 머리) — never anyone else, and never add a person the shot text does not show. IF only part of a person is in frame (a hand, arm, foot, back, silhouette), that body part belongs to the specific person the shot text names — its sex, age, build, skin and grooming must unmistakably match that person's profile above.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-19 21:57:58", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "fixcmp_S19sh4_fix12", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/projects/358f9d88-79ad-4cec-b320-dd5565e68fd6/episodes/a38f2479-d6d8-4f31-b4bd-5e2136d3e501/images/background_chain/L09B03.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/358f9d88-79ad-4cec-b320-dd5565e68fd6/images/a38f2479-d6d8-4f31-b4bd-5e2136d3e501/conti/conti_S19sh4.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/358f9d88-79ad-4cec-b320-dd5565e68fd6/images/a38f2479-d6d8-4f31-b4bd-5e2136d3e501/reference/412a0ebe-c263-40fd-9b57-9c235341b96a.png"], "ref_labels": ["LOCATION PHOTOGRAPH — the exact place of this shot: its architecture, materials, fixed features and lighting mood are spatial truth; stage the moment inside this place. Never copy its camera framing.", "LAYOUT SKETCH — a bare thin-line layout guide, a REFERENCE ONLY: take from it ONLY the camera framing, figure placement, pose and size/depth order. It carries ZERO visual style — every texture, material, light and all realism come from the text and the photographic reference. Never let any line-drawing quality leak into the output.", "CHARACTER REFERENCE — 수리영: the exact person appearing in this shot; match face, hair and build exactly."], "attempt": 1, "dur_s": 30.5, "bytes": 2964709, "out": "/Users/manta/Documents/Projects/TheRoad-I1/projects/358f9d88-79ad-4cec-b320-dd5565e68fd6/exp_s19sh4/fixcmp_S19sh4_fix12.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — Incheon, South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): early morning.\n\nSHOT TEXT (authoritative, Korean): 마트 외부 건물 벽에 달린 CCTV 카메라를 올려다보는 수리영의 옆얼굴.\n\nLOCATION (lock): Outside beside the supermarket’s exterior wall, directly beneath the wall-mounted CCTV camera in the early morning. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: Outside the market, frame 수리영 from near eye level at her side and complete the upward tilt so her lifted profile holds the lower-left while the wall-mounted CCTV camera lands in the upper-right. Keep the distance at a medium side view, allowing her eyeline to connect the two anchors without converting the shot into device footage.\n- FRAMING SCALE: medium shot\n- FRAME LAYOUT: 수리영 in the middle-left of the frame, midground, looks toward exterior CCTV camera; exterior CCTV camera in the upper-right of the frame, background.\n- KEY BACKGROUND ELEMENTS: 마트 외부 CCTV 카메라 (Mounted on the market exterior wall) — The lens side of the mounted camera faces the area 수리영 is checking; used as Upper-frame eyeline destination establishing that the relevant area may have been recorded; 마트 외부 건물 벽 (Supporting the mounted CCTV camera); used as Spatial support for the high CCTV position.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nPROPS FACE THE RIGHT WAY: every handheld or used object must be\noriented exactly as its real-world use requires. A person reading,\nwatching or operating something (a phone, a photograph, a paper,\nany device) has its functional side — screen, front, page — facing\nTHEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Su-ri-yeong’s bicycle remains parked outside the mart, and she continues carrying her doll-adorned backpack and mobile phone. The exterior CCTV camera stays fixed in the identified position.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 수리영 (한국인 여성, 20대 초반, 앳된 타원형 얼굴, 자연스러운 검은 머리) — never anyone else, and never add a person the shot text does not show. IF only part of a person is in frame (a hand, arm, foot, back, silhouette), that body part belongs to the specific person the shot text names — its sex, age, build, skin and grooming must unmistakably match that person's profile above.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-19 21:58:23", "kind": "img_error", "tag": "fixcmp_S2sh3_base", "attempt": 1, "error": "Gemini i2i returned no image: {\"candidates\": [{\"content\": {}, \"finishReason\": \"IMAGE_SAFETY\", \"index\": 0, \"finishMessage\": \"Unable to show the generated image. The image was filtered out because it violated Google's [Generative AI Prohibited Use policy](https://policies.google.com/terms/generative-ai/use-policy). You will not be charged for blocked images. Try rephrasing the prompt. If you think this was an error, [send feedback](https://ai.google.dev/gemini-api/docs/troubleshooting).\"}], \"usage"}
{"ts": "2026-07-19 21:58:50", "kind": "img_error", "tag": "fixcmp_S2sh3_base", "attempt": 2, "error": "Gemini i2i returned no image: {\"candidates\": [{\"content\": {}, \"finishReason\": \"IMAGE_SAFETY\", \"index\": 0, \"finishMessage\": \"Unable to show the generated image. The image was filtered out because it violated Google's [Generative AI Prohibited Use policy](https://policies.google.com/terms/generative-ai/use-policy). You will not be charged for blocked images. Try rephrasing the prompt. If you think this was an error, [send feedback](https://ai.google.dev/gemini-api/docs/troubleshooting).\"}], \"usage"}
{"ts": "2026-07-19 22:00:04", "kind": "llm", "step": "exp_fix2_time_of_day", "model": "gpt", "dur_s": 5.9, "system_prompt": "당신은 촬영 연속성 편집자다. 씬 목록(각 씬의 헤딩과 원문 전문)을\n받는다. 각 씬마다 두 가지를 저작하라.\n(a) time_of_day_en: 그 씬의 스틸 촬영에 잠글 시간대 — 영어 한 구절.\n예: \"night\", \"dawn\", \"late afternoon\", \"day, overcast\".\n규칙:\n1) 오직 씬 헤딩과 씬 원문 근거로만 판단하라. 헤딩·원문에 근거가\n   없으면 원문에 명시된 인접 씬과의 시간 경과로 최소 추론하고,\n   그것도 없으면 \"day\"로 두되 basis_ko 에 근거 부족을 명시하라.\n2) 장소 중립으로 저작하라 — 시간대와 하늘·자연광 상태만 담고,\n   실내/실외 여부·조명 기구·실내 광원 유무는 절대 언급하지 마라.\n   같은 씬 안에서도 샷마다 실내/실외 서브공간이 다를 수 있어, 장소에\n   묶인 광원 서술은 다른 서브공간의 샷을 오염시킨다. 실내 광원 사실은\n   샷별 장소 저작(별도 판정)이 담당한다.\n(b) place_en: 그 씬의 장소를 스틸 프롬프트의 장소 잠금(LOCATION\nlock)에 쓸 영어 1~2문장으로 시각 서술하라 — 공간의 종류·규모·핵심\n고정 요소·재질감 등 원문이 뒷받침하는 사실만. 근거 없는 부분은 그\n유형 장소의 전형으로 최소 보충하되 원문과 모순 금지.\n공통: 작품 고유명사 없이 일반 서술로만, 날씨·광질은 원문에 명시된\n것만(발명 금지).\n각 씬: scene_index(정수), time_of_day_en, place_en, basis_ko(근거\n한 구절).", "user_prompt": "씬 목록:\n\n[씬 15] S#15. 해안가. 버스정류장 부근 / N\n바다를 바라보며\nS#15. 해안가. 버스정류장 부근 / N\n바다를 바라보며 멍한 채로 앉아있는 수리영, 여전히 엄마는 전화를 받지않고.\n자신이 진짜로 헛 것을 본 것일까... 헷갈린다. 그럼 엄마는 어디있을까.\n혜수, 사온 음료수를 수리영에게 건네며\n\n혜수\n괜찮아?\n\n수리영\n내가 뭘 잘 못 본 거야, 이모. 그게 맞는 말 같애.\n엄마가 갑자기...그런 일을 당할 리 없잖아\n(훅 일어나며) 집에 가봐야 겠어.\n\n혜수\n엉? 어. 혼자 갈 수 있겠어?\n\n수리영\n응. 나 갈게 (달려간다)\n\n혜수\n(등 뒤에 대고 소리친다) 엄마 보면 나한테 전화 하라고 해!\n\n두 사람을 지켜보는 듯한 카메라 시선.\n\n\n\n[씬 19] S#19. 마트 / D\n이른 아침\nS#19. 마트 / D\n이른 아침, 아직은 한산한 마트 안.\n자전거를 주차하고 안으로 들어가는 수리영.\n마트 여기저기를 돌아다니며 어제 만났던 남자 직원을 찾는다\n\n수리영\n아저씨, 저 어제 봤죠? 강민숙씨 딸.\n\n남자직원\n어? 그래. 엄마 오늘도 결근했는데... 무슨 일 있어?\n\n수리영\n(답하지 않고 대신) 어제 저한테, 우리 엄마가 누군가와 얘길\n나누는 걸 봤다고 하셨죠?\n\n남자직원\n응. 남자였던 거 같은데.\n\n수리영\n남자요? 혹시 CCTV 같은 거 볼 수 있을까요?\n\n남자직원\n그게 CCTV에 찍혔을까.\n\n/ 마트 밖\n엄마와 남자 직원CCTV 위치를 확인하다. 찍혔을 만한 위치다.\n수리영, 혜수에게 전화 걸어 상황을 설명한다.\n\n"}
{"ts": "2026-07-19 22:00:06", "kind": "llm", "step": "exp_fix2_shot_place", "model": "gpt", "dur_s": 2.3, "system_prompt": "당신은 촬영 로케이션 스크립터다. 씬 원문 전문과 샷 목록(각 샷에\n[LOCATION: 씬 장소 서술] 병기)을 받는다. 각 샷마다, 그 샷이 실제로\n벌어지는 **정확한 서브공간**을 스틸 프롬프트의 장소 잠금(LOCATION\nlock)에 쓸 영어 1~2문장으로 저작하라.\n규칙:\n1) 씬 장소 전체 서술을 복사하지 마라 — 샷 텍스트와 씬 원문이\n   가리키는 이 샷의 서브공간(예: 건물의 외벽 앞 / 출입구 / 안쪽\n   통로 / 옥상 위 등 유형 서술)을 특정하라. 상위 장소가 무엇인지\n   식별할 수 있는 한 구절은 유지하라.\n2) 실내인지 실외인지 문장에 자연히 드러나게 서술하고, environment\n   필드에도 interior/exterior/ambiguous 로 판정하라. 실외 서브공간이면\n   실내 요소(천장·실내 조명·진열대 등)를 언급하지 마라. 실내\n   서브공간이면 원문이 뒷받침하는 광원 사실(창밖 광량·켜진 조명 등)을\n   담아라.\n3) 원문이 뒷받침하는 사실만. 근거 없는 부분은 그 유형 장소의 전형으로\n   최소 보충하되 원문과 모순 금지. 작품 고유명사 없이 일반 서술로만.\n각 샷: shot(입력에 적힌 태그 문자열 그대로), place_en,\nenvironment(interior|exterior|ambiguous), basis_ko(근거 한 구절).", "user_prompt": "씬 원문 전문:\n[씬 15] S#15. 해안가. 버스정류장 부근 / N\n바다를 바라보며\nS#15. 해안가. 버스정류장 부근 / N\n바다를 바라보며 멍한 채로 앉아있는 수리영, 여전히 엄마는 전화를 받지않고.\n자신이 진짜로 헛 것을 본 것일까... 헷갈린다. 그럼 엄마는 어디있을까.\n혜수, 사온 음료수를 수리영에게 건네며\n\n혜수\n괜찮아?\n\n수리영\n내가 뭘 잘 못 본 거야, 이모. 그게 맞는 말 같애.\n엄마가 갑자기...그런 일을 당할 리 없잖아\n(훅 일어나며) 집에 가봐야 겠어.\n\n혜수\n엉? 어. 혼자 갈 수 있겠어?\n\n수리영\n응. 나 갈게 (달려간다)\n\n혜수\n(등 뒤에 대고 소리친다) 엄마 보면 나한테 전화 하라고 해!\n\n두 사람을 지켜보는 듯한 카메라 시선.\n\n\n\n[씬 19] S#19. 마트 / D\n이른 아침\nS#19. 마트 / D\n이른 아침, 아직은 한산한 마트 안.\n자전거를 주차하고 안으로 들어가는 수리영.\n마트 여기저기를 돌아다니며 어제 만났던 남자 직원을 찾는다\n\n수리영\n아저씨, 저 어제 봤죠? 강민숙씨 딸.\n\n남자직원\n어? 그래. 엄마 오늘도 결근했는데... 무슨 일 있어?\n\n수리영\n(답하지 않고 대신) 어제 저한테, 우리 엄마가 누군가와 얘길\n나누는 걸 봤다고 하셨죠?\n\n남자직원\n응. 남자였던 거 같은데.\n\n수리영\n남자요? 혹시 CCTV 같은 거 볼 수 있을까요?\n\n남자직원\n그게 CCTV에 찍혔을까.\n\n/ 마트 밖\n엄마와 남자 직원CCTV 위치를 확인하다. 찍혔을 만한 위치다.\n수리영, 혜수에게 전화 걸어 상황을 설명한다.\n\n\n\n샷 목록(시간순):\nS19sh4 [LOCATION: S#19. 마트 / D\n이른 아침]\n  마트 외부 건물 벽에 달린 CCTV 카메라를 올려다보는 수리영의 옆얼굴.\nS15sh4 [LOCATION: S#15. 해안가. 버스정류장 부근 / N\n바다를 바라보며]\n  어둠이 깔린 해안도로를 향해 한 발을 허공에 띄운 채 상체를 앞으로 기울인 달리기 mid-action 자세의 수리영 뒷모습 실루엣."}
{"ts": "2026-07-19 22:00:06", "kind": "img", "tag": "fixcmp_S19sh4_base", "skip": "exists", "out": "/Users/manta/Documents/Projects/TheRoad-I1/projects/358f9d88-79ad-4cec-b320-dd5565e68fd6/exp_s19sh4/fixcmp_S19sh4_base.png"}
{"ts": "2026-07-19 22:00:06", "kind": "img", "tag": "fixcmp_S19sh4_fix1", "skip": "exists", "out": "/Users/manta/Documents/Projects/TheRoad-I1/projects/358f9d88-79ad-4cec-b320-dd5565e68fd6/exp_s19sh4/fixcmp_S19sh4_fix1.png"}
{"ts": "2026-07-19 22:00:06", "kind": "img", "tag": "fixcmp_S19sh4_fix2", "skip": "exists", "out": "/Users/manta/Documents/Projects/TheRoad-I1/projects/358f9d88-79ad-4cec-b320-dd5565e68fd6/exp_s19sh4/fixcmp_S19sh4_fix2.png"}
{"ts": "2026-07-19 22:00:06", "kind": "img", "tag": "fixcmp_S19sh4_fix12", "skip": "exists", "out": "/Users/manta/Documents/Projects/TheRoad-I1/projects/358f9d88-79ad-4cec-b320-dd5565e68fd6/exp_s19sh4/fixcmp_S19sh4_fix12.png"}
{"ts": "2026-07-19 22:00:24", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "fixcmp_S15sh4_base", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/projects/358f9d88-79ad-4cec-b320-dd5565e68fd6/images/a38f2479-d6d8-4f31-b4bd-5e2136d3e501/scene/recipe/S15sh1_sel.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/358f9d88-79ad-4cec-b320-dd5565e68fd6/images/a38f2479-d6d8-4f31-b4bd-5e2136d3e501/reference/412a0ebe-c263-40fd-9b57-9c235341b96a.png"], "ref_labels": ["PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing. If this photo shows a character who cannot move (dead or unconscious), that character's exact pose, position and orientation are ALSO LOCKED — treat their body as a fixed prop of the set that only the camera moves around.", "CHARACTER REFERENCE — 수리영: the exact person appearing in this shot; match face, hair and build exactly."], "attempt": 1, "dur_s": 18.1, "bytes": 2108979, "out": "/Users/manta/Documents/Projects/TheRoad-I1/projects/358f9d88-79ad-4cec-b320-dd5565e68fd6/exp_s19sh4/fixcmp_S15sh4_base.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — Incheon, South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night, exterior illumination unspecified.\n\nSHOT TEXT (authoritative, Korean): 어둠이 깔린 해안도로를 향해 한 발을 허공에 띄운 채 상체를 앞으로 기울인 달리기 mid-action 자세의 수리영 뒷모습 실루엣.\n\nLOCATION (lock): A bus-stop area along the coast with seating oriented toward the sea and an open roadside edge nearby. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.\n\nTHIS SHOT CONTINUES THE PREVIOUS SHOT: everything the attached still established — the place, its fixed features and wear, each person's clothing and state — persists. Any person in it who cannot move stays PRECISELY as photographed (body, pose, contact points, held objects); only the camera changes.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nPROPS FACE THE RIGHT WAY: every handheld or used object must be\noriented exactly as its real-world use requires. A person reading,\nwatching or operating something (a phone, a photograph, a paper,\nany device) has its functional side — screen, front, page — facing\nTHEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Su-ri-yeong runs off with her mobile phone still in her possession.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 수리영 (한국인 여성, 20대 초반, 앳된 타원형 얼굴, 자연스러운 검은 머리) — never anyone else, and never add a person the shot text does not show. IF only part of a person is in frame (a hand, arm, foot, back, silhouette), that body part belongs to the specific person the shot text names — its sex, age, build, skin and grooming must unmistakably match that person's profile above.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-19 22:00:43", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "fixcmp_S15sh4_fix1", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/projects/358f9d88-79ad-4cec-b320-dd5565e68fd6/images/a38f2479-d6d8-4f31-b4bd-5e2136d3e501/scene/recipe/S15sh1_sel.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/358f9d88-79ad-4cec-b320-dd5565e68fd6/images/a38f2479-d6d8-4f31-b4bd-5e2136d3e501/reference/412a0ebe-c263-40fd-9b57-9c235341b96a.png"], "ref_labels": ["PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing. If this photo shows a character who cannot move (dead or unconscious), that character's exact pose, position and orientation are ALSO LOCKED — treat their body as a fixed prop of the set that only the camera moves around.", "CHARACTER REFERENCE — 수리영: the exact person appearing in this shot; match face, hair and build exactly."], "attempt": 1, "dur_s": 18.4, "bytes": 2264255, "out": "/Users/manta/Documents/Projects/TheRoad-I1/projects/358f9d88-79ad-4cec-b320-dd5565e68fd6/exp_s19sh4/fixcmp_S15sh4_fix1.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — Incheon, South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night, exterior illumination unspecified.\n\nSHOT TEXT (authoritative, Korean): 어둠이 깔린 해안도로를 향해 한 발을 허공에 띄운 채 상체를 앞으로 기울인 달리기 mid-action 자세의 수리영 뒷모습 실루엣.\n\nLOCATION (lock): A bus-stop area along the coast with seating oriented toward the sea and an open roadside edge nearby. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: At waist height behind 수리영, the camera tracks along her departure line while briefly holding the established distance, isolating her rear silhouette at the instant one foot is suspended. She remains near the lower center with the coastal road opening ahead in the upper frame, allowing her to begin increasing the gap before the camera later pans back.\n- FRAMING SCALE: wide shot\n- FRAME LAYOUT: 수리영 in the lower-center of the frame, midground, moves toward coastal road ahead; coastal road ahead in the upper-center of the frame, background.\n- KEY BACKGROUND ELEMENTS: Coastal road (Visible under night conditions) — The road extends away from the camera along 수리영's running line; used as Defines the direction of 수리영's escape from the bench area; Bus-stop area (Left behind as 수리영 runs away) — The bench area lies behind the camera-facing side of 수리영's route; used as Recedes behind the running figure as a continuity marker for her departure.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nTHIS SHOT CONTINUES THE PREVIOUS SHOT: everything the attached still established — the place, its fixed features and wear, each person's clothing and state — persists. Any person in it who cannot move stays PRECISELY as photographed (body, pose, contact points, held objects); only the camera changes.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nPROPS FACE THE RIGHT WAY: every handheld or used object must be\noriented exactly as its real-world use requires. A person reading,\nwatching or operating something (a phone, a photograph, a paper,\nany device) has its functional side — screen, front, page — facing\nTHEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Su-ri-yeong runs off with her mobile phone still in her possession.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 수리영 (한국인 여성, 20대 초반, 앳된 타원형 얼굴, 자연스러운 검은 머리) — never anyone else, and never add a person the shot text does not show. IF only part of a person is in frame (a hand, arm, foot, back, silhouette), that body part belongs to the specific person the shot text names — its sex, age, build, skin and grooming must unmistakably match that person's profile above.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-19 22:01:00", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "fixcmp_S15sh4_fix2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/projects/358f9d88-79ad-4cec-b320-dd5565e68fd6/images/a38f2479-d6d8-4f31-b4bd-5e2136d3e501/scene/recipe/S15sh1_sel.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/358f9d88-79ad-4cec-b320-dd5565e68fd6/images/a38f2479-d6d8-4f31-b4bd-5e2136d3e501/reference/412a0ebe-c263-40fd-9b57-9c235341b96a.png"], "ref_labels": ["PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing. If this photo shows a character who cannot move (dead or unconscious), that character's exact pose, position and orientation are ALSO LOCKED — treat their body as a fixed prop of the set that only the camera moves around.", "CHARACTER REFERENCE — 수리영: the exact person appearing in this shot; match face, hair and build exactly."], "attempt": 1, "dur_s": 17.4, "bytes": 2101615, "out": "/Users/manta/Documents/Projects/TheRoad-I1/projects/358f9d88-79ad-4cec-b320-dd5565e68fd6/exp_s19sh4/fixcmp_S15sh4_fix2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — Incheon, South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\n\nSHOT TEXT (authoritative, Korean): 어둠이 깔린 해안도로를 향해 한 발을 허공에 띄운 채 상체를 앞으로 기울인 달리기 mid-action 자세의 수리영 뒷모습 실루엣.\n\nLOCATION (lock): On the dark coastal road near the bus stop, facing away from the seaside waiting area. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.\n\nTHIS SHOT CONTINUES THE PREVIOUS SHOT: everything the attached still established — the place, its fixed features and wear, each person's clothing and state — persists. Any person in it who cannot move stays PRECISELY as photographed (body, pose, contact points, held objects); only the camera changes.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nPROPS FACE THE RIGHT WAY: every handheld or used object must be\noriented exactly as its real-world use requires. A person reading,\nwatching or operating something (a phone, a photograph, a paper,\nany device) has its functional side — screen, front, page — facing\nTHEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Su-ri-yeong runs off with her mobile phone still in her possession.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 수리영 (한국인 여성, 20대 초반, 앳된 타원형 얼굴, 자연스러운 검은 머리) — never anyone else, and never add a person the shot text does not show. IF only part of a person is in frame (a hand, arm, foot, back, silhouette), that body part belongs to the specific person the shot text names — its sex, age, build, skin and grooming must unmistakably match that person's profile above.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-19 22:01:17", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "fixcmp_S15sh4_fix12", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/projects/358f9d88-79ad-4cec-b320-dd5565e68fd6/images/a38f2479-d6d8-4f31-b4bd-5e2136d3e501/scene/recipe/S15sh1_sel.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/358f9d88-79ad-4cec-b320-dd5565e68fd6/images/a38f2479-d6d8-4f31-b4bd-5e2136d3e501/reference/412a0ebe-c263-40fd-9b57-9c235341b96a.png"], "ref_labels": ["PREVIOUS SHOT STILL — a visually related earlier shot of this same place: the location's look, materials, fixed features, lighting mood and each person's clothing are LOCKED to this photo; never copy its camera framing. If this photo shows a character who cannot move (dead or unconscious), that character's exact pose, position and orientation are ALSO LOCKED — treat their body as a fixed prop of the set that only the camera moves around.", "CHARACTER REFERENCE — 수리영: the exact person appearing in this shot; match face, hair and build exactly."], "attempt": 1, "dur_s": 17.4, "bytes": 2108119, "out": "/Users/manta/Documents/Projects/TheRoad-I1/projects/358f9d88-79ad-4cec-b320-dd5565e68fd6/exp_s19sh4/fixcmp_S15sh4_fix12.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — Incheon, South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.\n\nSHOT TEXT (authoritative, Korean): 어둠이 깔린 해안도로를 향해 한 발을 허공에 띄운 채 상체를 앞으로 기울인 달리기 mid-action 자세의 수리영 뒷모습 실루엣.\n\nLOCATION (lock): On the dark coastal road near the bus stop, facing away from the seaside waiting area. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: At waist height behind 수리영, the camera tracks along her departure line while briefly holding the established distance, isolating her rear silhouette at the instant one foot is suspended. She remains near the lower center with the coastal road opening ahead in the upper frame, allowing her to begin increasing the gap before the camera later pans back.\n- FRAMING SCALE: wide shot\n- FRAME LAYOUT: 수리영 in the lower-center of the frame, midground, moves toward coastal road ahead; coastal road ahead in the upper-center of the frame, background.\n- KEY BACKGROUND ELEMENTS: Coastal road (Visible under night conditions) — The road extends away from the camera along 수리영's running line; used as Defines the direction of 수리영's escape from the bench area; Bus-stop area (Left behind as 수리영 runs away) — The bench area lies behind the camera-facing side of 수리영's route; used as Recedes behind the running figure as a continuity marker for her departure.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nTHIS SHOT CONTINUES THE PREVIOUS SHOT: everything the attached still established — the place, its fixed features and wear, each person's clothing and state — persists. Any person in it who cannot move stays PRECISELY as photographed (body, pose, contact points, held objects); only the camera changes.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nPROPS FACE THE RIGHT WAY: every handheld or used object must be\noriented exactly as its real-world use requires. A person reading,\nwatching or operating something (a phone, a photograph, a paper,\nany device) has its functional side — screen, front, page — facing\nTHEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Su-ri-yeong runs off with her mobile phone still in her possession.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 수리영 (한국인 여성, 20대 초반, 앳된 타원형 얼굴, 자연스러운 검은 머리) — never anyone else, and never add a person the shot text does not show. IF only part of a person is in frame (a hand, arm, foot, back, silhouette), that body part belongs to the specific person the shot text names — its sex, age, build, skin and grooming must unmistakably match that person's profile above.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-19 22:02:15", "kind": "img", "tag": "fixcmp_S19sh4_base", "skip": "exists", "out": "/Users/manta/Documents/Projects/TheRoad-I1/projects/358f9d88-79ad-4cec-b320-dd5565e68fd6/exp_s19sh4/fixcmp_S19sh4_base.png"}
{"ts": "2026-07-19 22:02:15", "kind": "img", "tag": "fixcmp_S19sh4_fix1", "skip": "exists", "out": "/Users/manta/Documents/Projects/TheRoad-I1/projects/358f9d88-79ad-4cec-b320-dd5565e68fd6/exp_s19sh4/fixcmp_S19sh4_fix1.png"}
{"ts": "2026-07-19 22:02:43", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "fixcmp_S19sh4_fix2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/projects/358f9d88-79ad-4cec-b320-dd5565e68fd6/episodes/a38f2479-d6d8-4f31-b4bd-5e2136d3e501/images/background_chain/L09B03.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/358f9d88-79ad-4cec-b320-dd5565e68fd6/images/a38f2479-d6d8-4f31-b4bd-5e2136d3e501/conti/conti_S19sh4.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/358f9d88-79ad-4cec-b320-dd5565e68fd6/images/a38f2479-d6d8-4f31-b4bd-5e2136d3e501/reference/412a0ebe-c263-40fd-9b57-9c235341b96a.png"], "ref_labels": ["LOCATION PHOTOGRAPH — the exact place of this shot: its architecture, materials, fixed features and lighting mood are spatial truth; stage the moment inside this place. Never copy its camera framing.", "LAYOUT SKETCH — a bare thin-line layout guide, a REFERENCE ONLY: take from it ONLY the camera framing, figure placement, pose and size/depth order. It carries ZERO visual style — every texture, material, light and all realism come from the text and the photographic reference. Never let any line-drawing quality leak into the output.", "CHARACTER REFERENCE — 수리영: the exact person appearing in this shot; match face, hair and build exactly."], "attempt": 1, "dur_s": 28.5, "bytes": 3111464, "out": "/Users/manta/Documents/Projects/TheRoad-I1/projects/358f9d88-79ad-4cec-b320-dd5565e68fd6/exp_s19sh4/fixcmp_S19sh4_fix2.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — Incheon, South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): early morning.\n\nSHOT TEXT (authoritative, Korean): 마트 외부 건물 벽에 달린 CCTV 카메라를 올려다보는 수리영의 옆얼굴.\n\nLOCATION (lock): Outside the supermarket, directly beside the building wall where an exterior CCTV camera is mounted. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nPROPS FACE THE RIGHT WAY: every handheld or used object must be\noriented exactly as its real-world use requires. A person reading,\nwatching or operating something (a phone, a photograph, a paper,\nany device) has its functional side — screen, front, page — facing\nTHEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Su-ri-yeong’s bicycle remains parked outside the mart, and she continues carrying her doll-adorned backpack and mobile phone. The exterior CCTV camera stays fixed in the identified position.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 수리영 (한국인 여성, 20대 초반, 앳된 타원형 얼굴, 자연스러운 검은 머리) — never anyone else, and never add a person the shot text does not show. IF only part of a person is in frame (a hand, arm, foot, back, silhouette), that body part belongs to the specific person the shot text names — its sex, age, build, skin and grooming must unmistakably match that person's profile above.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-19 22:03:11", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "fixcmp_S19sh4_fix12", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/projects/358f9d88-79ad-4cec-b320-dd5565e68fd6/episodes/a38f2479-d6d8-4f31-b4bd-5e2136d3e501/images/background_chain/L09B03.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/358f9d88-79ad-4cec-b320-dd5565e68fd6/images/a38f2479-d6d8-4f31-b4bd-5e2136d3e501/conti/conti_S19sh4.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/358f9d88-79ad-4cec-b320-dd5565e68fd6/images/a38f2479-d6d8-4f31-b4bd-5e2136d3e501/reference/412a0ebe-c263-40fd-9b57-9c235341b96a.png"], "ref_labels": ["LOCATION PHOTOGRAPH — the exact place of this shot: its architecture, materials, fixed features and lighting mood are spatial truth; stage the moment inside this place. Never copy its camera framing.", "LAYOUT SKETCH — a bare thin-line layout guide, a REFERENCE ONLY: take from it ONLY the camera framing, figure placement, pose and size/depth order. It carries ZERO visual style — every texture, material, light and all realism come from the text and the photographic reference. Never let any line-drawing quality leak into the output.", "CHARACTER REFERENCE — 수리영: the exact person appearing in this shot; match face, hair and build exactly."], "attempt": 1, "dur_s": 27.4, "bytes": 2905485, "out": "/Users/manta/Documents/Projects/TheRoad-I1/projects/358f9d88-79ad-4cec-b320-dd5565e68fd6/exp_s19sh4/fixcmp_S19sh4_fix12.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — Incheon, South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): early morning.\n\nSHOT TEXT (authoritative, Korean): 마트 외부 건물 벽에 달린 CCTV 카메라를 올려다보는 수리영의 옆얼굴.\n\nLOCATION (lock): Outside the supermarket, directly beside the building wall where an exterior CCTV camera is mounted. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: Outside the market, frame 수리영 from near eye level at her side and complete the upward tilt so her lifted profile holds the lower-left while the wall-mounted CCTV camera lands in the upper-right. Keep the distance at a medium side view, allowing her eyeline to connect the two anchors without converting the shot into device footage.\n- FRAMING SCALE: medium shot\n- FRAME LAYOUT: 수리영 in the middle-left of the frame, midground, looks toward exterior CCTV camera; exterior CCTV camera in the upper-right of the frame, background.\n- KEY BACKGROUND ELEMENTS: 마트 외부 CCTV 카메라 (Mounted on the market exterior wall) — The lens side of the mounted camera faces the area 수리영 is checking; used as Upper-frame eyeline destination establishing that the relevant area may have been recorded; 마트 외부 건물 벽 (Supporting the mounted CCTV camera); used as Spatial support for the high CCTV position.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nPROPS FACE THE RIGHT WAY: every handheld or used object must be\noriented exactly as its real-world use requires. A person reading,\nwatching or operating something (a phone, a photograph, a paper,\nany device) has its functional side — screen, front, page — facing\nTHEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Su-ri-yeong’s bicycle remains parked outside the mart, and she continues carrying her doll-adorned backpack and mobile phone. The exterior CCTV camera stays fixed in the identified position.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 수리영 (한국인 여성, 20대 초반, 앳된 타원형 얼굴, 자연스러운 검은 머리) — never anyone else, and never add a person the shot text does not show. IF only part of a person is in frame (a hand, arm, foot, back, silhouette), that body part belongs to the specific person the shot text names — its sex, age, build, skin and grooming must unmistakably match that person's profile above.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-19 22:03:11", "kind": "img", "tag": "fixcmp_S15sh4_base", "skip": "exists", "out": "/Users/manta/Documents/Projects/TheRoad-I1/projects/358f9d88-79ad-4cec-b320-dd5565e68fd6/exp_s19sh4/fixcmp_S15sh4_base.png"}
{"ts": "2026-07-19 22:03:11", "kind": "img", "tag": "fixcmp_S15sh4_fix1", "skip": "exists", "out": "/Users/manta/Documents/Projects/TheRoad-I1/projects/358f9d88-79ad-4cec-b320-dd5565e68fd6/exp_s19sh4/fixcmp_S15sh4_fix1.png"}
{"ts": "2026-07-19 22:03:11", "kind": "img", "tag": "fixcmp_S15sh4_fix2", "skip": "exists", "out": "/Users/manta/Documents/Projects/TheRoad-I1/projects/358f9d88-79ad-4cec-b320-dd5565e68fd6/exp_s19sh4/fixcmp_S15sh4_fix2.png"}
{"ts": "2026-07-19 22:03:11", "kind": "img", "tag": "fixcmp_S15sh4_fix12", "skip": "exists", "out": "/Users/manta/Documents/Projects/TheRoad-I1/projects/358f9d88-79ad-4cec-b320-dd5565e68fd6/exp_s19sh4/fixcmp_S15sh4_fix12.png"}
{"ts": "2026-07-19 22:18:12", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "persp_conti_nb2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/projects/358f9d88-79ad-4cec-b320-dd5565e68fd6/episodes/a38f2479-d6d8-4f31-b4bd-5e2136d3e501/images/background_chain/L09B03.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/358f9d88-79ad-4cec-b320-dd5565e68fd6/images/a38f2479-d6d8-4f31-b4bd-5e2136d3e501/reference/412a0ebe-c263-40fd-9b57-9c235341b96a.png"], "ref_labels": ["LOCATION PHOTOGRAPH (loose spatial reference)", "CHARACTER REFERENCE — 수리영: the exact person appearing in this shot; match face, hair and build exactly."], "attempt": 1, "dur_s": 19.0, "bytes": 2871775, "out": "/Users/manta/Documents/Projects/TheRoad-I1/projects/358f9d88-79ad-4cec-b320-dd5565e68fd6/exp_s19sh4/persp_conti_nb2.png", "prompt": "Draw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: Outside the supermarket, directly beside the building wall where an exterior CCTV camera is mounted.\n\nSHOT TEXT (authoritative, Korean): 마트 외부 건물 벽에 달린 CCTV 카메라를 올려다보는 수리영의 옆얼굴.\n\nCARRIED STATE (persist exactly): Su-ri-yeong’s bicycle remains parked outside the mart, and she continues carrying her doll-adorned backpack and mobile phone. The exterior CCTV camera stays fixed in the identified position.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: Outside the market, frame 수리영 from near eye level at her side and complete the upward tilt so her lifted profile holds the lower-left while the wall-mounted CCTV camera lands in the upper-right. Keep the distance at a medium side view, allowing her eyeline to connect the two anchors without converting the shot into device footage.\n- FRAMING SCALE: medium shot\n- FRAME LAYOUT: 수리영 in the middle-left of the frame, midground, looks toward exterior CCTV camera; exterior CCTV camera in the upper-right of the frame, background.\n- KEY BACKGROUND ELEMENTS: 마트 외부 CCTV 카메라 (Mounted on the market exterior wall) — The lens side of the mounted camera faces the area 수리영 is checking; used as Upper-frame eyeline destination establishing that the relevant area may have been recorded; 마트 외부 건물 벽 (Supporting the mounted CCTV camera); used as Spatial support for the high CCTV position.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere."}
{"ts": "2026-07-19 22:19:47", "kind": "img", "engine": "gpt-image-2", "mode": "edit", "tag": "persp_conti_gpt", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/projects/358f9d88-79ad-4cec-b320-dd5565e68fd6/episodes/a38f2479-d6d8-4f31-b4bd-5e2136d3e501/images/background_chain/L09B03.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/358f9d88-79ad-4cec-b320-dd5565e68fd6/images/a38f2479-d6d8-4f31-b4bd-5e2136d3e501/reference/412a0ebe-c263-40fd-9b57-9c235341b96a.png"], "size": "1536x864", "attempt": 1, "dur_s": 95.6, "bytes": 1340592, "out": "/Users/manta/Documents/Projects/TheRoad-I1/projects/358f9d88-79ad-4cec-b320-dd5565e68fd6/exp_s19sh4/persp_conti_gpt.png", "prompt": "The FIRST attached image is the LOCATION PHOTOGRAPH (loose spatial reference only). The SECOND is the CHARACTER REFERENCE for proportion.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: Outside the supermarket, directly beside the building wall where an exterior CCTV camera is mounted.\n\nSHOT TEXT (authoritative, Korean): 마트 외부 건물 벽에 달린 CCTV 카메라를 올려다보는 수리영의 옆얼굴.\n\nCARRIED STATE (persist exactly): Su-ri-yeong’s bicycle remains parked outside the mart, and she continues carrying her doll-adorned backpack and mobile phone. The exterior CCTV camera stays fixed in the identified position.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: Outside the market, frame 수리영 from near eye level at her side and complete the upward tilt so her lifted profile holds the lower-left while the wall-mounted CCTV camera lands in the upper-right. Keep the distance at a medium side view, allowing her eyeline to connect the two anchors without converting the shot into device footage.\n- FRAMING SCALE: medium shot\n- FRAME LAYOUT: 수리영 in the middle-left of the frame, midground, looks toward exterior CCTV camera; exterior CCTV camera in the upper-right of the frame, background.\n- KEY BACKGROUND ELEMENTS: 마트 외부 CCTV 카메라 (Mounted on the market exterior wall) — The lens side of the mounted camera faces the area 수리영 is checking; used as Upper-frame eyeline destination establishing that the relevant area may have been recorded; 마트 외부 건물 벽 (Supporting the mounted CCTV camera); used as Spatial support for the high CCTV position.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere."}
{"ts": "2026-07-19 22:20:18", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "persp_still_nb2conti_base", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/projects/358f9d88-79ad-4cec-b320-dd5565e68fd6/episodes/a38f2479-d6d8-4f31-b4bd-5e2136d3e501/images/background_chain/L09B03.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/358f9d88-79ad-4cec-b320-dd5565e68fd6/exp_s19sh4/persp_conti_nb2.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/358f9d88-79ad-4cec-b320-dd5565e68fd6/images/a38f2479-d6d8-4f31-b4bd-5e2136d3e501/reference/412a0ebe-c263-40fd-9b57-9c235341b96a.png"], "ref_labels": ["LOCATION PHOTOGRAPH — the exact place of this shot: its architecture, materials, fixed features and lighting mood are spatial truth; stage the moment inside this place. Never copy its camera framing.", "LAYOUT SKETCH WITH PERSPECTIVE GUIDES — a bare thin-line layout guide for this shot. OBEY it for: camera framing, the horizon and perspective depth its guide lines show, each person's placement and pose, and the TRUE RELATIVE SIZE of every person and object (a small background object in the sketch stays small in the photo). The thin arrows show exact gaze/motion directions — follow them. Then RENDER A CLEAN PHOTOGRAPH: every pencil line, guide line and arrow is layout language, NOT an object — none of them may appear in the final image (no wires, poles, cables or marks where the guides were). Every visual detail comes from the text and the other reference photographs.", "CHARACTER REFERENCE — 수리영: the exact person appearing in this shot; match face, hair and build exactly."], "attempt": 1, "dur_s": 30.1, "bytes": 3310051, "out": "/Users/manta/Documents/Projects/TheRoad-I1/projects/358f9d88-79ad-4cec-b320-dd5565e68fd6/exp_s19sh4/persp_still_nb2conti_base.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — Incheon, South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): early morning, interior lighting unspecified.\n\nSHOT TEXT (authoritative, Korean): 마트 외부 건물 벽에 달린 CCTV 카메라를 올려다보는 수리영의 옆얼굴.\n\nLOCATION (lock): A large supermarket in the quiet early hours, with merchandise aisles and employee areas, plus an exterior bicycle parking area and a facade covered by security cameras. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nPROPS FACE THE RIGHT WAY: every handheld or used object must be\noriented exactly as its real-world use requires. A person reading,\nwatching or operating something (a phone, a photograph, a paper,\nany device) has its functional side — screen, front, page — facing\nTHEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Su-ri-yeong’s bicycle remains parked outside the mart, and she continues carrying her doll-adorned backpack and mobile phone. The exterior CCTV camera stays fixed in the identified position.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 수리영 (한국인 여성, 20대 초반, 앳된 타원형 얼굴, 자연스러운 검은 머리) — never anyone else, and never add a person the shot text does not show. IF only part of a person is in frame (a hand, arm, foot, back, silhouette), that body part belongs to the specific person the shot text names — its sex, age, build, skin and grooming must unmistakably match that person's profile above.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-19 22:20:45", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "persp_still_nb2conti_fix12", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/projects/358f9d88-79ad-4cec-b320-dd5565e68fd6/episodes/a38f2479-d6d8-4f31-b4bd-5e2136d3e501/images/background_chain/L09B03.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/358f9d88-79ad-4cec-b320-dd5565e68fd6/exp_s19sh4/persp_conti_nb2.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/358f9d88-79ad-4cec-b320-dd5565e68fd6/images/a38f2479-d6d8-4f31-b4bd-5e2136d3e501/reference/412a0ebe-c263-40fd-9b57-9c235341b96a.png"], "ref_labels": ["LOCATION PHOTOGRAPH — the exact place of this shot: its architecture, materials, fixed features and lighting mood are spatial truth; stage the moment inside this place. Never copy its camera framing.", "LAYOUT SKETCH WITH PERSPECTIVE GUIDES — a bare thin-line layout guide for this shot. OBEY it for: camera framing, the horizon and perspective depth its guide lines show, each person's placement and pose, and the TRUE RELATIVE SIZE of every person and object (a small background object in the sketch stays small in the photo). The thin arrows show exact gaze/motion directions — follow them. Then RENDER A CLEAN PHOTOGRAPH: every pencil line, guide line and arrow is layout language, NOT an object — none of them may appear in the final image (no wires, poles, cables or marks where the guides were). Every visual detail comes from the text and the other reference photographs.", "CHARACTER REFERENCE — 수리영: the exact person appearing in this shot; match face, hair and build exactly."], "attempt": 1, "dur_s": 27.9, "bytes": 3301254, "out": "/Users/manta/Documents/Projects/TheRoad-I1/projects/358f9d88-79ad-4cec-b320-dd5565e68fd6/exp_s19sh4/persp_still_nb2conti_fix12.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — Incheon, South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): early morning.\n\nSHOT TEXT (authoritative, Korean): 마트 외부 건물 벽에 달린 CCTV 카메라를 올려다보는 수리영의 옆얼굴.\n\nLOCATION (lock): Outside the supermarket, directly beside the building wall where an exterior CCTV camera is mounted. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: Outside the market, frame 수리영 from near eye level at her side and complete the upward tilt so her lifted profile holds the lower-left while the wall-mounted CCTV camera lands in the upper-right. Keep the distance at a medium side view, allowing her eyeline to connect the two anchors without converting the shot into device footage.\n- FRAMING SCALE: medium shot\n- FRAME LAYOUT: 수리영 in the middle-left of the frame, midground, looks toward exterior CCTV camera; exterior CCTV camera in the upper-right of the frame, background.\n- KEY BACKGROUND ELEMENTS: 마트 외부 CCTV 카메라 (Mounted on the market exterior wall) — The lens side of the mounted camera faces the area 수리영 is checking; used as Upper-frame eyeline destination establishing that the relevant area may have been recorded; 마트 외부 건물 벽 (Supporting the mounted CCTV camera); used as Spatial support for the high CCTV position.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nPROPS FACE THE RIGHT WAY: every handheld or used object must be\noriented exactly as its real-world use requires. A person reading,\nwatching or operating something (a phone, a photograph, a paper,\nany device) has its functional side — screen, front, page — facing\nTHEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Su-ri-yeong’s bicycle remains parked outside the mart, and she continues carrying her doll-adorned backpack and mobile phone. The exterior CCTV camera stays fixed in the identified position.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 수리영 (한국인 여성, 20대 초반, 앳된 타원형 얼굴, 자연스러운 검은 머리) — never anyone else, and never add a person the shot text does not show. IF only part of a person is in frame (a hand, arm, foot, back, silhouette), that body part belongs to the specific person the shot text names — its sex, age, build, skin and grooming must unmistakably match that person's profile above.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-19 22:21:16", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "persp_still_gptconti_base", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/projects/358f9d88-79ad-4cec-b320-dd5565e68fd6/episodes/a38f2479-d6d8-4f31-b4bd-5e2136d3e501/images/background_chain/L09B03.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/358f9d88-79ad-4cec-b320-dd5565e68fd6/exp_s19sh4/persp_conti_gpt.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/358f9d88-79ad-4cec-b320-dd5565e68fd6/images/a38f2479-d6d8-4f31-b4bd-5e2136d3e501/reference/412a0ebe-c263-40fd-9b57-9c235341b96a.png"], "ref_labels": ["LOCATION PHOTOGRAPH — the exact place of this shot: its architecture, materials, fixed features and lighting mood are spatial truth; stage the moment inside this place. Never copy its camera framing.", "LAYOUT SKETCH WITH PERSPECTIVE GUIDES — a bare thin-line layout guide for this shot. OBEY it for: camera framing, the horizon and perspective depth its guide lines show, each person's placement and pose, and the TRUE RELATIVE SIZE of every person and object (a small background object in the sketch stays small in the photo). The thin arrows show exact gaze/motion directions — follow them. Then RENDER A CLEAN PHOTOGRAPH: every pencil line, guide line and arrow is layout language, NOT an object — none of them may appear in the final image (no wires, poles, cables or marks where the guides were). Every visual detail comes from the text and the other reference photographs.", "CHARACTER REFERENCE — 수리영: the exact person appearing in this shot; match face, hair and build exactly."], "attempt": 1, "dur_s": 30.4, "bytes": 3284710, "out": "/Users/manta/Documents/Projects/TheRoad-I1/projects/358f9d88-79ad-4cec-b320-dd5565e68fd6/exp_s19sh4/persp_still_gptconti_base.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — Incheon, South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): early morning, interior lighting unspecified.\n\nSHOT TEXT (authoritative, Korean): 마트 외부 건물 벽에 달린 CCTV 카메라를 올려다보는 수리영의 옆얼굴.\n\nLOCATION (lock): A large supermarket in the quiet early hours, with merchandise aisles and employee areas, plus an exterior bicycle parking area and a facade covered by security cameras. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nPROPS FACE THE RIGHT WAY: every handheld or used object must be\noriented exactly as its real-world use requires. A person reading,\nwatching or operating something (a phone, a photograph, a paper,\nany device) has its functional side — screen, front, page — facing\nTHEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Su-ri-yeong’s bicycle remains parked outside the mart, and she continues carrying her doll-adorned backpack and mobile phone. The exterior CCTV camera stays fixed in the identified position.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 수리영 (한국인 여성, 20대 초반, 앳된 타원형 얼굴, 자연스러운 검은 머리) — never anyone else, and never add a person the shot text does not show. IF only part of a person is in frame (a hand, arm, foot, back, silhouette), that body part belongs to the specific person the shot text names — its sex, age, build, skin and grooming must unmistakably match that person's profile above.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-19 22:21:44", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "persp_still_gptconti_fix12", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/projects/358f9d88-79ad-4cec-b320-dd5565e68fd6/episodes/a38f2479-d6d8-4f31-b4bd-5e2136d3e501/images/background_chain/L09B03.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/358f9d88-79ad-4cec-b320-dd5565e68fd6/exp_s19sh4/persp_conti_gpt.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/358f9d88-79ad-4cec-b320-dd5565e68fd6/images/a38f2479-d6d8-4f31-b4bd-5e2136d3e501/reference/412a0ebe-c263-40fd-9b57-9c235341b96a.png"], "ref_labels": ["LOCATION PHOTOGRAPH — the exact place of this shot: its architecture, materials, fixed features and lighting mood are spatial truth; stage the moment inside this place. Never copy its camera framing.", "LAYOUT SKETCH WITH PERSPECTIVE GUIDES — a bare thin-line layout guide for this shot. OBEY it for: camera framing, the horizon and perspective depth its guide lines show, each person's placement and pose, and the TRUE RELATIVE SIZE of every person and object (a small background object in the sketch stays small in the photo). The thin arrows show exact gaze/motion directions — follow them. Then RENDER A CLEAN PHOTOGRAPH: every pencil line, guide line and arrow is layout language, NOT an object — none of them may appear in the final image (no wires, poles, cables or marks where the guides were). Every visual detail comes from the text and the other reference photographs.", "CHARACTER REFERENCE — 수리영: the exact person appearing in this shot; match face, hair and build exactly."], "attempt": 1, "dur_s": 28.1, "bytes": 3285622, "out": "/Users/manta/Documents/Projects/TheRoad-I1/projects/358f9d88-79ad-4cec-b320-dd5565e68fd6/exp_s19sh4/persp_still_gptconti_fix12.png", "prompt": "Create ONE FINAL photorealistic live-action film still of the moment below — Incheon, South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): early morning.\n\nSHOT TEXT (authoritative, Korean): 마트 외부 건물 벽에 달린 CCTV 카메라를 올려다보는 수리영의 옆얼굴.\n\nLOCATION (lock): Outside the supermarket, directly beside the building wall where an exterior CCTV camera is mounted. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: Outside the market, frame 수리영 from near eye level at her side and complete the upward tilt so her lifted profile holds the lower-left while the wall-mounted CCTV camera lands in the upper-right. Keep the distance at a medium side view, allowing her eyeline to connect the two anchors without converting the shot into device footage.\n- FRAMING SCALE: medium shot\n- FRAME LAYOUT: 수리영 in the middle-left of the frame, midground, looks toward exterior CCTV camera; exterior CCTV camera in the upper-right of the frame, background.\n- KEY BACKGROUND ELEMENTS: 마트 외부 CCTV 카메라 (Mounted on the market exterior wall) — The lens side of the mounted camera faces the area 수리영 is checking; used as Upper-frame eyeline destination establishing that the relevant area may have been recorded; 마트 외부 건물 벽 (Supporting the mounted CCTV camera); used as Spatial support for the high CCTV position.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nPROPS FACE THE RIGHT WAY: every handheld or used object must be\noriented exactly as its real-world use requires. A person reading,\nwatching or operating something (a phone, a photograph, a paper,\nany device) has its functional side — screen, front, page — facing\nTHEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Su-ri-yeong’s bicycle remains parked outside the mart, and she continues carrying her doll-adorned backpack and mobile phone. The exterior CCTV camera stays fixed in the identified position.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 수리영 (한국인 여성, 20대 초반, 앳된 타원형 얼굴, 자연스러운 검은 머리) — never anyone else, and never add a person the shot text does not show. IF only part of a person is in frame (a hand, arm, foot, back, silhouette), that body part belongs to the specific person the shot text names — its sex, age, build, skin and grooming must unmistakably match that person's profile above.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-19 22:32:38", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "chain_A1_bg_first", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/projects/358f9d88-79ad-4cec-b320-dd5565e68fd6/exp_s19sh4/persp_conti_gpt.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/358f9d88-79ad-4cec-b320-dd5565e68fd6/episodes/a38f2479-d6d8-4f31-b4bd-5e2136d3e501/images/background_chain/L09B03.png"], "ref_labels": ["STORYBOARD SKETCH", "LOCATION PHOTOGRAPH — the exact place of this shot: its architecture, materials, fixed features and lighting mood are spatial truth; stage the moment inside this place. Never copy its camera framing."], "attempt": 1, "dur_s": 28.2, "bytes": 3418857, "out": "/Users/manta/Documents/Projects/TheRoad-I1/projects/358f9d88-79ad-4cec-b320-dd5565e68fd6/exp_s19sh4/chain_A1_bg_first.png", "prompt": "Composite edit. The FIRST attached image is a thin-line storyboard sketch with perspective guide lines, eyeline arrows and sketched people. The SECOND attached image (LOCATION PHOTOGRAPH) is the real place of this shot.\nFill the sketch with this location rendered PHOTOREALISTICALLY, matching the sketch's camera angle, horizon and perspective exactly — every building edge, opening and fixed feature lands where the sketch places it, at the sketch's sizes. Keep every sketched PERSON as unchanged thin pencil outlines on top of the photographic background, in their exact positions and sizes. Keep the eyeline arrows as thin pencil lines for now. Remove only the bare perspective guide lines where the photograph replaces them."}
{"ts": "2026-07-19 22:32:59", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "chain_A2_final", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/projects/358f9d88-79ad-4cec-b320-dd5565e68fd6/exp_s19sh4/chain_A1_bg_first.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/358f9d88-79ad-4cec-b320-dd5565e68fd6/images/a38f2479-d6d8-4f31-b4bd-5e2136d3e501/reference/412a0ebe-c263-40fd-9b57-9c235341b96a.png"], "ref_labels": ["LAYOUT COMPOSITE", "CHARACTER REFERENCE — 수리영: the exact person appearing in this shot; match face, hair and build exactly."], "attempt": 1, "dur_s": 20.8, "bytes": 3418752, "out": "/Users/manta/Documents/Projects/TheRoad-I1/projects/358f9d88-79ad-4cec-b320-dd5565e68fd6/exp_s19sh4/chain_A2_final.png", "prompt": "The attached FIRST image is a layout composite: a photographic background with thin-line sketched people and pencil arrows. Turn it into the FINAL photorealistic film still: keep the background, camera angle and perspective EXACTLY as composited, realize each sketched person as the real person in the CHARACTER REFERENCE at exactly the sketched position, pose and size, following the gaze direction the arrow shows — then REMOVE every remaining pencil line and arrow.\n\nCreate ONE FINAL photorealistic live-action film still of the moment below — Incheon, South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): early morning.\n\nSHOT TEXT (authoritative, Korean): 마트 외부 건물 벽에 달린 CCTV 카메라를 올려다보는 수리영의 옆얼굴.\n\nLOCATION (lock): Outside the supermarket, directly beside the building wall where an exterior CCTV camera is mounted. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: Outside the market, frame 수리영 from near eye level at her side and complete the upward tilt so her lifted profile holds the lower-left while the wall-mounted CCTV camera lands in the upper-right. Keep the distance at a medium side view, allowing her eyeline to connect the two anchors without converting the shot into device footage.\n- FRAMING SCALE: medium shot\n- FRAME LAYOUT: 수리영 in the middle-left of the frame, midground, looks toward exterior CCTV camera; exterior CCTV camera in the upper-right of the frame, background.\n- KEY BACKGROUND ELEMENTS: 마트 외부 CCTV 카메라 (Mounted on the market exterior wall) — The lens side of the mounted camera faces the area 수리영 is checking; used as Upper-frame eyeline destination establishing that the relevant area may have been recorded; 마트 외부 건물 벽 (Supporting the mounted CCTV camera); used as Spatial support for the high CCTV position.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nPROPS FACE THE RIGHT WAY: every handheld or used object must be\noriented exactly as its real-world use requires. A person reading,\nwatching or operating something (a phone, a photograph, a paper,\nany device) has its functional side — screen, front, page — facing\nTHEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Su-ri-yeong’s bicycle remains parked outside the mart, and she continues carrying her doll-adorned backpack and mobile phone. The exterior CCTV camera stays fixed in the identified position.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 수리영 (한국인 여성, 20대 초반, 앳된 타원형 얼굴, 자연스러운 검은 머리) — never anyone else, and never add a person the shot text does not show. IF only part of a person is in frame (a hand, arm, foot, back, silhouette), that body part belongs to the specific person the shot text names — its sex, age, build, skin and grooming must unmistakably match that person's profile above.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-19 22:33:16", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "chain_B1_entity_first", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/projects/358f9d88-79ad-4cec-b320-dd5565e68fd6/exp_s19sh4/persp_conti_gpt.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/358f9d88-79ad-4cec-b320-dd5565e68fd6/images/a38f2479-d6d8-4f31-b4bd-5e2136d3e501/reference/412a0ebe-c263-40fd-9b57-9c235341b96a.png"], "ref_labels": ["STORYBOARD SKETCH", "CHARACTER REFERENCE — 수리영: the exact person appearing in this shot; match face, hair and build exactly."], "attempt": 1, "dur_s": 17.5, "bytes": 1886627, "out": "/Users/manta/Documents/Projects/TheRoad-I1/projects/358f9d88-79ad-4cec-b320-dd5565e68fd6/exp_s19sh4/chain_B1_entity_first.png", "prompt": "Composite edit. The FIRST attached image is a thin-line storyboard sketch with perspective guide lines, eyeline arrows and sketched people. The SECOND attached image is the CHARACTER REFERENCE — the exact person appearing in this shot.\nRealize every sketched PERSON as this real photographic person — face, hair and build from the reference — in EXACTLY the pose, position and screen size the sketch draws, including carried items the sketch shows. Everything else stays an unchanged thin-line pencil sketch on white paper: the set masses, the perspective guide lines and the eyeline arrows. Do not paint the background."}
{"ts": "2026-07-19 22:33:36", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "chain_B2_final", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/projects/358f9d88-79ad-4cec-b320-dd5565e68fd6/exp_s19sh4/chain_B1_entity_first.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/358f9d88-79ad-4cec-b320-dd5565e68fd6/episodes/a38f2479-d6d8-4f31-b4bd-5e2136d3e501/images/background_chain/L09B03.png"], "ref_labels": ["LAYOUT COMPOSITE", "LOCATION PHOTOGRAPH — the exact place of this shot: its architecture, materials, fixed features and lighting mood are spatial truth; stage the moment inside this place. Never copy its camera framing."], "attempt": 1, "dur_s": 19.5, "bytes": 3229053, "out": "/Users/manta/Documents/Projects/TheRoad-I1/projects/358f9d88-79ad-4cec-b320-dd5565e68fd6/exp_s19sh4/chain_B2_final.png", "prompt": "The attached FIRST image is a layout composite: real photographic people standing inside a thin-line pencil sketch with perspective guides. The SECOND attached image (LOCATION PHOTOGRAPH) is the real place of this shot. Turn it into the FINAL photorealistic film still: keep the people EXACTLY as photographed (face, pose, position, size), fill the sketched surroundings with this location rendered photorealistically at the sketch's camera angle, horizon and perspective — then REMOVE every remaining pencil line and arrow.\n\nCreate ONE FINAL photorealistic live-action film still of the moment below — Incheon, South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): early morning.\n\nSHOT TEXT (authoritative, Korean): 마트 외부 건물 벽에 달린 CCTV 카메라를 올려다보는 수리영의 옆얼굴.\n\nLOCATION (lock): Outside the supermarket, directly beside the building wall where an exterior CCTV camera is mounted. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: Outside the market, frame 수리영 from near eye level at her side and complete the upward tilt so her lifted profile holds the lower-left while the wall-mounted CCTV camera lands in the upper-right. Keep the distance at a medium side view, allowing her eyeline to connect the two anchors without converting the shot into device footage.\n- FRAMING SCALE: medium shot\n- FRAME LAYOUT: 수리영 in the middle-left of the frame, midground, looks toward exterior CCTV camera; exterior CCTV camera in the upper-right of the frame, background.\n- KEY BACKGROUND ELEMENTS: 마트 외부 CCTV 카메라 (Mounted on the market exterior wall) — The lens side of the mounted camera faces the area 수리영 is checking; used as Upper-frame eyeline destination establishing that the relevant area may have been recorded; 마트 외부 건물 벽 (Supporting the mounted CCTV camera); used as Spatial support for the high CCTV position.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nPROPS FACE THE RIGHT WAY: every handheld or used object must be\noriented exactly as its real-world use requires. A person reading,\nwatching or operating something (a phone, a photograph, a paper,\nany device) has its functional side — screen, front, page — facing\nTHEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Su-ri-yeong’s bicycle remains parked outside the mart, and she continues carrying her doll-adorned backpack and mobile phone. The exterior CCTV camera stays fixed in the identified position.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 수리영 (한국인 여성, 20대 초반, 앳된 타원형 얼굴, 자연스러운 검은 머리) — never anyone else, and never add a person the shot text does not show. IF only part of a person is in frame (a hand, arm, foot, back, silhouette), that body part belongs to the specific person the shot text names — its sex, age, build, skin and grooming must unmistakably match that person's profile above.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-20 09:11:16", "kind": "llm", "step": "exp_fix2_time_of_day", "model": "gpt", "dur_s": 9.9, "system_prompt": "당신은 촬영 연속성 편집자다. 씬 목록(각 씬의 헤딩과 원문 전문)을\n받는다. 각 씬마다 두 가지를 저작하라.\n(a) time_of_day_en: 그 씬의 스틸 촬영에 잠글 시간대 — 영어 한 구절.\n예: \"night\", \"dawn\", \"late afternoon\", \"day, overcast\".\n규칙:\n1) 오직 씬 헤딩과 씬 원문 근거로만 판단하라. 헤딩·원문에 근거가\n   없으면 원문에 명시된 인접 씬과의 시간 경과로 최소 추론하고,\n   그것도 없으면 \"day\"로 두되 basis_ko 에 근거 부족을 명시하라.\n2) 장소 중립으로 저작하라 — 시간대와 하늘·자연광 상태만 담고,\n   실내/실외 여부·조명 기구·실내 광원 유무는 절대 언급하지 마라.\n   같은 씬 안에서도 샷마다 실내/실외 서브공간이 다를 수 있어, 장소에\n   묶인 광원 서술은 다른 서브공간의 샷을 오염시킨다. 실내 광원 사실은\n   샷별 장소 저작(별도 판정)이 담당한다.\n(b) place_en: 그 씬의 장소를 스틸 프롬프트의 장소 잠금(LOCATION\nlock)에 쓸 영어 1~2문장으로 시각 서술하라 — 공간의 종류·규모·핵심\n고정 요소·재질감 등 원문이 뒷받침하는 사실만. 근거 없는 부분은 그\n유형 장소의 전형으로 최소 보충하되 원문과 모순 금지.\n공통: 작품 고유명사 없이 일반 서술로만, 날씨·광질은 원문에 명시된\n것만(발명 금지).\n각 씬: scene_index(정수), time_of_day_en, place_en, basis_ko(근거\n한 구절).", "user_prompt": "씬 목록:\n\n[씬 8] S#8. 번화가·대형 마트 / 해질 무렵\n포구와\nS#8. 번화가·대형 마트 / 해질 무렵\n포구와 인접해 있는 번화가, 네온사인, 택시, 호객 행위, 길거리 포장마차\n사이로 능숙하게 자전거를 모는 수리영.\n\n마트에 도착해 자전거를 세우고, 안으로 들어간다.\n민숙은 이 마트의 진열담당 직원. 이리저리 엄마를 찾아보지만 보이지 않는다\n평소 민숙과 가깝게 지냈던 직원에게 다가가\n\n수리영\n아줌마 안녕하세요? 그런데 우리 엄마는 어딨어요?\n\n여직원\n영이구나. 어? 아까 너 만나러 간다고 조퇴했는데. 길이\n엇갈렸나 보네.\n\n수리영\n(헷갈림) 어? 여기서 만나기로 했는데.\n\n남자 직원\n(박스 들고와 진열하면서) 민숙씨 아까 밖에서 누구랑\n얘기하는 거 봤는데...\n\n수리영\n(의아) 네? 누구랑요?\n\n직원\n그것까진 (모르지)...\n\n여직원\n집에 간 거 아냐? 얼른 가봐.\n\n수리영 마트 밖을 나오면서 연락을 취해보지만 받지않는다.\n일단 집으로-\n\n\n\n[씬 22] S#22. 경찰서 밖 / D\n주차된 자전거를\nS#22. 경찰서 밖 / D\n주차된 자전거를 타고 이내 달리는 수리영\n\n"}
{"ts": "2026-07-20 09:11:22", "kind": "llm", "step": "exp_fix2_shot_place", "model": "gpt", "dur_s": 6.3, "system_prompt": "당신은 촬영 로케이션 스크립터다. 씬 원문 전문과 샷 목록(각 샷에\n[LOCATION: 씬 장소 서술] 병기)을 받는다. 각 샷마다, 그 샷이 실제로\n벌어지는 **정확한 서브공간**을 스틸 프롬프트의 장소 잠금(LOCATION\nlock)에 쓸 영어 1~2문장으로 저작하라.\n규칙:\n1) 씬 장소 전체 서술을 복사하지 마라 — 샷 텍스트와 씬 원문이\n   가리키는 이 샷의 서브공간(예: 건물의 외벽 앞 / 출입구 / 안쪽\n   통로 / 옥상 위 등 유형 서술)을 특정하라. 상위 장소가 무엇인지\n   식별할 수 있는 한 구절은 유지하라.\n2) 실내인지 실외인지 문장에 자연히 드러나게 서술하고, environment\n   필드에도 interior/exterior/ambiguous 로 판정하라. 실외 서브공간이면\n   실내 요소(천장·실내 조명·진열대 등)를 언급하지 마라. 실내\n   서브공간이면 원문이 뒷받침하는 광원 사실(창밖 광량·켜진 조명 등)을\n   담아라.\n3) 원문이 뒷받침하는 사실만. 근거 없는 부분은 그 유형 장소의 전형으로\n   최소 보충하되 원문과 모순 금지. 작품 고유명사 없이 일반 서술로만.\n각 샷: shot(입력에 적힌 태그 문자열 그대로), place_en,\nenvironment(interior|exterior|ambiguous), basis_ko(근거 한 구절).", "user_prompt": "씬 원문 전문:\n[씬 8] S#8. 번화가·대형 마트 / 해질 무렵\n포구와\nS#8. 번화가·대형 마트 / 해질 무렵\n포구와 인접해 있는 번화가, 네온사인, 택시, 호객 행위, 길거리 포장마차\n사이로 능숙하게 자전거를 모는 수리영.\n\n마트에 도착해 자전거를 세우고, 안으로 들어간다.\n민숙은 이 마트의 진열담당 직원. 이리저리 엄마를 찾아보지만 보이지 않는다\n평소 민숙과 가깝게 지냈던 직원에게 다가가\n\n수리영\n아줌마 안녕하세요? 그런데 우리 엄마는 어딨어요?\n\n여직원\n영이구나. 어? 아까 너 만나러 간다고 조퇴했는데. 길이\n엇갈렸나 보네.\n\n수리영\n(헷갈림) 어? 여기서 만나기로 했는데.\n\n남자 직원\n(박스 들고와 진열하면서) 민숙씨 아까 밖에서 누구랑\n얘기하는 거 봤는데...\n\n수리영\n(의아) 네? 누구랑요?\n\n직원\n그것까진 (모르지)...\n\n여직원\n집에 간 거 아냐? 얼른 가봐.\n\n수리영 마트 밖을 나오면서 연락을 취해보지만 받지않는다.\n일단 집으로-\n\n\n\n[씬 22] S#22. 경찰서 밖 / D\n주차된 자전거를\nS#22. 경찰서 밖 / D\n주차된 자전거를 타고 이내 달리는 수리영\n\n\n\n샷 목록(시간순):\nS22sh2 [LOCATION: S#22. 경찰서 밖 / D\n주차된 자전거를]\n  핸들을 꽉 쥐고 허리를 한껏 숙인 채 페달을 밟으며 앞으로 나아가는 중간 순간의 수리영 측면, 머리카락과 옷자락이 움직임의 반대 방향으로 흩날리는 모습.\nS8sh4 [LOCATION: S#8. 번화가·대형 마트 / 해질 무렵\n포구와]\n  마트 남자 직원과 마주 본 상태로 눈을 동그랗게 뜬 수리영의 측면"}
{"ts": "2026-07-20 09:12:57", "kind": "img", "engine": "gpt-image-2", "mode": "edit", "tag": "chainA_S22sh2_conti", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/projects/358f9d88-79ad-4cec-b320-dd5565e68fd6/episodes/a38f2479-d6d8-4f31-b4bd-5e2136d3e501/images/background_chain/L16B01.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/358f9d88-79ad-4cec-b320-dd5565e68fd6/images/a38f2479-d6d8-4f31-b4bd-5e2136d3e501/reference/412a0ebe-c263-40fd-9b57-9c235341b96a.png"], "size": "1536x864", "attempt": 1, "dur_s": 94.8, "bytes": 1222769, "out": "/Users/manta/Documents/Projects/TheRoad-I1/projects/358f9d88-79ad-4cec-b320-dd5565e68fd6/exp_s19sh4/chainA_S22sh2_conti_gpt.png", "prompt": "The FIRST attached image is the LOCATION PHOTOGRAPH (loose spatial reference only). The SECOND is the CHARACTER REFERENCE for proportion.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: On the exterior frontage immediately outside the police station, where the parked bicycle is ridden away.\n\nSHOT TEXT (authoritative, Korean): 핸들을 꽉 쥐고 허리를 한껏 숙인 채 페달을 밟으며 앞으로 나아가는 중간 순간의 수리영 측면, 머리카락과 옷자락이 움직임의 반대 방향으로 흩날리는 모습.\n\nCARRIED STATE (persist exactly): Su-ri-yeong rides her bicycle with the folded coordinate note in her pocket, while her doll-adorned backpack and mobile phone remain with her.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: At torso height beside 수리영, track parallel to the bicycle's forward path in a medium side view as she accelerates. Keep her and the bicycle centered with travel space ahead, her torso folded low over the handlebars and her hair and clothing trailing opposite the direction of movement; the tracking speed holds her scale stable while the surroundings slide backward.\n- FRAMING SCALE: medium shot\n- FRAME LAYOUT: 수리영 in the middle-center of the frame, midground, moves toward frame right along the bicycle path.\n- KEY BACKGROUND ELEMENTS: 자전거 (In motion as 수리영 pedals away from the police station) — Its side faces the parallel-tracking camera, with the front wheel oriented toward frame right; used as Moving support that defines her acceleration and forward direction.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere."}
{"ts": "2026-07-20 09:13:19", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "chainA_S22sh2_A1", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/projects/358f9d88-79ad-4cec-b320-dd5565e68fd6/exp_s19sh4/chainA_S22sh2_conti_gpt.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/358f9d88-79ad-4cec-b320-dd5565e68fd6/episodes/a38f2479-d6d8-4f31-b4bd-5e2136d3e501/images/background_chain/L16B01.png"], "ref_labels": ["STORYBOARD SKETCH", "LOCATION PHOTOGRAPH — the exact place of this shot: its architecture, materials, fixed features and lighting mood are spatial truth; stage the moment inside this place. Never copy its camera framing."], "attempt": 1, "dur_s": 22.0, "bytes": 3060519, "out": "/Users/manta/Documents/Projects/TheRoad-I1/projects/358f9d88-79ad-4cec-b320-dd5565e68fd6/exp_s19sh4/chainA_S22sh2_A1_bg.png", "prompt": "Composite edit. The FIRST attached image is a thin-line storyboard sketch with perspective guide lines, eyeline arrows and sketched people. The SECOND attached image (LOCATION PHOTOGRAPH) is the real place of this shot.\nFill the sketch with this location rendered PHOTOREALISTICALLY, matching the sketch's camera angle, horizon and perspective exactly — every building edge, opening and fixed feature lands where the sketch places it, at the sketch's sizes. Keep every sketched PERSON as unchanged thin pencil outlines on top of the photographic background, in their exact positions and sizes. Keep the eyeline arrows as thin pencil lines for now. Remove only the bare perspective guide lines where the photograph replaces them."}
{"ts": "2026-07-20 09:13:39", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "chainA_S22sh2_A2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/projects/358f9d88-79ad-4cec-b320-dd5565e68fd6/exp_s19sh4/chainA_S22sh2_A1_bg.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/358f9d88-79ad-4cec-b320-dd5565e68fd6/images/a38f2479-d6d8-4f31-b4bd-5e2136d3e501/reference/412a0ebe-c263-40fd-9b57-9c235341b96a.png"], "ref_labels": ["LAYOUT COMPOSITE", "CHARACTER REFERENCE — 수리영: the exact person appearing in this shot; match face, hair and build exactly."], "attempt": 1, "dur_s": 20.0, "bytes": 2876611, "out": "/Users/manta/Documents/Projects/TheRoad-I1/projects/358f9d88-79ad-4cec-b320-dd5565e68fd6/exp_s19sh4/chainA_S22sh2_A2_final.png", "prompt": "The attached FIRST image is a layout composite: a photographic background with thin-line sketched people and pencil arrows. Turn it into the FINAL photorealistic film still: keep the background, camera angle and perspective EXACTLY as composited, realize each sketched person as the real person in the CHARACTER REFERENCE at exactly the sketched position, pose and size, following the gaze direction the arrow shows — then REMOVE every remaining pencil line and arrow.\n\nCreate ONE FINAL photorealistic live-action film still of the moment below — Incheon, South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): day.\n\nSHOT TEXT (authoritative, Korean): 핸들을 꽉 쥐고 허리를 한껏 숙인 채 페달을 밟으며 앞으로 나아가는 중간 순간의 수리영 측면, 머리카락과 옷자락이 움직임의 반대 방향으로 흩날리는 모습.\n\nLOCATION (lock): On the exterior frontage immediately outside the police station, where the parked bicycle is ridden away. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: At torso height beside 수리영, track parallel to the bicycle's forward path in a medium side view as she accelerates. Keep her and the bicycle centered with travel space ahead, her torso folded low over the handlebars and her hair and clothing trailing opposite the direction of movement; the tracking speed holds her scale stable while the surroundings slide backward.\n- FRAMING SCALE: medium shot\n- FRAME LAYOUT: 수리영 in the middle-center of the frame, midground, moves toward frame right along the bicycle path.\n- KEY BACKGROUND ELEMENTS: 자전거 (In motion as 수리영 pedals away from the police station) — Its side faces the parallel-tracking camera, with the front wheel oriented toward frame right; used as Moving support that defines her acceleration and forward direction.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nPROPS FACE THE RIGHT WAY: every handheld or used object must be\noriented exactly as its real-world use requires. A person reading,\nwatching or operating something (a phone, a photograph, a paper,\nany device) has its functional side — screen, front, page — facing\nTHEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Su-ri-yeong rides her bicycle with the folded coordinate note in her pocket, while her doll-adorned backpack and mobile phone remain with her.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 수리영 (한국인 여성, 20대 초반, 앳된 타원형 얼굴, 자연스러운 검은 머리) — never anyone else, and never add a person the shot text does not show. IF only part of a person is in frame (a hand, arm, foot, back, silhouette), that body part belongs to the specific person the shot text names — its sex, age, build, skin and grooming must unmistakably match that person's profile above.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-20 09:15:10", "kind": "img", "engine": "gpt-image-2", "mode": "edit", "tag": "chainA_S8sh4_conti", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/projects/358f9d88-79ad-4cec-b320-dd5565e68fd6/episodes/a38f2479-d6d8-4f31-b4bd-5e2136d3e501/images/background_chain/L09B01.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/358f9d88-79ad-4cec-b320-dd5565e68fd6/images/a38f2479-d6d8-4f31-b4bd-5e2136d3e501/reference/412a0ebe-c263-40fd-9b57-9c235341b96a.png"], "size": "1536x864", "attempt": 1, "dur_s": 90.9, "bytes": 1084835, "out": "/Users/manta/Documents/Projects/TheRoad-I1/projects/358f9d88-79ad-4cec-b320-dd5565e68fd6/exp_s19sh4/chainA_S8sh4_conti_gpt.png", "prompt": "The FIRST attached image is the LOCATION PHOTOGRAPH (loose spatial reference only). The SECOND is the CHARACTER REFERENCE for proportion.\n\nDraw ONE storyboard layout frame, 16:9, filling the entire image edge-to-edge.\n\nSTYLE — LAYOUT-ONLY THUMBNAIL SKETCH: the lightest possible\ndirector's layout drawing. THIN, CLEAN, UNIFORM PENCIL CONTOUR\nLINES ONLY on pure white paper. Absolutely NO shading, NO tone, NO\nhatching, NO texture, NO grayscale fill, NO light-and-shadow, NO\nfacial features beyond a bare head outline, NO clothing detail, NO\nmaterial rendering. The frame contains ONLY: the camera framing,\neach figure as a simple correct-proportion human contour in its\nexact pose and screen position/size, and the few major set masses\nas plain outline shapes. It must read as a quick layout guide,\nnever as a finished drawing.\n\nThe attached photograph is the LOCATION where this shot happens.\nUse it ONLY as a LOOSE spatial reference — the rough set masses\nand where things sit relative to each other. You do NOT need to\nfollow it exactly: do not copy its camera, its lighting or its\ndetails. Choose the camera and framing the SHOT TEXT needs, and\ndraw only the few set masses that matter as plain outline shapes.\n\nTHE LOCATION: Inside the large market, on the merchandise sales floor beside the stocking and display area.\n\nSHOT TEXT (authoritative, Korean): 마트 남자 직원과 마주 본 상태로 눈을 동그랗게 뜬 수리영의 측면\n\nCARRIED STATE (persist exactly): Su-ri-yeong’s bicycle remains parked outside the mart, and she still has her mobile phone with her.\n\nABSOLUTELY NO TEXT anywhere: no captions, no numbers, no labels of any kind.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: From eye level beside 수리영, continue the prescribed dolly inward from a medium-close side view to a close profile, placing her widened eye and cheek in the right half while the 마트 남자 직원 remains soft but recognizable across from her at the left edge. Preserve the conversation axis and emphasize only the shrinking camera distance as his information lands.\n- FRAMING SCALE: close-up\n- KEY BACKGROUND ELEMENTS: 마트 진열대 (Present in the stocking area) — The aisle-facing sides recede behind the 마트 남자 직원; used as Supplies limited supermarket context behind the employee while remaining out of primary focus; 진열용 박스 (Being carried for stocking) — One side faces the camera while the box is held near the shelving; used as Connects the employee’s interrupted task to the conversation.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nPERSPECTIVE & SCALE GUIDES (draw these as part of the sketch — they are the whole point of this layout):\n- Draw the HORIZON LINE at the camera's eye height, and 2-3 thin PERSPECTIVE GUIDE LINES converging toward the vanishing point, so the depth of the space is explicit.\n- TRUE RELATIVE SIZE: draw every person and every set mass at the exact screen size that its real-world size and its distance from the camera dictate. A high wall-mounted device or any distant object stays SMALL against the architecture; people scale with their depth along the guide lines. NEVER enlarge a background object beyond its true perspective size.\n- For EVERY person draw one thin EYELINE ARROW from the eyes to the exact thing they look at; if something moves, one thin MOTION ARROW along its path.\n- All guides are simple thin pencil lines — layout language only, never objects in the scene, and still NO text, numbers or letters anywhere."}
{"ts": "2026-07-20 09:15:28", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "chainA_S8sh4_A1", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/projects/358f9d88-79ad-4cec-b320-dd5565e68fd6/exp_s19sh4/chainA_S8sh4_conti_gpt.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/358f9d88-79ad-4cec-b320-dd5565e68fd6/episodes/a38f2479-d6d8-4f31-b4bd-5e2136d3e501/images/background_chain/L09B01.png"], "ref_labels": ["STORYBOARD SKETCH", "LOCATION PHOTOGRAPH — the exact place of this shot: its architecture, materials, fixed features and lighting mood are spatial truth; stage the moment inside this place. Never copy its camera framing."], "attempt": 1, "dur_s": 17.7, "bytes": 2843850, "out": "/Users/manta/Documents/Projects/TheRoad-I1/projects/358f9d88-79ad-4cec-b320-dd5565e68fd6/exp_s19sh4/chainA_S8sh4_A1_bg.png", "prompt": "Composite edit. The FIRST attached image is a thin-line storyboard sketch with perspective guide lines, eyeline arrows and sketched people. The SECOND attached image (LOCATION PHOTOGRAPH) is the real place of this shot.\nFill the sketch with this location rendered PHOTOREALISTICALLY, matching the sketch's camera angle, horizon and perspective exactly — every building edge, opening and fixed feature lands where the sketch places it, at the sketch's sizes. Keep every sketched PERSON as unchanged thin pencil outlines on top of the photographic background, in their exact positions and sizes. Keep the eyeline arrows as thin pencil lines for now. Remove only the bare perspective guide lines where the photograph replaces them."}
{"ts": "2026-07-20 09:15:52", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "chainA_S8sh4_A2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/projects/358f9d88-79ad-4cec-b320-dd5565e68fd6/exp_s19sh4/chainA_S8sh4_A1_bg.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/358f9d88-79ad-4cec-b320-dd5565e68fd6/images/a38f2479-d6d8-4f31-b4bd-5e2136d3e501/reference/412a0ebe-c263-40fd-9b57-9c235341b96a.png"], "ref_labels": ["LAYOUT COMPOSITE", "CHARACTER REFERENCE — 수리영: the exact person appearing in this shot; match face, hair and build exactly."], "attempt": 1, "dur_s": 24.3, "bytes": 2784370, "out": "/Users/manta/Documents/Projects/TheRoad-I1/projects/358f9d88-79ad-4cec-b320-dd5565e68fd6/exp_s19sh4/chainA_S8sh4_A2_final.png", "prompt": "The attached FIRST image is a layout composite: a photographic background with thin-line sketched people and pencil arrows. Turn it into the FINAL photorealistic film still: keep the background, camera angle and perspective EXACTLY as composited, realize each sketched person as the real person in the CHARACTER REFERENCE at exactly the sketched position, pose and size, following the gaze direction the arrow shows — then REMOVE every remaining pencil line and arrow.\n\nCreate ONE FINAL photorealistic live-action film still of the moment below — Incheon, South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): dusk.\n\nSHOT TEXT (authoritative, Korean): 마트 남자 직원과 마주 본 상태로 눈을 동그랗게 뜬 수리영의 측면\n\nLOCATION (lock): Inside the large market, on the merchandise sales floor beside the stocking and display area. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: From eye level beside 수리영, continue the prescribed dolly inward from a medium-close side view to a close profile, placing her widened eye and cheek in the right half while the 마트 남자 직원 remains soft but recognizable across from her at the left edge. Preserve the conversation axis and emphasize only the shrinking camera distance as his information lands.\n- FRAMING SCALE: close-up\n- KEY BACKGROUND ELEMENTS: 마트 진열대 (Present in the stocking area) — The aisle-facing sides recede behind the 마트 남자 직원; used as Supplies limited supermarket context behind the employee while remaining out of primary focus; 진열용 박스 (Being carried for stocking) — One side faces the camera while the box is held near the shelving; used as Connects the employee’s interrupted task to the conversation.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nPROPS FACE THE RIGHT WAY: every handheld or used object must be\noriented exactly as its real-world use requires. A person reading,\nwatching or operating something (a phone, a photograph, a paper,\nany device) has its functional side — screen, front, page — facing\nTHEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Su-ri-yeong’s bicycle remains parked outside the mart, and she still has her mobile phone with her.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 수리영 (한국인 여성, 20대 초반, 앳된 타원형 얼굴, 자연스러운 검은 머리) — never anyone else, and never add a person the shot text does not show. IF only part of a person is in frame (a hand, arm, foot, back, silhouette), that body part belongs to the specific person the shot text names — its sex, age, build, skin and grooming must unmistakably match that person's profile above.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-20 13:34:34", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "chainA_S22sh2_A1v2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/projects/358f9d88-79ad-4cec-b320-dd5565e68fd6/exp_s19sh4/chainA_S22sh2_conti_gpt.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/358f9d88-79ad-4cec-b320-dd5565e68fd6/episodes/a38f2479-d6d8-4f31-b4bd-5e2136d3e501/images/background_chain/L16B01.png"], "ref_labels": ["STORYBOARD SKETCH", "LOCATION PHOTOGRAPH — the exact place of this shot: its architecture, materials, fixed features and lighting mood are spatial truth; stage the moment inside this place. Never copy its camera framing."], "attempt": 1, "dur_s": 17.6, "bytes": 3306506, "out": "/Users/manta/Documents/Projects/TheRoad-I1/projects/358f9d88-79ad-4cec-b320-dd5565e68fd6/exp_s19sh4/chainA_S22sh2_A1v2_bg.png", "prompt": "Composite edit. The FIRST attached image is a thin-line storyboard sketch with perspective guide lines, arrows and sketched people — its camera framing IS the composition authority for this shot. The SECOND attached image (LOCATION PHOTOGRAPH) shows the real place: use it ONLY as the source of materials, signage, architecture and fixed features. If the photograph's camera differs from the sketch's camera, RE-PROJECT the place into the sketch's camera — never keep the photograph's own framing.\n\nSHOT TEXT (authoritative, Korean): 핸들을 꽉 쥐고 허리를 한껏 숙인 채 페달을 밟으며 앞으로 나아가는 중간 순간의 수리영 측면, 머리카락과 옷자락이 움직임의 반대 방향으로 흩날리는 모습.\n\nLOCATION (lock): On the exterior frontage immediately outside the police station, where the parked bicycle is ridden away.\n\nTIME OF DAY (lock): day.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: At torso height beside 수리영, track parallel to the bicycle's forward path in a medium side view as she accelerates. Keep her and the bicycle centered with travel space ahead, her torso folded low over the handlebars and her hair and clothing trailing opposite the direction of movement; the tracking speed holds her scale stable while the surroundings slide backward.\n- FRAMING SCALE: medium shot\n- FRAME LAYOUT: 수리영 in the middle-center of the frame, midground, moves toward frame right along the bicycle path.\n- KEY BACKGROUND ELEMENTS: 자전거 (In motion as 수리영 pedals away from the police station) — Its side faces the parallel-tracking camera, with the front wheel oriented toward frame right; used as Moving support that defines her acceleration and forward direction.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nFill the sketch with this location rendered PHOTOREALISTICALLY at the sketch's camera angle, horizon and perspective — every building edge, opening and fixed feature lands where the sketch places it, at the sketch's sizes. Keep every sketched PERSON as unchanged thin pencil outlines on top of the photographic background, in their exact positions and sizes. Keep the arrows as thin pencil lines for now. Remove only the bare perspective guide lines where the photograph replaces them."}
{"ts": "2026-07-20 13:34:54", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "chainA_S22sh2_A2v2", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/projects/358f9d88-79ad-4cec-b320-dd5565e68fd6/exp_s19sh4/chainA_S22sh2_A1v2_bg.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/358f9d88-79ad-4cec-b320-dd5565e68fd6/images/a38f2479-d6d8-4f31-b4bd-5e2136d3e501/reference/412a0ebe-c263-40fd-9b57-9c235341b96a.png"], "ref_labels": ["LAYOUT COMPOSITE", "CHARACTER REFERENCE — 수리영: the exact person appearing in this shot; match face, hair and build exactly."], "attempt": 1, "dur_s": 20.1, "bytes": 2815950, "out": "/Users/manta/Documents/Projects/TheRoad-I1/projects/358f9d88-79ad-4cec-b320-dd5565e68fd6/exp_s19sh4/chainA_S22sh2_A2v2_final.png", "prompt": "The attached FIRST image is a layout composite: a photographic background with thin-line sketched people and pencil arrows. Turn it into the FINAL photorealistic film still: keep the background, camera angle and perspective EXACTLY as composited, realize each sketched person as the real person in the CHARACTER REFERENCE at exactly the sketched position, pose and size, following the gaze direction the arrow shows — then REMOVE every remaining pencil line and arrow.\n\nCreate ONE FINAL photorealistic live-action film still of the moment below — Incheon, South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): day.\n\nSHOT TEXT (authoritative, Korean): 핸들을 꽉 쥐고 허리를 한껏 숙인 채 페달을 밟으며 앞으로 나아가는 중간 순간의 수리영 측면, 머리카락과 옷자락이 움직임의 반대 방향으로 흩날리는 모습.\n\nLOCATION (lock): On the exterior frontage immediately outside the police station, where the parked bicycle is ridden away. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: At torso height beside 수리영, track parallel to the bicycle's forward path in a medium side view as she accelerates. Keep her and the bicycle centered with travel space ahead, her torso folded low over the handlebars and her hair and clothing trailing opposite the direction of movement; the tracking speed holds her scale stable while the surroundings slide backward.\n- FRAMING SCALE: medium shot\n- FRAME LAYOUT: 수리영 in the middle-center of the frame, midground, moves toward frame right along the bicycle path.\n- KEY BACKGROUND ELEMENTS: 자전거 (In motion as 수리영 pedals away from the police station) — Its side faces the parallel-tracking camera, with the front wheel oriented toward frame right; used as Moving support that defines her acceleration and forward direction.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nPROPS FACE THE RIGHT WAY: every handheld or used object must be\noriented exactly as its real-world use requires. A person reading,\nwatching or operating something (a phone, a photograph, a paper,\nany device) has its functional side — screen, front, page — facing\nTHEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Su-ri-yeong rides her bicycle with the folded coordinate note in her pocket, while her doll-adorned backpack and mobile phone remain with her.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 수리영 (한국인 여성, 20대 초반, 앳된 타원형 얼굴, 자연스러운 검은 머리) — never anyone else, and never add a person the shot text does not show. IF only part of a person is in frame (a hand, arm, foot, back, silhouette), that body part belongs to the specific person the shot text names — its sex, age, build, skin and grooming must unmistakably match that person's profile above.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-20 13:41:24", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "bgfirst_S22sh2_bg", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/projects/358f9d88-79ad-4cec-b320-dd5565e68fd6/exp_s19sh4/chainA_S22sh2_conti_gpt.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/358f9d88-79ad-4cec-b320-dd5565e68fd6/episodes/a38f2479-d6d8-4f31-b4bd-5e2136d3e501/images/background_chain/L16B01.png"], "ref_labels": ["STORYBOARD SKETCH (camera/perspective only)", "LOCATION PHOTOGRAPH"], "attempt": 1, "dur_s": 26.2, "bytes": 3147750, "out": "/Users/manta/Documents/Projects/TheRoad-I1/projects/358f9d88-79ad-4cec-b320-dd5565e68fd6/exp_s19sh4/bgfirst_S22sh2_step1_bg.png", "prompt": "Create the EMPTY BACKGROUND PLATE for one film shot — NO PEOPLE, no figures, no body parts, no sketch lines, no arrows anywhere.\nThe FIRST attached image is a thin-line storyboard sketch: use ONLY its camera angle, horizon, perspective and the placement/size of buildings and set masses — ignore the sketched people and arrows entirely. The SECOND attached image (LOCATION PHOTOGRAPH) is the real place: take its architecture, materials, signage and fixed features, and RE-PROJECT them into the sketch's camera. If the photograph's camera differs from the sketch's, the sketch's camera wins.\n\nSHOT TEXT this background must serve (Korean): 핸들을 꽉 쥐고 허리를 한껏 숙인 채 페달을 밟으며 앞으로 나아가는 중간 순간의 수리영 측면, 머리카락과 옷자락이 움직임의 반대 방향으로 흩날리는 모습.\n\nLOCATION (lock): On the exterior frontage immediately outside the police station, where the parked bicycle is ridden away.\n\nTIME OF DAY (lock): day.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: At torso height beside 수리영, track parallel to the bicycle's forward path in a medium side view as she accelerates. Keep her and the bicycle centered with travel space ahead, her torso folded low over the handlebars and her hair and clothing trailing opposite the direction of movement; the tracking speed holds her scale stable while the surroundings slide backward.\n- FRAMING SCALE: medium shot\n- FRAME LAYOUT: 수리영 in the middle-center of the frame, midground, moves toward frame right along the bicycle path.\n- KEY BACKGROUND ELEMENTS: 자전거 (In motion as 수리영 pedals away from the police station) — Its side faces the parallel-tracking camera, with the front wheel oriented toward frame right; used as Moving support that defines her acceleration and forward direction.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nRender ONE photorealistic empty location photograph, 16:9, that this shot can be staged inside later. No text or watermarks."}
{"ts": "2026-07-20 13:41:53", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "bgfirst_S22sh2_final", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/projects/358f9d88-79ad-4cec-b320-dd5565e68fd6/exp_s19sh4/bgfirst_S22sh2_step1_bg.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/358f9d88-79ad-4cec-b320-dd5565e68fd6/exp_s19sh4/chainA_S22sh2_conti_gpt.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/358f9d88-79ad-4cec-b320-dd5565e68fd6/images/a38f2479-d6d8-4f31-b4bd-5e2136d3e501/reference/412a0ebe-c263-40fd-9b57-9c235341b96a.png"], "ref_labels": ["SHOT BACKGROUND", "LAYOUT SKETCH (people placement only)", "CHARACTER REFERENCE — 수리영: the exact person appearing in this shot; match face, hair and build exactly."], "attempt": 1, "dur_s": 29.1, "bytes": 2629337, "out": "/Users/manta/Documents/Projects/TheRoad-I1/projects/358f9d88-79ad-4cec-b320-dd5565e68fd6/exp_s19sh4/bgfirst_S22sh2_step2_final.png", "prompt": "Stage the shot. The FIRST attached image (SHOT BACKGROUND) is the finished empty background of this shot — keep it EXACTLY: its camera, perspective, architecture, lighting and every fixed feature stay untouched. The SECOND attached image (LAYOUT SKETCH) tells you ONLY where the people go: each sketched person's position, screen size, pose and the gaze/motion arrows. Ignore the sketch's background lines. The CHARACTER REFERENCE photographs show the real people.\nPlace the real people into the background at exactly the sketched positions, sizes and poses, following the arrow directions. No sketch lines or arrows may remain.\n\nCreate ONE FINAL photorealistic live-action film still of the moment below — Incheon, South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): day.\n\nSHOT TEXT (authoritative, Korean): 핸들을 꽉 쥐고 허리를 한껏 숙인 채 페달을 밟으며 앞으로 나아가는 중간 순간의 수리영 측면, 머리카락과 옷자락이 움직임의 반대 방향으로 흩날리는 모습.\n\nLOCATION (lock): On the exterior frontage immediately outside the police station, where the parked bicycle is ridden away. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: At torso height beside 수리영, track parallel to the bicycle's forward path in a medium side view as she accelerates. Keep her and the bicycle centered with travel space ahead, her torso folded low over the handlebars and her hair and clothing trailing opposite the direction of movement; the tracking speed holds her scale stable while the surroundings slide backward.\n- FRAMING SCALE: medium shot\n- FRAME LAYOUT: 수리영 in the middle-center of the frame, midground, moves toward frame right along the bicycle path.\n- KEY BACKGROUND ELEMENTS: 자전거 (In motion as 수리영 pedals away from the police station) — Its side faces the parallel-tracking camera, with the front wheel oriented toward frame right; used as Moving support that defines her acceleration and forward direction.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nPROPS FACE THE RIGHT WAY: every handheld or used object must be\noriented exactly as its real-world use requires. A person reading,\nwatching or operating something (a phone, a photograph, a paper,\nany device) has its functional side — screen, front, page — facing\nTHEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Su-ri-yeong rides her bicycle with the folded coordinate note in her pocket, while her doll-adorned backpack and mobile phone remain with her.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 수리영 (한국인 여성, 20대 초반, 앳된 타원형 얼굴, 자연스러운 검은 머리) — never anyone else, and never add a person the shot text does not show. IF only part of a person is in frame (a hand, arm, foot, back, silhouette), that body part belongs to the specific person the shot text names — its sex, age, build, skin and grooming must unmistakably match that person's profile above.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-20 13:42:10", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "bgfirst_S8sh4_bg", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/projects/358f9d88-79ad-4cec-b320-dd5565e68fd6/exp_s19sh4/chainA_S8sh4_conti_gpt.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/358f9d88-79ad-4cec-b320-dd5565e68fd6/episodes/a38f2479-d6d8-4f31-b4bd-5e2136d3e501/images/background_chain/L09B01.png"], "ref_labels": ["STORYBOARD SKETCH (camera/perspective only)", "LOCATION PHOTOGRAPH"], "attempt": 1, "dur_s": 17.2, "bytes": 3133607, "out": "/Users/manta/Documents/Projects/TheRoad-I1/projects/358f9d88-79ad-4cec-b320-dd5565e68fd6/exp_s19sh4/bgfirst_S8sh4_step1_bg.png", "prompt": "Create the EMPTY BACKGROUND PLATE for one film shot — NO PEOPLE, no figures, no body parts, no sketch lines, no arrows anywhere.\nThe FIRST attached image is a thin-line storyboard sketch: use ONLY its camera angle, horizon, perspective and the placement/size of buildings and set masses — ignore the sketched people and arrows entirely. The SECOND attached image (LOCATION PHOTOGRAPH) is the real place: take its architecture, materials, signage and fixed features, and RE-PROJECT them into the sketch's camera. If the photograph's camera differs from the sketch's, the sketch's camera wins.\n\nSHOT TEXT this background must serve (Korean): 마트 남자 직원과 마주 본 상태로 눈을 동그랗게 뜬 수리영의 측면\n\nLOCATION (lock): Inside the large market, on the merchandise sales floor beside the stocking and display area.\n\nTIME OF DAY (lock): dusk.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: From eye level beside 수리영, continue the prescribed dolly inward from a medium-close side view to a close profile, placing her widened eye and cheek in the right half while the 마트 남자 직원 remains soft but recognizable across from her at the left edge. Preserve the conversation axis and emphasize only the shrinking camera distance as his information lands.\n- FRAMING SCALE: close-up\n- KEY BACKGROUND ELEMENTS: 마트 진열대 (Present in the stocking area) — The aisle-facing sides recede behind the 마트 남자 직원; used as Supplies limited supermarket context behind the employee while remaining out of primary focus; 진열용 박스 (Being carried for stocking) — One side faces the camera while the box is held near the shelving; used as Connects the employee’s interrupted task to the conversation.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nRender ONE photorealistic empty location photograph, 16:9, that this shot can be staged inside later. No text or watermarks."}
{"ts": "2026-07-20 13:42:39", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "bgfirst_S8sh4_final", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/projects/358f9d88-79ad-4cec-b320-dd5565e68fd6/exp_s19sh4/bgfirst_S8sh4_step1_bg.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/358f9d88-79ad-4cec-b320-dd5565e68fd6/exp_s19sh4/chainA_S8sh4_conti_gpt.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/358f9d88-79ad-4cec-b320-dd5565e68fd6/images/a38f2479-d6d8-4f31-b4bd-5e2136d3e501/reference/412a0ebe-c263-40fd-9b57-9c235341b96a.png"], "ref_labels": ["SHOT BACKGROUND", "LAYOUT SKETCH (people placement only)", "CHARACTER REFERENCE — 수리영: the exact person appearing in this shot; match face, hair and build exactly."], "attempt": 1, "dur_s": 29.2, "bytes": 2684239, "out": "/Users/manta/Documents/Projects/TheRoad-I1/projects/358f9d88-79ad-4cec-b320-dd5565e68fd6/exp_s19sh4/bgfirst_S8sh4_step2_final.png", "prompt": "Stage the shot. The FIRST attached image (SHOT BACKGROUND) is the finished empty background of this shot — keep it EXACTLY: its camera, perspective, architecture, lighting and every fixed feature stay untouched. The SECOND attached image (LAYOUT SKETCH) tells you ONLY where the people go: each sketched person's position, screen size, pose and the gaze/motion arrows. Ignore the sketch's background lines. The CHARACTER REFERENCE photographs show the real people.\nPlace the real people into the background at exactly the sketched positions, sizes and poses, following the arrow directions. No sketch lines or arrows may remain.\n\nCreate ONE FINAL photorealistic live-action film still of the moment below — Incheon, South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): dusk.\n\nSHOT TEXT (authoritative, Korean): 마트 남자 직원과 마주 본 상태로 눈을 동그랗게 뜬 수리영의 측면\n\nLOCATION (lock): Inside the large market, on the merchandise sales floor beside the stocking and display area. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: From eye level beside 수리영, continue the prescribed dolly inward from a medium-close side view to a close profile, placing her widened eye and cheek in the right half while the 마트 남자 직원 remains soft but recognizable across from her at the left edge. Preserve the conversation axis and emphasize only the shrinking camera distance as his information lands.\n- FRAMING SCALE: close-up\n- KEY BACKGROUND ELEMENTS: 마트 진열대 (Present in the stocking area) — The aisle-facing sides recede behind the 마트 남자 직원; used as Supplies limited supermarket context behind the employee while remaining out of primary focus; 진열용 박스 (Being carried for stocking) — One side faces the camera while the box is held near the shelving; used as Connects the employee’s interrupted task to the conversation.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nPROPS FACE THE RIGHT WAY: every handheld or used object must be\noriented exactly as its real-world use requires. A person reading,\nwatching or operating something (a phone, a photograph, a paper,\nany device) has its functional side — screen, front, page — facing\nTHEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Su-ri-yeong’s bicycle remains parked outside the mart, and she still has her mobile phone with her.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 수리영 (한국인 여성, 20대 초반, 앳된 타원형 얼굴, 자연스러운 검은 머리) — never anyone else, and never add a person the shot text does not show. IF only part of a person is in frame (a hand, arm, foot, back, silhouette), that body part belongs to the specific person the shot text names — its sex, age, build, skin and grooming must unmistakably match that person's profile above.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-20 14:18:16", "kind": "img", "engine": "gpt-image-2", "mode": "edit", "tag": "bgfirst2_S22sh2_bg", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/projects/358f9d88-79ad-4cec-b320-dd5565e68fd6/exp_s19sh4/chainA_S22sh2_conti_gpt.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/358f9d88-79ad-4cec-b320-dd5565e68fd6/episodes/a38f2479-d6d8-4f31-b4bd-5e2136d3e501/images/background_chain/L16B01.png"], "size": "1536x864", "attempt": 1, "dur_s": 106.9, "bytes": 2479892, "out": "/Users/manta/Documents/Projects/TheRoad-I1/projects/358f9d88-79ad-4cec-b320-dd5565e68fd6/exp_s19sh4/bgfirst2_S22sh2_step1_gpt.png", "prompt": "Create the EMPTY BACKGROUND PLATE for one film shot — NO PEOPLE, no figures, no body parts, no sketch lines, no arrows anywhere.\nThe FIRST attached image is a thin-line storyboard sketch: use ONLY its camera angle, horizon, perspective and the placement/size of buildings and set masses — ignore the sketched people and arrows entirely. The SECOND attached image (LOCATION PHOTOGRAPH) is the real place: take its architecture, materials, signage and fixed features, and RE-PROJECT them into the sketch's camera. If the photograph's camera differs from the sketch's, the sketch's camera wins.\n\nSHOT TEXT this background must serve (Korean): 핸들을 꽉 쥐고 허리를 한껏 숙인 채 페달을 밟으며 앞으로 나아가는 중간 순간의 수리영 측면, 머리카락과 옷자락이 움직임의 반대 방향으로 흩날리는 모습.\n\nLOCATION (lock): On the exterior frontage immediately outside the police station, where the parked bicycle is ridden away.\n\nTIME OF DAY (lock): day.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: At torso height beside 수리영, track parallel to the bicycle's forward path in a medium side view as she accelerates. Keep her and the bicycle centered with travel space ahead, her torso folded low over the handlebars and her hair and clothing trailing opposite the direction of movement; the tracking speed holds her scale stable while the surroundings slide backward.\n- FRAMING SCALE: medium shot\n- FRAME LAYOUT: 수리영 in the middle-center of the frame, midground, moves toward frame right along the bicycle path.\n- KEY BACKGROUND ELEMENTS: 자전거 (In motion as 수리영 pedals away from the police station) — Its side faces the parallel-tracking camera, with the front wheel oriented toward frame right; used as Moving support that defines her acceleration and forward direction.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nRender ONE photorealistic empty location photograph, 16:9, that this shot can be staged inside later. No text or watermarks."}
{"ts": "2026-07-20 14:18:41", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "bgfirst2_S22sh2_final", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/projects/358f9d88-79ad-4cec-b320-dd5565e68fd6/exp_s19sh4/bgfirst2_S22sh2_step1_gpt.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/358f9d88-79ad-4cec-b320-dd5565e68fd6/exp_s19sh4/chainA_S22sh2_conti_gpt.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/358f9d88-79ad-4cec-b320-dd5565e68fd6/images/a38f2479-d6d8-4f31-b4bd-5e2136d3e501/reference/412a0ebe-c263-40fd-9b57-9c235341b96a.png"], "ref_labels": ["SHOT BACKGROUND", "LAYOUT SKETCH (people placement only)", "CHARACTER REFERENCE — 수리영: the exact person appearing in this shot; match face, hair and build exactly."], "attempt": 1, "dur_s": 24.4, "bytes": 3019263, "out": "/Users/manta/Documents/Projects/TheRoad-I1/projects/358f9d88-79ad-4cec-b320-dd5565e68fd6/exp_s19sh4/bgfirst2_S22sh2_step2_final.png", "prompt": "Stage the shot. The FIRST attached image (SHOT BACKGROUND) is the finished empty background of this shot — keep it EXACTLY: its camera, perspective, architecture, lighting and every fixed feature stay untouched. The SECOND attached image (LAYOUT SKETCH) tells you ONLY where the people go: each sketched person's position, screen size, pose and the gaze/motion arrows. Ignore the sketch's background lines. The CHARACTER REFERENCE photographs show the real people.\nPlace the real people into the background at exactly the sketched positions, sizes and poses, following the arrow directions. No sketch lines or arrows may remain.\n\nCreate ONE FINAL photorealistic live-action film still of the moment below — Incheon, South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): day.\n\nSHOT TEXT (authoritative, Korean): 핸들을 꽉 쥐고 허리를 한껏 숙인 채 페달을 밟으며 앞으로 나아가는 중간 순간의 수리영 측면, 머리카락과 옷자락이 움직임의 반대 방향으로 흩날리는 모습.\n\nLOCATION (lock): On the exterior frontage immediately outside the police station, where the parked bicycle is ridden away. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: At torso height beside 수리영, track parallel to the bicycle's forward path in a medium side view as she accelerates. Keep her and the bicycle centered with travel space ahead, her torso folded low over the handlebars and her hair and clothing trailing opposite the direction of movement; the tracking speed holds her scale stable while the surroundings slide backward.\n- FRAMING SCALE: medium shot\n- FRAME LAYOUT: 수리영 in the middle-center of the frame, midground, moves toward frame right along the bicycle path.\n- KEY BACKGROUND ELEMENTS: 자전거 (In motion as 수리영 pedals away from the police station) — Its side faces the parallel-tracking camera, with the front wheel oriented toward frame right; used as Moving support that defines her acceleration and forward direction.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nPROPS FACE THE RIGHT WAY: every handheld or used object must be\noriented exactly as its real-world use requires. A person reading,\nwatching or operating something (a phone, a photograph, a paper,\nany device) has its functional side — screen, front, page — facing\nTHEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Su-ri-yeong rides her bicycle with the folded coordinate note in her pocket, while her doll-adorned backpack and mobile phone remain with her.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 수리영 (한국인 여성, 20대 초반, 앳된 타원형 얼굴, 자연스러운 검은 머리) — never anyone else, and never add a person the shot text does not show. IF only part of a person is in frame (a hand, arm, foot, back, silhouette), that body part belongs to the specific person the shot text names — its sex, age, build, skin and grooming must unmistakably match that person's profile above.\n\nNo text, captions, watermarks or annotations anywhere."}
{"ts": "2026-07-20 14:20:28", "kind": "img", "engine": "gpt-image-2", "mode": "edit", "tag": "bgfirst2_S8sh4_bg", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/projects/358f9d88-79ad-4cec-b320-dd5565e68fd6/exp_s19sh4/chainA_S8sh4_conti_gpt.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/358f9d88-79ad-4cec-b320-dd5565e68fd6/episodes/a38f2479-d6d8-4f31-b4bd-5e2136d3e501/images/background_chain/L09B01.png"], "size": "1536x864", "attempt": 1, "dur_s": 107.2, "bytes": 1987051, "out": "/Users/manta/Documents/Projects/TheRoad-I1/projects/358f9d88-79ad-4cec-b320-dd5565e68fd6/exp_s19sh4/bgfirst2_S8sh4_step1_gpt.png", "prompt": "Create the EMPTY BACKGROUND PLATE for one film shot — NO PEOPLE, no figures, no body parts, no sketch lines, no arrows anywhere.\nThe FIRST attached image is a thin-line storyboard sketch: use ONLY its camera angle, horizon, perspective and the placement/size of buildings and set masses — ignore the sketched people and arrows entirely. The SECOND attached image (LOCATION PHOTOGRAPH) is the real place: take its architecture, materials, signage and fixed features, and RE-PROJECT them into the sketch's camera. If the photograph's camera differs from the sketch's, the sketch's camera wins.\n\nSHOT TEXT this background must serve (Korean): 마트 남자 직원과 마주 본 상태로 눈을 동그랗게 뜬 수리영의 측면\n\nLOCATION (lock): Inside the large market, on the merchandise sales floor beside the stocking and display area.\n\nTIME OF DAY (lock): dusk.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: From eye level beside 수리영, continue the prescribed dolly inward from a medium-close side view to a close profile, placing her widened eye and cheek in the right half while the 마트 남자 직원 remains soft but recognizable across from her at the left edge. Preserve the conversation axis and emphasize only the shrinking camera distance as his information lands.\n- FRAMING SCALE: close-up\n- KEY BACKGROUND ELEMENTS: 마트 진열대 (Present in the stocking area) — The aisle-facing sides recede behind the 마트 남자 직원; used as Supplies limited supermarket context behind the employee while remaining out of primary focus; 진열용 박스 (Being carried for stocking) — One side faces the camera while the box is held near the shelving; used as Connects the employee’s interrupted task to the conversation.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nRender ONE photorealistic empty location photograph, 16:9, that this shot can be staged inside later. No text or watermarks."}
{"ts": "2026-07-20 14:20:59", "kind": "img", "engine": "nb2", "mode": "i2i", "tag": "bgfirst2_S8sh4_final", "refs": ["/Users/manta/Documents/Projects/TheRoad-I1/projects/358f9d88-79ad-4cec-b320-dd5565e68fd6/exp_s19sh4/bgfirst2_S8sh4_step1_gpt.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/358f9d88-79ad-4cec-b320-dd5565e68fd6/exp_s19sh4/chainA_S8sh4_conti_gpt.png", "/Users/manta/Documents/Projects/TheRoad-I1/projects/358f9d88-79ad-4cec-b320-dd5565e68fd6/images/a38f2479-d6d8-4f31-b4bd-5e2136d3e501/reference/412a0ebe-c263-40fd-9b57-9c235341b96a.png"], "ref_labels": ["SHOT BACKGROUND", "LAYOUT SKETCH (people placement only)", "CHARACTER REFERENCE — 수리영: the exact person appearing in this shot; match face, hair and build exactly."], "attempt": 1, "dur_s": 31.5, "bytes": 2596281, "out": "/Users/manta/Documents/Projects/TheRoad-I1/projects/358f9d88-79ad-4cec-b320-dd5565e68fd6/exp_s19sh4/bgfirst2_S8sh4_step2_final.png", "prompt": "Stage the shot. The FIRST attached image (SHOT BACKGROUND) is the finished empty background of this shot — keep it EXACTLY: its camera, perspective, architecture, lighting and every fixed feature stay untouched. The SECOND attached image (LAYOUT SKETCH) tells you ONLY where the people go: each sketched person's position, screen size, pose and the gaze/motion arrows. Ignore the sketch's background lines. The CHARACTER REFERENCE photographs show the real people.\nPlace the real people into the background at exactly the sketched positions, sizes and poses, following the arrow directions. No sketch lines or arrows may remain.\n\nCreate ONE FINAL photorealistic live-action film still of the moment below — Incheon, South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): dusk.\n\nSHOT TEXT (authoritative, Korean): 마트 남자 직원과 마주 본 상태로 눈을 동그랗게 뜬 수리영의 측면\n\nLOCATION (lock): Inside the large market, on the merchandise sales floor beside the stocking and display area. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.\n\nCAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):\n- CAMERA: From eye level beside 수리영, continue the prescribed dolly inward from a medium-close side view to a close profile, placing her widened eye and cheek in the right half while the 마트 남자 직원 remains soft but recognizable across from her at the left edge. Preserve the conversation axis and emphasize only the shrinking camera distance as his information lands.\n- FRAMING SCALE: close-up\n- KEY BACKGROUND ELEMENTS: 마트 진열대 (Present in the stocking area) — The aisle-facing sides recede behind the 마트 남자 직원; used as Supplies limited supermarket context behind the employee while remaining out of primary focus; 진열용 박스 (Being carried for stocking) — One side faces the camera while the box is held near the shelving; used as Connects the employee’s interrupted task to the conversation.\nCompose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.\n\nREALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot\ntext may describe characters metaphorically, figuratively or with\nexaggeration. Photograph what a real movie camera would actually\nrecord on a physical set — exaggerated or figurative impressions\nbecome realistic staging choices (lighting, distance, angle,\nwardrobe), not literal fantasy imagery.\nEVERY CHARACTER IS A HUMAN BEING: unless the story explicitly\nfeatures non-human or virtual beings (as in science fiction or\nfantasy), every character — however indirectly, vaguely or\nfiguratively the text describes them — IS a real human. When the\ntext gives no direct visual description of a person, IMAGINE one\nand still show them as a concrete, fully-formed human being:\nalways render the human form to the maximum extent — build,\nposture, face, hands, clothing — never reduce a person to a shape,\nblob, solid silhouette or abstract mass.\n\nEXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a\nperson's eyes, face or presence emotionally or figuratively (vacant,\nhollow, dazed, burning, lifeless gaze and the like), it describes an\nACTOR'S PERFORMANCE captured by a real camera — realize it ONLY\nthrough gaze direction, focus, eyelids, facial muscles, stillness\nand posture. Every living person's eyes remain anatomically normal\nhuman eyes with a natural iris and pupil, natural sclera and normal\nproportions; NEVER whiten, blank out, cloud over, glow, enlarge or\notherwise alter eyeballs, skin or anatomy — unless the story\nexplicitly declares that being non-human or supernatural in form.\n\nPROPS FACE THE RIGHT WAY: every handheld or used object must be\noriented exactly as its real-world use requires. A person reading,\nwatching or operating something (a phone, a photograph, a paper,\nany device) has its functional side — screen, front, page — facing\nTHEIR OWN eyes; the camera then sees whatever side the staging\ngeometry implies (often its back). Show the functional side to the\ncamera ONLY when the shot text itself stages it toward the viewer.\nNever flip, mirror or reverse an object's front and back.\n\nCARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Su-ri-yeong’s bicycle remains parked outside the mart, and she still has her mobile phone with her.\n\nPEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 수리영 (한국인 여성, 20대 초반, 앳된 타원형 얼굴, 자연스러운 검은 머리) — never anyone else, and never add a person the shot text does not show. IF only part of a person is in frame (a hand, arm, foot, back, silhouette), that body part belongs to the specific person the shot text names — its sex, age, build, skin and grooming must unmistakably match that person's profile above.\n\nNo text, captions, watermarks or annotations anywhere."}